It is impossible to apply the term "perfect" to a work which contains such an inexplicable stumbling-block as the Man of the Hill's story. Then again, progress and animation alone will not make a perfect plot, unless probability be superadded. And although it cannot be said that Fielding disregards probability, he certainly strains it considerably. Money is conveniently lost and found; the naivest coincidences continually occur; people turn up in the nick of time at the exact spot required, and develop the most needful (but entirely casual) relations with the characters. Sometimes an episode is so inartistically introduced as to be almost clumsy. Towards the end of the book, for instance, it has to be shown that Jones has still some power of resisting temptation, and he accordingly receives from a Mrs. Arabella Hunt, a written offer of her hand, which he declines. Mrs. Hunt's name has never been mentioned before, nor, after this occurrence, is it mentioned again. But in the brief fortnight which Jones has been in town, with his head full of Lady Bellaston, Sophia, and the rest, we are to assume that he has unwittingly inspired her with so desperate a passion that she proposes and is refused--all in a chapter. Imperfections of this kind are more worthy of consideration than some of the minor negligences which criticism has amused itself by detecting in this famous book. Such, among others, is the discovery made by a writer in the _Gentleman's Magazine_, that in one place winter and summer come too close together; or the "strange specimen of oscitancy" which another (it is, in fact, Mr. Keightley) considers it worth while to record respecting the misplacing of the village of Hambrook. To such trifles as these last the precept of _non offendar maculis_ may safely be applied, although Fielding, wiser than his critics, seems to have foreseen the necessity for still larger allowances:-- "Cruel indeed," says he in his proemium to Book XI., "would it be, if such a Work as this History, which hath employed some Thousands of Hours in the composing, should be liable to be condemned, because some particular Chapter, or perhaps Chapters, may be obnoxious to very just and sensible Objections.... To write within such severe Rules as these, is as impossible as to live up to some splenetic Opinions; and if we judge according to the Sentiments of some Critics, and of some Christians, no Author will be saved in this World, and no Man in the next."