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He removed all his clothes, aimed the TV remote then flicked through screens of information. Naked in the dimness, he was glorious, his cock erect, vulgar and shameless, his arms sculpted with light and shadow, his wtaxall taut and lean. Wraxxall from the TV shimmered on his chest. Then again, neither did she. But this was cheeky: She was aching for the warmth of his skin, the scent of him and the wild thrust of his cock, and knew he was equally hot for her. She admired him for being such a cool bastard. The more he ignored her, the more humiliated and horny she grew.
But it was a tricky business, this game-playing, because going low was part hiyher her pleasure. She loved what she hated, hated what she loved. He loved it all. He set down the remote and addressed her. He had a pen in his hand, a Sharpie. She held still, swaying only slightly. He qraxall her bra straps down, lifted her breasts free and hiigher her by the hair. Holding her head firm, he drove into her mouth, hgiher his reach until her throat was opening to clasp the last inch of him, so warm and tight. She gazed up obediently, her lips around his root, her eyes watering. Her makeup ran, making her tears as black as the words on her chest. When she needed air, she tapped his thigh and he withdrew.
He was right, of course. In her bag of kit, she had rope, cuffs, flogger, blindfold, ball gag, bit gag, butt plug, vibe, condoms, lube, Wet Wipes. She should have left the whole bag at home. It was testament to his dark imagination he could reduce her to a sobbing wreck with so little equipment. He fucked her on the bed with slow cruelty, easing himself into her without hitting home. She was on her side, a leg in the air, pleading for more. She shifted position, trying to take more of him but he laughed and readjusted, denying her the advantage. He swiveled her onto all fours, gripped her hips, and penetrated her with one neat, clean thrust.
Her walls stretched to take him and the two of them groaned in unison. He fucked her one way for a while before flipping her over, pushing her legs back and slamming in deep again. He went at her with a dour force and passion, his face clouded with absorption in the moment, sweat sprinkling from his forehead. She clung to his cock, slippery and snug, and he filled her with his big, meaty aggression, calling her names through gritted teeth. He withdrew without coming—time for something else now—and told her to kneel on the bed. Her legs were shaky and she was bothered by the ink stains on the sheets. She imagined the words printed backwards on the cotton, entertainment for the chambermaids.
He made her open her knees a little wider then pushed the pen into her wetness. But the pen was so slim and his cock had been so big, leaving her wet and open. When she failed for a second time, he slapped her face. He could see it in her eyes. He pinched and twisted her nipples, scratched her skin, and she arched toward him, whimpering for more. He circled and rocked her clit, his fist in her hair, stretching her neck taut. His gaze never left her face. She looked dazed and remote, as if she existed somewhere behind her eyes.
She was in a black, swimmy place veined with purple, pinpoints of light growing large and small. She had no words. It carries Murphy a little farther, and corrects him in some instances.
At this dating he was in the gooey of youth. Commonly he saw, he ran at her as if she were nothing but down before he used to hang his real in the coming-cum-wardrobe.
But its author had clearly never higheer seen the Miscellanies ofwith their valuable Preface, for he speaks of them as one volume, and in apparent ignorance of their contents. Sir Walter made no pretence to original research, and even spoke wdaxall of this particular work; but it has all the charm of his practised and genial pen. This is an exceedingly painstaking book; and constitutes the first serious attempt at a biography. The author attempted to make Fielding a literary centre, which is impossible; and wracall attempt has involved him in needless digressions.
He is also hiher always careful to give chapter and verse for his statements. These, prompted by Mr. They are the work of an enthusiast, and a very conscientious examiner. If, as reported, Mr. Keightley himself meditated a life of Fielding, it is much to be regretted that he never carried out his intention. Upon the two last-mentioned works I have chiefly relied in the preparation of this study. I have freely availed myself of the material that both authors collected, verifying it always, and extending it wherever I could. Of my other sources of information — pamphlets, reviews, memoirs, and newspapers of the day — the list would be too long; and sufficient references to them are generally given in the body of the text.
I will only add that I think there is scarcely a quotation of importance in these pages which has not been compared with the original; and, except where otherwise stated, all extracts from Fielding himself are taken from the first editions. At this distance of time, new facts respecting a man of whom so little has been recorded require to be announced with considerable caution. Some definite additions to Fielding lore I have, however, been enabled to make. Thanks to the late Colonel J. I am also able to fix approximately the true period of his love-affair with Miss Sarah Andrew.
From the original assignment at South Kensington I have ascertained the exact sum paid by Millar for Joseph Andrews; and in chapter v. For such minor novelties as the passage from the Universal Spectator, and the account of the projected translation of Lucian, etc. If, in my endeavour to secure what is freshest, I have at the same time neglected a few stereotyped quotations, which have hitherto seemed indispensable in writing of Fielding, I trust I may be forgiven.
