Joseph Andrews: The Comedic Epic. Henry Fielding boldly claimed that his 1741 novel, Joseph Andrews, was a comic epicpoem

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1 Mandeville 1 Savanah Mandeville English 371 Dr. Murphy 28 September 2012 Joseph Andrews: The Comedic Epic Henry Fielding boldly claimed that his 1741 novel, Joseph Andrews, was a comic epicpoem in prose. But what is a comic epic? If Fielding s words are true, a comic epic is sort of like a parody. In Joseph Andrews many of the style, plot, and character elements of the epic genre are present, but there are humorous changes that mockingly place the Epic in an ordinary light. Epic-style speeches are reduced to scandalous subplots. The journey taken by our hero is over the English countryside, not all of Earth and the Heavens. Epic battles are replaced with barroom brawls. These, among many others, are ways that Henry Fielding was able to write an epic and set it in 18 th century England. There s no way it couldn t have been a comedy. The very beginning of Joseph Andrews uses some substitutions for the way traditional epics began. Most epics started out with a statement of theme by the author. The very first paragraph of Joseph Andrews is in Fielding s own voice stating, It is a trite but true Observation, that Examples work more forcibly on the Mind than Precepts A good Man therefore is a standing Lesson to all his Acquaintance (61). What we, as readers, can take from that is we are about to embark on a novel of moral instruction with a good man as our example to follow. Fielding goes on to claim that, But as it often happens that the best Men are but little known, and consequently cannot extend the Usefulness of their Examples a great way; the Writer may be called in aid to spread their History farther (61). The writer may be called?

2 Mandeville 2 Called by muses perhaps? I digress. What Fielding is doing here is stating his purpose for writing, or in epic terms is stating the theme of his work. Another typical approach for opening an epic is in medas res. Joseph Andrews connection with the novel Pamela by Samuel Richardson give it a story within a story feel. In the first couple of chapters there is much discussion of Joseph s chastity being all the more crucial because of his sister, Pamela s, reputation of being so virtuous. So, in this way, we are introduced to Joseph s most significant, arguably one of his few, personality traits by having to draw inference on a previous story. The overall construction of the novel in terms of diction and syntax mimics the traditional epic style. One key element of the epic is the use of epithets and similes. Fielding achieves this effect in a humorous way in how he chooses to name his characters. The examples are endless. We have Lady Booby, an upper-class woman given a silly name to mirror her ridiculous antics; Mrs. Slipslop, a haughty housekeeper with a sloppy vocabulary; Tittle and Tattle, two town gossips; Miss Grave-airs, a young lady who takes her position in society a bit too seriously; Fanny Goodwill, Joseph s love interest with perfect virtue; Beau Didapper, a young Gentleman with a hopping gait like the little bird he was named for. On the other hand, Fielding uses a lot of formal, elevated style in Joseph Andrews to give it an epic effect. One way this is achieved is through long, complex sentences. There is more than one instance where a single sentence spans the length of half a page. Fielding s own apparent regard for classical education comes through often in the novel and further attributes to the elevated style through innumerable insertions of Greek and Latin phrases and frequent references to ancient philosophy and literature (and not surprisingly, ancient epics).

3 Mandeville 3 Fielding s interest in classical education is presented in the novel from the mouth of Parson Adams, and Adams rarely lacks something to say on the topic. In traditional epics, the use of long lists or catalogues of places or people was common. We see a comical substitution for this when Adams begins talking about ancient literature. For example, in the scene where the three travelers stay with the country family for the night Adams gets into a discussion on classical literature with the Master of the House. Once Adams gets started, he goes on to name near thirty mythological characters, places, and ancient authors altogether. His speech spans two full pages ( ). Similar to Adams long winded accounts on classical literature, the novel presents epiclike speeches in other ways. There are a few instances where a character will begin a discourse on some topic that will cover a chapter and does nothing to advance the plot. Chapter Five of Book Three is dedicated to Adams opinions on private school versus public school. The beginning of the following chapter devotes near two pages to Moral Reflections by Joseph Andrews (239). Finally, Chapter Ten of Book Three is titled A Discourse between the Poet and Player; of No other Use in this History, but to Divert the Reader. Obviously, Fielding isn t hiding that the long speeches are unnecessary, and he might even be mocking the classical epic. This same technique is evident through the use of subplots. The story of Leonora and the life story of the Gentleman the three travellers stay with can be constituted as epic speeches as they are told orally, span many pages, and do not advance the plot. Like the aforementioned speeches they simply present the reader with some ideas on morality and the arts. So far, I have discussed various structural aspects of Joseph Andrews that support its epic comic in prose style. The numerous plot techniques are not to be ignored though. In traditional epics, our heroes were forced to undertake arduous journeys, encounter ugly villains,

