Travels through France and Italy

Оглавление

Tobias Smollett. Travels through France and Italy

INTRODUCTION By Thomas Seccombe

I

II

III

IV

V

VI

VII

LETTER I

LETTER II

LETTER III

LETTER IV

LETTER V

LETTER VI

LETTER VII

LETTER VIII

LETTER IX

LETTER X

LETTER XI

LETTER XII

LETTER XIII

LETTER, XIV

LETTER XV

LETTER XVI

LETTER XVII

LETTER XVIII

LETTER XIX

LETTER XX

LETTER XXI

LETTER XXII

LETTER XXIII

LETTER XXIV

LETTER XXV

LETTER XXVI

LETTER XXVII

LETTER XXVIII

LETTER XXIX

LETTER XXX

LETTER XXXI

LETTER XXXII

LETTER XXXIII

LETTER XXXIV

LETTER XXXV

LETTER XXXVI

LETTER XXXVII

LETTER XXXVIII

LETTER XXXIX

LETTER XL

LETTER XLI

Отрывок из книги

Many pens have been burnished this year of grace for the purpose of celebrating with befitting honour the second centenary of the birth of Henry Fielding; but it is more than doubtful if, when the right date occurs in March 1921, anything like the same alacrity will be shown to commemorate one who was for many years, and by such judges as Scott, Hazlitt, and Charles Dickens, considered Fielding's complement and absolute co-equal (to say the least) in literary achievement. Smollett's fame, indeed, seems to have fallen upon an unprosperous curve. The coarseness of his fortunate rival is condoned, while his is condemned without appeal. Smollett's value is assessed without discrimination at that of his least worthy productions, and the historical value of his work as a prime modeller of all kinds of new literary material is overlooked. Consider for a moment as not wholly unworthy of attention his mere versatility as a man of letters. Apart from Roderick Random and its successors, which gave him a European fame, he wrote a standard history, and a standard version of Don Quixote (both of which held their ground against all comers for over a century). He created both satirical and romantic types, he wrote two fine-spirited lyrics, and launched the best Review and most popular magazine of his day. He was the centre of a literary group, the founder to some extent of a school of professional writers, of which strange and novel class, after the "Great Cham of Literature," as he called Dr. Johnson, he affords one of the first satisfactory specimens upon a fairly large scale. He is, indeed, a more satisfactory, because a more independent, example of the new species than the Great Cham himself. The late Professor Beljame has shown us how the milieu was created in which, with no subvention, whether from a patron, a theatre, a political paymaster, a prosperous newspaper or a fashionable subscription-list, an independent writer of the mid-eighteenth century, provided that he was competent, could begin to extort something more than a bare subsistence from the reluctant coffers of the London booksellers. For the purpose of such a demonstration no better illustration could possibly be found, I think, than the career of Dr. Tobias Smollett. And yet, curiously enough, in the collection of critical monographs so well known under the generic title of "English Men of Letters"—a series, by the way, which includes Nathaniel Hawthorne and Maria Edgeworth—no room or place has hitherto been found for Smollett any more than for Ben Jonson, both of them, surely, considerable Men of Letters in the very strictest and most representative sense of the term. Both Jonson and Smollett were to an unusual extent centres of the literary life of their time; and if the great Ben had his tribe of imitators and adulators, Dr. Toby also had his clan of sub-authors, delineated for us by a master hand in the pages of Humphry Clinker. To make Fielding the centre-piece of a group reflecting the literature of his day would be an artistic impossibility. It would be perfectly easy in the case of Smollett, who was descried by critics from afar as a Colossus bestriding the summit of the contemporary Parnassus.

Whatever there may be of truth in these observations upon the eclipse of a once magical name applies with double force to that one of all Smollett's books which has sunk farthest in popular disesteem. Modern editors have gone to the length of excommunicating Smollett's Travels altogether from the fellowship of his Collective Works. Critic has followed critic in denouncing the book as that of a "splenetic" invalid. And yet it is a book for which all English readers have cause to be grateful, not only as a document on Smollett and his times, not only as being in a sense the raison d'etre of the Sentimental Journey, and the precursor in a very special sense of Humphry Clinker, but also as being intrinsically an uncommonly readable book, and even, I venture to assert, in many respects one of Smollett's best. Portions of the work exhibit literary quality of a high order: as a whole it represents a valuable because a rather uncommon view, and as a literary record of travel it is distinguished by a very exceptional veracity.

.....

"His account shows also the absence of hopelessness which is a characteristic state of mind in patients with pulmonary tuberculosis.

"I do not think that the opinion of the Montpellier professor deserves Smollett's condemnation. It seems to me both careful and sensible and contains all the knowledge of its time. Smollett, with an inconsistency not uncommon in patients who feel that they have a serious disease, would not go in person to the Professor, for he felt that from his appearance the Professor would be sure to tell him he had consumption. He half hoped for some other view of the written case in spite of its explicit statements, and when Professor F— wrote that the patient had tubercles in his lungs, this was displeasing to poor Smollett, who had hoped against hope to receive—some other opinion than the only possible one, viz., that he undoubtedly had a consumption certain to prove fatal."

.....