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be compared to no contemporary English work of its own kind; and if we seek for its parallel at the time of publication we must go beyond literature to art—to the masterpiece of that great pictorial satirist who was Fielding’s friend. In both Fielding and Hogarth there is the same constructive power, the same rigid sequence of cause and effect, the same significance of detail, the same side-light of allusion. Both have the same hatred of affectation and hypocrisy—the same unerring insight into character. Both are equally attracted by striking contrasts and comic situations; in both there is the same declared morality of purpose, coupled with the same sturdy virility of expression. One, it is true, leaned more strongly to tragedy, the other to comedy. But if Fielding had painted pictures, it would have been in the style of the Marriage a la Mode; if Hogarth had written novels, they would have been in the style of Tom Jones. In the gentler and more subdued Amelia, with its tender and womanly central-figure, there is a certain change of plan, due to altered conditions—it may be, to an altered philosophy of art. The narrative is less brisk and animated; the character-painting less broadly humorous; the philanthropic element more strongly developed. To trace the influence of these three great works in succeeding writers would hold us too long. It may, nevertheless, be safely asserted that there are few English novels of manners, written since Fielding’s day, which do not descend from him as from their fount and source; and that more than one of our modern masters betray unmistakable signs of a form and fashion studied minutely from their frank and manly ancestor.