The Fathers: "Make money your god and it will plague you like the devil"

By Henry Fielding

Henry Fielding was born at Sharpham Park, near Glastonbury, in Somerset on April 22nd 1707. His early years were spent on his parents’ farm in Dorset before being educated at Eton.

An early romance ended disastrously and with it his removal to London and the beginnings of a glittering literary career; he published his first play, at age 21, in 1728.

He was prolific, sometimes writing six plays a year, but he did like to poke fun at the authorities. His plays were thought to be the final straw for the authorities in their attempts to bring in a new law. In 1737 The Theatrical Licensing Act was passed. At a stroke political satire was almost impossible. Fielding was rendered mute. Any playwright who was viewed with suspicion by the Government now found an audience difficult to find and therefore Theatre owners now toed the Government line.

Fielding was practical with the circumstances and ironically stopped writing to once again take up his career in the practice of law and became a barrister after studying at Middle Temple. By this time he had married Charlotte Craddock, his first wife, and they would go on to have five children. Charlotte died in 1744 but was immortalised as the heroine in both Tom Jones and Amelia.

Fielding was put out by the success of Samuel Richardson's Pamela, or Virtue Rewarded. His reaction was to spur him into writing a novel. In 1741 his first novel was published; the successful Shamela, an anonymous parody of Richardson's novel.

Undoubtedly the masterpiece of Fielding’s career was the novel Tom Jones, published in 1749. It is a wonderfully and carefully constructed picaresque novel following the convoluted and hilarious tale of how a foundling came into a fortune.

Fielding was a consistent anti-Jacobite and a keen supporter of the Church of England. This led to him now being richly rewarded with the position of London's Chief Magistrate. Fielding continued to write and his career both literary and professional continued to climb.

In 1749 he joined with his younger half-brother John, to help found what was the nascent forerunner to a London police force, the Bow Street Runners. Fielding's ardent commitment to the cause of justice in the 1750s unfortunately coincided with a rapid deterioration in his health. Such was his decline that in the summer of 1754 he travelled, with Mary and his daughter, to Portugal in search of a cure. Gout, asthma, dropsy and other afflictions forced him to use crutches. His health continued to fail alarmingly.

Henry Fielding died in Lisbon two months later on October 8th, 1754.

• Language: English
• Publisher: Stage Door
• Release date: Jan 2, 2019
• ISBN: 9781787802728

Henry Fielding

Henry Fielding (1707-1754) was an English novelist, dramatist, and prominent magistrate. He was born into noble lineage, yet was cut off from his allowance as a young man and subsequently began a career writing plays. He wrote over 25 dramatic works, primarily satires addressing political injustice. When Fielding's career as a playwright ended with new censorship laws, he turned to writing fiction. His work as a novelist is considered to have ushered in a new genre of literature. Among his best known masterpieces are The Life and Death of Jonathan Wild (1743) and The History of Tom Jones (1749).

Book preview

The Fathers by Henry Fielding

or, The Good-Natur'd Man

A COMEDY

Henry Fielding was born at Sharpham Park, near Glastonbury, in Somerset on April 22nd 1707.  His early years were spent on his parents’ farm in Dorset before being educated at Eton.

An early romance ended disastrously and with it his removal to London and the beginnings of a glittering literary career; he published his first play, at age 21, in 1728.

He was prolific, sometimes writing six plays a year, but he did like to poke fun at the authorities. His plays were thought to be the final straw for the authorities in their attempts to bring in a new law. In 1737 The Theatrical Licensing Act was passed.  At a stroke political satire was almost impossible. Fielding was rendered mute.  Any playwright who was viewed with suspicion by the Government now found an audience difficult to find and therefore Theatre owners now toed the Government line.

Fielding was practical with the circumstances and ironically stopped writing to once again take up his career in the practice of law and became a barrister after studying at Middle Temple.  By this time he had married Charlotte Craddock, his first wife, and they would go on to have five children. Charlotte died in 1744 but was immortalised as the heroine in both Tom Jones and Amelia. 

Fielding was put out by the success of Samuel Richardson's Pamela, or Virtue Rewarded.  His reaction was to spur him into writing a novel.  In 1741 his first novel was published; the successful Shamela, an anonymous parody of Richardson's novel.

Undoubtedly the masterpiece of Fielding’s career was the novel Tom Jones, published in 1749.  It is a wonderfully and carefully constructed picaresque novel following the convoluted and hilarious tale of how a foundling came into a fortune.

Fielding was a consistent anti-Jacobite and a keen supporter of the Church of England. This led to him now being richly rewarded with the position of London's Chief Magistrate.  Fielding continued to write and his career both literary and professional continued to climb. 

In 1749 he joined with his younger half-brother John, to help found what was the nascent forerunner to a London police force, the Bow Street Runners. Fielding's ardent commitment to the cause of justice in the 1750s unfortunately coincided with a rapid deterioration in his health.  Such was his decline that in the summer of 1754 he travelled, with Mary and his daughter, to Portugal in search of a cure.  Gout, asthma, dropsy and other afflictions forced him to use crutches. His health continued to fail alarmingly.

Henry Fielding died in Lisbon two months later on October 8th, 1754.

Index of Contents

TO HIS GRACE THE DUKE OF NORTHUMBERLAND

DRAMATIS PERSONÆ

PROLOGUE

ACT I

Scene I

Scene II

ACT II

Scene I

Scene II

ACT III

ACT IV

Scene I

Scene II

Scene III

Scene IV

ACT V

Scene I

Scene II

Scene III

Scene IV

Scene V

EPILOGUE

Henry Fielding – A Short Biography

Henry Fielding – A Concise Bibliography

THE FATHERS: or, The Good-Natur'd Man.

A COMEDY: As it is Acted at the Theatre Royal, in Drury Lane

TO HIS GRACE THE DUKE OF NORTHUMBERLAND, LORD LIEUTENANT OF THE COUNTY OF MIDDLESEX, AND MASTER OF THE HORSE TO THE KING

MY LORD,

The author of this play was an upright, useful and distinguished magistrate for the County of Middlesex; and by his publications laid the foundation of many wholesome laws for the support of good order and subordination in this metropolis, the effects of which have been, and now are, forcibly felt by the public. His social qualities made his company highly entertaining. His genius so universally admired, has afforded delight and instruction to thousands. The memory of such a man calls for respect; and to have that respect shewn him by the great and praise-worthy must do him the highest honour.

Under these circumstances this little orphan posthumous work, replete with humour and sound sense, looks up to your grace for protection, as a nobleman who makes rank and affluence answer the great purposes of displaying true dignity nd beneficence. Thus adorned by accomplishments, and enriched by manly sentiments, it is the interest of society to join with me in the warmest wishes for the continuance of your Grace's health, and of all those powers so liberally and so constantly exerted by your Grace for the good of mankind.

I have the honour to be, MY LORD, Your Grace's Respectful and Obediant Servant,

JOHN FIELDING

Brompton-Place

DRAMATIS PERSONÆ

MEN

Sir George Boncour 

Mr. Boncour  

Young Boncour (his son)

Old Valence  

Young Valence (his son)

Old Kennel 

Young Kennel (his son)

WOMEN

Mrs. Boncour

Miss Boncour

Miss Younge.

Miss Valence

PROLOGUE

Written by Mr. Garrick, and spoken by Mr. King.

When from the world departs a son of fame,

His deeds or works embalm his precious name;

Yet not content, the public call for art,

To rescue from the tomb his mortal part;

Demand the painter's and the sculptor's hand,

To spread his mimick form throughout the land:

A form, perhaps, which living, was neglected,

And when it could not feel respect, respected.

This night no bust or picture claims your praise,

Our claim's superior, we his spirit raise:

From time's dark stere-house, bring a long-lost play,

And drag it from oblivon into day.

But who the Author? need I name the wit?

Whom nature prompted as his genius writ;

Truth smil'd on Fancy for each well-wrought story,

Where characters, live, act, and stand before ye:

Suppose these characters, various as they are,

The knave, the fool, the worthy, wise, and fair,

For and against the Author pleading at your bar.

First pleads Tom Jones—grateful his heart and warm;

Brave, gen'rous Britons—shield this play from harm:

My best friend wrote it, should it not succeed,

Though with my Sophy blest—my heart will bleed—

Then from his face he wipes the manly tear;

Courage, my master, Partridge cries, don't fear:

Should Envy's serpents hiss, or malice frown,

Though I'm a coward, zounds! I'll knock 'em down:

Next, sweet Sophia comes—she cannot speak—

Her wishes for the play o'erspread her cheek;

In e'ery look her sentiments you read:

And more than eloquence her blushes plead.

Now Blifil bows—with smiles his false heart gilding,

He was my foe—I beg you'll damn this Fielding;

Right Thwakum roars—no mercy, Sirs, I pray—

Scourge the dead Author, thro' his orphan play.

What words! (cries Parson Adams), fie, fie, disown 'em;

Good Lord!—de mortuis nil nisi bonum:

If such are Christian teachers, who'll revere 'em—

And thus they preach, the Dev'l alone should hear 'em.

Now Slipslop enters—tho' this scrv'ning vagrant,

'Salted my virtue, which was ever flagrant,

Yet, like black 'Thello, I'd bear scorns and whips,

Slip into poverty to the very hips,

'T' exult this play—may it decrease in favour;

And be it's fame immoraliz'd for ever!

'Squire Western, reeling, with October mellow,

Tall, yo!—Boys!—Yoax—Criticks! hunt the fellow!

Damn'en, these wits are varmint not worth breeding.

What good e'er came of writing and of reading?

Next comes, brim-full of spite and politicks;

His sister Western—and thus deeply speaks:

Wits are arm'd pow'rs—like France attack the foe;

Negotiate 'till they sleep—then strike the blow!

Allworthy last, pleads to your noblest passions—

Ye gen'rous leaders of the taste and fashions;

Departed genius left his orphan play,

To your kind care—what the dead wills obey:

O then respect the Father's fond bequest,

And make his widow smile, his spirit rest.

ACT I

SCENE I

SCENE: A Parlour in Mr. Boncour's House.

Enter BONCOUR and MRS BONCOUR

BONCOUR

Pray be pacified—

MRS BONCOUR

It is intolerable, and I will never submit to it.

BONCOUR

But, my dear!

MRS BONCOUR

Good Mr. Boncour, leave off that odious word; you know I detest it; such fulsome stuff is nauseous to the ears of a woman of strict virtue.

BONCOUR

I don't doubt your virtue.

MRS BONCOUR

You don't—I