The appearance which Fielding makes is no doubt the most modest of the
four. He has not Shakespeare's absolute universality, and in fact not
merely the poet's tongue, but the poet's thought seems to have been
denied him. His sphere is not the ideal like Milton's. His irony,
splendid as it is, falls a little short of that diabolical magnificence
which exalts Swift to the point whence, in his own way, he surveys all
the kingdoms of the world, and the glory or vainglory of them. All
Fielding's critics have noted the manner, in a certain sense modest, in
another ostentatious, in which he seems to confine himself to the
presentation of things English. They might have added to the
presentation of things English--as they appear in London, and on the
Western Circuit, and on the Bath Road.

But this apparent parochialism has never deceived good judges. It did
not deceive Lady Mary, who had seen the men and manners of very many
climes; it did not deceive Gibbon, who was not especially prone to
overvalue things English, and who could look down from twenty centuries
on things ephemeral. It deceives, indeed, I am told, some excellent
persons at the present day, who think Fielding's microcosm a "toylike
world," and imagine that Russian Nihilists and French Naturalists have
gone beyond it. It will deceive no one who has lived for some competent
space of time a life during which he has tried to regard his
fellow-creatures and himself, as nearly as a mortal may, _sub specie
aeternitatis_.

As this is in the main an introduction to a complete reprint of
Fielding's four great novels, the justification in detail of the
estimate just made or hinted of the novelist's genius will be best and
most fitly made by a brief successive discussion of the four as they are