William Hazlitt regarded Fielding as a novelist
who understood human nature better than most. He commented on how Tom Jones
embodies the complexities of human behavior, describing the characters are
verisimilitude in nature. Hazlitt highlighted Fielding’s use of humor,
suggesting that the novel’s humor was integral in exposing human follies.
Sir Walter Scott was an admirer of Fielding’s talent for
combining high and low comedy with moral instruction. He acknowledged that Tom
Jones is a story not only of adventure and romance but also of moral
reflection, he also remarks its inherent didactic quality. He appreciated
Fielding's ability to present an entertaining yet instructive narrative.
E.M. Forster, in his work Aspects of the Novel,
pointed out how Fielding's Tom Jones fits perfectly into the model of the
picaresque novel. Forster noted that Fielding’s omniscient narration is
essential in guiding the reader’s understanding of the characters and events.
A noted literary critic, George Saintsbury emphasized
Fielding's contribution to the development of the English novel. He considered
Tom Jones a significant work in shaping the modern novel’s form, praising
Fielding’s style as straightforward, lively, and insightful. Saintsbury
believed that Fielding combined realism with a sense of ethical responsibility,
presenting an entertaining yet morally conscious narrative.
A Comprehensive Critical Analysis of Tom Jones by
Henry Fielding
Henry Fielding’s The History of Tom Jones, a Foundling (1749) is regarded as
one of the greatest novels of the 18th century. It is a picaresque novel that
blends adventure, romance, and social critique, all the while maintaining a
comic tone…..
Tom Jones stands out for its well-organized structure and plot development.
Fielding famously divides the novel into 18 books, following the classical
structure inspired by Homer’s Iliad and Odyssey. Samuel Taylor Coleridge
praised Tom Jones for having one of the most perfect plots ever conceived.
Fielding’s use of the three-part structure such as departure, adventure and return,
creates a well- crafted narrative frame.
The novel is a model of the well-made plot, with a beginning that introduces
the central problem (Tom’s origin and adoption), a middle filled with action
and complications (Tom’s expulsion, adventures, and love affairs), and an end
that resolves all the conflicts and unveils the truth about Tom’s birth. The
conclusion ties up the storylines.
Fielding's omniscient narrative voice is essential to the novel's tone and its
balance of irony and moral instruction. The narrator frequently breaks the
fourth wall, directly addressing the reader with comments on the narrative, on
human nature, and even on the nature of the novel itself. This metafictional
technique reveals Fielding’s reflections on the act of storytelling and his
engagement with the genre of the novel at a time when it was still developing
as a form.
From a narratological perspective, the omniscient narrator serves multiple
functions. The narrator is not merely a storyteller but also a commentator,
offering a moral and philosophical dimension to the story. This technique
offers both psychological insight and irony, as the narrator can critique the
characters' motives and actions while also creating empathy for them.
A psychoanalytic reading of Tom Jones would explore the psychological
motivations behind the characters’ actions, particularly Tom’s relationships
with women. Tom’s behavior, especially his sexual escapades, could be seen as the
reflection of Id, to satisfy his basic instinct. His liaisons with characters
like Molly Seagrim, Lady Bellaston, and Sophia Western reveal a desire to fill
the emotional void left by his lack of a biological mother figure.
Tom Jones, can be well analysed through feminist perspective, focusing on how
women are portrayed and the dynamics of power between the sexes. Female
characters in the novel can be divided into two primary categories: the
virtuous and the corrupt. Sophia Western is the embodiment of idealized
femininity—beautiful, chaste, and morally upright—while characters like Lady
Bellaston and Molly Seagrim represent sexual licentiousness and social
transgression.
A feminist critique may point out that Tom Jones upholds traditional gender
norms. Women’s worth is frequently evaluated based on their chastity and
adherence to societal expectations, while men like Tom are granted greater
sexual freedom. Tom’s immoral nature is excused or even celebrated as part of
his development, while the sexual activity of women like Molly and Lady
Bellaston leads to their marginalization or social punishment.
Remarkably, the novel highlights the patriarchal control over women’s lives.
Sophia’s father, Squire Western, treats her as a mere commodity, attempting to
marry her off for political or economic advantage, while ignoring her desires.
The novel critiques this system to some extent, particularly through its
portrayal of Sophia as a strong-willed character.
A Marxist reading of Tom Jones focuses on the novel’s exploration of class
mobility, property, and economic power. Tom’s status as a foundling positions
him as a marginal figure within society, lacking both wealth and a known family
background. His journey throughout the novel can be seen as a struggle to
attain social and economic stability, paralleling the upward mobility sought by
many individuals in 18th-century Britain.
The novel critiques the rigidity of the class system but also reflects the ideology
of the emerging middle class. Characters like Blifil, who represent inherited
wealth and privilege, are portrayed negatively, while Tom’s virtues—honesty,
generosity, and sincerity are eventually rewarded, despite his low birth.
Fielding also critiques the hypocrisy of characters
like Thwackum and Square highlights the exploitation of moral authority for
personal gain, a theme that resonates with Marxist critiques of ideology.
………………………………………………………………………
Henry Fielding’s Tom Jones features a wide range of
female characters, each representing
different aspects of 18th-century English society and contributing to the
novel's exploration of gender roles, morality and class.
Sophia Western
Sophia
Western is the novel's heroine and the love interest of Tom Jones. She is
portrayed as virtuous, intelligent, and independent. Sophia is the epitome of
the ideal woman of her time, embodies purity and moral integrity, but she also
demonstrates a strong sense of agency, making her stand out as a progressive
character for the 18th century. Sophia’s chastity and goodness contrast sharply
with the unscrupulous nature of Tom and other characters. She resists the
pressures of society, particularly from her father, Squire Western, to marry
Blifil, thus emphasizing her strength of character. Unlike many female characters
in the literature of the time, Sophia is not passive. She repeatedly takes
matters into her own hands, fleeing from her home to escape a forced marriage.
This act of defiance, coupled with her unwavering love for Tom despite his
flaws, marks her as a woman with considerable personal agency, highlighting
Fielding’s notion of asserting female independence. While Sophia is a symbol of
idealized virtue, Fielding also imbues her with emotional depth. She is deeply
hurt by Tom’s promiscuity, and her internal struggles make her more than just a
static emblem of goodness. Her humanity is revealed in her capacity for forgiveness,
demonstrating that true virtue lies not in perfection but in understanding and
compassion.
Molly Seagrim
Molly
Seagrim is a servant girl who has a sexual relationship with Tom. She
represents a more earthy, sensual aspect of femininity, contrasting sharply
with the refined and virtuous Sophia. Molly’s character embodies the
struggles of lower-class women in the 18th century, who had fewer opportunities
for social mobility. Molly is not depicted as purely immoral or corrupt.
Rather, she is resourceful and pragmatic, using the limited means available to
her to survive in a world that offers little support or protection for women of
her class.
Lady Bellaston
Lady Bellaston is an aristocratic woman who attempts to seduce Tom. She is wealthy, powerful, and manipulative, using her social position to pursue her desires. Lady Bellaston represents a corrupting influence in the novel and serves as a critique of the upper classes’ moral decadence.
Through Lady
Bellaston, Fielding critiques the moral corruption of the aristocracy. Her
character contrasts with Sophia’s virtuousness, as she uses her position to
indulge in selfish and manipulative behaviors. Fielding uses her to expose the
dangers of power without virtue, highlighting how wealth and privilege can lead
to moral degradation.
Jenny Jones
Jenny Jones is initially suspected to be Tom’s mother, though it is later revealed that she only helped to conceal his true parentage. Her role in the plot is crucial, as she sets the novel’s events in motion by leaving Tom at Squire Allworthy’s estate. Jenny is one of the few female characters in the novel who is portrayed as intellectually superior. She is educated and uses her intelligence to navigate the limitations placed on her by society. Her ability to keep Tom’s secret for so long demonstrates her resourcefulness and loyalty. Jenny’s character highlights the limitations imposed on women, particularly those of lower social standing. Despite her intelligence, she is still subject to social judgment and is forced into difficult positions because of her gender and class
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