Fielding and the Morality of Music

Abstract

Music was more than simply a form of entertainment to Fielding; it was an instrument of morality as well. Not only did he frequently include an instructive message in his own songs, but he viewed the appreciation of music as a hallmark of the good and deafness to it as suggesting a dangerous lack of humanity. So closely tied were ethics and aesthetics for him that he believed “true Virtue is…nothing else but true Taste.” As a result, the type of music his characters prefer helps define them morally with a professed love of opera implying an ethical deficiency and an attachment to Handel denoting a sound and sophisticated moral sense. Still, while cherishing music, Fielding saw it as not without its moral hazards. Given its strong sensory appeal, he feared its power over the passions could override reason with potentially harmful results. In fact, he regarded it as an intensifier that could amplify our existing inclinations for better or for worse. Therefore, he embraced the neoclassical precept that it should be governed by lyrics that direct our feelings toward a rational and ethical end. Indeed, if used wisely and well, he deemed music to be a uniquely potent and positive force that could elevate our souls almost to heaven.