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Fielding's Tragedy of Tragedies: Papal Fallibility and Scriblerian Satire

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Fielding's Tragedy of Tragedies: Papal Fallibility and Scriblerian Satire Fielding's tragedy of tragedies: Papal fallibility and Scriblerian satire The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Weinbrot, Howard D. 1997. Fielding's tragedy of tragedies: Papal fallibility and Scriblerian satire. Harvard Library Bulletin 7 (1), Spring 1996: 20-39. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42665458 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 20 Fielding's Tragedy of Tragedies: Papal Fallibility and Scriblerian Satire HowardD. Weinbrot ielding's Tragedy of Tragedies(1731), we are often informed, disvalues its Fcontemporaries "before a grander vision of the past." That belief is shared by several of Fielding's ablest readers, who regard him as a young officer in the Scriblerian army battling the legions of Night. We thus hear that Fielding's comedy owes to Pope "almost its whole vision of modernity" and that its allu- sions to Swift "invoke his vision of a filthy modem world, thoroughly debased from the Vergilian world." Modernity is no more "than a collection of improb- able situations, dead metaphors . and a total language of sound and fury without significance" in a shabby time "unable to conceive a past better than itself." Another critic tells us that Scriblerus Secundus is "a perfect example of a HowARD D. WEINBROTis Vilas Swiftian Modem"; yet another says that Fielding demonstrates his "allegiance to and Quintana Research Professor, his scriblerian predecessors. " 1 Department ofEnglish, University ofWisconsin, Madison. 1 The terms "disvalue," owes to Pope, Swift, and of The Tragedy. Martin C. and Ruthe R. Battestin's improbable situations, are from J. Paul Hunter, Henry Fielding: A Life (London and New York: Occasional Form: Henry Fielding and the Chains of Routledge, 1989) includes much characteristically Circumstance(Baltimore: The Johns Hopkins University valuable discussion of the plays and their contexts. For Press, 1975), 39, 37, 37, 34 respectively. For "Swiftian useful essays, see Charles B. Woods, "Fielding's Modern," see Peter Lewis, Fielding's BurlesqueDrama: Epilogue for Theobald," Philological Quarterly 28 Its Place in the Tradition (Edinburgh: Edinburgh (1949): 419-24; T. W. Craik, "Fielding's 'Tom Thumb' University Press for the University of Durham, 1987), Plays," in Augustan Worlds,ed. J. C. Hilson, et al. (New 116; "allegiance," Albert]. Rivero, The Plays of Henry York: Barnes and Noble, 1978), 165-74; Eric Fielding: A Critical Study of His Dramatic Career Rothstein, "In Brobdingnag: Captain Gulliver, Dr. (Charlottesville: The University Press of Virginia, Derham, and Master Tom Thumb," Etudes anglaises37 1989), 75. Pat Rogers uses the same term in his Henry (1984): 129-41; and Nancy A. Mace, "Fielding, Fielding: A Biography (New York: Charles Scribner's Theobald, and The Tragedy of Tragedies," Philological Sons, 1979), while also adding that "there are no signs Quarterly 66 (1987): 457-72. Mace well-demonstrates that the Scriblerians were anxious to recognize Fielding Fielding's parodies of Theobald. as their heir apparent" (47). For other relevant books Several of Fielding's plays have been performed in regarding Fielding's drama, see Jean Ducrocq, Le London in recent years-with critical and popular Theatre de Fielding: 1728-1737 et ses prolongementdans success. We now can applaud the rise of the novelist /'oeuvre romanesque(Paris: Didier [ 1975]); Robert F. while lamenting the decline of the dramatist. We also Wilson, Jr., 'This Form Corifounded': Studies in the can suspect that the notion of Fielding as dour Burlesque Play from Udall to Sheridan (The Hague: Scriblerian relates to the notion of Fielding as perpetu- _Mouton, 1975); Thomas R. Cleary, Henry Fielding: ally Walpole's enemy. This view has been exploded by Political Writer (Waterloo, Ont.: Wilfred Laurier Martin and Ruthe Battestin, Thomas R. Cleary, University Press, 1984); Vincent J. Liesenfeld, The Bertrand A. Goldgar, Robert D. Hume, and Brian LicensingAct of 1737 (Madison: University of Wisconsin McCrea in works cited in this and subsequent notes. Press, 1984); and most particularly Robert D. Hume, See also Thomas Lockwood, "Fielding and the Henry Fielding and the London Theatre 1728-1737 Licensing Act," Huntington Library Quarterly 50 (1987): (Oxford: Clarendon Press, 1988). Hume is the critic 379-93. I am indebted to Hugh Amory, Thomas most concerned with performance history and, not Lockwood, and Eric Rothstein, whose helpful response coincidentally, most insistent upon the broad comedy to this essay does not denote universal approbation. Fielding's Tragedyef Tragedies 21 As Fielding might say, I have only one objection to this verity-namely, that it is not true. It overlooks three troubling contradictions. One is that such dark