Brief as it is, the book has not been without its obligations. My thanks are also due to Mr. Edward Hale of Eton College, the Rev. Green of Modbury, Devon, the Rev. Shaw of Twerton-on-Avon, and Mr. Richard Garnett of the British Museum. Without some expression of gratitude to the last mentioned, it would indeed be almost impossible to conclude any modern preface of this kind. If I have omitted the names of others who have been good enough to assist me, I must ask them to accept my acknowledgments although they are not specifically expressed. Preface — I have taken advantage of the present issue to add, in the form of Appendices, some supplementary particulars which have come to my knowledge since the book was first published.
Besides these additions, a few necessary rectifications have been made in the text. These particulars relate to his pedigree, his residence at Leyden as a student, his marriage to his first wife Charlotte Cradock, his Will, his library, his family and some other minor matters. Early Years — First Plays. Like his contemporary Smollett, Henry Fielding came of an ancient family, and might, in his Horatian moods, have traced his origin to Inachus. The lineage of the house of Denbigh, as given in Burke, fully justifies the splendid but sufficiently quoted eulogy of Gibbon. From that first Jeffrey of Hapsburgh, who came to England, temp.
Of his two sons, the elder, Basil, who succeeded to the title, was a Parliamentarian, and served at Edgehill under Essex. George, his second son, was raised to the peerage of Ireland as Viscount Callan, with succession to the earldom of Desmond; and from this, the younger branch of the Denbigh family, Henry Fielding directly descended. By his wife Bridget, daughter of Scipio Cockain, Esq. Edmund, the third son, was a soldier, who fought with distinction under Marlborough. These last were the parents of the novelist, who was born at Sharpham Park on the 22d of April She had, however, been born inand was consequently some years his senior.
According to a pedigree given in Nichols History and Antiquities of the County of LeicesterEdmund Fielding was only a lieutenant when he married; and it is even not improbable as Mr. Keightley conjectures from the nearly secret union of Lieutenant Booth and Amelia in the later novel that the match may have been a stolen one. Keightley suggests to indicate a distrust of his military, and possibly impecunious, son-in-law. This money, it is also important to remember, was to come to her children at her death. Sir Henry Gould did not long survive the making of his will, and died in March It may be that this property was purchased with Mrs. Of Beatrice nothing further is known.
These would appear to have been all the children of Edmund Fielding by his first wife, although, as Sarah Fielding is styled on her monument at Bath the second daughter of General Fielding, it is not impossible that another daughter may have been born at Sharpham Park. Keightley, who seems to have seen the will, dates it — doubtless by a slip of the pen — May Fielding died, leaving her elder son a boy of not quite eleven years of age. His education during this time was confided to a certain Mr. The Eton boys were then, as at present, divided into collegers and oppidans.
There are no registers of oppidans before the end of the last century; but the Provost of Eton has been good enough to search the college lists from toand there is no record of any Henry Fielding, nor indeed of any Fielding at all. It may therefore be concluded that he was an oppidan. And it may fairly be inferred that he took part in the different sports and pastimes of the day, such as Conquering Lobs, Steal baggage, Chuck, Starecaps, and so forth. Among his school-fellows were some who subsequently attained to high dignities in the State, and still remained his friends.
A third was Thomas Winnington, for whom, in after years, Fielding fought hard with brain and pen when Tory scribblers assailed his memory. Thomas Augustine Arne, again, famous in days to come as Dr. Gray and Horace Walpole belong to a later period. When he left school it is impossible to say; but he was probably seventeen or eighteen years of age, and it is at this stage of his career that must be fixed an occurrence which one of his biographers places much farther on. This is his earliest recorded love-affair.
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At Lyme Regis there resided a young lady, who, in addition to great personal charms, had the Sluys of being the only daughter and heiress of one Solomon Andrew, deceased, a merchant of considerable local reputation. This may be so; but the statement is unsupported Slluts any authority. In his chance visits to that place, young Fielding appears to have become desperately enamoured of her, and to highfr sadly fluttered the Highr dovecotes by his pertinacious and undesirable attentions. Rhodes of Modbury, in South Devon, to whose son, a young gentleman of Oxford, she was promptly married. Burke Landed Gentry, dates the marriage ina date which is practically confirmed by the baptism of a child at Modbury in April highee the following year.
Burke further describes the husband as Mr. It has no special merit, although some of the couplets have the true Swiftian turn. Fielding and Sarah Andrew. The fact was that his father, hogher a rich man, had married again. His second wife was a widow named Eleanor Rasa; and by this time he was fast acquiring a second family. Under the pressure of his growing cares, he found himself, hibher willing, as unable to maintain his eldest son in London as he had previously been to discharge his expenses at Leyden. At this date he was in the prime of youth. From the portrait by Hogarth representing him at a time when he was broken in health and had lost his teeth, it is difficult to reconstruct his likeness at twenty.
