The mockery of the human mind pdf download english

On blaming Jenny Jones for having a bastard son, she is described by Mrs. Bridget on the other hand, states that she is one of those "good, honest, plain girl s " who are deceived by wicked men. Referring to epithets to characterize the nature of persons, serves as a means of measurement and judgment.

Sometimes the public judgment aligns that of the narrator, as is the case when Bilfil exposes the illicit catch incident of Tom and Black George? Epithets in the above-mentioned quotation are made obvious through inherent irony. Epithets also mirror the evaluation of the community. These epithets give the reader information which aids him in attempting judgment.

This is the case of Jenny Jones or Mrs. When Black George has met Tom after being dismissed, he is anxious lest Tom asks to borrow some money although "he had … amassed a pretty good sum, in Mr. Partridge seems to know little about George in comparison either with Tom or with the reader. George appears in a different air, near the end of the book.

The theme of the novel, however, suggests that the outward appearance of a person could lead to delusion and it is the prudence and the acute insight of the reader that unravel connotations. The last sentence in the quotation maintains inherent meaning, either learning is among other professions that are worthy of commendation or his learning is terribly ranked.

A little bit later, he is seen afraid of his wife. His motives when the reader has met him at Hambrook presents him in a different view, he wishes to accompany Tom in his military pursuit, in which, he sees an opportunity to persuade Tom to come back home in order to gain a reward from Allworthy.

Later his cowardice is reaffirmed, when he is afraid to take part in the battle between Tom and Northerton to rescue Mrs. He is seen shivering on his knees, afraid of being shot by the highwayman. He is also afraid of a ghost, which has been participating in the performance of Hamlet.

A different presentation of Partridge is celebrated, suggesting that his probity and adherence to moral codes are not so far underscored. This presentation is maintained when he offers to borrow two horses from an inn, "now as the honesty of Partridge was equal to his understanding, and both dealt only in small matters, he would never have attempted a roguery of this kind, had he not imagined it altogether safe". When Partridge realizes in London that Tom has entirely no money, he urges him to break his relationship with Sophia and return to Allworthy.

Just as it is revealed late in the book that Black George has a "compassionate disposition", it is the same, that Partridge is not ill-natured or hard-hearted, but good natured as was proposed by the narrator, early in the book. The scenes, in which Partridge appears, shed no light on his good nature, as when he rejects to give a shilling to a lame beggar.

He seems to be interested in financial affairs. Each case has its own justifications. The context emphasizes the opinion of the world rather than that of the narrator. The character of Partridge is displayed, to be neither so good, nor so bad.

In both the cases of Partridge and Black George, there are inconsistencies; the characters are presented in a certain view, contrasted a little bit later by another appearance.

When the reader next meets him he is presented in a different air, seems to be a niggard. When Tom is acquainted with the terrible situation of Mrs.

The narrator points out that, there are those who consider charity something which deserves reward or praise, whatever the quantity of donation is, while, there are others who consider charity a duty which is either to be perfectly done or not at all. Nightingale is redeemed by conciliating his affair with Nancy. The concept of chastity seems to be baffling in examination as much as the concept of charity.

The narrator is aware to differentiate love from lust, thus allowing the reader to excuse the beahviour of some characters and denounce the behavior of others. The narrator exploresthe wide meaning of love and gives an answer to those who ignore the existence of love.

The narrator adds that love is opposed to hunger and is part and parcel of benevolence. Thus love is independent of sexual desires which are associated with hunger or more appetite. Sometimes, sexual desires become a part of love and thus they are excusable; but when they become a part of hunger or more appetite, they arouse contempt. Jones retires into the bushes with Molly because one woman is better than none.

The effects of appetite seem to align those of benevolence or pure love. The esteem and gratitude, Tom cherishes for both Molly and Sophia are the effect of his attraction to them.

Attraction seems to encourage benevolence rather than the latter promotes the former, as being suggested by the essay on love. If love is incorporated with emotions which aim at the happiness of others, then Tom loves both Molly and Sophia.

Molly is no more than a whore, like those who marry men whom they dislike and abhor, only for their fortunes. There are two kinds of appetite that are noteworthy; appetite that satisfies itself at any rate and appetite that could be kept under control when its satisfaction would probably cause the misery of others.

VI, p. There are some people who ignore the existence of love in the human heart and in the meantime, they are incapable of understanding benevolence, since they are only capable of mere appetite.

Later on the narrator presents Mrs. It is uneasy to bring to consistency, Mrs. Nothing dictates her conscience as long as, what satisfies her pleasures, does not harm anybody. Her benevolence which has been concealed, is unearthed when Tom is put in jail for wounding Fitzparick, with whom Mrs. Waters has kept company since their departure from Upton. Patridge realizes that Mrs. Waters resembles Benny Joes, as both see it natural to embark upon incest.

Yet, it is the discovery that Benny and Mrs. Waters are the same person that adds irony to the matter. VII, p. Despite, the exhortation and the moral lesson given by Allworthy to Tom and Jenny, neither of them seems to obey the exhortation nor respond to the lesson. Her sexual freedom which unquestionably lay emphasis for denouncing her, seems, after all, one of the elements which underscore her sympathetic nature and benevolence.

The man to whom she owes happiness at Upton, is the men to whom she wishes happiness in the arms of another woman. Fellamar, at the beginning attempts to prove the success of honour, by approaching.

Building his opinion on a false view of honour, Fellamar continues his relationship with Bellaston, because he feels himself owing much to her kindness.

XII, p. Chastity seems to be meaningless as being suggested by Fielding. Molly despite her unchastity seems to be likeable. Square, on the other hand, being an advocator of moral lessons, is degraded in the eyes of the reader for working in the opposite side to his advocacy and proving his weakness on attempting a sexual relationship with Molly. Moreover, Fellamar attempts rape, only to prove his manhood rather than to satisfy an appetite. Jonny Jones is seen in a view less strict than that presented by Allworthy.

In the dialogue between Mr. Bilfil further illustrates that the man who does help others materially is merely encouraging vice to triumph over virtue, as long as such aid is extended to those who do not deserve it. It is notably that Bilfil is talking about Partridge. Fielding also advocates that charity consists in the relief of suffering, which comes in line with the doctrines of the low-church.

There are cases which reveal Mr. Allworthy less than completely generous. The first case is that which unfolds in the way he deals with Partridge. Allworthy questions Deborah Walkins who affirms the subject of debate. In a further stance, Partridge is proved guilty in the eyes of Mr. Allworthy is convinced by the indictment launched against Partridge by his wicked and wild wife concerning the fact; that Partridge is the father of one of the two bastards brought by Jenny Jones and thus, he decides to postpone judgment until Jenny can appear as a witness.

According to such circumstances Partridge and his wife are deprived of much of their income which has been taken from their school. The next time the reader meets Partridge is when Tom has encountered him at an inn working as a barber. The fate of Partridge has been unknown for the reader within a number of intervening years, until it is only unraveled in the end of the story. The magistrate, Allworthy, seems less interested in that issue in comparison with his anxiety to discover the true parentage of Tom, which is a mark of causal injustice.

II, p. These alterations might probably have been set right, had not Master Bilfil unluckily insisted on a promise of secrecy from Mr. III, Ch. In addition to that Bilfil out of his malice and ill-intentioned purpose fabricates stories on Tom to distort his image before Allworthy. VI, Ch.

XI, p. Allworthy afterwards dismisses Tom with a sum of money to start a new livelihood. Allworthy, he should blame the rigour of his sentence. The term "weak" or "weakness" in the above mentioned passage becomes associated with compassion. First of all, Jones appears in a very bad position, and unfortunately the evidence is against him, thus, the decision for punishing him could not be rejected.

Although, sometimes he attempts hasty conclusions and gives an ear to hearsay and rumours, yet it is out of fear to encourage vice which projects him to such an attitude. It seems in the eyes of Allworthy, that it is better to give alms than to give one a good opinion.

As long as, Allworthy sees that the three men he judges are unquestionably guilty, he regards it immoral to release them without punishment. Judgement which is accompanied by mercy and compassion seems to be a difficulty for Fielding. Probing the characters of Tom end Allworthy as judges is also the focus of excavation.

The highwayman suggests to take Tom to his house to prove the veracity of his story and he has highly agreed when Tom has accompanied him, that Tom no longer doubts him. Tom extends the poor man a couple of guineas as soon as he has felt pity for him.

Tom giving the highwayman a sum of money to provide for his family, seems to follow the example of Allworthy giving Black George the same amount of money to serve his family.

Similarity worked out by the attitudes of both Allworthy and Tom as regards their financial aid to the poor, seems to be disparity in their disposal, as the former provides money which is excessive to his needs, the latter grants money of which he is in dire need. XIV, p. Tom seems to be encouraging a criminal, namely, the highwayman, as long as he rejects to verify his story.

It is the duty of Allworthy to settle or resolve his judgment for the benefit of the society and it is his zeal for justice which does not allow his benevolent impulses to affect his judgment.

Two further attitudes reflect the different perspectives of Tom and Allworthy. Tom also attempts to extend monetary aid to Bilfil and promises to help him to be reconciled with Allworthy. It is worth pointing out, that Allworthy is willing to forgive, only in fulfilment of the religious principles, while Tom who is really harmed by Bilfil, is ready to help and most charitable from the depth of his heart.

The concept of charity is complicated by the two above mentioned scenes. The question is, whether mercy, compassion, and forgiveness contradict justice or not? Although the reader admires his generous spirit, yet it is not concluded that his ethical standard is the ultimate measure for trespasses launched by some against others.

It is right that Tom forgives and in the meantime it is right that the culprit gets his deserts. A pressing problem imposes itself, while the religious doctrine asks for forgiveness, the laws of justice ask for punishment see Haverkate, ; Glucksberg, ; Carston, ; Chen, ; Jorgensen et al.

To leave Bilfil without punishment is mistaken mercy and pernicious to society, as long as it encourages vice. Those who attempt to be charitable will run the risk of encouraging vice and diverging the laws of justice. On the other hand, if they attempt to fulfill the obligations of justice, they might be condemning others. Thus in neither cases, they have no confirmation of judging correctly, since the evidence is not sufficient to convey the truth.

The difficulty appears in being both a Christian and a social man. Since judgment represents a vital importance, a judge has to collect all information possible and be careful of issuing hasty and rapid sentence. All people play the role of magistrates, either judging others or being themselves subject to judgement. A judge has to work in accordance with the laws of the religious doctrine and the laws of man.

Fleming , p. The London in which Fielding spent most of his life was a world of literary and political ferment, an age of factionalism in the arts, with the Tory Wits Jonathan Swift, Alexander Pope, John Gay, John Arbuthnot allied against Colley Cibber, the poet laureate and self-proclaimed literary spokesman for the British Isles.

It was a time, also, of great political controversy, with the ongoing conflicts between the Tories and Jacobites about the questions of religion and succession. It is through the role of the narrator that he most clearly and successfully experiments in the methods of teaching a moral lesson. Muffs first appeared on the arms of eminent courtesants in Venice in the fifteenth century, and this accessory arrived in England, by way of France, around Chirman-Campbell, , p.

Since their invention, muffs have been political, enmeshed in a nexus of capitalism, nationalism, and gender politics. In both, the materiality of the female body and the materiality of the accessory are conflated to produce the double meaning Fleming, , p. The muff became one of the most popular metonyms in the period Wallace, First, she complicated earlier readings by scholars who have argued that the government of Sofia is an allegory for the government of the nation.

According to Johnson , p. De Ritter , p. Engel , p. In this regard, Pateman , pp. More specifically, Pateman , p. In this connection, Fleming , p. Relatedly, Pateman , p. By using a metonym for sex tight to discuss political right, Fielding broadens the contract analogy into an allegory designed to dissuade his readers from what he considers to be the egregious arguments of Jacobitism Fleming, , p. As Coley points out, Fielding, as a political operative who wrote anti-Jacobite pamphlets for the Hanoverian government, was highly aware that Jacobites used accessories to express their loyalty to the Stuarts.

According to Fleming , p. Blackwell , p. In conclusion, the linguistic gymnastics that muff jokes perform to elicit laughter are indicative of a culture that understands women as simultaneously persons and things. As Fleming , pp. Their comedy speaks to a legal system that shifted between viewing women as persons or things, as proprietors or as vehicles of property transfer, depending on what was best for the court, the estate, or the monarchy.

