When Richardson’s Pamela appeared, Fielding determined to write a story caricaturing its morality and sentiment, which he considered hypocritical.  Before he had gone very far he discovered where his abilities lay, and, abandoning his narrow, satiric aims, he wrote Joseph Andrews (1742), a novel far more interesting than Pamela. Jonathan Wild the Great (1743) tells the story of a rogue who was finally hanged.  In 1749 appeared Fielding’s masterpiece, Tom Jones, and in 1751 his last novel, Amelia.

Richardson lacks humor, but Fielding is one of the greatest humorists of the eighteenth century.  Fielding is also a master of plot.  From all literature, Coleridge selected, for perfection of plot, The Alchemist, Oedipus Tyrannus, and Tom Jones.

Fielding’s novels often lack refinement, but they palpitate with life.  His pages present a wonderful variety of characters, chosen from almost all walks of life.  He could draw admirable portraits of women.  Thackeray says of Amelia, the heroine of the novel that bears her name:—­

“To have invented that character, is not only a triumph of art, but it is a good action.  They say it was in his own home that Fielding knew her and loved her, and from his own wife that he drew the most charming character in English fiction...  I admire the author of Amelia, and thank the kind master who introduced me to that sweet and delightful companion and friend. Amelia, perhaps, is not a better story than Tom Jones, but it has the better ethics; the prodigal repents at least before forgiveness,—­whereas that odious broad-backed Mr. Jones carries off his beauty with scarce an interval of remorse for his manifold errors and shortcomings...  I am angry with Jones.  Too much of the plum cake and rewards of life fall to that boisterous, swaggering young scapegrace."[1]

The “prodigal” to whom Thackeray refers is Captain Booth, the husband of Amelia, and “Mr. Jones” is the hero of Tom Jones.  Fielding’s wife, under the name of Sophia Western, is also the heroine of Tom Jones.  It is probable that in the characters of Captain Booth and Tom Jones, Fielding drew a partial portrait of himself.  He seems, however, to have changed in middle life, for his biographer, Austin Dobson, says of him:  “He was a loving father and a kind husband; he exerted his last energies in philanthropy and benevolence; he expended his last ink in defence of Christianity.”

Fielding shows the eighteenth-century love of satire.  He hates that hypocrisy which tries to conceal itself under a mask of morality.  In the evolution of the plots of his novels, he invariably puts such characters in positions that tear away their mask.  He displays almost savage pleasure in making them ridiculous.  Perhaps the lack of spirituality of the age finds the most ample expression in his pages; but Chaucer’s Parish Priest and Fielding’s Parson Adams are typical of those persisting moral forces that have bequeathed a heritage of power to England.