CHEAP Chick-fil-A Kickoff Classic: Louisville Cardinals vs. Auburn Tigers Tickets at Georgia Dome in Atlanta, Georgia For Sale

Chick-fil-A Kickoff Classic: Louisville Cardinals vs. Auburn Tigers Tickets
Georgia Dome
Atlanta, Georgia
September 5, xxxx
View Tickets
Use discount code "TICKETS" at checkout for 5% off on all Tickets from this site.
author's great adversary, Johnson--an adversary whose hostility was due partly to generous and grateful personal relations with Richardson, partly to political disagreement (for Fielding was certainly "a vile Whig"), but most of all perhaps to a sort of horrified recoil from the novelist's easy handling of temptations which were no easy matter to his critic--was nearly if not quite propitiated by it: and the enthusiasm for it of such a "cynic" as Thackeray is well known. Of the very few persons whom it would not be ridiculous to name with these, Scott--whose competence in criticising his own art is one of the most wonderful though the least generally recognised things about him--inclines, in the interesting Introduction?Dialogue to The Fortunes of Nigel, to put it on a level with Tom Jones itself as a perfectly constructed novel. But modern criticism has, rightly or wrongly, been more dubious. Amelia is almost too perfect: her very forgiveness (it has been suggested) would be more interesting if she had not almost completely shut her eyes to there being anything to forgive. Her husband seems to us
to prolong the irresponsibility of youth, which was pardonable in Tom, to a period of life and to circumstances of enforced responsibility which make us rather decline to honour the drafts he draws; and he is also a little bit of a fool, which Tom, to do him justice, is not, though he is something of a scatterbrain. Dr. Harrison, whose alternate wrath and reconciliation supply the most important springs of the plot, is, though a natural, a rather unreasonable person. The "total impression" has even been pronounced by some people to be a little dull. What there is of truth in these criticisms and others (which it would be long even to summarise) may perhaps be put briefly under two heads. It is never so easy to arouse interest in virtue as it is in vice: or in weak and watered vice as in vice rectified (or un_rectified) to full strength. And the old requirement of "the quest" is one which will hardly be dispensed with. Here (for we know perfectly well that Amelia's virtue is in no danger) there is no quest, except that of the fortune which ought to be hers, which at last comes to her husband, and
which we are told (and hope rather doubtfully) that husband had at last been The English Novel 42 taught--by the Fool's Tutor, Experience--not utterly to throw away. But this fortune drops in half casually at the last by a series of stage accidents, not ill?machined by any means, but not very particularly interesting. Such, however, are the criticisms which Fielding himself has taught people to make, by the very excellence of his success in the earlier novels: and there is a certain comparative and relative validity in them. But consider Amelia in itself, and they begin to look, if not positively unfounded, rather unimportant. Once more, the astonishing truth and variety of scene and character make themselves felt--even more felt--even felt in new directions. The opening prison scenes exceed anything earlier even in Fielding himself, much more in any one else, as examples of the presentation of the unfamiliar. Miss Matthews--whom Fielding has probably abstained from working out as much as he might lest she should, from the literary point of view, obscure Amelia--is a marvellous outline; Colonels