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.
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