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> Topic: Plot, Symbols and Themes of Tom
Jones
> Paper
no.2 The Neo Classical Literature
> Name:
Abulhasan H. Aabedi
> Roll no:
01
> Class:
Semester 01
>
Enrollment no.:2069108420180001
> Batch:
2017~19
> Submitted to Department of English MK Bhavnagar University.
>THEMES, SYMBOLS AND PLOT OF TOM JONES
> Introduction:
Henry Fielding was born in
1707 in Lieutenant George Fielding and his wife Sarah. History of Tom Jones a
foundling was published in 1749. Henry died on October 8th of 1754 in
Jonquiere, her Lisbon.
Accordingly to William
Hazlit Fielding’s novels throw massive light on 18th century society of
England, than the whole mass of historical documentary. The entries life of England
including countryside highways, urban and rural society is wonderfully –
presented with the help of graphics and suggestive touches he provided a
remarkably distinct and vivid impression of the externalities of his age. The
history of Tom Jones, a foundling was published in 1749.
PLOT:-
Allworthy discover a baby
boy in is bed. And finds local woman Jermy Jones and her tutor Mr. Partridge
guilty – Allworthy sends Jermy a ways from the country and the poverty –
stricken partridge leaves of his own accord. In spite of the criticism of the
Parish. Allworthy decides to bring up the boy. Bridget marries captain Blifil
regards Tom Jones with jealousy while meditating on money matters captain
Blifil falls dead of an apoplexy. The narrator skips forward twelve years.
Blifil and Tom Jones have been brought up together. Allworthy is the only
person who shows consistent affection for Tom. Tom is wild and Blifil is pious.
Tom frequently steals to support the family of Black George one of Allworthy’s
servants. Tom spends much time with squire Western Allworthy’s neighbor – since
the squire is impressed by Tom’s sportsmanship. Sophia Western squire Western’s
daughter. Falls deeply in love with Tom. Tom has already bestowed his affection
on Molly Seagrim the poor.
When Molly becomes
pregnant, Tom prevents Allworthy from sending Molly to prison by admitting that
he has father he child. Tom’s commitment to Molly ends when he discovers that
she has been having affairs. Allworthy falls gravely ill. He reads out his will
inherit most of his estate. Although Tom is also provided for. A lawyer names
Dowling arrives and announces the sudden and unexpected death of Bridget
Allworthy. Blifil calls Tom a “ bastard ”
and Tom retaliates by hitting. Mrs. Western the aunt with whom Sophia
spent much of her youth, comes to stay at the brother’s houses. She and the
squire fight constantly but they unite over Mrs. Western’s plan to Marry Sophia
to Blifil. Blifil thus beings with courtship of Sophia. Sophia however,
strongly opposes the proposal. Blifil tells Allworthy that Tom is a rascal who
drunkenly about the house and Allworthy banishes Tom from the county. Tom does
not want to leave Sophia, but decides that he must follow the honorable path.
Tom begins to wonder about the countryside. In Bristol he happens to meet up
with Partridge who becomes his loyal servant. Tom also rescues Mrs. Waters from
being robbed and they being an affair a local inn. Sophia who has run away from
Squire Western’s estate to avoid marrying Blifil stops at this inn that Tom’s
bed. The Irish man Fitzpatrick arrives at that inn searching for his wife and
Western arrives searching for Sophia. Sophia stays with her lady relative Lady
Bellaston. Tom and Partridge stay in the
house of Mrs. Miller and her daughters. A young gentle man call Mr. Nightingale
also in habits the house and Tom soon realizes that he and Nancy are in
love. Nancy falls pregnant and Tom
convinces Nightingale to marry her Lady Bellaston and Tom begins an affair,
although Tom privately continues to pursue Sophia. When he and Sophia are
reconciled Tom breaks off the relationship with Lady Bellaston by sending her
marriage proposal that scares her away. She encourages lord Fellamar to rape
Sophia. Squire Western looks Sophia in her bedroom. Mr. Fitzpatrick this begins
a duel with Tom in defending himself Tom Stabs Fitzpatrick with the sword
Partridge visits Tom in jail. Mrs. Western Allworthy and explains that
Fitzpatrick is still alive and has admitted to initiating the duel. Allworthy
realizes Blifil is this very gentlemen and he decides never to speak to him
again. Mrs. Waters also reveal that Tom’s mother was Bridget Allworthy. Mrs.
