The Journal of a Voyage to Lisbon (Journal d'un voyage de Londres à Lisbonne) is the final work by Henry Fielding (1707–1754), written during a challenging period in his life. In the summer of 1754, accompanied by his wife and a few companions, Fielding set sail for Lisbon aboard the Queen of Portugal. The voyage was marked by delays and rough weather, causing the initial part of the journal to focus more on England’s shores than on the journey itself.
The book is structured as a chronicle, blending daily anecdotes with reflections on political and moral issues. Fielding’s characteristic humor permeates the narrative, tempered by a stoic acceptance of the difficulties he faces. He offers commentary on maritime law and reflects on his recent experiences as a magistrate, a role he had only recently left.
Irony is a key feature throughout the text, often directed at the narrator himself. Fielding draws inspiration from various English travelogues and classical works by Homer and Virgil, creating parallels between the passengers’ experiences and the epic journeys of antiquity.
The diary was published posthumously in January 1755.
Circumstances
Portugal has been a popular destination for English travelers, many of whom documented their experiences. For example, Richard Twiss sailed from Falmouth to Lisbon in 1772; Joseph Baretti made the crossing in a week in 1760; and William Beckford took nine days in 1787. Fielding, however, took six weeks, making his Diary more a chronicle of his stops than of Lisbon itself. His account suggests that external forces are working against him, his wife, the ship, and its captain while offering fleeting moments of hope. The tone of Fielding's diary is predominantly solemn, though it includes occasional moments of humor, such as when sea spray unexpectedly forces him and the captain to the floor while attempting to eat. I could not help reflecting how often the greatest abilities lie wind-bound as it were in life; or if they venture out, and attempt to beat the seas, they struggle in vain against wind and tide, and if they have not sufficient prudence to put back, are most probably cast away on the rocks and quicksands, which are every day ready to devour them.
Decision and boarding
In 1753, Henry Fielding, a Bow Street magistrate, faced serious health issues, suffering from gout and edema, which limited his mobility and required frequent medical interventions. His doctors suggested a warmer climate, prompting him to consider emigration. Initially aiming for Aix-en-Provence, he ultimately chose Portugal due to the challenges of traveling through France.
On June 26, 1754, Fielding left his London home and arrived at the port of Rotherhithe. He boarded the Queen of Portugal, recommended by a neighbor. The ship was commanded by Richard Veal, a seasoned officer mourning the loss of his wife. During the journey, Veal displayed strong emotions, particularly when a kitten fell overboard, highlighting a contrast between his attachment to the animal and his indifference toward his crew.KP Deep'ak, « The Journal of a voyage to Lisbon », Literarism: The Republic of Letters, December 2015, p. 2.
Fielding observed the crew's mockery as he was assisted onto the deck, remarking on the cruelty he perceived in human nature.
Ferry journey
The ship was moored at the quayside, as the captain sought additional passengers and freight to enhance the trip's profitability. After an extended wait, he decided to set sail slowly down the Thames. Shortly after departure, the vessel collided with two other ships. Fortunately, the damage was minor and could be repaired in a few days. The journey then continued, subject to weak winds. The yacht drifted along the river, aided by the ebbing tides, and navigated along the coast as far as the Isle of Wight and Cornwall, unable to head toward the ocean.
Numerous stops allowed passengers to disembark, dine at inns, and occasionally spend the night. Fielding noted the rudeness of some innkeepers, particularly a Mrs. Francis in Ryde, who served unappetizing food at high prices. Most of the time, however, he was required to remain on board, sharing a cabin with the captain, whose snoring disrupted his rest. Next door was a seasick passenger who moaned incessantly. Fielding experienced discomfort and struggled with the swell as the ship finally sailed toward the Bay of Biscay. There, the wind diminished once more, impeding progress. This lull, while restful, allowed Fielding to contemplate the challenges of navigating nature. Fielding noted that, despite the commander's claim of being 'bewitched', his 'absolute power on board' seemed to have no effect on the indifference of the wind". This period also afforded the crew the opportunity to capture a shark, an unexpected addition to their provisions. One evening, near the end of the voyage, Fielding and his family rested on deck as the sun set and the moon rose. Fielding described this moment as "magical", offering a brief respite from the hardships they had previously endured. He noted that his book contained numerous anecdotes, some of which were derived from particularly disagreeable experiences. The boat arrived in Lisbon on August 7. Initially impressed by the city’s brightness from a distance, Fielding later described it as "the most unpleasant in the world", lacking beauty and characterized by decrepit, haphazardly constructed buildings. In letters to his brother John, he expressed nostalgia for England, reminiscing about simple comforts such as turnips and fine cheeses. Fielding informed his publisher that prices in Lisbon were approximately three times higher than those in England. In the same correspondence, he announced the near completion of his voyage narrative, which he considered his best work. Two months later, on October 8, 1754, he died.
