Kitobni o'qish: «The History of the Life of the Late Mr. Jonathan Wild the Great»
INTRODUCTION
Jonathan Wild, born about 1682 and executed at Tyburn in 1725, was one of the most notorious criminals of his age. His resemblance to the hero in Fielding's satire of the same name is general rather than particular. The real Jonathan (whose legitimate business was that of a buckle-maker) like Fielding's, won his fame, not as a robber himself, but as an informer, and a receiver of stolen goods. His method was to restore these to the owners on receipt of a commission, which was generally pretty large, pretending that he had paid the whole of it to the thieves, whom for disinterested motives he had traced. He was a great organiser, and he controlled various bands of robbers whose lives he did not hesitate to sacrifice, when his own was in danger. Naturally he was so hated by many of his underlings that it is a wonder he was able to maintain his authority over them as many years as he did. His rascality had been notorious a long time before his crimes could actually be proved. He was executed at last according to the statute which made receivers of stolen goods equally guilty with the stealers.
Beyond this general resemblance, the adventures of the real Jonathan, so far as we know them, are not much like those of the fictitious. True, the real Jonathan's married life was unhappy, though his quarrel with his wife did not follow so hard upon his wedding as the quarrel of Fielding's hero and the chaste Laetitia. Not until a year from his marriage did the real Jonathan separate from his spouse, after which time he lived, like Fielding's, not always mindful of his vows of faithfulness. Like Fielding's, too, he was called upon to suppress rebellions in his gangs, and once he came very near being killed in a court of justice by one Blake, alias Blueskin. Apart from these misadventures, the experiences of Fielding's Wild seem to be purely imaginary. "My narrative is rather of such actions which he might have performed," the author himself says, [Footnote: Introduction to Miscellanies, 1st ed., p. xvii.] "or would, or should have performed, than what he really did. … The Life and Actions of the Late Jonathan Wild, got out with characteristic commercial energy by Defoe, soon after the criminal's execution, is very different from Fielding's satirical narrative, and probably a good deal nearer the truth."
Jonathan Wild was published as the third volume of the Miscellanies "by Henry Fielding, Esq." which came out in the spring of 1743. From the reference to Lady Booby's steward, Peter Pounce, in Book II., it seems to have been, as Mr. Austin Dobson has observed, and as the date of publication would imply, composed in part at least subsequently to Joseph Andrews, which appeared early in 1742. But the same critic goes on to say that whenever completed, Jonathan Wild was probably "planned and begun before Joseph Andrews was published, as it is in the highest degree improbable that Fielding, always carefully watching the public taste, would have followed up that fortunate adventure in a new direction by a work so entirely different from it as Jonathan Wild." [Footnote: Henry Fielding, 1900, p. 145.] Mr. Dobson's surmise is undoubtedly correct. The "strange, surprising adventures" of Mrs. Heartfree belong to a different school of fiction from that with which we commonly associate Fielding. They are such as we should expect one of Defoe's characters to go through, rather than a woman whose creator had been gratified only a year before at the favourable reception accorded to Fanny and Lady Booby and Mrs. Slipslop.
That Jonathan Wild is for the most part a magnificent example of sustained irony, one of the best in our literature, critics have generally agreed. The comparison steadfastly insisted upon between Jonathan Wild's greatness and the greatness which the world looks up to, but which without being called criminal is yet devoid of humanity, is admirable. Admirable, too, is the ironical humour, in which Fielding so excelled, and which in Jonathan Wild he seldom drops. It would take too long to mention all the particularly good ironical passages, but among them are the conversation between Wild and Count La Ruse, and the description of Miss Tishy Snap in the first book; the adventures of Wild in the boat at the end of the second book; and, in the last, the dialogue between the ordinary of Newgate and the hero, the death of Wild, and the chapter which sets forth his character and his maxims for attaining greatness. And yet as a satire Jonathan Wild is not perfect. Fielding himself hits upon its one fault, when, in the last book, after the long narrative of Mrs. Heartfree's adventures by sea and by land, he says, "we have already perhaps detained our reader too long … from the consideration of our hero." He has detained us far too long. A story containing so much irony as Jonathan Wild should be an undeviating satire like A Tale of a Tub. The introduction of characters like the Heartfrees, who are meant to enlist a reader's sympathy, spoils the unity. True, the way they appear at first is all very well. Heartfree is "a silly fellow," possessed of several great weaknesses of mind, being "good-natured, friendly, and generous to a great excess," and devoted to the "silly woman," his wife. But later Fielding becomes so much interested in the pair that he drops his ironical tone. Unfortunately, however, in depicting them, he has not met with his usual success in depicting amiable characters. The exemplary couple, together with their children and Friendly, are much less real than the villain and his fellows. And so the importance of the Heartfrees in Jonathan Wild seems to me a double blemish. A satire is not truth, and yet in Mr. and Mrs. Heartfree Fielding has tried – though not with success – to give us virtuous characters who are truly human. The consequence is that Jonathan Wild just fails of being a consistently brilliant satire.
