Appearing in 1742 and defined by Fielding as a "comic epic poem in prose", it tells of a good-natured footman's adventures on the road home from London with his friend and mentor, the absent-minded parson Abraham Adams.

The novel embodies a fusion of two competing aesthetics of 18th-century literature: the mock-heroic and neoclassical (and, by extension, aristocratic) approach of Augustans such as Alexander Pope and Jonathan Swift, and the popular, domestic prose fiction of novelists such as Daniel Defoe and Samuel Richardson.

In deference to the literary tastes and recurring tropes of the period, it relies on bawdy humour, an impending marriage and a mystery surrounding unknown parentage, but conversely is rich in philosophical digressions, classical erudition and social purpose.

Richardson's epistolary tale of a resolute servant girl, armed only with her "virtue", battling against her master's attempts at seduction had become an overnight literary sensation in 1741.

As becomes apparent from the first few chapters of the novel, in which Richardson and Cibber are parodied mercilessly, the real germ of Joseph Andrews is Fielding's objection to the moral and technical limitations of the popular literature of his day.

But while Shamela started and finished as a sustained subversion of a rival work, in Joseph Andrews Fielding merely uses the perceived deprivation of popular literature as a springboard to conceive more fully his own philosophy of prose fiction.

In a scene analogous to many of Pamela's refusals of Mr. B in Richardson's novel, Lady Booby finds Joseph's Christian commitment to pre-marital chastity unwavering.

Finding himself some time ahead of his friend, Adams rests by the side of the road where he becomes so engaged in conversation with a fellow traveller that he misses the stage coach as it passes.

In spite of Adams's good intentions, he and the girl, who reveals herself to be none other than Fanny Goodwill (in search of Joseph after hearing of his mugging), find themselves accused of assault and robbery.

The solicitations of charity that Adams is forced to make, and the complications which surround their stay in the parish, bring him into contact with many local squires, gentlemen and parsons, and much of the latter part of Book II is taken up by discussions of literature, religion, philosophy and trade that result.

Wilson found himself at the mercy of many of the social ills that Fielding had written about in his journalism: the over-saturated and abused literary market, the exploitative state lottery, and regressive laws which sanctioned imprisonment for small debts.

On seeing Joseph arrive back in the parish, a jealous Lady Booby meanders through emotions as diverse as rage, pity, hatred, pride and love.

Finding herself powerless either to stop the marriage or to expel them from the parish, she enlists the help of Lawyer Scout, who brings a spurious charge of larceny against Joseph and Fanny to prevent, or at least postpone the wedding.

After indulging his grief in a manner contrary to his lecture a few minutes previously, Adams is informed that the report was premature, and that his son has in fact been rescued by the same peddler that loaned him his last few shillings in Book II.

Lady Booby, in a last-ditch attempt to sabotage the marriage, brings a young beau named Didapper to Adams's house to seduce Fanny.

While on her death bed, she confessed that she once stole an exquisitely beautiful baby girl from a family named Andrews, and sold her on to Sir Thomas Booby, thus raising the possibility that Fanny may in fact be Joseph's sister.

Two days later they are married by Adams in a humble ceremony, and the narrator, after bringing the story to a close, and in a disparaging allusion to Richardson, reassures readers that there will be no sequel.

Joseph Andrews, a stage adaptation of the first and fourth books of the novel, was written by Samuel Jackson Pratt and performed on 20 April 1778 at the Theatre Royal, Drury Lane.

Richardson directed the critically well-received work, with Michael Hordern as Adams, Peter Firth as Joseph, and Lady Booby played by Swedish-born Ann-Margret, who received a Golden Globe nomination for the role.

The tag line ("The story of a young, English footman who served the Lady Booby but loved the little Fanny") suggests how it captures some of the source material's bawdy humour.