How we cite our quotes: (Book.Chapter.Paragraph)
Quote #7
"But, what may seem astonishing, my aunt never saw, nor in the least seemed to suspect, that which was visible enough, I believe, from both our behaviours. One would indeed think that love quite puts out the eyes of an old woman. In fact, they so greedily swallow the addresses which are made to them, that, like an outrageous glutton, they are not at leisure to observe what passes amongst others at the same table. This I have observed in more cases than my own; and this was so strongly verified by my aunt, that, though she often found us together at her return from the pump, the least canting word of his, pretending impatience at her absence, effectually smothered all suspicion." (11.4.13)
In telling the story of her own terrible marriage, Mrs. Fitzpatrick keeps pointing out how weirdly blind Mrs. Western is to the relationship developing between Mr. Fitzpatrick and Harriet, the future Mrs. Fitzpatrick. She decides that Mrs. Western is so vain about Mr. Fitzpatrick's supposed attraction to her that she literally can't see the obvious signs of his flirtation with someone else. And Harriet is also blind to all of the warning signs that Mr. Fitzpatrick is not the great man she believes he is before they get married. This idea of blindness and sight is a major part of Tom Jones. The narrator says that it is his job to see better than most people, to, "strip off the thin disguise of wisdom from self-conceit, of plenty from avarice, of glory from ambition" (13.1.4). This novel is supposed to show people as they are, rather than just as they appear. Which characters in this book seem most clear-sighted about other people's flaws? How have they gained their sharp vision? Are there any characters without blind spots?
Quote #8
"It is ill jesting," cries Partridge, "with people who have power to do these things; for [witches] are often very malicious. I remember a farrier, who provoked one of them, by asking her when the time she had bargained with the devil for would be out; and within three months from that very day one of his best cows was drowned. Nor was she satisfied with that; for a little time afterwards he lost a barrel of best-drink: for the old witch pulled out the spigot, and let it run all over the cellar, the very first evening he had tapped it to make merry with some of his neighbours. In short, nothing ever thrived with him afterwards; for she worried the poor man so, that he took to drinking; and in a year or two his stock was seized, and he and his family are now come to the parish." (12.11.7-8)
Partridge tries to prove to Tom beyond a doubt that witches exist by giving this example of a farrier (which is a blacksmith) he once knew. But the things that he takes as proof that the farrier was cursed by a local witch—a drowned cow and a barrel of wasted beer—could also just be a matter of chance (and drunken carelessness, since the guy was making "merry with some of his neighbours" the night that the keg spigot was inexplicably left open). Fielding uses Partridge's superstition to show that you can "prove" anything you want, if you decide ahead of time what you want the evidence to show.
Quote #9
Thus at an age when the [wits] above mentioned employ their time in toasting the charms of a woman, or in making sonnets in her praise; in giving their opinion of a play at the theatre, or of a poem at Will's or Button's; these gentlemen are considering the methods to bribe a corporation, or meditating speeches for the House of Commons, or rather for the magazines. But the science of gaming is that which above all others employs their thoughts. These are the studies of their graver hours, while for their amusements they have the vast circle of connoisseurship, painting, music, statuary, and natural philosophy, or rather unnatural, which deals in the wonderful, and knows nothing of Nature, except her monsters and imperfections. (13.5.8)
Fielding compares the writers of a previous generation, who spent all of their wit describing beautiful women and thinking about art, to the commercial writers of his day. Now, Fielding complains, all the writers working for money are writing about business or politics or gambling. They think about everything except human nature (unless it's "her monsters and imperfections"). These writers have all become such smooth experts in their craft that they never really thinkabout anything serious. Fielding is basically giving the 18th Century author equvalent of "kids these days, eh?"