| Claiming Narrative AuthorityThe historian (to use | | | | in control, bound only by voluntary constraints, |
| Fielding's terminology) immediately begins his quest | | | | needing the approval of no one" (Rothstein 100). I |
| to build mutuality between the reader and himself | | | | agree that the narrator is completely in control of |
| in the first introductory chapter to Book I. He | | | | his narrative, and that he is not bound by any |
| asserts that an author should consider himself as | | | | constraints than those he puts on himself, but I |
| "one who keeps a public ordinary" (Fielding 29). He | | | | cannot see how Rothstein can assert that Fielding |
| extends this metaphor by claiming he will borrow | | | | needs the approval of no one. If this were true, |
| from the public ordinary his habit of posting a 'bill | | | | why would he carry on so many conversations |
| of fare' in order to prevent "giving offense to | | | | with his readers? Fielding is, of course, very |
| their customers" (Fielding 30). The narrator will | | | | skillfully using his rhetoric to manipulate his readers, |
| provide the reader not only with a "general bill of | | | | but he is attempting to persuade us to agree with |
| fare to [his] whole entertainment" but will also | | | | him, not dictating to us what we must think and |
| provide "particular bills to every course which is to | | | | believe. In that sense, he does need to gain the |
| be served up" in the narrative.The narrative style | | | | approval of his readers.After claiming his authority |
| being described here is one in which the historian | | | | as a historian, the narrator expands on his style |
| is servile to the reader. While this induces one to | | | | of writing by illustrating the reasons for his |
| look benevolently on the historian, the feeling does | | | | prefatory chapters. Asserting that these essays |
| not last for long. Maurice Johnson states:Although | | | | are "essentially necessary to [his] kind of writing" |
| the preface to a novel may itself be feigning, it is | | | | (Fielding 181), the narrator cites "contrast, which |
| usually intended to let the author speak for | | | | runs through all the works of the creation" as |
| himself, preparatory to his conducting his reader | | | | being the principal function of his prefatory |
| out of the 'real' world into the feigned world of his | | | | chapters (Fielding 183). Fielding uses the terms the |
| fiction. (Johnson 83) One must conclude that the | | | | 'serious and the comic' to show the difference |
| historian is 'feigning' in his characterization of | | | | between his prefaces and the narrative proper |
| himself as a keeper of a public ordinary, after | | | | (Fielding 183). But as his prefaces are not always |
| being confronted with the introduction to Book II. | | | | serious, a different terminology would be more |
| Now the previous social scale is reversed: the | | | | applicable.Thomas Lockwood applies the terms, |
| historian is "the founder of a new province of | | | | 'matter and reflection' to the prefaces and |
| writing" in which he can "make what laws [he] | | | | narrative. He distinguishes the matter of a chapter |
| please[s] therein" (Fielding 68). We, the former | | | | as having "a definite psychological value" |
| patrons of the public ordinary, are now his | | | | (Lockwood 227). The reflection is, of course, the |
| "subjects" and are "bound to believe in [his laws] | | | | narrator's comments on the matter. So matter |
| and to obey" (Fielding 68). But if we "readily and | | | | and reflection work together to point us in the |
| cheerfully comply," the historian assures us he will | | | | direction the narrator wants us to take. Another |
| have only our best interests at heart (Fielding | | | | set of terms that has been discoursed over is |
| 69).John Richetti claims that this narrative | | | | 'position and perspective'.In his article, James |
| authority "is supported, like the Hanoverian | | | | Vopat asserts that the "function of art is to |
| monarchy, by the narrative equivalent of the | | | | define position and perspective, to provide the |
| distribution of favours or patronage in return for | | | | means of limiting nature so that it is meaningful" |
| the recognition of a sovereignty" (Richetti 189). If | | | | (Vopat 146). As a result, life "becomes more |
| we acknowledge the complete authority of the | | | | meaningful because it is manageable" (Vopat 146). |
| historian, we will be rewarded with what means | | | | This quality of "limiting nature" so as to make life |
| the historian can give us: Words. He will use his skill | | | | more "manageable" can be discerned in the |
| to surprise and delight us, perhaps shock and trick | | | | character of Tom Jones. Throughout the majority |
| us. He will sprinkle his narrative with "sundry | | | | of the novel, Tom conducts himself through |
| similes, descriptions, and other kind of poetical | | | | natural instinct. He is possessed of "wantonness," |
| embellishments" (Fielding 131). He will:draw upon an | | | | "wildness," and "want of caution" (Fielding 122). |
| associated theory of 'genres' for established tones | | | | Tom's wildness is contrasted by Sophia, who is |
| appropriate to various moods and modes: poetic | | | | "perfectly well-bred" (Fielding 136). Taking Sophia |
| elevation (pastoral and epic), moral elevation | | | | as a model, Tom learns to 'limit' his animal spirits, |
| (sermon and essay), the ironic and satiric (various | | | | and so attains control over his life. Sophia and |
| forms of satire)...he [will] parody or burlesque | | | | Tom illustrate Fielding's "belief in the existence of |
| regnant genres or the styles of earlier literary | | | | Order in the great frame of the universe, and in |
| works. (Miller 268) These 'rewards' are exhibited in | | | | the necessity for Order in the private soul" |
| the sublime description of Sophia, the "domestic | | | | (Battestin 290). In like manner, Fielding presents us |
| government" which is ran "contrary to the rules | | | | with many other contrasts to subtly manipulate |
| of Aristotle" (Fielding 71), the anecdote of King | | | | us into embracing his view of proper |
| Pyrrhus (Fielding 132), the invocations to the | | | | conduct.BibliographyBattestin, Martin C. "Tom |
| historian's muse Mnesis, the "whimsical adventure" | | | | Jones: The Argument of Design." The Augustan |
| of Squire Western (Fielding 734), Molly's epic battle | | | | Milieu. Eds. Henry Knight Miller, Eric Rothstein, and |
| in the graveyard, the historian's 'slightly altered' | | | | G.S. Rousseau. Oxford: Oxford University Press, |
| quotations, all the twists and turns of the plot, the | | | | 1970. 289-319.Fielding, Henry. Tom Jones. Oxford: |
| mistaken identities, and extraordinary coincidences, | | | | Oxford University Press, 1996.Johnson, Maurice. |
| just to name a few. While Fielding refers to these | | | | Fielding's Art of Fiction. Philadelphia: University of |
| "embellishments" as being mere "ornamental parts | | | | Pennsylvania Press, 1961Lockwood, Thomas. |
| of [his] work," he includes them to "refresh the | | | | "Matter and Reflection in Tom Jones." ELH 45.2 |
| mind" whenever boredom and/or sleep may | | | | (1978): 226-35.Miller, Henry Knight. "The Voices of |
| overtake the reader (Fielding 131).Eric Rothstein | | | | Henry Fielding: Style in Tom Jones. |
| describes Fielding (the narrator) as "a man always | | | | |