germ of his character be derived from Addison’s Tory Foxhunter or not, it is certain that Fielding must have had superabundant material of his own from which to model this thoroughly representative, and at the same time, completely individual character. Western has all the rustic tastes, the narrow prejudices, the imperfect education, the unreasoning hatred to the court, which distinguished the Jacobite country gentleman of the Georgian era; but his divided love for his daughter and his horses, his good-humour and his shrewdness, his foaming impulses and his quick subsidings, his tears, his oaths, and his barbaric dialect, are all essential features in a personal portrait. When Jones has rescued Sophia, he will give him all his stable, the Chevalier and Miss Slouch excepted; when he finds he is in love with her, he is in a frenzy to “get at un“ and “spoil his Caterwauling.” He will have the surgeon’s heart’s blood if he takes a drop too much from Sophia’s white arm; when she opposes his wishes as to Blifil, he will turn her into the street with no more than a smock, and give his estate to the “zinking Fund.” Throughout the book he is qualis ab incepto,—boisterous, brutal, jovial, and inimitable; so that when finally in “Chapter the Last,” we get that pretty picture of him in Sophy’s nursery, protesting that the tattling of his little granddaughter is “sweeter Music than the finest Cry of Dogs in England,” we part with him almost with a feeling of esteem. Scott seems to have thought it unreasonable that he should have “taken a beating so unresistingly from the friend of Lord Fellamar,” and even hints that the passage is an interpolation, although he wisely refrains from suggesting by whom, and should have known that
