Abstract
In the sixth book of Tom Jones, Squire Western, being suddenly made aware of the true relationship between Tom and his daughter Sophia, and realising that he has himself just sent Tom for a private interview with her, sets off ‘like one Thunder-struck’ and with ‘a round Volley of Oaths and Imprecations’ for the apartment where they will be. Fielding describes Tom and Sophia’s state of impending shock. It is as when ‘two Doves, or two Wood-pigeons, or as when Strephon and Phillis’ are rudely interrupted by ‘hoarse Thunder’ bursting ‘through the shattered Clouds’:
Or as when two Gentlemen, Strangers to the wondrous Wit of the Place, are cracking a Bottle together at some Inn or Tavern at Salisbury, if the great Dowdy who acts the Part of a Madman, as well as some of his Setters-on do that of a Fool, should rattle his Chains, and dreadfully hum forth the grumbling Catch along the Gallery; the frighted Strangers stand aghast, scared at the horrid Sound, they seek some Place of Shelter from the approaching Danger, and if the well-barred Windows did admit their Exit, would venture their Necks to escape the threatning Fury now coming upon them. (I, 300–1)
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Notes
Fielding, Tom Jones (1749), ed. Sheridan Baker, New York: W. W. Norton & Company, 1995, p. 196 n. 2.
Sander Gilman, Seeing the Insane, Lincoln and London: University of Nebraska Press, 1982, passim.
Nicholas Rowe, Jane Shore (1714), ed. John Hampden, London: Dent Dutton, 1928 (1968 edn), V.i; see also
Allan Ingram, The Madhouse of Language: Writing and Reading Madness in the Eighteenth Century, London: Routledge, 1991, pp. 86–7. Charles Churchill’s lines from The Rosciad in which he pays tribute to the effectiveness of the actress Susannah Cibber in the role of Alicia are also cited on p. 87.
Thomas Otway, Venice Preserved (1682), ed. Edmund Gosse, London: Dent Dutton, 1932 (1966 edn), V.ii.
Charles Gildon, Remarks on the Plays of Shakespeare (1710) in Shakespeare: The Critical Heritage. Volume 2: 1693–1733, ed. Brian Vickers, London: Routledge & Kegan Paul, 1974, p. 259.
Edward Burnaby Greene, Critical Essays (1770) in Shakespeare: The Critical Heritage. Volume 5: 1765–1774, ed. Brian Vickers, London: Routledge & Kegan Paul, 1979, pp. 416–17.
William Richardson, Essays on Shakespeare’s Dramatic Characters (1783) in Shakespeare: The Critical Heritage. Volume 6: 1774–1801, ed. Brian Vickers, London: Routledge & Kegan Paul, 1981, p. 365.
Five Restoration Adaptions of Shakespeare, ed. Christopher Spencer, Urbana, Ill.: University of Illinois Press, 1965, p. 23.
William Guthrie, An Essay upon English Tragedy (1747), in Shakespeare: The Critical Heritage. Volume 3: 1733–1752, ed. Brian Vickers, London: Routledge & Kegan Paul, 1975, p. 200.
Tate, The History of King Lear, III.iii.42, in Five Restoration Adaptations of Shakespeare, p. 235; Shakespeare, King Lear, III.iv.48–9, ed. Kenneth Muir, London: Methuen, 1952 (1964 edn), p. 116.
Arthur Murphy, Gray’s-Inn Journal (1754) in Shakespeare: The Critical Heritage. Volume 4: 1753–1765, ed. Brian Vickers, London: Routledge & Kegan Paul, 1976, p. 98.
Joseph Conrad, Nostromo, London: Harper, 1904 (1975 edn, London: Pan Books), p. 60. Nostromo has the epigraph: ‘So foul a sky clears not without a storm.’
James Boswell, The Life of Samuel Johnson, LL.D. (1791), ed. R. W. Chapman, Oxford: Oxford University Press, 1970 (1998 edn), p. 1252.
James Boswell, Boswell’s London Journal, 1762–1763, ed. F. A. Pottle, London: Heinemann, 1950 (1966 edn, Harmondsworth: Penguin Books), p. 280.
For details, see Maurice J. Quinlan, William Cowper: A Critical Life, Westport, Connecticut: Greenwood Press, 1953, pp. 223–6.
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© 2005 Allan Ingram
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Ingram, A., Faubert, M. (2005). Acting the Part of a Madman: Insanity and the Stage. In: Cultural Constructions of Madness in Eighteenth Century Writing. Palgrave Macmillan, London. https://doi.org/10.1057/9780230510890_5
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