Evening star. [volume] (Washington, D.C.) 1854-1972, 1927-02-26
THIS AND THAT
BY CHARLES E. TRACEWELL.

| Blanks in the grand lottery OF
time a fine sounding phrase from
the Introductory chapter to Book
| of Henry F4slding's History of Tom
jones" designates periods of life in
which nothing particular happens.
In looking back over ones own life
one Is very able to discern plenty OF
blanks In the grand lottery OF his
own time. This Is the reason why
| so many eminent gentlemen, when
called upon suddenly for a biography
for book, say the Congressional Rec,
! ord, can only I'LL paragraph.
In this second of the Is prelimi
nary chapters in which Fielding sets
forth his ideas as to novel writing
our author plainly states that he will
allow chasms in his story, If nothing
happened to be worthy or interesting.
Though we have properly enough
entitled this our work. a history, and
not "a life: nor an apology for life,
as IL more in fashion: yet We intend
in it rather to pursue the method of
those writer's, who profess to disclose
the revolutions OF countries, than 70
initiate the painful and voluminous
historian, who, to preserve the regu,
larity Of his series, thinks himself
obliged to I'LL up as much paper
in which nothing remarkable hap
pened, as he employs upon those no.
table eras when the greatest scenes
have been transacted on the human
stage"
Just how revolutionary q step this
was can be seen. not by comparison
of tom Jones" with present-day
novels, but with some of the stories
produced before Fielding.
Fielding's wit is seen in the follow
ing: Such histories az these do, in
reality, very much resemble news
paper. which consists of just the same
number of words. whether there be
any news in it or not. They may he
likewise compared to stage coach,
which performs constantly the same
course. empty as well as full
Fielding's slap at newspapers was a
great deal more true in his day than
today, as any one will readily agree
who will look at some of the papers
Of only hundred years ago.
His purpose, in telling Tom Jones'
he continues. is to pursue exactly the
opposite course. when any extraor-
binary scene presents itself las we
trust will often be the easel. we shall
i
day we use "or'1 to open it at large to
our reader: but If whole years should
pass without producing anything
worthy his notice, we shall not be
afraid of chasm in our history; but
shall hasten on to matters OF conse-
quence, and leave such periods of
time totally unobserved."
It is interesting to note that Field
ing unvaryingly speaks OF 'our
reader" using the singular, not the
plural. This would seem TO be the
best course. for one reader is the type
of all readers. A writer writes to the
one who reads. not to the ones who
read. There is a subtle difference.
There is a mutual understanding, a
solemn compact, between the writer
and his reader. Every reader reads,
one at time. and it is for him, or her,
that the writer writes.
These are indeed to be considered
as blanks I'm the grand lottery of
time" continues Fielding, referring
to the uninteresting periods in the
history of his characters. my reader
then Is not to be surprised. if, in the
course Of this work he shall find some
chapters very short, and others alto
gether as long; some that contain only
the time of a single day, and others
that comprise years; in a word, if my
history sometimes seems TO stand still,
and sometimes to fly"
Then our author comes right down
to it. In his bantering, yet serious
way. he makes the following mem
orable statement: