If Richardson had not existed, Fielding would have had to invent him, as an embodiment of a moral and social outlook, and a literary manner, against and through which he could define his own. Pope's or Fielding's claims are rhetorically ad hoc and not formally in conflict with adjacent pronouncements about dress.
The enunciative and pragmatic dimension. When the heroes of Tom Jones and Amelia commit their infidelities, there is a strong sense that a generous sexuality is better than an unloving disposition, but that their chaste or conjugally sanctioned love for Sophia or Amelia is a considerably higher thing.
The character of Parson Adams, the learned generous clergyman who serves as the Quixote figure, is not a mockery of his Cervantic original so much as an upward reformulation, even an unparodying. His Shoulders were broad and brawny, but yet his Arms hung so easily, that he had all the Symptoms of Strength without the least clumsiness.
Later examples of the genre are mentioned in Fielding's Preface, and the burlesque elements in his descriptions of heroines target them rather than epic poems. Show it to me! The argument that the burlesque flourishes are just extra fun for learned readers is belied by their frequency, despite Fielding's dismissal of the importance of mere diction, "which as it is the Dress of Poetry, doth like the Dress of Men establish Characters, the one of the whole Poem, and the other of the whole Man, in vulgar Opinion, beyond any of their greater Excellencies" 4.
Characters are kind or mean and they share simple but violent relations.