61 pages • 2 hours read
Tobias SmollettA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
At the start of the novel, Chowder is Tabitha’s pet dog; he is unruly, ill-behaved, and causes lots of problems. While the family is in London, Tabitha eventually gives Chowder to an acquaintance, Lady Griskin. Chowder symbolizes Tabitha’s obstinate and assertive nature, along with her unruly pursuit of a male partner. In the 18th century, women were typically celebrated for being modest, delicate, and passive; Lydia embodies many of these feminine ideals. By contrast, Tabitha openly speaks her mind, takes an active hand in managing the Bramble estate, and makes no effort to disguise her desire to find a husband. Chowder is expected to be domesticated, and thus to be passive, obedient, and easy to control; however, he rejects the idea of obedience to follow his own instincts and impulses.
As an unmarried woman, Tabitha is expected to behave in a similar way to a domestic animal: quietly existing within a household while causing as little trouble as possible. Tabitha is past the age where it would be common for a woman to marry, and could therefore be easily interpreted as a burden on her brother’s livelihood and household. However, she refuses to passively accept her fate and continues to assert her own desires. When Tabitha gives away Chowder (after a terrible argument with her brother about the dog’s unruly behavior), the dog’s departure symbolizes a change in Tabitha’s methods: She becomes less outwardly assertive and more conniving and strategic about achieving her goals. Tabitha’s motives and aims don’t truly change, but she becomes craftier about achieving them. By the end of the novel, Tabitha has secured her goal of finding a husband.
Throughout the novel, characters (primarily Matthew) experience immersion in different bodies of water, including geothermal springs, the ocean, ponds, and rivers. These immersions are sometimes intentional and sometimes accidental; at the time that Smollett was writing, “bathing cures” (immersion in seawater, geothermal springs, or other natural bodies of water) were popularly prescribed for individuals suffering from a variety of ailments. The initial impetus for all of the travels is for Matthew to find relief from his gout, so he seeks out locations such as Bath, Bristol, and Scarborough where he can immerse himself in water. At other times, characters unintentionally end up immersed in water, such as when Lismahago tricks Sir Bulford into jumping into the pond, and notably when Matthew falls into the river during a carriage accident and nearly drowns.
The motif of immersion in water reveals the tension between orchestrated events and the unplanned; when intentionally “bathing” in search of a cure for his gout, Matthew experiences little relief, and is often disgusted by both the conditions and social niceties surrounding him. Mathew’s unplanned and organic experiences related to immersion in water also involve Humphry: When he is bathing in Scarborough, Humphry mistakenly thinks he is drowning and drags Matthew out of the sea, exposing his naked body to onlookers. Later, Humphry does actually save Matthew from drowning after the carriage is overturned and he plunges into a river. These episodes feature elements (natural bodies of water, nudity, an unexpected plunge into the river) that thematically allude to the relationship between Matthew and Humphry: Humphry is Matthew’s illegitimate son (sometimes referred to as a natural son). He was conceived in unplanned and unsanctioned circumstances, and then found his way back to Matthew through coincidence and serendipity. Unlike the superficial socialization that occurs at fashionable bathing places, Humphry acts spontaneously and out of genuine loyalty when he helps Matthew during these immersions.
The motif of immersion in water also alludes to baptism and rebirth. In many Christian sects, some form of immersion in water is used as part of a ritual to initiate an individual into the practice of Christian faith. In secular terms, immersion in water can reflect a new beginning and a fresh start, washing away previous experiences and identities. When Humphry is immersed in the water during the carriage accident just before his true identity is revealed, he is symbolically reborn into a new identity and social position. This motif also alludes to his devout Christian faith, which sustains him through the obstacles and challenges he encounters.
Hidden identities are an important motif in the novel; most significantly, Humphry Clinker is revealed to be Matthew Lloyd Junior (Matthew Bramble’s illegitimate son), and Wilson is revealed to be George Dennison. There are also smaller examples of disguised and hidden identities peppered throughout the text, such as when a man not previously recognized by his father is revealed to be an estranged son, and when Jeremy is confused to encounter a man named Wilson, who is not the same Wilson he is pursuing. The motif of hidden identities reveals that social and class positions are not as stable and fixed as they seem; a seemingly lower-class individual like Humphry can be the illegitimate son of a gentleman, and a seemingly impoverished actor like Wilson can turn out to be the son and heir of a wealthy man. The presence of this motif throughout the novel alludes to the futility of certainty and control, and to the increasingly malleable class system that was coming to the fore in Great Britain.
By Tobias Smollett