Important Questions

Brief summary of the novel

The History of the Adventures of Joseph Andrews and of his Friend Mr. Abraham Adams,
commonly known as Joseph Andrews, by Henry Fielding was published in 1742 and was his first
full-length novel. It was among the earliest of all English language novels. It tells of Joseph
Andrews, a footman, and his travels on the road from London with his friend Abraham Adams.
Adams is his mentor and a parson. In style, Joseph Andrews has similarities to Cervantes’ Don
Quixote.
Sir Thomas Booby’s wife, Lady Booby, has taken a romantic interest in the household’s
footman Joseph Andrews. Also developing an interest in Joseph for different reasons is Parson
Adams, who wants to develop the moral, as well as intellectual, potential he sees in the servant.
Joseph is to begin studying Latin but first, Sir Thomas and Lady Booby embark on a trip to
London with Joseph in tow. Once in London, Joseph takes up with an unsavory crowd and
continues to be the target of Lady Booby’s implied advances. Joseph does not give in to any
temptations, however. A year later, Sir Thomas dies, fueling his wife’s advances toward Joseph.
Joseph does not pick up on her insinuations, feeling that a woman of her social position would
never be interested in him.

As Joseph remains virtuous, Lady Booby is more and more angered. She decides to fire
him but has difficulty following through. Her steward, Peter Pounce, pays Joseph and dismisses
him from their employ. Joseph is not disappointed with this outcome, as he has become
uncomfortable with Lady Booby. He decides to go to the Boobys’ country parish to find Fanny
Goodwill, a milkmaid and sweetheart from his childhood whom he plans to marry. On his way
he is beaten, robbed, and left for dead. A coach passing by comes to his aid, although only
because a lawyer on board warns the passengers that there could be legal repercussions if they let
him die there. He is left at an inn and is not expected to survive. He does, however, and Adams
arrives while on his way to London hoping to have volumes of his sermons published.
 Through a series of events, Adams comes to realize that he left the sermons at home and
no longer needs to go to London. He and Joseph decide to head for home with Joseph riding
Adams’ horse and Adams riding in a coach. When they arrive at an inn, the pair gets into a brawl
with the innkeeper and his wife. When they leave to continue their journey home, Joseph is in
the coach, and Adams is walking, having in his typically absent-minded way, forgotten about his
horse. While walking alone, Adams comes upon a sportsman on a partridge hunt and talking of
how much he admires bravery. A woman’s cries are heard and the sportsman quickly leaves;
Adams remains to help her. He beats her assailant who, when another group of men arrive,
accuses Adams and the woman of robbing him. This leads to the men taking Adams and the
woman to a Justice of the Peace with the hope of a reward. It turns out that the woman is Fanny
Goodwill, who is out looking for Joseph. The authorities are ready to send Fanny and Adams to
prison when an onlooker recognizes Adams as a clergyman and vouches for him. The pair is
released.

They arrive at an inn where they find Joseph. Joseph wants to marry Fanny immediately,
but she and Adams suggest waiting. In the morning, upon realizing that they do not have the
money to pay their bill at the inn, Adams goes to find the rich Parson Trulliber at a nearby
parish, who rejects his request for financial assistance. Back at the inn, a peddler lends them the
money, and the travelers continue on their way. Further encounters on their journey include
meeting a squire who offers, but then retracts his help, and a group of sheep-stealers. They meet
and are hosted by the Wilson family whose simple approach to life inspires a discussion of virtue
and vice. Farther along, Adams is attacked by a pack of hunting dogs and is saved by Joseph.
There follows an abduction of Fanny after a skirmish in which Adams and Joseph are tied up.

A group of Lady Booby’s servants happen by and rescue Fanny. They go on to the inn
where Adams and Joseph are tied up, and they all set off for Lady Booby’s parish. On Sunday,
the parson announces the pending marriage of Joseph and Fanny. Lady Booby later tells the
parson that she opposes the union. Adams refuses to help her keep them apart, so Lady Booby
has a lawyer fabricate a legal reason to prevent the marriage. Lady Booby’s nephew, Mr. Booby,
and his wife, Pamela, who is Joseph’s sister, arrive, and the legal maneuverings of Lady Booby
are avoided. Further complications ensue as Lady Booby continues to seek ways to prevent the
marriage. Familial histories suggest that Joseph and Fanny could be siblings. Ultimately, their
lineage is sorted out. Joseph is from a respected background. A wedding ceremony takes place,
and the reader is informed that the story has ended and that there will not be a sequel.

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 Joseph Andrews: A Picaresque Novel

“Joseph Andrews” can’t be called a regular picaresque novel for Fielding employs elements of

this tradition in an exposition of his own theory of the Ridiculous. He was writing a “comic epic-

poem in pose”. He adapts the picaresque tradition to his own theory of the novel, which shows

the influence of various other literary forms besides the picaresque.

