Joseph Andrews

531 Pages·2001·23.02 MB·English

by  Henry Fielding

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JOSEPH ANDREWS
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JOSEPH ANDREWS
Henry Fielding
edited by Paul A. Scanlon
broadview literary texts
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©2001 Paul A. Scanlon
All rights reserved. The use of any part of this publication reproduced, transmitted
in any form or by any means, electronic, mechanical, photocopying, recording,
or otherwise, or stored in a retrieval system, without prior written consent of the
publisher - or in the case of photocopying, a licence from CANCOPY (Canadian
Copyright Licensing Agency) OneYonge Street, Suite 1900, Toronto, ON M5E IBS
— is an infringement of the copyright law.
National Library of Canada cataloguing in publication data
Fielding, Henry, 1707-1754
Joseph Andrews
(Broadview literary texts)
Includes bibliographical references.
ISBN 1-55111-220-5
I. Scanlon, Paul A. II.Title. III. Series.
PR3454J6 2001 823'.5 000-933174-3
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Henry Fielding by Cazenave after Reynolds (undated)
(courtesy of the Department of Prints and Drawings, The British Museum)
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Contents
Acknowledgements • 8
Introduction • 9
Henry Fielding: A Brief Chronology • 31
Fielding's Times: A Brief Chronology • 34
A Note on the Text • 37
Joseph Andrews • 39
Preface • 41
Contents • 49
Book I • 57
Book II • 133
Book III • 237
Book IV • 333
Appendix A: Social History of the Times • 409
Appendix B: Pamela and Shamela • 428
Appendix C: Other Works of Influence by Other Writers • 459
Appendix D: Other Related Writings by Fielding • 483
Appendix E: History of the Publication • 504
Appendix F: Early Reception • 509
Select Bibliography • 524
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Acknowledgements
It is a pleasure to be able to thank those who have, in different
ways, helped in the preparation of the present volume. Various
colleagues and friends, including Kazuya Okada, Neil McE-
wan, and John Wilks, have offered valuable advice and of their
time. As well, the library staff at Okayama University, Japan, has
been of great assistance in providing pertinent material, often
from well beyond the physical resources of the university.
Eugene Benson, as both friend and adviser, has given much
guidance to the project. And lastly, it is with love and gratitude
that I acknowledge the contribution made by my wife Marit,
whose patience and active support are inestimable.
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Introduction
In various ways, as has been noted by other critics, the history
of Joseph Andrews begins with the passage of the Licensing Act.
From 1730 to the early summer of 1737, when the bill was
enacted, Fielding had been pleasing the town and scandalizing
the government with his "theatrical entertainments." Much of
his satire, commonly in the form of parody or farce, was direct-
ed at literary affectation, carrying on (or so he believed) Pope's
war on dunces. Booksellers, critics, dramatists, actors, the edi-
tors of Shakespeare and the writers of biography—anyone in
the literary domain who he thought contributed to its disor-
der—became fair game. However, "In revealing literary aberra-
tion," Irwin rightly remarks, "Fielding could not dissociate the
republic of letters from human society as a whole.... The same
laws govern both and the same privileges and obligations
obtain in both."1 Accordingly, polite society as well was often
Fielding's target; and with his return to the Little Theatre in the
Haymarket in 1736, Sir Robert Walpole and his government
became the primary object of his scathing satire. Over the fol-
lowing year came a flurry of "irregular" plays, including Pasquin
and The Historical Register for the Year 1736. They were tumul-
tuously acclaimed, but eventually succeeded in bringing Field-
ing s stage career to a fairly abrupt end. Clearly there were a
number of factors involved which led to the Theatrical Licens-
ing Act of 1737, including a series of playhouse riots by foot-
men which occurred in the spring of the same year. But Field-
ing's portrayal in The Historical Register of Walpole as the fiddler
Quidam, bribing the Patriots (the opposition party) who
danced to his tune, finally spurred the government into action.
It was, in fact, precisely the opportunity Walpole wanted: a play
which would cause Parliament to place the theatres under
restraint. This Act, which was Parliament's last piece of business
of the spring session, not only limited the number of theatres to
those with official patents, but also required all new plays to be
i W.R. Irwin, "Satire and Comedy in the Works of Henry Fielding," ELH 13 (1946):
170.
JOSEPH ANDREWS 9