Lang Andrew
Adventures Among Books
With or without a chariot, it is probable that Tobias had not an insinuating style, or “a good bedside manner”; friends to support a hospital for his renown he had none; but, somehow, he could live in May Fair, and, in 1746, could meet Dr. Carlyle and Stewart, son of the Provost of Edinburgh, and other Scots, at the Golden Ball in Cockspur Street. There they were enjoying “a frugal supper and a little punch,” when the news of Culloden arrived. Carlyle had been a Whig volunteer: he, probably, was happy enough; but Stewart, whose father was in prison, grew pale, and left the room. Smollett and Carlyle then walked home through secluded streets, and were silent, lest their speech should bewray them for Scots. “John Bull,” quoth Smollett, “is as haughty and valiant to-day, as he was abject and cowardly on the Black Wednesday when the Highlanders were at Derby.”
“Weep, Caledonia, weep!” he had written in his tragedy. Now he wrote “Mourn, hapless Caledonia, mourn.” Scott has quoted, from Graham of Gartmore, the story of Smollett’s writing verses, while Gartmore and others were playing cards. He read them what he had written, “The Tears of Scotland,” and added the last verse on the spot, when warned that his opinions might give offence.
“Yes, spite of thine insulting foe,
My sympathising verse shall flow.”
The “Tears” are better than the “Ode to Blue-Eyed Ann,” probably Mrs. Smollett. But the courageous author of “The Tears of Scotland,” had manifestly broken with patrons. He also broke with Rich, the manager at Covent Garden, for whom he had written an opera libretto. He had failed as doctor, and as dramatist; nor, as satirist, had he succeeded. Yet he managed to wear wig and sword, and to be seen in good men’s company. Perhaps his wife’s little fortune supported him, till, in 1748, he produced “Roderick Random.” It is certain that we never find Smollett in the deep distresses of Dr. Johnson and Goldsmith. Novels were now in vogue; “Pamela” was recent, “Joseph Andrews” was yet more recent, “Clarissa Harlowe” had just appeared, and Fielding was publishing “Tom Jones.” Smollett, too, tried his hand, and, at last, he succeeded.
His ideas of the novel are offered in his preface. The Novel, for him, is a department of Satire; “the most entertaining and universally improving.” To Smollett, “Roderick Random” seemed an “improving” work! Où le didacticisme va t’il se nicher? Romance, he declares, “arose in ignorance, vanity, and superstition,” and declined into “the ludicrous and unnatural.” Then Cervantes “converted romance to purposes far more useful and entertaining, by making it assume the sock, and point out the follies of ordinary life.” Romance was to revive again some twenty years after its funeral oration was thus delivered. As for Smollett himself, he professedly “follows the plan” of Le Sage, in “Gil Blas” (a plan as old as Petronius Arbiter, and the “Golden Ass” of Apuleius); but he gives more place to “compassion,” so as not to interfere with “generous indignation, which ought to animate the reader against the sordid and vicious disposition of the world.” As a contrast to sordid vice, we are to admire “modest merit” in that exemplary orphan, Mr. Random. This gentleman is a North Briton, because only in North Britain can a poor orphan get such an education as Roderick’s “birth and character require,” and for other reasons. Now, as for Roderick, the schoolmaster “gave himself no concern about the progress I made,” but, “should endeavour, with God’s help, to prevent my future improvement.” It must have been at Glasgow University, then, that Roderick learned “Greek very well, and was pretty far advanced in the mathematics,” and here he must have used his genius for the belles lettres, in the interest of his “amorous complexion,” by “lampooning the rivals” of the young ladies who admired him.
Such are the happy beginnings, accompanied by practical jokes, of this interesting model. Smollett’s heroes, one conceives, were intended to be fine, though not faultless young fellows; men, not plaster images; brave, generous, free-living, but, as Roderick finds once, when examining his conscience, pure from serious stains on that important faculty. To us these heroes often appear no better than ruffians; Peregrine Pickle, for example, rather excels the infamy of Ferdinand, Count Fathom, in certain respects; though Ferdinand is professedly “often the object of our detestation and abhorrence,” and is left in a very bad, but, as “Humphrey Clinker” shows, in by no means a hopeless way. Yet, throughout, Smollett regarded himself as a moralist, a writer of improving tendencies; one who “lashed the vices of the age.” He was by no means wholly mistaken, but we should probably wrong the eighteenth century if we accepted all Smollett’s censures as entirely deserved. The vices which he lashed are those which he detected, or fancied that he detected, in people who regarded a modest and meritorious Scottish orphan with base indifference. Unluckily the greater part of mankind was guilty of this crime, and consequently was capable of everything.