However, the picaresque motif helps Fielding to fulfill his aim of ridiculing the affectations of

human beings. The different strata of society can be represented through the picaresque mode.

The travelers meet squires, innkeepers, landladies, parsons, philosophers, lawyers and surgeons,

beggars, peddlers and robbers and rogues. Particular social evils prevalent in the day, and follies

and foibles of human nature in general are effectively exposed. Fielding’s satire is pungent as he

presents the worldly and crafty priests and the callous, vicious and inhuman country squires.

Malice, selfishness, vanities, hypocrisies, lack of charity, all are ridiculed as human follies.

The picaresque tradition belongs to Spain and derived from the word “picaro”, meaning a

rogue or a villain. The picaresque originally involved the misadventure of the rogue-hero,

mainly on the highway. Soon, however, the rogue was replaced by a conventional hero – gallant
and chivalric. The comic element lay in the nature of the hero’s adventures, through which,

generally, society was satirized.

The Picaresque novel is the loosest in plot – the hero is literally let loose on the high

road for his adventures. The writer got the opportunity to introduce a large variety of characters

and events. The hero wanders from place to place encountering thieves an drogues, rescuing

damsels in distress, fighting duels, falling in love, being thrown in prison, and meeting a vast

section of society. The opportunity of representing a large section of society gave the author the

power of exploring the follies of the widest possible range of humanity. As the hero meets

a gamut of characters from the country squire to the haughty aristocrat, from hypocrite to ill-

tempered soldiers, the writer is able to introduce with the least possible incongruity, the saint and

the sinner, the virtuous and the vicious. The writer has a chance to present the life, culture and

morality prevalent in his time, and to satirize the evils.

Fielding acknowledged his debt to Cervantes, whose Don Quixote is the best known picaresque

novel in Spanish.

Like the Don and Sancho Panza, Parson Adams and Joseph set out on a journey which

involves them in a series of adventures, some of them burlesque, at several country inns or rural

houses. Like the Don, Parson Adams is a dreamy idealist. But there are differences, too, between

Joseph Andrews and the picaresque tradition, vital enough to consider Fielding’s novel as

belonging to the genre of its own.

The central journey in Joseph Andrews is not mainly a quest for adventure as it is in the

picaresque tradition. It is a sober return journey homewards. Joseph and Lady Booby are taken to

London and the reader is given a glimpse of society’s ways in that great city.
 It is in Chapter 10 of Book I that the picaresque element enters the novel, with Joseph

setting out in a borrowed coat towards home. The picaresque tradition is maintained uptil the end

of Book III. Joseph meets with the first misadventure when he is set upon by robbers, beaten,

stripped and thrown unconscious into a ditch. A passing stagecoach and its passengers very

reluctantly convey Joseph to an inn. The incident gives ample scope to Fielding for satirizing the

pretenses and affectations of an essentially inhuman society.

The Tow-wouse Inn provides a grim picture of callous human beings – the vain and

ignorant surgeon and the drinking parson. Once again kindness and generosity come from an

apparently immoral girl, Betty the chambermaid. With the arrival of Parson Adams, the

picaresque journey takes on a more humorous tone, with plenty of farce. The encounter with

the “Patriot” who would like to see all cowards banged but who turns tail at the first sight of

danger, leads to the meeting with Fanny. She is rescued by Adams in proper picaresque-romance

style with hero. Several odd characters are met on the way – such as the hunting squire – the

squire who makes generous but false promises. Then comes the abduction of Fanny – and the

reintroduction of something more serious.

We also have the interpolated stories, which belong to the picaresque tradition. In his use

of this device, Fielding shows how far he has come from the picaresque school.

To conclude, Joseph Andrews has a rather rambling and discursive narrative, which

makes us to believe that it is a picaresque novel. But, on the whole, it is not a picaresque
novel rather the picaresque mode has helped him in the development of his comic theory – that

of ridiculing the affectations of human beings.

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“Joseph Andrews” a comic epic in prose

It is true that we can term “Joseph Andrews” as a ‘comic epic poem in prose’ because it has

almost all the prerequisites that are important for labeling it as a ‘comic epic poem in prose’.

Fielding himself termed it as a ‘comic epic poem in prose’ in the “Preface to Joseph

Andrews”. The impetus for the novel, as Fielding claims in the preface, is the establishment of a

genre of writing "which I do not remember to have been hitherto attempted in our language",

defined as the "comic epic in prose": a work of prose fiction, epic in length and variety of

incident and character. Fielding has combined the ideal of ‘comic epic’ and the ‘prose epic’ to

produce what he termed as ‘comic epic poem in prose’. The comic tone of the novel is enhanced

by the mock-heroic style, for Fielding admitted burlesque in the diction. It is instrumental in

heightening the ridiculous nature of situation and affectations.