4 Mandeville 4 and enter battle. Through all of these obstacles, the hero s super human strength was able to help him reach his goal. In Fielding s own humorous way, our hero, Joseph Andrews must overcome all of the same obstacles. The arduous journey is obvious, as the course of thirty-eight chapters is dedicated to Joseph s travels only interrupted by his recovery time at the Tow-Wous s Inn. And, like the epic, Andrews, Adams, and Fanny face vile people along the way who try to thwart their plans. In fact, nearly every person the trio meets on their journey is of poor character and inferior morality. We meet Mrs. Tow-Wous whose greed and stinginess might have killed Joseph. Later, we meet Parson Trulliber, who, though a man of God, has the same vices as Mrs. Tow-Wous. It s notable that in traditional epics, the villain was usually some huge, nonhuman monster with supernatural powers. Fielding makes a vivid observation that the sins of human beings can be just as dangerous. As far as entering battle goes, it s actually Parson Adams who does the most fighting. His unbending belief system and hot temper get him into quite a few physical scrapes. The only times Andrews goes into battle is in defense of Fanny. The worst group of villains along the way is the group of hunters, led by the Hunter of Men, who not only physically endangers Adams, but later insults him deplorably. The crimes do not end there. The leader of the group sets his sights on Fanny and sends his men to kidnap her. Andrews tries to fight off the kidnappers, and, in that Instant lifted up a certain huge Stone Pot of the Chamber with one Hand, which six Beaus could not have lifted with both (259). This case of superior strength is certainly an epic hero quality, and is reminiscent of Beowulf s ability to alone lift a sword made for a giant to kill Grendel s mother. Of course, a chamber pot is a funny substitution for a magical sword. In a similar instance, Andrews has to defend Fanny s honor

5 Mandeville 5 against a servant of Beau who had torn away her handkerchief. After the fight, the servant, believed he had fought with the Devil, instead of a Man (300). Perhaps the most important aspect of the epic genre is the epic hero. In Fielding s novel, Joseph Andrews is the comic-epic version of a hero. In addition to his super human strength, Andrews embodies the epic hero because he possesses qualities most valued by society. His appearance is described as, the highest Degree of middle Stature he had all the symptoms of Strength without the least clumsiness. His hair was of a nut-brown Colour His Forehead was high, his Eyes dark His Nose a little inclined to the Roman. His teeth white and even His Countenance had a Tenderness joined with a Sensibility perfect Neatness in his Dress, and an Air would give an Idea of Nobility (78). In addition to his appearance, Andrews never sways in his honesty or virtue, so is considered a remarkable example of how a young man should be (except to Lady Booby). Many epic heroes come from mixed divine and human parentage, so they possess some human weaknesses. Remember, Joseph Andrews is comic-epic, which deals with more realistic settings and characters, so there is no interference from the Gods in the novel. It can be argued, though, that Joseph s class status is his human weakness. There are many references to the notion that Joseph would be perfect if he were of the nobility or that he seems like he is of a higher class than he actually is. When Joseph s true parents are found to be the wealthy Wilsons, the mysteries surrounding his superior looks and personality are solved as if we had found out that he was actually a God. While many critics of Henry Fieldings assertion that Joseph Andrews is a comic epicpoem in prose disagree, there are undeniable similarities. Traditional epic style is translated in abundant ways into realistic, if not trivial, occurrences that parody grandiose epics in a humorous

6 Mandeville 6 way. The structure, plot, and characteristics of Joseph Andrews as a hero all have a place in writing an epic poem as a modern novel. Whether Fielding was parodying or mocking the classical epic, we cannot be sure, but I think the comic epic description is spot on.