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 differing from serious romance in its substitution of a “light and ridiculous” fable for a “grave and solemn” one, of inferior characters for those of superior rank, and of ludicrous for sublime sentiments. Sometimes in the diction he has admitted burlesque, but never in the sentiments and characters, where, he contends, it would be out of place. He further defines the only source of the ridiculous to be affectation, of which the chief causes are vanity and hypocrisy. Whether this scheme was an after-thought it is difficult to say; but it is certainly necessary to a proper understanding of the author’s method—a method which was to find so many imitators. Another passage in the Preface is worthy of remark. With reference to the pictures of vice which the book contains, he observes: “First, That it is very difficult to pursue a Series of human Actions, and keep clear from them. Secondly, That the Vices to be found here [i.e. in Joseph Andrews] are rather the accidental Consequences of some human Frailty, or Foible, than Causes habitually existing in the Mind. Thirdly, That they are never set forth as the Objects of Ridicule but Detestation. Fourthly, That they are never the principal Figure at the Time on the Scene; and, lastly, they never produce the intended Evil.” In reading some pages of Fielding it is not always easy to see that he has strictly adhered to these principles; but it is well to recall them occasionally, as constituting at all events the code that he desired to follow.

Although the popularity of Fielding’s first novel was considerable, it did not, to judge by the number of editions, at once equal the popularity of the book by which it was suggested. Pamela, as we have seen,