But in mere interest of story and accessories the journey of Roderick and Strap to London is quite the equal, and perhaps the superior, of that of Tom and his hanger-on after we once leave Upton, where the interest is of a kind that Smollett could not reach.

It is probable that Fielding might, if he had chosen, have made the prison in _Amelia_ as horribly and disgustingly realistic (to use a horrible and disgusting word) as the ship in _Roderick_, but he at any rate did not choose.

Moreover Smollett, himself a member of one of the less predominant partners of the British and Irish partnership, perhaps for that reason hit on utilising the difference of these partners (after a fashion which had never been seen since Shakespeare) in the Welshman Morgan.

As far as mere plot goes, he enters into no competition whatever with either Fielding or Richardson: the picaresque model did not require that he should.

When Roderick has made use of his friends, knocked down his enemies, and generally elbowed and shoved his way through the crowd of adventures long enough, Narcissa and her fortune are not so much the reward of his exertions as a stock and convenient method of putting an end to the account of them.