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 wrought with love.... Nought modish in it, pure and noble lines Of generous womanhood that fits all time.”

There are many women who forgive; but Amelia does more—she not only forgives, but she forgets. The passage in which she exhibits to her contrite husband the letter received long before from Miss Matthews is one of the noblest in literature; and if it had been recorded that Fielding—like Thackeray on a memorable occasion—had here slapped his fist upon the table, and said “That is a stroke of genius!” it would scarcely have been a thing to be marvelled at. One final point in connection with her may be noted, which has not always been borne in mind by those who depict good women—much after Hogarth’s fashion— without a head. She is not by any means a simpleton, and it is misleading to describe her as a tender, fluttering little creature, who, because she can cook her husband’s supper, and caresses him with the obsolete name of Billy, must necessarily be contemptible. On the contrary, she has plenty of ability and good sense, with a fund of humour which enables her to enjoy slily and even gently satirise the fine lady airs of Mrs. James. Nor is it necessary to contend that her faculties are subordinated to her affections; but rather that conjugal fidelity and Christian charity are inseparable alike from her character and her creed.

As illustrating the tradition that Fielding depicted his first wife in Sophia Western and in Amelia, it has been remarked that there is no formal description of her personal appearance in his last novel, her portrait having already been drawn at length in Tom Jones. But the