As to its place among Fielding's works, critics have differed considerably. The opinion of Scott found little in Jonathan Wild to praise, but then it is evident from what he says, that Scott missed the point of the satire. [Footnote: Henry Fielding in Biographical and Critical Notices of Eminent Novelists. "It is not easy to see what Fielding proposed to himself by a picture of complete vice, unrelieved by anything of human feeling. …"]. Some other critics have been neither more friendly than Sir Walter, nor more discriminating, in speaking of Jonathan Wild and Smollett's Count Fathom in the same breath, as if they were similar either in purpose or in merit. Fathom is a romantic picaresque novel, with a possibly edifying, but most unnatural reformation of the villainous hero at the last; Jonathan Wild is a pretty consistent picaresque satire, in which the hero ends where Fathom by all rights should have ended, – on the gallows. Fathom is the weakest of all its author's novels; Jonathan Wild is not properly one of Fielding's novels at all, but a work only a little below them. For below them I cannot help thinking it, in spite of the opinion of a critic of taste and judgment so excellent as Professor Saintsbury's. When this gentleman, in his introduction to Jonathan Wild, in a recent English edition of Fielding's works, says that: "Fielding has written no greater book," he seems to me to give excessive praise to a work of such great merit that only its deserved praise is ample.
A great satire, I should say, is never the equal of a great novel. In the introductions which I have already written, in trying to show what a great novel is, I have said that an essential part of such a book is the reality of its scenes and characters. Now scenes and characters will not seem real, unless there is in them the right blend of pleasure and pain, of good and bad; for life is not all either one thing or the other, nor has it ever been so. Such reality is not found in a satire, for a satire, as distinguished from a novel, both conceals and exaggerates: it gives half-truths instead of whole truths; it shows not all of life but only a part; and even this it cannot show quite truly, for its avowed object is to magnify some vice or foible. In doing so, a satire finds no means so effective as irony, which makes its appeal wholly to the intellect. A good novel, on the contrary, touches the head and the heart both; along with passages which give keen intellectual enjoyment, it offers passages which move its reader's tears. Still, a good novelist without appreciation of irony cannot be imagined, for without the sense of humour which makes irony appreciated, it is impossible to see the objects of this world in their right proportions. Irony, then, which is the main part of a satire, is essential to a good novel, though not necessarily more than a small part of it. Intellectually there is nothing in English literature of the eighteenth century greater than A Tale of a Tub or the larger part of Gullivers Travels; intellectually there is nothing in Fielding's works greater than most of Jonathan Wild; but taken all in all, is not a novel like Tom Jones, with its eternal appeal to the emotions as well as the intellect, greater than a perfect satire? Even if this be not admitted, Jonathan Wild, we have already seen, is not a perfect satire. For a work of its kind, it is too sympathetically human, and so suffers in exactly the opposite way from Vanity Fair, which many people think is kept from being the greatest English novel of the nineteenth century because it is too satirical.
No, I cannot agree with Professor Saintsbury that "Fielding has written no greater book" than Jonathan Wild. It was unquestionably the most important part of the Miscellanies of 1743. Its brilliancy may make it outrank even that delightful Journal of the Voyage to Lisbon. A higher place should not be claimed for it. Mr. Dobson, in his Henry Fielding, has assigned the right position to Jonathan Wild when he says that its place "in Fielding's works is immediately after his three great novels, and this is more by reason of its subject than its workmanship," which if not perfect, is yet for the most part excellent.
G. H. MAYNADIER.
BOOK I
CHAPTER ONE
SHEWING THE WHOLESOME USES DRAWN FROM RECORDING THE ACHIEVEMENTS OF THOSE WONDERFUL PRODUCTIONS OF NATURE CALLED GREAT MEN
As it is necessary that all great and surprising events, the designs of which are laid, conducted, and brought to perfection by the utmost force of human invention and art, should be produced by great and eminent men, so the lives of such may be justly and properly styled the quintessence of history. In these, when delivered to us by sensible writers, we are not only most agreeably entertained, but most usefully instructed; for, besides the attaining hence a consummate knowledge of human nature in general; of its secret springs, various windings, and perplexed mazes; we have here before our eyes lively examples of whatever is amiable or detestable, worthy of admiration or abhorrence, and are consequently taught, in a manner infinitely more effectual than by precept, what we are eagerly to imitate or carefully to avoid.