language makes heavy weather out of so light a play. The second is that if Fielding cloned Scriblerian gloom Pope and Swift should not have been so suspi- cious of him. The third is that Fielding's contemporaries sometimes regarded his burlesques as exemplums of the dangerous dulness that Pope satirized. Fielding's critical friend Thomas Cooke observes regarding one of the chief characters in Tom Thumb (1730), "While ... Doodle's respected, / Othello and Hamlet are wholly neglected. " 2 Though that judgment is excessive, the Tragedy of Tragedies surely is a crude and rude comic farce designed to evoke laughter, banish solem- nity, and entertain us with Noodle, Doodle, Foodle, and a woman named Mustacha. Reconsideration of Fielding's presumed Scriblerian allegiance suggests an alternative reading of the Tragedyof Tragedies.The alternative is consistent with contemporary response and production history. It also helps to explain why Pope was cool to Fielding by suggesting that Pope legitimately could have thought Fielding cool to him. 3 One part of this alternative seems to me demonstrably valid; the other seems to me at the least a plausible if not probable hypothesis. 1. THE ScRIBLERIANs' CREED AND FrnLDING's CREED As the preeminent Scriblerians, Swift and Pope embodied premises more severe than those of Gay and Arbuthnot. Pope's admirer Walter Harte well captures one aspect of their often dehumanizing severity. His Essay on Satire (1730) observes that "The good Scriblerus... displays / The reptile Rhimesters of these later days." From at least 1726 for Swift and 1728 for Pope, these Scriblerians held that the corruption of modern learning was a function of the corruption of Walpolean-Hanoverian government. For Swift, if not wholly for Pope, an enduring republic of letters was possible only in a stable and honest monarchy and ministry wedded to a "country party" and guided by a dominant, protected national religion. Failure to meet such conditions endangers the nation, its best values, and its arts that require continuity with the classical past. The consequence of moral chaos is well exemplified in the change from the dark to the darker final lines to Pope's Dunciad Variorumof 1729 and the Dunciad in Four Books of 1743. In the first, "Thy hand great Dulness! lets the curtain fall, / And Universal Darkness covers all." In the second, "Thy hand great Anarch, lets the curtain fall; / And Universal Darkness buries All." 4 2 Thomas Cooke. The Candidate for the Bays. A Poem Rapsody (1733) he says that "Feilding leaves him .... Written by Scriblerus Tertius (London. 1730), 2, on [W elsted] far behind" as a bathetic poet. The Poems of which we also read that Ben Jonson's plays and rules of Jonathan Swift, ed. Harold Williams, 2d ed. (Oxford: art are abandoned: "Tom Thumb and such Stuff alone Clarendon Press, 1958), 2: 654, line 396. tickle this Age." The theme of displacement of the good by the bad, of the classical rules by modem irreg- 4 For Harte, see An Essay on Satire, Particularly on the ularity, was a commonplace of Scriblerian rhetoric and Dunciad .... To which is added A Discourse on Satires, rage. The Candidate uses some of the Dunciad' s language Arraigning Persons by Name. By Monsieur Boileau of murder, punishment, and banishment, but is far (London, 1730), 14. For Pope see the Twickenham lighter in tone. For another equation of Fielding's farce Edition of the Poems of Alexander Pope vol. 5, The and dulness, see Giles Jacob, The Mirrour: Or, Letters Dunciad, ed. James Sutherland, 3d ed. (London: Satyrical, Panegyrica/, Serious and Humorous, On the Methuen & Co.; New Haven: Yale University Press, Present Time (London, 1733), 3, 13, 14. 1963), Book 3, lines 355-56 (1729); Book 4, lines 655-56 (1743). Subsequent references to the first three 3 Swift is supposed to have cracked a rare smile upon books of the Dunciad Variorum are cited in the text by reading Tom Thumb. Nevertheless, in On Poetry a book and line number. 22 HARVARD LIBRARY BULLETIN On the face of it the Tragedy of Tragediesmay indeed seem to extend the Scriblerian agenda. Fielding of course displays that apparent genealogy in his assumed name, H. Scriblerus Secundus. Like Swift and Pope he uses the familiar device of a speaker undermining his own words while proudly undermining his culture's institutions. The speaker is a pedant who often is spectacularly wrong about much of what he says, whether in the mock-learned Preface or notes at the bottom of the page. Like the Wotton-figure trapped in the footnotes to later editions of A Tale ofa Tub (1704) he explicates the obvious, and like the prime annotator in the Dunciad Variorumhe mistakes the obvious and squabbles with other learned fools. His interpretive guides guide us away from his interpreta- tions. He also suggests that the disruptive Moderns seek to replace, if not to anni- hilate, both the Ancients and Christianity as continuous forces in western culture.
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