and so lack the best by far and the most revealing of all character-portraits; we have but one important autobiographic fragment, and though that is of the highest interest and value, it was written far in the valley of the shadow of death, it is not in the least retrospective, and it affords but dim and inferential light on his younger, healthier, and happier days and ways. He came, moreover, just short of one set of men of letters, of whom we have a great deal of personal knowledge, and just beyond another. He was neither of those about Addison, nor of those about Johnson. No intimate friend of his has left us anything elaborate about him. On the other hand, we have a far from inconsiderable body of documentary evidence, of a kind often by no means trustworthy. The best part of it is contained in the letters of his cousin, Lady Mary Wortley Montagu, and the reminiscences or family traditions of her grand-daughter, Lady Louisa Stuart. But Lady Mary, vivacious and agreeable as she is, had with all her talent a very considerable knack of writing for effect, of drawing strong contrasts and the like; and it is not quite certain that she saw very much of Fielding in the last and most interesting third of his life. Another witness, Horace Walpole, to less knowledge and equally dubious accuracy, added decided ill-will, which may have been due partly to the shrinking of a dilettante and a fop from a burly Bohemian; but I fear is also consequent upon the fact that Horace could not afford to despise Fielding’s birth, and knew him to be vastly his own superior in genius. We hear something of him again from Richardson; and Richardson hated him with the hatred of dissimilar genius, of inferior social position, and, lastly, of the cat for the dog who tousles and worries her. Johnson partly inherited or shared Richardson’s aversion, partly was blinded to Fielding’s genius by his aggressive Whiggery. I fear, too, that he was incapable of appreciating it for reasons other than political. It is certain that Johnson, sane and robust as he was, was never quite at ease before genius of the gigantic kind, either in dead or living. Whether he did not like to have to look up too much, or was actually unable to do so, it is certain that Shakespeare, Milton, Swift, and Fielding, those four Atlantes of English verse and prose, all affected him with lukewarm admiration, or with positive dislike, for which it is vain to attempt to assign any uniform secondary cause, political or other. It may be permitted to hint another reason. All Johnson’s most sharp-sighted critics have noticed, though most have discreetly refrained from insisting on, his “thorn-in-the-flesh,” the combination in him of very strong physical passions with the deepest sense of the moral and religious duty of abstinence. It is perhaps impossible to imagine anything more distasteful to a man so buffeted, than the extreme indulgence with which Fielding regards, and the easy freedom, not to say gusto, with which he depicts, those who succumb to similar temptation. Only by supposing the workings of some subtle influence of this kind is it possible to explain, even in so capricious a humour as Johnson’s, the famous and absurd application of the term “barren rascal” to a writer who, dying almost young, after having for many years lived a life of pleasure, and then for four or five one of laborious official duty, has left work anything but small in actual bulk, and fertile with the most luxuriant growth of intellectual originality.

Partly on the obiter dicta of persons like these, partly on the still more tempting and still more treacherous ground of indications drawn from his works, a Fielding of fantasy has been constructed, which in Thackeray’s admirable sketch attains real life and immortality as a creature of art, but which possesses rather dubious claims as a historical character. It is astonishing how this Fielding of fantasy sinks and shrivels when we begin to apply the horrid tests of criticism to his component parts. The eidolon, with inked ruffles and a towel round his head, sits in the Temple and dashes off articles for the Covent Garden Journal; then comes Criticism, hellish maid, and reminds us that when the Covent Garden Journal appeared, Fielding’s wild oats, if ever sown at all, had been sown long ago, that he was a busy magistrate and householder in Bow Street; and that, if he had towels round his head, it was probably less because he had exceeded in liquor than because his Grace of Newcastle had given him a headache by wanting elaborate plans and schemes prepared at an hour’s notice. Lady Mary, apparently with some envy, tells us that he could “feel rapture with his cook-maid.” “Which many has,” as Mr. Ridley remarks, from Xanthias Phoceus downwards; but when we remember the historic fact that he married this maid (not a “cook-maid” at all), and that though he always speaks of her with warm affection and hearty respect, such “raptures” as we have of his clearly refer to a very different woman, who was both a lady and a beautiful one, we begin a little to shake our heads. Horace Walpole at second-hand draws us a Fielding pigging with low companions in a house kept like a hedge tavern; Fielding himself, within a year or two, shows us more than half-undesignedly in the Voyage to Lisbon that he was very careful about the appointments and