But besides the two obvious advantages of surveying, as it were in a picture, the true beauty of virtue and deformity of vice, we may moreover learn from Plutarch, Nepos, Suetonius, and other biographers, this useful lesson, not too hastily, nor in the gross, to bestow either our praise or censure; since we shall often find such a mixture of good and evil in the same character that it may require a very accurate judgment and a very elaborate inquiry to determine on which side the balance turns, for though we sometimes meet with an Aristides or a Brutus, a Lysander or a Nero, yet far the greater number are of the mixt kind, neither totally good nor bad; their greatest virtues being obscured and allayed by their vices, and those again softened and coloured over by their virtues.
Of this kind was the illustrious person whose history we now undertake; to whom, though nature had given the greatest and most shining endowments, she had not given them absolutely pure and without allay. Though he had much of the admirable in his character, as much perhaps as is usually to be found in a hero, I will not yet venture to affirm that he was entirely free from all defects, or that the sharp eyes of censure could not spy out some little blemishes lurking amongst his many great perfections.
We would not therefore be understood to affect giving the reader a perfect or consummate pattern of human excellence, but rather, by faithfully recording some little imperfections which shadowed over the lustre of those great qualities which we shall here record, to teach the lesson we have above mentioned, to induce our reader with us to lament the frailty of human nature, and to convince him that no mortal, after a thorough scrutiny, can be a proper object of our adoration.
But before we enter on this great work we must endeavour to remove some errors of opinion which mankind have, by the disingenuity of writers, contracted: for these, from their fear of contradicting the obsolete and absurd doctrines of a set of simple fellows, called, in derision, sages or philosophers, have endeavoured, as much as possible, to confound the ideas of greatness and goodness; whereas no two things can possibly be more distinct from each other, for greatness consists in bringing all manner of mischief on mankind, and goodness in removing it from them. It seems therefore very unlikely that the same person should possess them both; and yet nothing is more usual with writers, who find many instances of greatness in their favourite hero, than to make him a compliment of goodness into the bargain; and this, without considering that by such means they destroy the great perfection called uniformity of character. In the histories of Alexander and Caesar we are frequently, and indeed impertinently, reminded of their benevolence and generosity, of their clemency and kindness. When the former had with fire and sword overrun a vast empire, had destroyed the lives of an immense number of innocent wretches, had scattered ruin and desolation like a whirlwind, we are told, as an example of his clemency, that he did not cut the throat of an old woman, and ravish her daughters, but was content with only undoing them. And when the mighty Caesar, with wonderful greatness of mind, had destroyed the liberties of his country, and with all the means of fraud and force had placed himself at the head of his equals, had corrupted and enslaved the greatest people whom the sun ever saw, we are reminded, as an evidence of his generosity, of his largesses to his followers and tools, by whose means he had accomplished his purpose, and by whose assistance he was to establish it.
Now, who doth not see that such sneaking qualities as these are rather to be bewailed as imperfections than admired as ornaments in these great men; rather obscuring their glory, and holding them back in their race to greatness, indeed unworthy the end for which they seem to have come into the world, viz. of perpetrating vast and mighty mischief?
We hope our reader will have reason justly to acquit us of any such confounding ideas in the following pages; in which, as we are to record the actions of a great man, so we have nowhere mentioned any spark of goodness which had discovered itself either faintly in him, or more glaringly in any other person, but as a meanness and imperfection, disqualifying them for undertakings which lead to honour and esteem among men.
As our hero had as little as perhaps is to be found of that meanness, indeed only enough to make him partaker of the imperfection of humanity, instead of the perfection of diabolism, we have ventured to call him THE GREAT; nor do we doubt but our reader, when he hath perused his story, will concur with us in allowing him that title.
CHAPTER TWO
GIVING AN ACCOUNT OF AS MANY OF OUR HERO'S ANCESTORS AS CAN BE GATHERED OUT OF THE RUBBISH OF ANTIQUITY, WHICH HATH BEEN CAREFULLY SIFTED FOR THAT PURPOSE
It is the custom of all biographers, at their entrance into their work, to step a little backwards (as far, indeed, generally as they are able) and to trace up their hero, as the ancients did the river Nile, till an incapacity of proceeding higher puts an end to their search.