Miller explains to Sophia the reasons for Tom’s marriage proposal to Lady
Bellaston and Sophia is satisfied. Now that Tom is Allworthy’s heir. Squire
Western eagerly encourages the marriage between Tom and Sophia. Sophia
chastises Tom for his lack of chastity, but agrees to marry him. They live
happily on Western’s estate one around them with kindness and generosity.
> Symbols in Tom Jones:
# The Fur Muff
There are surprisingly few
symbols in Tom Jones, especially given how long the novel is. We think that
part of the reason for this relative lack of symbols is that Fielding keeps
emphasizing the importance of realism and believability in fiction. Literature
that relies heavily on symbolism—on objects and images that actually mean
something else—tends to be less strictly realistic than what Fielding appears
to be going for here.
Still, there is clearly
one thing in the novel that symbolizes Tom and Sophia's love for one another:
Sophia's fur muff. (A muff is a tube of fur or fabric that women used to use to
warm their hands back in the day.) Mrs. Honour is the one who first points out
the deeper meaning of Sophia's muff, when she tells Sophia that she spotted Tom
kissing it and calling it "the prettiest muff in the world"
(4.14.11). Obviously, Tom is using the muff as a stand-in for Sophia herself.
After hearing this romantic
story, Sophia buys into the whole muff-as-symbol thing wholeheartedly. When her
muff accidentally falls into the fire, Sophia grabs it straight out of the flames.
Her passion to save her muff convinces Tom that Sophia must have feelings for
him. So this muff (or at least, the feelings it symbolizes) is what brings our
two love-struck main characters together.
The muff reappears twice more:
at the inn at Upton, where Sophia discovers that Tom is sleeping with Mrs.
Waters, she bribes a maid to stick the muff in Tom's room somewhere where he
will spot it. Tom finds the muff and realizes that he just missed Sophia, and
that she is probably angry with him. And when Tom refuses Arabella Hunt's
attractive proposal of marriage in Book 15, Chapter 12, he takes out Sophia's
muff and kisses it to affirm his loyalty to her. Each time, the muff stands in
for Sophia and for the relationship between the two.
Now, the big question: why a muff,
in particular? It is a pretty common object that Sophia would probably have
carried around with her a lot, so it's a convenient, believable thing for Tom
to notice about his ladylove. It's also a physical object, so Tom can kiss it
whenever he's thinking about Sophia (which happens surprisingly often in the
narrative).
But beyond the explanation of
simple convenience, there is a somewhat ruder interpretation. We'll just come
out and say it: the slang term "muff" (to mean a woman's pubic hair)
was in use even back in the 1740s. We are pretty sure that Fielding
specifically chose a muff to symbolize Tom and Sophia's love because (a) the
pun is lewd and funny, and (b) it emphasizes the sexual tension between the two
characters early on in their relationship, which builds up our suspense about
when these two crazy kids are going to get together.
# Little Tommy
When Tom, Sophia, and Master
Blifil are all kids together, Tom gives Sophia a little bird to raise. She
calls the bird "Tommy" and attaches him to her wrist by a string.
Master Blifil tricks Sophia into lending him little Tommy, at which point Mr.
Blifil releases the bird into the air. The bird flies away and, sadly, gets killed
by a hawk.
Sophia's love for
Tommy-the-bird obviously implies something about her feelings for
Tommy-the-boy. But even beyond the obviously lovey-dovey (bird pun!) symbolism
of this bird, we also think his fate has a deeper meeting. In a few short
books, Tom is going to tie himself emotionally to Sophia in the same way that
little Tommy-the-bird was attached to Sophia's wrist by a string. And then that
link is going to be broken by the cruel, manipulative intervention of Master
Blifil, just as Master Blifil stole Tommy-the-bird from his owner, Sophia.
