Morality and Immorality in Tom Jones

Henry Fielding became one of the first notable English novelists after The Theatrical Licensing Act of 1737 challenged his works to eliminate personal attacks on Robert Walpole. He earned his title as father of the English novel by incorporating realism to help his audience(s) understand representations of society through satirical diction. While Fielding’s novels are held in high regard, Walter Allen suggests the importance of his lampooning novel, Tom Jones, towards Robert Walpole in 1749. He writes, “The new element in Tom Jones is Fielding’s architectonic quality; no plot has ever been carried through with more consummate skill.” Readers are infatuated with Fielding’s highly idealized word choice which he perfected during his days of writing for Restoration theater. Allen states, “Fielding had learned much from his experience in the theater, especially how to break up narratives and carry dialogue.” This combination creates a better understanding of structure which cannot exist until readers complete Tom Jones, ultimately realizing the point of Fielding’s modus operandi is to present quixotic characters. In Tom Jones, Fielding uses realism to inform readers of eighteenth-century England’s interconnected elements of politics and social class through a lens of human nature which he defines as the essence of moralizing one’s life.

Theater’s problematic attributes stem from playwrights purposefully and discreetly poking fun at politicians and their practices/policies. Fielding’s continual jabs towards Robert Walpole then led to the censorship of theater. Theater in England grew wildly popular after Charles II restored both throne and theater, but there were only two playhouses in London at the time of the Neoclassical Period. Other playhouses would be built at the end of the century because audiences enjoyed theater’s artistic means in gracefully criticizing society through presentations of plot(s), scenes, and characters, which became the grounds of censorship conducted by Walpole. Theater, as a whole, was a mode of entertainment, but brutally honest plays caused society to retaliate against its subtle persecution. Walpole became annoyed with playwrights, like Fielding, condemning England and the policies he reconfigured as Prime Minister. Fielding’s play called The Vision of the Gold Rump caused Walpole to censor both playwrights and the theater on the whole. Emmett Avery and A.H. Scouten write, “Walpole read Fielding’s play aloud to Parliament, using it as an example as to why the government should regulate theatrical productions.” As a result, Walpole instituted The Theatrical Licensing Act of 1737, blaming the theater’s censorship on Fielding. The passing of The Licensing Act “put Fielding’s satires on Sir Robert Walpole into being, and had put an end to his not unsuccessful career as a playwright.” Fielding was then forced into retirement from theater because he refused to stop publicly embarrassing Walpole. Though Fielding did not stop writing satirical pieces, he continued to publish political satire through epistolary modes of presentation as a Justice of Peace. Under the name of Captain Hercules Vinegar, Fielding arrested the Restoration playwright named Colley Cibber “for murdering the English language,” or rather destroying the standard of literary taste Charles II set upon when restoring the theater. Aside from Fielding, an Augustan writer– Alexander Pope– openly criticized Cibber’s writing techniques in The Dunciad. Fielding’s political respectability as Justice and founder of the Bow Street Runner, or England’s police force, solidified his writing status as credible. The culmination of these events prompted Fielding to write, Tom Jones, published in 1749, reproducing characteristics of realism through a depiction of social class.

In Tom Jones, Fielding formulates a plot for readers to understand how social statuses are essential to character representation. Characters in Tom Jones are depicted based on their wealth or lack thereof; he uses a staunch contradistinction between Mr. Allworthy, a rich estate owner, and Black George, an impoverished groundskeeper, accentuating their dissimilarity between estates and being. Fielding labels Mr. Allworthy’s estate, Paradise Hall, as

The gothic style of building…air of grandeur in it that struck you with awe, and rivaled the beauties of the best Grecian architecture…sheltered from a grove of old oaks…valley beneath…plentiful spring…variety of meadow and woods, till it emptied itself into the sea…and an old abbey, grown over with ivy.

