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Savanah Mandeville

English 371

Dr. Murphy

28 September 2012

Joseph Andrews: The Comedic Epic

Henry Fielding boldly claimed that his 1741 novel, Joseph Andrews, was a “comic epic-

poem in prose.” But what is a comic epic? If Fielding’s words are true, a comic epic is sort of

like a parody. In Joseph Andrews many of the style, plot, and character elements of the epic

genre are present, but there are humorous changes that mockingly place the Epic in an ordinary

light. Epic-style speeches are reduced to scandalous subplots. The journey taken by our hero is

over the English countryside, not all of Earth and the Heavens. Epic battles are replaced with

barroom brawls. These, among many others, are ways that Henry Fielding was able to write an

epic and set it in 18th century England. There’s no way it couldn’t have been a comedy.

The very beginning of Joseph Andrews uses some substitutions for the way traditional

epics began. Most epics started out with a statement of theme by the author. The very first

paragraph of Joseph Andrews is in Fielding’s own voice stating, “It is a trite but true

Observation, that Examples work more forcibly on the Mind than Precepts…A good Man

therefore is a standing Lesson to all his Acquaintance…” (61). What we, as readers, can take

from that is we are about to embark on a novel of moral instruction with a “good man” as our

example to follow. Fielding goes on to claim that, “But as it often happens that the best Men are

but little known, and consequently cannot extend the Usefulness of their Examples a great way;

the Writer may be called in aid to spread their History farther…” (61). The writer may be called?
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Called by muses perhaps? I digress. What Fielding is doing here is stating his purpose for

writing, or in epic terms is stating the theme of his work.

Another typical approach for opening an epic is in medas res. Joseph Andrews’

connection with the novel Pamela by Samuel Richardson give it a story within a story feel. In

the first couple of chapters there is much discussion of Joseph’s chastity being all the more

crucial because of his sister, Pamela’s, reputation of being so virtuous. So, in this way, we are

introduced to Joseph’s most significant, arguably one of his few, personality traits by having to

draw inference on a previous story.

The overall construction of the novel in terms of diction and syntax mimics the traditional

epic style. One key element of the epic is the use of epithets and similes. Fielding achieves this

effect in a humorous way in how he chooses to name his characters. The examples are endless.

We have Lady Booby, an upper-class woman given a silly name to mirror her ridiculous antics;

Mrs. Slipslop, a haughty housekeeper with a sloppy vocabulary; Tittle and Tattle, two town

gossips; Miss Grave-airs, a young lady who takes her position in society a bit too seriously;

Fanny Goodwill, Joseph’s love interest with perfect virtue; Beau Didapper, a young Gentleman

with a hopping gait like the little bird he was named for.

On the other hand, Fielding uses a lot of formal, elevated style in Joseph Andrews to give

it an epic effect. One way this is achieved is through long, complex sentences. There is more

than one instance where a single sentence spans the length of half a page. Fielding’s own

apparent regard for classical education comes through often in the novel and further attributes to

the elevated style through innumerable insertions of Greek and Latin phrases and frequent

references to ancient philosophy and literature (and not surprisingly, ancient epics).
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Fielding’s interest in classical education is presented in the novel from the mouth of

Parson Adams, and Adams rarely lacks something to say on the topic. In traditional epics, the

use of long lists or catalogues of places or people was common. We see a comical substitution

for this when Adams begins talking about ancient literature. For example, in the scene where the

three travelers stay with the country family for the night Adams gets into a discussion on

classical literature with the “Master of the House.” Once Adams gets started, he goes on to name

near thirty mythological characters, places, and ancient authors altogether. His speech spans two

full pages (209-211).

Similar to Adams’ long winded accounts on classical literature, the novel presents epic-

like speeches in other ways. There are a few instances where a character will begin a discourse

on some topic that will cover a chapter and does nothing to advance the plot. Chapter Five of

Book Three is dedicated to Adams’ opinions on private school versus public school. The

beginning of the following chapter devotes near two pages to “Moral Reflections by Joseph

Andrews” (239). Finally, Chapter Ten of Book Three is titled “A Discourse between the Poet

and Player; of No other Use in this History, but to Divert the Reader.” Obviously, Fielding isn’t

hiding that the long speeches are unnecessary, and he might even be mocking the classical epic.

