It is time, however, to turn from these particulars to the book itself. In _Joseph Andrews_, Fielding's work had been mainly experimental. He had set out with an intention which had unexpectedly developed into something else. That something else, he had explained, was the comic epic in prose. He had discovered its scope and possibilities only when it was too late to re-cast his original design; and though _Joseph Andrews_ has all the freshness and energy of a first attempt in a new direction, it has also the manifest disadvantages of a mixed conception and an uncertain plan. No one had perceived these defects more plainly than the author; and in _Tom Jones_ he set himself diligently to perfect his new-found method. He believed that he foresaw a "new Province of Writing," of which he regarded himself with justice as the founder and lawgiver; and in the "prolegomenous, or introductory Chapters" to each book--those delightful resting-spaces where, as George Eliot says, "he seems to bring his arm-chair to the proscenium and chat with us in all the lusty ease of his fine English"--he takes us, as it were, into his confidence, and discourses frankly of his aims and his way of work. He looked upon these little "initial Essays" indeed, as an indispensable part of his scheme. They have given him, says he more than once, "the greatest Pains in composing" of any part of his book, and he hopes that, like the Greek and Latin mottoes in the _Spectator_, they may serve to secure him against imitation by inferior authors. [Footnote: Notwithstanding this warning, Cumberland (who copied so much) copied these in his novel of _Henry_. On the other hand, Fielding's French and Polish translators omitted them as superfluous.] Naturally a great deal they contain is by this time commonplace, although it was unhackneyed enough when Fielding wrote. The absolute necessity in work of this kind for genius, learning, and knowledge of the world, the constant obligation to preserve character and probability--to regard variety and the law of contrast:--these are things with which the modern tiro (however much he may fail to possess or observe them) is now supposed to be at least theoretically acquainted. But there are other chapters in which Fielding may also be said to reveal his personal point of view, and these can scarcely be disregarded. His "Fare," he says, following the language of the table, is "HUMAN NATURE," which he shall first present "in that more plain and simple Manner in which it is found in the Country," and afterwards "hash and ragoo it with all the high _French_ and _Italian_ seasoning of Affectation and Vice which Courts and Cities afford." His inclination, he admits, is rather to the middle and lower classes than to "the highest Life," which he considers to present "very little Humour or Entertainment." His characters (as before) are based upon actual experience; or, as he terms it, "Conversation." He does not propose to present his reader with "Models