Fielding has proved himself not only a successful eighteenth century novelist, but also a master-key to the English novel at large. Such skills and knowledge have enabled him to set up a panoramic view of English life with consummate excellence and success. Such device does not only invite the reader to judge these traits only in the characters but also to explore them in human nature as well as in the depth of his own nature. The author may behave as a teller, directly addressing the reader and asking questions.

He may announce his presence through one of the characters of the artistic activity or through an exposure of an autobiographical experience. The author may also behave as an objective narrator.

Fielding is an intrusive author and intrusive authors at large do not only present an artistic work but also interpret it. Intrusive authors declare their presence directly in an artistic formation. Fielding through the digressive tales of the two books has managed to employ the first person narrative viewpoint within the framework of an exterior third person narration. It is through the narrative devices that an author incorporates biographical or autobiographical narrative forms and such works which have to do with the real world are didactic.

Arguments have been launched to differentiate between narration and description, yet it has been revealed that narration and description are not discriminated and both are placed under the genre of narrative. Through the narrative stratagems, Fielding conveys didactic lessons in an attempt to force the readers to adopt a sound judgment about the actions and the characters. In case that the reader is being able to disclose the hidden reality of the text, then he will also be able to unveil the concealed reality of himself.

The negative form sets up a contrast that brings about these perplexing norms which in their turn set out an explicit understanding of the depicted idea.

Fielding extends the role of the narrator in Tom Jones , as teller of the tale, as moral guide, and as literary commentator and critic.

Each of these voices was heard in Joseph Andrews , but here they come together in a unique narrative persona. Adopting the role of the stagecoach traveler, the narrator speaks directly to his fellow passengers, the readers.

He is free to digress and comment whenever he feels appropriate, and there is, therefore, no need for the long interpolated tales such as appeared in Joseph Andrews. The reader learns how to live the good Christian life because Tom learns that lesson.

The structure of Tom Jones is based on the secularization of the spiritual pilgrimage. Tom must journey from his equivocal position as foundling on the country estate of Squire Allworthy Paradise Hall to moral independence in the hellish city of London. He must learn to understand and control his life.

When he learns this lesson, he will return to the country to enjoy the plenitude of paradise regained that providence allows him. He must temper his natural, impetuous charity with the prudence that comes from recognition of his own role in the larger social structure.

In precise terms, he must learn to control his animal appetites in order to win the love of Sophia Western and the approval of Allworthy. This lesson is rewarded not only by his gaining these two goals, but also by his gaining the knowledge of his parentage and his rightful place in society. He is no longer a "foundling". Tom Jones adapts the classical symmetry of the epic in a more conscious and precise way.

The novel is divided into eighteen books. Some of the books, such as 1 and 4, cover long periods of time and are presented in summary form, with the narrator clearly present; others cover only a few days or hours, with the narrator conspicuously absent and the presentation primarily scenic.

The length of each book is determined by the importance of the subject, not the length of time covered. The books are arranged in a symmetrical pattern. The first half of the novel takes Tom from his mysterious birth to his adventures in the lnn at Upton; the second half takes him from Upton to London and the discovery of his parentage. Books 13 through 18 take Tom to London and begin with his affair with Lady Ballston.

The presentation of characters and the irony maintained in the book is not the ultimate investigation, but the narrative role and the narrator also contribute to the bulk of the whole work. Authors and readers are not the only characters taking part in a fictional work, but rather narrators play a pivotal role in the discourse of fiction. Fielding also attempts to follow the path of the historian who keeps himself detached from the text. He maintains the principle of objectivity and asserts his role as selector and organizer.

These novels vividly capture the diversity of experience in the physical world and the underlying benevolence of natural order, embodying them in a rich array of the ridiculous in human behavior. These elements are held together by the voice of the narrator—witty, urbane, charming -who serves as moral guide through the novels and the world. Thus, beyond the comic merits of each of the individual novels lies a collective sense of universal mora] good.

The voice of the narrator conveys to the reader the truth of that goodness. Although in Tom Jones Fielding still schematically associates characters with particular moral values, the range of characters is wider than in his previous novels.

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