ther without reason; but a more serious objection has been made to the want of refinement and elegance in the two principal characters. We never feel this objection, indeed, while we are reading the book; but at other times we have something like a lurking suspicion that Jones was but an awkward fellow, and Sophia a pretty simpleton. We do not know how to account for this effect, unless it is that Fielding's constantly assuring us of the beauty of his hero, and the good sense of his heroine, at last produces a distrust of both. The story of Tom Jones is allowed to be unrivalled; and it is this circumstance, together with the vast variety of characters, that has given the History of a Foundling so decided a preference over Fielding's other novels. The characters themselves, both in Amelia and Joseph Andrews, are quite equal to any of those in Tom Jones. The account of Miss Mathews and Ensign Hibbert,-the way in which that lady reconciles herself to the death of her father, the inflexible Colonel Bath, the insipid Mrs James, the complaisant Colonel Trent, the demure, sly, intriguing, equivocal Mrs Bennet,-the lord who is her seducer, and who attempts afterwards to seduce Amelia by the same mechanical process of a concertticket, a book, and the disguise of a great-coat,-his little fat short-nosed, red-faced, good-humoured accomplice, the keeper of the lodging-house, who, having no pretensions to gallantry herself, has a disinterested delight in forwarding the intrigues and pleasures of others (to say nothing of honest Atkinson, the story of the miniature-picture of Amelia, and the hashed mutton, which are in a different style), are master-pieces of description. The whole scene at the lodging-house, the masquerade, &c. in Amelia, is equal in interest to the parallel scenes in Tom Jones, and even more refined in the knowledge of character. For instance, Mrs Bennet is superior to Mrs Fitzpatrick in her own way. The

interview with Fielding was a

of

uncertainty in which the event of her her former seducer is left is admirable. master of what may be called the double entendre of character, and surprises you no less by what he leaves in the dark (hardly known to the persons themselves), than by the unexpected discoveries he makes of the real traits and circumstances in a character with which, till then, you find you were unacquainted. There is nothing at all heroic, however, in the style of any of his delineations. He never draws lofty characters or strong passions ;-all his persons are of the ordinary stature as to intellect; and none of them trespass on the angelic nature, by elevation of fancy, or energy of purpose. Perhaps, after all, Parson Adams is his finest character. It is equally true to nature, and more ideal than any the others. Its unsuspecting simplicity makes it not only more amiable, but doubly amusing, by gratifying the sense of superior sagacity in the reader. Our laughing at him does not once lessen our respect for him. His declaring that he would willingly walk ten miles to fetch his sermon on vanity, merely to convince Wilson of his thorough contempt of this vice, and his consoling himself for the loss of his Eschylus, by suddenly recollecting that he could not read it if he had it, because it is dark, are among the finest touches of naïveté. The night-adventures at Lady Booby's with Beau Didapper and the amiable Slipslop, are the most ludicrous; and that with the huntsman, who draws off the hounds from the poor Parson, because they would be spoiled by following vermin, the most profound. Fielding did not often repeat himself: but Dr Harrison, in Amelia, may be considered as a variation of the character of Adams: so also is Goldsmith's Vicar of Wakefield; and the latter part of that work, which sets out so delightfully, an almost entire plagiarism from Wilson's account of himself, and Adams' domestic history.

"Smollett's first novel, Roderick Random, which is also his best, appeared about the same time as Fielding's Tom Jones; and yet it has a much more modern air with it but this may be accounted for from the circumstance, that Smollett was quite a young man at the time, whereas Fielding's manner must have been formed long before. The style of Roderick Random, though more scholastic and elaborate, is stronger and more pointed than that of Tom Jones; the incidents follow one another more rapidly (though it must be confessed they never come in such a throng, or are brought out with the same dramatic facility); the humour is broader, and as effectual; and there is very nearly, if not quite, an equal interest excited by the story. What then is it that gives the superiority to Fielding? It is the superior insight into the springs of human character, and the constant development of that character through every change of circumstance. Smollett's humour often arises from the situation of the persons, or the peculiarity of their external appearance, as,-from Roderick Random's carrotty locks, which hung down over his shoulders like a pound of candles; or Strap's ignorance of London, and the blunders that follow from it. There is a tone of vulgarity about all his productions. The incidents frequently resemble detached anecdotes taken from a newspaper or magazine; and, like those in Gil Blas, might happen to a hundred other characters. He exhibits only the external accidents and reverses to which human life is liable,-not the stuff' of which it is composed. He seldom probes to the quick, or penetrates beyond the surface of his characters; and therefore he leaves no stings in the minds of his readers, and in this respect is far less interesting than Fielding. His novels always enliven, and never tire us: we take them up with pleasure, and lay them down without any strong feeling of regret. We look on and laugh, as spectators

of an amusing though inelegant scene, without closing in with the combatants, or being made parties in the event. We read Roderick Random as an entertaining story; for the particular accidents and modes of life which it describes have ceased to exist: but we regard Tom Jones as a real history, because the author never stops short of those essential principles which lie at the bottom of all our actions, and in which we feel an immediate interest ;-intus et in cute.-Smollett excels most as the lively caricaturist,-Fielding as the exact painter and profound metaphysician. We are far from maintaining, that this account applies uniformly to the productions of these two writers; but we think that, as far as they essentially differ, what we have stated is the general distinction between them. Roderick Random is the purest of Smollett's novels,-we mean in point of style and description. Most of the incidents and characters are supposed to have been taken from the events of his own life; and are therefore truer to nature. There is a rude conception of generosity in some of his characters, of which Fielding seems to have been incapable; his amiable persons being merely good-natured. It is owing to this, we think, that Strap is superior to Partridge; and there is a heartiness and warmth of feeling in some of the scenes between Lieutenant Bowling and his nephew, which is beyond Fielding's power of impassioned writing. The whole of the scene on ship-board is a most admirable and striking picture, and, we imagine, very little, if at all exaggerated, though the interest it excites is of a very unpleasant kind. The picture of the little profligate French friar, who was Roderick's travelling companion, and of whom he always kept to the windward, is one of Smollett's most masterly sketches. Peregrine Pickle is no great favourite of ours, and Launcelot Greaves was not worthy of the genius of the author.

"Humphry Clinker and Count Fathom are both equally admirable in their way. Perhaps the former is the most pleasant gossipping novel that ever was written-that which gives the most pleasure with the least effort to the reader. It is quite as amusing as going the journey could have been, and we have just as good an idea of what happened on the road, as if we had been of the party. Humphry Clinker himself is exquisite; and his sweetheart, Winifred Jenkins, nearly as good. Matthew Bramble, though not altogether original, is excellently supported, and seems to have been the prototype of Sir Anthony Absolute in the Rivals. But Lismahago is the flower of the flock. His tenaciousness in argument is not so delightful as the relaxation of his logical severity, when he finds his fortune mellowing with the wintry smiles of Mrs Tabitha Bramble. This is the best preserved and most original of all Smollett's characters. The resemblance of Don Quixote is only just enough to make it interesting to the critical reader, without giving offence to any body else. The indecency and filth in this novel, are what must be allowed to all Smollett's writings. The subject and characters in Count Fathom are, in general, exceedingly disgusting; the story is also spun out to a degree of tediousness in the serious and sentimental parts; but there is more power of writing occasionally shown in it than in any of his works. We need only refer to the fine and bitter irony of the Count's address to the country of his ancestors on landing in England; to the robber-scene in the forest, which has never been surpassed; to the Parisian swindler, who personates a raw English country squire, (Western is tame in the comparison); and to the story of the seduction in the west of England. We should have some difficulty to point out, in any author, passages written with more force and nature than these.