Enough has probably been said about the utterly distasteful figure of Smollett’s hero. In Chapter LX. we find him living on the resources of Strap, then losing all Strap’s money at play, and then “I bilk my taylor.” That is, Roderick orders several suits of new clothes, and sells them for what they will fetch. Meanwhile Strap can live honestly anywhere, while he has his ten fingers. Roderick rescues himself from poverty by engaging, with his uncle, in the slave trade. We are apt to consider this commerce infamous. But, in 1763, the Evangelical director who helped to make Cowper “a castaway,” wrote, as to the slaver’s profession: “It is, indeed, accounted a genteel employment, and is usually very profitable, though to me it did not prove so, the Lord seeing that a large increase of wealth could not be good for me.” The reverend gentleman had, doubtless, often sung —
“Time for us to go,
Time for us to go,
And when we’d got the hatches down,
’Twas time for us to go!”
Roderick, apart from “black ivory,” is aided by his uncle and his long lost father. The base world, in the persons of Strap, Thompson, the uncle, Mr. Sagely, and other people, treats him infinitely better than he deserves. His very love (as always in Smollett) is only an animal appetite, vigorously insisted upon by the author. By a natural reaction, Scott, much as he admired Smollett, introduced his own blameless heroes, and even Thackeray could only hint at the defects of youth, in “Esmond.” Thackeray is accused of making his good people stupid, or too simple, or eccentric, and otherwise contemptible. Smollett went further: Strap, a model of benevolence, is ludicrous and a coward; even Bowling has the stage eccentricities of the sailor. Mankind was certain, in the long run, to demand heroes more amiable and worthy of respect. Our inclinations, as Scott says, are with “the open-hearted, good-humoured, and noble-minded Tom Jones, whose libertinism (one particular omitted) is perhaps rendered but too amiable by his good qualities.” To be sure Roderick does befriend “a reclaimed street-walker” in her worst need, but why make her the confidante of the virginal Narcissa? Why reward Strap with her hand? Fielding decidedly, as Scott insists, “places before us heroes, and especially heroines, of a much higher as well as more pleasing character, than Smollett was able to present.”
“But the deep and fertile genius of Smollett afforded resources sufficient to make up for these deficiencies.. If Fielding had superior taste, the palm of more brilliancy of genius, more inexhaustible richness of invention, must in justice be awarded to Smollett. In comparison with his sphere, that in which Fielding walked was limited.. ” The second part of Scott’s parallel between the men whom he considered the greatest of our novelists, qualifies the first. Smollett’s invention was not richer than Fielding’s, but the sphere in which he walked, the circle of his experience, was much wider. One division of life they knew about equally well, the category of rakes, adventurers, card-sharpers, unhappy authors, people of the stage, and ladies without reputations, in every degree. There were conditions of higher society, of English rural society, and of clerical society, which Fielding, by birth and education, knew much better than Smollett. But Smollett had the advantage of his early years in Scotland, then as little known as Japan; with the “nautical multitude,” from captain to loblolly boy, he was intimately familiar; with the West Indies he was acquainted; and he later resided in Paris, and travelled in Flanders, so that he had more experience, certainly, if not more invention, than Fielding.
In “Roderick Random” he used Scottish “local colour” very little, but his life had furnished him with a surprising wealth of “strange experiences.” Inns were, we must believe, the favourite home of adventures, and Smollett could ring endless changes on mistakes about bedrooms. None of them is so innocently diverting as the affair of Mr. Pickwick and the lady in yellow curl-papers; but the absence of that innocence which heightens Mr. Pickwick’s distresses was welcome to admirers of what Lady Mary Wortley Montagu calls “gay reading.”
She wrote from abroad, in 1752, “There is something humorous in R. Random, that makes me believe that the author is H. Fielding” – her kinsman. Her ladyship did her cousin little justice. She did not complain of the morals of “R. Random,” but thought “Pamela” and “Clarissa” “likely to do more general mischief than the works of Lord Rochester.” Probably “R. Random” did little harm. His career is too obviously ideal. Too many ups and downs occur to him, and few orphans of merit could set before themselves the ideal of bilking their tailors, gambling by way of a profession, dealing in the slave trade, and wheedling heiresses.