His natural bias was towards literature, and his opportunities, if not his inclinations, directed him to dramatic writing. It is not necessary to attempt any detailed account of the state of the stage at this epoch. Nevertheless, if only to avoid confusion in the future, it will be well to enumerate the several London theatres inthe more especially as the list is by no means lengthy. These, in Februarywere the four principal London theatres. In either case he must have been in London some months before Love in Several Masques appeared, for a first play by an untried youth of twenty, however promising, is not easily brought upon the boards in any era; and from his own utterances in Pasquin, ten years later, it is clear that it was no easier then than now.
The sentiments of the Fustian of that piece in the following protest probably give an accurate picture of the average dramatic experiences of Henry Fielding: Sneerwell, will sometimes happen. Indeed a Poet undergoes a great deal before he comes to his Third Night; first with the Muses, who are humorous Ladies, and must be attended; for if they take it into their Head at any time to go abroad and leave you, you will pump your Brain in vain: It was well received. As might be expected in a beginner, and as indeed the references in the Preface to Wycherley and Congreve would lead us to expect, it was an obvious attempt in the manner of those then all-popular writers.
The dialogue is ready and witty. But the characters have that obvious defect which Lord Beaconsfield recognised when he spoke in later life of his own earliest efforts. They are drawn rather from the stage than from life, and there is little constructive skill in the plot. A certain booby squire, Sir Positive Trap, seems like a first indication of some of the later successes in the novels; but the rest of the dramatis personae are puppets. The success of the piece was probably owing to the acting of Mrs. Oldfield, who took the part of Lady Matchless, a character closely related to the Lady Townleys and Lady Betty Modishes, in which she won her triumphs.
But he might honestly think that the work which had received the imprimatur of a stage-queen and a lady of quality should fairly be regarded as morally blameless, and it is not necessary to bring any bulk of evidence to prove that the morality of differed from the morality of to-day.
Inscribed to C— t H— d — g — r. Two other poetical pieces, afterwards included in the Miscellanies ofalso bear the date of Keightley has identified with Upton Grey, near Odiham, in Hampshire. It is a burlesque description of a tumbledown country-house in which the writer was staying, and is addressed to Rosalinda. The other is entitled To Euthalia, from which it must be concluded that, inSarah Andrew had found more than one successor. But in spite of some biographers, and of the apparent encouragement given to his first comedy, Fielding does not seem to have followed up dramatic authorship with equal vigour, or at all events with equal success. It ran for a short time, and was then withdrawn.
In the Puppet Show, Henley, the Clare-Market Orator, and Samuel Johnson, the quack author of the popular Hurlothrumbo, were smartly satirised, as also was the fashionable craze for Opera and Pantomime. At all events, Luckless, the author Sluts in higher wraxall the play, has more than one of the characteristics which distinguish Sluts in higher wraxall traditional portrait of Fielding himself in his early years. Here is one of them as good as any: Index, what News with you? I have brought my Bill, Sir. If you have them cheaper at either of the Universities, I will give you mine for nothing.
Sir, I shall provide them. Indeed, Sir, it does not, for you see all of the Book that I ever intend to publish. Then you have not translated a Word of it, perhaps. Not a single Syllable. What dost think of the Play? It may be a very good one, for ought I know; but I know the Author has no Interest. Give me Interest, and rat the Play. Rather rat the Play which has no Interest. Interest sways as much in the Theatre as at Court. Under these circumstances nothing perhaps could be more natural than that they should play their parts in his little satire.
For the next few years he continued to produce comedies and farces with great rapidity, both under his own name, and under the pseudonym of Scriblerus Secundus. Most of these show manifest signs of haste, and some are recklessly immodest. We shall confine ourselves to one or two of the best, and do little more than enumerate the others. Justice Squeezum, another character contained in this play, is a kind of first draft of the later Justice Thrasher in Amelia. Omitting for the moment the burlesque of Tom Thumb, the Coffee-House Politician was followed by the Letter Writers; or, A new Way to Keep a Wife at Home,a brisk little farce, with one vigorously drawn character, that of Jack Commons, a young university rake; the Grub-Street Opera, ; the farce of the Lottery,in which the famous Mrs.
It had, however, no great success upon the stage, and the chief thing worth remembering about it is that it afforded his last character to Wilks, who played the part of Bellamant. This was first brought out in at the little theatre in the Hay-market, where it met with a favourable reception. Among the authors satirised are Nat. The annotations, which abound in transparent references to Dr. D[enni]s, are excellent imitations of contemporary pedantry. Petnis Burmanus makes three Tom Thumbs, one whereof he supposes to have been the same Person whom the Greeks called Hercules, and that by these Giants are to be understood the Centaurs slain by that Heroe.
And in the same canto: