Topic: THE STUCTURE OF TOM JONES

Name: Chauhan Sejal  Arunbhai

Subject: The Neo-Classical Literature

 Paper: 2

Roll no:31

M.A. Part I Sem I

Year: 2013-15

Submitted to: M.K.Bhavanagar University

THE STUCTURE OF ‘TOM JONES’

·        FIELDING A SUPERB CRAFTSMAN

                       Fielding is a superb craftman. He is perhaps the first n of novelist to concieve of an organic stucture for his novel . He niether muddle up an incoherent mass of episode nor strings them loosely on to the life of his chief protagonist . Instead , he is very careful of those aspect of his art that would ensure the structural unity of the novel. To begin with he gives his plot an organic unit. It means that the majoriy of incidents conclude by him are held in organic relation ship with one another; they grow out of the former incidents and howsoever trifling they might be , they help to advance the story. Next , he observes a strict harmony between the character, plot and style. It implies that the incidents are shaped by the characters and the characters are affected by the incidents and the style is adapted to the total design of the novel. Finally, Fielding’s moral vision that governs the entire movement of the novel gives it a kind of morality unity. Thus the novel is handed down to us as a unified whole. Fielding was the first novelist to give his works this kind of unity. Hence walter Scott is quite justified in considering him the ‘Father of the English novel’ and Walter Allen’s encomium is well merited: “Fielding was as superb a craftman in his own way as Henry James.”

·  NARRATIVE UNITY

                                       It has now been quite customary to pay homage to Fielding’s ‘ever-to-be-praised skill as an architect of plot’. with some minor qulifications, the plot of Tom Jones is stil one of the best. coleridge, indeed, considers it one of the three perfect plot ever planned, the other two being the plots of Oedipus Tyrannus and The Alchemist. If a digression of two is ignored, this plot is quite in accord with the Aristotlelian concept of a fable from which nothing can be taken and to which nothing can be added without damage.

·  THE UNIFYING IDEA

                       R.S.Crane, in his celebrated article ‘The plot of Tom Jones’, illustrates the unity of the plot most convincingly . What is the unifying idea of the novel? Oliver Elton locates the essence of the story in the sustained concealment and final disclosure of Tom’s parentage, Other plausible unifying factors are the love affair of Tom and Sophia, the conflict between Tom and Blifil and the quasipicaresque sequence of Tom’s adventures with women and on the road. All these lines of action are important but none of them subsumes the others to be considered the only principal theme. According to R.S.Crane the unifying idea consists in the dynamic systems of aciton, extending throughout the novel, by which the divergent intention and beliefs of a large number of persons of different characters and state of knowledge belonging to or somehow related to the neighbouring families of the Allworthys and the Westerns are made to co-poerate, with the assistance of Fortune, first to bring Tom into an incomplete and precarious union, founded on an affinity of nature in spite of disparity of status, with Allwothy and Sophia ; then to separate him as completely as possible from them through actions that impel both of them, one after the other , to reverse their opinions of his character ; and then, just as he seems about to fulfil the old prophecy that ‘he was certainly born to be hanged’, to restore them unexpectedly to him in a more entire and stable union of both affection and fortune than he has known before.

                     The starting point of everything is Briget’s scheme to provide security for herself and her illgitimate son by palming off Tom on Allworthy as a foundling, with the intention, however, of ultimately informing her brother of the truth. The first part works beautifully; but the second is jeopardised by Brodget’s marriage with Captain Blifil. Consequently no early disclosure of Tom’s parentage is now possible, and in addition, the boy acquires a potential rival in Blifil. Bridget’s scheme involves the departure from the neighbourhood both of Partridge and Jenny Jones and the resolution is postponed for the time being.

                                Tom Jones has now two problems t0 face with regarded to his relation with Allworthy and Sophia. Tom’s feelings for Squire Allworthy are based not on any considerations of self-interest but on the instinctive love of one good naure for another. He has a strong affection foa Allworthy, and there can be no change on his part, but Allworthy’s is capable of giving a contrary verdict on Jones. Occasions for passing judgement on Tom present themselves increasingly from Tom’s fourteenth year. The occasions are giving by Tom’s well-intentioned but quixoticand imprudently managed action towards Black George and his family. Blifil misses no chance of using them to blacken his character in his guardian’s eyes. In the first series of these actions, no harm is done to Tom. In Book V, chapter 7, we are told that Allworthy still belie Tom to be one who has ‘much goodness, generosity, and honour’ in his temper and needs only ‘prudence and religion’ to make himself actually happy.

                     The basis of Tom’s attachment with Sophia is again the affinity between similar natures. A series of actions bring them together.Tom will ever love Sophia. Sophia also is a better judge of human nature than Squire Allworthy. She is not unacquainted with the Tom-Molly affair, still she loves Tom. Squire Western, however, does not approve of their marriage_Tom’s parentage is dubious and his marriage hold no material prospects. Neither Sophia nor Tom has any intentions of violating filial piety or betraying ingratitude. So unless some event happens to change Tom’s position as a foundling, there can be no resolution.

                    Such an event could happen, for Bridget has confided her secret in Downing, but fortune intervenes in favour of Blifil. A complex action now begins with Allworthy’s illness and ends with Tom’s expulsion and Sophia’s flight. The separating action of the novel comes to its first major climax with Tom resolved, for the sake of Sophia, to renounce her and leave the country, and with Sophia, unable to endure the prospect of a marriage with Blifil, determined to seek refuge in London with her cousin Lady Bellaston.

                      The secretn of Tom’s parentage is known partly or wholly to at least three persons-partridge, Jenny Jones and Dowling, Tom, now on the road, is more likely to meet them now than before. In fact, he does meet them one after the other. His meeting with Partridge reveals that he is not Partridge’s son. From his meeting with others, no immediates resolution follows. In the case of Jenny Jones, it so happens that she does not meet Partridge at the Upton Inn and although Dowling is prepared to sell the secret, Tom’s own disinterestedness postpones the probability of an early revelation.

                     The events at the Upton Inn, in the meanwhile, comlicate the situation.Tom has first an angry encounter with Fitzpatrick and then misses Sophia, who departs at once on learning of his infidelity and makes her way to London. Sophia is disturbed not so much by his misconduct with Jenny as by Partridge’s free use of her name in public.

                      Tom finds his way to Sophia in London, but he is seduced into the affair with Lady Bellaston. He also incurs the wrath of Lady Bellaston and thus begin a fresh series of efforts to separate Tom and Sophia. The first of these, the attempted rape of Sophia is thwarted by her timely rescure by Western. Imminent marriage of Sophia with Blifil is, however, threatened Lady Bellaston acts two ways. She sends to Sophia the letter she had received from Tom and she arrange for Tom’s kidnapping by a press - gang. She succeeds with Sophia but not with Tom.

            Things gradually improve for Tom. Mrs.Miller intercedes with Squire Allworthy and Sophia on behalf of Tom. The character in the know of the secret assemble , in the meanwhile, in close proximity of Allworthy. A reversal of Tom’s position needs first a reversal of Allworthy’s impression of Tom. This is prepared by Mrs. Miller’s insistence upon his present goodness, but the decisive event is the letter from the dying and repentant Square. Tom is absoleved from much though Blifil is not implicated. The intervention of fortune, aided by Blifil’s rashness, brings about the revelation so long delayed. Fitzpatrick’s wound does not prove as serious as it appeared; Jenny goes to Allworthy with her story; finally Dowling is questioned, the revelation is complete, and Bridget’s intended disclosure of her secret is at last made.

             The union with Sophia is likewise prepared by Mrs.Miller, who is able to convince her that Tom’s letter proposing marriage to Lady Bellaston was at worst an indiscretion. Allworthy intervenes on Tom’s behalf. Western advocates for him as he did earlier for Blifil, but the resolution comes only with Sophia’s meeting with the repentant youngman.

·       THE SYMMETRY OF THE PLOT

                        This, then, in essence, is the plot of Tom Jones and Fielding has condutced it with consummate symmetry. The whole novel consists of eighteen Books, further divided into extremely well-defined three parts. First six Books deal with Tom’s life in the countryside; in the next six Books when Tom is practically on the road, the novel follows the picaresque tradition, and the last six Books deal with the life in London. Exactly at the centre-Books IX and X-is placed the comic peritety, the hilarious comedy at the Upton Inn. These two Books cover only twelve hours. This is perhaps the shortest duration of time covered in any singel unit of novel. Hence it could be said that the dramatic character of the novel is best sustained at the centre. The centre reintroduces Jenny Jones into the novel. Now Jenny is the person who, by taking upon herself Bridget’ guilt, helps in the concealment of Tom’s true parentage, but it is she who, at the end of the novel, by exposing Blifil, brings about the revelation and the final resolution. Again, when Sophia arrives at Upton, she is pursuing Tom, but having learnt of Tom’s escapade with Mrs.Waters, she depart in indignation and now it is Tom who has to pursue her. Thus the centre brings a completeb reversal in their love. The two major digressions in the novel, the story of the Man of the Hill and Mrs.Fitzpatrick’s account, are symmentrically interpolated about the centre-Books VIII and XI. Then there are contrasts and similarities to add to the structural unity of the novel. Tom’s rural entanglement with Molly is balanced by his urban onvolvement with Lady Bellaston. Sophia’s first interview with Blifil is paralleled by her misadventure with Lord Fellamar. The curtain scene in Molly’s bed room has a parallel in the curtain scenes in Tom’s bed room at Mrs.Miller’s lodgings.

·       STRUCTURAL UNITY THROUGH REPEATED APPEARANCE OF THE SAME OBJECT OR THE SAME PERSON

                     The structural unity of the novel is preserved through repeated appearance of either the same object or the same person. Sophia’s hundred-pound bill as well as her muff makes repeated appearances in the novel. The hundred-pound bill puts Tom on Sophia’s track; later it provides Tom with an excuse to meet Sophia at Lady Bellaston’s. The muff when retrieved from fire by Sophia early in the novel assures Tom that Sophia loves him. At the Upton Inn, Sophia leaves it in Tom’s bed to make Tom regret his indiscretion and to make him puesue Sophia. Dowling and Jenny Jones cross Tom’s path quite frequently. Ensign Northerton is the person with whom Tom Jones quarrels when he picks an acquaintance with some military personnel but it is also from him that he rescues Jenny Jones. The highwayman makes an effort to deprive Tom of his money, but it is later discovered that he is related to Mrs.Miller.