A heroic epic has a towering hero, grand theme, a continuous action, a journey to underworld,

wars, digressions, discovery, high seriousness, a high moral lesson and bombastic diction in it

and in“Joseph Andrews” there is an ordinary hero, a journey from one place to another place,

mock-wars, digressions, discovery, humour, a high moral and a bombastic diction in it. Unlike a

heroic epic, the hero of “Joseph Andrews” is an ordinary boy. He is a foot-man of Lady

Booby who has fallen in love with him. But Joseph is very virtuous and chaste and therfore is

dismissed from his job. We can call “Joseph Andrews” as “The Odyssey on the road” because

both the works, Homer’s “Odyssey” and Fielding’s “Joseph Andrews” in the first place involve a

journey. Like Odysseus, Joseph Andrews after the displeasure of a lady, sets out on his way

home and meets with many misfortunes on the way. So it would be fairly justified to call Joseph

Andrews “ an epic of the highway full of adventures, horseplay and not too decent fun.”

Through the journey of Joseph, Fielding satirizes the society of the day and ridicules them. The

corrupt and hypocritical clergy, Parson Trilluber and Parson Barnabas, individual like Lady

Booby and Mrs. Slipslop, the Squire of Fools and the Squire of False Promises have been

satirized.

The element of wars and conflicts is very important in an epic and it is no exception in “Joseph

Andrews”. First of all, there is a conflict between lusty advances of lady Booby and Mrs.

Slipslop and chastity of Joseph. Also there is a conflict between generosity of  Parson Adams

and miserly Parson Trulliber and Mrs. Tow- Wouse.Then  we see some real action in the form of

a war in an inn where Joseph was insulted by the host. Parson Adams was annoyed and

challenged the host. There started the first war between both the parties. The funny situation of

the bloody fight in which Parson Adams gets doused in hog’s blood is described in Homeric

terms. Then Parson Adams rescues Fanny from a ruffian and then, a squire attacks Parson

Adams with his hounds and  a fierce battle is fought between hunter’s hounds and parson

Adams. Joseph’s encounter with the dogs let loose on Parson Adams is  described in epic-style.

Similarly There are many other epical elements in the novel to call it a comic epic.

Another epic convention is the use of digression. There are two major digressions in “Joseph

Andrews”. There are, seemingly, irrelevant stories of Leonara and Mr. Wilson. Epic writers

considered them as embellishments. Fielding, however, makes the interpolations thematically

relevant. For, these are not irrelevant in reality.

The formula of discovery, as described by Aristotle, an essential element of an epic, has also

been used by Fielding. In the end of the novel, we see that Joseph is recognized to be Mr.

Wilson’s child and Fanny as the sister of virtuous Pamela.

High seriousness is an important element in epic. But in “Joseph Andrews” there is a great deal

of comedy and humour, because it is a comic epic novel; indeed in Joseph Andrews the comic

point of view is sustained throughout the novel. But behind this comedy, there lies a serious

purpose of reformation. We have a gamut of vain and hypocritical characters in Parson Trilluber,

Parson Barnabas, passengers in the stage-coach, Mr. Tow-wouse, Mrs. Slipslop, Peter Pounce

and the various Squires. The surgeon and the lawyer and the magistrate are also some other

example of hypocrisy and vanity. Each of these characters provides a great deal of humour and

amusement under a serious purpose.

Every epic has a moral lesson in it and this is no exception with a comic epic. Fielding’s views

on morality are practical, full of common sense and tolerance, liberal, flexible and more realistic.

These are devoid of prudish and rigid codes. Fielding wanted to tear the veil of vanity and

hypocrisy.

The use of grand, bombastic and elevated language is an important element in an epic. It has

heroic diction. But in “Joseph Andrews” we see that Fielding has used prose for poetry because

it brings us close to the real and actual life and it is much more suitable for Fielding’s purpose of
dealing with comic epic. However, his use of prose is very good, up to the mark and apt for his

novel.

So, we can conclude that the theory of the ‘comic epic poem in prose’ as described by Fielding

in the preface of “Joseph Andrews” manifests itself in the novel. Fielding has assimilated the

rules and adapted them to his way of writing so well that we are not consciously aware of the

formal principles which give unity to his materials. According to Thornbury, “Joseph

Andrews” by Fielding is:

“An art which conceals art, but is the art of a conscious artist.”

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Joseph Andrews as s Social Satire

       Henry Fielding is widely studied today as one of the chief begetters of the modernist
movement in novel and as a master who embodied in realistic prose a panoramic survey of the
contemporary society. With the novelty and vitality of the writings of Henry Fielding exerted a
major influence on the succeeding writers and dominated the English fiction until the end of the
19th century.

