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per and natural punishments. But the be ing killed in a duel, besides the kind of sanction afforded to that practice, can hardly be considered otherwise than as an accidental occurrence.

The strongest moral impression made by this work, is that derived from the exalted and saint-like purity of the character of Glarissa, and the unparalleled depth of distress in which she is involved. No proof can be more striking how little prosperity is necessary to render a character interesting. This is doubtless the circumstance which renders our sympathy with Clarissa so much deeper than we have ever felt for Sir Charles Grandison; though it must be owned that Richardson seems more successful in drawing female characters than those of his own sex.

Pamela affords an example of steadiness and virtue in a very trying situation, and amid dangers to which young females in her rank of life are not unfrequently exposed.. To such, therefore, should it fall into their hands, it may afford often a very useful lesson. I cannot approve however of the reward which this conduct receives in a mar

riage with her rich and profligate master. This tends to raise expectations which must commonly prove delusive; and it encourages the propensity so common among the vulgar, to regard a rise in point of rank as an exaltation to the summit of human felicity. Both in Pamela and Clarissa, a number of indelicate scenes are introduced, and are described with a minuteness of detail which. does not tend very much to the edification of the reader.

FIELDING,

The contemporary and rival of Richardson, was a writer certainly of very extraordinary genius. Exquisite wit, an intimate know ledge of human nature, and a lively representation of manners, are conspicuous throughout all his productions. He excels also in the structure of his fable, and in the art of keeping alive the curiosity of the reader. The chief faults in his manner of writing are, pedantry and ostentation of learning, mixed with a good deal of affecta

tion. Nor can we approve those long digressions introduced with the view of displaying his own knowledge, and defending his work from the assaults of criticism. Whatever merit these may possess in themselves, they are here greatly out of place; as tending to dissipate that impression of reality, which it ought to be the great object of the writer to keep up.

The novels of Fielding are generally allowed to be in some respects exceptionable; nevertheless there runs through them a very noble and beautiful vein of morality. Benevolence, generosity, disinterestedness, are strongly inculcated throughout. Several perfect characters are even introduced; as Allworthy in Tom Jones, and Harrison in Amelia. Yet though these be extremely well drawn, they are not likely to become, in any great degree, the objects of imitation. They are men advanced in life; they are not the leading characters, nor those into whose views and sentiments the reader is disposed to enter with the greatest interest.

Fielding is blamable chiefly in the cha

racter of his heroes, where he has united' many agreeable and truly estimable qualities, with a very considerable degree of profligacy. There is great danger, therefore, that, in the minds of youthful readers, the two may be confounded together, and the latter seem thus excusable, and even graceful. The same objection does not apply to his heroines, though their character does not contain any thing very marked or interesting. We except Amelia, who affords an admirable picture of sweetness and conjugal affection.

Joseph Andrews, his first production, contains the history of a young man in the lowest rank of life. Fielding, like Richardson, seems to have begun there, and to have gradually ascended. With the exception of some indecent passages, it seems to be, upon the whole, unexceptionable, and even of a good tendency. There is little or nothing in the conduct of Joseph, which might not be recommended to the imitation of any one who is placed in the same circumstances. I disapprove, however, in the same manner,

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and for the same reasons, as in Pamela, of the hacknicd incident of a discovery of noble birth and consequent removal into a different station. Had the two lovers been settled respectably and comfortably in their original station, the effect would, in my opinion, have been better, and even more agreeable to a reader of correct taste.

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It is in Tom Jones that both the strength of Fielding's genius and his moral defects most strikingly conspicuous. The character of the hero abounds with generosity and other amiable qualities, but tends at the same time to represent these as connected with thoughtlessness and irregularity of conduct; an idea already too common, and which has been the ruin of thousands. That such a character does not unfrequently occur in real life, can be no sufficient reason for introducing it here, and for embellishing it in a manner which must captivate every youthful reader. The species of reformation which takes place at the end, a common tribute to virtue on these occasions, cannot compensate for the course of

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