tom jones as a mock epic

He had gone out to chase an ass and found a kingdom. Sheridan Baker, in his ‘Preface to Norton Critical Edition of Tom Jones’ wrote thus of the novel, “It makes English novel thoroughly literate for the first time. The pivotal point of the action of this novel and its physical centre, is the episode at Upton Inn, which takes up most of the Books IX and X. The comic spirit conceives a definite situation for a number of characters and rejects all accessories in the exclusive pursuit of them and their speech. ” (Book II, Chapter I, ‘Tom Jones’) Fielding’s accents on the ‘history’ of Tom Jones makes this work of art veer from the epic proper, but luckily, at the same time the atmosphere, a cosmos of social life he builds about the novel, is obviously analogous to an epic.The biography of a fictitious person is placed in the social orbit of a classical design wherein his movements and actions take place. He brings to dwell on the character in ‘dressing up’ with a consummate ‘author’s skill’. For more details of these cookies and how to disable them, see our The account of the fall and rise of Tom Jones, a vital but imprudent young man, is essentially a comic romance, rooted in the tried narrative conventions of romance and epic, but with an important difference. The movement of the novel has the speed of an epic. However in discussing his work Fielding refers to Homer and Aristotle, the former for practice and the later for theory.This kind of appeal to authority was extremely important during the Neo-Classical Age. The comic tone of the novel is established from the very beginning and it runs throughout the novel. Here we can see, perhaps better than anywhere else, Fielding’s skill as a master of situation comedy. [1] His ambition for prose were comprehensive; he proposed to take the wide range of character, incidents, diction and reference from the epic and to re-mould this material according to ‘comic’ rather than ‘serious’ principles. Tom Jones by Henry Fielding Although Fielding called his novel a ‘comic – epic in prose’, the epithet of ‘picaresque’ would be equally justified. But ‘Tom Jones’ is even something greater than the epic in the case it knits plot on the basis of novel.As such, the novel eludes any classification. It is not a pure epic though it has the appearance and design of its style.Fielding in his Book II, Chapter I of ‘Tom Jones’ declares about the approach in writing the following words, “I am in reality a founder of a new province of writing. The ‘unheroic hero’ appears on the scene with all his social indignity and the heroine, no doubt, appears with an ‘elevation of stile’, since it is a comic epic poem in prose such a hero may be allowed to pass as such: “Thus the hero is always introduced with a flourish of drums and trumpets … Our intention, in short, is to introduce our heroine with the utmost serenity in our power, with an elevation of stile. I am sorry to hear you have read it; a confession which no modest lady should ever make.I scarcely know more corrupt a work.
It is a comic epic in prose by virtue of its classical approach, its width and rambling narration, and it is not because it has a secret, as pointed out by a critic and epic has no secret. Partridge is never funny as Fielding seems to think: he is a thin shadow of Sancho Panza. ”Tom Jones Comic Epic. He makes the novel cross-bred genre of writing in which we find the width of an epic and the cunning of the novelist. Don't use plagiarized sources. He does not employ caricature to anything like the extent that Smollett does, and he has none of the other man’s undercurrent of hatred and anger. He brings to dwell on the character in ‘dressing up’ with a consummate ‘author’s skill’. He happens to be an illegitimately begotten brat, a foundling discovered in the bed of Mr. Allworthy.
But Fielding reverses the position, though not in the case of the heroine called Sophia.

Comic because Fielding uses the mock heroic style, he describes the characters with classical techniques of the epic but in a satirical way, in order to mock them. But as T. S. Eliot says in his essay ‘Tradition and Individual talent’, “The most individual part of work may be those in which the dead poets, his ancestors assert their immortality… vigorously. But there are a host of minor comic characters and one creation in Squire Western who is a surprisingly complex figure of comic violence and who has admirably been described by a critic as, “A cantankerous, greedy, rampaging hog, snorting and snouting round all the graces of life, yet capable of tears and an almost poetical tenderness. ‘In Prose’ gives him a third bearing, and his triangulation is complete. There is hardly any approach to the psychological depth in it. This mock-epic lifts characters bodily from life and though the narrative is in the lighter vein, unlike an epic of serious nature the point of virtue are brought home. S.Diana Neill describes it as “ a great novel in itself and a microcosm of the next hundred years in prose fiction .” It mostly deals with the glorification of a hero and shows a tendency of selection of the part which elevates the character in our esteem. Tom Jones is a mock heroic epic in prose and it is not. Yet the plot alone is only part of Tom Jones.

” Thus he outlined the concept of a comic epic-poem in prose. By clicking “Write my paper”, you agree to our

He writes in his Book I, Chapter I of ‘Tom Jones’, “The provision, then, which we have here made is no other than Human nature… that in human nature, though here collected under one general name, is such a prodigious variety. It is an amalgam of both deriving its matter and approach from both the novel and the epic.

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