Editorial, publication, and acceptance The two editions published in 1755 differ significantly, and according to Martin C. Battestin, neither presents the complete original text. It is likely that the manuscript was left unfinished in the hands of an amanuensis, possibly William Aldrit, who accompanied Fielding and his wife to Lisbon and later engaged in secretarial work.
Editorial
The first printing, known as The Francis Version, was published by William Straham and may have been edited by the author's brother, John Fielding, as suggested by Tom Keymer, annotator of the Penguin edition. John Fielding later undertook a more extensive revision, leading to The Humphry's Version, which was released in December 1755. This timing coincided with the disaster in Lisbon on November 1, which likely increased public interest and sales for publisher Andrew Millar.
Keymer argues that The Francis Version is superior as it preserves the original text's satire and humor. The differences primarily involve the portrayal of Commander Richard Veal, whom Fielding befriended during the voyage but later grew exasperated with in Lisbon. In the second version, descriptive details about Veal’s appearance and gentlemanly pretensions are removed, while references to his bravery are simplified. Notably, aspects such as his age, deafness, and voice are omitted, resulting in a less critical portrayal.
The Penguin edition reproduces The Francis Version, with minimal changes. Typos have been corrected, and some formatting adjustments have been made, including the reinstatement of erroneous dates to align with the chronology.
Publication
Fielding's Diary was first published in a version intended for the benefit of his family, but it was significantly shorter than the version retained by Arthur Murphy, which serves as the reference for this article. The omitted passages primarily involve Fielding's reflections on the ship's commander. An earlier edition, containing these reflections, also exists. The unsigned introduction to the Project Gutenberg text notes this editing issue and refers to "Mr. Dobson", who published a separate edition of the book. Arthur Dodson explains that the first edition, initiated by Fielding's half-brother John, included a companion piece titled "Fragment on Bolingbroke", derived from Fielding's response to Lord Bolingbroke. The release was meticulously prepared with announcements in the Public Advertiser, beginning with a mention of February 6, 1755, followed by the publisher's details: "On Tuesday, the 25th current, will be published in a volume duodecimo, price 3s., bound, for the benefit of his wife and children, Journal d'un Voyage à Lisbonne. By the late Henry Fielding, Esq. To which is added Fragment of his Reply to Lord Bolingbroke, on sale at Andrew Millar's on the Strand". This advertisement continued until the 25th, when it was updated to indicate, "Today appears [...]".
Acceptance The earliest readers of Fielding's work recognized that his literary career had come to a definitive end. In the months leading up to publication, funeral notices and tributes proliferated in the press, particularly in the Public Advertiser and the Whitehall Journal, preparing the public for a "work begun in suffering and ended practically at the same time as life". The Whitehall Journal raised concerns about whether Fielding's declining health, particularly severe liver damage, had affected his creative faculties.
Many contemporary readers expressed disappointment that a distinguished author like Fielding would focus on seemingly mundane aspects of life, documenting trivial encounters with anonymous passengers aboard a ship to Portugal. André Darlington notes that they may have overlooked how Fielding's novels diverged from those of his predecessors by emphasizing seemingly insignificant details that contributed to the narrative's overall substance, anchoring it in history and everyday experiences. Additionally, the Journal de la traversée aimed to critique outdated passenger transport laws and propose improvements. In the months following the publication of Amelia, Fielding seemed to focus more on health remedies, such as tar water recommended by George Berkeley, than on his literary pursuits. His diary reflects a man grappling with failing health, physical confinement, and anguish, all while maintaining a sharp political and social perspective. Monika Aliker Rabb suggests that the work emerges from the tension between public and private responsibility.Melinda Aliker Rabb, Size, Scale, and the History of Cognition, communication, ASECS, Vancouver, Brown University, 16 mars 2011.
The combination of serious and humorous elements in the work led to confusion among many readers. Thomas Edwards expressed astonishment that someone facing death would engage in such trivial banter, while Arthur Murphy lamented that the work evoked the mindset of a condemned man joking on the scaffold.
Fielding was acutely aware of his deteriorating condition and engaged with suffering and death in a comic vein. This approach parallels later works by authors like Sterne and Cervantes, who also created in the face of personal anguish. Fielding's reflections illustrate his awareness of the gradual decay of his body, demonstrating a profound engagement with his mortality.
The book prescription The book opens with an unsigned dedication to the public, likely written by Arthur Murphy, who refers to the author in the third person.
Dedication to the public