Like Tommy-the-bird, Tom is
going to be set free to fly a difficult road. So it seems like Tommy-the-bird's
death by hawk is a bad omen for our hero. Luckily, Tom's fate is very different
from little Tommy's. But the twists and turns of Sophia's bird's life strongly
foreshadow the early relationship between Sophia and Tom, before Tom is forced
to leave Somerset to find his own fortune.
# The hundred pound note:
Tom runs through money very quickly. Not
only does he lose Squire Allworthy's five hundred pounds almost as soon as he
leaves home (partly with Black George's help), but he also spends the rest of
his cash quickly on rounds of drinks for his soldier buddies or on charity for
his local highwayman. The point is: Tom is definitely careless with money.
The one exception to Tom's
spendthrift ways is the hundred-pound note that Tom discovers in a small book
that Sophia has dropped on the road to London. Tom hangs onto this
hundred-pound note even when he is desperate for cash, and even when Partridge
pressures him to just spend the money already.
Tom refuses, because he wants
to use this money as a reason to see Sophia again. She is so deeply angry with
him over his relationship with Mrs. Waters that she might refuse to see him
unless he has a definite excuse, like returning a large sum of money that she
has lost.
> Themes in Tom Jones:
#Human Nature
The narrator explains to the
reader in the opening chapter that human nature is “the main provision on
offer” (51). He does not intend to make any judgments on human nature, but
instead wants to present it as a dish would be offered on a menu. Much of the
criticism of Tom Jones was in response to the licentious behavior of characters
such as Molly Seagrim, Mrs. Waters and Lady Bellaston, not to mention Tom Jones
himself. However, Fielding did not want to create a necessarily moral text that
ignored the truth of how people are. He believed human nature has capacity for
good and evil, and wanted to explore those contradictions. Further, it is
important to note that Fielding was not advocating or defending any of the
immoral behaviors of his characters, but merely presenting their actions as
steps on the road to greater wisdom. Indeed, each of the major characters
already mentioned undergoes a learning process, and redemption is offered to
anyone who seeks it.
Molly Seagrim is a passionate
and lusty young woman. She bewitches Tom into his first sexual experiences and
attempts to ensnare him as protector by having his child. Tom laughs when he
discovers she is having an affair with Square, and when he learns he is not the
father of her child. Molly finally settles with Partridge at the end of the
novel, and so ends up with someone to love and support her.
Mrs Waters, or Jenny Jones, is
accused of being Tom’s mother, after which time she leaves the area and
ultimately ends up living unmarried with Captain Waters. She not only carries
on a further affair with Northerton, but also quickly strikes up a dalliance
with Tom. However, she does have a capacity for honesty and gratitude, and so
we are to be happy when she finally settles into a legal marriage with Parson
Supple.
Lady Bellaston, the demirep,
preys on younger men and has an unsavory reputation about town. Nightingale is
quickly able to ascertain that she does not want to be saved from this life of
vice, so recommends that Tom proposes to her to break her ties to him. Shocked
at his proposal and unwilling to make the compromises that marriage would
require, Lady Bellaston dismisses Tom as a villain. She receives no reward in
the narrative.
Tom makes numerous impetuous
decisions and moral errors in the course of the story, but he also exhibits
many positive qualities which balance out his vices. Fielding’s purpose in the
development of his characters, Tom in particular, is illustrated by a comment
from the dedication: “I believe, it is much easier to make good men wise, than
to make bad men good” (37). In other words, through Tom he expresses his belief
that even good men falter, but from folly, not necessarily from evil.
#Hypocrisy
Of all of the weaknesses of
mankind, Fielding viewed hypocrisy as the most pernicious and damaging. When
referring to Master Blifil in book 3, the narrator makes a thoughtful
observation on the menace of his duplicitous ways:
“A treacherous friend is the most dangerous enemy…both religion and virtue
have received more real discredit from hypocrites, than the wittiest
profligates or infidels could ever cast upon them” (130).