·       PARALLEL OR CONTRASTED CHARACTERS

                     The structural unity is also achieved through parallel or contrasted character , In the early part of the book , Squire Allworthy’s wisdom and his moral restraint are contrasted with Squire Western’s stupidity and his rash impetuosity . Then Tom’s good nature is contrasted with Blifil’s malice . Sophia’s innocence in her love is in contrast with Molly’s guilt . Sophia is also to be contrasted with Lady Bellaston and Mrs.Fitzpatrick and a comparison between Tom Jones and Nightingale is also not out of place .

·       BLEMISHES

                                Coming to the blemishes , there are major and three minor digressions in this narrative . The two major digressions are the story of the Man of the Hill and Mrs.Fitzpatrick’s account in Books VIII and XI . The three minor dugressions are Tom’s presence at the puppet show , and his encounter with the gypsies and later his presence at Garrick’s performance of Hamlet in London . While on purely artistic grounds , these digressions cannot be defended , at least an explanation can be ventured . The Man of the Hill offers a contrast to Tom and helps to underline the sanity of Tom’s attitude to life . Tom has not been less wronged than the Man of the Hill . But Tom does not withdraw from the society . Had Tom also grown as indifferent and apathetic to humanity , would not have imperiled his life to rescue the old man . Mrs.Fitzpatrick’s account is even less objectionable , for it serves to warm Sophia of the dangers of displaced attachment and clandestine marriage . Besides , for these two digressions , Fielding enjoys , at least , the sanction of the epic tradition . Of the minour digressions , Tom’s encounter with the gypsies is neither very interesting nor of much service to the plan of the novel , though the gypsy low has some moral implications in the context of the novel . Partridge’s comments on Garrick’s performance of Hamlet arouse much fun .

                     A few more lapses in the story could also be pointed out . Some of the coincidences are a bit too improbable . It would be difficult to accept as probable the sequence of arrivals and departures that Fielding contrives at the Upton Inn . Tom , on the track of Sophia , first comes across the beggar who has picked up her pocketbook , then meets the merry gentleman who has seen her passing by and finally , in the alehouse , encounters the very guide who has conducted her to Mariden . In London , Squire Western appears at the right moment to rescue Sophia from being raped by Lord Fellamar . Such a series of lucky occurrences , though not impossible , are in deed to opportune to strike as credible .

·                       Finally the ending of the story is a bit hurried and huddled . In the last Books , a number of momentous actions are massed together confusedly Fielding himself appears to have been conscious that the narrative is unduly compressed in Book XVIII , for he writes : when thou has pursued the many great events which this Book will produce , thou wilt think the number of pages contained in it scarce sufficient to tell the story .

·       HARMONY OF PLOT AND CHARACTER                   

In a good novel , a strict correspondence between plot and character is very essential . In fact , Henry James declares that chracter is action . In Tom Jones , action follows logically from the character . Tom’s dismissal by Allworthy is the climactic action of the first third of the novel . This is precipitated by Squire Allworthy’s misplaced confidence in his capability to judge coupled with Tom’s joyous drunkenness and his indiscretion with Molly . At the centre of the novel , Tom’s involvement with Mrs. Waters creates a whole series of new complications in his relationship with Sophia; so does Tom’s behaviour with Lady Bellaston at the end of the novel . Squire Western’s faith in established social values and his hot-headed affection for his daughter also play a very important role . Blifil’s execrable self-interestedness and jealousy first act to degrade Tom in the eyes of other but later they help in the final resolution .

·       FIELDING’S MORAL VISION GOVERNS THE ENTIRE MOVEMENT

The whole design of Tom Jones is governed by Fielding’s moral vision . In Tom Jones , his subject is human nature and his purpose is threefold: to exhibit the loveliness of virtue and the ugliness of vice ; to convince men that their interest lies in the pursuit of virtue and the avoidance of vice ; and finally , to inculcate the lesson that virtue needs to be guided by discretion . As the action in Tom Jones is unfolded , this purpose is aptly realised .

·       THE STYLE OF THE NOVEL IS SUITED TO ITS SUBJECT

                            

                            Fielding’s style-light , gay , mildly ironical- is quite suited to his purpose . It makes one conscious of one’s follies without causing undue bitterness . It points out but does not condemn , hence it provokes reflection .

                            To conclude , it would no be an exaggeration to say that the world had not seen a greater epic than Tom Jones since the days of Homer . The characters and action are wonderfully deversifird , yet all is so natural , and so pleasant . While reading Tom Jones , one is pleasantly struck with certain harmony of composition . Thackeray was quite justified to pronounce that as a work of construction , Tom Jones is ‘quite a wonder ‘.