There might have been a little, but not much, doubt as to a companion piece for the Journal; for indeed, after we close this (with or without its "Fragment on Bolingbroke"), the remainder of Fielding's work lies on a distinctly lower level of interest. It is still interesting, or it would not be given here. It still has--at least that part which here appears seems to its editor to have--interest intrinsic and "simple of itself." But it is impossible for anybody who speaks critically to deny that we now get into the region where work is more interesting because of its authorship than it would be if its authorship were different or unknown. To put the same thing in a sharper antithesis, Fielding is interesting, first of all, because he is the author of Joseph Andrews, of Tom Jones, of Amelia, of Jonathan Wild, of the Journal. His plays, his essays, his miscellanies generally are interesting, first of all, because they were written by Fielding. Yet of these works, the Journey from this World to the Next (which, by a grim trick of fortune, might have served as a title for the more interesting Voyage with which we have yoked it) stands clearly first both in scale and merit. It is indeed very unequal, and as the author was to leave it unfinished, it is a pity that he did not leave it unfinished much sooner than he actually did. The first ten chapters, if of a kind of satire which has now grown rather obsolete for the nonce, are of a good kind and good in their kind; the history of the metempsychoses of Julian is of a less good kind, and less good in that kind. The date of composition of the piece is not known, but it appeared in the Miscellanies of 1743, and may represent almost any period of its author's development prior to that year. Its form was a very common form at the time, and continued to be so. I do not know that it is necessary to assign any very special origin to it, though Lucian, its chief practitioner, was evidently and almost avowedly a favorite study of Fielding's. The Spanish romancers, whether borrowing it from Lucian or not, had been fond of it; their French followers, of whom the chief were Fontenelle and Le Sage, had carried it northwards; the English essayists had almost from the beginning continued the process of acclimatization. Fielding therefore found it ready to his hand, though the present condition of this example would lead us to suppose that he did not find his hand quite ready to it. Still, in the actual "journey," there are touches enough of the master--not yet quite in his stage of mastery. It seemed particularly desirable not to close the series without some representation of the work to which Fielding gave the prime of his manhood, and from which, had he not, fortunately for English literature, been driven decidedly against his will, we had had in all probability no Joseph Andrews, and pretty certainly no Tom Jones. Fielding's periodical and dramatic work has been comparatively seldom reprinted, and has