The variety of character in the book is vast; in Morgan we have an excellent, fiery, Welshman, of the stage type; the different minor miscreants are all vividly designed; the eccentric lady author may have had a real original; Miss Snapper has much vivacity as a wit; the French adventures in the army are, in their rude barbaric way, a forecast of Barry Lyndon’s; and, generally, both Scott and Thackeray owe a good deal to Smollett in the way of suggestions. Smollett’s extraordinary love of dilating on noisome smells and noisome sights, that intense affection for the physically nauseous, which he shared with Swift, is rather less marked in “Roderick” than in “Humphrey Clinker,” and “The Adventures of an Atom.” The scenes in the Marshalsea must have been familiar to Dickens. The terrible history of Miss Williams is Hogarth’s Harlot’s Progress done into unsparing prose. Smollett guides us at a brisk pace through the shady and brutal side of the eighteenth century; his vivacity is as unflagging as that of his disagreeable rattle of a hero. The passion usually understood as love is, to be sure, one of which he seems to have no conception; he regards a woman much as a greedy person might regard a sirloin of beef, or, at least, a plate of ortolans. At her marriage a bride is “dished up;” that is all.
Thus this “gay writing” no longer makes us gay. In reading “Peregrine Pickle” and “Humphrey Clinker,” a man may find himself laughing aloud, but hardly in reading “Roderick Random.” The fun is of the cruel primitive sort, arising merely from the contemplation of somebody’s painful discomfiture. Bowling and Rattlin may be regarded with affectionate respect; but Roderick has only physical courage and vivacity to recommend him. Whether Smollett, in Flaubert’s deliberate way, purposely abstained from moralising on the many scenes of physical distress which he painted; or whether he merely regarded them without emotion, has been debated. It seems more probable that he thought they carried their own moral. It is the most sympathetic touch in Roderick’s character, that he writes thus of his miserable crew of slaves: “Our ship being freed from the disagreeable lading of negroes, to whom indeed I had been a miserable slave since our leaving the coast of Guinea, I began to enjoy myself.” Smollett was a physician, and had the pitifulness of his profession; though we see how casually he makes Random touch on his own unwonted benevolence.
People had not begun to know the extent of their own brutality in the slave trade, but Smollett probably did know it. If a curious prophetic letter attributed to him, and published more than twenty years after his death, be genuine; he had the strongest opinions about this form of commercial enterprise. But he did not wear his heart on his sleeve, where he wore his irritable nervous system. It is probable enough that he felt for the victims of poverty, neglect, and oppression (despite his remarks on hospitals) as keenly as Dickens. We might regard his offensively ungrateful Roderick as a purely dramatic exhibition of a young man, if his other heroes were not as bad, or worse; if their few redeeming qualities were not stuck on in patches; and if he had omitted his remark about Roderick’s “modest merit.” On the other hand, the good side of Matthew Bramble seems to be drawn from Smollett’s own character, and, if that be the case, he can have had little sympathy with his own humorous Barry Lyndons. Scott and Thackeray leaned to the favourable view: Smollett, his nervous system apart, was manly and kindly.
As regards plot, “Roderick Random” is a mere string of picturesque adventures. It is at the opposite pole from “Tom Jones” in the matter of construction. There is no reason why it should ever stop except the convenience of printers and binders. Perhaps we lay too much stress on the somewhat mechanical art of plot-building. Fielding was then setting the first and best English example of a craft in which the very greatest authors have been weak, or of which they were careless. Smollett was always rather more incapable, or rather more indifferent, in plot-weaving, than greater men.
In our day of royalties, and gossip about the gains of authors, it would be interesting to know what manner and size of a cheque Smollett received from his publisher, the celebrated Mr. Osborne. We do not know, but Smollett published his next novel “on commission,” “printed for the Author”; so probably he was not well satisfied with the pecuniary result of “Roderick Random.” Thereby, says Dr. Moore, he “acquired much more reputation than money.” So he now published “The Regicide” “by subscription, that method of publication being then more reputable than it has been thought since” (1797). Of “The Regicide,” and its unlucky preface, enough, or more, has been said. The public sided with the managers, not with the meritorious orphan.
For the sake of pleasure, or of new experiences, or of economy, Smollett went to Paris in 1750, where he met Dr. Moore, later his biographer, the poetical Dr. Akenside, and an affected painter. He introduced the poet and painter into “Peregrine Pickle”; and makes slight use of a group of exiled Jacobites, including Mr. Hunter of Burnside. In 1750, there were Jacobites enough in the French capital, all wondering very much where Prince Charles might be, and quite unconscious that he was their neighbour in a convent in the Rue St. Dominique. Though Moore does not say so (he is provokingly economical of detail), we may presume that Smollett went wandering in Flanders, as does Peregrine Pickle. It is curious that he should introduce a Capucin, a Jew, and a black-eyed damsel, all in the Ghent diligence, when we know that Prince Charles did live in Ghent, with the black-eyed Miss Walkenshaw, did go about disguised as a Capucin, and was tracked by a Jewish spy, while the other spy, Young Glengarry, styled himself “Pickle.” But all those events occurred about a year after the novel was published in 1751.
Before that date Smollett had got an M.D. degree from Aberdeen University, and, after returning from France, he practised for a year or two at Bath. But he could not expect to be successful among fashionable invalids, and, in “Humphrey Clinker,” he make Matthew Bramble give such an account of the Bath waters as M. Zola might envy. He was still trying to gain ground in his profession, when, in March 1751, Mr. D. Wilson published the first edition of “Peregrine Pickle” “for the Author,” unnamed. I have never seen this first edition, which was “very curious and disgusting.” Smollett, in his preface to the second edition, talks of “the art and industry that were used to stifle him in the birth, by certain booksellers and others.” He now “reformed the manners, and corrected the expressions,” removed or modified some passages of personal satire, and held himself exempt from “the numerous shafts of envy, rancour, and revenge, that have lately, both in private and public, been levelled at his reputation.” Who were these base and pitiless dastards? Probably every one who did not write favourably about the book. Perhaps Smollett suspected Fielding, whom he attacks in several parts of his works, treating him as a kind of Jonathan Wild, a thief-taker, and an associate with thieves. Why Smollett thus misconducted himself is a problem, unless he was either “meanly jealous,” or had taken offence at some remarks in Fielding’s newspaper. Smollett certainly began the war, in the first edition of “Peregrine Pickle.” He made a kind of palinode to the “trading justice” later, as other people of his kind have done.
A point in “Peregrine Pickle” easily assailed was the long episode about a Lady of Quality: the beautiful Lady Vane, whose memoirs Smollett introduced into his tale. Horace Walpole found that she had omitted the only feature in her career of which she had just reason to be proud: the number of her lovers. Nobody doubted that Smollett was paid for casting his mantle over Lady Vane: moreover, he might expect a success of scandal. The roman à clef is always popular with scandal-mongers, but its authors can hardly hope to escape rebuke.
It was not till 1752 that Lady Mary Wortley Montagu, in Italy, received “Peregrine,” with other fashionable romances – “Pompey the Little,” “The Parish Girl,” “Eleanora’s Adventures,” “The Life of Mrs. Theresa Constantia Phipps,” “The Adventures of Mrs. Loveil,” and so on. Most of them contained portraits of real people, and, no doubt, most of them were therefore successful. But where are they now? Lady Mary thought Lady Vane’s part of “Peregrine” “more instructive to young women than any sermon that I know.” She regarded Fielding as with Congreve, the only “original” of her age, but Fielding had to write for bread, and that is “the most contemptible way of getting bread.” She did not, at this time, even know Smollett’s name, but she admired him, and, later, calls him “my dear Smollett.” This lady thought that Fielding did not know what sorry fellows his Tom Jones and Captain Booth were. Not near so sorry as Peregine Pickle were they, for this gentleman is a far more atrocious ruffian than Roderick Random.
None the less “Peregrine” is Smollett’s greatest work. Nothing is so rich in variety of character, scene, and adventure. We are carried along by the swift and copious volume of the current, carried into very queer places, and into the oddest miscellaneous company, but we cannot escape from Smollett’s vigorous grasp. Sir Walter thought that “Roderick” excelled its successor in “ease and simplicity,” and that Smollett’s sailors, in “Pickle,” “border on caricature.” No doubt they do: the eccentricities of Hawser Trunnion, Esq., are exaggerated, and Pipes is less subdued than Rattlin, though always delightful. But Trunnion absolutely makes one laugh out aloud: whether he is criticising the sister of Mr. Gamaliel Pickle in that gentleman’s presence, at a pot-house; or riding to the altar with his squadron of sailors, tacking in an unfavourable gale; or being run away into a pack of hounds, and clearing a hollow road over a waggoner, who views him with “unspeakable terror and amazement.” Mr. Winkle as an equestrian is not more entirely acceptable to the mind than Trunnion. We may speak of “caricature,” but if an author can make us sob with laughter, to criticise him solemnly is ungrateful.