This same technique is evident through the use of subplots. The story of Leonora and the life

story of the Gentleman the three travellers stay with can be constituted as epic speeches as they

are told orally, span many pages, and do not advance the plot. Like the aforementioned speeches

they simply present the reader with some ideas on morality and the arts.

So far, I have discussed various structural aspects of Joseph Andrews that support its

“epic comic in prose” style. The numerous plot techniques are not to be ignored though. In

traditional epics, our heroes were forced to undertake arduous journeys, encounter ugly villains,
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and enter battle. Through all of these obstacles, the hero’s super human strength was able to help

him reach his goal. In Fielding’s own humorous way, our hero, Joseph Andrews must overcome

all of the same obstacles. The arduous journey is obvious, as the course of thirty-eight chapters

is dedicated to Joseph’s travels only interrupted by his recovery time at the Tow-Wous’s Inn.

And, like the epic, Andrews, Adams, and Fanny face vile people along the way who try to thwart

their plans. In fact, nearly every person the trio meets on their journey is of poor character and

inferior morality. We meet Mrs. Tow-Wous whose greed and stinginess might have killed

Joseph. Later, we meet Parson Trulliber, who, though a man of God, has the same vices as Mrs.

Tow-Wous. It’s notable that in traditional epics, the villain was usually some huge, nonhuman

monster with supernatural powers. Fielding makes a vivid observation that the sins of human

beings can be just as dangerous. As far as entering battle goes, it’s actually Parson Adams who

does the most fighting. His unbending belief system and hot temper get him into quite a few

physical scrapes.

The only times Andrews “goes into battle” is in defense of Fanny. The worst group of

villains along the way is the group of hunters, led by the “Hunter of Men,” who not only

physically endangers Adams, but later insults him deplorably. The crimes do not end there. The

leader of the group sets his sights on Fanny and sends his men to kidnap her. Andrews tries to

fight off the kidnappers, and, “in that Instant lifted up a certain huge Stone Pot of the Chamber

with one Hand, which six Beaus could not have lifted with both” (259). This case of superior

strength is certainly an epic hero quality, and is reminiscent of Beowulf’s ability to alone lift a

sword made for a giant to kill Grendel’s mother. Of course, a chamber pot is a funny

substitution for a magical sword. In a similar instance, Andrews has to defend Fanny’s honor
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against a servant of Beau who had torn away her handkerchief. After the fight, the servant,

“believed he had fought with the Devil, instead of a Man” (300).

Perhaps the most important aspect of the epic genre is the epic hero. In Fielding’s novel,

Joseph Andrews is the comic-epic version of a hero. In addition to his super human strength,

Andrews embodies the epic hero because he possesses qualities most valued by society. His

appearance is described as, “the highest Degree of middle Stature…he had all the symptoms of

Strength without the least clumsiness. His hair was of a nut-brown Colour…His Forehead was

high, his Eyes dark…His Nose a little inclined to the Roman. His teeth white and even…His

Countenance had a Tenderness joined with a Sensibility…perfect Neatness in his Dress, and an

Air…would give an Idea of Nobility” (78). In addition to his appearance, Andrews never sways

in his honesty or virtue, so is considered a remarkable example of how a young man should be

(except to Lady Booby).

Many epic heroes come from mixed divine and human parentage, so they possess some

human weaknesses. Remember, Joseph Andrews is comic-epic, which deals with more realistic

settings and characters, so there is no interference from the Gods in the novel. It can be argued,

though, that Joseph’s class status is his “human weakness.” There are many references to the

notion that Joseph would be perfect if he were of the nobility or that he seems like he is of a

higher class than he actually is. When Joseph’s true parents are found to be the wealthy Wilsons,

the mysteries surrounding his superior looks and personality are solved—as if we had found out

that he was actually a “God.”

While many critics of Henry Fieldings assertion that Joseph Andrews is a “comic epic-

poem in prose” disagree, there are undeniable similarities. Traditional epic style is translated in

abundant ways into realistic, if not trivial, occurrences that parody grandiose epics in a humorous
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way. The structure, plot, and characteristics of Joseph Andrews as a hero all have a place in

writing an epic poem as a modern novel. Whether Fielding was parodying or mocking the

classical epic, we cannot be sure, but I think the “comic epic” description is spot on.