Joseph Andrews, vol 1 | Page 3

intended; but the reason why he did not receive the even then far more usual completion of a public school education by a sojourn at Oxford or Cambridge may be suspected to be different. It may even have had something to do with a curious escapade of his about which not very much is known--an attempt to carry off a pretty heiress of Lyme, named Sarah Andrew.
Even at Leyden, however, General Fielding seems to have been unable or unwilling to pay his son's expenses, which must have been far less there than at an English University; and Henry's return to London in 1728-29 is said to have been due to sheer impecuniosity. When he returned to England, his father was good enough to make him an allowance of L200 nominal, which appears to have been equivalent to L0 actual. And as practically nothing is known of him for the next six or seven years, except the fact of his having worked industriously enough at a large number of not very good plays of the lighter kind, with a few poems and miscellanies, it is reasonably enough supposed that he lived by his pen. The only product of this period which has kept (or indeed which ever received) competent applause is _Tom Thumb, or the Tragedy of Tragedies_, a following of course of the Rehearsal, but full of humour and spirit. The most successful of his other dramatic works were the Mock Doctor and the Miser, adaptations of Moliere's famous pieces. His undoubted connection with the stage, and the fact of the contemporary existence of a certain Timothy Fielding, helped suggestions of less dignified occupations as actor, booth-keeper, and so forth; but these have long been discredited and indeed disproved.
In or about 1735, when Fielding was twenty-eight, we find him in a new, a more brilliant and agreeable, but even a more transient phase. He had married (we do not know when or where) Miss Charlotte Cradock, one of three sisters who lived at Salisbury (it is to be observed that Fielding's entire connections, both in life and letters, are with the Western Counties and London), who were certainly of competent means, and for whose alleged illegitimacy there is no evidence but an unsupported fling of that old maid of genius, Richardson. The descriptions both of Sophia and of Amelia are said to have been taken from this lady; her good looks and her amiability are as well established as anything of the kind can be in the absence of photographs and affidavits; and it is certain that her husband was passionately attached to her, during their too short married life. His method, however, of showing his affection smacked in some ways too much of the foibles which he has attributed to Captain Booth, and of those which we must suspect Mr Thomas Jones would also have exhibited, if he had not been adopted as Mr Allworthy's heir, and had not had Mr Western's fortune to share and look forward to. It is true that grave breaches have been made by recent criticism in the very picturesque and circumstantial story told on the subject by Murphy, the first of Fielding's biographers. This legend was that Fielding, having succeeded by the death of his mother to a small estate at East Stour, worth about L200 a year, and having received L1500 in ready money as his wife's fortune, got through the whole in three years by keeping open house, with a large retinue in "costly yellow liveries," and so forth. In details, this story has been simply riddled. His mother had died long before; he was certainly not away from London three years, or anything like it; and so forth. At the same time, the best and soberest judges agree that there is an intrinsic probability, a consensus (if a vague one) of tradition, and a chain of almost unmistakably personal references in the novels, which plead for a certain amount of truth, at the bottom of a much embellished legend. At any rate, if Fielding established himself in the country, it was not long before he returned to town; for early in 1736 we find him back again, and not merely a playwright, but lessee of the "Little Theatre" in the Haymarket. The plays which he produced here--satirico-political pieces, such as Pasquin and the _Historical Register_--were popular enough, but offended the Government; and in 1737 a new bill regulating theatrical performances, and instituting the Lord Chamberlain's control, was passed. This measure put an end directly to the "Great Mogul's Company," as Fielding had called his troop, and indirectly to its manager's career as a playwright. He did indeed write a few pieces in future years, but they were of the smallest importance.
After this check he turned at last to a serious