Except Fielding occasionally, and Smollett, and Swift, and Sheridan, and the authors of “The Rovers,” one does not remember any writers of the eighteenth century who quite upset the gravity of the reader. The scene of the pedant’s dinner after the manner of the ancients, does not seem to myself so comic as the adventures of Trunnion, while the bride is at the altar, and the bridegroom is tacking and veering with his convoy about the fields. One sees how the dinner is done: with a knowledge of Athenæus, Juvenal, Petronius, and Horace, many men could have written this set piece. But Trunnion is quite inimitable: he is a child of humour and of the highest spirits, like Mr. Weller the elder. Till Scott created Mause Headrig, no Caledonian had ever produced anything except “Tam o’ Shanter,” that could be a pendant to Trunnion. His pathos is possibly just a trifle overdone, though that is not my own opinion. Dear Trunnion! he makes me overlook the gambols of his detestable protégé, the hero.
That scoundrel is not an impossible caricature of an obstinate, vain, cruel libertine. Peregrine was precisely the man to fall in love with Emilia pour le bon motif, and then attempt to ruin her, though she was the sister of his friend, by devices worthy of Lovelace at his last and lowest stage. Peregrine’s overwhelming vanity, swollen by facile conquests, would inevitably have degraded him to this abyss. The intrigue was only the worst of those infamous practical jokes of his, in which Smollett takes a cruel and unholy delight. Peregrine, in fact, is a hero of naturalisme, except that his fits of generosity are mere patches daubed on, and that his reformation is a farce, in which a modern naturaliste would have disdained to indulge. Emilia, in her scene with Peregrine in the bouge to which he has carried her, rises much above Smollett’s heroines, and we could like her, if she had never forgiven behaviour which was beneath pardon.
Peregrine’s education at Winchester bears out Lord Elcho’s description of that academy in his lately published Memoirs. It was apt to develop Peregrines; and Lord Elcho himself might have furnished Smollett with suitable adventures. There can be no doubt that Cadwallader Crabtree suggested Sir Malachi Malagrowther to Scott, and that Hatchway and Pipes, taking up their abode with Peregrine in the Fleet, gave a hint to Dickens for Sam Weller and Mr. Pickwick in the same abode. That “Peregrine” “does far excel ‘Joseph Andrews’ and ‘Amelia’,” as Scott declares, few modern readers will admit. The world could do much better without “Peregrine” than without “Joseph”; while Amelia herself alone is a study greatly preferable to the whole works of Smollett: such, at least, is the opinion of a declared worshipper of that peerless lady. Yet “Peregrine” is a kind of Odyssey of the eighteenth century: an epic of humour and of adventure.
In February 1753, Smollett “obliged the town” with his “Adventures of Ferdinand, Count Fathom,” a cosmopolitan swindler and adventurer. The book is Smollett’s “Barry Lyndon,” yet as his hero does not tell his own story, but is perpetually held up as a “dreadful example,” there is none of Thackeray’s irony, none of his subtlety. “Here is a really bad man, a foreigner too,” Smollett seems to say, “do not be misled, oh maidens, by the wiles of such a Count! Impetuous youth, play not with him at billiards, basset, or gleek. Fathers, on such a rogue shut your doors: collectors, handle not his nefarious antiques. Let all avoid the path and shun the example of Ferdinand, Count Fathom!”
Such is Smollett’s sermon, but, after all, Ferdinand is hardly worse than Roderick or Peregrine. The son of a terrible old sutler and camp-follower, a robber and slayer of wounded men, Ferdinand had to live by his wits, and he was hardly less scrupulous, after all, than Peregrine and Roderick. The daubs of casual generosity were not laid on, and that is all the difference. As Sophia Western was mistaken for Miss Jenny Cameron, so Ferdinand was arrested as Prince Charles, who, in fact, caused much inconvenience to harmless travellers. People were often arrested as “The Pretender’s son” abroad as well as in England.
The life and death of Ferdinand’s mother, shot by a wounded hussar in her moment of victory, make perhaps the most original and interesting part of this hero’s adventures. The rest is much akin to his earlier novels, but the history of Rinaldo and Monimia has a passage not quite alien to the vein of Mrs. Radcliffe. Some remarks in the first chapter show that Smollett felt the censures on his brutality and “lowness,” and he promises to seek “that goal of perfection where nature is castigated almost even to still life.. where decency, divested of all substance, hovers about like a fantastic shadow.”