Paradise Hall is one of the biggest estates in Somerset, England. The image Paradise Hall produces tells villagers that Allworthy is a respectable man and authority figure in southwestern England. His title “Allworthy” works in synchronicity with the nomenclature of his Hall as it implies his character as someone who is always worthy. Eric Rothstein states, “Allworthy and his Hall work in conjunction for readers to better understand his overarching character traits and flaws. Fielding uses Allworthy as a moral standard who distributes fairness and grace to Tom Jones, a distinct contrast of George Seagrim’s character.” Allworthy is illustrated as morally upright through Fielding’s presentation of Paradise Hall. While it is a description of his wealth and status in society, Fielding tells readers that Allworthy’s moralism must be analyzed concurrently with the Hall, ultimately providing a well-rounded interpretation of his character. Fielding then references Congreve, a Restoration satirical playwright, to describe Black George in contrast with his paucity of wealth to Allworthy’s elegance. He writes, “Congreve well says there is in true beauty something which vulgar souls cannot admire; so can no dirt or rags hide this something from those souls which are not of the vulgar stamp.” The essence of vulgarity both Fielding and Congreve indicate is describing both the nature of George’s living conditions and the negative stamp his presence emits when around Allworthy’s family. Fielding says, “The latter drew [Tom] to the habitation of Black George; where the family of that poor wretch…were found in all the misery … for the money they had received from Jones, [their] former debts had consumed almost the whole.” The family’s lower class status is reflected in Black George’s actions because he utilizes Allworthy’s wealthy status for his benefit, using it as an excuse to mistreat and misuse Jones. Fielding tells readers “[that] the ill fortune of Black George made use of the very opportunity of his friend’s absence to overturn all again” (Fielding 88). Jones “brought on himself the trouble” of helping Black George upon seeing his horrific living circumstances. Despite Jones’ humble efforts, George continues to negatively treat Jones which is amplified once Allworthy removes Black George from Paradise Hall after he and Jones poach on Squire Western’s land. Though both George and Jones poach together, George initially shoots the rifle, but he places the blame on Jones. He agrees to accept all the consequences, yet Allworthy believes George must be escorted from the estate. Upon George’s leave, Jones feels obligated to help keep George from future financial ruin by selling his Bible and horse, suggesting Jones adopts the moral characteristics of the good Samaritan. He later convinces Allworthy to help George too. Allworthy says that “The man had suffered enough for what was past: that he would forgive him, and think of some means of providing for him and his family.” Because Allworthy admires George’s workmanship on the estate, he is blindsided by George’s inappropriate influence on Jones. Michael Hall writes, “The hierarchy of character traits prove Allworthy is ranked in highest regard while George Seagram is considered morally flawed.” Fielding purposefully elucidates George’s inherently evil character to not only illustrate a standard of morals but a problematic focus surrounding money and wealth. He writes, “Men love money better than any other thing in the universe.” George’s love for money is the root of his jealousy of Allworthy, causing him to treat Jones with little respect. Thus, George lives vicariously through Allworthy’s wealthy reputation. To satisfy George’s greed, Jones then feels obligated to financially help his family, ultimately presenting how his virtuous nature gets in the way of his sexual desire.

Jones’ sensuality conflicts with his guilt over George when readers find he has an affair with George’s daughter, Molly. Readers are acquainted with Molly when Jones visits George’s family after he is removed from Allworthy’s estate. At the time, Jones is invested in Sophia though they do not outwardly show their devotion to one another. Fielding says, “Though this young gentleman…greatly liked [Sophia’s] beauty…she had made, however, no deep impression on his heart.” Jones has feelings for her and his “heart is in the possession” of Sophia, but his romantic feelings are caught in between his moral obligation to help Black George’s family. While Jones visits the family, he is both awestruck with their poverty-stricken lifestyle and Black George’s daughter named Molly. Fielding describes Molly as “the most handsomest girl in the whole country.” Molly’s beauty is attributed to her physical appearance which she holds in high regard. Despite her family’s financial situation, she intends to display her outward self with class and sophistication. Even though Molly cannot accommodate herself with society’s latest clothing trends, she believes acquiring Jones is far better than any other piece of clothing or jewelry. From this point forward, she intends to pursue Jones until she wins him over. Jones sees Molly’s fascination, and his feelings are then transferred from Sophia to Molly, making her his new object of desire. Despite his overwhelming feelings for Molly, “his constitution [and] principles no less forcibly restrained him” from pursuing a relationship with her. Jones presents moral characteristics of self-control by restraining himself from Molly. However, she “grew proportionally forward; and when she saw he had entirely deserted the house, she found means of throwing herself in his way…she soon triumphed over all the virtuous resolutions of Jones.” Molly manipulated and asserted Jones onto herself, ultimately causing his virtuous characteristics to fade as he became overwhelmed with sensual desire. Fielding says, “Such can never receive any kind of satisfaction from another, without loving the creature to whom that satisfaction is owning, and without asking for its well-being [is] necessary to their own ease.” Though Jones and Sophia share mutual feelings for one another, Jones has yet to experience her love, prompting him to satisfy his sexual desires with Molly all the while believing he is helping George’s family from bankruptcy. Walter Allen writes, “Jones, the well-intentioned young man whose life was a constant struggle between honor and inclination which alternately triumphed over each other.” Jones’ moral superiority causes his character to become blindsided by both George’s villainy and his daughter’s manipulative being, stripping Jones of his morally upright character Sophia used to appreciate. Fielding praises “Tom [as being of] perfect virtue” but his gullible nature is used by both George and Molly, thinking he is stabilizing the family’s financial conditions by satisfying each family member’s needs.

Through Fielding’s lambasting diction against Black George and Molly, he heightens Jones as being the epitome of moral life Englishmen should exhibit during this time. Fielding purposefully uses characters to portray Jones as lower than others, especially at the earliest point in the novel– his discovery by Allworthy. Jones’ presence is rather disapproved of because he is a direct product of non-marital relations. Debbie Wilkins, Allworthy’s most trusted servant, originally despises Jones and refuses to care for him. She says, “It goes against me to touch these misbegotten wrenches…How it stinks! It doth not smell like a Christian.” Her immediate response against Jones is to eliminate him from Paradise Hall on religious grounds.

