Fielding | Page 7

Lord Beaconsfield recognised when he spoke in later life of his own earliest efforts. "Books written by boys," he says, "which pretend to give a picture of manners and to deal in knowledge of human nature must necessarily be founded on affectation." To this rule the personages of Love in Several Masques are no exception. They are drawn rather from the stage than from life, and there is little constructive skill in the plot. A certain booby squire, Sir Positive Trap, seems like a first indication of some of the later successes in the novels; but the rest of the dramatis personae are puppets. The success of the piece was probably owing to the acting of Mrs. Oldfield, who took the part of Lady Matchless, a character closely related to the Lady Townleys and Lady Betty Modishes, in which she won her triumphs. She seems, indeed, to have been unusually interested in this comedy, for she consented to play in it notwithstanding a "slight Indisposition" contracted "by her violent Fatigue in the Part of Lady Townly," and she assisted the author with her corrections and advice--perhaps with her influence as an actress. Fielding's distinguished kinswoman Lady Mary Wortley Montagu also read the MS. Looking to certain scenes in it, the protestation in the Prologue--
"Nought shall offend the Fair Ones Ears to-day, Which they might blush to hear, or blush to say"--
has an air of insincerity, although, contrasted with some of the writer's later productions, Love in Several Masques is comparatively pure. But he might honestly think that the work which had received the imprimatur of a stage-queen and a lady of quality should fairly be regarded as morally blameless, and it is not necessary to bring any bulk of evidence to prove that the morality of 1728 differed from the morality of to-day.
To the last-mentioned year is ascribed a poem entitled the "Masquerade. Inscribed to C--t H--d--g--r. By Lemuel Gulliver, Poet Laureate to the King of Lilliput." In this Fielding made his satirical contribution to the attacks on those impure gatherings organised by the notorious Heidegger, which Hogarth had not long before stigmatised pictorially in the plate known to collectors as the "large Masquerade Ticket." As verse this performance is worthless, and it is not very forcibly on the side of good manners; but the ironic dedication has a certain touch of Fielding's later fashion. Two other poetical pieces, afterwards included in the Miscellanies of 1743, also bear the date of 1728. One is A Description of U--n G-- (alias New Hog's Norton) in Com. Hants, which Mr. Keightley has identified with Upton Grey, near Odiham, in Hampshire. It is a burlesque description of a tumbledown country-house in which the writer was staying, and is addressed to Rosalinda. The other is entitled To Euthalia, from which it must be concluded that, in 1728, Sarah Andrew had found more than one successor. But in spite of some biographers, and of the apparent encouragement given to his first comedy, Fielding does not seem to have followed up dramatic authorship with equal vigour, or at all events with equal success. His real connection with the stage does not begin until January 1730, when the Temple Beau was produced by Giffard the actor at the theatre in Goodman's Fields, which had then just been opened by Thomas Odell; and it may be presumed that his incentive was rather want of funds than desire of fame. The Temple Beau certainly shows an advance upon its predecessor; but it is an advance in the same direction, imitation of Congreve; and although Geneste ranks it among the best of Fielding's plays, it is doubtful whether modern criticism would sustain his verdict. It ran for a short time, and was then withdrawn. The Prologue was the work of James Ralph, afterwards Fielding's colleague in the Champion, and it thus refers to the prevailing taste. The Beggar's Opera had killed Italian song, but now a new danger had arisen,--
"Humour and Wit, in each politer Age, Triumphant, rear'd the Trophies of the Stage: But only Farce, and Shew, will now go down, And Harlequin's the Darling of the Town."
As if to confirm his friend's opinion, Fielding's next piece combined the popular ingredients above referred to. In March following he produced at the Haymarket, under the pseudonym of Scriblerus Secundus, The Author's Farce, with a "Puppet Show" called The Pleasures of the Town. In the Puppet Show, Henley, the Clare-Market Orator, and Samuel Johnson, the quack author of the popular Hurlothrumbo, were smartly satirised, as also was the fashionable craze for Opera and Pantomime. But the most enduring part of this odd medley is the farce which occupies the two first acts, and under thin disguises no doubt depicts much which was within the writer's experience. At all events, Luckless, the