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Theory of Realism
Fielding defined novel as
Prosai-comic-epic Writing and described novels’ nature from the following
three aspects. First novel is prosaic. Second, novels are comic but not
weird. Last but the most important, novels are realistic. By comparing
novels and other genres, such as, epic, drama, romance, etc., Fielding
clearly affirmed novels’ position in literature. Fielding believes that
novels’ plot and characters are much broader and much more common than those
in drama. Novels are the description of nature and reality. We could see
these from his works. Fielding made a close and constant study of real men
and women in real life. He gave us genuine pictures of men and women of his
own age. The central characters of his works are common earthly men with
earthly interests, needs and passions, which Fielding portrays in action, in
conflicts and in development. Being a great and truthful artist, he
reproduced human nature faithfully and accurately. His characters were drawn
from the living human nature, which he observed in the people around him. We
find a group of living characters in his novels.
Fielding insisted on the crucial importance
of mixing with people, and of personal experience with people to obtain an
all-out knowledge of human nature. His profound knowledge of human nature
was mainly acquired by his constant intercourse and association with all
sorts and conditions of human beings. In a word, Fielding’s definition broke
novels away from the heroic format of epic and closed the relationship
between literary creation and real life.
As for the relation between imagination and
reality, Fielding agreed with Aristotle that literature was the imitation of
existing objects. However, Fielding further restricted novels’ imitating
scale. He believed that novels’ truthfulness did not refer to the
correctness of the exact and specific background, but the credibility of the
stated facts in novels. Truthfulness of art is a refinement and creation of
objective reality. Excellent art is a perfect combination of reality and
imagination. Most of his characters are a combination of observation and
imagination, of experience and invention. An artist should not superficially
record the events or actions, but should penetrate into the essence. This
process must need imagination and creation.
Fielding also stressed the function of
authors and proposed to set up a communicating channel between readers and
writers. As a qualified novelist, he/she should have sharp perception and
wise judgment to the world, a profound knowledge and experience, and a
benevolent heart to people. Novelists should tell the aim of their writing
to readers, instruct and educate people. In Fielding’s novels, he always
involved himself in the story with a purpose not only of constructing story
easily but also of educating people. This kind of involvement permeates
everywhere in his novels.
It is only Fielding who proposed a
relatively integrated novel theory in 18th century England. He has been
called the “father of the English novel.” His admirers, Goethe and Schiller,
Stendhal and Heine cared a lot for Fielding’s novel. He is “the Prose Homer
of Human Nature” according to Byron.
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