         Fielding’s brilliant tour de force Joseph Andrews is an astounding encapsulation of the 18th

century English social life and manners. It mirrors with rare force and realism, the blemishes of
mankind in its true face. The novel, in its entirety, is an impassioned satire on the moral and
social ills that beset the 18th century English society. In this novel we are confronted with
a chameleonic society that frequently changes its appearance to gratify personal lusts of various
kinds. The social life portrayed by Fielding is scrutinized in every facets of this society. The
novel depicts human beings camouflaged in various shades of vanity, hypocrisy and narcissism.
Here, Fielding essentially becomes a spokesman of his age and seeks to come out strongly
against the affected behavior of the so-called respectable society of the day. The reader becomes
a witness of characters who have a life of their own, but it is the essence of humanity, distilled
through Fielding’s own vision. It is presented to us through the lines:

 “I describe not men, but manners, not an individual, but species”.

          Fielding's exploration begins with his survey on the nature and temperament of women of
his time. Women of all classes were snobbish and amorous to some extent . The sensuality of
women is reflected at its best through the representatives like Lady Booby, Mrs.
Slipslop and Betty. Lady Booby feels greatly attracted by Joseph’s manliness and personality and
seeks in vain to evoke his sexual response to gratify her sensual appetite. Mrs. Slipslop also
follows her mistress’ path and tries to win Joseph as a lover. Even Betty falls in love with Joseph
and seeks in vain to have sexual gratification from him. All these amorous intentions show a fair
picture of the amoral side of the 18th century women.

      The society that Fielding portrays in Joseph Andrews is extremely inhuman, callous,
indifferent, uncharitable and narcissistic. The insensitive hardness of this society is clearly
exposed in the stage-coach scene in which we find inhuman stubborness. When Postillion tells
the Coachman that someone is groaning within a ditch, he bids the postillion to "Go on, Sirrah,
we are confounded late”. Then there is a lady who reacts in a contemptible manner, when 
Postillion relates Joseph’s nakedness : "O Jesus, a naked Man! Dear Coachman, drive on and
leave him". Thus both the coachman and the lady decide to leave Joseph to his own lot, the
coachman because he is behind schedule, and the lady because she cannot tolerate the idea of
aiding a naked man. Seeing the gentlemen, Joseph appeals to them and details the circumstances
of his situation, upon which an old gentleman cries: "Robbed! Let us make all the haste
imaginable, or we shall be robbed too", showing again a similar willingness as the others have
displayed to abandon Joseph. In addition, the other gentleman, who studies law, deems that they
should not abandon Joseph at all, although for contemptible reasons. Although he agrees with the
rest that "he wished they had past by without taking any notice",  his final conclusion is  that they
would be held accountable for murder if Joseph died in that situation  and he therefore
thought “it adviseable to save the poor creature's life, for their own sakes”. Although Joseph does
require clothing to fight against the cold in his enfeebled state, both the lawyer and the older
gentlemen do not condescend to vouchsafe any assistance. The coachman also declines, in spite
of his  two large coats, because of  fears that  "they should be made bloody" At last, it is the
postillion, "a lad who hath been since transported for robbing a hen-roost,  voluntarily strips off a
great coat, his only garment" and swore that he would rather remain in a shirt than "suffer a
fellow-creature to lie in so miserable a condition". Here Fielding shows the contrast between the
attitude of the rich passengers and that of the poor Postillion. What sets him apart is not his class,
but the fact that he alone dismisses his own comfort and he is the only person who considers
Joseph a "fellow-creature" worthy of such rescue. Fielding emphatically declares: "High
People" are "People of Fashion", but that they are not "higher in their Dimensions" nor in "their
Characters" The incident gives ample scope to Fielding for satirizing the pretences and
affectations of an essentially inhuman society.

        Fielding also provides some glimpses of the chaotic, greedy, opportunistic and insincere
sides of the 18th century society. The chaotic side is exposed by the robbery incident. It is also
revealed by the incident in which a villain attempts to rape Fanny. Human greed is exposed by
the characters of the surgeons and the clergymen. The surgeon refused to treat Joseph because
was unable to pay fees. The clergymen of the time were the most selfish and materialistic. Parson
Barnabas and Parson Trulliber are the true embodiments of corrupt clergy. Then there is a squire
who is fond of hunting hares, tries to satisfy his lustful desire for Fanny taking advantages of her
poor condition. The insincerity of the society is also revealed by the depiction of the justices,
who were as dishonest as the clergymen and the squires. Justice Frolick, for instance, goes out of
his way to send Joseph and Fanny to prison, without any trial, only to satisfy a whim of Lady
Booby.

       In brief, Joseph Andrews is a fine social document that represents an inclusive picture of the
18the century English society. The novel directs its satire not only against particular individuals
but also against the follies and vices of the entire society.