The novel seeks to highlight
hypocrisy across the social spectrum through the lens of humor. Goody Seagrim
condemns Molly for falling pregnant, yet it is revealed that she gave birth
within a week of her own marriage. Further, we discover later that she “shared
in the profits of iniquity with her daughter” after Molly’s relationship with
Mr. Square is exposed (217). The hypocrisy of the lower class is further
illustrated when fair Molly is viciously attacked in the church yard after
attending church in a fine dress. They are driven by envy, but disguise it in
moral tones to justify their ire.
Fielding also explores the double
standards of the medical profession. Doctors frequently misdiagnose conditions
as fatal – it happens to Tom, Allworthy and Mr. Fitzpatrick – in order to
increase their earnings. The most ridiculous of these situations occurs when
Captain Blifil is found dead of an apoplexy. Two physicians have been called,
but the patient is already dead. The physicians then both attend on Mrs.
Blifil: “The case of the lady was in the other extreme from that of her
husband; for, as he was past all the assistance of physic, so in reality she
required none” (118).
The arrangement suits both
(remaining) parties, however, as the physicians are earning a fee, and Mrs.
Blifil is seen to be mourning her husband with the appropriate level of grief.
Squire Western changes his
attitude to Tom depending upon how he perceives the young man's circumstances.
Initially, Tom is a great friend of the Squire, and is frequently welcomed in
the Western household. As a young man, Tom’s valiant efforts to save Sophia's
bird endear him to the squire, who proclaims: “I shall love the boy…the longest
day I have to live” (161). However, this sentiment soon changes when he
discovers that Sophia’s love for Tom is an obstacle towards her making a
profitable match with Blifil. The squire roundly condemns Tom and resolves to
keep them apart. He keeps this resolve until Tom’s parentage – and therefore
his rightful inheritance – is revealed. The squire is then keen for the wedding
between Tom and Sophia to happen immediately, and crudely suggests that a
grandchild should be born nine months to the day. Overall, the man professes
true sentiment but is driven solely by greed in the development of his opinions.
Fielding illustrates the
dangers of double standards through even the best of characters. Allworthy
resolves to favor Blifil not because he has faith in the young man’s character,
but because he is not favored by others: “Henceforward, he saw every appearance
of virtue in the youth through the magnifying end, and viewed all his faults
with the glass inverted” (141). We finally learn that Blifil had been deceiving
Allworthy for most of the man's life, but Allworthy facilitates this deceit
through his own actions.
#Marriage:
Fielding was an advocate of a
balanced and happy marriage. He began the novel shortly after the death of his
first wife, Charlotte Cradock, and his deep affection for her is embodied in
the character of Sophia. He hopes to immortalize the memory of Charlotte
through Sophia, as he unabashedly states at the beginning of book 13: “Foretel
me that some tender maid, whose grandmother is yet unborn, hereafter, when,
under the fictitious name of Sophia, she reads the real worth which once
existed in my Charlotte, shall, from her sympathetic breast, send forth the
heaving sigh” (607).
The institution of marriage
is, like the book's other issues, explored through each strata of society. We
see Mrs. Partridge and the “envenomed wrath” with which she attacks her husband
after hearing the speculation that he has made Jenny Jones pregnant (97). This
reflects the anger Mr. Fitzpatrick feels for the lieutenant who is more engaged
by his wife’s wit than by his own. Jealousy and unsuitability abound, and their
destructive effects almost force the story to an untimely end. Fielding employs
an allusion to Shakespeare’s Romeo and Juliet in Sophia’s threat to stab
herself in the heart rather than marry Blifil, and the squire’s own threat to
cast her out if she does not. The reader can see the irony here, in that the
story is brought dangerously close to tragedy over this issue. It is only
resolved when the lovers are allowed to be together, and this is only enabled
by a change in their circumstances, not their affections. The potential for
marriage to engender tragedy remains, even if our heroes escape it through
fortunate revelations.