 Wilkins does not exemplify Christian characteristics because she actively turns Jones away, rather than being a good Samaritan, taking him in as her own. Allworthy disregards Wilkins’ initial thoughts regarding Jones, forcing her to “take the child under her arms, throughout any apparent disgust at the illegality of its birth.” Fielding writes, “Such was the discernment of Mrs. Wilkins, and such the respect she bore her master whom she enjoyed a most excellent place, that her scruples gave way to his peremptory commands.” Aside from Wilkins, Jones goes through his young adulthood being tormented by Blifil who purposefully attempts to destroy Jones’ reputation with both Allworthy and the neighbors, the Westerns. Blifil is Allworthy’s nephew who eagerly wants both his approval and inheritance. Blifil then falsifies different scenarios and blames Jones, hoping he gains favoritism from Allworthy. For example, Blifil condems Jones for the death of Sophia’s bird. Fielding writes, “Tom Jones, when very young, had presented Sophia with a little bird which he had taken from the nest, had nursed it up, and taught [it] to sing.” The bird contains sentimental value since Sophia received the bird at age thirteen until the present at eighteen years of age. Blifil forcefully takes the bird from Sophia, and it flies away, but Tom climbs up a tree to catch the bird where it landed. However, “Master Jones, who climbed up that tree after it, fell into the water, took a second flight, and presently a nasty hawk carried it away.” Though Blifil urges Sophia to release the bird from captivity, its death is then placed on Jones’ hands. Blifil tries to make Jones out to be an impulsive and clumsy hero that does more harm than good. Walter Allen writes on this note, “Tom Jones [is] a new kind of hero.” Jones’ heart is always in the right place, as Allen suggests, but his means to go about various situations are seen as haphazard.

A transition of maturity occurs when Jones moves from Allworthy’s estate to eagerly seek Sophia’s love. Sophia leads him on a journey towards renewal and rebirth, ultimately giving him a chance of redemption. Sophia is the only object on his mind as Jones gallivants around the country. Fielding writes, “It was now a pleasant evening in the latter end of June, where our hero was walking in a most delicious grove. In this scene, so sweetly accommodated to love, he meditated on dear Sophia.” He uses realism to portray the reality of Jones’ infatuation with Sophia. Though Sophia is subjected to marry either Blifil or Felemar, Jones is doing everything in his power to find and win Sophia over. A representation of Jones’ idealistic character arises through his attempt to overcome this obstacle in securing Sophia as both a spouse and lover. However, Jones forfeits his chance on multiple occasions by fulfilling his sexual desire with women other than Sophia. She and her maid servant, Honour, coincidentally stop at an inn in Gloucester where Partridge and Jones are staying. Partridge is having a drink downstairs when he comes in contact with Honour, telling her Jones is in bed with a “wench.” Sophia says, “It is impossible! I cannot be so fortunate.” Sophia is both surprised and shocked she is at the same inn where Jones is staying for the night. Her attitude quickly changes when she remembers “the story of Molly Seagrim”; she then assumes he is having an affair with another woman. Fielding says, “Sophia [is] tormented with anxiety,” and Susan, the landlady, threatens to “steal softly into his room, and see whether he be in his own bed or no.” Sophia declines and takes matters into her own hands, going into the room herself to place her muff as retribution. Jones sees the muff on the edge of his bed with a piece of paper attached: “the muff was so very remarkable, that our hero might possibly have recollected it…for at the same instant he saw and read the words Sophia Western upon the paper which was pinned to it.” Leaving her muff on his bed is a warning but a symbol of forgiveness. Jones then represents an eighteenth-century male aspiration and strong inclination to fulfill desire, not through Sophia, but rather, through other women. Sexual behavior outside of wedlock was widely acceptable in eighteenth-century England. The fall of the marital status and increased pre-marital relations appeared when Catholicism progressively dissolved, leaving many Englishmen without any inherent biblical stance against sexual conduct before marriage. Lawrence Stone writes, “Pre-marital sexual activity grew very much laxer.” While writers like Thackeray from the Renaissance Period strongly disapproved of pre-marital conduct, Fielding presents Jones’ sensual nature as a means to suggest that his need to fulfill this sexual desire allowed him to find the ultimate version of truth in his life—Sophia. Jones loves Sophia; to combat his overwhelming desire for her, he assumes other women will fill this lacking connection he cannot experience with Sophia. She later puts Jones in his place, telling him that he cannot sleep around while he is dedicated to their relationship. Charles Knight suggests, “Sophia taught Jones to become the standard society wanted during the eighteenth-century. Through her representation of virtue, not getting mad when she left her muff twice, it allowed Tom to become the overarching character Fielding intended for the novel.” Sophia now represents another aspect of morality for Jones– being chaste. As a result, Fielding’s example of society’s behavioral standard was set by Jones through Sophia, helping readers understand that truth and goodness brought Jones on a path of rejuvenation.

In Henry Fielding’s Tom Jones, Squire Allworthy and Black George are described as black and white in representation. Jones’ character is fluid because he is both moral, as captured by those motivated by status alone, yet immoral through the representation of his impulsivity. He later becomes the standard of English behavior through Sophia’s guidance and devotion. Fielding places Jones on a pedestal, proving that gallivanting men are less hypocritical than characters who falsify their overarching being.

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