In Book 1, Chapter 5, Thomas Booby passes away—and Lady Booby stops going on her walks with Joseph Andrews, right at the moment that word is getting out around town that the pair have been spending time together. Through personification of Fame (which is to say, notoriety) and the aural imagery of music, Fielding conveys how this comes about at an ideal moment to preserve Andrews's reputation:
At this Time, an Accident happened which put a stop to these agreeable Walks, which probably would have soon puffed up the Cheeks of Fame, and probably caused her to blow her brazen Trumpet through the town;
If Andrews and Booby had not stopped their walks, Fielding writes, Fame would have played her “brazen Trumpet” (perhaps the trumpet of Gossip) and announced their flirtation for all to hear. In the invocation of a trumpet, and the fanfare of a parade or royal promenade, Fielding also uses sound imagery to emphasize the melodrama of this situation—and, more specifically, the melodrama of gossip circles.
This passage explores both themes of proper virtuous love—the possible relationship between Lady Booby and Joseph Andrews would not qualify as such, and is therefore treated as scandalous—and the trappings of high social class. Common folk, after all, would not be subject to the same treatment or the same scrutiny as Booby and Andrews must face.
In Book 1, Chapter 12, Fielding announces the arrival of dawn in elaborate language laden with literary devices. In particular, he relies on allusion and the imagery of music to celebrate daybreak:
Aurora now began to shew her blooming Cheeks over the Hills, whilst ten Millions of feathered Songsters, in jocund Chorus, repeated Odes a thousand times sweeter than those of our Laureate, and sung both the Day and the Song; when the Master of the Inn, Mr Tow-wouse, arose, and learning from his Maid an Account of the Robbery, and the Situation of his poor naked Guest, he shook his Head, and cried, Good-lack-a-day! And then ordered the Girl to carry him one of his own Shirts.
This section is a prime example of Fielding's fanciful neoclassical language that he periodically employs for dramatic effect throughout the novel. The style is marked by overwrought classical allusion, as with the announcement of dawn in mock-epic fashion—that is, deliberately mimicking the personification of dawn (Aurora) in the manner of classical epic poetry. In invoking a massive flock of songbirds singing in the sun, Fielding gives his passage further heft through the imagery of a musical fanfare. Emphasizing the splendor of the moment, Fielding also makes a backhanded allusion (and insult) to the apparently awful Odes of the poet Cibber, then poet laureate of England, which he had composed for various celebrations throughout the country.
This passage exemplifies many of Fielding's trademark literary techniques employed throughout Joseph Andrews: his allegiance to classical reference, his playful emulation of high style, and his constant reference to contemporary literature (good and bad).
