"Wine is a turncoat; first a friend and then an enemy"
About this Quote
Wine, in Fielding's hands, isn’t a cozy emblem of conviviality; it’s a political traitor in a bottle. Calling it a "turncoat" drags drinking out of the realm of private indulgence and into the public language of loyalty and betrayal, a vocabulary his 18th-century readers would have felt in their bones. A turncoat doesn’t merely disappoint you. A turncoat defects, and it does so after earning your trust.
The line’s snap comes from its miniature narrative: "first a friend and then an enemy". Fielding understands intoxication as a staged seduction. At the start, wine performs as social lubricant and mood editor, smoothing the rough edges of class anxiety, shame, and boredom. It offers a quick, accessible kind of grace: you feel wittier, warmer, less alone. That’s the "friend" phase, and Fielding lets it sound plausible because he’s not preaching abstinence; he’s conceding the charm.
Then the betrayal lands. The enemy isn’t just the hangover. It’s the way drink can conscript you into saying what you meant to withhold, spending what you meant to keep, becoming the version of yourself you’d rather not meet in daylight. The subtext is moral but also social: wine doesn’t only undo the individual; it destabilizes reputation, household order, and the fragile performance of respectability that props up Fielding’s world.
The craft is in the refusal to moralize directly. He gives wine agency, and by doing that, he indicts the human desire to outsource responsibility while admitting how easily we’re recruited by pleasure.
The line’s snap comes from its miniature narrative: "first a friend and then an enemy". Fielding understands intoxication as a staged seduction. At the start, wine performs as social lubricant and mood editor, smoothing the rough edges of class anxiety, shame, and boredom. It offers a quick, accessible kind of grace: you feel wittier, warmer, less alone. That’s the "friend" phase, and Fielding lets it sound plausible because he’s not preaching abstinence; he’s conceding the charm.
Then the betrayal lands. The enemy isn’t just the hangover. It’s the way drink can conscript you into saying what you meant to withhold, spending what you meant to keep, becoming the version of yourself you’d rather not meet in daylight. The subtext is moral but also social: wine doesn’t only undo the individual; it destabilizes reputation, household order, and the fragile performance of respectability that props up Fielding’s world.
The craft is in the refusal to moralize directly. He gives wine agency, and by doing that, he indicts the human desire to outsource responsibility while admitting how easily we’re recruited by pleasure.
Quote Details
| Topic | Wine |
|---|---|
| Source | Help us find the source |
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