Smollett never reached that goal, and even the shadow of decency never haunted him so as to make him afraid with any amazement. Smollett avers that he “has had the courage to call in question the talents of a pseudo-patron,” and so is charged with “insolence, rancour, and scurrility.” Of all these things, and of worse, he had been guilty; his offence had never been limited to “calling in question the talents” of persons who had been unsuccessful in getting his play represented. Remonstrance merely irritated Tobias. His new novel was but a fainter echo of his old novels, a panorama of scoundrelism, with the melodramatic fortunes of the virtuous Monimia for a foil. If read to-day, it is read as a sketch of manners, or want of manners. The scene in which the bumpkin squire rooks the accomplished Fathom at hazard, in Paris, is prettily conceived, and Smollett’s indignation at the British system of pews in church is edifying. But when Monimia appears to her lover as he weeps at her tomb, and proves to be no phantom, but a “warm and substantial” Monimia, capable of being “dished up,” like any other Smollettian heroine, the reader is sensibly annoyed. Tobias as un romantique is absolutely too absurd; “not here, oh Tobias, are haunts meet for thee.”
Smollett’s next novel, “Sir Launcelot Greaves,” was not published till 1761, after it had appeared in numbers, in The British Magazine. This was a sixpenny serial, published by Newbery. The years between 1753 and 1760 had been occupied by Smollett in quarrelling, getting imprisoned for libel, editing the Critical Review, writing his “History of England,” translating (or adapting old translations of) “Don Quixote,” and driving a team of literary hacks, whose labours he superintended, and to whom he gave a weekly dinner. These exploits are described by Dr. Carlyle, and by Smollett himself, in “Humphrey Clinker.” He did not treat his vassals with much courtesy or consideration; but then they expected no such treatment. We have no right to talk of his doings as “a blood-sucking method, literary sweating,” like a recent biographer of Smollett. Not to speak of the oddly mixed metaphor, we do not know what Smollett’s relations to his retainers really were. As an editor he had to see his contributors. The work of others he may have recommended, as “reader” to publishers. Others may have made transcripts for him, or translations. That Smollett “sweated” men, or sucked their blood, or both, seems a crude way of saying that he found them employment. Nobody says that Johnson “sweated” the persons who helped him in compiling his Dictionary; or that Mr. Jowett “sweated” the friends and pupils who aided him in his translation of Plato. Authors have a perfect right to procure literary assistance, especially in learned books, if they pay for it, and acknowledge their debt to their allies. On the second point, Smollett was probably not in advance of his age.
“Sir Launcelot Greaves” is, according to Chambers, “a sorry specimen of the genius of the author,” and Mr. Oliphant Smeaton calls it “decidedly the least popular” of his novels, while Scott astonishes us by preferring it to “Jonathan Wild.” Certainly it is inferior to “Roderick Random” and to “Peregrine Pickle,” but it cannot be so utterly unreal as “The Adventures of an Atom.” I, for one, venture to prefer “Sir Launcelot” to “Ferdinand, Count Fathom.” Smollett was really trying an experiment in the fantastic. Just as Mr. Anstey Guthrie transfers the mediæval myth of Venus and the Ring, or the Arabian tale of the bottled-up geni (or djinn) into modern life, so Smollett transferred Don Quixote. His hero, a young baronet of wealth, and of a benevolent and generous temper, is crossed in love. Though not mad, he is eccentric, and commences knight-errant. Scott, and others, object to his armour, and say that, in his ordinary clothes, and with his well-filled purse, he would have been more successful in righting wrongs. Certainly, but then the comic fantasy of the armed knight arriving at the ale-house, and jangling about the rose-hung lanes among the astonished folk of town and country, would have been lost. Smollett is certainly less unsuccessful in wild fantasy, than in the ridiculous romantic scenes where the substantial phantom of Monimia disports itself. The imitation of the knight by the nautical Captain Crowe (an excellent Smollettian mariner) is entertaining, and Sir Launcelot’s crusty Sancho is a pleasant variety in squires. The various forms of oppression which the knight resists are of historical interest, as also is the contested election between a rustic Tory and a smooth Ministerialist: “sincerely attached to the Protestant succession, in detestation of a popish, an abjured, and an outlawed Pretender.” The heroine, Aurelia Darrel, is more of a lady, and less of a luxury, than perhaps any other of Smollett’s women. But how Smollett makes love! “Tea was called. The lovers were seated; he looked and languished; she flushed and faltered; all was doubt and delirium, fondness and flutter.”