Before the novel was
completed, Fielding had married Mary Daniel, his housekeeper. She was pregnant
by him, and Fielding braved a public scandal to stand by her. Through the
relationship of Nightingale and Nancy Miller, the novel reflects the potential
for happiness despite a match outside social expectation.
Mrs Western’s several
treatise on marriage exhibit the socially accepted norm of marriage,
particularly for the higher classes. She variously describes marriage as being
considered “…as men do offices of public trust, only as the means of making
their fortunes, and of advancing themselves in the world” (292). This
philosophy is evident in her promotion of Lord Fellamar as a suitable husband
for Sophia, even though he has been physically aggressive to her. She sees only
the financial and social implications, as does Lady Bellaston. She is happy to
court Tom (and several other men, we are led to believe) and to assist him
financially, but is not prepared to subjugate herself socially or materially,
which it what marriage would require.
#Contrast:
Fielding celebrates the contrast
evident in English pantomime, and employs this effectively through the novel.
This is manifest both through the opposing settings of the country and the
city, and through characters and action. The first characters we see in
opposition to one another are Thwackum and Square. Their outlooks and
philosophies are at best complementary, at worst, diametrically opposed:
“Square held human nature to be the perfection of all virtue, and that vice was
a deviation from our nature in the same manner as deformity of body is.
Thwackum, on the contrary, maintained that the human mind, since the Fall, was
nothing but a sink of iniquity, till purified and redeemed by grace” (128).
Squire Western and Mrs. Western are
direct contrasts in their approach towards convincing Sophia to marry as they
wish. He insists on confining his daughter whereas Mrs. Western favors more
civilized means.
Molly and Sophia are both objects of
Tom’s affection (though not, of course, simultaneously), and yet have very
different qualities. Molly is passionate, forthright and appeals to Tom’s
physical yearnings, but Sophia rules both his heart and head.
Even within the tone of the text, it
is possible to distinguish contrast. Tom is at his most wretched as he
languishes in prison, condemned for murder and guilty of incest. His fortunes
are rapidly reversed as he is revealed to be not guilty on all counts, and he
is ultimately respected by those he was earlier charged with offending.
Fielding himself was a Protestant
Latitudinarian. This largely means that he believed humanity was able to
demonstrate both good and evil, and was free to choose their own direction. His
use of contrast in the novel reflects this philosophy as Tom discovers, through
his successes and mistakes, the path to happiness.
#Fortune:
The narrator often directs the
reader to some event or reaction which is prompted by Fortune. Fortune is
personified in the text as if it is a physical entity or active constituent of
the plot. It is not viewed as a supernatural force; Fielding goes to great
pains to condemn the use of supernatural devices as a simple solution to
challenges of plot or characterization. Instead, Fortune describes how a
character’s own qualities are projected into events and situations. Allworthy
is described as “the favorite of both Nature and Fortune” (53). It is apparent
that the favor he has is as much propagated by his own benevolent actions as by
any mysterious force. Tom in particular feels that Fortune acts against him,
and it is only towards the end of the novel that he realizes that his fortune –
or lack of it – is his own creation: “But why do I blame Fortune? I am myself
the cause of all my misery” (815).
He has been subject to good
fortune as well as bad. When ill, Allworthy tells the boy that he has “much
goodness, generosity and honour” (228). He is offered Sophia’s lost pocketbook
because he helps the beggar, and his greatest ally - Mrs. Miller - takes his
side because of this and other selfless kindnesses.
#Wisdom:
Wisdom is Tom's ultimate goal,
even if he does not initially realize it. Once he attains wisdom, he reaches
the end of his journey and the path is open towards Sophia. In particular, his
wisdom lies in accepting that he, not Fortune, determines his path.
Tom’s adventures allow him to amass
wisdom. His relationship with Molly teaches him that women may not be constant.
His devotion to Black George, and the theft of his bank notes by the same, show
him that the desire to rise from poverty can be stronger than friendship.