What first gave rise to this method is somewhat difficult to determine. Sometimes I have thought that the hero's ancestors have been introduced as foils to himself. Again, I have imagined it might be to obviate a suspicion that such extraordinary personages were not produced in the ordinary course of nature, and may have proceeded from the author's fear that, if we were not told who their fathers were, they might be in danger, like prince Prettyman, of being supposed to have had none. Lastly, and perhaps more truly, I have conjectured that the design of the biographer hath been no more than to shew his great learning and knowledge of antiquity. A design to which the world hath probably owed many notable discoveries, and indeed most of the labours of our antiquarians.
But whatever original this custom had, it is now too well established to be disputed. I shall therefore conform to it in the strictest manner.
Mr. Jonathan Wild, or Wyld, then (for he himself did not always agree in one method of spelling his name), was descended from the great Wolfstan Wild, who came over with Hengist, and distinguished himself very eminently at that famous festival, where the Britons were so treacherously murdered by the Saxons; for when the word was given, i.e. Nemet eour Saxes, take out your swords, this gentleman, being a little hard of hearing, mistook the sound for Nemet her sacs, take out their purses; instead therefore of applying to the throat, he immediately applied to the pocket of his guest, and contented himself with taking all that he had, without attempting his life.
The next ancestor of our hero who was remarkably eminent was Wild, surnamed Langfanger, or Longfinger. He flourished in the reign of Henry III., and was strictly attached to Hubert de Burgh, whose friendship he was recommended to by his great excellence in an art of which Hubert was himself the inventor; he could, without the knowledge of the proprietor, with great ease and dexterity, draw forth a man's purse from any part of his garment where it was deposited, and hence he derived his surname. This gentleman was the first of his family who had the honour to suffer for the good of his country: on whom a wit of that time made the following epitaph: —
O shame o' justice! Wild is hang'd, For thatten he a pocket fang'd, While safe old Hubert, and his gang, Doth pocket o' the nation fang.
Langfanger left a son named Edward, whom he had carefully instructed in the art for which he himself was so famous. This Edward had a grandson, who served as a volunteer under the famous Sir John Falstaff, and by his gallant demeanour so recommended himself to his captain, that he would have certainly been promoted by him, had Harry the fifth kept his word with his old companion.
After the death of Edward the family remained in some obscurity down to the reign of Charles the first, when James Wild distinguished himself on both sides the question in the civil wars, passing from one to t'other, as Heaven seemed to declare itself in favour of either party. At the end of the war, James not being rewarded according to his merits, as is usually the case of such impartial persons, he associated himself with a brave man of those times, whose name was Hind, and declared open war with both parties. He was successful in several actions, and spoiled many of the enemy: till at length, being overpowered and taken, he was, contrary to the law of arms, put basely and cowardly to death by a combination between twelve men of the enemy's party, who, after some consultation, unanimously agreed on the said murder.
This Edward took to wife Rebecca, the daughter of the above- mentioned John Hind, esq., by whom he had issue John, Edward, Thomas, and Jonathan, and three daughters, namely, Grace, Charity, and Honour. John followed the fortunes of his father, and, suffering with him, left no issue. Edward was so remarkable for his compassionate temper that he spent his life in soliciting the causes of the distressed captives in Newgate, and is reported to have held a strict friendship with an eminent divine who solicited the spiritual causes of the said captives. He married Editha, daughter and co-heiress of Geoffry Snap, gent., who long enjoyed an office under the high sheriff of London and Middlesex, by which, with great reputation, he acquired a handsome fortune: by her he had no issue. Thomas went very young abroad to one of our American colonies, and hath not been since heard of. As for the daughters, Grace was married to a merchant of Yorkshire who dealt in horses. Charity took to husband an eminent gentleman, whose name I cannot learn, but who was famous for so friendly a disposition that he was bail for above a hundred persons in one year. He had likewise the remarkable humour of walking in Westminster-hall with a straw in his shoe. Honour, the youngest, died unmarried: she lived many years in this town, was a great frequenter of plays, and used to be remarkable for distributing oranges to all who would accept of them.
Jonathan married Elizabeth, daughter of Scragg Hollow, of Hockley- in-the-Hole, esq.; and by her had Jonathan, who is the illustrious subject of these memoirs.
