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The Problem of Amelia

Hume, Barrow, and the Conversion of Captain Booth

Bibliographic Data

ID16007289
AuthorsMartin C Battestin (corresponding author)
Year1974
Volume41
Issue4
Pages613-613
Publication date1974-01-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueELH (JOURNAL)
Journal identifiersISSN: 0013-8304 • E-ISSN: 1080-6547
PublisherJSTOR (PUBLISHER)
DOI10.2307/2872725
OpenAlexW2318111467
LanguageEN
Citations received1

Most readers agree that Amelia (1751), though his favourite Child, represents a decline in Fielding's powers as a novelist. In less than three years' time the feast of life that he had celebrated in Tom Jones (1749) appears to have staled for him. His tone has become darker, more monitory, in keeping with his subject-no longer the follies of men, but their errors anccupidities and the doubtful efficacy of those institutions, the law and the church, which were meant to preserve the social order. His narrator, whose genial, controlling presence in Tom Jones attests to the power of art to dispel confusion, less frequently makes his appearance upon the stage, and his voice, wavering between anger and a maudlin sentimentality, no longer inspires confidence. The qualities that make Amelia Fielding's most disconcerting novel, however, are those as well that make it, intellectually, his most interesting and ambitious work, the product of his maturest thinking about human nature and about the grounds of order in society. As the opening chapters declare, from one point of view the institutions of society are Fielding's principal subject-from the state of matrimony,2 that smallest unit of the polity, to the English 'constitution itself, by which he meant both the laws and the essential character and temper of

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  • What’s in a Name?”

    Anaclara Castro-Santana•ANQ A Quarterly Journal of Short…•2023

Unique citing works1
Citations per year0.33
Citation span2023 - 2023 (1)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 1

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