Blifil’s cruel attempts to destroy his half brother indicate that greed can be
stronger than family loyalty.
There are also positive lessons
that facilitate Tom’s ultimate wisdom. Simple kindnesses, such as he shows to
the beggar and the highwayman, can bring rich rewards. Love can remain constant
despite adversity; he wins his Sophia in the end.
The chapters where the Man of
the Hill tells his story help Tom acquire wisdom, even though he only hears of another's
experience. From the Man of the Hill, Tom learns the profitless path of
gambling, and various truths offered by foreign travel.
Tom’s experiences in London
impart further wisdom. He learns of the predatory nature of ladies such as Lady
Bellaston. Nightingale teaches Tom how to navigate polite society, and he is
rescued from penury by the intervention of friends he had loyally supported.
Perhaps Tom’s greatest lesson
is to respect himself and those around him. The end of the novel reveals the
root of Tom and Sophia’s successful and enduring union:
“They preserve the purest and tenderest affection for each other, an
affection daily increased and confirmed by mutual endearments, and mutual
esteem” (874).
Fielding certainly wants us to remember,
though, that even the wisest of men is prone to lapses in wisdom. Allworthy is
revered for his kindness and wisdom, and yet, “no man is wise at all
hours" (131). Indeed, through his terrible mistake in trusting Blifil over
Tom, many people experienced much heartbreak in the story.
#Money, Wealth and Greed:
Money - and the temptations it
offers - affects most of the story. Part of Tom's virtue is that he is
blissfully ignorant of the greed and negativity which the desire for money can
inspire. When he leaves Paradise Hall, he is given money by Allworthy, but
barely realizes it; at a result, he loses it. He scrapes by, but refuses to
cash the banknote in Sophia’s pocketbook, even when prompted by Sophia to do
so. His personal poverty prompts him to accept the advances of Lady Bellaston,
but he almost immediately gives that money to Mrs. Miller to help her cousin.
Most other characters show more
weakness in this area. The Man of the Hill began his downward spiral by
stealing, and then by being drawn into gambling. Further, Ensign Northerton is
willing to rape Mrs. Waters, who had been his loyal companion, for her jewelry
and money. We see that Mrs. Harriet Fitzgerald lost favor with her aunt and
gained a philandering husband all because he wanted her wealth to pay off his
debts. He imprisons her because of her protests, but her release is equally
facilitated by money. As she tells her cousin, “…gold, the key to all padlocks,
opened my door and set me at liberty” (536).
Of course, the most pernicious
example of greed comes through Blifil. Both he and his father are undone by
their greed. Captain Blifil dies of an apoplexy as he lusts over his
brother-in-law’s lands. Because of his greed, he dismissed his brother
following the match with Bridget, and his brother died of a broken heart over
it. Of course, one could argue that what kills Dr. Blifil is actually that he
has lost his link to the inheritance represented by Bridget. Finally, the young
Blifil exhibits incessant cruelty towards his uncle and towards Tom solely so
he can keep the Allworthy inheritance for himself.
Part of Tom's ultimate wisdom is
in realizing that men are flawed, and must be forgiven for their weaknesses. He
shows a great understanding of greed when he forgives Black George and Blifil
for their trespasses at the end of the novel.
> Conclusion:
Fielding was a writer for the
theater before he was a novelist and one of the strongest impressions that the
reader gets from ‘Tom Jones’ is that of
dramatic handling of scene and act : the sharp silhouetting of characters and
their grouping in such a manner as to avoid any confusions, even in so populous
a drama. Tom Jones (1749) is rightly regarded as Fielding’s greatest work and
one of the first and most influential of English novels. At the center of one
of the most ingenious plots in English fiction stands a hero whose actions were
in 1749, as shocking as they are funny today.
Works Cited
<https://www.shmoop.com/tom-jones-book/symbolism-imagery.html>.
<http://www.gradesaver.com/the-history-of-tom-jones-a-foundling/study-guide/themes.>.
