Detroit Tigers vs. Chicago White Sox Tickets on September 22, 2015 in Detroit, Michigan For Sale

Detroit Tigers vs. Chicago White Sox Tickets
Comerica Park
Detroit, Michigan
September 22, xxxx
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them in a sense everything--for he showed how everything could be done. But if he has sometimes been equalled, he has never been surpassed: and it is not easy to see even how he can be surpassed. For as his greatest follower has it somewhere, though not of him, "You cannot beat the best, you know." One point only remains, the handling of which may complete a treatment which is designedly kept down in detail. It has been hinted at already, perhaps more than once, but has not been brought out. This is the enormous range of suggestion in Fielding--the innumerable doors which stand open in his ample room, and lead from it to other chambers and corridors of the endless palace of Novel?Romance. This had most emphatically not been the case with his predecessor: for Richardson, except in point of mere length, showed little power of expatiation, kept himself very much to the same ground and round, and was not likely to teach anybody else to make excursions. Indeed Fielding's breaking away in Joseph Andrews is an allegory in itself. But, at least with pupils and followers of any wits, there was not even
any need of such breaking away from himself, though no doubt there are in existence many dull and slavish attempts to follow his work, especially Tom Jones. "Find it out for yourself"--the great English motto which in the day of England's glory was the motto of her men of learning as well as of her men of business, of her artists as well as of her craftsmen--might have been Fielding's: but he supplemented it with infinite finger?pointings towards the various things that might be found out. Almost every kind of novel exists--potentially--in his Four (the custom of leaving out Jonathan Wild should be wholly abrogated), though of course they do not themselves illustrate or carry out at length many of the kinds that they thus suggest. And in fact it could not be otherwise: because, as has been pointed out, while Fielding had no inconsiderable command of the Book of Literature, he turned over by day and night the larger, the more The English Novel 43 difficult, but still the greater Book of Life. Not merely quicquid agunt homines, but quicquid sentiunt, quicquid cogitant, whatever they love and hate,
of prose fiction is concerned, achieved in its fullness for practically the first time. This is the true mimesis --the re?creation or fresh creation of fictitious reality. There were in Fielding's time, and probably ever since have been, those who thought him "low;" there were, even in his own time, and have been in varying, but on the whole rather increased, degree since, those who thought him immoral: there appear to be some who think (or would like it to be thought that they think) him commonplace and obvious. Now, as it happens, all these charges have been brought against Nature too. To embellish, and correct, and heighten, and extra?decorate her was not Fielding's way: but to follow, and to interpret, and to take up her own processes with results uncommonly like her own. That is his immense glory to all those who can realise and understand it: and as for the others we must let them alone, joined to their own idols. In passing to the third of this great quartette, we make a little descent, but not much of one, while the new peak to which we come is well defined and separated, with characters
and outlines all its own. It may be doubted whether any competent critic not, like Scott, bribed by compatriotism, ever put Smollett above Fielding, or even on a level with him. Thackeray, in one of the most inspired moments of his rather irregularly?inspired criticism, remarks, "I fancy he did not invent much," and this of itself would refer him to a lower class. The writer of fiction is not to refuse suggestion from his experience; on the contrary, he will do so at his peril, and will hardly by any possibility escape shipwreck unless his line is the purely fantastic. But if he relies solely, or too much, on such experience, though he may be quite successful, his success will be subject to discount, bound to pay royalty to experience itself. It is pretty certain that most of Smollett's most successful things, from Roderick Random to Humphry Clinker, and in those two capital books, perhaps, most of all, kept very close to actual experience, and sometimes merely reported it. This, however, is only a comparative drawback; it is in a sense a positive merit; and it is connected, in a very intimate
way, with the general character of Smollett's novel?method. This is, to a great extent, a reaction or relapse towards the picaresque style. Smollett may have translated both Cervantes and Le Sage; he certainly translated the latter: and it was Le Sage who in any case had the greatest influence over him. Now the picaresque method is not exactly untrue to ordinary life: on the contrary, as we have seen, it was a powerful schoolmaster to bring the novel thereto. But it subjects the scenes of ordinary life to a peculiar process of sifting: and when it has got what it wants, it proceeds to heighten them and "touch them up" in its own peculiar manner of decoration. This is Smollett's method throughout, even in that singular pastiche of Don Quixote itself, Sir Launcelot Greaves, which certainly was not his happiest conception, but which has had rather hard measure. As used by him it has singular merits, and communicates to at least three of his five books (The Adventures of an Atom is deliberately excluded as not really a novel at all) a certain "liveliness" which, though it is not the life_like_ness