I have remarked on the old Smollett touch in Sir Launcelot Greaves,—the individual touch of which we are continually sensible in Roderick Random and Peregrine Pickle, but seldom in Count Fathom. With it is a new Smollett touch, indicative of a kindlier feeling towards the world. It is commonly said that the only one of the writer’s novels which contains a sufficient amount of charity and sweetness is Humphry Clinker. The statement is not quite true. Greaves is not so strikingly amiable as Smollett’s masterpiece only because it is not so striking in any of its excellences; their lines are always a little blurred. Still, it shows that ten years before Clinker, Smollett had learned to combine the contradictory elements of life in something like their right proportions. If obscenity and ferocity are found in his fourth novel, they are no longer found in a disproportionate degree.

There is little more to say of Sir Launcelot Greaves, except in the way of literary history. The given name of the hero may or may not be significant. It is safe to say that if a Sir Launcelot had appeared in fiction one or two generations earlier, had the fact been recognised (which is not indubitable) that he bore the name of the most celebrated knight of later Arthurian romance, he would have been nothing but a burlesque figure. But in 1760, literary taste was changing. Romanticism in literature had begun to come to the front again, as Smollett had already shown by his romantic leanings in Count Fathom. With it there came interest in the Middle Ages and in the most popular fiction of the Middle Ages, the “greatest of all poetic subjects,” according to Tennyson, the stories of Arthur and his Knights of the Round Table, which, for the better part of a century, had been deposed from their old-time place of honour. These stories, however, were as yet so imperfectly known—and only to a few—that the most to be said is that some connection between their reviving popularity and the name of Smollett’s knight-errant hero is not impossible.

Apart from this, Sir Launcelot Greaves is interesting historically as ending Smollett’s comparatively long silence in novel-writing after the publication of Fathom in 1753. His next work was the translation of Don Quixote, which he completed in 1755, and which may first have suggested the idea of an English knight, somewhat after the pattern of the Spanish. Be that as it may, before developing the idea, Smollett busied himself with his Complete History of England, and with the comedy, The Reprisal: or the Tars of Old England, a successful play which at last brought about a reconciliation with his old enemy, Garrick. Two years later, in 1759, as editor of the Critical Review, Smollett was led into a criticism of Admiral Knowles’s conduct that was judged libellous enough to give its author three months in the King’s Bench prison, during which time, it has been conjectured, he began to mature his plans for the English Quixote. The result was that, in 1760 and 1761, Sir Launcelot Greaves came out in various numbers of the British Magazine. Scott has given his authority to the statement that Smollett wrote many of the instalments in great haste, sometimes, during a visit in Berwickshire, dashing off the necessary amount of manuscript in an hour or so just before the departure of the post. If the story is true, it adds its testimony to that of his works to the author’s extraordinarily facile pen. Finally, in 1762, the novel thus hurried off in instalments appeared as a whole. This method of its introduction to the public gives Sir Launcelot Greaves still another claim to interest. It is one of the earliest English novels, indeed the earliest from the pen of a great writer, published in serial form.

G. H. MAYNADIER.

CHAPTER ONE

IN WHICH CERTAIN PERSONAGES OF THIS DELIGHTFUL HISTORY ARE INTRODUCED TO THE READER’S ACQUAINTANCE

It was on the great northern road from York to London, about the beginning of the month of October, and the hour of eight in the evening, that four travellers were, by a violent shower of rain, driven for shelter into a little public-house on the side of the highway, distinguished by a sign which was said to exhibit the figure of a black lion. The kitchen, in which they assembled, was the only room for entertainment in the house, paved with red bricks, remarkably clean, furnished with three or four Windsor chairs, adorned with shining plates of pewter, and copper saucepans, nicely scoured, that even dazzled the eyes of the’ beholder; while a cheerful fire of sea-coal blazed in the chimney. Three of the travellers, who arrived on horseback, having seen their cattle properly accommodated in the stable, agreed to pass the time, until the weather should clear up, over a bowl of rumbo, which was accordingly prepared. But the fourth, refusing to join their company, took his station at the opposite side of the chimney, and called for a pint of twopenny, with which he indulged himself apart. At a little distance, on his left hand, there was another group, consisting of the landlady, a decent widow, her two daughters, the elder of whom seemed to be about the age of fifteen, and a country lad, who served both as waiter and ostler.

The social triumvirate was composed of Mr. Fillet, a country practitioner in surgery and midwifery, Captain Crowe, and his nephew Mr. Thomas Clarke, an attorney. Fillet was a man of some education, and a great deal of experience, shrewd, sly, and sensible. Captain Crowe had commanded a merchant ship in the Mediterranean trade for many years, and saved some money by dint of frugality and traffic. He was an excellent seaman, brave, active, friendly in his way, and scrupulously honest; but as little acquainted with the world as a sucking child; whimsical, impatient, and so impetuous, that he could not help breaking in upon the conversation, whatever it might be, with repeated interruptions, that seemed to burst from him by involuntary impulse. When he himself attempted to speak he never finished his period; but made such a number of abrupt transitions, that his discourse seemed to be an unconnected series of unfinished sentences, the meaning of which it was not easy to decipher.

His nephew, Tom Clarke, was a young fellow, whose goodness of heart even the exercise of his profession had not been able to corrupt. Before strangers he never owned himself an attorney without blushing, though he had no reason to blush for his own practice, for he constantly refused to engage in the cause of any client whose character was equivocal, and was never known to act with such industry as when concerned for the widow and orphan, or any other object that sued in forma pauperis. Indeed, he was so replete with human kindness, that as often as an affecting story or circumstance was told in his hearing, it overflowed at his eyes. Being of a warm complexion, he was very susceptible of passion, and somewhat libertine in his amours. In other respects, he piqued himself on understanding the practice of the courts, and in private company he took pleasure in laying down the law; but he was an indifferent orator, and tediously circumstantial in his explanations. His stature was rather diminutive; but, upon the whole, he had some title to the character of a pretty, dapper, little fellow.

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