“But,” one will naturally ask, “if Fathom lacks the amusing, and not infrequently stimulating, hurly-burly of Smollett’s former novels; if its characters, though well-conceived, are seldom divertingly fantastic and never thoroughly animate; what makes the book interesting?” The surprise will be greater than ever when the answer is given that, to a large extent, the plot makes Fathom interesting. Yes, Smollett, hitherto indifferent to structure, has here written a story in which the plot itself, often clumsy though it may be, engages a reader’s attention. One actually wants to know whether the young Count is ever going to receive consolation for his sorrows and inflict justice on his basely ungrateful pensioner. And when, finally, all turns out as it should, one is amazed to find how many of the people in the book have helped towards the designed conclusion. Not all of them, indeed, nor all of the adventures, are indispensable, but it is manifest at the end that much, which, for the time, most readers think irrelevant—such as Don Diego’s history—is, after all, essential.

It has already been said that in Count Fathom Smollett appears to some extent as a romanticist, and this is another fact which lends interest to the book. That he had a powerful imagination is not a surprise. Any one versed in Smollett has already seen it in the remarkable situations which he has put before us in his earlier works. These do not indicate, however, that Smollett possessed the imagination which could excite romantic interest; for in Roderick Random and in Peregrine Pickle, the wonderful situations serve chiefly to amuse. In Fathom, however, there are some designed to excite horror; and one, at least, is eminently successful. The hero’s night in the wood between Bar-le-duc and Chalons was no doubt more blood-curdling to our eighteenth-century ancestors than it is to us, who have become acquainted with scores of similar situations in the small number of exciting romances which belong to literature, and in the greater number which do not. Still, even to-day, a reader, with his taste jaded by trashy novels, will be conscious of Smollett’s power, and of several thrills, likewise, as he reads about Fathom’s experience in the loft in which the beldame locks him to pass the night.

This situation is melodramatic rather than romantic, as the word is used technically in application to eighteenth and nineteenth-century literature. There is no little in Fathom, however, which is genuinely romantic in the latter sense. Such is the imprisonment of the Countess in the castle-tower, whence she waves her handkerchief to the young Count, her son and would-be rescuer. And especially so is the scene in the church, when Renaldo (the very name is romantic) visits at midnight the supposed grave of his lady-love. While he was waiting for the sexton to open the door, his “soul . . . was wound up to the highest pitch of enthusiastic sorrow. The uncommon darkness, . . . the solemn silence, and lonely situation of the place, conspired with the occasion of his coming, and the dismal images of his fancy, to produce a real rapture of gloomy expectation, which the whole world could not have persuaded him to disappoint. The clock struck twelve, the owl screeched from the ruined battlement, the door was opened by the sexton, who, by the light of a glimmering taper, conducted the despairing lover to a dreary aisle, and stamped upon the ground with his foot, saying, ‘Here the young lady lies interred.’”

We have here such an amount of the usual romantic machinery of the “grave-yard” school of poets—that school of which Professor W. L. Phelps calls Young, in his Night Thoughts, the most “conspicuous exemplar”—that one is at first inclined to think Smollett poking fun at it. The context, however, seems to prove that he was perfectly serious. It is interesting, then, as well as surprising, to find traces of the romantic spirit in his fiction over ten years before Walpole’s Castle of Otranto. It is also interesting to find so much melodramatic feeling in him, because it makes stronger the connection between him and his nineteenth-century disciple, Dickens.

From all that I have said, it must not be thought that the usual Smollett is always, or almost always, absent from Count Fathom. I have spoken of the dedication and of the opening chapters as what we might expect from his pen. There are, besides, true Smollett strokes in the scenes in the prison from which Melvil rescues Fathom, and there is a good deal of the satirical Smollett fun in the description of Fathom’s ups and downs, first as the petted beau, and then as the fashionable doctor. In chronicling the latter meteoric career, Smollett had already observed the peculiarity of his countrymen which Thackeray was fond of harping on in the next century—“the maxim which universally prevails among the English people . . . to overlook, . . . on their return to the metropolis, all the connexions they may have chanced to acquire during their residence at any of the medical wells. And this social disposition is so scrupulously maintained, that two persons who live in the most intimate correspondence at Bath or Tunbridge, shall, in four-and-twenty hours . . . meet in St. James’s Park, without betraying the least token of recognition.” And good, too, is the way in which, as Dr. Fathom goes rapidly down the social hill, he makes excuses for his declining splendour. His chariot was overturned “with a hideous crash” at such danger to himself, “that he did not believe he should ever hazard himself again in any sort of wheel carriage.” He turned off his men for maids, because “men servants are generally impudent, lazy, debauched, or dishonest.” To avoid the din of the street, he shifted his lodgings into a quiet, obscure court. And so forth and so on, in the true Smollett vein.

But, after all, such of the old sparks are struck only occasionally. Apart from its plot, which not a few nineteenth-century writers of detective-stories might have improved, The Adventures of Ferdinand Count Fathom is less interesting for itself than any other piece of fiction from Smollett’s pen. For a student of Smollett, however, it is highly interesting as showing the author’s romantic, melodramatic tendencies, and the growth of his constructive technique.

G. H. MAYNADIER

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