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+*** START OF THE PROJECT GUTENBERG EBOOK 14525 ***
+
+The Augustan Reprint Society
+
+
+PREFACES TO FICTION
+
+Georges de Scudéry, Preface to _Ibrahim_ (1674)
+
+Mary De la Riviere Manley, Preface to _The Secret
+History of Queen Zarah_ (1705)
+
+Jean-Baptiste de Boyer, Marquis d'Argens, _The Jewish
+Spy_ (1744), Letter 35
+
+William Warburton, Preface to Volumes III and
+IV (1748) of Richardson's _Clarissa_
+
+Samuel Derrick, Preface to d'Argens's _Memoirs of
+The Count Du Beauval_ (1754)
+
+
+
+With an Introduction by
+
+Benjamin Boyce
+
+
+
+Publication Number 32
+
+
+
+Los Angeles
+William Andrews Clark Memorial Library
+University of California
+1952
+
+     *       *       *       *       *
+
+GENERAL EDITORS
+
+H. RICHARD ARCHER, _Clark Memorial Library_
+RICHARD C. BOYS, _University of Michigan_
+JOHN LOFTIS, _University of California, Los Angeles_
+
+
+ASSISTANT EDITOR
+
+W. EARL BRITTON, _University of Michigan_
+
+
+ADVISORY EDITORS
+
+EMMETT L. AVERY, _State College of Washington_
+BENJAMIN BOYCE, _Duke University_
+LOUIS I. BREDVOLD, _University of Michigan_
+CLEANTH BROOKS, _Yale University_
+JAMES L. CLIFFORD, _Columbia University_
+ARTHUR FRIEDMAN, _University of Chicago_
+EDWARD NILES HOOKER, _University of California, Los Angeles_
+LOUIS A. LANDA, _Princeton University_
+SAMUEL H. MONK, _University of Minnesota_
+ERNEST MOSSNER, _University of Texas_
+JAMES SUTHERLAND, _University College, London_
+H.T. SWEDENBERG, JR., _University of California, Los Angeles_
+
+
+
+
+INTRODUCTION
+
+
+The development of the English novel is one of the triumphs of the
+eighteenth century. Criticism of prose fiction during that period,
+however, is less impressive, being neither strikingly original nor
+profound nor usually more than fragmentary. Because the early
+statements of theory were mostly very brief and are now obscurely
+buried in rare books, one may come upon the well conceived "program"
+of _Joseph Andrews_ and _Tom Jones_ with some surprise. But if one
+looks in the right places one will realize that mid-eighteenth
+century notions about prose fiction had a substantial background in
+earlier writing. And as in the case of other branches of literary
+theory in the Augustan period, the original expression of the
+organized doctrine was French. In Georges de Scudéry's preface to
+_Ibrahim_ (1641)[1] and in a conversation on the art of inventing a
+"Fable" in Book VIII (1656) of his sister Madeleine's _Clélie_ are
+to be found the grounds of criticism in prose fiction; practically
+all the principles are here which eighteenth-century theorists
+adopted, or seemed to adopt, or from which they developed, often by
+the simple process of contradiction, their new principles.
+
+That many of the ideas in the preface to _Ibrahim_ were not new even
+in 1641 becomes plain if one reads the discussions of romance
+written by Giraldi Cinthio and Tasso.[2] The particular way in which
+Mlle. de Scudéry attempted to carry out those ideas in her later,
+more subjective works she obligingly set forth in _Clélie_ in the
+passage already alluded to. There it is explained that a
+well-contrived romance "is not only handsomer than the truth, but
+withal, more probable;" that "impossible things, and such as are low
+and common, must almost equally be avoided;" that each person in the
+story must always act according to his own "temper;" that "the
+nature of the passions ought necessarily to be understood, and what
+they work in the hearts of those who are possess'd with them." He
+who attempts an "ingenious Fable" must have great
+accomplishments--wit, fancy, judgment, memory; "an universal
+knowledge of the World, of the Interest of Princes, and the humors
+of Nations," and of both closet-policy and the art of war;
+familiarity with "politeness of conversation, the art of ingenious
+raillery, and that of making innocent Satyrs; nor must he be
+ignorant of that of composing of Verses, writing Letters, and making
+Orations." The "secrets of all hearts" must be his and "how to take
+away plainness and driness from Morality."[3]
+
+The assumption that the new prose fiction could be judged, as the
+Scudérys professed to judge their work, first of all by reference to
+the rules of heroic poetry is frequent in the next century--in the
+unlikely Mrs. Davys (preface, _Works_, 1725); in _Joseph Andrews_ of
+course, where the rules of the serious epic and of the heroic
+romance are to aid the author in copying the ancient but, as it
+happens, nonexistent comic epic; and in Fielding's preface to his
+sister's _David Simple_ (1744). Both Richardson and Fielding were
+attacked on epic grounds.[4] Dr. Johnson's interesting and
+unfriendly essay on recent prose fiction (_Rambler_ No. 4) adopted
+the terminology familiar in the criticism of epic and romance and
+showed that Johnson, unlike d'Argens and Fielding, did not intend
+to give any of the old doctrines new meanings in a way to justify
+realism. Johnson laughed a little in that essay at the heroic
+romances; but like Mlle. de Scudéry, whose _Conversations_ he drew
+on for a footnote in his edition of Shakespeare (1765),[5] he
+believed that fiction should be "probable" and yet should idealize
+life and men and observe poetic Justice. Many other writers on prose
+fiction borrowed the old neo-classic rules, and they applied them
+often so carelessly and so insincerely that one is glad to come
+eventually on signs of rebellion, even if from the sentimentalists:
+"I know not," wrote Elizabeth Griffith in the preface to _The
+Delicate Distress_ (1769), "whether novel, like the _epopée_, has
+any rules, peculiar to itself.... Sensibility is, in my mind, as
+necessary, as taste, to intitle us to judge of a work, like this."
+
+The theory of prose fiction offered by the Scudérys was, on the
+whole, better than their practice. The same remark can be made with
+even greater assurance of _The Secret History of Queen Zarah, and
+the Zarazians_ (1705) and the other political-scandalous "histories"
+of Mary De la Riviere Manley. For in spite of the faults of _Queen
+Zarah_, the preface is one of the most substantial discussions of
+prose fiction in the century. Boldly and reasonably it repudiates
+the most characteristic features of the heroic romance--the vastness
+produced by intercalated stories; the idealized characters, almost
+"exempted from all the Weakness of Humane Nature;" the marvelous
+adventures and remote settings; the essay-like conversations; the
+adulatory attitude; and poetic Justice. _Vraisemblance_ and
+_decorum_, we are told, are still obligatory, but the probable
+character, action, dialogue will now be less prodigious, will be
+closer to real life as the modern English reader knows it. Thus Mrs.
+Manley announced a point of view which was, at least in most
+respects, to dominate the theory and invigorate the practice of
+prose fiction throughout the century.
+
+A significant phase of Mrs. Manley's discussion is the emphasis upon
+individual characterization and, in characters, upon not only the
+"predominant Quality" and ruling passion of each but also upon the
+elusive and surprising "Turnings and Motions of Humane
+Understanding." Here one should recognize the influence of
+historical writing rather than of poetry. As René Rapin had made
+clear in Chapter XX of his _Instructions for History_ (J. Davies's
+translation, 1680), the historian writes the best portraits who
+finds the "essential and distinctive lines" of a man's character and
+the "secret motions and inclinations of [his] Heart." But Mrs.
+Manley's remarks go beyond Rapin's in implying faith in a sort of
+scientific psychology, especially of "the passions." Other writers
+showed the same interest and worked toward the same end. Thus Henry
+Gally in his essay on Theophrastus and the Character was so carried
+away by a notion of the importance of the Character-writer's knowing
+all about the passions that he allowed himself to say that only by
+such a knowledge could a Character be made to "hit one Person, and
+him only"[6]--the goal obviously not of the Character-writer but of
+the historian and the novelist. The authors of _The Cry_[7] (1754)
+regarded the unfolding of "the labyrinths of the human mind" as an
+arduous but necessary task; indeed they went on to declare that the
+"motives to actions, and the inward turns of mind, seem in our
+opinion more necessary to be known than the actions themselves." It
+was Fielding's refusal, in spite of the titles of his books, to
+write like an historian with highly individualized and psychological
+characterizations that caused his admirer Arthur Murphy to admit in
+his "Essay" on Fielding that "Fielding was more attached to the
+_manners_ than to the _heart_."[8] He thought Fielding inferior to
+Marivaux in revealing the heart just as Johnson, according to
+Boswell, preferred Richardson to Fielding because the former
+presented "characters of nature" whereas the latter created only
+"characters of manners." The author of "A Short Discourse on Novel
+Writing" prefixed to _Constantia; or, A True Picture of Human Life_
+(1751) went so far as to say that prose fiction may teach more about
+the "sources, symptoms, and inevitable consequences" of the passions
+than could easily be taught in any other way. The increasingly
+subjective and individualized characterization in English fiction
+was well supported in contemporary theory.
+
+_The Jewish Spy_, translated from the _Lettres Juives_ (1736-38) of
+Jean-Baptiste de Boyer, Marquis d'Argens, is an early example of
+citizen-of-the-world literature and contains in its five volumes a
+"Philosophical, Historical and Critical Correspondence" dealing with
+French, English, Italian, and other matters. The work had a European
+vogue, and there were at least two English translations, the present
+one, issued in 1739, 1744, and 1766, and another, called _Jewish
+Letters_, published at Newcastle in 1746. (The Dublin edition of
+1753 I have not seen.) Though d'Argens's purpose in Letter 35 may
+have been to advertise his own novel, what he had to say is
+interesting. Like many others, he could scoff at the heroic romances
+and yet borrow and quietly modify the doctrines of _Ibrahim_ and
+_Clélie_. He proposed a still more "advanced" _vraisemblance_ and
+_decorum_--psychological analysis tinged with cynicism rather than
+idealism; gallantry but against the background sometimes of the
+modern city; a plainer style; and only such matters as seemed to
+this student of Descartes and Locke to be entirely reasonable.
+Fielding's chapter in _Tom Jones_ (IX, i) "Of Those Who Lawfully
+May, and of Those Who May Not, Write Such Histories as This" could
+be taken as an indication that he knew not only what Mlle. de
+Scudéry thought were the accomplishments of the romancer but that he
+had read d'Argens's words on that subject too. Both d'Argens and
+Fielding believed that in addition to "Genius, Wit, and Learning"
+the novelist must have a knowledge of the world and of all degrees
+of men, distinguishing the style of high people from that of low.
+They agreed that a writer must have felt a passion before he could
+paint it successfully. Much more goes into the making of a novel,
+they sarcastically pointed out, than pens, ink, and quires of paper.
+D'Argens, like Fielding, relished reflective passages and could
+approve, more readily than Mrs. Manley, of "an Historian that amuses
+himself by Moralizing or Describing." D'Argens's list of the
+features to be found in good history and good fiction shows him to
+be a thoroughgoing rationalist and separates his ideal from that of
+young readers, who, according to the preface to _The Adventures of
+Theagenes and Chariclia_ (1717), wish to hear of "Flame and Spirit
+in an Author, of fine Harangues, just Characters, moving Scenes,
+delicacy of Contrivance, surprising turns of action ... indeed the
+choicest Beauties of a _Romance_."
+
+The two novels that d'Argens recommended had different fortunes in
+England. D'Argens's book, _Memoires du Marquis de Mirmon, ou Le
+Solitaire Philosophe_ (Amsterdam, 1736) was never translated into
+English and apparently was not much read. But Claude Prosper Jolyot
+de Crébillon, the younger, was extolled by Thomas Gray and Horace
+Walpole, quoted by Sarah Fielding,[9] and had the honor, if one can
+trust Walpole, of an offer of keeping from Lady Mary Wortley
+Montagu. His _Égaremens du Coeur et de l'Esprit_ (1736-38) was
+translated in 1751[10] and is the novel which Yorick helped the
+_fille de chambre_ slide into her pocket. Crébillon was damned,
+however, in _The World_ (No. 19, May 10, 1753) in an essay that,
+oddly enough, reminds one of d'Argens's Letter 35. The work referred
+to in the third footnote on page 258 is _Le Chevalier des Essars et
+la Comtesse de Berci_ (1735) by Ignace-Vincent Guillot de La
+Chassagne. The last footnote on that page refers to G.H. Bougeant's
+satire, _Voyage Merveilleux du Prince Fan-Férédin dans la Romancie_
+(1735).
+
+The preface which William Warburton was invited by Richardson to
+supply for Volumes III and IV of _Clarissa_ when they first appeared
+in 1748 has never, I think, been reprinted in full. Richardson
+dropped it from the second edition (1749) of _Clarissa_, probably
+because he relished neither its implication that he was following
+French precedents nor its suggestion that his work was one "of mere
+Amusement." In the "Advertisement" in the first volume of the second
+edition he insisted that _Clarissa_ was "not to be considered as a
+_mere Amusement_, as a _light Novel_, or _transitory Romance_; but
+as a _History_ of LIFE and MANNERS ... intended to inculcate the
+HIGHEST and _most_ IMPORTANT _Doctrines_."[11] Warburton, offended
+in turn perhaps, thriftily salvaged more than half of the preface
+(paragraphs 2 to 6) to use as a footnote in his edition of Alexander
+Pope,[12] but he there made a striking change: not Richardson but
+Marivaux and Fielding were praised as the authors who, with the
+extra enrichment of comic art, had brought the novel of "real LIFE
+AND MANNERS ... to its perfection."
+
+The important principle of prose fiction which Richardson and
+Warburton recognized--that there is power in a detailed picture of
+the private life of the middle class--had been suggested earlier.
+Mrs. Manley could not voice it, at least not in _Queen Zarah_, where
+the Duke and Duchess of Marlborough, Godolphln, and Queen Anne were
+to be leading characters. But her sometime-friend Richard Steele
+could. Having laughed in _The Tender Husband_ (1705) at a girl whose
+judgment of life was seriously--or, rather, comically--warped by her
+reading of heroic romances, Steele made a positive plea in _Tatler_
+No. 172 for histories of "such adventures as befall persons not
+exalted above the common level." Books of this sort, still rare in
+1710, would be of great value to "the ordinary race of men." The
+anonymous preface to _The Adventures of Theagenes and Chariclia_
+seven years later attributed to Heliodorus's romance the value of
+suggesting rules "for conducting our Affairs in common Actions of
+Life." In 1751 when the new realism was a _fait accompli_, the
+author of _An Essay on the New Species of Writing Founded by Mr.
+Fielding_ declared roundly (p. 19) that in the new fiction the
+characters should be "taken from common Life." A good argument in
+favor of books about "private persons" was offered in the preface to
+the English translation of the Abbé Prévost's novel, _The Life And
+Entertaining Adventures of Mr. Cleveland, Natural Son of Oliver
+Cromwell_ (1741): "The history of kingdoms and empires, raises our
+admiration, by the solemnity ... of the images, and furnishes one of
+the noblest entertainments. But at the same time that it is so well
+suited to delight the imagination, it yet is not so apt to touch and
+affect as the history of private men; the reason of which seems to
+be, that the personages in the former, are so far above the common
+level, that we consider ourselves, in some measure, as aliens to
+them; whereas those who act in a lower sphere, are look'd upon by us
+as a kind of relatives, from the similitude of conditions; whence we
+are more intimately mov'd with whatever concerns us." A comparison
+of the first two paragraphs of this preface and the first four
+paragraphs of Johnson's _Rambler_ No. 60, if it does not discover
+the source of part of Johnson's paper, will at least reveal how the
+defender of the fictional "secret history" and a famous champion of
+intimate biography played into each other's hands. Johnson's
+appearing to follow the defender of French fiction here is all the
+more interesting when one recalls his alarm in _Rambler_ No. 4 over
+the prevailing taste for novels that exhibited, unexpurgated, "Life
+in its true State, diversified only by the Accidents that daily
+happen in the World." Indeed if it were not for Fielding himself,
+one might imagine from Johnson's unsteady and generally
+unsatisfactory criticism of prose fiction that the old neo-classical
+principles were completely out of date and useless.
+
+Samuel Derrick, the editor of Dryden and friend of Boswell for whom
+Johnson "had a kindness" but not much respect, the "pretty little
+gentleman" described by Smollett's Lydia Melford, translated the
+_Memoirs of the Count Du Beauval_ from _Le Mentor Cavalier, ou Les
+Illustres Infortunez de Notre Siecle_ ("Londres," 1736) by the
+Marquis d'Argens. Only the second paragraph of Derrick's preface
+came from d'Argens, but the drift of the Frenchman's ideas toward
+"le Naturel" is well sustained in Derrick's praise, no doubt based
+on Warburton's, of writers who present scenes that "are daily found
+to move beneath their Inspection." There are ties with the doctrines
+of 1641 even in this preface, but the transformation of
+_vraisemblance_ and _decorum_ was sufficiently advanced for the
+needs of the day.
+
+Benjamin Boyce
+Duke University
+
+
+
+NOTES TO THE INTRODUCTION
+
+[1] Most scholars attribute the preface to Georges de
+Scudéry, but it seems impossible to say whether he collaborated with
+his sister in writing the romance itself or whether the work was
+written entirely by her.
+
+Cogan's translation of _Ibrahim_ and the preface appeared first in
+1652.
+
+[2] See the texts in Allan H. Gilbert's _Literary
+Criticism: Plato to Dryden_ (N.Y.: American Book Co., 1940) and the
+discussion in A.E. Parsons' "The English Heroic Play," _MLR_, XXXIII
+(1938), 1-14.
+
+[3] _Clelia. An Excellent New Romance. The Fourth Volume
+... Rendered into English by G.H._ (1677; Part IV, Book II), pp.
+540-543.
+
+[4] See _An Apology for the Life of Mr. Bempfylde-Moore
+Carew ... The Sixth Edition_, p. xix; _Critical Remarks on Sir
+Charles Grandison_ (1754), p. 20.
+
+[5] IV, 184. The footnote could have come, contrary to the
+assertion of Sir Walter Raleigh (_Six Essays_ [Oxford, 1910], p.
+94), from either the original French (_Conversations sur Divers
+Sujets_ [Paris, 1680], II, 586-587) or the English translation
+(1683, II, 102). In both editions, the passage appears soon after
+the dialogue on how to compose a romance. I am indebted to Dr.
+Arthur M. Eastman for help in tracing Raleigh's vague reference.
+
+[6] _The Moral Characters of Theophrastus_ (1725), pp.
+31-32.
+
+[7] Jane Collier and Sarah Fielding.
+
+[8] The "Essay" was written in 1762, but I quote it as it
+appeared in the third edition (1766) of _The Works of Henry
+Fielding_, I, 75.
+
+[9] James B. Foster, _History of the Pre-Romantic Novel in
+England_ (N.Y.: Modern Lang. Assoc., 1949), p. 76.
+
+[10] _The Wanderings of the Heart and Mind: or, Memoirs of
+Mr. de Meilcour_, translated by M. Clancy. Clara Reeve maintained in
+1785 that Crébillon's book was never popular in England and that
+"Some pious person, fearing it might poison the minds of youth ...
+wrote a book of meditations with the same title, and _this_ was the
+book that _Yorick's fille de Chambre_ was purchasing" (_The Progress
+of Romance_ [N.Y.: Facsimile Text Society, 1930], pp. 130-131).
+
+[11] Richardson said that he dropped Warburton's preface
+because _Clarissa_ had been well received and no longer needed such
+an introduction. A fourth explanation of the natter and much other
+relevant information were presented by Ronald S. Crane, "Richardson,
+Warburton and French Fiction," _MLR_, XVII (1922), 17-23.
+
+[12] _The Works of Alexander Pope_ (1751), IV, 166-169. The
+footnote is on line 146 of the Epistle to Augustus ("And ev'ry
+flow'ry Courtier writ Romance").
+
+
+
+
+IBRAHIM,
+
+OR THE
+
+ILLUSTRIOUS
+
+BASSA.
+
+       *       *       *       *       *
+
+The whole Work,
+
+In Four Parts.
+
+Written in French by _Monsieur de Scudéry_,
+
+And Now Englished
+
+by
+
+Henry Cogan, Gent.
+
+
+       *       *       *       *       *
+
+
+London,
+
+Printed by _J.R._ and are to be sold by _Peter Parker_, at his Shop
+at the _Leg_ and _Star_ over against the Royal Exchange, and _Thomas
+Guy_, at the Corner-shop of _Little-Lumbard street_ and _Cornhil_,
+1674.
+
+
+
+
+_IBRAHIM, or The Illustrious Bassa_
+
+
+
+
+THE PREFACE
+
+
+I do not know what kind of praise the Ancients thought they gave to
+that Painter, who not able to end his Work, finished it accidentally
+by throwing his pencil against his Picture; but I know very well,
+that it should not have obliged me, and that I should have taken it
+rather for a Satyre, than an Elogium. The operations of the Spirit
+are too important to be left to the conduct of chance, and I had
+rather be accused for failing out of knowledge, than for doing well
+without minding it. There is nothing which temerity doth not
+undertake, and which Fortune doth not bring to pass; but when a man
+relies on those two Guides, if he doth not erre, he may erre; and of
+this sort, even when the events are successefull, no glory is
+merited thereby. Every Art hath its certain rules, which by
+infallible means lead to the ends proposed; and provided that an
+Architect takes his measures right, he is assured of the beauty of
+his Building. Believe not for all this, Reader, that I will conclude
+from thence my work is compleat, because I have followed the rules
+which may render it so: I know that it is of this labour, as of the
+Mathematical Sciences, where the operation may fail, but the Art
+doth never fail; nor do I make this discourse but to shew you, that
+if I have left some faults in my Book, they are the effects of my
+weakness, and not of my negligence. Suffer me then to discover unto
+you all the resorts of this frame, and let you see, if not all that
+I have done, at leastwise all that I have endeavoured to doe.
+
+Whereas we cannot be knowing but of that which others do teach us,
+and that it is for him that comes after, to follow them who precede
+him, I have believed, that for the laying the ground-plot of this
+work, we are to consult with the Grecians, who have been our first
+Masters, pursue the course which they have held, and labour in
+imitating them to arrive at the same end, which those great men
+propounded to themselves. I have seen in those famous _Romanzes_ of
+Antiquity, that in imitation of the Epique Poem there is a principal
+action whereunto all the rest, which reign over all the work, are
+fastned, and which makes them that they are not employed, but for
+the conducting of it to its perfection. The action in _Homers
+Iliades_ is the destrustion of _Troy_; in his _Odysseas_ the return
+of _Ulysses_ to _Ithaca_; in _Virgil_ the death of _Turnus_, or to
+say better, the conquest of _Italy_; neerer to our times, in _Tasso_
+the taking of _Jerusalem_; and to pass from the Poem to the
+_Romanze_, which is my principal object, in _Helidorus_ the marriage
+of _Theagines_ and _Cariclia_. It is not because the Episodes in the
+one, and the several Histories in the other, are not rather beauties
+than defects; but it is alwayes necessary, that the Addresse of him
+which employes them should hold them in some sort to this principal
+action, to the end, that by this ingenious concatenation, all the
+parts of them should make but one body, and that nothing may be seen
+in them which is loose and unprofitable. Thus the marriage of my
+_Justiniano_ and his _Isabella_, being the object which I have
+proposed unto my self, I have employed all my care so to doe, that
+all parts of my work may tend to that conclusion; that there may be
+a strong connexion between them; and that, except the obstacle which
+Fortune opposeth to the desires of my _Hero_'s, all things may
+advance, or at leastwise endeavour to advance his marriage, which is
+the end of my labour. Now those great Geniusses of antiquity, from
+whom I borrow my light, knowing that well-ordering is one of the
+principal parts of a piece, have given so excellent a one to their
+speaking Pictures, that it would be as much stupidity, as pride, not
+to imitate them. They have not done like those Painters, who present
+in one and the same cloth a Prince in the Cradle, upon the Throne,
+and in the Tombe, perplexing, by this so little judicious a
+confusion, him that considers their work; but with an incomparable
+address they begin their History in the midle, so to give some
+suspence to the Reader, even from the first opening of the Book; and
+to confine themselves within reasonable bounds they have made the
+History (as I likewise have done after them) not to last above a
+year, the rest being delivered by Narration. Thus all things being
+ingeniously placed, and of a just greatness, no doubt, but pleasure
+will redound from thence to him that beholds them, and glory to him
+that hath done them. But amongst all the rules which are to be
+observed in the composition of these works, that of true resemblance
+is without question the most necessary; it is, as it were, the
+fundamental stone of this building, and but upon which it cannot
+subsist; without it nothing can move, without it nothing can please:
+and if this charming deceiver doth not beguile the mind in
+_Romanzes_, this kinde of reading disgusts, instead of entertaining
+it: I have laboured then never to eloigne my self from it, and to
+that purpose I have observed the Manners, Customs, Religions, and
+Inclinations of People: and to give a more true resemblance to
+things, I have made the foundations of my work Historical, my
+principal Personages such as are marked out in the true History for
+illustrious persons, and the wars effective. This is the way
+doubtless, whereby one may arrive at his end; for when as falshood
+and truth are confounded by a dexterous hand, wit hath much adoe to
+disintangle them, and is not easily carried to destroy that which
+pleaseth it; contrarily, whenas invention doth not make use of this
+artifice, and that falshood is produced openly, this gross untruth
+makes no impression in the soul, nor gives any delight: As indeed
+how should I be touched with the misfortunes of the Queen of
+_Gundaya_, and of the King of _Astrobacia_, whenas I know their very
+Kingdoms are not in the universal Mapp, or, to say better, in the
+being of things? But this is not the only defect which may carry us
+from the true resemblance, for we have at other times seen
+_Romanzes_, which set before us monsters, in thinking to let us see
+Miracles; their Authors by adhering too much to wonders have made
+Grotesques, which have not a little of the visions of a burning
+Feaver; and one might demand of these Messieurs with more reason,
+than the Duke of _Ferrara_ did of _Ariosto_, after he had read his
+_Orlando, Messer Lodovico done diavolo havete pigliato tante
+coyonerie_? As for me, I hold, that the more natural adventures
+are, the more satisfaction they give; and the ordinary course of the
+Sun seems more marvellous to me, than the strange and deadly rayes
+of Comets; for which reason it is also that I have not caused so
+many Shipwrecks, as there are in some ancient _Romanzes_; and to
+speak seriously, _Du Bartas_ might say of these Authors,
+
+    _That with their word they bind,
+    Or loose, at will, the blowing of the wind._
+
+So as one might think that _Æolus_ hath given them the Winds
+inclosed in a bagg, as he gave them to _Ulysses_, so patly do they
+unchain them; they make tempests and shipwracks when they please,
+they raise them on the Pacifique Sea, they find rocks and shelves
+where the most expert Pilots have never observed any: But they which
+dispose thus of the winds, know not how the Prophet doth assure us,
+that God keeps them in his Treasures; and that Philosophy, as clear
+sighted as it is, could never discover their retreat. Howbeit I
+pretend not hereby to banish Shipwrecks from _Romanzes_, I approve
+of them in the works of others, and make use of them in mine; I know
+likewise, that the Sea is the Scene most proper to make great
+changes in, and that some have named it the Theatre of inconstancy;
+but as all excess is vicious, I have made use of it but moderately,
+for to conserve true resembling: Now the same design is the cause
+also, that my _Heros_ is not oppressed with such a prodigious
+quantity of accidents, as arrive unto some others, for that
+according to my sense, the same is far from true resemblance, the
+life of no man having ever been so cross'd. It would be better in my
+opinion to separate the adventures, to form divers Histories of
+them, and to make persons acting, thereby to appear both fertile and
+judicious together, and to be still within this so necessary true
+resemblance. And indeed they who have made one man alone defeat
+whole Armies, have forgotten the Proverb which saith, _not one
+against two_; and know not that Antiquity doth assure us, how
+_Hercules_ would in that case be too weak. It is without all doubt,
+that to represent a true heroical courage, one should make it
+execute some thing extraordinary, as it were by a transport of the
+_Heros_; but he must not continue in that sort, for so those
+incredible actions would degenerate into ridiculous Fables, and
+never move the mind. This fault is the cause also of committing
+another; for they which doe nothing but heap adventure upon
+adventure, without ornament, and without stirring up passions by the
+artifices of Rhetorick, or irksome, in thinking to be the more
+entertaining. This dry Narration, and without art, hath more of an
+old Chronicle, than of a _Romanze_, which may very well be
+imbellished with those ornaments, since History, as severe and
+scrupulous as it is, doth not forbear employing them. Certain
+Authors, after they have described an adventure, a daring design, or
+some surprising event, able to possess one with the bravest
+apprehensions in the world, are contented to assure us, that such a
+_Heros_ thought of very gallant things, without telling us what they
+are; and this is that alone which I desire to know: For how can I
+tell, whether in these events Fortune hath not done as much as he?
+whether his valour be not a brutish valour? and whether he hath born
+the misfortunes that arrived unto him, as a worthy man should doe?
+it is not by things without him, it is not by the caprichioes of
+destiny, that I will judge of him; it is by the motions of his soul,
+and by that which he speaketh. I honour all them that write at this
+day; I know their persons, their works, their merits; but as
+canonizing is for none but the dead, they will not take it ill if I
+do not Deifie them, since they are living. And in this occasion I
+propose no other example, than the great and incomparable _Urfé_;
+certainly it must be acknowledged that he hath merited his
+reputation; that the love which all the earth bears him is just; and
+that so many different Nations, which have translated his Book into
+their tongues, had reason to do it: as for me, I confess openly,
+that I am his adorer; these twenty years I have loved him, he is
+indeed admirable over all; he is fertile in his inventions, and in
+inventions reasonable; every thing in him is mervellous, every thing
+in him is excellent; and that which is more important, every thing
+in him is natural, and truly resembling: But amongst many rare
+matters, that which I most esteem of is, that he knows how to touch
+the passions so delicately, that he may be called the Painter of the
+Soul; he goes searching out in the bottom of hearts the most secret
+thoughts; and in the diversity of natures, which he represents, evey
+one findes his own pourtrait, so that
+
+    _If amongst mortals any be
+    That merits Altars_, Urfé's _he
+    Who can alone pretend thereto._
+
+Certainly there is nothing more important in this kind of
+composition, than strongly to imprint the Idea, or (to say better)
+the image of the _Heroes_ in the mind of the Reader, but in such
+sort, as if they were known to them; for that it is which
+interesseth him in their adventures, and from thence his delight
+cometh, now to make them be known perfectly, it is not sufficient to
+say how many times they have suffered shipwreck, and how many times
+they have encountered Robbers, but their inclinations must be made
+to appear by their discourse: otherwise one may rightly apply to
+these dumb _Heroes_ that excellent motto of Antiquity, _Speak that I
+may see thee_. And if from true resemblance and inclinations,
+expressed by words, we will pass unto manners, goe from the pleasant
+to the profitable, and from Delight to Example, I am to tell you,
+Reader, that here Vertue is seen to be alwayes recompenced, and Vice
+alwayes punished, if he that hath followed his unruliness hath not
+by a just and sensible repentance obtained Grace from Heaven; to
+which purpose I have also observed equality of manners in all the
+persons that do act, unless it be whereas they are disordered by
+passions, and touched with remorse.
+
+I have had a care likewise to deal in such sort, as the faults,
+which great ones have committed in my History, should be caused
+either by Love or by Ambition, which are the Noblest of passions,
+and that they be imputed to the evil counsell of Flatterers; that so
+the respect, which is alwayes due unto Kings, may be preserved. You
+shall see there, Reader, if I be not deceived, the comeliness of
+things and conditions exactly enough observed; neither have I put
+any thing into my Book, which the Ladies may not read without
+blushing. And if you see not my _Hero_ persecuted with Love by
+Women, it is not because he was not amiable, and that he could not
+be loved, but because it would clash with Civility in the persons of
+Ladies, and with true resemblance in that of men, who rarely shew
+themselves cruel unto them, nor in doing it could have any good
+grace: Finally, whether things ought to be so, or whether I have
+judged of my _Hero_ by mine own weakness, I would not expose his
+fidelity to that dangerous triall, but have been contented to make
+no _Hilas_, nor yet an _Hipolitus_ of him.
+
+But whilest I speak of Civility, it is fit I should tell you (for
+fear I be accused of falling therein) that if you see throughout all
+my Work, whenas _Soliman_ is spoken unto, Thy Highness, Thy
+Majestie, and that in conclusion he is treated with Thee, and not
+with You, it is not for want of Respect, but contrarily it is to
+have the more, and to observe the custom of those people, who speak
+after that sort to their Sovereigns. And if the Authority of the
+living may be of as much force, as that of the dead, you shall find
+examples of it in the most famous _Othomans_, and you shall see that
+their Authors have not been afraid to employ in their own Tongue a
+manner of speaking, which they have drawn from the Greek and Latin;
+and then too I have made it appear clearlie, that I have not done it
+without design; for unless it be whenas the Turks speak to the
+Sultan, or he to his Inferiours, I have never made use of it, and
+either of them doth use it to each other.
+
+Now for fear it may be objected unto me, that I have approached some
+incidents nearer than the Historie hath shewed them to be, great
+_Virgil_ shall be my Warrant, who in his Divine _Æneids_ hath made
+_Dido_ appear four Ages after her own; wherefore I have believed I
+might do of some moneths, what he hath done of so many Years, and
+that I was not to be afraid of erring, as long as I followed so good
+a guide. I know not likewise whether some may not take it ill, that
+my _Hero_ and _Heronia_ are not Kings; but besides that the Generous
+do put no difference between wearing of Crowns, and meriting them,
+and that my _Justiniano_ is of a Race which hath held the Empire of
+the Orient, the example of _Athenagoras_, me-thinks, ought to stop
+their mouths, seeing _Theogines_ and _Charida_ are but simple
+Citizens.
+
+Finally, Reader, such Censors may set their hearts at rest for this
+particular, and leave me there, for I assure them, that _Justiniano_
+is of a condition to command over the whole Earth; and that
+_Isabella_ is of a House, and Gentlewoman good enough, to make
+Knights of the _Rhodes_, if she have children enough for it, and
+that she have a minde thereunto. But setting this jesting aside, and
+coming to that which regards the _Italian_ names, know that I have
+put them in their natural pronunciation. And if you see some Turkish
+words, as _Alla_, _Stamboll_, the _Egira_, and some others, I have
+done it of purpose, Reader, and have left them as Historical marks,
+which are to pass rather for embellishments than defests. It is
+certain, that imposition of names is a thing which every one ought
+to think of, and whereof nevertheless all the World hath not
+thought: We have oftentimes seen Greek Names given to barbarous
+Nations, with as little reason as if I should name an English man
+_Mahomet_, and that I should call a Turk _Anthony_; for my part I
+have believed that more care is to be had of ones with; and if any
+one remarks the name of _Satrape_ in this _Romanze_, let him not
+magine that my ignorance hath confounded the ancient and new Persia,
+and that I have done it without Authority, I have an example thereof
+in _Vigenere_, who makes use of it in his Illustrations upon
+_Calchondila_; and I have learned it of a _Persian_, which is at
+_Paris_, who saith, that by corruption of speech they call yet to
+this day the Governours of Provinces, _Soltan Sitripin_.
+
+Now lest some other should further accuse me for having improperly
+named _Ibrahim_'s House a Palace, since all those of quality are
+called _Seraglioes_ at _Constantinople_, I desire you to remember
+that I have done it by the counsel of two or three excellent
+persons, who have found as well as my self, that this name of
+_Seraglio_ would leave an _Idea_ which was not seemly, and that it
+was fit not to make use of it, but in speaking of the Grand Signior,
+and that as seldom as might be. But whilest we are speaking of a
+Palace, I am to advertise you, that such as are not curious to see a
+goodly building, may pass by the gate of that of my _Heroe_ without
+entring into it, that is to say, not to read the description of it;
+it is not because I have handled this matter like to _Athenagoras_,
+who playes the Mason In the Temple of _Jupiter Hammon_; nor like
+_Poliphile_ in his dreams, who hath set down most strange terms, and
+all the dimensions of Architecture, whereas I have employed but the
+Ornaments thereof; it is not because they are not Beauties suitable
+to the _Romanze_, as well as to the _Epique Poem_, since the most
+famous both of the one and the other have them; nor is it too
+because mine is not grounded on the History, which assures us that
+it was the most superb the Turks ever made, as still appears by the
+remains thereof, which they of that Nation call _Serrau Ibrahim_.
+
+But to conclude, as inclinations ought to be free, such as love not
+those beautifull things, for which I have so much passion (as I have
+said) pass on without looking on them, and leave them to others more
+curious of those rarities, which I have assembled together with art
+and care enough. Now Reader, ingenuity being a matter necessary for
+a man of Honour, and the theft of glory being the basest that may be
+committed, I must confess here for fear of being accused of it, that
+the History of the Count of _Lavagna_, which you shall see in my
+Book, is partly a Paraphrase of _Mascardies_; this Adventure falling
+out in the time whilest I was writing, I judged it too excellent not
+to set it down, and too well indited for to undertake to do it
+better; so that regard not this place but as a Translation of that
+famous Italian, and except the matters, which concern my History,
+attribute all to that great man, whose Interpreter only I am. And if
+you finde something not very serious in the Histories of a certain
+French Marquis, which I have interlaced in my Book, remember if you
+please, that a _Romanze_ ought to have the Images of all natures;
+and this diversity makes up the beauties of it, and the delight of
+the Reader; and at the worst regard it as the sport of a
+Melancholick, and suffer it without blaming it. But before I make an
+end, I must pass from matters to the manner of delivering them, and
+desire you also not to forget, that a Narrative stile ought not to
+be too much inflated, no more than that of ordinarie conversations;
+that the more facile it is, the more excellent it is; that it ought
+to glide along like the Rivers, and not rebound up like Torrents;
+and that the less constraint it hath, the more perfection it hath; I
+have endeavoured then to observe a just mediocrity between vicious
+Elevation, and creeping Lowness; I have contained my self in
+Narration, and left my self free in Orations and in Passions, and
+without speaking as extravagants and the vulgar, I have laboured to
+speak as worthy persons do.
+
+Behold, Reader, that which I had to say to you, but what defence
+soever, I have imployed, I know that it is of works of this nature,
+as of a place of War, where notwithstanding all the care the
+Engineer hath brought to fortifie it, there is alwayes some weak
+part found, which he hath not dream'd of, and whereby it is
+assaulted; but this shall not surprize me; for as I have not forgot
+that I am a man, no more have I forgot that I am subject to erre.
+
+
+
+
+THE
+
+Secret History
+
+OF
+
+Queen _ZARAH_,
+
+AND THE
+
+_Zarazians_;
+
+BEING A
+
+Looking-glass
+
+FOR
+
+----- --------
+
+In the Kingdom of
+
+_ALBIGION_.
+
+
+Faithfully Translated from the _Italian_ Copy now lodg'd in the
+_Vatican_ at _Rome_, and never before Printed in any Language.
+
+_Albigion_, Printed in the Year 1705.
+
+Price Stitch'd 1 _s._ Price Bound 1 _s._ 6 _d._
+
+
+
+
+  TO THE
+
+  READER.
+
+
+_The Romances in_ France _have for a long Time been the Diversion
+and Amusement of the whole World; the People both in the City and at
+Court have given themselves over to this Vice, and all Sorts of
+People have read these Works with a most surprizing Greediness; but
+that Fury is very much abated, and they are all fallen off from this
+Distraction: The Little_ Histories _of this Kind have taken Place
+of_ Romances, _whose Prodigious Number of Volumes were sufficient to
+tire and satiate such whose Heads were most fill'd with those
+Notions._
+
+_These little Pieces which have banish'd_ Romances _are much more
+agreeable to the Brisk and Impetuous Humour of the_ English, _who have
+naturally no Taste for long-winded Performances, for they have no
+sooner begun a Book, but they desire to see the End of it: The
+Prodigious Length of the Ancient_ Romances, _the Mixture of so many
+Extraordinary Adventures, and the great Number of Actors that appear
+on the Stage, and the Likeness which is so little managed, all which
+has given a Distaste to Persons of good Sense, and has made Romances
+so much cry'd down, as we find 'em at present. The Authors of
+Historical Novels, who have found out this Fault, have run into the
+same Error, because they take for the Foundation of their History
+no more than one Principal Event, and don't overcharge it with_
+Episodes, _which wou'd extend it to an Excessive Length; but they
+are run into another Fault, which I cannot Pardon, that is, to
+please by Variety the Taste of the Reader, they mix particular
+Stories with the Principal_ History, _which seems to me as if they
+reason'd Ill; in Effect the Curiosity of the Reader is deceiv'd by
+this Deviation from the Subject, which retards the Pleasure he wou'd
+have in seeing the End of an Event; it relishes of a Secret
+Displeasure in the Author, which makes him soon lose Sight of those
+Persons with whom he began to be in Love; besides the vast Number of
+Actors who have such different Interests, embarresses his Memory,
+and causes some Confusion in his Brain, because 'tis necessary for
+the Imagination to labour to recal the several Interests and
+Characters of the Persons spoken of, and by which they have
+interrupted the_ History.
+
+_For the Reader's better Understanding, we ought not to chuse too
+Ancient Accidents, nor unknown Heroes, which are fought for in a
+Barbarous Countrey, and too far distant in Time, for we care little
+for what was done a Thousand Years ago among the_ Tartars _or_
+Ayssines.
+
+_The Names of Persons ought to have a Sweetness in them, for a
+Barbarous Name disturbs the Imagination; as the Historian describes
+the Heroes to his Fancy, so he ought to give them Qualities which
+affect the Reader, and which fixes him to his Fortune; but he ought
+with great Care to observe the Probability of Truth, which consists
+in saying nothing but what may Morally be believed._
+
+_For there are Truths that are not always probable; as for Example
+'tis an allowed Truth in the_ Roman History _that_ Nero _put his
+Mother to Death, but 'tis a Thing against all Reason and Probability
+that a Son shou'd embrue his Hand in the Blood of his own Mother; it
+is also no less probable that a Single Captain shou'd at the Head of
+a Bridge stop a whole Army, although 'tis probable that a small
+Number of Soldiers might stop, in Defiles, Prodigious Armies,
+because the Situation of the Place favours the Design, and renders
+them almost Equal. He that writes a True History ought to place the
+Accidents as they Naturally happen, without endeavouring to sweeten
+them for to procure a greater Credit, because he is not obliged to
+answer for their Probability; but he that composes a History to his
+Fancy, gives his Heroes what Characters he pleases; and places the
+Accidents as he thinks fit, without believing he shall be
+contradicted by other Historians, therefore he if obliged to Write
+nothing that is improbable; 'tis nevertheless allowable that an
+Historian shows the Elevation of his_ Genius, _when advancing
+Improbable Actions, he gives them Colours and Appearances capable of
+Perswading._
+
+_One of the Things an Author ought first of all to take Care of, is
+to keep up to the Characters of the Persons he introduces. The
+Authors of_ Romances _give Extraordinary Virtues to their Heroins,
+exempted from all the Weakness of Humane Nature, and much above the
+Infirmities of their Sex; 'tis Necessary they shou'd be Virtuous or
+Vicious to Merit the Esteem or Disesteem of the Reader; but their
+Virtue out to be spared, and their Vices exposed to every Trial: It
+wou'd in no wise be probable that a Young Woman fondly beloved by a
+Man of great Merit, and for whom she had a Reciprocal Tenderness,
+finding her self at all Times alone with him in Places which
+favour'd their Loves, cou'd always resist his Addresses; there are
+too Nice Occasions; and an Author wou'd not enough observe good
+Sense, if he therein exposed his Heroins; 'tis a Fault which Authors
+of_ Romances _commit in every Page; they would blind the Reader
+with this Miracle, but 'tis necessary the Miracle shou'd be
+feisable, to make an Impression in the Brain of Reasonable Persons;
+the Characters are better managed in the Historical Novels, which
+are writ now-a-days; they are not fill'd with great Adventures, and
+extraordinary Accidents, for the most simple Action may engage the
+Reader by the Circumstances that attend it; it enters into all the
+Motions and Disquiets of the Actor, when they have well express'd to
+him the Character. If he be Jealous, the Look of a Person he Loves,
+a Mouse, a turn of the Head, or the least complaisance to a Rival,
+throws him into the greatest Agitations, which the Readers perceive
+by a Counter-blow; if he be very Vertuous, and falls into a
+Mischance by Accident, they Pity him and Commiserate his
+Misfortunes; for Fear and Pity in Romance as well as Tragedies are
+the Two Instruments which move the Passion; for we in some Manner
+put our selves in the Room of those we see in Danger; the Part we
+take therein, and the fear of falling into the like Misfortunes,
+causes us to interest our selves more in their Adventures, because
+that those sort of Accidents may happen, to all the World; and it
+touches so much the more, because they are the common Effect of
+Nature._
+
+_The Heroes in the Ancient_ Romances _have nothing in them that is
+Natural; all is unlimited in their Character; all their Advantages
+have Something Prodigious, and all their Actions Something that's
+Marvellous; in short, they are not Men: A single Prince attact by a
+great Number of Enemies, it so far from giving way to the Croud,
+that he does Incredible Feats of Valour, beats them, puts them to
+flight, delivers all the Prisoners, and kills an infinite Number of
+People, to deserve the Title of a Hero. A Reader who has any Sense
+does not take part with these Fabulous Adventures, or at least is
+but slightly touch'd with them, because they are not natural, and
+therefore cannot be believ'd. The Heroes of the Modern Romances are
+better Characteriz'd, they give them Passions, Vertues or Vices,
+which resemble Humanity; thus all the World will find themselves
+represented in these Descriptions, which ought to be exact, and
+mark'd by Tracts which express clearly the Character of the Hero, to
+the end we may not be deceived, and may presently know our
+predominant Quality, which ought to give the Spirit all the Motion
+and Action of our Lives; 'tis that which inspires the Reader with
+Curiosity, and a certain impatient Desire to see the End of the
+Accidents, the reading of which causes an Exquisite Pleasure when
+they are Nicely handled; the Motion of the Heart gives yet more, but
+the Author ought to have an Extraordinary Penetration to distinguish
+them well, and not to lose himself in this Labyrinth. Most Authors
+are contented to describe Men in general, they represent them
+Covetous, Courageous and Ambitious, without entering into the
+Particulars, and without specifying the Character of their
+Covetousness, Valour or Ambition; they don't perceive Nice
+Distinctions, which those who know it Remark in the Passions; in
+Effect, the Nature, Humour and Juncture, give New Postures to Vices;
+the Turn of the Mind, Motion of the Heart, Affection and Interests,
+alter the very Nature of the Passions, which are different in All
+Men; the Genius of the Author marvellously appears when he Nicely
+discovers those Differences, and exposes to the Reader's Sight those
+almost unperceivable Jealousies which escape the Sight of most
+Authors, because they have not an exact Notion of the Turnings and
+Motions of Humane Understanding; and they know nothing but the gross
+Passions, from whence they make but general Descriptions._
+
+_He that Writes either a True or False History, ought immediately
+to take Notice of the Time and Sense where those Accidents
+happen'd, that the Reader may not remain long in Suspence; he ought
+also in few Words describe the Person who bears the most
+Considerable Part in his Story to engage the Reader; 'tis a Thing
+that little conduces to the raising the Merit of a Heroe, to Praise
+him by the Beauty of his Face; this is mean and trivial, Detail
+discourages Persons of good Taste; 'tis the Qualities of the Soul
+which ought to render him acceptable; and there are those Qualities
+likewise that ought to be discourag'd in the Principal Character of
+a Heroe, for there are Actors of a Second Rank, who serve only to
+bind the Intrigue, and they ought not to be compar'd with those of
+the First Order, nor be given Qualities that may cause them to be
+equally Esteemd; 'tis not by Extravagant Expressions, nor Repeated
+Praises, that the Reader's Esteem is acquired to the Character of
+the Heroe's, their Actions ought to plead far them; 'tis by that
+they are made known; and describe themselves; altho' they ought to
+have some Extraordinary Qualities, they ought not all to have 'em in
+an equal degree; 'tis impossible they shou'd not have some
+Imperfections, seeing they are Men, but their Imperfections ought
+not to destroy the Character that is attributed to them; if we
+describe them Brave, Liberal and Generous, we ought not to attribute
+to them Baseness or Cowardice, because that their Actions wou'd
+otherwise bely their Character, and the Predominant Virtures of the
+Heroes: 'Tis no Argument that_ Salust, _though so Happy in the
+Description of Men, in the Description of_ Cataline _does not in
+some manner describe him Covetous also; for he says this Ambitious
+Man spent his own Means profusely, and raged after the Goods of
+another with an Extream Greediness, but these Two Motions which seem
+contrary were inspired by the same Wit; these were the Effects of
+the Unbounded Ambition of_ Cataline, _and the desire he had to Rise
+by the help of his Creatures on the Ruins of the_ Roman _Republic;
+so vast a Project cou'd not be Executed by very great Sums of Money,
+which obliged_ Cataline _to make all Sorts of Efforts to get it from
+all Parts._
+
+_Every Historian ought to be extreamly uninterested; he ought
+neither to Praise nor Blame those he speaks of; he ought to be
+contented with Exposing the Actions, leaving an entire Liberty to
+the Reader to judge at he pleases, without taking any care not to
+blame his Heroes, or make their Apology; he is no judge of the merit
+of his Heroes, his Business is to represent them in the same Form as
+they are, and describe their Sentiments, Manners and Conduct; it
+deviates in some manner from his Character, and that perfect
+uninterestedness, when he adds to the Names of those he introduces
+Epithets either to Blame or Praise them; there are but few
+Historians who exactly follow this Rule, and who maintain this
+Difference, from which they cannot deviate without rendring
+themselves guilty of Partiality._
+
+_Although there ought to be a great Genius required to Write a
+History perfectly, it is nevertheless not requisite that a Historian
+shou'd always make use of all his Wit, nor that he shou'd strain
+himself, in Nice and Lively Reflexions; 'tis a Fault which is
+reproach'd with some Justice to_ Cornelius Tacitus, _who is not
+contented to recount the Feats, but employs the most refin'd
+Reflexions of Policy to find out the secret Reasons and hidden
+Causes of Accidents, there is nevertheless a distinction to be made
+between the Character of the Historian and the Heroe, for if it be
+the Heroe that speaks, then he ought to express himself
+Ingeniously, without affecting any Nicety of Points or Syllogisms,
+because he speaks without any Preparation; but when the Author
+speaks of his Chief, he may use a more Nice Language, and chuse his
+Terms for the better expressing his Designs; Moral Reflexions,
+Maxims and Sentences are more proper in Discourses for Instructions
+than in Historical Novels, whose chief End if to please; and if we
+find in them some Instructions, it proceeds rather from their
+Descriptions than their Precepts._
+
+_An Acute Historian ought to observe the same Method, at the Ending
+as at the Beginning of his Story, for he may at first expose Maxims
+relating but a few Feats, but when the End draws nigher, the
+Curiosity of the Reader is augmented, and he finds in him a Secret
+Impatience of desiring to see the Discovery of the Action; an
+Historian that amuses himself by Moralizing or Describing,
+discourages an Impatient Reader, who is in haste to see the End of
+Intrigues; he ought also to use a quite different Sort of Stile in
+the main Part of the Work, than in Conversations, which ought to be
+writ after an easie and free Manner: Fine Expressions and Elegant
+Turns agree little to the Stile of Conversation, whose Principal
+Ornament consists in the Plainness, Simplicity, Free and Sincere
+Air, which is much to be preferr'd before a great Exactness: We see
+frequent Examples in Ancient Authors of a Sort of Conversation which
+seems to clash with Reason; for 'tis not Natural for a Man to
+entertain himself, for we only speak that we may communicate our
+Thoughts to others; besides, 'tis hard to comprehend how an Author
+that relates Word for Word, the like Conversation cou'd be
+instructed to repeat them with so much Exactness; these Sort of
+Conversations are much more Impertinent when they run upon strange
+Subjects, which are not indispensibly allied to the Story handled:
+If the Conversations are long they indispensibly tire, because they
+drive from our Sight those People to whom we are engaged, and
+interrupt the Seque of the Story._
+
+_'Tis an indispensible Necessity to end a Story to satisfie the
+Disquiets of the Reader, who is engag'd to the Fortunes of those
+People whose Adventures are described to him; 'tis depriving him of
+a most delicate Pleasure, when he is hindred from seeing the Event
+of an Intrigue, which has caused some Emotion in him, whose
+Discovery he expects, be it either Happy or Unhappy; the chief End
+of History is to instruct and inspire into Men the Love of Vertue,
+and Abhorrence of Vice, by the Examples propos'd to them; therefore
+the Conclusion of a Story ought to have some Tract of Morality which
+may engage Virtue; those People who have a more refin'd Vertue are
+not always the most Happy; but yet their Misfortunes excite their
+Readers Pity, and affects them; although Vice be not always
+punish'd, yet 'tis describ'd with Reasons which shew its Deformity,
+and make it enough known to be worthy of nothing but
+Chastisements._
+
+
+
+
+THE JEWISH SPY:
+
+BEING A
+
+PHILOSOPHICAL, HISTORICAL and
+CRITICAL _Correspondence,_
+
+_By_ LETTERS
+
+Which lately pass'd between certain _JEWS_
+in _Turky, Italy, France, &c._
+
+Translated from the ORIGINALS into _French_,
+
+_By the_ MARQUIS D'ARGENS;
+_And now done into_ English.
+
+THE SECOND EDITION.
+
+VOL. I.
+
+[Illustration]
+
+_LONDON_:
+
+Printed for D. BROWNE, without _Temple-Bar;_ R. HETT, in the
+_Poultry_; J. SHUCKBURGH, in _Fleet-street_; J. HODGES, on _London
+Bridge_; and A. MILLAR, in the _Strand_. M DCC XLIV.
+
+
+
+
+[Illustration]
+
+LETTER XXXV.
+
+AARON MONCECA _to_ ISAAC ONIS, _a Rabbi, at_ Constantinople.
+
+_Paris_----
+
+
+I still expect the Books from _Amsterdam_; and have writ several
+times to _Moses Rodrigo_ to press him to send them to me; but to no
+purpose: He puts me off to the End of the Month, and I shall not be
+able to send them to _Constantinople_ in less than five Weeks.
+
+I have search'd all the Booksellers Shops at _Paris_ for some choice
+new Tracts, to add to those which I shall receive from _Holland_,
+but found nothing good besides what I have already sent thee, except
+two little. Romances that are lately come out. The first is
+intitled, _Les Égaremens du Coeur & de l'Esprit_; the Author of
+which I have already made mention of in my former Letters.[13] He
+writes in a pure Stile, understands Human Nature, and he lays the
+Heart of Man open with a great deal of Clearness and Justice: But in
+this Work he has fallen into an Error, which he has often condemn'd
+in the Writings of others. He makes it plain to the Reader, that he
+affects to be witty; and there are some Passages where Nature is
+sacrificed to the false Glare. But this Error, which is not common,
+is repair'd by a thousand Beauties. The Author of this Romance
+paints rather than writes Things; and the Pictures he draws strike
+the Imagination with Pleasure. Do but consider if it be possible to
+define the first Surprize of a Heart with more Justness and
+Clearness. _Without searching into the Motive of my Action, I
+managed, I interpreted her Looks; I endeavour'd to make her least
+Motions my Lessons. So much Obstinacy in not losing Sight of her
+made me at last taken notice of by her. She looked upon me in her
+turn, I fix'd her without knowing it, and during the Charm with
+which I was captivated whether I wou'd or not, I know not what my
+Eyes told her, but she turn'd hers away with a sort of Blush._
+
+None but a Man who was at that Juncture, or had been formerly, in
+Love cou'd, with so much Truth and Delicacy, have painted all the
+Motions of the Soul. Genius, Wit, and Learning cannot draw Pictures
+so much to the Life, it being a Point to which the Heart alone can
+attain. When I say the Heart, I mean a tender Heart, and one that is
+in such Situations. The following is the Character of a Prude in
+Love. _Being not to be depended upon in her Proceedings, she was a
+perpetual Mixture of Tenderness and Severity: She seem'd to yield
+only to be the more obstinate in her Opposition. If she thought she
+had, by what she said, disposed me to entertain any sort of Hopes,
+being on the Watch how to disappoint me, she presently resum'd that
+Air which had made me so often tremble, and left me nothing to
+trust to but a melancholy Uncertainty_. One cannot help being struck
+with the Truth and Nature which, prevail in this Character. Without
+an Acquaintance with the World, and a perfect Knowledge of Mankind,
+'tis impossible to attain to this Point. 'Tis difficult to
+distinguish the different Forms, and, as one may say, the internal
+Motives of different Characters. A mean Writer does only take a
+Sketch of 'em; but a good Author paints them, sets them plainly in
+Sight, and exposes them as they really are.
+
+A Romance is consider'd in no other Light than as a Work composed
+only for Amusement; but something else ought to be the Scope of it:
+For every Book that has not the Useful as well as the Agreeable,
+does not deserve the Esteem of good Judges. The Heart ought to be
+instructed at the same time as the Mind is amused; and this is the
+Quality with which the greatest Men have render'd their Writings
+famous.
+
+A Writer who, abounding with bold Fictions and Imaginations, amuses
+the Readers for a matter of a dozen Volumes with Incidents, work'd
+up artfully and importantly, and who nevertheless in the Close of
+his Book entertains his Reader's Imagination with nothing but Rapes,
+Duels, Sighs, Despair, and Tears[14]; has not the Talent of
+instructing, nor can he attain to Perfection; for he possesses but
+the least part of his Art. An Author who pleases without
+instructing, does not please long; for he sees his Book grow mouldy
+in the Bookseller's Shop, and his Works have the Fate of sorry
+Sermons and cold Panegyric.
+
+Heretofore Romances were nothing more than a Rhapsody of tragical
+Adventures, which captivated the the Imagination and distracted the
+Heart[15]. 'Twas pleasant enough to read them, but nothing more was
+got by it than feeding the Mind with Chimæras, which were often
+hurtful. The Youth greedily swallow'd all the wild and gigantic
+Ideas of those fabulous Heroes, and when their Genius's were
+accustomed to enormous Imaginations, they had no longer a Relish for
+the Probable. For some time past this manner of Thinking has been
+chang'd: Good Taste is again return'd; the Reasonable has succeeded
+in the place of the Supernatural; and instead of a Number of
+Incidents with which the least Facts were overcharg'd, a plain
+lively Narration is required, such as is supported by Characters
+that give us the _Utile Dulci_.
+
+Some Authors have wrote in this Taste, and have advanced more or
+less towards Perfection, in proportion as they have copy'd
+Nature[16].
+
+There are others who carry Things to Extremity; for, by affecting to
+appear natural, they become low and creeping, and have neither the
+Talent of pleasing nor of instructing[17].
+
+Some have had recourse to insipid Allegory[18], thinking to please
+by a new Taste; but their Works dy'd in their Birth, and were so
+little read that they escaped Criticism.
+
+If the bad Authors were but to reflect on the Talents and
+Qualifications necessary for a good Romance, Works of this kind
+would no longer be their Refuge. A Man who is press'd both by Hunger
+and Thirst, sets about writing a Book, and tho' he has not
+Knowledge enough to write History, nor Genius for Works of Morality,
+he stains a couple of Quires of Paper with a Heap of ill-digested
+Adventures, which he relates without Taste, and without Genius, and
+carries his Work to a Bookseller, who, were he oblig'd to buy it by
+Weight, and to give him but twice the Cost of the Paper, wou'd pay
+more for it than the Worth of it. Perhaps there is as much need for
+Wit, an Acquaintance with Mankind, and the Knowledge of the
+Passions, to compose a Romance as to write a History. The only
+Qualification to paint Manners and Customs, is a long Experience;
+and a Man must have examin'd the various Characters very closely, to
+be able to describe them to a Nicety.
+
+How can an Author, whose common Vocation is staining of Paper, and
+spending his whole Time in a Coffee-house or in a Garret, give a
+just Definition of a Prince, a Courtier, or a fine Lady? He never
+sees those Persons but as he walks the Streets; and I can scarce
+think that the Mud with which he is often dash'd by their Equipages,
+communicates to him any Share of their Sentiments. Yet there is not
+a wretched Author but makes a Duke and Dutchess speak as he fancies.
+But when a Man of Fashion comes to cast his Eye on these ridiculous
+Performances, he is perfectly surpriz'd to see the Conversation of
+_Margaret_ the Hawker, retail'd by the Name of the Dutchess of ----,
+or the Marchioness of ----. Yet be these Books ever so bad,
+abundance of 'em are sold; for many People, extravagantly fond of
+Novelty, who only judge of Things superficially, buy those Works,
+tho' by the Perusal of 'em they acquire a Taste as remote from a
+happy Talent of Writing, as the Authors themselves are.
+
+Don't fear, dear _Isaac_, that I shall ever send thee a Collection
+of such paultry Books. Be a Man ever so fond at _Constantinople_ of
+Romances and Histories of Gallantry, 'tis expected they should serve
+not only for Pleasure but for Edification.
+
+The second Book that I have bought, seems to me to be written with
+this View. 'Tis intitled, _Memoirs of the Marquis_ de Mirmon; _or
+the Solitary Philosopher_. The Author writes with an easy lively
+Stile[19]; and 'tis plain, that he himself was acquainted with the
+Characters which he paints. Without affecting to appear to have as
+much Wit as the former Author that I mention'd to thee, he delivers
+the Truth every where in an amiable Dress. If any Fault can be found
+with him, 'tis explaining himself a little too boldly; and he is
+also reproach'd with a sort of Negligence pardonable in a Man whose
+Stile is in general so pure as his is. The following is his
+Character of Solitude, _'Tis not to torment himself that a wise Man
+seems to separate himself from Mankind: He is far from imposing new
+Laws on himself, and only follows those that are already prescrib'd
+to his Hands. If he lays himself under any new Laws, he reserves to
+himself the Power of changing them, being their absolute Master, and
+not their Slave. Being content to cool his Passions, and to govern
+them by his Reason, he does not imagine it impossible to tame them
+to his own Fancy, and does not convert what was formerly an innocent
+Amusement to him, into a Monster to terrify him. He retains in
+Solitude all the Pleasures which Men of Honour have a Relish for in
+the World, and only puts it out of their Power of being hurtful, by
+preventing them from being too violent._
+
+There are several other Passages in this Book, which are as
+remarkable for their Perspicuity as their Justness. Such is the
+Description of the Disgust which sometimes attends Marriages. _When
+Persons are in Love, they put the best Side outwards. A Man who is
+desirous of pleasing, takes a world of Care to conceal his Defects.
+A Woman knows still better how to dissemble. Two Persons often study
+for six Months together to bubble one another, and at last they
+marry, and punish one another the Remainder of their Lives for their
+Dissimulation._
+
+You will own, dear _Isaac_, that there is a glaring Truth and
+Perspicuity in this Character, which strikes the Mind. These naked
+Thoughts present themselves with Lustre to the Imagination, which
+cannot help being pleased, because they are so just. If the Authors
+who write Romances in this new Taste, would always adhere to the
+Truth, and never suffer themselves to be perverted to any new Mode
+(for this is what Works of Wit are liable to) their Writings wou'd
+probably be as useful in forming the Manners as Comedy, because they
+wou'd render Romances the Picture of Human Life. A covetous Man will
+therein find himself painted in such natural Colours; a Coquette
+will therein see her Picture so resembling her, that their
+Reflection upon reading the Character will be more useful to them
+than the long-winded Exhortations of a Fryar, who makes himself
+hoarse with Exclamation, and often tires out the Patience of his
+Hearers.
+
+Authors who set about writing Romances, ought to study to paint
+Manners according to Nature, and to expose the most secret
+Sentiments of the Heart. As their Works are but ingenious Fictions,
+they can never please otherwise than as they approach to the
+Probable. Nor is every thing that favours of the Marvellous,
+esteem'd more among Men of Taste than pure Nonsense. Both generally
+go together, and the Authors who fall into gigantic or unnatural
+Ideas, have commonly a declamatory Stile, bordering upon a pompous
+and unintelligible Diction.
+
+The Stile of Romances ought to be simple; indeed it should be more
+florid than that of History, but not have all that Energy and
+Majesty. Gallantry is the Soul of Romance, and Grandeur and Justness
+that of History. A Person must be very well acquainted with the
+World to excel in the one, and he must have Learning and Politics to
+distinguish himself in the other. Good Sense, Perspicuity, Justness
+of Characters, Truth of Descriptions, Purity of Stile are necessary
+in both. The Ladies are born Judges of the Goodness of a Romance.
+Posterity decides the Merit of a History.
+
+Fare thee well, dear _Isaac_. As soon as I have receiv'd the new
+Books from _Holland_, I will send them to thee.
+
+
+NOTES:
+
+[13] _Crébillon_ the Son.
+
+[14] _La Calprenede_.
+
+[15] The _Polexandre of Gomberville_, the _Ariana_ of _Des
+Maretz_, &c.
+
+[16] _Le Prevot d'Exiles_. See the _Bibliotheque des
+Romans_.
+
+[17] Histoire du Chevalier des _Essars_, & de la Comtesse
+de _Merci_, &c.
+
+[18] _Fanseredin_, &c.
+
+[19] M. _d'Argens_.
+
+[Illustration]
+
+
+
+
+CLARISSA.
+
+OR, THE
+
+HISTORY
+
+OF A
+
+YOUNG LADY:
+
+Comprehending
+
+_The most_ Important Concerns _of_ Private LIFE,
+And particularly shewing,
+The DISTRESSES that may attend the Misconduct
+Both of PARENTS and CHILDREN,
+In Relation to MARRIAGE.
+
+_Published by the_ EDITOR _of_ PAMELA.
+
+VOL. IV.
+
+[Illustration]
+
+_LONDON:_
+
+Printed for S. Richardson: And Sold by JOHN OSBORN, in _Pater-noster
+Row_; ANDREW MILLAR, over-against _Catharine-street_ in the
+_Strand_; J. and JA. RIVINGTON, in _St. Paul's Church-yard_; And by
+J. LEAKE, at _Bath_
+
+M.DCC.XLVIII.
+
+[Illustration]
+
+
+
+
+THE EDITOR _to the_ READER.
+
+
+If it may be thought reasonable to criticise the Public Taste, in
+what are generally supposed to be Works of mere Amusement; or modest
+to direct its Judgment, in what is offered for its Entertainment; I
+would beg leave to introduce the following Sheets with a few cursory
+Remarks, that may lead the common Reader into some tolerable
+conception of the nature of this Work, and the design of its Author.
+
+The close connexion which every Individual has with all that relates
+to MAN in general, strongly inclines us to turn our observation upon
+human affairs, preferably to other attentions, and impatiently to
+wait the progress and issue of them. But, as the course of human
+actions is too slow to gratify our inquisitive curiosity, observant
+men very easily contrived to satisfy its rapidity, by the invention
+of _History_. Which, by recording the principal circumstances of
+past facts, and laying them close together, in a continued
+narration, kept the mind from languishing, and gave constant
+exercise to its reflections.
+
+But as it commonly happens, that in all indulgent refinements on our
+satisfactions, the Procurers to our pleasures run into excess; so it
+happened here. Strict matters of fact, how delicately soever dressed
+up, soon grew too simple and insipid to a taste stimulated by the
+Luxury of Art: They wanted something of more poignancy to quicken
+and enforce a jaded appetite. Hence the Original of the first
+barbarous _Romances_, abounding with this false provocative of
+uncommon, extraordinary, and miraculous Adventures.
+
+But satiety, in things unnatural, soon, brings on disgust. And the
+Reader, at length, began to see, that too eager a pursuit after
+_Adventures_ had drawn him from what first engaged his attention,
+MAN _and his Ways_, into the Fairy Walks of Monsters and Chimeras.
+And now those who had run farthest after these delusions, were the
+first that recovered themselves. For the next Species of Fiction,
+which took its name from its _novelty_, was of _Spanish_ invention.
+These presented us with something of Humanity; but of Humanity in a
+stiff unnatural state. For, as every thing before was conducted by
+_Inchantment_; so now all was managed by _Intrigue_. And tho' it had
+indeed a kind of _Life_, it had yet, as in its infancy, nothing of
+_Manners_. On which account, those, who could not penetrate into the
+ill constitution of its plan, yet grew disgusted at the dryness of
+the Conduct, and want of ease in the Catastrophe.
+
+The avoiding these defects gave rise to the _Heroical Romances_ of
+the _French_; in which some celebrated Story of antiquity was so
+stained and polluted by modern fable and invention, as was just
+enough to shew, that the contrivers of them neither knew how to lye,
+nor speak truth. In these voluminous extravagances, _Love_ and
+_Honour_ supplied the place of _Life_ and _Manners_. But the
+over-refinement of Platonic sentiments always sinks into the dross
+and feces of that Passion. For in attempting a more natural
+representation of it, in the little amatory Novels, which succeeded
+these heavier Volumes, tho' the Writers avoided the dryness of the
+Spanish Intrigue, and the extravagance of the French Heroism, yet,
+by too natural a representation of their Subject, they opened the
+door to a worse evil than a corruption of _Taste_; and that was, A
+corruption of _Heart_.
+
+At length, this great People (to whom, it must be owned, all Science
+has been infinitely indebted) hit upon the true Secret, by which
+alone a deviation from strict fact, in the commerce of Man, could be
+really entertaining to an improved mind, or useful to promote that
+Improvement. And this was by a faithful and chaste copy of real
+_Life and Manners_: In which some of their late Writers have greatly
+excelled.
+
+It was on this sensible Plan, that the Author of the following
+Sheets attempted to please, in an Essay, which had the good fortune
+to meet with success: That encouragement engaged him in the present
+Design: In which his sole object being _Human Nature_; he thought
+himself at liberty to draw a Picture of it in that light which
+would shew it with most strength of Expression; tho' at the expense
+of what such as read merely for Amusement, may fancy can be
+ill-spared, the more artificial composition of a story in one
+continued Narrative.
+
+He has therefore told his Tale in a Series of Letters, supposed to
+be written by the Parties concerned, as the circumstances related,
+passed. For this juncture afforded him the only natural opportunity
+that could be had, of representing with any grace those lively and
+delicate impressions which _Things present_ are known to make upon
+the minds of those affected by them. And he apprehends, that, in the
+study of Human Nature, the knowlege of those apprehensions leads us
+farther into the recesses of the Human Mind, than the colder and
+more general reflections suited to a continued and more contracted
+Narrative.
+
+This is the nature and purport of his Attempt. Which, perhaps, may
+not be so well or generally understood. For if the Reader seeks here
+for Strange Tales, Love Stories, Heroical Adventures, or, in short,
+for anything but a _Faithful Picture of Nature_ in _Private Life_,
+he had better be told beforehand the likelihood of his being
+disappointed. But if he can find Use or Entertainment; either
+_Directions for his Conduct_, or _Employment for his Pity_, in a
+HISTORY _of_ LIFE _and_ MANNERS, where, as in the World itself, we
+find Vice, for a time, triumphant, and Virtue in distress, an idle
+hour or two, we hope, may not be unprofitably lost.
+
+[Illustration]
+
+
+
+
+MEMOIRS
+
+OF THE
+
+_Count_ Du BEAUVAL,
+
+INCLUDING
+
+Some curious PARTICULARS
+
+Relating to the DUKES of
+
+Wharton _and_ Ormond,
+
+During their Exiles.
+
+WITH
+
+ANECDOTES of several other Illustrious
+and Unfortunate Noblemen of the present Age.
+
+_Translated from the_ French _of the Marquis_ D'ARGENS,
+_Author of_ The Jewish Letters.
+
+_By Mr._ DERRICK.
+
+_LONDON:_
+
+Printed for M. COOPER, at the _Globe_ in _PaterNoster-Row_.
+
+M.DCC.LIV.
+
+
+
+
+PREFACE.
+
+
+_The Ground-work of Romances, till of late Years, has been a Series
+of Actions, few of which, ever existed but in the Mind of the
+Author; to support which, with proper Spirit, a strong picturesque
+Fancy, and a nervous poetical Diction, were necessary. When these
+great Essentials were wanting, the Narration became cold, insipid,
+and disagreeable._
+
+_The principal Hero was generally one who fac'd every Danger, without
+any Reflection, for it was always beneath him to think; it was a
+sufficient Motive of persisting, if there seem'd Peril; conquering
+Giants, and dissolving Enchantments, were as easy to him as riding.
+He commonly sets out deeply in Love; his Mistress is a Virgin, he
+loses her in the Beginning of the Book, thro' the Spite or Craft of
+some malicious Necromancer, pursues her thro' a large Folio Volume
+of Incredibility, and finds her, indisputably, at the End of it,
+like try'd Gold, still more charming, from having pass'd the Fire
+Ordeal of Temptation._
+
+_Amusement and Instruction were the Intent of these Sort of Writings;
+the former they always fulfill'd, and if they sometimes fail'd in
+the latter, it was because the Objects they conjur'd up to Fancy,
+were merely intellectual Ideas, consequently not capable of
+impressing so deeply as those which are to be met with in the Bustle
+of Life._
+
+_Hence those, whose Genius led them to cultivate this Sort of
+writing, have been induc'd to examine amongst such Scenes as are
+daily found to move beneath their Inspection. On this Plan are
+founded the Writings of the celebrated Mons._ MARIVAUX, _and the
+Performances of the ingenious Mr_. FIELDING; _each of whom are
+allow'd to be excellent in their different Nations._
+
+_The Marquis_ D'ARGENS, _sensible of the Advantages accruing from
+Works of this Kind, was not satisfied with barely copying the_
+Accidents, _but has also united with them the real Names of_
+Persons, _who have been remarkable in Life; conscious that we pay a
+more strict Attention to the Occurrences that have befallen those
+who enter within the Compass of our Acquaintance, or Knowledge, and
+if a Moral ensues from the Relation, it is more firmly rooted in the
+Mind, than when it is to be deduced from either Manners or Men, with
+whom we are entirely unacquainted._
+
+_The Marquis is easy in his Stile, delicate in his Sentiments, and
+not at all tedious in his Narration. In the following Piece we find
+Nothing heavy or insipid, he dwells not too long upon any Adventure,
+nor does he burthen the Memory, or clog the Attention with
+Reflections intended, too often more for the Bookseller's Emolument,
+in swelling the Bulk of the Performance, than the Service of the
+Reader, on whom he knew it to be otherwise an Imposition; since, by
+long-winded wearisome Comments upon every Passage (a Fault too
+frequent in many Writers) he takes from him an Opportunity of
+exercising his reflective Abilities, seeming thereby to doubt
+them_.
+
+[Illustration]
+
+
+
+
+PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY
+
+
+FIRST YEAR (1946-47)
+
+Numbers 1-4 out of print.
+
+5. Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700)
+and _Essay on Heroic Poetry_ (1693).
+
+6. _Representation of the Impiety and Immorality of the Stage_
+(1704) and _Some Thoughts Concerning the Stage_ (1704).
+
+
+SECOND YEAR (1947-1948)
+
+7. John Gay's _The Present State of Wit_ (1711); and a section on
+Wit from _The English Theophrastus_ (1702).
+
+8. Rapin's _De Carmine Pastorali_, translated by Creech (1684).
+
+9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736).
+
+10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit,
+etc._ (1744).
+
+11. Thomas Purney's _Discourse on the Pastoral_ (1717).
+
+12. Essays on the Stage, selected, with an Introduction by Joseph
+Wood Krutch.
+
+
+THIRD YEAR (1948-1949)
+
+13. Sir John Falstaff (pseud.), _The Theatre_ (1720).
+
+14. Edward Moore's _The Gamester_ (1753).
+
+15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_
+(1712); and Arthur Mainwaring's _The British Academy_ (1712).
+
+16. Nevil Payne's _Fatal Jealousy_ (1673).
+
+17. Nicholas Rowe's _Some Account of the Life of Mr. William
+Shakespeare_ (1709).
+
+18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719);
+and Aaron Hill's Preface to _The Creation_ (1720).
+
+
+FOURTH YEAR (1949-1950)
+
+19. Susanna Centlivre's _The Busie Body_ (1709).
+
+20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734).
+
+21. _Critical Remarks on Sir Charles Grandison, Clarissa, and
+Pamela_ (1754).
+
+22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two
+_Rambler_ papers (1750).
+
+23. John Dryden's _His Majesties Declaration Defended_ (1681).
+
+24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which
+from Settled Principles is Rendered the Grounds for Choosing and
+Rejecting Epigrams_, translated by J.V. Cunningham.
+
+
+FIFTH YEAR (1950-51)
+
+25. Thomas Baker's _The Fine Lady's Airs_ (1709).
+
+26. Charles Macklin's _The Man of the World_ (1792).
+
+27. Frances Reynolds' _An Enquiry Concerning the Principles of
+Taste, and of the Origin of Our Ideas of Beauty, etc._ (1785).
+
+28. John Evelyn's _An Apologie for the Royal Party_ (1659); and _A
+Panegyric to Charles the Second_ (1661).
+
+29. Daniel Defoe's _A Vindication of the Press_ (1718).
+
+30. Essays on Taste from John Gilbert Cooper's _Letters Concerning
+Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_
+(1770).
+
+31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751);
+and _The Eton College Manuscript_.
+
+
+
+
+
+End of the Project Gutenberg EBook of Prefaces to Fiction, by Various
+
+*** END OF THE PROJECT GUTENBERG EBOOK 14525 ***
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 14525 ***</div>
+
+<a name="Contents" id="Contents"></a>
+<p class="center"><b>The Augustan Reprint Society</b></p>
+<br />
+<h1>PREFACES TO FICTION</h1>
+<br />
+<h3><a href="#intro">Introduction</a></h3>
+<h3><a href="#article1">Georges de Scud&eacute;ry, Preface to <i>Ibrahim</i> (1674)</a></h3>
+<h3><a href="#article2">Mary De la Riviere Manley, Preface to <i>The Secret History of Queen Zarah</i> (1705)</a></h3>
+<h3><a href="#article3">Jean-Baptiste de Boyer, Marquis d'Argens, <i>The Jewish Spy</i> (1744), Letter 35</a></h3>
+<h3><a href="#article4">William Warburton, Preface to Volumes III and IV (1748) of Richardson's <i>Clarissa</i></a></h3>
+<h3><a href="#article5">Samuel Derrick, Preface to d'Argens's <i>Memoirs of The Count Du Beauval</i> (1754)</a></h3>
+<h3><a href="#Publications">Publications of the Augustan Reprint Society</a></h3>
+<br />
+<br />
+<h4>With an Introduction by</h4>
+<h4>Benjamin Boyce</h4>
+<br />
+<br />
+<h4>Publication Number 32</h4>
+<br />
+<br />
+<h5>Los Angeles</h5>
+<h5>William Andrews Clark Memorial Library</h5>
+<h5>University of California</h5>
+<h5>1952</h5>
+
+<hr />
+
+<p class="heading">GENERAL EDITORS</p>
+
+<div class="editors">
+H. RICHARD ARCHER, <i>Clark Memorial Library</i><br />
+RICHARD C. BOYS, <i>University of Michigan</i><br />
+JOHN LOFTIS, <i>University of California, Los Angeles</i><br />
+</div>
+
+<p class="heading">ASSISTANT EDITOR</p>
+<div class="editors">
+W. EARL BRITTON, <i>University of Michigan</i><br />
+</div>
+
+<p class="heading">ADVISORY EDITORS</p>
+
+<div class="editors">
+EMMETT L. AVERY, <i>State College of Washington</i><br />
+BENJAMIN BOYCE, <i>Duke University</i><br />
+LOUIS I. BREDVOLD, <i>University of Michigan</i><br />
+CLEANTH BROOKS, <i>Yale University</i><br />
+JAMES L. CLIFFORD, <i>Columbia University</i><br />
+ARTHUR FRIEDMAN, <i>University of Chicago</i><br />
+EDWARD NILES HOOKER, <i>University of California, Los Angeles</i><br />
+LOUIS A. LANDA, <i>Princeton University</i><br />
+SAMUEL H. MONK, <i>University of Minnesota</i><br />
+ERNEST MOSSNER, <i>University of Texas</i><br />
+JAMES SUTHERLAND, <i>University College, London</i><br />
+H.T. SWEDENBERG, JR., <i>University of California, Los Angeles</i><br />
+<br />
+</div>
+
+<hr class="full" />
+<br />
+
+<span class="pagenum"><a name="pagei" id="pagei"></a>[pg i]</span>
+
+<a name="intro" id="intro"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>INTRODUCTION</h2>
+
+<p>The development of the English novel is one of the triumphs of the
+eighteenth century. Criticism of prose fiction during that period,
+however, is less impressive, being neither strikingly original nor
+profound nor usually more than fragmentary. Because the early
+statements of theory were mostly very brief and are now obscurely
+buried in rare books, one may come upon the well conceived &quot;program&quot;
+of <i>Joseph Andrews</i> and <i>Tom Jones</i> with some surprise. But if one
+looks in the right places one will realize that mid-eighteenth
+century notions about prose fiction had a substantial background in
+earlier writing. And as in the case of other branches of literary
+theory in the Augustan period, the original expression of the
+organized doctrine was French. In Georges de Scud&eacute;ry's preface to
+<i>Ibrahim</i> (1641)<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> and in a conversation on the art of inventing a
+&quot;Fable&quot; in Book VIII (1656) of his sister Madeleine's <i>Cl&eacute;lie</i> are
+to be found the grounds of criticism in prose fiction; practically
+all the principles are here which eighteenth-century theorists
+adopted, or seemed to adopt, or from which they developed, often by
+the simple process of contradiction, their new principles.</p>
+
+<p>That many of the ideas in the preface to <i>Ibrahim</i> were not new even
+in 1641 becomes plain if one reads the discussions of romance
+written by Giraldi Cinthio and Tasso.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> The particular way in which
+Mlle. de Scud&eacute;ry attempted to carry out those ideas in her later,
+more subjective works she obligingly set forth in <i>Cl&eacute;lie</i> in the
+passage already alluded to. There it is explained that a
+<span class="pagenum"><a name="pageii" id="pageii"></a>[pg ii]</span>
+well-contrived romance &quot;is not only handsomer than the truth, but
+withal, more probable;&quot; that &quot;impossible things, and such as are low
+and common, must almost equally be avoided;&quot; that each person in the
+story must always act according to his own &quot;temper;&quot; that &quot;the
+nature of the passions ought necessarily to be understood, and what
+they work in the hearts of those who are possess'd with them.&quot; He
+who attempts an &quot;ingenious Fable&quot; must have great
+accomplishments&mdash;wit, fancy, judgment, memory; &quot;an universal
+knowledge of the World, of the Interest of Princes, and the humors
+of Nations,&quot; and of both closet-policy and the art of war;
+familiarity with &quot;politeness of conversation, the art of ingenious
+raillery, and that of making innocent Satyrs; nor must he be
+ignorant of that of composing of Verses, writing Letters, and making
+Orations.&quot; The &quot;secrets of all hearts&quot; must be his and &quot;how to take
+away plainness and driness from Morality.&quot;<a name="FNanchor_3_3" id="FNanchor_3_3" /><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
+
+<p>The assumption that the new prose fiction could be judged, as the
+Scud&eacute;rys professed to judge their work, first of all by reference to
+the rules of heroic poetry is frequent in the next century&mdash;in the
+unlikely Mrs. Davys (preface, <i>Works</i>, 1725); in <i>Joseph Andrews</i> of
+course, where the rules of the serious epic and of the heroic
+romance are to aid the author in copying the ancient but, as it
+happens, nonexistent comic epic; and in Fielding's preface to his
+sister's <i>David Simple</i> (1744). Both Richardson and Fielding were
+attacked on epic grounds.<a name="FNanchor_4_4" id="FNanchor_4_4" /><a href="#Footnote_4_4" class="fnanchor">[4]</a> Dr. Johnson's interesting and
+unfriendly essay on recent prose fiction (<i>Rambler</i> No. 4) adopted
+the terminology familiar in the criticism of epic and romance and
+
+<span class="pagenum"><a name="pageiii" id="pageiii"></a>[pg iii]</span>showed that Johnson, unlike d'Argens and Fielding, did not intend
+to give any of the old doctrines new meanings in a way to justify
+realism. Johnson laughed a little in that essay at the heroic
+romances; but like Mlle. de Scud&eacute;ry, whose <i>Conversations</i> he drew
+on for a footnote in his edition of Shakespeare (1765),<a name="FNanchor_5_5" id="FNanchor_5_5" /><a href="#Footnote_5_5" class="fnanchor">[5]</a> he
+believed that fiction should be &quot;probable&quot; and yet should idealize
+life and men and observe poetic Justice. Many other writers on prose
+fiction borrowed the old neo-classic rules, and they applied them
+often so carelessly and so insincerely that one is glad to come
+eventually on signs of rebellion, even if from the sentimentalists:
+&quot;I know not,&quot; wrote Elizabeth Griffith in the preface to <i>The
+Delicate Distress</i> (1769), &quot;whether novel, like the <i>epop&eacute;e</i>, has
+any rules, peculiar to itself.... Sensibility is, in my mind, as
+necessary, as taste, to intitle us to judge of a work, like this.&quot;</p>
+
+<p>The theory of prose fiction offered by the Scud&eacute;rys was, on the
+whole, better than their practice. The same remark can be made with
+even greater assurance of <i>The Secret History of Queen Zarah, and
+the Zarazians</i> (1705) and the other political-scandalous &quot;histories&quot;
+of Mary De la Riviere Manley. For in spite of the faults of <i>Queen
+Zarah</i>, the preface is one of the most substantial discussions of
+prose fiction in the century. Boldly and reasonably it repudiates
+the most characteristic features of the heroic romance&mdash;the vastness
+produced by intercalated stories; the idealized characters, almost
+&quot;exempted from all the Weakness of Humane Nature;&quot; the marvelous
+adventures and remote settings; the essay-like conversations; the
+adulatory attitude; and poetic Justice. <i>Vraisemblance</i>
+<span class="pagenum"><a name="pageiv" id="pageiv"></a>[pg iv]</span> and
+<i>decorum</i>, we are told, are still obligatory, but the probable
+character, action, dialogue will now be less prodigious, will be
+closer to real life as the modern English reader knows it. Thus Mrs.
+Manley announced a point of view which was, at least in most
+respects, to dominate the theory and invigorate the practice of
+prose fiction throughout the century.</p>
+
+<p>A significant phase of Mrs. Manley's discussion is the emphasis upon
+individual characterization and, in characters, upon not only the
+&quot;predominant Quality&quot; and ruling passion of each but also upon the
+elusive and surprising &quot;Turnings and Motions of Humane
+Understanding.&quot; Here one should recognize the influence of
+historical writing rather than of poetry. As Ren&eacute; Rapin had made
+clear in Chapter XX of his <i>Instructions for History</i> (J. Davies's
+translation, 1680), the historian writes the best portraits who
+finds the &quot;essential and distinctive lines&quot; of a man's character and
+the &quot;secret motions and inclinations of [his] Heart.&quot; But Mrs.
+Manley's remarks go beyond Rapin's in implying faith in a sort of
+scientific psychology, especially of &quot;the passions.&quot; Other writers
+showed the same interest and worked toward the same end. Thus Henry
+Gally in his essay on Theophrastus and the Character was so carried
+away by a notion of the importance of the Character-writer's knowing
+all about the passions that he allowed himself to say that only by
+such a knowledge could a Character be made to &quot;hit one Person, and
+him only&quot;<a name="FNanchor_6_6" id="FNanchor_6_6" /><a href="#Footnote_6_6" class="fnanchor">[6]</a>&mdash;the goal obviously not of the Character-writer but of
+the historian and the novelist. The authors of <i>The Cry</i><a name="FNanchor_7_7" id="FNanchor_7_7" /><a href="#Footnote_7_7" class="fnanchor">[7]</a> (1754)
+regarded the unfolding of
+<span class="pagenum"><a name="pagev" id="pagev"></a>[pg v]</span> &quot;the labyrinths of the human mind&quot; as an
+arduous but necessary task; indeed they went on to declare that the
+&quot;motives to actions, and the inward turns of mind, seem in our
+opinion more necessary to be known than the actions themselves.&quot; It
+was Fielding's refusal, in spite of the titles of his books, to
+write like an historian with highly individualized and psychological
+characterizations that caused his admirer Arthur Murphy to admit in
+his &quot;Essay&quot; on Fielding that &quot;Fielding was more attached to the
+<i>manners</i> than to the <i>heart</i>.&quot;<a name="FNanchor_8_8" id="FNanchor_8_8" /><a href="#Footnote_8_8" class="fnanchor">[8]</a> He thought Fielding inferior to
+Marivaux in revealing the heart just as Johnson, according to
+Boswell, preferred Richardson to Fielding because the former
+presented &quot;characters of nature&quot; whereas the latter created only
+&quot;characters of manners.&quot; The author of &quot;A Short Discourse on Novel
+Writing&quot; prefixed to <i>Constantia; or, A True Picture of Human Life</i>
+(1751) went so far as to say that prose fiction may teach more about
+the &quot;sources, symptoms, and inevitable consequences&quot; of the passions
+than could easily be taught in any other way. The increasingly
+subjective and individualized characterization in English fiction
+was well supported in contemporary theory.</p>
+
+<p><i>The Jewish Spy</i>, translated from the <i>Lettres Juives</i> (1736-38) of
+Jean-Baptiste de Boyer, Marquis d'Argens, is an early example of
+citizen-of-the-world literature and contains in its five volumes a
+&quot;Philosophical, Historical and Critical Correspondence&quot; dealing with
+French, English, Italian, and other matters. The work had a European
+vogue, and there were at least two English translations, the present
+one, issued in 1739, 1744,
+<span class="pagenum"><a name="pagevi" id="pagevi"></a>[pg vi]</span>and 1766, and another, called <i>Jewish
+Letters</i>, published at Newcastle in 1746. (The Dublin edition of
+1753 I have not seen.) Though d'Argens's purpose in Letter 35 may
+have been to advertise his own novel, what he had to say is
+interesting. Like many others, he could scoff at the heroic romances
+and yet borrow and quietly modify the doctrines of <i>Ibrahim</i> and
+<i>Cl&eacute;lie</i>. He proposed a still more &quot;advanced&quot; <i>vraisemblance</i> and
+<i>decorum</i>&mdash;psychological analysis tinged with cynicism rather than
+idealism; gallantry but against the background sometimes of the
+modern city; a plainer style; and only such matters as seemed to
+this student of Descartes and Locke to be entirely reasonable.
+Fielding's chapter in <i>Tom Jones</i> (IX, i) &quot;Of Those Who Lawfully
+May, and of Those Who May Not, Write Such Histories as This&quot; could
+be taken as an indication that he knew not only what Mlle. de
+Scud&eacute;ry thought were the accomplishments of the romancer but that he
+had read d'Argens's words on that subject too. Both d'Argens and
+Fielding believed that in addition to &quot;Genius, Wit, and Learning&quot;
+the novelist must have a knowledge of the world and of all degrees
+of men, distinguishing the style of high people from that of low.
+They agreed that a writer must have felt a passion before he could
+paint it successfully. Much more goes into the making of a novel,
+they sarcastically pointed out, than pens, ink, and quires of paper.
+D'Argens, like Fielding, relished reflective passages and could
+approve, more readily than Mrs. Manley, of &quot;an Historian that amuses
+himself by Moralizing or Describing.&quot; D'Argens's list of the
+features to be found in good history and good fiction shows him to
+be a thoroughgoing rationalist
+<span class="pagenum"><a name="pagevii" id="pagevii"></a>[pg vii]</span>and separates his ideal from that of
+young readers, who, according to the preface to <i>The Adventures of
+Theagenes and Chariclia</i> (1717), wish to hear of &quot;Flame and Spirit
+in an Author, of fine Harangues, just Characters, moving Scenes,
+delicacy of Contrivance, surprising turns of action ... indeed the
+choicest Beauties of a <i>Romance</i>.&quot;</p>
+
+<p>The two novels that d'Argens recommended had different fortunes in
+England. D'Argens's book, <i>Memoires du Marquis de Mirmon, ou Le
+Solitaire Philosophe</i> (Amsterdam, 1736) was never translated into
+English and apparently was not much read. But Claude Prosper Jolyot
+de Cr&eacute;billon, the younger, was extolled by Thomas Gray and Horace
+Walpole, quoted by Sarah Fielding,<a name="FNanchor_9_9" id="FNanchor_9_9" /><a href="#Footnote_9_9" class="fnanchor">[9]</a> and had the honor, if one can
+trust Walpole, of an offer of keeping from Lady Mary Wortley
+Montagu. His <i>&Eacute;garemens du Coeur et de l'Esprit</i> (1736-38) was
+translated in 1751<a name="FNanchor_10_10" id="FNanchor_10_10" /><a href="#Footnote_10_10" class="fnanchor">[10]</a> and is the novel which Yorick helped the
+<i>fille de chambre</i> slide into her pocket. Cr&eacute;billon was damned,
+however, in <i>The World</i> (No. 19, May 10, 1753) in an essay that,
+oddly enough, reminds one of d'Argens's Letter 35. The work referred
+to in the third footnote on page 258 is <i>Le Chevalier des Essars et
+la Comtesse de Berci</i> (1735) by Ignace-Vincent Guillot de La
+Chassagne. The last footnote on that page refers to G.H. Bougeant's
+satire, <i>Voyage Merveilleux du Prince Fan-F&eacute;r&eacute;din dans la Romancie</i>
+(1735).</p>
+
+<p>The preface which William Warburton was invited by Richardson to
+supply for Volumes III and IV of <i>Clarissa</i> when they first appeared
+in 1748 has never, I think, been reprinted in full. Richardson
+dropped it from the second edition (1749) of <i>Clarissa</i>, probably
+because he relished
+<span class="pagenum"><a name="pageviii" id="pageviii"></a>[pg viii]</span>neither its implication that he was following
+French precedents nor its suggestion that his work was one &quot;of mere
+Amusement.&quot; In the &quot;Advertisement&quot; in the first volume of the second
+edition he insisted that <i>Clarissa</i> was &quot;not to be considered as a
+<i>mere Amusement</i>, as a <i>light Novel</i>, or <i>transitory Romance</i>; but
+as a <i>History</i> of LIFE and MANNERS ... intended to inculcate the
+HIGHEST and <i>most</i> IMPORTANT <i>Doctrines</i>.&quot;<a name="FNanchor_11_11" id="FNanchor_11_11" /><a href="#Footnote_11_11" class="fnanchor">[11]</a> Warburton, offended
+in turn perhaps, thriftily salvaged more than half of the preface
+(paragraphs 2 to 6) to use as a footnote in his edition of Alexander
+Pope,<a name="FNanchor_12_12" id="FNanchor_12_12" /><a href="#Footnote_12_12" class="fnanchor">[12]</a> but he there made a striking change: not Richardson but
+Marivaux and Fielding were praised as the authors who, with the
+extra enrichment of comic art, had brought the novel of &quot;real LIFE
+AND MANNERS ... to its perfection.&quot;</p>
+
+<p>The important principle of prose fiction which Richardson and
+Warburton recognized&mdash;that there is power in a detailed picture of
+the private life of the middle class&mdash;had been suggested earlier.
+Mrs. Manley could not voice it, at least not in <i>Queen Zarah</i>, where
+the Duke and Duchess of Marlborough, Godolphln, and Queen Anne were
+to be leading characters. But her sometime-friend Richard Steele
+could. Having laughed in <i>The Tender Husband</i> (1705) at a girl whose
+judgment of life was seriously&mdash;or, rather, comically&mdash;warped by her
+reading of heroic romances, Steele made a positive plea in <i>Tatler</i>
+No. 172 for histories of &quot;such adventures as befall persons not
+exalted above the common level.&quot; Books of this sort, still rare in
+1710, would be of great value to &quot;the ordinary race of men.&quot; The
+anonymous preface to <i>The Adventures of Theagenes and Chariclia</i>
+<span class="pagenum"><a name="pageix" id="pageix"></a>[pg ix]</span>
+seven years later attributed to Heliodorus's romance the value of
+suggesting rules &quot;for conducting our Affairs in common Actions of
+Life.&quot; In 1751 when the new realism was a <i>fait accompli</i>, the
+author of <i>An Essay on the New Species of Writing Founded by Mr.
+Fielding</i> declared roundly (p. 19) that in the new fiction the
+characters should be &quot;taken from common Life.&quot; A good argument in
+favor of books about &quot;private persons&quot; was offered in the preface to
+the English translation of the Abb&eacute; Pr&eacute;vost's novel, <i>The Life And
+Entertaining Adventures of Mr. Cleveland, Natural Son of Oliver
+Cromwell</i> (1741): &quot;The history of kingdoms and empires, raises our
+admiration, by the solemnity ... of the images, and furnishes one of
+the noblest entertainments. But at the same time that it is so well
+suited to delight the imagination, it yet is not so apt to touch and
+affect as the history of private men; the reason of which seems to
+be, that the personages in the former, are so far above the common
+level, that we consider ourselves, in some measure, as aliens to
+them; whereas those who act in a lower sphere, are look'd upon by us
+as a kind of relatives, from the similitude of conditions; whence we
+are more intimately mov'd with whatever concerns us.&quot; A comparison
+of the first two paragraphs of this preface and the first four
+paragraphs of Johnson's <i>Rambler</i> No. 60, if it does not discover
+the source of part of Johnson's paper, will at least reveal how the
+defender of the fictional &quot;secret history&quot; and a famous champion of
+intimate biography played into each other's hands. Johnson's
+appearing to follow the defender of French fiction here is all the
+more interesting when one
+<span class="pagenum"><a name="pagex" id="pagex"></a>[pg x]</span>recalls his alarm in <i>Rambler</i> No. 4 over
+the prevailing taste for novels that exhibited, unexpurgated, &quot;Life
+in its true State, diversified only by the Accidents that daily
+happen in the World.&quot; Indeed if it were not for Fielding himself,
+one might imagine from Johnson's unsteady and generally
+unsatisfactory criticism of prose fiction that the old neo-classical
+principles were completely out of date and useless.</p>
+
+<p>Samuel Derrick, the editor of Dryden and friend of Boswell for whom
+Johnson &quot;had a kindness&quot; but not much respect, the &quot;pretty little
+gentleman&quot; described by Smollett's Lydia Melford, translated the
+<i>Memoirs of the Count Du Beauval</i> from <i>Le Mentor Cavalier, ou Les
+Illustres Infortunez de Notre Siecle</i> (&quot;Londres,&quot; 1736) by the
+Marquis d'Argens. Only the second paragraph of Derrick's preface
+came from d'Argens, but the drift of the Frenchman's ideas toward
+&quot;le Naturel&quot; is well sustained in Derrick's praise, no doubt based
+on Warburton's, of writers who present scenes that &quot;are daily found
+to move beneath their Inspection.&quot; There are ties with the doctrines
+of 1641 even in this preface, but the transformation of
+<i>vraisemblance</i> and <i>decorum</i> was sufficiently advanced for the
+needs of the day.</p>
+
+<p>Benjamin Boyce<br />
+Duke University</p>
+
+
+<span class="pagenum"><a name="pagexi" id="pagexi"></a>[pg xi]</span>
+<p class="heading">NOTES TO THE INTRODUCTION</p>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1" /><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Most scholars attribute the preface to Georges de
+Scud&eacute;ry, but it seems impossible to say whether he collaborated with
+his sister in writing the romance itself or whether the work was
+written entirely by her.
+</p><p>
+Cogan's translation of <i>Ibrahim</i> and the preface appeared first in
+1652.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2" /><a href="#FNanchor_2_2"><span class="label">[2]</span></a> See the texts in Allan H. Gilbert's <i>Literary
+Criticism: Plato to Dryden</i> (N.Y.: American Book Co., 1940) and the
+discussion in A.E. Parsons' &quot;The English Heroic Play,&quot; <i>MLR</i>, XXXIII
+(1938), 1-14.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3" /><a href="#FNanchor_3_3"><span class="label">[3]</span></a> <i>Clelia. An Excellent New Romance. The Fourth Volume
+... Rendered into English by G.H.</i> (1677; Part IV, Book II), pp.
+540-543.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4" /><a href="#FNanchor_4_4"><span class="label">[4]</span></a> See <i>An Apology for the Life of Mr. Bempfylde-Moore
+Carew ... The Sixth Edition</i>, p. xix; <i>Critical Remarks on Sir
+Charles Grandison</i> (1754), p. 20.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5" /><a href="#FNanchor_5_5"><span class="label">[5]</span></a> IV, 184. The footnote could have come, contrary to the
+assertion of Sir Walter Raleigh (<i>Six Essays</i> [Oxford, 1910], p.
+94), from either the original French (<i>Conversations sur Divers
+Sujets</i> [Paris, 1680], II, 586-587) or the English translation
+(1683, II, 102). In both editions, the passage appears soon after
+the dialogue on how to compose a romance. I am indebted to Dr.
+Arthur M. Eastman for help in tracing Raleigh's vague reference.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6" /><a href="#FNanchor_6_6"><span class="label">[6]</span></a> <i>The Moral Characters of Theophrastus</i> (1725), pp.
+31-32.</p></div>
+<span class="pagenum"><a name="pagexii" id="pagexii"></a>[pg xii]</span>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7" /><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Jane Collier and Sarah Fielding.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8" /><a href="#FNanchor_8_8"><span class="label">[8]</span></a> The &quot;Essay&quot; was written in 1762, but I quote it as it
+appeared in the third edition (1766) of <i>The Works of Henry
+Fielding</i>, I, 75.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9" /><a href="#FNanchor_9_9"><span class="label">[9]</span></a> James B. Foster, <i>History of the Pre-Romantic Novel in
+England</i> (N.Y.: Modern Lang. Assoc., 1949), p. 76.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10" /><a href="#FNanchor_10_10"><span class="label">[10]</span></a> <i>The Wanderings of the Heart and Mind: or, Memoirs of
+Mr. de Meilcour</i>, translated by M. Clancy. Clara Reeve maintained in
+1785 that Cr&eacute;billon's book was never popular in England and that
+&quot;Some pious person, fearing it might poison the minds of youth ...
+wrote a book of meditations with the same title, and <i>this</i> was the
+book that <i>Yorick's fille de Chambre</i> was purchasing&quot; (<i>The Progress
+of Romance</i> [N.Y.: Facsimile Text Society, 1930], pp. 130-131).</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11" /><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Richardson said that he dropped Warburton's preface
+because <i>Clarissa</i> had been well received and no longer needed such
+an introduction. A fourth explanation of the natter and much other
+relevant information were presented by Ronald S. Crane, &quot;Richardson,
+Warburton and French Fiction,&quot; <i>MLR</i>, XVII (1922), 17-23.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12" /><a href="#FNanchor_12_12"><span class="label">[12]</span></a> <i>The Works of Alexander Pope</i> (1751), IV, 166-169. The
+footnote is on line 146 of the Epistle to Augustus (&quot;And ev'ry
+flow'ry Courtier writ Romance&quot;).</p></div>
+
+<hr class="full" />
+<br />
+
+<a name="article1" id="article1"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>IBRAHIM, OR THE ILLUSTRIOUS BASSA.</h2>
+
+<hr class="short" />
+
+<h3>The whole Work,</h3>
+
+<h3>In Four Parts.</h3>
+
+<h3>Written in French by <i>Monsieur de Scud&eacute;ry</i>,</h3>
+<h3>And Now Englished</h3>
+
+<h3>by</h3>
+
+<h3>Henry Cogan, Gent.</h3>
+
+<hr class="short" />
+<br />
+<br />
+
+<h4>London,</h4>
+
+<p>Printed by <i>J.R.</i> and are to be sold by <i>Peter Parker</i>, at his Shop
+at the <i>Leg</i> and <i>Star</i> over against the Royal Exchange, and <i>Thomas
+Guy</i>, at the Corner-shop of <i>Little-Lumbard street</i> and <i>Cornhil</i>,
+1674.</p>
+
+<span class="pagenum"><a name="page1" id="page1"></a>[pg 1]</span>
+
+<br />
+
+<h2><i>IBRAHIM, or The Illustrious Bassa</i></h2>
+
+<h3><a name="THE_PREFACE" id="THE_PREFACE"></a>THE PREFACE</h3>
+
+<p>I do not know what kind of praise the Ancients thought they gave to
+that Painter, who not able to end his Work, finished it accidentally
+by throwing his pencil against his Picture; but I know very well,
+that it should not have obliged me, and that I should have taken it
+rather for a Satyre, than an Elogium. The operations of the Spirit
+are too important to be left to the conduct of chance, and I had
+rather be accused for failing out of knowledge, than for doing well
+without minding it. There is nothing which temerity doth not
+undertake, and which Fortune doth not bring to pass; but when a man
+relies on those two Guides, if he doth not erre, he may erre; and of
+this sort, even when the events are successefull, no glory is
+merited thereby. Every Art hath its certain rules, which by
+infallible means lead to the ends proposed; and provided that an
+Architect takes his measures right, he is assured of the beauty of
+his Building. Believe not for all this, Reader, that I will conclude
+from thence my work is compleat, because I have followed the rules
+which may render it so: I know that it is of this labour, as of the
+Mathematical Sciences, where the operation may fail, but the Art
+doth never fail; nor do I make this discourse but to shew you, that
+if I have left some faults in my Book, they are the effects of my
+weakness, and not of my negligence. Suffer me then to
+<span class="pagenum"><a name="page2" id="page2"></a>[pg 2]</span>discover unto
+you all the resorts of this frame, and let you see, if not all that
+I have done, at leastwise all that I have endeavoured to doe.</p>
+
+<p>Whereas we cannot be knowing but of that which others do teach us,
+and that it is for him that comes after, to follow them who precede
+him, I have believed, that for the laying the ground-plot of this
+work, we are to consult with the Grecians, who have been our first
+Masters, pursue the course which they have held, and labour in
+imitating them to arrive at the same end, which those great men
+propounded to themselves. I have seen in those famous <i>Romanzes</i> of
+Antiquity, that in imitation of the Epique Poem there is a principal
+action whereunto all the rest, which reign over all the work, are
+fastned, and which makes them that they are not employed, but for
+the conducting of it to its perfection. The action in <i>Homers
+Iliades</i> is the destrustion of <i>Troy</i>; in his <i>Odysseas</i> the return
+of <i>Ulysses</i> to <i>Ithaca</i>; in <i>Virgil</i> the death of <i>Turnus</i>, or to
+say better, the conquest of <i>Italy</i>; neerer to our times, in <i>Tasso</i>
+the taking of <i>Jerusalem</i>; and to pass from the Poem to the
+<i>Romanze</i>, which is my principal object, in <i>Helidorus</i> the marriage
+of <i>Theagines</i> and <i>Cariclia</i>. It is not because the Episodes in the
+one, and the several Histories in the other, are not rather beauties
+than defects; but it is alwayes necessary, that the Addresse of him
+which employes them should hold them in some sort to this principal
+action, to the end, that by this ingenious concatenation, all the
+parts of them should make but one body, and that nothing may be seen
+in them which is loose and
+<span class="pagenum"><a name="page3" id="page3"></a>[pg 3]</span>unprofitable. Thus the marriage of my
+<i>Justiniano</i> and his <i>Isabella</i>, being the object which I have
+proposed unto my self, I have employed all my care so to doe, that
+all parts of my work may tend to that conclusion; that there may be
+a strong connexion between them; and that, except the obstacle which
+Fortune opposeth to the desires of my <i>Hero</i>'s, all things may
+advance, or at leastwise endeavour to advance his marriage, which is
+the end of my labour. Now those great Geniusses of antiquity, from
+whom I borrow my light, knowing that well-ordering is one of the
+principal parts of a piece, have given so excellent a one to their
+speaking Pictures, that it would be as much stupidity, as pride, not
+to imitate them. They have not done like those Painters, who present
+in one and the same cloth a Prince in the Cradle, upon the Throne,
+and in the Tombe, perplexing, by this so little judicious a
+confusion, him that considers their work; but with an incomparable
+address they begin their History in the midle, so to give some
+suspence to the Reader, even from the first opening of the Book; and
+to confine themselves within reasonable bounds they have made the
+History (as I likewise have done after them) not to last above a
+year, the rest being delivered by Narration. Thus all things being
+ingeniously placed, and of a just greatness, no doubt, but pleasure
+will redound from thence to him that beholds them, and glory to him
+that hath done them. But amongst all the rules which are to be
+observed in the composition of these works, that of true resemblance
+is without question the most necessary; it is, as it were, the
+fundamental stone of this building, and but upon which it
+<span class="pagenum"><a name="page4" id="page4"></a>[pg 4]</span>cannot
+subsist; without it nothing can move, without it nothing can please:
+and if this charming deceiver doth not beguile the mind in
+<i>Romanzes</i>, this kinde of reading disgusts, instead of entertaining
+it: I have laboured then never to eloigne my self from it, and to
+that purpose I have observed the Manners, Customs, Religions, and
+Inclinations of People: and to give a more true resemblance to
+things, I have made the foundations of my work Historical, my
+principal Personages such as are marked out in the true History for
+illustrious persons, and the wars effective. This is the way
+doubtless, whereby one may arrive at his end; for when as falshood
+and truth are confounded by a dexterous hand, wit hath much adoe to
+disintangle them, and is not easily carried to destroy that which
+pleaseth it; contrarily, whenas invention doth not make use of this
+artifice, and that falshood is produced openly, this gross untruth
+makes no impression in the soul, nor gives any delight: As indeed
+how should I be touched with the misfortunes of the Queen of
+<i>Gundaya</i>, and of the King of <i>Astrobacia</i>, whenas I know their very
+Kingdoms are not in the universal Mapp, or, to say better, in the
+being of things? But this is not the only defect which may carry us
+from the true resemblance, for we have at other times seen
+<i>Romanzes</i>, which set before us monsters, in thinking to let us see
+Miracles; their Authors by adhering too much to wonders have made
+Grotesques, which have not a little of the visions of a burning
+Feaver; and one might demand of these Messieurs with more reason,
+than the Duke of <i>Ferrara</i> did of <i>Ariosto</i>, after he had read his
+<i>Orlando, Messer Lodovico done diavolo havete pigliato tante
+coyonerie</i>? As
+<span class="pagenum"><a name="page5" id="page5"></a>[pg 5]</span>for me, I hold, that the more natural adventures
+are, the more satisfaction they give; and the ordinary course of the
+Sun seems more marvellous to me, than the strange and deadly rayes
+of Comets; for which reason it is also that I have not caused so
+many Shipwrecks, as there are in some ancient <i>Romanzes</i>; and to
+speak seriously, <i>Du Bartas</i> might say of these Authors,</p>
+
+<span style="margin-left: 2em;"><i>That with their word they bind,</i></span><br />
+<span style="margin-left: 2em;"><i>Or loose, at will, the blowing of the wind.</i></span><br />
+
+<p>So as one might think that <i>&AElig;olus</i> hath given them the Winds
+inclosed in a bagg, as he gave them to <i>Ulysses</i>, so patly do they
+unchain them; they make tempests and shipwracks when they please,
+they raise them on the Pacifique Sea, they find rocks and shelves
+where the most expert Pilots have never observed any: But they which
+dispose thus of the winds, know not how the Prophet doth assure us,
+that God keeps them in his Treasures; and that Philosophy, as clear
+sighted as it is, could never discover their retreat. Howbeit I
+pretend not hereby to banish Shipwrecks from <i>Romanzes</i>, I approve
+of them in the works of others, and make use of them in mine; I know
+likewise, that the Sea is the Scene most proper to make great
+changes in, and that some have named it the Theatre of inconstancy;
+but as all excess is vicious, I have made use of it but moderately,
+for to conserve true resembling: Now the same design is the cause
+also, that my <i>Heros</i> is not oppressed with such a prodigious
+quantity of accidents, as arrive unto some others, for that
+according to my sense, the same is far from true resemblance, the
+life of no man having ever been so cross'd. It would be better in my
+opinion to separate the
+<span class="pagenum"><a name="page6" id="page6"></a>[pg 6]</span>adventures, to form divers Histories of
+them, and to make persons acting, thereby to appear both fertile and
+judicious together, and to be still within this so necessary true
+resemblance. And indeed they who have made one man alone defeat
+whole Armies, have forgotten the Proverb which saith, <i>not one
+against two</i>; and know not that Antiquity doth assure us, how
+<i>Hercules</i> would in that case be too weak. It is without all doubt,
+that to represent a true heroical courage, one should make it
+execute some thing extraordinary, as it were by a transport of the
+<i>Heros</i>; but he must not continue in that sort, for so those
+incredible actions would degenerate into ridiculous Fables, and
+never move the mind. This fault is the cause also of committing
+another; for they which doe nothing but heap adventure upon
+adventure, without ornament, and without stirring up passions by the
+artifices of Rhetorick, or irksome, in thinking to be the more
+entertaining. This dry Narration, and without art, hath more of an
+old Chronicle, than of a <i>Romanze</i>, which may very well be
+imbellished with those ornaments, since History, as severe and
+scrupulous as it is, doth not forbear employing them. Certain
+Authors, after they have described an adventure, a daring design, or
+some surprising event, able to possess one with the bravest
+apprehensions in the world, are contented to assure us, that such a
+<i>Heros</i> thought of very gallant things, without telling us what they
+are; and this is that alone which I desire to know: For how can I
+tell, whether in these events Fortune hath not done as much as he?
+whether his valour be not a brutish valour? and whether he hath born
+the misfortunes that arrived unto him, as
+<span class="pagenum"><a name="page7" id="page7"></a>[pg 7]</span>a worthy man should doe?
+it is not by things without him, it is not by the caprichioes of
+destiny, that I will judge of him; it is by the motions of his soul,
+and by that which he speaketh. I honour all them that write at this
+day; I know their persons, their works, their merits; but as
+canonizing is for none but the dead, they will not take it ill if I
+do not Deifie them, since they are living. And in this occasion I
+propose no other example, than the great and incomparable <i>Urf&eacute;</i>;
+certainly it must be acknowledged that he hath merited his
+reputation; that the love which all the earth bears him is just; and
+that so many different Nations, which have translated his Book into
+their tongues, had reason to do it: as for me, I confess openly,
+that I am his adorer; these twenty years I have loved him, he is
+indeed admirable over all; he is fertile in his inventions, and in
+inventions reasonable; every thing in him is mervellous, every thing
+in him is excellent; and that which is more important, every thing
+in him is natural, and truly resembling: But amongst many rare
+matters, that which I most esteem of is, that he knows how to touch
+the passions so delicately, that he may be called the Painter of the
+Soul; he goes searching out in the bottom of hearts the most secret
+thoughts; and in the diversity of natures, which he represents, evey
+one findes his own pourtrait, so that</p>
+
+<span style="margin-left: 2em;"><i>If amongst mortals any be</i></span><br />
+<span style="margin-left: 2em;"><i>That merits Altars</i>, Urf&eacute;'s <i>he</i></span><br />
+<span style="margin-left: 2em;"><i>Who can alone pretend thereto.</i></span><br />
+
+<p>Certainly there is nothing more important in this kind of
+composition, than strongly to imprint the Idea, or (to say better)
+the image of the <i>Heroes</i> in the mind of the Reader, but in such
+sort, as if
+<span class="pagenum"><a name="page8" id="page8"></a>[pg 8]</span>they were known to them; for that it is which
+interesseth him in their adventures, and from thence his delight
+cometh, now to make them be known perfectly, it is not sufficient to
+say how many times they have suffered shipwreck, and how many times
+they have encountered Robbers, but their inclinations must be made
+to appear by their discourse: otherwise one may rightly apply to
+these dumb <i>Heroes</i> that excellent motto of Antiquity, <i>Speak that I
+may see thee</i>. And if from true resemblance and inclinations,
+expressed by words, we will pass unto manners, goe from the pleasant
+to the profitable, and from Delight to Example, I am to tell you,
+Reader, that here Vertue is seen to be alwayes recompenced, and Vice
+alwayes punished, if he that hath followed his unruliness hath not
+by a just and sensible repentance obtained Grace from Heaven; to
+which purpose I have also observed equality of manners in all the
+persons that do act, unless it be whereas they are disordered by
+passions, and touched with remorse.</p>
+
+<p>I have had a care likewise to deal in such sort, as the faults,
+which great ones have committed in my History, should be caused
+either by Love or by Ambition, which are the Noblest of passions,
+and that they be imputed to the evil counsell of Flatterers; that so
+the respect, which is alwayes due unto Kings, may be preserved. You
+shall see there, Reader, if I be not deceived, the comeliness of
+things and conditions exactly enough observed; neither have I put
+any thing into my Book, which the Ladies may not read without
+blushing. And if you see not my <i>Hero</i> persecuted with Love by
+Women, it is not because he was not amiable, and that
+<span class="pagenum"><a name="page9" id="page9"></a>[pg 9]</span>he could not
+be loved, but because it would clash with Civility in the persons of
+Ladies, and with true resemblance in that of men, who rarely shew
+themselves cruel unto them, nor in doing it could have any good
+grace: Finally, whether things ought to be so, or whether I have
+judged of my <i>Hero</i> by mine own weakness, I would not expose his
+fidelity to that dangerous triall, but have been contented to make
+no <i>Hilas</i>, nor yet an <i>Hipolitus</i> of him.</p>
+
+<p>But whilest I speak of Civility, it is fit I should tell you (for
+fear I be accused of falling therein) that if you see throughout all
+my Work, whenas <i>Soliman</i> is spoken unto, Thy Highness, Thy
+Majestie, and that in conclusion he is treated with Thee, and not
+with You, it is not for want of Respect, but contrarily it is to
+have the more, and to observe the custom of those people, who speak
+after that sort to their Sovereigns. And if the Authority of the
+living may be of as much force, as that of the dead, you shall find
+examples of it in the most famous <i>Othomans</i>, and you shall see that
+their Authors have not been afraid to employ in their own Tongue a
+manner of speaking, which they have drawn from the Greek and Latin;
+and then too I have made it appear clearlie, that I have not done it
+without design; for unless it be whenas the Turks speak to the
+Sultan, or he to his Inferiours, I have never made use of it, and
+either of them doth use it to each other.</p>
+
+<p>Now for fear it may be objected unto me, that I have approached some
+incidents nearer than the Historie hath shewed them to be, great
+<i>Virgil</i> shall be my Warrant, who in his Divine <i>&AElig;neids</i> hath made
+<i>Dido</i>
+<span class="pagenum"><a name="page10" id="page10"></a>[pg 10]</span> appear four Ages after her own; wherefore I have believed I
+might do of some moneths, what he hath done of so many Years, and
+that I was not to be afraid of erring, as long as I followed so good
+a guide. I know not likewise whether some may not take it ill, that
+my <i>Hero</i> and <i>Heronia</i> are not Kings; but besides that the Generous
+do put no difference between wearing of Crowns, and meriting them,
+and that my <i>Justiniano</i> is of a Race which hath held the Empire of
+the Orient, the example of <i>Athenagoras</i>, me-thinks, ought to stop
+their mouths, seeing <i>Theogines</i> and <i>Charida</i> are but simple
+Citizens.</p>
+
+<p>Finally, Reader, such Censors may set their hearts at rest for this
+particular, and leave me there, for I assure them, that <i>Justiniano</i>
+is of a condition to command over the whole Earth; and that
+<i>Isabella</i> is of a House, and Gentlewoman good enough, to make
+Knights of the <i>Rhodes</i>, if she have children enough for it, and
+that she have a minde thereunto. But setting this jesting aside, and
+coming to that which regards the <i>Italian</i> names, know that I have
+put them in their natural pronunciation. And if you see some Turkish
+words, as <i>Alla</i>, <i>Stamboll</i>, the <i>Egira</i>, and some others, I have
+done it of purpose, Reader, and have left them as Historical marks,
+which are to pass rather for embellishments than defests. It is
+certain, that imposition of names is a thing which every one ought
+to think of, and whereof nevertheless all the World hath not
+thought: We have oftentimes seen Greek Names given to barbarous
+Nations, with as little reason as if I should name an English man
+<i>Mahomet</i>, and that I should call a Turk <i>Anthony</i>; for my part I
+have believed that more care is
+<span class="pagenum"><a name="page11" id="page11"></a>[pg 11]</span>to be had of ones with; and if any
+one remarks the name of <i>Satrape</i> in this <i>Romanze</i>, let him not
+magine that my ignorance hath confounded the ancient and new Persia,
+and that I have done it without Authority, I have an example thereof
+in <i>Vigenere</i>, who makes use of it in his Illustrations upon
+<i>Calchondila</i>; and I have learned it of a <i>Persian</i>, which is at
+<i>Paris</i>, who saith, that by corruption of speech they call yet to
+this day the Governours of Provinces, <i>Soltan Sitripin</i>.</p>
+
+<p>Now lest some other should further accuse me for having improperly
+named <i>Ibrahim</i>'s House a Palace, since all those of quality are
+called <i>Seraglioes</i> at <i>Constantinople</i>, I desire you to remember
+that I have done it by the counsel of two or three excellent
+persons, who have found as well as my self, that this name of
+<i>Seraglio</i> would leave an <i>Idea</i> which was not seemly, and that it
+was fit not to make use of it, but in speaking of the Grand Signior,
+and that as seldom as might be. But whilest we are speaking of a
+Palace, I am to advertise you, that such as are not curious to see a
+goodly building, may pass by the gate of that of my <i>Heroe</i> without
+entring into it, that is to say, not to read the description of it;
+it is not because I have handled this matter like to <i>Athenagoras</i>,
+who playes the Mason In the Temple of <i>Jupiter Hammon</i>; nor like
+<i>Poliphile</i> in his dreams, who hath set down most strange terms, and
+all the dimensions of Architecture, whereas I have employed but the
+Ornaments thereof; it is not because they are not Beauties suitable
+to the <i>Romanze</i>, as well as to the <i>Epique Poem</i>, since the most
+famous both of the one and the other have
+<span class="pagenum"><a name="page12" id="page12"></a>[pg 12]</span>them; nor is it too
+because mine is not grounded on the History, which assures us that
+it was the most superb the Turks ever made, as still appears by the
+remains thereof, which they of that Nation call <i>Serrau Ibrahim</i>.</p>
+
+<p>But to conclude, as inclinations ought to be free, such as love not
+those beautifull things, for which I have so much passion (as I have
+said) pass on without looking on them, and leave them to others more
+curious of those rarities, which I have assembled together with art
+and care enough. Now Reader, ingenuity being a matter necessary for
+a man of Honour, and the theft of glory being the basest that may be
+committed, I must confess here for fear of being accused of it, that
+the History of the Count of <i>Lavagna</i>, which you shall see in my
+Book, is partly a Paraphrase of <i>Mascardies</i>; this Adventure falling
+out in the time whilest I was writing, I judged it too excellent not
+to set it down, and too well indited for to undertake to do it
+better; so that regard not this place but as a Translation of that
+famous Italian, and except the matters, which concern my History,
+attribute all to that great man, whose Interpreter only I am. And if
+you finde something not very serious in the Histories of a certain
+French Marquis, which I have interlaced in my Book, remember if you
+please, that a <i>Romanze</i> ought to have the Images of all natures;
+and this diversity makes up the beauties of it, and the delight of
+the Reader; and at the worst regard it as the sport of a
+Melancholick, and suffer it without blaming it. But before I make an
+end, I must pass from matters to the manner of delivering them, and
+desire
+<span class="pagenum"><a name="page13" id="page13"></a>[pg 13]</span>you also not to forget, that a Narrative stile ought not to
+be too much inflated, no more than that of ordinarie conversations;
+that the more facile it is, the more excellent it is; that it ought
+to glide along like the Rivers, and not rebound up like Torrents;
+and that the less constraint it hath, the more perfection it hath; I
+have endeavoured then to observe a just mediocrity between vicious
+Elevation, and creeping Lowness; I have contained my self in
+Narration, and left my self free in Orations and in Passions, and
+without speaking as extravagants and the vulgar, I have laboured to
+speak as worthy persons do.</p>
+
+<p>Behold, Reader, that which I had to say to you, but what defence
+soever, I have imployed, I know that it is of works of this nature,
+as of a place of War, where notwithstanding all the care the
+Engineer hath brought to fortifie it, there is alwayes some weak
+part found, which he hath not dream'd of, and whereby it is
+assaulted; but this shall not surprize me; for as I have not forgot
+that I am a man, no more have I forgot that I am subject to erre.</p>
+
+<hr class="full" />
+<br />
+<a name="article2" id="article2"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>The Secret History of Queen <i>ZARAH</i>,</h2>
+
+<h3>and the</h3>
+
+<h2><i>Zarazians</i>;</h2>
+
+<h3>Being a</h3>
+
+<h2>Looking-glass</h2>
+
+<h3>for</h3>
+
+<h3>&mdash;&mdash;&mdash; &mdash;&mdash;&mdash;&mdash;&mdash;</h3>
+
+<h3>In the Kingdom of</h3>
+
+<h2><i>ALBIGION</i>.</h2>
+
+<p class="center">Faithfully Translated from the <i>Italian</i> Copy now lodg'd in the
+<i>Vatican</i> at <i>Rome</i>, and never before Printed in any Language.</p>
+<br />
+<h4><i>Albigion</i>, Printed in the Year 1705.</h4>
+<br />
+<h4>Price Stitch'd 1 <i>s.</i> Price Bound 1 <i>s.</i> 6 <i>d.</i></h4>
+
+<h3>TO THE READER.</h3>
+
+<p><i>The Romances in</i> France <i>have for a long Time been the Diversion
+and Amusement of the whole World; the People both in the City and at
+Court have given themselves over to this Vice, and all Sorts of
+People have read these Works with a most surprizing Greediness; but
+that Fury is very much abated, and they are all fallen off from this
+Distraction: The Little</i> Histories <i>of this Kind have taken Place
+of</i> Romances, <i>whose Prodigious Number of Volumes were sufficient to
+tire and satiate such whose Heads were most fill'd with those
+Notions.</i></p>
+
+<p><i>These little Pieces which have banish'd</i> Romances <i>are much more
+agreeable to the Brisk and Impetuous Humour of the</i> English, <i>who have
+naturally no Taste for long-winded Performances, for they have no
+sooner begun a Book, but they desire to see the End of it: The
+Prodigious Length of the Ancient</i> Romances, <i>the Mixture of so many
+Extraordinary Adventures, and the great Number of Actors that appear
+on the Stage, and the Likeness which is so little managed, all which
+has given a Distaste to Persons of good Sense, and has made Romances
+so much cry'd down, as we find 'em at present. The Authors of
+Historical Novels, who have found out this Fault, have run into the
+same Error, because they take for the Foundation of their History
+no more than one Principal Event, and don't overcharge it with</i>
+Episodes, <i>which wou'd extend it to an Excessive Length; but they
+are run into another Fault, which I cannot Pardon, that is, to
+please by Variety the Taste of the Reader, they mix particular
+Stories with the Principal</i> History, <i>which seems to me as if they
+reason'd Ill; in Effect the Curiosity of the Reader is deceiv'd by
+this Deviation from the Subject, which retards the Pleasure he wou'd
+have in seeing the End of an Event; it relishes of a Secret
+Displeasure in the Author, which makes him soon lose Sight of those
+Persons with whom he began to be in Love; besides the vast Number of
+Actors who have such different Interests, embarresses his Memory,
+and causes some Confusion in his Brain, because 'tis necessary for
+the Imagination to labour to recal the several Interests and
+Characters of the Persons spoken of, and by which they have
+interrupted the</i> History.</p>
+
+<p><i>For the Reader's better Understanding, we ought not to chuse too
+Ancient Accidents, nor unknown Heroes, which are fought for in a
+Barbarous Countrey, and too far distant in Time, for we care little
+for what was done a Thousand Years ago among the</i> Tartars <i>or</i>
+Ayssines.</p>
+
+<p><i>The Names of Persons ought to have a Sweetness in them, for a
+Barbarous Name disturbs the Imagination; as the Historian describes
+the Heroes to his Fancy, so he ought to give them Qualities which
+affect the Reader, and which fixes him to his Fortune; but he ought
+with great Care to observe the Probability of Truth, which consists
+in saying nothing but what may Morally be believed.</i></p>
+
+<p><i>For there are Truths that are not always probable; as for Example
+'tis an allowed Truth in the</i> Roman History <i>that</i> Nero <i>put his
+Mother to Death, but 'tis a Thing against all Reason and Probability
+that a Son shou'd embrue his Hand in the Blood of his own Mother; it
+is also no less probable that a Single Captain shou'd at the Head of
+a Bridge stop a whole Army, although 'tis probable that a small
+Number of Soldiers might stop, in Defiles, Prodigious Armies,
+because the Situation of the Place favours the Design, and renders
+them almost Equal. He that writes a True History ought to place the
+Accidents as they Naturally happen, without endeavouring to sweeten
+them for to procure a greater Credit, because he is not obliged to
+answer for their Probability; but he that composes a History to his
+Fancy, gives his Heroes what Characters he pleases; and places the
+Accidents as he thinks fit, without believing he shall be
+contradicted by other Historians, therefore he if obliged to Write
+nothing that is improbable; 'tis nevertheless allowable that an
+Historian shows the Elevation of his</i> Genius, <i>when advancing
+Improbable Actions, he gives them Colours and Appearances capable of
+Perswading.</i></p>
+
+<p><i>One of the Things an Author ought first of all to take Care of, is
+to keep up to the Characters of the Persons he introduces. The
+Authors of</i> Romances <i>give Extraordinary Virtues to their Heroins,
+exempted from all the Weakness of Humane Nature, and much above the
+Infirmities of their Sex; 'tis Necessary they shou'd be Virtuous or
+Vicious to Merit the Esteem or Disesteem of the Reader; but their
+Virtue out to be spared, and their Vices exposed to every Trial: It
+wou'd in no wise be probable that a Young Woman fondly beloved by a
+Man of great Merit, and for whom she had a Reciprocal Tenderness,
+finding her self at all Times alone with him in Places which
+favour'd their Loves, cou'd always resist his Addresses; there are
+too Nice Occasions; and an Author wou'd not enough observe good
+Sense, if he therein exposed his Heroins; 'tis a Fault which Authors
+of</i> Romances <i>commit in every Page; they would blind the Reader
+with this Miracle, but 'tis necessary the Miracle shou'd be
+feisable, to make an Impression in the Brain of Reasonable Persons;
+the Characters are better managed in the Historical Novels, which
+are writ now-a-days; they are not fill'd with great Adventures, and
+extraordinary Accidents, for the most simple Action may engage the
+Reader by the Circumstances that attend it; it enters into all the
+Motions and Disquiets of the Actor, when they have well express'd to
+him the Character. If he be Jealous, the Look of a Person he Loves,
+a Mouse, a turn of the Head, or the least complaisance to a Rival,
+throws him into the greatest Agitations, which the Readers perceive
+by a Counter-blow; if he be very Vertuous, and falls into a
+Mischance by Accident, they Pity him and Commiserate his
+Misfortunes; for Fear and Pity in Romance as well as Tragedies are
+the Two Instruments which move the Passion; for we in some Manner
+put our selves in the Room of those we see in Danger; the Part we
+take therein, and the fear of falling into the like Misfortunes,
+causes us to interest our selves more in their Adventures, because
+that those sort of Accidents may happen, to all the World; and it
+touches so much the more, because they are the common Effect of
+Nature.</i></p>
+
+<p><i>The Heroes in the Ancient</i> Romances <i>have nothing in them that is
+Natural; all is unlimited in their Character; all their Advantages
+have Something Prodigious, and all their Actions Something that's
+Marvellous; in short, they are not Men: A single Prince attact by a
+great Number of Enemies, it so far from giving way to the Croud,
+that he does Incredible Feats of Valour, beats them, puts them to
+flight, delivers all the Prisoners, and kills an infinite Number of
+People, to deserve the Title of a Hero. A Reader who has any Sense
+does not take part with these Fabulous Adventures, or at least is
+but slightly touch'd with them, because they are not natural, and
+therefore cannot be believ'd. The Heroes of the Modern Romances are
+better Characteriz'd, they give them Passions, Vertues or Vices,
+which resemble Humanity; thus all the World will find themselves
+represented in these Descriptions, which ought to be exact, and
+mark'd by Tracts which express clearly the Character of the Hero, to
+the end we may not be deceived, and may presently know our
+predominant Quality, which ought to give the Spirit all the Motion
+and Action of our Lives; 'tis that which inspires the Reader with
+Curiosity, and a certain impatient Desire to see the End of the
+Accidents, the reading of which causes an Exquisite Pleasure when
+they are Nicely handled; the Motion of the Heart gives yet more, but
+the Author ought to have an Extraordinary Penetration to distinguish
+them well, and not to lose himself in this Labyrinth. Most Authors
+are contented to describe Men in general, they represent them
+Covetous, Courageous and Ambitious, without entering into the
+Particulars, and without specifying the Character of their
+Covetousness, Valour or Ambition; they don't perceive Nice
+Distinctions, which those who know it Remark in the Passions; in
+Effect, the Nature, Humour and Juncture, give New Postures to Vices;
+the Turn of the Mind, Motion of the Heart, Affection and Interests,
+alter the very Nature of the Passions, which are different in All
+Men; the Genius of the Author marvellously appears when he Nicely
+discovers those Differences, and exposes to the Reader's Sight those
+almost unperceivable Jealousies which escape the Sight of most
+Authors, because they have not an exact Notion of the Turnings and
+Motions of Humane Understanding; and they know nothing but the gross
+Passions, from whence they make but general Descriptions.</i></p>
+
+<p><i>He that Writes either a True or False History, ought immediately
+to take Notice of the Time and Sense where those Accidents
+happen'd, that the Reader may not remain long in Suspence; he ought
+also in few Words describe the Person who bears the most
+Considerable Part in his Story to engage the Reader; 'tis a Thing
+that little conduces to the raising the Merit of a Heroe, to Praise
+him by the Beauty of his Face; this is mean and trivial, Detail
+discourages Persons of good Taste; 'tis the Qualities of the Soul
+which ought to render him acceptable; and there are those Qualities
+likewise that ought to be discourag'd in the Principal Character of
+a Heroe, for there are Actors of a Second Rank, who serve only to
+bind the Intrigue, and they ought not to be compar'd with those of
+the First Order, nor be given Qualities that may cause them to be
+equally Esteemd; 'tis not by Extravagant Expressions, nor Repeated
+Praises, that the Reader's Esteem is acquired to the Character of
+the Heroe's, their Actions ought to plead far them; 'tis by that
+they are made known; and describe themselves; altho' they ought to
+have some Extraordinary Qualities, they ought not all to have 'em in
+an equal degree; 'tis impossible they shou'd not have some
+Imperfections, seeing they are Men, but their Imperfections ought
+not to destroy the Character that is attributed to them; if we
+describe them Brave, Liberal and Generous, we ought not to attribute
+to them Baseness or Cowardice, because that their Actions wou'd
+otherwise bely their Character, and the Predominant Virtures of the
+Heroes: 'Tis no Argument that</i> Salust, <i>though so Happy in the
+Description of Men, in the Description of</i> Cataline <i>does not in
+some manner describe him Covetous also; for he says this Ambitious
+Man spent his own Means profusely, and raged after the Goods of
+another with an Extream Greediness, but these Two Motions which seem
+contrary were inspired by the same Wit; these were the Effects of
+the Unbounded Ambition of</i> Cataline, <i>and the desire he had to Rise
+by the help of his Creatures on the Ruins of the</i> Roman <i>Republic;
+so vast a Project cou'd not be Executed by very great Sums of Money,
+which obliged</i> Cataline <i>to make all Sorts of Efforts to get it from
+all Parts.</i></p>
+
+<p><i>Every Historian ought to be extreamly uninterested; he ought
+neither to Praise nor Blame those he speaks of; he ought to be
+contented with Exposing the Actions, leaving an entire Liberty to
+the Reader to judge at he pleases, without taking any care not to
+blame his Heroes, or make their Apology; he is no judge of the merit
+of his Heroes, his Business is to represent them in the same Form as
+they are, and describe their Sentiments, Manners and Conduct; it
+deviates in some manner from his Character, and that perfect
+uninterestedness, when he adds to the Names of those he introduces
+Epithets either to Blame or Praise them; there are but few
+Historians who exactly follow this Rule, and who maintain this
+Difference, from which they cannot deviate without rendring
+themselves guilty of Partiality.</i></p>
+
+<p><i>Although there ought to be a great Genius required to Write a
+History perfectly, it is nevertheless not requisite that a Historian
+shou'd always make use of all his Wit, nor that he shou'd strain
+himself, in Nice and Lively Reflexions; 'tis a Fault which is
+reproach'd with some Justice to</i> Cornelius Tacitus, <i>who is not
+contented to recount the Feats, but employs the most refin'd
+Reflexions of Policy to find out the secret Reasons and hidden
+Causes of Accidents, there is nevertheless a distinction to be made
+between the Character of the Historian and the Heroe, for if it be
+the Heroe that speaks, then he ought to express himself
+Ingeniously, without affecting any Nicety of Points or Syllogisms,
+because he speaks without any Preparation; but when the Author
+speaks of his Chief, he may use a more Nice Language, and chuse his
+Terms for the better expressing his Designs; Moral Reflexions,
+Maxims and Sentences are more proper in Discourses for Instructions
+than in Historical Novels, whose chief End if to please; and if we
+find in them some Instructions, it proceeds rather from their
+Descriptions than their Precepts.</i></p>
+
+<p><i>An Acute Historian ought to observe the same Method, at the Ending
+as at the Beginning of his Story, for he may at first expose Maxims
+relating but a few Feats, but when the End draws nigher, the
+Curiosity of the Reader is augmented, and he finds in him a Secret
+Impatience of desiring to see the Discovery of the Action; an
+Historian that amuses himself by Moralizing or Describing,
+discourages an Impatient Reader, who is in haste to see the End of
+Intrigues; he ought also to use a quite different Sort of Stile in
+the main Part of the Work, than in Conversations, which ought to be
+writ after an easie and free Manner: Fine Expressions and Elegant
+Turns agree little to the Stile of Conversation, whose Principal
+Ornament consists in the Plainness, Simplicity, Free and Sincere
+Air, which is much to be preferr'd before a great Exactness: We see
+frequent Examples in Ancient Authors of a Sort of Conversation which
+seems to clash with Reason; for 'tis not Natural for a Man to
+entertain himself, for we only speak that we may communicate our
+Thoughts to others; besides, 'tis hard to comprehend how an Author
+that relates Word for Word, the like Conversation cou'd be
+instructed to repeat them with so much Exactness; these Sort of
+Conversations are much more Impertinent when they run upon strange
+Subjects, which are not indispensibly allied to the Story handled:
+If the Conversations are long they indispensibly tire, because they
+drive from our Sight those People to whom we are engaged, and
+interrupt the Seque of the Story.</i></p>
+
+<p><i>'Tis an indispensible Necessity to end a Story to satisfie the
+Disquiets of the Reader, who is engag'd to the Fortunes of those
+People whose Adventures are described to him; 'tis depriving him of
+a most delicate Pleasure, when he is hindred from seeing the Event
+of an Intrigue, which has caused some Emotion in him, whose
+Discovery he expects, be it either Happy or Unhappy; the chief End
+of History is to instruct and inspire into Men the Love of Vertue,
+and Abhorrence of Vice, by the Examples propos'd to them; therefore
+the Conclusion of a Story ought to have some Tract of Morality which
+may engage Virtue; those People who have a more refin'd Vertue are
+not always the most Happy; but yet their Misfortunes excite their
+Readers Pity, and affects them; although Vice be not always
+punish'd, yet 'tis describ'd with Reasons which shew its Deformity,
+and make it enough known to be worthy of nothing but
+Chastisements.</i></p>
+
+<hr class="full" />
+<br />
+
+<a name="article3" id="article3"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>THE JEWISH SPY:</h2>
+
+<h3>BEING A</h3>
+
+<h3>PHILOSOPHICAL, HISTORICAL and
+CRITICAL <i>Correspondence,</i></h3>
+
+<h2><i>By</i> LETTERS</h2>
+
+<h3>Which lately pass'd between certain <i>JEWS</i></h3>
+<h3 style="margin-top:-1.0em">in <i>Turky, Italy, France, &amp;c.</i></h3>
+<br />
+<h4>Translated from the ORIGINALS into <i>French</i>,</h4>
+
+<h4><i>By the</i> MARQUIS D'ARGENS;</h4>
+<h4><i>And now done into</i> English.</h4>
+
+<h2>THE SECOND EDITION.</h2>
+
+<h2>VOL. I.</h2>
+
+<div class="figcenter">
+<img src="images/053.png" alt="" title="" />
+</div>
+
+<h3><i>LONDON</i>:</h3>
+
+<p>Printed for D. BROWNE, without <i>Temple-Bar;</i> R. HETT, in the
+<i>Poultry</i>; J. SHUCKBURGH, in <i>Fleet-street</i>; J. HODGES, on <i>London
+Bridge</i>; and A. MILLAR, in the <i>Strand</i>. M DCC XLIV.
+<br clear="all" />
+<span class="pagenum"><a name="page255" id="page255"></a>[pg 255]</span></p>
+
+<br />
+<div class="figcenter" style="width: 400px;">
+<img src="images/055.png" width="400" height="35" alt="Graphic" />
+</div>
+
+<h3>LETTER XXXV.</h3>
+<br />
+<h4><span class="sc">Aaron Monceca</span> <i>to</i> <span class="sc">Isaac Onis</span>, <i>a Rabbi, at</i> Constantinople.</h4>
+
+<h4><i>Paris</i>&mdash;&mdash;</h4>
+
+<p>I still expect the Books from <i>Amsterdam</i>; and have writ several
+times to <i>Moses Rodrigo</i> to press him to send them to me; but to no
+purpose: He puts me off to the End of the Month, and I shall not be
+able to send them to <i>Constantinople</i> in less than five Weeks.</p>
+
+<p>I have search'd all the Booksellers Shops at <i>Paris</i> for some choice
+new Tracts, to add to those which I shall receive from <i>Holland</i>,
+but found nothing good besides what I have already sent thee, except
+two little. Romances that are lately come out. The first is
+intitled, <i>Les &Eacute;garemens du Coeur &amp; de l'Esprit</i>; the Author of
+which I have already made mention of in my former Letters.<a name="FNanchor_13_13" id="FNanchor_13_13" /><a href="#Footnote_13_13" class="fnanchor">[13]</a> He
+writes in a pure Stile, understands Human Nature, and
+<span class="pagenum"><a name="page256" id="page256"></a>[pg 256]</span>he lays the
+Heart of Man open with a great deal of Clearness and Justice: But in
+this Work he has fallen into an Error, which he has often condemn'd
+in the Writings of others. He makes it plain to the Reader, that he
+affects to be witty; and there are some Passages where Nature is
+sacrificed to the false Glare. But this Error, which is not common,
+is repair'd by a thousand Beauties. The Author of this Romance
+paints rather than writes Things; and the Pictures he draws strike
+the Imagination with Pleasure. Do but consider if it be possible to
+define the first Surprize of a Heart with more Justness and
+Clearness. <i>Without searching into the Motive of my Action, I
+managed, I interpreted her Looks; I endeavour'd to make her least
+Motions my Lessons. So much Obstinacy in not losing Sight of her
+made me at last taken notice of by her. She looked upon me in her
+turn, I fix'd her without knowing it, and during the Charm with
+which I was captivated whether I wou'd or not, I know not what my
+Eyes told her, but she turn'd hers away with a sort of Blush.</i></p>
+
+<p>None but a Man who was at that Juncture, or had been formerly, in
+Love cou'd, with so much Truth and Delicacy, have painted all the
+Motions of the Soul. Genius, Wit, and Learning cannot draw Pictures
+so much to the Life, it being a Point to which the Heart alone can
+attain. When I say the Heart, I mean a tender Heart, and one that is
+in such Situations. The following is the Character of a Prude in
+Love. <i>Being not to be depended upon in her Proceedings, she was a
+perpetual Mixture of Tenderness and Severity: She seem'd to yield
+only to be the more obstinate in her Opposition. If she thought she
+had, by what she said, disposed me to entertain any sort of Hopes,
+being on the Watch how to disappoint me, she presently resum'd that
+Air
+<span class="pagenum"><a name="page257" id="page257"></a>[pg 257]</span>which had made me so often tremble, and left me nothing to
+trust to but a melancholy Uncertainty</i>. One cannot help being struck
+with the Truth and Nature which, prevail in this Character. Without
+an Acquaintance with the World, and a perfect Knowledge of Mankind,
+'tis impossible to attain to this Point. 'Tis difficult to
+distinguish the different Forms, and, as one may say, the internal
+Motives of different Characters. A mean Writer does only take a
+Sketch of 'em; but a good Author paints them, sets them plainly in
+Sight, and exposes them as they really are.</p>
+
+<p>A Romance is consider'd in no other Light than as a Work composed
+only for Amusement; but something else ought to be the Scope of it:
+For every Book that has not the Useful as well as the Agreeable,
+does not deserve the Esteem of good Judges. The Heart ought to be
+instructed at the same time as the Mind is amused; and this is the
+Quality with which the greatest Men have render'd their Writings
+famous.</p>
+
+<p>A Writer who, abounding with bold Fictions and Imaginations, amuses
+the Readers for a matter of a dozen Volumes with Incidents, work'd
+up artfully and importantly, and who nevertheless in the Close of
+his Book entertains his Reader's Imagination with nothing but Rapes,
+Duels, Sighs, Despair, and Tears<a name="FNanchor_14_14" id="FNanchor_14_14" /><a href="#Footnote_14_14" class="fnanchor">[14]</a>; has not the Talent of
+instructing, nor can he attain to Perfection; for he possesses but
+the least part of his Art. An Author who pleases without
+instructing, does not please long; for he sees his Book grow mouldy
+in the Bookseller's Shop, and his Works have the Fate of sorry
+Sermons and cold Panegyric.</p>
+
+<p>Heretofore Romances were nothing more than a Rhapsody of tragical
+Adventures, which captivated the
+<span class="pagenum"><a name="page258" id="page258"></a>[pg 258]</span>the Imagination and distracted the
+Heart<a name="FNanchor_15_15" id="FNanchor_15_15" /><a href="#Footnote_15_15" class="fnanchor">[15]</a>. 'Twas pleasant enough to read them, but nothing more was
+got by it than feeding the Mind with Chim&aelig;ras, which were often
+hurtful. The Youth greedily swallow'd all the wild and gigantic
+Ideas of those fabulous Heroes, and when their Genius's were
+accustomed to enormous Imaginations, they had no longer a Relish for
+the Probable. For some time past this manner of Thinking has been
+chang'd: Good Taste is again return'd; the Reasonable has succeeded
+in the place of the Supernatural; and instead of a Number of
+Incidents with which the least Facts were overcharg'd, a plain
+lively Narration is required, such as is supported by Characters
+that give us the <i>Utile Dulci</i>.</p>
+
+<p>Some Authors have wrote in this Taste, and have advanced more or
+less towards Perfection, in proportion as they have copy'd
+Nature<a name="FNanchor_16_16" id="FNanchor_16_16" /><a href="#Footnote_16_16" class="fnanchor">[16]</a>.</p>
+
+<p>There are others who carry Things to Extremity; for, by affecting to
+appear natural, they become low and creeping, and have neither the
+Talent of pleasing nor of instructing<a name="FNanchor_17_17" id="FNanchor_17_17" /><a href="#Footnote_17_17" class="fnanchor">[17]</a>.</p>
+
+<p>Some have had recourse to insipid Allegory<a name="FNanchor_18_18" id="FNanchor_18_18" /><a href="#Footnote_18_18" class="fnanchor">[18]</a>, thinking to please
+by a new Taste; but their Works dy'd in their Birth, and were so
+little read that they escaped Criticism.</p>
+
+<p>If the bad Authors were but to reflect on the Talents and
+Qualifications necessary for a good Romance, Works of this kind
+would no longer be their Refuge. A Man who is press'd both by Hunger
+and Thirst, sets about writing a Book, and tho'
+<span class="pagenum"><a name="page259" id="page259"></a>[pg 259]</span> he has not
+Knowledge enough to write History, nor Genius for Works of Morality,
+he stains a couple of Quires of Paper with a Heap of ill-digested
+Adventures, which he relates without Taste, and without Genius, and
+carries his Work to a Bookseller, who, were he oblig'd to buy it by
+Weight, and to give him but twice the Cost of the Paper, wou'd pay
+more for it than the Worth of it. Perhaps there is as much need for
+Wit, an Acquaintance with Mankind, and the Knowledge of the
+Passions, to compose a Romance as to write a History. The only
+Qualification to paint Manners and Customs, is a long Experience;
+and a Man must have examin'd the various Characters very closely, to
+be able to describe them to a Nicety.</p>
+
+<p>How can an Author, whose common Vocation is staining of Paper, and
+spending his whole Time in a Coffee-house or in a Garret, give a
+just Definition of a Prince, a Courtier, or a fine Lady? He never
+sees those Persons but as he walks the Streets; and I can scarce
+think that the Mud with which he is often dash'd by their Equipages,
+communicates to him any Share of their Sentiments. Yet there is not
+a wretched Author but makes a Duke and Dutchess speak as he fancies.
+But when a Man of Fashion comes to cast his Eye on these ridiculous
+Performances, he is perfectly surpriz'd to see the Conversation of
+<i>Margaret</i> the Hawker, retail'd by the Name of the Dutchess of &mdash;&mdash;,
+or the Marchioness of &mdash;&mdash;. Yet be these Books ever so bad,
+abundance of 'em are sold; for many People, extravagantly fond of
+Novelty, who only judge of Things superficially, buy those Works,
+tho' by the Perusal of 'em they acquire a Taste as remote from a
+happy Talent of Writing, as the Authors themselves are.
+<span class="pagenum"><a name="page260" id="page260"></a>[pg 260]</span></p>
+
+<p>Don't fear, dear <i>Isaac</i>, that I shall ever send thee a Collection
+of such paultry Books. Be a Man ever so fond at <i>Constantinople</i> of
+Romances and Histories of Gallantry, 'tis expected they should serve
+not only for Pleasure but for Edification.</p>
+
+<p>The second Book that I have bought, seems to me to be written with
+this View. 'Tis intitled, <i>Memoirs of the Marquis</i> de Mirmon; <i>or
+the Solitary Philosopher</i>. The Author writes with an easy lively
+Stile<a name="FNanchor_19_19" id="FNanchor_19_19" /><a href="#Footnote_19_19" class="fnanchor">[19]</a>; and 'tis plain, that he himself was acquainted with the
+Characters which he paints. Without affecting to appear to have as
+much Wit as the former Author that I mention'd to thee, he delivers
+the Truth every where in an amiable Dress. If any Fault can be found
+with him, 'tis explaining himself a little too boldly; and he is
+also reproach'd with a sort of Negligence pardonable in a Man whose
+Stile is in general so pure as his is. The following is his
+Character of Solitude, <i>'Tis not to torment himself that a wise Man
+seems to separate himself from Mankind: He is far from imposing new
+Laws on himself, and only follows those that are already prescrib'd
+to his Hands. If he lays himself under any new Laws, he reserves to
+himself the Power of changing them, being their absolute Master, and
+not their Slave. Being content to cool his Passions, and to govern
+them by his Reason, he does not imagine it impossible to tame them
+to his own Fancy, and does not convert what was formerly an innocent
+Amusement to him, into a Monster to terrify him. He retains in
+Solitude all the Pleasures which Men of Honour have a Relish for in
+the World, and only puts it out of their Power of being hurtful, by
+preventing them from being too violent.</i></p>
+
+<p>There are several other Passages in this Book, which are as
+remarkable for their Perspicuity as
+<span class="pagenum"><a name="page261" id="page261"></a>[pg 261]</span>their Justness. Such is the
+Description of the Disgust which sometimes attends Marriages. <i>When
+Persons are in Love, they put the best Side outwards. A Man who is
+desirous of pleasing, takes a world of Care to conceal his Defects.
+A Woman knows still better how to dissemble. Two Persons often study
+for six Months together to bubble one another, and at last they
+marry, and punish one another the Remainder of their Lives for their
+Dissimulation.</i></p>
+
+<p>You will own, dear <i>Isaac</i>, that there is a glaring Truth and
+Perspicuity in this Character, which strikes the Mind. These naked
+Thoughts present themselves with Lustre to the Imagination, which
+cannot help being pleased, because they are so just. If the Authors
+who write Romances in this new Taste, would always adhere to the
+Truth, and never suffer themselves to be perverted to any new Mode
+(for this is what Works of Wit are liable to) their Writings wou'd
+probably be as useful in forming the Manners as Comedy, because they
+wou'd render Romances the Picture of Human Life. A covetous Man will
+therein find himself painted in such natural Colours; a Coquette
+will therein see her Picture so resembling her, that their
+Reflection upon reading the Character will be more useful to them
+than the long-winded Exhortations of a Fryar, who makes himself
+hoarse with Exclamation, and often tires out the Patience of his
+Hearers.</p>
+
+<p>Authors who set about writing Romances, ought to study to paint
+Manners according to Nature, and to expose the most secret
+Sentiments of the Heart. As their Works are but ingenious Fictions,
+they can never please otherwise than as they approach to the
+Probable. Nor is every thing that favours of the Marvellous,
+esteem'd more among Men of Taste than pure Nonsense. Both generally
+
+<span class="pagenum"><a name="page262" id="page262"></a>[pg 262]</span>go together, and the Authors who fall into gigantic or unnatural
+Ideas, have commonly a declamatory Stile, bordering upon a pompous
+and unintelligible Diction.</p>
+
+<p>The Stile of Romances ought to be simple; indeed it should be more
+florid than that of History, but not have all that Energy and
+Majesty. Gallantry is the Soul of Romance, and Grandeur and Justness
+that of History. A Person must be very well acquainted with the
+World to excel in the one, and he must have Learning and Politics to
+distinguish himself in the other. Good Sense, Perspicuity, Justness
+of Characters, Truth of Descriptions, Purity of Stile are necessary
+in both. The Ladies are born Judges of the Goodness of a Romance.
+Posterity decides the Merit of a History.</p>
+
+<p>Fare thee well, dear <i>Isaac</i>. As soon as I have receiv'd the new
+Books from <i>Holland</i>, I will send them to thee.</p>
+
+<h3>Notes:</h3>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13" /><a href="#FNanchor_13_13"><span class="label">[13]</span></a> <i>Cr&eacute;billon</i> the Son.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14" /><a href="#FNanchor_14_14"><span class="label">[14]</span></a> <i>La Calprenede</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15" /><a href="#FNanchor_15_15"><span class="label">[15]</span></a> The <i>Polexandre of Gomberville</i>, the <i>Ariana</i> of <i>Des
+Maretz</i>, &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16" /><a href="#FNanchor_16_16"><span class="label">[16]</span></a> <i>Le Prevot d'Exiles</i>. See the <i>Bibliotheque des
+Romans</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17" /><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Histoire du Chevalier des <i>Essars</i>, &amp; de la Comtesse
+de <i>Merci</i>, &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18" /><a href="#FNanchor_18_18"><span class="label">[18]</span></a> <i>Fanseredin</i>, &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19" /><a href="#FNanchor_19_19"><span class="label">[19]</span></a> M. <i>d'Argens</i>.</p></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/062.png" width="400" height="36" alt="Graphic" />
+</div>
+
+<hr class="full" />
+<br />
+
+<a name="article4" id="article4"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>CLARISSA.</h2>
+
+<h3>OR, THE</h3>
+
+<h2>HISTORY</h2>
+
+<h3>OF A</h3>
+
+<h2>YOUNG LADY:</h2>
+<br />
+<h4>Comprehending</h4>
+
+<h4><i>The most</i> Important Concerns <i>of</i> Private <span class="sc">Life</span>,</h4>
+<h4>And particularly shewing,</h4>
+<h4>The <span class="sc">Distresses</span> that may attend the Misconduct</h4>
+<h4>Both of <span class="sc">Parents</span> and <span class="sc">Children</span>,</h4>
+<h4>In Relation to <span class="sc">Marriage</span>.</h4>
+<br />
+<h4><i>Published by the</i> <span class="sc">Editor</span> <i>of</i> PAMELA.</h4>
+
+<h3>VOL. IV.</h3>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/063.png" width="150" height="64" alt="Graphic" />
+</div>
+
+<h3><i>LONDON:</i></h3>
+
+<p>Printed for S. Richardson: And Sold by <span class="sc">John Osborn</span>, in <i>Pater-noster
+Row</i>; <span class="sc">Andrew Millar</span>, over-against <i>Catharine-street</i> in the
+<i>Strand</i>; J. and <span class="sc">Ja. Rivington</span>, in <i>St. Paul's Church-yard</i>;
+And by J. <span class="sc">Leake</span>, at <i>Bath</i></p>
+
+<br />
+<h4>M.DCC.XLVIII.</h4>
+
+<span class="pagenum"><a name="page65" id="page65"></a>[pg i]</span>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/065.png" width="400" height="128" alt="Graphic" />
+</div>
+
+<h3>THE EDITOR <i>to the</i> READER.</h3>
+
+<p>If it may be thought reasonable to criticise the Public Taste, in
+what are generally supposed to be Works of mere Amusement; or modest
+to direct its Judgment, in what is offered for its Entertainment; I
+would beg leave to introduce the following Sheets with a few cursory
+Remarks, that may lead the common Reader into some tolerable
+conception of the nature of this Work, and the design of its Author.</p>
+
+<p>The close connexion which every Individual has with all that relates
+to <span class="sc">Man</span> in general, strongly inclines us to turn our observation upon
+human affairs, preferably to other attentions, and impatiently to
+wait the progress and issue of them. But, as the course of human
+actions is too slow to gratify our inquisitive curiosity,
+<span class="pagenum"><a name="page66" id="page66"></a>[pg ii]</span>
+observant
+men very easily contrived to satisfy its rapidity, by the invention
+of <i>History</i>. Which, by recording the principal circumstances of
+past facts, and laying them close together, in a continued
+narration, kept the mind from languishing, and gave constant
+exercise to its reflections.</p>
+
+<p>But as it commonly happens, that in all indulgent refinements on our
+satisfactions, the Procurers to our pleasures run into excess; so it
+happened here. Strict matters of fact, how delicately soever dressed
+up, soon grew too simple and insipid to a taste stimulated by the
+Luxury of Art: They wanted something of more poignancy to quicken
+and enforce a jaded appetite. Hence the Original of the first
+barbarous <i>Romances</i>, abounding with this false provocative of
+uncommon, extraordinary, and miraculous Adventures.</p>
+
+<p>But satiety, in things unnatural, soon, brings on disgust. And the
+Reader, at length, began to see, that too eager a pursuit after
+<i>Adventures</i> had drawn him from what first engaged his attention,
+<span class="sc">Man</span> <i>and his Ways</i>, into the Fairy Walks of Monsters and Chimeras.
+And now those who
+<span class="pagenum"><a name="page67" id="page67"></a>[pg iii]</span>had run farthest after these delusions, were the
+first that recovered themselves. For the next Species of Fiction,
+which took its name from its <i>novelty</i>, was of <i>Spanish</i> invention.
+These presented us with something of Humanity; but of Humanity in a
+stiff unnatural state. For, as every thing before was conducted by
+<i>Inchantment</i>; so now all was managed by <i>Intrigue</i>. And tho' it had
+indeed a kind of <i>Life</i>, it had yet, as in its infancy, nothing of
+<i>Manners</i>. On which account, those, who could not penetrate into the
+ill constitution of its plan, yet grew disgusted at the dryness of
+the Conduct, and want of ease in the Catastrophe.</p>
+
+<p>The avoiding these defects gave rise to the <i>Heroical Romances</i> of
+the <i>French</i>; in which some celebrated Story of antiquity was so
+stained and polluted by modern fable and invention, as was just
+enough to shew, that the contrivers of them neither knew how to lye,
+nor speak truth. In these voluminous extravagances, <i>Love</i> and
+<i>Honour</i> supplied the place of <i>Life</i> and <i>Manners</i>. But the
+over-refinement of Platonic sentiments always sinks into the dross
+and feces of that Passion. For in attempting a
+<span class="pagenum"><a name="page68" id="page68"></a>[pg iv]</span>more natural
+representation of it, in the little amatory Novels, which succeeded
+these heavier Volumes, tho' the Writers avoided the dryness of the
+Spanish Intrigue, and the extravagance of the French Heroism, yet,
+by too natural a representation of their Subject, they opened the
+door to a worse evil than a corruption of <i>Taste</i>; and that was, A
+corruption of <i>Heart</i>.</p>
+
+<p>At length, this great People (to whom, it must be owned, all Science
+has been infinitely indebted) hit upon the true Secret, by which
+alone a deviation from strict fact, in the commerce of Man, could be
+really entertaining to an improved mind, or useful to promote that
+Improvement. And this was by a faithful and chaste copy of real
+<i>Life and Manners</i>: In which some of their late Writers have greatly
+excelled.</p>
+
+<p>It was on this sensible Plan, that the Author of the following
+Sheets attempted to please, in an Essay, which had the good fortune
+to meet with success: That encouragement engaged him in the present
+Design: In which his sole object being <i>Human Nature</i>; he thought
+himself at liberty to draw a Picture of it in that light which
+
+<span class="pagenum"><a name="page69" id="page69"></a>[pg v]</span>would shew it with most strength of Expression; tho' at the expense
+of what such as read merely for Amusement, may fancy can be
+ill-spared, the more artificial composition of a story in one
+continued Narrative.</p>
+
+<p>He has therefore told his Tale in a Series of Letters, supposed to
+be written by the Parties concerned, as the circumstances related,
+passed. For this juncture afforded him the only natural opportunity
+that could be had, of representing with any grace those lively and
+delicate impressions which <i>Things present</i> are known to make upon
+the minds of those affected by them. And he apprehends, that, in the
+study of Human Nature, the knowlege of those apprehensions leads us
+farther into the recesses of the Human Mind, than the colder and
+more general reflections suited to a continued and more contracted
+Narrative.</p>
+
+<p>This is the nature and purport of his Attempt. Which, perhaps, may
+not be so well or generally understood. For if the Reader seeks here
+for Strange Tales, Love Stories, Heroical Adventures, or, in short,
+for anything but a <i>Faithful Picture of Nature</i> in
+<span class="pagenum"><a name="page70" id="page70"></a>[pg vi]</span> <i>Private Life</i>,
+he had better be told beforehand the likelihood of his being
+disappointed. But if he can find Use or Entertainment; either
+<i>Directions for his Conduct</i>, or <i>Employment for his Pity</i>, in a
+<span class="sc">History</span> <i>of</i> <span class="sc">Life</span> <i>and</i>
+<span class="sc">Manners</span>, where, as in the World itself, we
+find Vice, for a time, triumphant, and Virtue in distress, an idle
+hour or two, we hope, may not be unprofitably lost.</p>
+
+<div class="figcenter">
+<img src="images/070.png" alt="Graphic" />
+</div>
+
+<hr class="full" />
+<br />
+
+<a name="article5" id="article5"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>MEMOIRS</h2>
+
+<h3>OF THE</h3>
+
+<h2><i>Count</i> <span class="sc">Du Beauval</span>,</h2>
+
+<h3>INCLUDING</h3>
+
+<h3>Some curious <span class="sc">Particulars</span></h3>
+<br />
+<h4>Relating to the <span class="sc">Dukes</span> of</h4>
+
+<h2>Wharton <i>and</i> Ormond,</h2>
+
+<h3>During their Exiles.</h3>
+<br />
+<h4>WITH</h4>
+<br />
+<h4><span class="sc">Anecdotes</span> of several other Illustrious</h4>
+<h4>and Unfortunate Noblemen of the present Age.</h4>
+<br />
+<h4><i>Translated from the</i> French <i>of the Marquis</i></h4>
+<h4><span class="sc">D'Argens</span>, <i>Author of</i> The Jewish Letters.</h4>
+
+<h3><i>By Mr.</i> DERRICK.</h3>
+
+<h3><i>LONDON:</i></h3>
+<h4>Printed for M. <span class="sc">Cooper</span>, at the <i>Globe</i> in <i>PaterNoster-Row</i>.</h4>
+
+<h3>M.DCC.LIV.</h3>
+<br />
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+<p><i>The Ground-work of Romances, till of late Years, has been a Series
+of Actions, few of which, ever existed but in the Mind of the
+Author; to support which, with proper Spirit, a strong picturesque
+Fancy, and a nervous poetical Diction, were necessary. When these
+great Essentials were wanting, the Narration became cold, insipid,
+and disagreeable.</i></p>
+
+<p><i>The principal Hero was generally one who fac'd every Danger, without
+any Reflection, for it was always beneath him to think; it was a
+sufficient Motive of persisting, if there seem'd Peril; conquering
+Giants, and dissolving Enchantments, were as easy to him as riding.
+He commonly sets out deeply in Love; his Mistress is a Virgin, he
+loses her in the Beginning of the Book, thro' the Spite or Craft of
+some malicious Necromancer, pursues her thro' a large Folio Volume
+of Incredibility, and finds her, indisputably, at the End of it,
+like try'd Gold, still more charming, from having pass'd the Fire
+Ordeal of Temptation.</i></p>
+
+<p><i>Amusement and Instruction were the Intent of these Sort of Writings;
+the former they always fulfill'd, and if they sometimes fail'd in
+the latter, it was because the Objects they conjur'd up to Fancy,
+were merely intellectual Ideas, consequently not capable of
+impressing so deeply as those which are to be met with in the Bustle
+of Life.</i></p>
+
+<p><i>Hence those, whose Genius led them to cultivate this Sort of
+writing, have been induc'd to examine amongst such Scenes as are
+daily found to move beneath their Inspection. On this Plan are
+founded the Writings of the celebrated Mons.</i> <span class="sc">Marivaux</span>, <i>and the
+Performances of the ingenious Mr</i>. <span class="sc">Fielding</span>; <i>each of whom are
+allow'd to be excellent in their different Nations.</i></p>
+
+<p><i>The Marquis</i> <span class="sc">D'Argens</span>, <i>sensible of the Advantages accruing from
+Works of this Kind, was not satisfied with barely copying the</i>
+Accidents, <i>but has also united with them the real Names of</i>
+Persons, <i>who have been remarkable in Life; conscious that we pay a
+more strict Attention to the Occurrences that have befallen those
+who enter within the Compass of our Acquaintance, or Knowledge, and
+if a Moral ensues from the Relation, it is more firmly rooted in the
+Mind, than when it is to be deduced from either Manners or Men, with
+whom we are entirely unacquainted.</i></p>
+
+<p><i>The Marquis is easy in his Stile, delicate in his Sentiments, and
+not at all tedious in his Narration. In the following Piece we find
+Nothing heavy or insipid, he dwells not too long upon any Adventure,
+nor does he burthen the Memory, or clog the Attention with
+Reflections intended, too often more for the Bookseller's Emolument,
+in swelling the Bulk of the Performance, than the Service of the
+Reader, on whom he knew it to be otherwise an Imposition; since, by
+long-winded wearisome Comments upon every Passage (a Fault too
+frequent in many Writers) he takes from him an Opportunity of
+exercising his reflective Abilities, seeming thereby to doubt
+them</i>.</p>
+
+<div class="figcenter">
+<img src="images/077.png" alt="Graphic" />
+</div>
+
+<hr class="full" />
+
+<a name="Publications" id="Publications"></a>
+<br />
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY</h2>
+
+<p><b><span class="sc">First Year</span> (1946-47)</b></p>
+
+<p>Numbers 1-4 out of print.</p>
+
+<p>5. Samuel Wesley's <i>Epistle to a Friend Concerning Poetry</i> (1700)
+and <i>Essay on Heroic Poetry</i> (1693).</p>
+
+<p>6. <i>Representation of the Impiety and Immorality of the Stage</i>
+(1704) and <i>Some Thoughts Concerning the Stage</i> (1704).</p>
+
+
+<p><b><span class="sc">Second Year</span> (1947-1948)</b></p>
+
+<p>7. John Gay's <i>The Present State of Wit</i> (1711); and a section on
+Wit from <i>The English Theophrastus</i> (1702).</p>
+
+<p>8. Rapin's <i>De Carmine Pastorali</i>, translated by Creech (1684).</p>
+
+<p>9. T. Hanmer's (?) <i>Some Remarks on the Tragedy of Hamlet</i> (1736).</p>
+
+<p>10. Corbyn Morris' <i>Essay towards Fixing the True Standards of Wit,
+etc.</i> (1744).</p>
+
+<p>11. Thomas Purney's <i>Discourse on the Pastoral</i> (1717).</p>
+
+<p>12. Essays on the Stage, selected, with an Introduction by Joseph
+Wood Krutch.</p>
+
+
+<p><b><span class="sc">Third Year</span> (1948-1949)</b></p>
+
+<p>13. Sir John Falstaff (pseud.), <i>The Theatre</i> (1720).</p>
+
+<p>14. Edward Moore's <i>The Gamester</i> (1753).</p>
+
+<p>15. John Oldmixon's <i>Reflections on Dr. Swift's Letter to Harley</i>
+(1712); and Arthur Mainwaring's <i>The British Academy</i> (1712).</p>
+
+<p>16. Nevil Payne's <i>Fatal Jealousy</i> (1673).</p>
+
+<p>17. Nicholas Rowe's <i>Some Account of the Life of Mr. William
+Shakespeare</i> (1709).</p>
+
+<p>18. &quot;Of Genius,&quot; in <i>The Occasional Paper</i>, Vol. III, No. 10 (1719);
+and Aaron Hill's Preface to <i>The Creation</i> (1720).</p>
+
+
+<p><b><span class="sc">Fourth Year</span> (1949-1950)</b></p>
+
+<p>19. Susanna Centlivre's <i>The Busie Body</i> (1709).</p>
+
+<p>20. Lewis Theobold's <i>Preface to The Works of Shakespeare</i> (1734).</p>
+
+<p>21. <i>Critical Remarks on Sir Charles Grandison, Clarissa, and
+Pamela</i> (1754).</p>
+
+<p>22. Samuel Johnson's <i>The Vanity of Human Wishes</i> (1749) and Two
+<i>Rambler</i> papers (1750).</p>
+
+<p>23. John Dryden's <i>His Majesties Declaration Defended</i> (1681).</p>
+
+<p>24. Pierre Nicole's <i>An Essay on True and Apparent Beauty in Which
+from Settled Principles is Rendered the Grounds for Choosing and
+Rejecting Epigrams</i>, translated by J.V. Cunningham.</p>
+
+
+<p><b><span class="sc">Fifth Year</span> (1950-51)</b></p>
+
+<p>25. Thomas Baker's <i>The Fine Lady's Airs</i> (1709).</p>
+
+<p>26. Charles Macklin's <i>The Man of the World</i> (1792).</p>
+
+<p>27. Frances Reynolds' <i>An Enquiry Concerning the Principles of
+Taste, and of the Origin of Our Ideas of Beauty, etc.</i> (1785).</p>
+
+<p>28. John Evelyn's <i>An Apologie for the Royal Party</i> (1659); and <i>A
+Panegyric to Charles the Second</i> (1661).</p>
+
+<p>29. Daniel Defoe's <i>A Vindication of the Press</i> (1718).</p>
+
+<p>30. Essays on Taste from John Gilbert Cooper's <i>Letters Concerning
+Taste</i>, 3rd edition (1757), &amp; John Armstrong's <i>Miscellanies</i>
+(1770).</p>
+
+<p>31. Thomas Gray's <i>An Elegy Wrote in a Country Church Yard</i> (1751);
+and <i>The Eton College Manuscript</i>.</p>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 14525 ***</div>
+</body>
+</html>
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
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+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #14525 (https://www.gutenberg.org/ebooks/14525)
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+The Project Gutenberg EBook of Prefaces to Fiction, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Prefaces to Fiction
+
+Author: Various
+
+Release Date: December 30, 2004 [EBook #14525]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PREFACES TO FICTION ***
+
+
+
+
+Produced by David Starner, Richard J. Shiffer and the Online
+Distributed Proofreading Team
+
+
+
+
+
+
+The Augustan Reprint Society
+
+
+PREFACES TO FICTION
+
+Georges de Scudéry, Preface to _Ibrahim_ (1674)
+
+Mary De la Riviere Manley, Preface to _The Secret
+History of Queen Zarah_ (1705)
+
+Jean-Baptiste de Boyer, Marquis d'Argens, _The Jewish
+Spy_ (1744), Letter 35
+
+William Warburton, Preface to Volumes III and
+IV (1748) of Richardson's _Clarissa_
+
+Samuel Derrick, Preface to d'Argens's _Memoirs of
+The Count Du Beauval_ (1754)
+
+
+
+With an Introduction by
+
+Benjamin Boyce
+
+
+
+Publication Number 32
+
+
+
+Los Angeles
+William Andrews Clark Memorial Library
+University of California
+1952
+
+     *       *       *       *       *
+
+GENERAL EDITORS
+
+H. RICHARD ARCHER, _Clark Memorial Library_
+RICHARD C. BOYS, _University of Michigan_
+JOHN LOFTIS, _University of California, Los Angeles_
+
+
+ASSISTANT EDITOR
+
+W. EARL BRITTON, _University of Michigan_
+
+
+ADVISORY EDITORS
+
+EMMETT L. AVERY, _State College of Washington_
+BENJAMIN BOYCE, _Duke University_
+LOUIS I. BREDVOLD, _University of Michigan_
+CLEANTH BROOKS, _Yale University_
+JAMES L. CLIFFORD, _Columbia University_
+ARTHUR FRIEDMAN, _University of Chicago_
+EDWARD NILES HOOKER, _University of California, Los Angeles_
+LOUIS A. LANDA, _Princeton University_
+SAMUEL H. MONK, _University of Minnesota_
+ERNEST MOSSNER, _University of Texas_
+JAMES SUTHERLAND, _University College, London_
+H.T. SWEDENBERG, JR., _University of California, Los Angeles_
+
+
+
+
+INTRODUCTION
+
+
+The development of the English novel is one of the triumphs of the
+eighteenth century. Criticism of prose fiction during that period,
+however, is less impressive, being neither strikingly original nor
+profound nor usually more than fragmentary. Because the early
+statements of theory were mostly very brief and are now obscurely
+buried in rare books, one may come upon the well conceived "program"
+of _Joseph Andrews_ and _Tom Jones_ with some surprise. But if one
+looks in the right places one will realize that mid-eighteenth
+century notions about prose fiction had a substantial background in
+earlier writing. And as in the case of other branches of literary
+theory in the Augustan period, the original expression of the
+organized doctrine was French. In Georges de Scudéry's preface to
+_Ibrahim_ (1641)[1] and in a conversation on the art of inventing a
+"Fable" in Book VIII (1656) of his sister Madeleine's _Clélie_ are
+to be found the grounds of criticism in prose fiction; practically
+all the principles are here which eighteenth-century theorists
+adopted, or seemed to adopt, or from which they developed, often by
+the simple process of contradiction, their new principles.
+
+That many of the ideas in the preface to _Ibrahim_ were not new even
+in 1641 becomes plain if one reads the discussions of romance
+written by Giraldi Cinthio and Tasso.[2] The particular way in which
+Mlle. de Scudéry attempted to carry out those ideas in her later,
+more subjective works she obligingly set forth in _Clélie_ in the
+passage already alluded to. There it is explained that a
+well-contrived romance "is not only handsomer than the truth, but
+withal, more probable;" that "impossible things, and such as are low
+and common, must almost equally be avoided;" that each person in the
+story must always act according to his own "temper;" that "the
+nature of the passions ought necessarily to be understood, and what
+they work in the hearts of those who are possess'd with them." He
+who attempts an "ingenious Fable" must have great
+accomplishments--wit, fancy, judgment, memory; "an universal
+knowledge of the World, of the Interest of Princes, and the humors
+of Nations," and of both closet-policy and the art of war;
+familiarity with "politeness of conversation, the art of ingenious
+raillery, and that of making innocent Satyrs; nor must he be
+ignorant of that of composing of Verses, writing Letters, and making
+Orations." The "secrets of all hearts" must be his and "how to take
+away plainness and driness from Morality."[3]
+
+The assumption that the new prose fiction could be judged, as the
+Scudérys professed to judge their work, first of all by reference to
+the rules of heroic poetry is frequent in the next century--in the
+unlikely Mrs. Davys (preface, _Works_, 1725); in _Joseph Andrews_ of
+course, where the rules of the serious epic and of the heroic
+romance are to aid the author in copying the ancient but, as it
+happens, nonexistent comic epic; and in Fielding's preface to his
+sister's _David Simple_ (1744). Both Richardson and Fielding were
+attacked on epic grounds.[4] Dr. Johnson's interesting and
+unfriendly essay on recent prose fiction (_Rambler_ No. 4) adopted
+the terminology familiar in the criticism of epic and romance and
+showed that Johnson, unlike d'Argens and Fielding, did not intend
+to give any of the old doctrines new meanings in a way to justify
+realism. Johnson laughed a little in that essay at the heroic
+romances; but like Mlle. de Scudéry, whose _Conversations_ he drew
+on for a footnote in his edition of Shakespeare (1765),[5] he
+believed that fiction should be "probable" and yet should idealize
+life and men and observe poetic Justice. Many other writers on prose
+fiction borrowed the old neo-classic rules, and they applied them
+often so carelessly and so insincerely that one is glad to come
+eventually on signs of rebellion, even if from the sentimentalists:
+"I know not," wrote Elizabeth Griffith in the preface to _The
+Delicate Distress_ (1769), "whether novel, like the _epopée_, has
+any rules, peculiar to itself.... Sensibility is, in my mind, as
+necessary, as taste, to intitle us to judge of a work, like this."
+
+The theory of prose fiction offered by the Scudérys was, on the
+whole, better than their practice. The same remark can be made with
+even greater assurance of _The Secret History of Queen Zarah, and
+the Zarazians_ (1705) and the other political-scandalous "histories"
+of Mary De la Riviere Manley. For in spite of the faults of _Queen
+Zarah_, the preface is one of the most substantial discussions of
+prose fiction in the century. Boldly and reasonably it repudiates
+the most characteristic features of the heroic romance--the vastness
+produced by intercalated stories; the idealized characters, almost
+"exempted from all the Weakness of Humane Nature;" the marvelous
+adventures and remote settings; the essay-like conversations; the
+adulatory attitude; and poetic Justice. _Vraisemblance_ and
+_decorum_, we are told, are still obligatory, but the probable
+character, action, dialogue will now be less prodigious, will be
+closer to real life as the modern English reader knows it. Thus Mrs.
+Manley announced a point of view which was, at least in most
+respects, to dominate the theory and invigorate the practice of
+prose fiction throughout the century.
+
+A significant phase of Mrs. Manley's discussion is the emphasis upon
+individual characterization and, in characters, upon not only the
+"predominant Quality" and ruling passion of each but also upon the
+elusive and surprising "Turnings and Motions of Humane
+Understanding." Here one should recognize the influence of
+historical writing rather than of poetry. As René Rapin had made
+clear in Chapter XX of his _Instructions for History_ (J. Davies's
+translation, 1680), the historian writes the best portraits who
+finds the "essential and distinctive lines" of a man's character and
+the "secret motions and inclinations of [his] Heart." But Mrs.
+Manley's remarks go beyond Rapin's in implying faith in a sort of
+scientific psychology, especially of "the passions." Other writers
+showed the same interest and worked toward the same end. Thus Henry
+Gally in his essay on Theophrastus and the Character was so carried
+away by a notion of the importance of the Character-writer's knowing
+all about the passions that he allowed himself to say that only by
+such a knowledge could a Character be made to "hit one Person, and
+him only"[6]--the goal obviously not of the Character-writer but of
+the historian and the novelist. The authors of _The Cry_[7] (1754)
+regarded the unfolding of "the labyrinths of the human mind" as an
+arduous but necessary task; indeed they went on to declare that the
+"motives to actions, and the inward turns of mind, seem in our
+opinion more necessary to be known than the actions themselves." It
+was Fielding's refusal, in spite of the titles of his books, to
+write like an historian with highly individualized and psychological
+characterizations that caused his admirer Arthur Murphy to admit in
+his "Essay" on Fielding that "Fielding was more attached to the
+_manners_ than to the _heart_."[8] He thought Fielding inferior to
+Marivaux in revealing the heart just as Johnson, according to
+Boswell, preferred Richardson to Fielding because the former
+presented "characters of nature" whereas the latter created only
+"characters of manners." The author of "A Short Discourse on Novel
+Writing" prefixed to _Constantia; or, A True Picture of Human Life_
+(1751) went so far as to say that prose fiction may teach more about
+the "sources, symptoms, and inevitable consequences" of the passions
+than could easily be taught in any other way. The increasingly
+subjective and individualized characterization in English fiction
+was well supported in contemporary theory.
+
+_The Jewish Spy_, translated from the _Lettres Juives_ (1736-38) of
+Jean-Baptiste de Boyer, Marquis d'Argens, is an early example of
+citizen-of-the-world literature and contains in its five volumes a
+"Philosophical, Historical and Critical Correspondence" dealing with
+French, English, Italian, and other matters. The work had a European
+vogue, and there were at least two English translations, the present
+one, issued in 1739, 1744, and 1766, and another, called _Jewish
+Letters_, published at Newcastle in 1746. (The Dublin edition of
+1753 I have not seen.) Though d'Argens's purpose in Letter 35 may
+have been to advertise his own novel, what he had to say is
+interesting. Like many others, he could scoff at the heroic romances
+and yet borrow and quietly modify the doctrines of _Ibrahim_ and
+_Clélie_. He proposed a still more "advanced" _vraisemblance_ and
+_decorum_--psychological analysis tinged with cynicism rather than
+idealism; gallantry but against the background sometimes of the
+modern city; a plainer style; and only such matters as seemed to
+this student of Descartes and Locke to be entirely reasonable.
+Fielding's chapter in _Tom Jones_ (IX, i) "Of Those Who Lawfully
+May, and of Those Who May Not, Write Such Histories as This" could
+be taken as an indication that he knew not only what Mlle. de
+Scudéry thought were the accomplishments of the romancer but that he
+had read d'Argens's words on that subject too. Both d'Argens and
+Fielding believed that in addition to "Genius, Wit, and Learning"
+the novelist must have a knowledge of the world and of all degrees
+of men, distinguishing the style of high people from that of low.
+They agreed that a writer must have felt a passion before he could
+paint it successfully. Much more goes into the making of a novel,
+they sarcastically pointed out, than pens, ink, and quires of paper.
+D'Argens, like Fielding, relished reflective passages and could
+approve, more readily than Mrs. Manley, of "an Historian that amuses
+himself by Moralizing or Describing." D'Argens's list of the
+features to be found in good history and good fiction shows him to
+be a thoroughgoing rationalist and separates his ideal from that of
+young readers, who, according to the preface to _The Adventures of
+Theagenes and Chariclia_ (1717), wish to hear of "Flame and Spirit
+in an Author, of fine Harangues, just Characters, moving Scenes,
+delicacy of Contrivance, surprising turns of action ... indeed the
+choicest Beauties of a _Romance_."
+
+The two novels that d'Argens recommended had different fortunes in
+England. D'Argens's book, _Memoires du Marquis de Mirmon, ou Le
+Solitaire Philosophe_ (Amsterdam, 1736) was never translated into
+English and apparently was not much read. But Claude Prosper Jolyot
+de Crébillon, the younger, was extolled by Thomas Gray and Horace
+Walpole, quoted by Sarah Fielding,[9] and had the honor, if one can
+trust Walpole, of an offer of keeping from Lady Mary Wortley
+Montagu. His _Égaremens du Coeur et de l'Esprit_ (1736-38) was
+translated in 1751[10] and is the novel which Yorick helped the
+_fille de chambre_ slide into her pocket. Crébillon was damned,
+however, in _The World_ (No. 19, May 10, 1753) in an essay that,
+oddly enough, reminds one of d'Argens's Letter 35. The work referred
+to in the third footnote on page 258 is _Le Chevalier des Essars et
+la Comtesse de Berci_ (1735) by Ignace-Vincent Guillot de La
+Chassagne. The last footnote on that page refers to G.H. Bougeant's
+satire, _Voyage Merveilleux du Prince Fan-Férédin dans la Romancie_
+(1735).
+
+The preface which William Warburton was invited by Richardson to
+supply for Volumes III and IV of _Clarissa_ when they first appeared
+in 1748 has never, I think, been reprinted in full. Richardson
+dropped it from the second edition (1749) of _Clarissa_, probably
+because he relished neither its implication that he was following
+French precedents nor its suggestion that his work was one "of mere
+Amusement." In the "Advertisement" in the first volume of the second
+edition he insisted that _Clarissa_ was "not to be considered as a
+_mere Amusement_, as a _light Novel_, or _transitory Romance_; but
+as a _History_ of LIFE and MANNERS ... intended to inculcate the
+HIGHEST and _most_ IMPORTANT _Doctrines_."[11] Warburton, offended
+in turn perhaps, thriftily salvaged more than half of the preface
+(paragraphs 2 to 6) to use as a footnote in his edition of Alexander
+Pope,[12] but he there made a striking change: not Richardson but
+Marivaux and Fielding were praised as the authors who, with the
+extra enrichment of comic art, had brought the novel of "real LIFE
+AND MANNERS ... to its perfection."
+
+The important principle of prose fiction which Richardson and
+Warburton recognized--that there is power in a detailed picture of
+the private life of the middle class--had been suggested earlier.
+Mrs. Manley could not voice it, at least not in _Queen Zarah_, where
+the Duke and Duchess of Marlborough, Godolphln, and Queen Anne were
+to be leading characters. But her sometime-friend Richard Steele
+could. Having laughed in _The Tender Husband_ (1705) at a girl whose
+judgment of life was seriously--or, rather, comically--warped by her
+reading of heroic romances, Steele made a positive plea in _Tatler_
+No. 172 for histories of "such adventures as befall persons not
+exalted above the common level." Books of this sort, still rare in
+1710, would be of great value to "the ordinary race of men." The
+anonymous preface to _The Adventures of Theagenes and Chariclia_
+seven years later attributed to Heliodorus's romance the value of
+suggesting rules "for conducting our Affairs in common Actions of
+Life." In 1751 when the new realism was a _fait accompli_, the
+author of _An Essay on the New Species of Writing Founded by Mr.
+Fielding_ declared roundly (p. 19) that in the new fiction the
+characters should be "taken from common Life." A good argument in
+favor of books about "private persons" was offered in the preface to
+the English translation of the Abbé Prévost's novel, _The Life And
+Entertaining Adventures of Mr. Cleveland, Natural Son of Oliver
+Cromwell_ (1741): "The history of kingdoms and empires, raises our
+admiration, by the solemnity ... of the images, and furnishes one of
+the noblest entertainments. But at the same time that it is so well
+suited to delight the imagination, it yet is not so apt to touch and
+affect as the history of private men; the reason of which seems to
+be, that the personages in the former, are so far above the common
+level, that we consider ourselves, in some measure, as aliens to
+them; whereas those who act in a lower sphere, are look'd upon by us
+as a kind of relatives, from the similitude of conditions; whence we
+are more intimately mov'd with whatever concerns us." A comparison
+of the first two paragraphs of this preface and the first four
+paragraphs of Johnson's _Rambler_ No. 60, if it does not discover
+the source of part of Johnson's paper, will at least reveal how the
+defender of the fictional "secret history" and a famous champion of
+intimate biography played into each other's hands. Johnson's
+appearing to follow the defender of French fiction here is all the
+more interesting when one recalls his alarm in _Rambler_ No. 4 over
+the prevailing taste for novels that exhibited, unexpurgated, "Life
+in its true State, diversified only by the Accidents that daily
+happen in the World." Indeed if it were not for Fielding himself,
+one might imagine from Johnson's unsteady and generally
+unsatisfactory criticism of prose fiction that the old neo-classical
+principles were completely out of date and useless.
+
+Samuel Derrick, the editor of Dryden and friend of Boswell for whom
+Johnson "had a kindness" but not much respect, the "pretty little
+gentleman" described by Smollett's Lydia Melford, translated the
+_Memoirs of the Count Du Beauval_ from _Le Mentor Cavalier, ou Les
+Illustres Infortunez de Notre Siecle_ ("Londres," 1736) by the
+Marquis d'Argens. Only the second paragraph of Derrick's preface
+came from d'Argens, but the drift of the Frenchman's ideas toward
+"le Naturel" is well sustained in Derrick's praise, no doubt based
+on Warburton's, of writers who present scenes that "are daily found
+to move beneath their Inspection." There are ties with the doctrines
+of 1641 even in this preface, but the transformation of
+_vraisemblance_ and _decorum_ was sufficiently advanced for the
+needs of the day.
+
+Benjamin Boyce
+Duke University
+
+
+
+NOTES TO THE INTRODUCTION
+
+[1] Most scholars attribute the preface to Georges de
+Scudéry, but it seems impossible to say whether he collaborated with
+his sister in writing the romance itself or whether the work was
+written entirely by her.
+
+Cogan's translation of _Ibrahim_ and the preface appeared first in
+1652.
+
+[2] See the texts in Allan H. Gilbert's _Literary
+Criticism: Plato to Dryden_ (N.Y.: American Book Co., 1940) and the
+discussion in A.E. Parsons' "The English Heroic Play," _MLR_, XXXIII
+(1938), 1-14.
+
+[3] _Clelia. An Excellent New Romance. The Fourth Volume
+... Rendered into English by G.H._ (1677; Part IV, Book II), pp.
+540-543.
+
+[4] See _An Apology for the Life of Mr. Bempfylde-Moore
+Carew ... The Sixth Edition_, p. xix; _Critical Remarks on Sir
+Charles Grandison_ (1754), p. 20.
+
+[5] IV, 184. The footnote could have come, contrary to the
+assertion of Sir Walter Raleigh (_Six Essays_ [Oxford, 1910], p.
+94), from either the original French (_Conversations sur Divers
+Sujets_ [Paris, 1680], II, 586-587) or the English translation
+(1683, II, 102). In both editions, the passage appears soon after
+the dialogue on how to compose a romance. I am indebted to Dr.
+Arthur M. Eastman for help in tracing Raleigh's vague reference.
+
+[6] _The Moral Characters of Theophrastus_ (1725), pp.
+31-32.
+
+[7] Jane Collier and Sarah Fielding.
+
+[8] The "Essay" was written in 1762, but I quote it as it
+appeared in the third edition (1766) of _The Works of Henry
+Fielding_, I, 75.
+
+[9] James B. Foster, _History of the Pre-Romantic Novel in
+England_ (N.Y.: Modern Lang. Assoc., 1949), p. 76.
+
+[10] _The Wanderings of the Heart and Mind: or, Memoirs of
+Mr. de Meilcour_, translated by M. Clancy. Clara Reeve maintained in
+1785 that Crébillon's book was never popular in England and that
+"Some pious person, fearing it might poison the minds of youth ...
+wrote a book of meditations with the same title, and _this_ was the
+book that _Yorick's fille de Chambre_ was purchasing" (_The Progress
+of Romance_ [N.Y.: Facsimile Text Society, 1930], pp. 130-131).
+
+[11] Richardson said that he dropped Warburton's preface
+because _Clarissa_ had been well received and no longer needed such
+an introduction. A fourth explanation of the natter and much other
+relevant information were presented by Ronald S. Crane, "Richardson,
+Warburton and French Fiction," _MLR_, XVII (1922), 17-23.
+
+[12] _The Works of Alexander Pope_ (1751), IV, 166-169. The
+footnote is on line 146 of the Epistle to Augustus ("And ev'ry
+flow'ry Courtier writ Romance").
+
+
+
+
+IBRAHIM,
+
+OR THE
+
+ILLUSTRIOUS
+
+BASSA.
+
+       *       *       *       *       *
+
+The whole Work,
+
+In Four Parts.
+
+Written in French by _Monsieur de Scudéry_,
+
+And Now Englished
+
+by
+
+Henry Cogan, Gent.
+
+
+       *       *       *       *       *
+
+
+London,
+
+Printed by _J.R._ and are to be sold by _Peter Parker_, at his Shop
+at the _Leg_ and _Star_ over against the Royal Exchange, and _Thomas
+Guy_, at the Corner-shop of _Little-Lumbard street_ and _Cornhil_,
+1674.
+
+
+
+
+_IBRAHIM, or The Illustrious Bassa_
+
+
+
+
+THE PREFACE
+
+
+I do not know what kind of praise the Ancients thought they gave to
+that Painter, who not able to end his Work, finished it accidentally
+by throwing his pencil against his Picture; but I know very well,
+that it should not have obliged me, and that I should have taken it
+rather for a Satyre, than an Elogium. The operations of the Spirit
+are too important to be left to the conduct of chance, and I had
+rather be accused for failing out of knowledge, than for doing well
+without minding it. There is nothing which temerity doth not
+undertake, and which Fortune doth not bring to pass; but when a man
+relies on those two Guides, if he doth not erre, he may erre; and of
+this sort, even when the events are successefull, no glory is
+merited thereby. Every Art hath its certain rules, which by
+infallible means lead to the ends proposed; and provided that an
+Architect takes his measures right, he is assured of the beauty of
+his Building. Believe not for all this, Reader, that I will conclude
+from thence my work is compleat, because I have followed the rules
+which may render it so: I know that it is of this labour, as of the
+Mathematical Sciences, where the operation may fail, but the Art
+doth never fail; nor do I make this discourse but to shew you, that
+if I have left some faults in my Book, they are the effects of my
+weakness, and not of my negligence. Suffer me then to discover unto
+you all the resorts of this frame, and let you see, if not all that
+I have done, at leastwise all that I have endeavoured to doe.
+
+Whereas we cannot be knowing but of that which others do teach us,
+and that it is for him that comes after, to follow them who precede
+him, I have believed, that for the laying the ground-plot of this
+work, we are to consult with the Grecians, who have been our first
+Masters, pursue the course which they have held, and labour in
+imitating them to arrive at the same end, which those great men
+propounded to themselves. I have seen in those famous _Romanzes_ of
+Antiquity, that in imitation of the Epique Poem there is a principal
+action whereunto all the rest, which reign over all the work, are
+fastned, and which makes them that they are not employed, but for
+the conducting of it to its perfection. The action in _Homers
+Iliades_ is the destrustion of _Troy_; in his _Odysseas_ the return
+of _Ulysses_ to _Ithaca_; in _Virgil_ the death of _Turnus_, or to
+say better, the conquest of _Italy_; neerer to our times, in _Tasso_
+the taking of _Jerusalem_; and to pass from the Poem to the
+_Romanze_, which is my principal object, in _Helidorus_ the marriage
+of _Theagines_ and _Cariclia_. It is not because the Episodes in the
+one, and the several Histories in the other, are not rather beauties
+than defects; but it is alwayes necessary, that the Addresse of him
+which employes them should hold them in some sort to this principal
+action, to the end, that by this ingenious concatenation, all the
+parts of them should make but one body, and that nothing may be seen
+in them which is loose and unprofitable. Thus the marriage of my
+_Justiniano_ and his _Isabella_, being the object which I have
+proposed unto my self, I have employed all my care so to doe, that
+all parts of my work may tend to that conclusion; that there may be
+a strong connexion between them; and that, except the obstacle which
+Fortune opposeth to the desires of my _Hero_'s, all things may
+advance, or at leastwise endeavour to advance his marriage, which is
+the end of my labour. Now those great Geniusses of antiquity, from
+whom I borrow my light, knowing that well-ordering is one of the
+principal parts of a piece, have given so excellent a one to their
+speaking Pictures, that it would be as much stupidity, as pride, not
+to imitate them. They have not done like those Painters, who present
+in one and the same cloth a Prince in the Cradle, upon the Throne,
+and in the Tombe, perplexing, by this so little judicious a
+confusion, him that considers their work; but with an incomparable
+address they begin their History in the midle, so to give some
+suspence to the Reader, even from the first opening of the Book; and
+to confine themselves within reasonable bounds they have made the
+History (as I likewise have done after them) not to last above a
+year, the rest being delivered by Narration. Thus all things being
+ingeniously placed, and of a just greatness, no doubt, but pleasure
+will redound from thence to him that beholds them, and glory to him
+that hath done them. But amongst all the rules which are to be
+observed in the composition of these works, that of true resemblance
+is without question the most necessary; it is, as it were, the
+fundamental stone of this building, and but upon which it cannot
+subsist; without it nothing can move, without it nothing can please:
+and if this charming deceiver doth not beguile the mind in
+_Romanzes_, this kinde of reading disgusts, instead of entertaining
+it: I have laboured then never to eloigne my self from it, and to
+that purpose I have observed the Manners, Customs, Religions, and
+Inclinations of People: and to give a more true resemblance to
+things, I have made the foundations of my work Historical, my
+principal Personages such as are marked out in the true History for
+illustrious persons, and the wars effective. This is the way
+doubtless, whereby one may arrive at his end; for when as falshood
+and truth are confounded by a dexterous hand, wit hath much adoe to
+disintangle them, and is not easily carried to destroy that which
+pleaseth it; contrarily, whenas invention doth not make use of this
+artifice, and that falshood is produced openly, this gross untruth
+makes no impression in the soul, nor gives any delight: As indeed
+how should I be touched with the misfortunes of the Queen of
+_Gundaya_, and of the King of _Astrobacia_, whenas I know their very
+Kingdoms are not in the universal Mapp, or, to say better, in the
+being of things? But this is not the only defect which may carry us
+from the true resemblance, for we have at other times seen
+_Romanzes_, which set before us monsters, in thinking to let us see
+Miracles; their Authors by adhering too much to wonders have made
+Grotesques, which have not a little of the visions of a burning
+Feaver; and one might demand of these Messieurs with more reason,
+than the Duke of _Ferrara_ did of _Ariosto_, after he had read his
+_Orlando, Messer Lodovico done diavolo havete pigliato tante
+coyonerie_? As for me, I hold, that the more natural adventures
+are, the more satisfaction they give; and the ordinary course of the
+Sun seems more marvellous to me, than the strange and deadly rayes
+of Comets; for which reason it is also that I have not caused so
+many Shipwrecks, as there are in some ancient _Romanzes_; and to
+speak seriously, _Du Bartas_ might say of these Authors,
+
+    _That with their word they bind,
+    Or loose, at will, the blowing of the wind._
+
+So as one might think that _Æolus_ hath given them the Winds
+inclosed in a bagg, as he gave them to _Ulysses_, so patly do they
+unchain them; they make tempests and shipwracks when they please,
+they raise them on the Pacifique Sea, they find rocks and shelves
+where the most expert Pilots have never observed any: But they which
+dispose thus of the winds, know not how the Prophet doth assure us,
+that God keeps them in his Treasures; and that Philosophy, as clear
+sighted as it is, could never discover their retreat. Howbeit I
+pretend not hereby to banish Shipwrecks from _Romanzes_, I approve
+of them in the works of others, and make use of them in mine; I know
+likewise, that the Sea is the Scene most proper to make great
+changes in, and that some have named it the Theatre of inconstancy;
+but as all excess is vicious, I have made use of it but moderately,
+for to conserve true resembling: Now the same design is the cause
+also, that my _Heros_ is not oppressed with such a prodigious
+quantity of accidents, as arrive unto some others, for that
+according to my sense, the same is far from true resemblance, the
+life of no man having ever been so cross'd. It would be better in my
+opinion to separate the adventures, to form divers Histories of
+them, and to make persons acting, thereby to appear both fertile and
+judicious together, and to be still within this so necessary true
+resemblance. And indeed they who have made one man alone defeat
+whole Armies, have forgotten the Proverb which saith, _not one
+against two_; and know not that Antiquity doth assure us, how
+_Hercules_ would in that case be too weak. It is without all doubt,
+that to represent a true heroical courage, one should make it
+execute some thing extraordinary, as it were by a transport of the
+_Heros_; but he must not continue in that sort, for so those
+incredible actions would degenerate into ridiculous Fables, and
+never move the mind. This fault is the cause also of committing
+another; for they which doe nothing but heap adventure upon
+adventure, without ornament, and without stirring up passions by the
+artifices of Rhetorick, or irksome, in thinking to be the more
+entertaining. This dry Narration, and without art, hath more of an
+old Chronicle, than of a _Romanze_, which may very well be
+imbellished with those ornaments, since History, as severe and
+scrupulous as it is, doth not forbear employing them. Certain
+Authors, after they have described an adventure, a daring design, or
+some surprising event, able to possess one with the bravest
+apprehensions in the world, are contented to assure us, that such a
+_Heros_ thought of very gallant things, without telling us what they
+are; and this is that alone which I desire to know: For how can I
+tell, whether in these events Fortune hath not done as much as he?
+whether his valour be not a brutish valour? and whether he hath born
+the misfortunes that arrived unto him, as a worthy man should doe?
+it is not by things without him, it is not by the caprichioes of
+destiny, that I will judge of him; it is by the motions of his soul,
+and by that which he speaketh. I honour all them that write at this
+day; I know their persons, their works, their merits; but as
+canonizing is for none but the dead, they will not take it ill if I
+do not Deifie them, since they are living. And in this occasion I
+propose no other example, than the great and incomparable _Urfé_;
+certainly it must be acknowledged that he hath merited his
+reputation; that the love which all the earth bears him is just; and
+that so many different Nations, which have translated his Book into
+their tongues, had reason to do it: as for me, I confess openly,
+that I am his adorer; these twenty years I have loved him, he is
+indeed admirable over all; he is fertile in his inventions, and in
+inventions reasonable; every thing in him is mervellous, every thing
+in him is excellent; and that which is more important, every thing
+in him is natural, and truly resembling: But amongst many rare
+matters, that which I most esteem of is, that he knows how to touch
+the passions so delicately, that he may be called the Painter of the
+Soul; he goes searching out in the bottom of hearts the most secret
+thoughts; and in the diversity of natures, which he represents, evey
+one findes his own pourtrait, so that
+
+    _If amongst mortals any be
+    That merits Altars_, Urfé's _he
+    Who can alone pretend thereto._
+
+Certainly there is nothing more important in this kind of
+composition, than strongly to imprint the Idea, or (to say better)
+the image of the _Heroes_ in the mind of the Reader, but in such
+sort, as if they were known to them; for that it is which
+interesseth him in their adventures, and from thence his delight
+cometh, now to make them be known perfectly, it is not sufficient to
+say how many times they have suffered shipwreck, and how many times
+they have encountered Robbers, but their inclinations must be made
+to appear by their discourse: otherwise one may rightly apply to
+these dumb _Heroes_ that excellent motto of Antiquity, _Speak that I
+may see thee_. And if from true resemblance and inclinations,
+expressed by words, we will pass unto manners, goe from the pleasant
+to the profitable, and from Delight to Example, I am to tell you,
+Reader, that here Vertue is seen to be alwayes recompenced, and Vice
+alwayes punished, if he that hath followed his unruliness hath not
+by a just and sensible repentance obtained Grace from Heaven; to
+which purpose I have also observed equality of manners in all the
+persons that do act, unless it be whereas they are disordered by
+passions, and touched with remorse.
+
+I have had a care likewise to deal in such sort, as the faults,
+which great ones have committed in my History, should be caused
+either by Love or by Ambition, which are the Noblest of passions,
+and that they be imputed to the evil counsell of Flatterers; that so
+the respect, which is alwayes due unto Kings, may be preserved. You
+shall see there, Reader, if I be not deceived, the comeliness of
+things and conditions exactly enough observed; neither have I put
+any thing into my Book, which the Ladies may not read without
+blushing. And if you see not my _Hero_ persecuted with Love by
+Women, it is not because he was not amiable, and that he could not
+be loved, but because it would clash with Civility in the persons of
+Ladies, and with true resemblance in that of men, who rarely shew
+themselves cruel unto them, nor in doing it could have any good
+grace: Finally, whether things ought to be so, or whether I have
+judged of my _Hero_ by mine own weakness, I would not expose his
+fidelity to that dangerous triall, but have been contented to make
+no _Hilas_, nor yet an _Hipolitus_ of him.
+
+But whilest I speak of Civility, it is fit I should tell you (for
+fear I be accused of falling therein) that if you see throughout all
+my Work, whenas _Soliman_ is spoken unto, Thy Highness, Thy
+Majestie, and that in conclusion he is treated with Thee, and not
+with You, it is not for want of Respect, but contrarily it is to
+have the more, and to observe the custom of those people, who speak
+after that sort to their Sovereigns. And if the Authority of the
+living may be of as much force, as that of the dead, you shall find
+examples of it in the most famous _Othomans_, and you shall see that
+their Authors have not been afraid to employ in their own Tongue a
+manner of speaking, which they have drawn from the Greek and Latin;
+and then too I have made it appear clearlie, that I have not done it
+without design; for unless it be whenas the Turks speak to the
+Sultan, or he to his Inferiours, I have never made use of it, and
+either of them doth use it to each other.
+
+Now for fear it may be objected unto me, that I have approached some
+incidents nearer than the Historie hath shewed them to be, great
+_Virgil_ shall be my Warrant, who in his Divine _Æneids_ hath made
+_Dido_ appear four Ages after her own; wherefore I have believed I
+might do of some moneths, what he hath done of so many Years, and
+that I was not to be afraid of erring, as long as I followed so good
+a guide. I know not likewise whether some may not take it ill, that
+my _Hero_ and _Heronia_ are not Kings; but besides that the Generous
+do put no difference between wearing of Crowns, and meriting them,
+and that my _Justiniano_ is of a Race which hath held the Empire of
+the Orient, the example of _Athenagoras_, me-thinks, ought to stop
+their mouths, seeing _Theogines_ and _Charida_ are but simple
+Citizens.
+
+Finally, Reader, such Censors may set their hearts at rest for this
+particular, and leave me there, for I assure them, that _Justiniano_
+is of a condition to command over the whole Earth; and that
+_Isabella_ is of a House, and Gentlewoman good enough, to make
+Knights of the _Rhodes_, if she have children enough for it, and
+that she have a minde thereunto. But setting this jesting aside, and
+coming to that which regards the _Italian_ names, know that I have
+put them in their natural pronunciation. And if you see some Turkish
+words, as _Alla_, _Stamboll_, the _Egira_, and some others, I have
+done it of purpose, Reader, and have left them as Historical marks,
+which are to pass rather for embellishments than defests. It is
+certain, that imposition of names is a thing which every one ought
+to think of, and whereof nevertheless all the World hath not
+thought: We have oftentimes seen Greek Names given to barbarous
+Nations, with as little reason as if I should name an English man
+_Mahomet_, and that I should call a Turk _Anthony_; for my part I
+have believed that more care is to be had of ones with; and if any
+one remarks the name of _Satrape_ in this _Romanze_, let him not
+magine that my ignorance hath confounded the ancient and new Persia,
+and that I have done it without Authority, I have an example thereof
+in _Vigenere_, who makes use of it in his Illustrations upon
+_Calchondila_; and I have learned it of a _Persian_, which is at
+_Paris_, who saith, that by corruption of speech they call yet to
+this day the Governours of Provinces, _Soltan Sitripin_.
+
+Now lest some other should further accuse me for having improperly
+named _Ibrahim_'s House a Palace, since all those of quality are
+called _Seraglioes_ at _Constantinople_, I desire you to remember
+that I have done it by the counsel of two or three excellent
+persons, who have found as well as my self, that this name of
+_Seraglio_ would leave an _Idea_ which was not seemly, and that it
+was fit not to make use of it, but in speaking of the Grand Signior,
+and that as seldom as might be. But whilest we are speaking of a
+Palace, I am to advertise you, that such as are not curious to see a
+goodly building, may pass by the gate of that of my _Heroe_ without
+entring into it, that is to say, not to read the description of it;
+it is not because I have handled this matter like to _Athenagoras_,
+who playes the Mason In the Temple of _Jupiter Hammon_; nor like
+_Poliphile_ in his dreams, who hath set down most strange terms, and
+all the dimensions of Architecture, whereas I have employed but the
+Ornaments thereof; it is not because they are not Beauties suitable
+to the _Romanze_, as well as to the _Epique Poem_, since the most
+famous both of the one and the other have them; nor is it too
+because mine is not grounded on the History, which assures us that
+it was the most superb the Turks ever made, as still appears by the
+remains thereof, which they of that Nation call _Serrau Ibrahim_.
+
+But to conclude, as inclinations ought to be free, such as love not
+those beautifull things, for which I have so much passion (as I have
+said) pass on without looking on them, and leave them to others more
+curious of those rarities, which I have assembled together with art
+and care enough. Now Reader, ingenuity being a matter necessary for
+a man of Honour, and the theft of glory being the basest that may be
+committed, I must confess here for fear of being accused of it, that
+the History of the Count of _Lavagna_, which you shall see in my
+Book, is partly a Paraphrase of _Mascardies_; this Adventure falling
+out in the time whilest I was writing, I judged it too excellent not
+to set it down, and too well indited for to undertake to do it
+better; so that regard not this place but as a Translation of that
+famous Italian, and except the matters, which concern my History,
+attribute all to that great man, whose Interpreter only I am. And if
+you finde something not very serious in the Histories of a certain
+French Marquis, which I have interlaced in my Book, remember if you
+please, that a _Romanze_ ought to have the Images of all natures;
+and this diversity makes up the beauties of it, and the delight of
+the Reader; and at the worst regard it as the sport of a
+Melancholick, and suffer it without blaming it. But before I make an
+end, I must pass from matters to the manner of delivering them, and
+desire you also not to forget, that a Narrative stile ought not to
+be too much inflated, no more than that of ordinarie conversations;
+that the more facile it is, the more excellent it is; that it ought
+to glide along like the Rivers, and not rebound up like Torrents;
+and that the less constraint it hath, the more perfection it hath; I
+have endeavoured then to observe a just mediocrity between vicious
+Elevation, and creeping Lowness; I have contained my self in
+Narration, and left my self free in Orations and in Passions, and
+without speaking as extravagants and the vulgar, I have laboured to
+speak as worthy persons do.
+
+Behold, Reader, that which I had to say to you, but what defence
+soever, I have imployed, I know that it is of works of this nature,
+as of a place of War, where notwithstanding all the care the
+Engineer hath brought to fortifie it, there is alwayes some weak
+part found, which he hath not dream'd of, and whereby it is
+assaulted; but this shall not surprize me; for as I have not forgot
+that I am a man, no more have I forgot that I am subject to erre.
+
+
+
+
+THE
+
+Secret History
+
+OF
+
+Queen _ZARAH_,
+
+AND THE
+
+_Zarazians_;
+
+BEING A
+
+Looking-glass
+
+FOR
+
+----- --------
+
+In the Kingdom of
+
+_ALBIGION_.
+
+
+Faithfully Translated from the _Italian_ Copy now lodg'd in the
+_Vatican_ at _Rome_, and never before Printed in any Language.
+
+_Albigion_, Printed in the Year 1705.
+
+Price Stitch'd 1 _s._ Price Bound 1 _s._ 6 _d._
+
+
+
+
+  TO THE
+
+  READER.
+
+
+_The Romances in_ France _have for a long Time been the Diversion
+and Amusement of the whole World; the People both in the City and at
+Court have given themselves over to this Vice, and all Sorts of
+People have read these Works with a most surprizing Greediness; but
+that Fury is very much abated, and they are all fallen off from this
+Distraction: The Little_ Histories _of this Kind have taken Place
+of_ Romances, _whose Prodigious Number of Volumes were sufficient to
+tire and satiate such whose Heads were most fill'd with those
+Notions._
+
+_These little Pieces which have banish'd_ Romances _are much more
+agreeable to the Brisk and Impetuous Humour of the_ English, _who have
+naturally no Taste for long-winded Performances, for they have no
+sooner begun a Book, but they desire to see the End of it: The
+Prodigious Length of the Ancient_ Romances, _the Mixture of so many
+Extraordinary Adventures, and the great Number of Actors that appear
+on the Stage, and the Likeness which is so little managed, all which
+has given a Distaste to Persons of good Sense, and has made Romances
+so much cry'd down, as we find 'em at present. The Authors of
+Historical Novels, who have found out this Fault, have run into the
+same Error, because they take for the Foundation of their History
+no more than one Principal Event, and don't overcharge it with_
+Episodes, _which wou'd extend it to an Excessive Length; but they
+are run into another Fault, which I cannot Pardon, that is, to
+please by Variety the Taste of the Reader, they mix particular
+Stories with the Principal_ History, _which seems to me as if they
+reason'd Ill; in Effect the Curiosity of the Reader is deceiv'd by
+this Deviation from the Subject, which retards the Pleasure he wou'd
+have in seeing the End of an Event; it relishes of a Secret
+Displeasure in the Author, which makes him soon lose Sight of those
+Persons with whom he began to be in Love; besides the vast Number of
+Actors who have such different Interests, embarresses his Memory,
+and causes some Confusion in his Brain, because 'tis necessary for
+the Imagination to labour to recal the several Interests and
+Characters of the Persons spoken of, and by which they have
+interrupted the_ History.
+
+_For the Reader's better Understanding, we ought not to chuse too
+Ancient Accidents, nor unknown Heroes, which are fought for in a
+Barbarous Countrey, and too far distant in Time, for we care little
+for what was done a Thousand Years ago among the_ Tartars _or_
+Ayssines.
+
+_The Names of Persons ought to have a Sweetness in them, for a
+Barbarous Name disturbs the Imagination; as the Historian describes
+the Heroes to his Fancy, so he ought to give them Qualities which
+affect the Reader, and which fixes him to his Fortune; but he ought
+with great Care to observe the Probability of Truth, which consists
+in saying nothing but what may Morally be believed._
+
+_For there are Truths that are not always probable; as for Example
+'tis an allowed Truth in the_ Roman History _that_ Nero _put his
+Mother to Death, but 'tis a Thing against all Reason and Probability
+that a Son shou'd embrue his Hand in the Blood of his own Mother; it
+is also no less probable that a Single Captain shou'd at the Head of
+a Bridge stop a whole Army, although 'tis probable that a small
+Number of Soldiers might stop, in Defiles, Prodigious Armies,
+because the Situation of the Place favours the Design, and renders
+them almost Equal. He that writes a True History ought to place the
+Accidents as they Naturally happen, without endeavouring to sweeten
+them for to procure a greater Credit, because he is not obliged to
+answer for their Probability; but he that composes a History to his
+Fancy, gives his Heroes what Characters he pleases; and places the
+Accidents as he thinks fit, without believing he shall be
+contradicted by other Historians, therefore he if obliged to Write
+nothing that is improbable; 'tis nevertheless allowable that an
+Historian shows the Elevation of his_ Genius, _when advancing
+Improbable Actions, he gives them Colours and Appearances capable of
+Perswading._
+
+_One of the Things an Author ought first of all to take Care of, is
+to keep up to the Characters of the Persons he introduces. The
+Authors of_ Romances _give Extraordinary Virtues to their Heroins,
+exempted from all the Weakness of Humane Nature, and much above the
+Infirmities of their Sex; 'tis Necessary they shou'd be Virtuous or
+Vicious to Merit the Esteem or Disesteem of the Reader; but their
+Virtue out to be spared, and their Vices exposed to every Trial: It
+wou'd in no wise be probable that a Young Woman fondly beloved by a
+Man of great Merit, and for whom she had a Reciprocal Tenderness,
+finding her self at all Times alone with him in Places which
+favour'd their Loves, cou'd always resist his Addresses; there are
+too Nice Occasions; and an Author wou'd not enough observe good
+Sense, if he therein exposed his Heroins; 'tis a Fault which Authors
+of_ Romances _commit in every Page; they would blind the Reader
+with this Miracle, but 'tis necessary the Miracle shou'd be
+feisable, to make an Impression in the Brain of Reasonable Persons;
+the Characters are better managed in the Historical Novels, which
+are writ now-a-days; they are not fill'd with great Adventures, and
+extraordinary Accidents, for the most simple Action may engage the
+Reader by the Circumstances that attend it; it enters into all the
+Motions and Disquiets of the Actor, when they have well express'd to
+him the Character. If he be Jealous, the Look of a Person he Loves,
+a Mouse, a turn of the Head, or the least complaisance to a Rival,
+throws him into the greatest Agitations, which the Readers perceive
+by a Counter-blow; if he be very Vertuous, and falls into a
+Mischance by Accident, they Pity him and Commiserate his
+Misfortunes; for Fear and Pity in Romance as well as Tragedies are
+the Two Instruments which move the Passion; for we in some Manner
+put our selves in the Room of those we see in Danger; the Part we
+take therein, and the fear of falling into the like Misfortunes,
+causes us to interest our selves more in their Adventures, because
+that those sort of Accidents may happen, to all the World; and it
+touches so much the more, because they are the common Effect of
+Nature._
+
+_The Heroes in the Ancient_ Romances _have nothing in them that is
+Natural; all is unlimited in their Character; all their Advantages
+have Something Prodigious, and all their Actions Something that's
+Marvellous; in short, they are not Men: A single Prince attact by a
+great Number of Enemies, it so far from giving way to the Croud,
+that he does Incredible Feats of Valour, beats them, puts them to
+flight, delivers all the Prisoners, and kills an infinite Number of
+People, to deserve the Title of a Hero. A Reader who has any Sense
+does not take part with these Fabulous Adventures, or at least is
+but slightly touch'd with them, because they are not natural, and
+therefore cannot be believ'd. The Heroes of the Modern Romances are
+better Characteriz'd, they give them Passions, Vertues or Vices,
+which resemble Humanity; thus all the World will find themselves
+represented in these Descriptions, which ought to be exact, and
+mark'd by Tracts which express clearly the Character of the Hero, to
+the end we may not be deceived, and may presently know our
+predominant Quality, which ought to give the Spirit all the Motion
+and Action of our Lives; 'tis that which inspires the Reader with
+Curiosity, and a certain impatient Desire to see the End of the
+Accidents, the reading of which causes an Exquisite Pleasure when
+they are Nicely handled; the Motion of the Heart gives yet more, but
+the Author ought to have an Extraordinary Penetration to distinguish
+them well, and not to lose himself in this Labyrinth. Most Authors
+are contented to describe Men in general, they represent them
+Covetous, Courageous and Ambitious, without entering into the
+Particulars, and without specifying the Character of their
+Covetousness, Valour or Ambition; they don't perceive Nice
+Distinctions, which those who know it Remark in the Passions; in
+Effect, the Nature, Humour and Juncture, give New Postures to Vices;
+the Turn of the Mind, Motion of the Heart, Affection and Interests,
+alter the very Nature of the Passions, which are different in All
+Men; the Genius of the Author marvellously appears when he Nicely
+discovers those Differences, and exposes to the Reader's Sight those
+almost unperceivable Jealousies which escape the Sight of most
+Authors, because they have not an exact Notion of the Turnings and
+Motions of Humane Understanding; and they know nothing but the gross
+Passions, from whence they make but general Descriptions._
+
+_He that Writes either a True or False History, ought immediately
+to take Notice of the Time and Sense where those Accidents
+happen'd, that the Reader may not remain long in Suspence; he ought
+also in few Words describe the Person who bears the most
+Considerable Part in his Story to engage the Reader; 'tis a Thing
+that little conduces to the raising the Merit of a Heroe, to Praise
+him by the Beauty of his Face; this is mean and trivial, Detail
+discourages Persons of good Taste; 'tis the Qualities of the Soul
+which ought to render him acceptable; and there are those Qualities
+likewise that ought to be discourag'd in the Principal Character of
+a Heroe, for there are Actors of a Second Rank, who serve only to
+bind the Intrigue, and they ought not to be compar'd with those of
+the First Order, nor be given Qualities that may cause them to be
+equally Esteemd; 'tis not by Extravagant Expressions, nor Repeated
+Praises, that the Reader's Esteem is acquired to the Character of
+the Heroe's, their Actions ought to plead far them; 'tis by that
+they are made known; and describe themselves; altho' they ought to
+have some Extraordinary Qualities, they ought not all to have 'em in
+an equal degree; 'tis impossible they shou'd not have some
+Imperfections, seeing they are Men, but their Imperfections ought
+not to destroy the Character that is attributed to them; if we
+describe them Brave, Liberal and Generous, we ought not to attribute
+to them Baseness or Cowardice, because that their Actions wou'd
+otherwise bely their Character, and the Predominant Virtures of the
+Heroes: 'Tis no Argument that_ Salust, _though so Happy in the
+Description of Men, in the Description of_ Cataline _does not in
+some manner describe him Covetous also; for he says this Ambitious
+Man spent his own Means profusely, and raged after the Goods of
+another with an Extream Greediness, but these Two Motions which seem
+contrary were inspired by the same Wit; these were the Effects of
+the Unbounded Ambition of_ Cataline, _and the desire he had to Rise
+by the help of his Creatures on the Ruins of the_ Roman _Republic;
+so vast a Project cou'd not be Executed by very great Sums of Money,
+which obliged_ Cataline _to make all Sorts of Efforts to get it from
+all Parts._
+
+_Every Historian ought to be extreamly uninterested; he ought
+neither to Praise nor Blame those he speaks of; he ought to be
+contented with Exposing the Actions, leaving an entire Liberty to
+the Reader to judge at he pleases, without taking any care not to
+blame his Heroes, or make their Apology; he is no judge of the merit
+of his Heroes, his Business is to represent them in the same Form as
+they are, and describe their Sentiments, Manners and Conduct; it
+deviates in some manner from his Character, and that perfect
+uninterestedness, when he adds to the Names of those he introduces
+Epithets either to Blame or Praise them; there are but few
+Historians who exactly follow this Rule, and who maintain this
+Difference, from which they cannot deviate without rendring
+themselves guilty of Partiality._
+
+_Although there ought to be a great Genius required to Write a
+History perfectly, it is nevertheless not requisite that a Historian
+shou'd always make use of all his Wit, nor that he shou'd strain
+himself, in Nice and Lively Reflexions; 'tis a Fault which is
+reproach'd with some Justice to_ Cornelius Tacitus, _who is not
+contented to recount the Feats, but employs the most refin'd
+Reflexions of Policy to find out the secret Reasons and hidden
+Causes of Accidents, there is nevertheless a distinction to be made
+between the Character of the Historian and the Heroe, for if it be
+the Heroe that speaks, then he ought to express himself
+Ingeniously, without affecting any Nicety of Points or Syllogisms,
+because he speaks without any Preparation; but when the Author
+speaks of his Chief, he may use a more Nice Language, and chuse his
+Terms for the better expressing his Designs; Moral Reflexions,
+Maxims and Sentences are more proper in Discourses for Instructions
+than in Historical Novels, whose chief End if to please; and if we
+find in them some Instructions, it proceeds rather from their
+Descriptions than their Precepts._
+
+_An Acute Historian ought to observe the same Method, at the Ending
+as at the Beginning of his Story, for he may at first expose Maxims
+relating but a few Feats, but when the End draws nigher, the
+Curiosity of the Reader is augmented, and he finds in him a Secret
+Impatience of desiring to see the Discovery of the Action; an
+Historian that amuses himself by Moralizing or Describing,
+discourages an Impatient Reader, who is in haste to see the End of
+Intrigues; he ought also to use a quite different Sort of Stile in
+the main Part of the Work, than in Conversations, which ought to be
+writ after an easie and free Manner: Fine Expressions and Elegant
+Turns agree little to the Stile of Conversation, whose Principal
+Ornament consists in the Plainness, Simplicity, Free and Sincere
+Air, which is much to be preferr'd before a great Exactness: We see
+frequent Examples in Ancient Authors of a Sort of Conversation which
+seems to clash with Reason; for 'tis not Natural for a Man to
+entertain himself, for we only speak that we may communicate our
+Thoughts to others; besides, 'tis hard to comprehend how an Author
+that relates Word for Word, the like Conversation cou'd be
+instructed to repeat them with so much Exactness; these Sort of
+Conversations are much more Impertinent when they run upon strange
+Subjects, which are not indispensibly allied to the Story handled:
+If the Conversations are long they indispensibly tire, because they
+drive from our Sight those People to whom we are engaged, and
+interrupt the Seque of the Story._
+
+_'Tis an indispensible Necessity to end a Story to satisfie the
+Disquiets of the Reader, who is engag'd to the Fortunes of those
+People whose Adventures are described to him; 'tis depriving him of
+a most delicate Pleasure, when he is hindred from seeing the Event
+of an Intrigue, which has caused some Emotion in him, whose
+Discovery he expects, be it either Happy or Unhappy; the chief End
+of History is to instruct and inspire into Men the Love of Vertue,
+and Abhorrence of Vice, by the Examples propos'd to them; therefore
+the Conclusion of a Story ought to have some Tract of Morality which
+may engage Virtue; those People who have a more refin'd Vertue are
+not always the most Happy; but yet their Misfortunes excite their
+Readers Pity, and affects them; although Vice be not always
+punish'd, yet 'tis describ'd with Reasons which shew its Deformity,
+and make it enough known to be worthy of nothing but
+Chastisements._
+
+
+
+
+THE JEWISH SPY:
+
+BEING A
+
+PHILOSOPHICAL, HISTORICAL and
+CRITICAL _Correspondence,_
+
+_By_ LETTERS
+
+Which lately pass'd between certain _JEWS_
+in _Turky, Italy, France, &c._
+
+Translated from the ORIGINALS into _French_,
+
+_By the_ MARQUIS D'ARGENS;
+_And now done into_ English.
+
+THE SECOND EDITION.
+
+VOL. I.
+
+[Illustration]
+
+_LONDON_:
+
+Printed for D. BROWNE, without _Temple-Bar;_ R. HETT, in the
+_Poultry_; J. SHUCKBURGH, in _Fleet-street_; J. HODGES, on _London
+Bridge_; and A. MILLAR, in the _Strand_. M DCC XLIV.
+
+
+
+
+[Illustration]
+
+LETTER XXXV.
+
+AARON MONCECA _to_ ISAAC ONIS, _a Rabbi, at_ Constantinople.
+
+_Paris_----
+
+
+I still expect the Books from _Amsterdam_; and have writ several
+times to _Moses Rodrigo_ to press him to send them to me; but to no
+purpose: He puts me off to the End of the Month, and I shall not be
+able to send them to _Constantinople_ in less than five Weeks.
+
+I have search'd all the Booksellers Shops at _Paris_ for some choice
+new Tracts, to add to those which I shall receive from _Holland_,
+but found nothing good besides what I have already sent thee, except
+two little. Romances that are lately come out. The first is
+intitled, _Les Égaremens du Coeur & de l'Esprit_; the Author of
+which I have already made mention of in my former Letters.[13] He
+writes in a pure Stile, understands Human Nature, and he lays the
+Heart of Man open with a great deal of Clearness and Justice: But in
+this Work he has fallen into an Error, which he has often condemn'd
+in the Writings of others. He makes it plain to the Reader, that he
+affects to be witty; and there are some Passages where Nature is
+sacrificed to the false Glare. But this Error, which is not common,
+is repair'd by a thousand Beauties. The Author of this Romance
+paints rather than writes Things; and the Pictures he draws strike
+the Imagination with Pleasure. Do but consider if it be possible to
+define the first Surprize of a Heart with more Justness and
+Clearness. _Without searching into the Motive of my Action, I
+managed, I interpreted her Looks; I endeavour'd to make her least
+Motions my Lessons. So much Obstinacy in not losing Sight of her
+made me at last taken notice of by her. She looked upon me in her
+turn, I fix'd her without knowing it, and during the Charm with
+which I was captivated whether I wou'd or not, I know not what my
+Eyes told her, but she turn'd hers away with a sort of Blush._
+
+None but a Man who was at that Juncture, or had been formerly, in
+Love cou'd, with so much Truth and Delicacy, have painted all the
+Motions of the Soul. Genius, Wit, and Learning cannot draw Pictures
+so much to the Life, it being a Point to which the Heart alone can
+attain. When I say the Heart, I mean a tender Heart, and one that is
+in such Situations. The following is the Character of a Prude in
+Love. _Being not to be depended upon in her Proceedings, she was a
+perpetual Mixture of Tenderness and Severity: She seem'd to yield
+only to be the more obstinate in her Opposition. If she thought she
+had, by what she said, disposed me to entertain any sort of Hopes,
+being on the Watch how to disappoint me, she presently resum'd that
+Air which had made me so often tremble, and left me nothing to
+trust to but a melancholy Uncertainty_. One cannot help being struck
+with the Truth and Nature which, prevail in this Character. Without
+an Acquaintance with the World, and a perfect Knowledge of Mankind,
+'tis impossible to attain to this Point. 'Tis difficult to
+distinguish the different Forms, and, as one may say, the internal
+Motives of different Characters. A mean Writer does only take a
+Sketch of 'em; but a good Author paints them, sets them plainly in
+Sight, and exposes them as they really are.
+
+A Romance is consider'd in no other Light than as a Work composed
+only for Amusement; but something else ought to be the Scope of it:
+For every Book that has not the Useful as well as the Agreeable,
+does not deserve the Esteem of good Judges. The Heart ought to be
+instructed at the same time as the Mind is amused; and this is the
+Quality with which the greatest Men have render'd their Writings
+famous.
+
+A Writer who, abounding with bold Fictions and Imaginations, amuses
+the Readers for a matter of a dozen Volumes with Incidents, work'd
+up artfully and importantly, and who nevertheless in the Close of
+his Book entertains his Reader's Imagination with nothing but Rapes,
+Duels, Sighs, Despair, and Tears[14]; has not the Talent of
+instructing, nor can he attain to Perfection; for he possesses but
+the least part of his Art. An Author who pleases without
+instructing, does not please long; for he sees his Book grow mouldy
+in the Bookseller's Shop, and his Works have the Fate of sorry
+Sermons and cold Panegyric.
+
+Heretofore Romances were nothing more than a Rhapsody of tragical
+Adventures, which captivated the the Imagination and distracted the
+Heart[15]. 'Twas pleasant enough to read them, but nothing more was
+got by it than feeding the Mind with Chimæras, which were often
+hurtful. The Youth greedily swallow'd all the wild and gigantic
+Ideas of those fabulous Heroes, and when their Genius's were
+accustomed to enormous Imaginations, they had no longer a Relish for
+the Probable. For some time past this manner of Thinking has been
+chang'd: Good Taste is again return'd; the Reasonable has succeeded
+in the place of the Supernatural; and instead of a Number of
+Incidents with which the least Facts were overcharg'd, a plain
+lively Narration is required, such as is supported by Characters
+that give us the _Utile Dulci_.
+
+Some Authors have wrote in this Taste, and have advanced more or
+less towards Perfection, in proportion as they have copy'd
+Nature[16].
+
+There are others who carry Things to Extremity; for, by affecting to
+appear natural, they become low and creeping, and have neither the
+Talent of pleasing nor of instructing[17].
+
+Some have had recourse to insipid Allegory[18], thinking to please
+by a new Taste; but their Works dy'd in their Birth, and were so
+little read that they escaped Criticism.
+
+If the bad Authors were but to reflect on the Talents and
+Qualifications necessary for a good Romance, Works of this kind
+would no longer be their Refuge. A Man who is press'd both by Hunger
+and Thirst, sets about writing a Book, and tho' he has not
+Knowledge enough to write History, nor Genius for Works of Morality,
+he stains a couple of Quires of Paper with a Heap of ill-digested
+Adventures, which he relates without Taste, and without Genius, and
+carries his Work to a Bookseller, who, were he oblig'd to buy it by
+Weight, and to give him but twice the Cost of the Paper, wou'd pay
+more for it than the Worth of it. Perhaps there is as much need for
+Wit, an Acquaintance with Mankind, and the Knowledge of the
+Passions, to compose a Romance as to write a History. The only
+Qualification to paint Manners and Customs, is a long Experience;
+and a Man must have examin'd the various Characters very closely, to
+be able to describe them to a Nicety.
+
+How can an Author, whose common Vocation is staining of Paper, and
+spending his whole Time in a Coffee-house or in a Garret, give a
+just Definition of a Prince, a Courtier, or a fine Lady? He never
+sees those Persons but as he walks the Streets; and I can scarce
+think that the Mud with which he is often dash'd by their Equipages,
+communicates to him any Share of their Sentiments. Yet there is not
+a wretched Author but makes a Duke and Dutchess speak as he fancies.
+But when a Man of Fashion comes to cast his Eye on these ridiculous
+Performances, he is perfectly surpriz'd to see the Conversation of
+_Margaret_ the Hawker, retail'd by the Name of the Dutchess of ----,
+or the Marchioness of ----. Yet be these Books ever so bad,
+abundance of 'em are sold; for many People, extravagantly fond of
+Novelty, who only judge of Things superficially, buy those Works,
+tho' by the Perusal of 'em they acquire a Taste as remote from a
+happy Talent of Writing, as the Authors themselves are.
+
+Don't fear, dear _Isaac_, that I shall ever send thee a Collection
+of such paultry Books. Be a Man ever so fond at _Constantinople_ of
+Romances and Histories of Gallantry, 'tis expected they should serve
+not only for Pleasure but for Edification.
+
+The second Book that I have bought, seems to me to be written with
+this View. 'Tis intitled, _Memoirs of the Marquis_ de Mirmon; _or
+the Solitary Philosopher_. The Author writes with an easy lively
+Stile[19]; and 'tis plain, that he himself was acquainted with the
+Characters which he paints. Without affecting to appear to have as
+much Wit as the former Author that I mention'd to thee, he delivers
+the Truth every where in an amiable Dress. If any Fault can be found
+with him, 'tis explaining himself a little too boldly; and he is
+also reproach'd with a sort of Negligence pardonable in a Man whose
+Stile is in general so pure as his is. The following is his
+Character of Solitude, _'Tis not to torment himself that a wise Man
+seems to separate himself from Mankind: He is far from imposing new
+Laws on himself, and only follows those that are already prescrib'd
+to his Hands. If he lays himself under any new Laws, he reserves to
+himself the Power of changing them, being their absolute Master, and
+not their Slave. Being content to cool his Passions, and to govern
+them by his Reason, he does not imagine it impossible to tame them
+to his own Fancy, and does not convert what was formerly an innocent
+Amusement to him, into a Monster to terrify him. He retains in
+Solitude all the Pleasures which Men of Honour have a Relish for in
+the World, and only puts it out of their Power of being hurtful, by
+preventing them from being too violent._
+
+There are several other Passages in this Book, which are as
+remarkable for their Perspicuity as their Justness. Such is the
+Description of the Disgust which sometimes attends Marriages. _When
+Persons are in Love, they put the best Side outwards. A Man who is
+desirous of pleasing, takes a world of Care to conceal his Defects.
+A Woman knows still better how to dissemble. Two Persons often study
+for six Months together to bubble one another, and at last they
+marry, and punish one another the Remainder of their Lives for their
+Dissimulation._
+
+You will own, dear _Isaac_, that there is a glaring Truth and
+Perspicuity in this Character, which strikes the Mind. These naked
+Thoughts present themselves with Lustre to the Imagination, which
+cannot help being pleased, because they are so just. If the Authors
+who write Romances in this new Taste, would always adhere to the
+Truth, and never suffer themselves to be perverted to any new Mode
+(for this is what Works of Wit are liable to) their Writings wou'd
+probably be as useful in forming the Manners as Comedy, because they
+wou'd render Romances the Picture of Human Life. A covetous Man will
+therein find himself painted in such natural Colours; a Coquette
+will therein see her Picture so resembling her, that their
+Reflection upon reading the Character will be more useful to them
+than the long-winded Exhortations of a Fryar, who makes himself
+hoarse with Exclamation, and often tires out the Patience of his
+Hearers.
+
+Authors who set about writing Romances, ought to study to paint
+Manners according to Nature, and to expose the most secret
+Sentiments of the Heart. As their Works are but ingenious Fictions,
+they can never please otherwise than as they approach to the
+Probable. Nor is every thing that favours of the Marvellous,
+esteem'd more among Men of Taste than pure Nonsense. Both generally
+go together, and the Authors who fall into gigantic or unnatural
+Ideas, have commonly a declamatory Stile, bordering upon a pompous
+and unintelligible Diction.
+
+The Stile of Romances ought to be simple; indeed it should be more
+florid than that of History, but not have all that Energy and
+Majesty. Gallantry is the Soul of Romance, and Grandeur and Justness
+that of History. A Person must be very well acquainted with the
+World to excel in the one, and he must have Learning and Politics to
+distinguish himself in the other. Good Sense, Perspicuity, Justness
+of Characters, Truth of Descriptions, Purity of Stile are necessary
+in both. The Ladies are born Judges of the Goodness of a Romance.
+Posterity decides the Merit of a History.
+
+Fare thee well, dear _Isaac_. As soon as I have receiv'd the new
+Books from _Holland_, I will send them to thee.
+
+
+NOTES:
+
+[13] _Crébillon_ the Son.
+
+[14] _La Calprenede_.
+
+[15] The _Polexandre of Gomberville_, the _Ariana_ of _Des
+Maretz_, &c.
+
+[16] _Le Prevot d'Exiles_. See the _Bibliotheque des
+Romans_.
+
+[17] Histoire du Chevalier des _Essars_, & de la Comtesse
+de _Merci_, &c.
+
+[18] _Fanseredin_, &c.
+
+[19] M. _d'Argens_.
+
+[Illustration]
+
+
+
+
+CLARISSA.
+
+OR, THE
+
+HISTORY
+
+OF A
+
+YOUNG LADY:
+
+Comprehending
+
+_The most_ Important Concerns _of_ Private LIFE,
+And particularly shewing,
+The DISTRESSES that may attend the Misconduct
+Both of PARENTS and CHILDREN,
+In Relation to MARRIAGE.
+
+_Published by the_ EDITOR _of_ PAMELA.
+
+VOL. IV.
+
+[Illustration]
+
+_LONDON:_
+
+Printed for S. Richardson: And Sold by JOHN OSBORN, in _Pater-noster
+Row_; ANDREW MILLAR, over-against _Catharine-street_ in the
+_Strand_; J. and JA. RIVINGTON, in _St. Paul's Church-yard_; And by
+J. LEAKE, at _Bath_
+
+M.DCC.XLVIII.
+
+[Illustration]
+
+
+
+
+THE EDITOR _to the_ READER.
+
+
+If it may be thought reasonable to criticise the Public Taste, in
+what are generally supposed to be Works of mere Amusement; or modest
+to direct its Judgment, in what is offered for its Entertainment; I
+would beg leave to introduce the following Sheets with a few cursory
+Remarks, that may lead the common Reader into some tolerable
+conception of the nature of this Work, and the design of its Author.
+
+The close connexion which every Individual has with all that relates
+to MAN in general, strongly inclines us to turn our observation upon
+human affairs, preferably to other attentions, and impatiently to
+wait the progress and issue of them. But, as the course of human
+actions is too slow to gratify our inquisitive curiosity, observant
+men very easily contrived to satisfy its rapidity, by the invention
+of _History_. Which, by recording the principal circumstances of
+past facts, and laying them close together, in a continued
+narration, kept the mind from languishing, and gave constant
+exercise to its reflections.
+
+But as it commonly happens, that in all indulgent refinements on our
+satisfactions, the Procurers to our pleasures run into excess; so it
+happened here. Strict matters of fact, how delicately soever dressed
+up, soon grew too simple and insipid to a taste stimulated by the
+Luxury of Art: They wanted something of more poignancy to quicken
+and enforce a jaded appetite. Hence the Original of the first
+barbarous _Romances_, abounding with this false provocative of
+uncommon, extraordinary, and miraculous Adventures.
+
+But satiety, in things unnatural, soon, brings on disgust. And the
+Reader, at length, began to see, that too eager a pursuit after
+_Adventures_ had drawn him from what first engaged his attention,
+MAN _and his Ways_, into the Fairy Walks of Monsters and Chimeras.
+And now those who had run farthest after these delusions, were the
+first that recovered themselves. For the next Species of Fiction,
+which took its name from its _novelty_, was of _Spanish_ invention.
+These presented us with something of Humanity; but of Humanity in a
+stiff unnatural state. For, as every thing before was conducted by
+_Inchantment_; so now all was managed by _Intrigue_. And tho' it had
+indeed a kind of _Life_, it had yet, as in its infancy, nothing of
+_Manners_. On which account, those, who could not penetrate into the
+ill constitution of its plan, yet grew disgusted at the dryness of
+the Conduct, and want of ease in the Catastrophe.
+
+The avoiding these defects gave rise to the _Heroical Romances_ of
+the _French_; in which some celebrated Story of antiquity was so
+stained and polluted by modern fable and invention, as was just
+enough to shew, that the contrivers of them neither knew how to lye,
+nor speak truth. In these voluminous extravagances, _Love_ and
+_Honour_ supplied the place of _Life_ and _Manners_. But the
+over-refinement of Platonic sentiments always sinks into the dross
+and feces of that Passion. For in attempting a more natural
+representation of it, in the little amatory Novels, which succeeded
+these heavier Volumes, tho' the Writers avoided the dryness of the
+Spanish Intrigue, and the extravagance of the French Heroism, yet,
+by too natural a representation of their Subject, they opened the
+door to a worse evil than a corruption of _Taste_; and that was, A
+corruption of _Heart_.
+
+At length, this great People (to whom, it must be owned, all Science
+has been infinitely indebted) hit upon the true Secret, by which
+alone a deviation from strict fact, in the commerce of Man, could be
+really entertaining to an improved mind, or useful to promote that
+Improvement. And this was by a faithful and chaste copy of real
+_Life and Manners_: In which some of their late Writers have greatly
+excelled.
+
+It was on this sensible Plan, that the Author of the following
+Sheets attempted to please, in an Essay, which had the good fortune
+to meet with success: That encouragement engaged him in the present
+Design: In which his sole object being _Human Nature_; he thought
+himself at liberty to draw a Picture of it in that light which
+would shew it with most strength of Expression; tho' at the expense
+of what such as read merely for Amusement, may fancy can be
+ill-spared, the more artificial composition of a story in one
+continued Narrative.
+
+He has therefore told his Tale in a Series of Letters, supposed to
+be written by the Parties concerned, as the circumstances related,
+passed. For this juncture afforded him the only natural opportunity
+that could be had, of representing with any grace those lively and
+delicate impressions which _Things present_ are known to make upon
+the minds of those affected by them. And he apprehends, that, in the
+study of Human Nature, the knowlege of those apprehensions leads us
+farther into the recesses of the Human Mind, than the colder and
+more general reflections suited to a continued and more contracted
+Narrative.
+
+This is the nature and purport of his Attempt. Which, perhaps, may
+not be so well or generally understood. For if the Reader seeks here
+for Strange Tales, Love Stories, Heroical Adventures, or, in short,
+for anything but a _Faithful Picture of Nature_ in _Private Life_,
+he had better be told beforehand the likelihood of his being
+disappointed. But if he can find Use or Entertainment; either
+_Directions for his Conduct_, or _Employment for his Pity_, in a
+HISTORY _of_ LIFE _and_ MANNERS, where, as in the World itself, we
+find Vice, for a time, triumphant, and Virtue in distress, an idle
+hour or two, we hope, may not be unprofitably lost.
+
+[Illustration]
+
+
+
+
+MEMOIRS
+
+OF THE
+
+_Count_ Du BEAUVAL,
+
+INCLUDING
+
+Some curious PARTICULARS
+
+Relating to the DUKES of
+
+Wharton _and_ Ormond,
+
+During their Exiles.
+
+WITH
+
+ANECDOTES of several other Illustrious
+and Unfortunate Noblemen of the present Age.
+
+_Translated from the_ French _of the Marquis_ D'ARGENS,
+_Author of_ The Jewish Letters.
+
+_By Mr._ DERRICK.
+
+_LONDON:_
+
+Printed for M. COOPER, at the _Globe_ in _PaterNoster-Row_.
+
+M.DCC.LIV.
+
+
+
+
+PREFACE.
+
+
+_The Ground-work of Romances, till of late Years, has been a Series
+of Actions, few of which, ever existed but in the Mind of the
+Author; to support which, with proper Spirit, a strong picturesque
+Fancy, and a nervous poetical Diction, were necessary. When these
+great Essentials were wanting, the Narration became cold, insipid,
+and disagreeable._
+
+_The principal Hero was generally one who fac'd every Danger, without
+any Reflection, for it was always beneath him to think; it was a
+sufficient Motive of persisting, if there seem'd Peril; conquering
+Giants, and dissolving Enchantments, were as easy to him as riding.
+He commonly sets out deeply in Love; his Mistress is a Virgin, he
+loses her in the Beginning of the Book, thro' the Spite or Craft of
+some malicious Necromancer, pursues her thro' a large Folio Volume
+of Incredibility, and finds her, indisputably, at the End of it,
+like try'd Gold, still more charming, from having pass'd the Fire
+Ordeal of Temptation._
+
+_Amusement and Instruction were the Intent of these Sort of Writings;
+the former they always fulfill'd, and if they sometimes fail'd in
+the latter, it was because the Objects they conjur'd up to Fancy,
+were merely intellectual Ideas, consequently not capable of
+impressing so deeply as those which are to be met with in the Bustle
+of Life._
+
+_Hence those, whose Genius led them to cultivate this Sort of
+writing, have been induc'd to examine amongst such Scenes as are
+daily found to move beneath their Inspection. On this Plan are
+founded the Writings of the celebrated Mons._ MARIVAUX, _and the
+Performances of the ingenious Mr_. FIELDING; _each of whom are
+allow'd to be excellent in their different Nations._
+
+_The Marquis_ D'ARGENS, _sensible of the Advantages accruing from
+Works of this Kind, was not satisfied with barely copying the_
+Accidents, _but has also united with them the real Names of_
+Persons, _who have been remarkable in Life; conscious that we pay a
+more strict Attention to the Occurrences that have befallen those
+who enter within the Compass of our Acquaintance, or Knowledge, and
+if a Moral ensues from the Relation, it is more firmly rooted in the
+Mind, than when it is to be deduced from either Manners or Men, with
+whom we are entirely unacquainted._
+
+_The Marquis is easy in his Stile, delicate in his Sentiments, and
+not at all tedious in his Narration. In the following Piece we find
+Nothing heavy or insipid, he dwells not too long upon any Adventure,
+nor does he burthen the Memory, or clog the Attention with
+Reflections intended, too often more for the Bookseller's Emolument,
+in swelling the Bulk of the Performance, than the Service of the
+Reader, on whom he knew it to be otherwise an Imposition; since, by
+long-winded wearisome Comments upon every Passage (a Fault too
+frequent in many Writers) he takes from him an Opportunity of
+exercising his reflective Abilities, seeming thereby to doubt
+them_.
+
+[Illustration]
+
+
+
+
+PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY
+
+
+FIRST YEAR (1946-47)
+
+Numbers 1-4 out of print.
+
+5. Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700)
+and _Essay on Heroic Poetry_ (1693).
+
+6. _Representation of the Impiety and Immorality of the Stage_
+(1704) and _Some Thoughts Concerning the Stage_ (1704).
+
+
+SECOND YEAR (1947-1948)
+
+7. John Gay's _The Present State of Wit_ (1711); and a section on
+Wit from _The English Theophrastus_ (1702).
+
+8. Rapin's _De Carmine Pastorali_, translated by Creech (1684).
+
+9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736).
+
+10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit,
+etc._ (1744).
+
+11. Thomas Purney's _Discourse on the Pastoral_ (1717).
+
+12. Essays on the Stage, selected, with an Introduction by Joseph
+Wood Krutch.
+
+
+THIRD YEAR (1948-1949)
+
+13. Sir John Falstaff (pseud.), _The Theatre_ (1720).
+
+14. Edward Moore's _The Gamester_ (1753).
+
+15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_
+(1712); and Arthur Mainwaring's _The British Academy_ (1712).
+
+16. Nevil Payne's _Fatal Jealousy_ (1673).
+
+17. Nicholas Rowe's _Some Account of the Life of Mr. William
+Shakespeare_ (1709).
+
+18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719);
+and Aaron Hill's Preface to _The Creation_ (1720).
+
+
+FOURTH YEAR (1949-1950)
+
+19. Susanna Centlivre's _The Busie Body_ (1709).
+
+20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734).
+
+21. _Critical Remarks on Sir Charles Grandison, Clarissa, and
+Pamela_ (1754).
+
+22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two
+_Rambler_ papers (1750).
+
+23. John Dryden's _His Majesties Declaration Defended_ (1681).
+
+24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which
+from Settled Principles is Rendered the Grounds for Choosing and
+Rejecting Epigrams_, translated by J.V. Cunningham.
+
+
+FIFTH YEAR (1950-51)
+
+25. Thomas Baker's _The Fine Lady's Airs_ (1709).
+
+26. Charles Macklin's _The Man of the World_ (1792).
+
+27. Frances Reynolds' _An Enquiry Concerning the Principles of
+Taste, and of the Origin of Our Ideas of Beauty, etc._ (1785).
+
+28. John Evelyn's _An Apologie for the Royal Party_ (1659); and _A
+Panegyric to Charles the Second_ (1661).
+
+29. Daniel Defoe's _A Vindication of the Press_ (1718).
+
+30. Essays on Taste from John Gilbert Cooper's _Letters Concerning
+Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_
+(1770).
+
+31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751);
+and _The Eton College Manuscript_.
+
+
+
+
+
+End of the Project Gutenberg EBook of Prefaces to Fiction, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PREFACES TO FICTION ***
+
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+The Project Gutenberg EBook of Prefaces to Fiction, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
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+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
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+Title: Prefaces to Fiction
+
+Author: Various
+
+Release Date: December 30, 2004 [EBook #14525]
+
+Language: English
+
+Character set encoding: ISO-8859-1
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+*** START OF THIS PROJECT GUTENBERG EBOOK PREFACES TO FICTION ***
+
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+Distributed Proofreading Team
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+</pre>
+
+<a name="Contents" id="Contents"></a>
+<p class="center"><b>The Augustan Reprint Society</b></p>
+<br />
+<h1>PREFACES TO FICTION</h1>
+<br />
+<h3><a href="#intro">Introduction</a></h3>
+<h3><a href="#article1">Georges de Scud&eacute;ry, Preface to <i>Ibrahim</i> (1674)</a></h3>
+<h3><a href="#article2">Mary De la Riviere Manley, Preface to <i>The Secret History of Queen Zarah</i> (1705)</a></h3>
+<h3><a href="#article3">Jean-Baptiste de Boyer, Marquis d'Argens, <i>The Jewish Spy</i> (1744), Letter 35</a></h3>
+<h3><a href="#article4">William Warburton, Preface to Volumes III and IV (1748) of Richardson's <i>Clarissa</i></a></h3>
+<h3><a href="#article5">Samuel Derrick, Preface to d'Argens's <i>Memoirs of The Count Du Beauval</i> (1754)</a></h3>
+<h3><a href="#Publications">Publications of the Augustan Reprint Society</a></h3>
+<br />
+<br />
+<h4>With an Introduction by</h4>
+<h4>Benjamin Boyce</h4>
+<br />
+<br />
+<h4>Publication Number 32</h4>
+<br />
+<br />
+<h5>Los Angeles</h5>
+<h5>William Andrews Clark Memorial Library</h5>
+<h5>University of California</h5>
+<h5>1952</h5>
+
+<hr />
+
+<p class="heading">GENERAL EDITORS</p>
+
+<div class="editors">
+H. RICHARD ARCHER, <i>Clark Memorial Library</i><br />
+RICHARD C. BOYS, <i>University of Michigan</i><br />
+JOHN LOFTIS, <i>University of California, Los Angeles</i><br />
+</div>
+
+<p class="heading">ASSISTANT EDITOR</p>
+<div class="editors">
+W. EARL BRITTON, <i>University of Michigan</i><br />
+</div>
+
+<p class="heading">ADVISORY EDITORS</p>
+
+<div class="editors">
+EMMETT L. AVERY, <i>State College of Washington</i><br />
+BENJAMIN BOYCE, <i>Duke University</i><br />
+LOUIS I. BREDVOLD, <i>University of Michigan</i><br />
+CLEANTH BROOKS, <i>Yale University</i><br />
+JAMES L. CLIFFORD, <i>Columbia University</i><br />
+ARTHUR FRIEDMAN, <i>University of Chicago</i><br />
+EDWARD NILES HOOKER, <i>University of California, Los Angeles</i><br />
+LOUIS A. LANDA, <i>Princeton University</i><br />
+SAMUEL H. MONK, <i>University of Minnesota</i><br />
+ERNEST MOSSNER, <i>University of Texas</i><br />
+JAMES SUTHERLAND, <i>University College, London</i><br />
+H.T. SWEDENBERG, JR., <i>University of California, Los Angeles</i><br />
+<br />
+</div>
+
+<hr class="full" />
+<br />
+
+<span class="pagenum"><a name="pagei" id="pagei"></a>[pg i]</span>
+
+<a name="intro" id="intro"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>INTRODUCTION</h2>
+
+<p>The development of the English novel is one of the triumphs of the
+eighteenth century. Criticism of prose fiction during that period,
+however, is less impressive, being neither strikingly original nor
+profound nor usually more than fragmentary. Because the early
+statements of theory were mostly very brief and are now obscurely
+buried in rare books, one may come upon the well conceived &quot;program&quot;
+of <i>Joseph Andrews</i> and <i>Tom Jones</i> with some surprise. But if one
+looks in the right places one will realize that mid-eighteenth
+century notions about prose fiction had a substantial background in
+earlier writing. And as in the case of other branches of literary
+theory in the Augustan period, the original expression of the
+organized doctrine was French. In Georges de Scud&eacute;ry's preface to
+<i>Ibrahim</i> (1641)<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> and in a conversation on the art of inventing a
+&quot;Fable&quot; in Book VIII (1656) of his sister Madeleine's <i>Cl&eacute;lie</i> are
+to be found the grounds of criticism in prose fiction; practically
+all the principles are here which eighteenth-century theorists
+adopted, or seemed to adopt, or from which they developed, often by
+the simple process of contradiction, their new principles.</p>
+
+<p>That many of the ideas in the preface to <i>Ibrahim</i> were not new even
+in 1641 becomes plain if one reads the discussions of romance
+written by Giraldi Cinthio and Tasso.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> The particular way in which
+Mlle. de Scud&eacute;ry attempted to carry out those ideas in her later,
+more subjective works she obligingly set forth in <i>Cl&eacute;lie</i> in the
+passage already alluded to. There it is explained that a
+<span class="pagenum"><a name="pageii" id="pageii"></a>[pg ii]</span>
+well-contrived romance &quot;is not only handsomer than the truth, but
+withal, more probable;&quot; that &quot;impossible things, and such as are low
+and common, must almost equally be avoided;&quot; that each person in the
+story must always act according to his own &quot;temper;&quot; that &quot;the
+nature of the passions ought necessarily to be understood, and what
+they work in the hearts of those who are possess'd with them.&quot; He
+who attempts an &quot;ingenious Fable&quot; must have great
+accomplishments&mdash;wit, fancy, judgment, memory; &quot;an universal
+knowledge of the World, of the Interest of Princes, and the humors
+of Nations,&quot; and of both closet-policy and the art of war;
+familiarity with &quot;politeness of conversation, the art of ingenious
+raillery, and that of making innocent Satyrs; nor must he be
+ignorant of that of composing of Verses, writing Letters, and making
+Orations.&quot; The &quot;secrets of all hearts&quot; must be his and &quot;how to take
+away plainness and driness from Morality.&quot;<a name="FNanchor_3_3" id="FNanchor_3_3" /><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
+
+<p>The assumption that the new prose fiction could be judged, as the
+Scud&eacute;rys professed to judge their work, first of all by reference to
+the rules of heroic poetry is frequent in the next century&mdash;in the
+unlikely Mrs. Davys (preface, <i>Works</i>, 1725); in <i>Joseph Andrews</i> of
+course, where the rules of the serious epic and of the heroic
+romance are to aid the author in copying the ancient but, as it
+happens, nonexistent comic epic; and in Fielding's preface to his
+sister's <i>David Simple</i> (1744). Both Richardson and Fielding were
+attacked on epic grounds.<a name="FNanchor_4_4" id="FNanchor_4_4" /><a href="#Footnote_4_4" class="fnanchor">[4]</a> Dr. Johnson's interesting and
+unfriendly essay on recent prose fiction (<i>Rambler</i> No. 4) adopted
+the terminology familiar in the criticism of epic and romance and
+
+<span class="pagenum"><a name="pageiii" id="pageiii"></a>[pg iii]</span>showed that Johnson, unlike d'Argens and Fielding, did not intend
+to give any of the old doctrines new meanings in a way to justify
+realism. Johnson laughed a little in that essay at the heroic
+romances; but like Mlle. de Scud&eacute;ry, whose <i>Conversations</i> he drew
+on for a footnote in his edition of Shakespeare (1765),<a name="FNanchor_5_5" id="FNanchor_5_5" /><a href="#Footnote_5_5" class="fnanchor">[5]</a> he
+believed that fiction should be &quot;probable&quot; and yet should idealize
+life and men and observe poetic Justice. Many other writers on prose
+fiction borrowed the old neo-classic rules, and they applied them
+often so carelessly and so insincerely that one is glad to come
+eventually on signs of rebellion, even if from the sentimentalists:
+&quot;I know not,&quot; wrote Elizabeth Griffith in the preface to <i>The
+Delicate Distress</i> (1769), &quot;whether novel, like the <i>epop&eacute;e</i>, has
+any rules, peculiar to itself.... Sensibility is, in my mind, as
+necessary, as taste, to intitle us to judge of a work, like this.&quot;</p>
+
+<p>The theory of prose fiction offered by the Scud&eacute;rys was, on the
+whole, better than their practice. The same remark can be made with
+even greater assurance of <i>The Secret History of Queen Zarah, and
+the Zarazians</i> (1705) and the other political-scandalous &quot;histories&quot;
+of Mary De la Riviere Manley. For in spite of the faults of <i>Queen
+Zarah</i>, the preface is one of the most substantial discussions of
+prose fiction in the century. Boldly and reasonably it repudiates
+the most characteristic features of the heroic romance&mdash;the vastness
+produced by intercalated stories; the idealized characters, almost
+&quot;exempted from all the Weakness of Humane Nature;&quot; the marvelous
+adventures and remote settings; the essay-like conversations; the
+adulatory attitude; and poetic Justice. <i>Vraisemblance</i>
+<span class="pagenum"><a name="pageiv" id="pageiv"></a>[pg iv]</span> and
+<i>decorum</i>, we are told, are still obligatory, but the probable
+character, action, dialogue will now be less prodigious, will be
+closer to real life as the modern English reader knows it. Thus Mrs.
+Manley announced a point of view which was, at least in most
+respects, to dominate the theory and invigorate the practice of
+prose fiction throughout the century.</p>
+
+<p>A significant phase of Mrs. Manley's discussion is the emphasis upon
+individual characterization and, in characters, upon not only the
+&quot;predominant Quality&quot; and ruling passion of each but also upon the
+elusive and surprising &quot;Turnings and Motions of Humane
+Understanding.&quot; Here one should recognize the influence of
+historical writing rather than of poetry. As Ren&eacute; Rapin had made
+clear in Chapter XX of his <i>Instructions for History</i> (J. Davies's
+translation, 1680), the historian writes the best portraits who
+finds the &quot;essential and distinctive lines&quot; of a man's character and
+the &quot;secret motions and inclinations of [his] Heart.&quot; But Mrs.
+Manley's remarks go beyond Rapin's in implying faith in a sort of
+scientific psychology, especially of &quot;the passions.&quot; Other writers
+showed the same interest and worked toward the same end. Thus Henry
+Gally in his essay on Theophrastus and the Character was so carried
+away by a notion of the importance of the Character-writer's knowing
+all about the passions that he allowed himself to say that only by
+such a knowledge could a Character be made to &quot;hit one Person, and
+him only&quot;<a name="FNanchor_6_6" id="FNanchor_6_6" /><a href="#Footnote_6_6" class="fnanchor">[6]</a>&mdash;the goal obviously not of the Character-writer but of
+the historian and the novelist. The authors of <i>The Cry</i><a name="FNanchor_7_7" id="FNanchor_7_7" /><a href="#Footnote_7_7" class="fnanchor">[7]</a> (1754)
+regarded the unfolding of
+<span class="pagenum"><a name="pagev" id="pagev"></a>[pg v]</span> &quot;the labyrinths of the human mind&quot; as an
+arduous but necessary task; indeed they went on to declare that the
+&quot;motives to actions, and the inward turns of mind, seem in our
+opinion more necessary to be known than the actions themselves.&quot; It
+was Fielding's refusal, in spite of the titles of his books, to
+write like an historian with highly individualized and psychological
+characterizations that caused his admirer Arthur Murphy to admit in
+his &quot;Essay&quot; on Fielding that &quot;Fielding was more attached to the
+<i>manners</i> than to the <i>heart</i>.&quot;<a name="FNanchor_8_8" id="FNanchor_8_8" /><a href="#Footnote_8_8" class="fnanchor">[8]</a> He thought Fielding inferior to
+Marivaux in revealing the heart just as Johnson, according to
+Boswell, preferred Richardson to Fielding because the former
+presented &quot;characters of nature&quot; whereas the latter created only
+&quot;characters of manners.&quot; The author of &quot;A Short Discourse on Novel
+Writing&quot; prefixed to <i>Constantia; or, A True Picture of Human Life</i>
+(1751) went so far as to say that prose fiction may teach more about
+the &quot;sources, symptoms, and inevitable consequences&quot; of the passions
+than could easily be taught in any other way. The increasingly
+subjective and individualized characterization in English fiction
+was well supported in contemporary theory.</p>
+
+<p><i>The Jewish Spy</i>, translated from the <i>Lettres Juives</i> (1736-38) of
+Jean-Baptiste de Boyer, Marquis d'Argens, is an early example of
+citizen-of-the-world literature and contains in its five volumes a
+&quot;Philosophical, Historical and Critical Correspondence&quot; dealing with
+French, English, Italian, and other matters. The work had a European
+vogue, and there were at least two English translations, the present
+one, issued in 1739, 1744,
+<span class="pagenum"><a name="pagevi" id="pagevi"></a>[pg vi]</span>and 1766, and another, called <i>Jewish
+Letters</i>, published at Newcastle in 1746. (The Dublin edition of
+1753 I have not seen.) Though d'Argens's purpose in Letter 35 may
+have been to advertise his own novel, what he had to say is
+interesting. Like many others, he could scoff at the heroic romances
+and yet borrow and quietly modify the doctrines of <i>Ibrahim</i> and
+<i>Cl&eacute;lie</i>. He proposed a still more &quot;advanced&quot; <i>vraisemblance</i> and
+<i>decorum</i>&mdash;psychological analysis tinged with cynicism rather than
+idealism; gallantry but against the background sometimes of the
+modern city; a plainer style; and only such matters as seemed to
+this student of Descartes and Locke to be entirely reasonable.
+Fielding's chapter in <i>Tom Jones</i> (IX, i) &quot;Of Those Who Lawfully
+May, and of Those Who May Not, Write Such Histories as This&quot; could
+be taken as an indication that he knew not only what Mlle. de
+Scud&eacute;ry thought were the accomplishments of the romancer but that he
+had read d'Argens's words on that subject too. Both d'Argens and
+Fielding believed that in addition to &quot;Genius, Wit, and Learning&quot;
+the novelist must have a knowledge of the world and of all degrees
+of men, distinguishing the style of high people from that of low.
+They agreed that a writer must have felt a passion before he could
+paint it successfully. Much more goes into the making of a novel,
+they sarcastically pointed out, than pens, ink, and quires of paper.
+D'Argens, like Fielding, relished reflective passages and could
+approve, more readily than Mrs. Manley, of &quot;an Historian that amuses
+himself by Moralizing or Describing.&quot; D'Argens's list of the
+features to be found in good history and good fiction shows him to
+be a thoroughgoing rationalist
+<span class="pagenum"><a name="pagevii" id="pagevii"></a>[pg vii]</span>and separates his ideal from that of
+young readers, who, according to the preface to <i>The Adventures of
+Theagenes and Chariclia</i> (1717), wish to hear of &quot;Flame and Spirit
+in an Author, of fine Harangues, just Characters, moving Scenes,
+delicacy of Contrivance, surprising turns of action ... indeed the
+choicest Beauties of a <i>Romance</i>.&quot;</p>
+
+<p>The two novels that d'Argens recommended had different fortunes in
+England. D'Argens's book, <i>Memoires du Marquis de Mirmon, ou Le
+Solitaire Philosophe</i> (Amsterdam, 1736) was never translated into
+English and apparently was not much read. But Claude Prosper Jolyot
+de Cr&eacute;billon, the younger, was extolled by Thomas Gray and Horace
+Walpole, quoted by Sarah Fielding,<a name="FNanchor_9_9" id="FNanchor_9_9" /><a href="#Footnote_9_9" class="fnanchor">[9]</a> and had the honor, if one can
+trust Walpole, of an offer of keeping from Lady Mary Wortley
+Montagu. His <i>&Eacute;garemens du Coeur et de l'Esprit</i> (1736-38) was
+translated in 1751<a name="FNanchor_10_10" id="FNanchor_10_10" /><a href="#Footnote_10_10" class="fnanchor">[10]</a> and is the novel which Yorick helped the
+<i>fille de chambre</i> slide into her pocket. Cr&eacute;billon was damned,
+however, in <i>The World</i> (No. 19, May 10, 1753) in an essay that,
+oddly enough, reminds one of d'Argens's Letter 35. The work referred
+to in the third footnote on page 258 is <i>Le Chevalier des Essars et
+la Comtesse de Berci</i> (1735) by Ignace-Vincent Guillot de La
+Chassagne. The last footnote on that page refers to G.H. Bougeant's
+satire, <i>Voyage Merveilleux du Prince Fan-F&eacute;r&eacute;din dans la Romancie</i>
+(1735).</p>
+
+<p>The preface which William Warburton was invited by Richardson to
+supply for Volumes III and IV of <i>Clarissa</i> when they first appeared
+in 1748 has never, I think, been reprinted in full. Richardson
+dropped it from the second edition (1749) of <i>Clarissa</i>, probably
+because he relished
+<span class="pagenum"><a name="pageviii" id="pageviii"></a>[pg viii]</span>neither its implication that he was following
+French precedents nor its suggestion that his work was one &quot;of mere
+Amusement.&quot; In the &quot;Advertisement&quot; in the first volume of the second
+edition he insisted that <i>Clarissa</i> was &quot;not to be considered as a
+<i>mere Amusement</i>, as a <i>light Novel</i>, or <i>transitory Romance</i>; but
+as a <i>History</i> of LIFE and MANNERS ... intended to inculcate the
+HIGHEST and <i>most</i> IMPORTANT <i>Doctrines</i>.&quot;<a name="FNanchor_11_11" id="FNanchor_11_11" /><a href="#Footnote_11_11" class="fnanchor">[11]</a> Warburton, offended
+in turn perhaps, thriftily salvaged more than half of the preface
+(paragraphs 2 to 6) to use as a footnote in his edition of Alexander
+Pope,<a name="FNanchor_12_12" id="FNanchor_12_12" /><a href="#Footnote_12_12" class="fnanchor">[12]</a> but he there made a striking change: not Richardson but
+Marivaux and Fielding were praised as the authors who, with the
+extra enrichment of comic art, had brought the novel of &quot;real LIFE
+AND MANNERS ... to its perfection.&quot;</p>
+
+<p>The important principle of prose fiction which Richardson and
+Warburton recognized&mdash;that there is power in a detailed picture of
+the private life of the middle class&mdash;had been suggested earlier.
+Mrs. Manley could not voice it, at least not in <i>Queen Zarah</i>, where
+the Duke and Duchess of Marlborough, Godolphln, and Queen Anne were
+to be leading characters. But her sometime-friend Richard Steele
+could. Having laughed in <i>The Tender Husband</i> (1705) at a girl whose
+judgment of life was seriously&mdash;or, rather, comically&mdash;warped by her
+reading of heroic romances, Steele made a positive plea in <i>Tatler</i>
+No. 172 for histories of &quot;such adventures as befall persons not
+exalted above the common level.&quot; Books of this sort, still rare in
+1710, would be of great value to &quot;the ordinary race of men.&quot; The
+anonymous preface to <i>The Adventures of Theagenes and Chariclia</i>
+<span class="pagenum"><a name="pageix" id="pageix"></a>[pg ix]</span>
+seven years later attributed to Heliodorus's romance the value of
+suggesting rules &quot;for conducting our Affairs in common Actions of
+Life.&quot; In 1751 when the new realism was a <i>fait accompli</i>, the
+author of <i>An Essay on the New Species of Writing Founded by Mr.
+Fielding</i> declared roundly (p. 19) that in the new fiction the
+characters should be &quot;taken from common Life.&quot; A good argument in
+favor of books about &quot;private persons&quot; was offered in the preface to
+the English translation of the Abb&eacute; Pr&eacute;vost's novel, <i>The Life And
+Entertaining Adventures of Mr. Cleveland, Natural Son of Oliver
+Cromwell</i> (1741): &quot;The history of kingdoms and empires, raises our
+admiration, by the solemnity ... of the images, and furnishes one of
+the noblest entertainments. But at the same time that it is so well
+suited to delight the imagination, it yet is not so apt to touch and
+affect as the history of private men; the reason of which seems to
+be, that the personages in the former, are so far above the common
+level, that we consider ourselves, in some measure, as aliens to
+them; whereas those who act in a lower sphere, are look'd upon by us
+as a kind of relatives, from the similitude of conditions; whence we
+are more intimately mov'd with whatever concerns us.&quot; A comparison
+of the first two paragraphs of this preface and the first four
+paragraphs of Johnson's <i>Rambler</i> No. 60, if it does not discover
+the source of part of Johnson's paper, will at least reveal how the
+defender of the fictional &quot;secret history&quot; and a famous champion of
+intimate biography played into each other's hands. Johnson's
+appearing to follow the defender of French fiction here is all the
+more interesting when one
+<span class="pagenum"><a name="pagex" id="pagex"></a>[pg x]</span>recalls his alarm in <i>Rambler</i> No. 4 over
+the prevailing taste for novels that exhibited, unexpurgated, &quot;Life
+in its true State, diversified only by the Accidents that daily
+happen in the World.&quot; Indeed if it were not for Fielding himself,
+one might imagine from Johnson's unsteady and generally
+unsatisfactory criticism of prose fiction that the old neo-classical
+principles were completely out of date and useless.</p>
+
+<p>Samuel Derrick, the editor of Dryden and friend of Boswell for whom
+Johnson &quot;had a kindness&quot; but not much respect, the &quot;pretty little
+gentleman&quot; described by Smollett's Lydia Melford, translated the
+<i>Memoirs of the Count Du Beauval</i> from <i>Le Mentor Cavalier, ou Les
+Illustres Infortunez de Notre Siecle</i> (&quot;Londres,&quot; 1736) by the
+Marquis d'Argens. Only the second paragraph of Derrick's preface
+came from d'Argens, but the drift of the Frenchman's ideas toward
+&quot;le Naturel&quot; is well sustained in Derrick's praise, no doubt based
+on Warburton's, of writers who present scenes that &quot;are daily found
+to move beneath their Inspection.&quot; There are ties with the doctrines
+of 1641 even in this preface, but the transformation of
+<i>vraisemblance</i> and <i>decorum</i> was sufficiently advanced for the
+needs of the day.</p>
+
+<p>Benjamin Boyce<br />
+Duke University</p>
+
+
+<span class="pagenum"><a name="pagexi" id="pagexi"></a>[pg xi]</span>
+<p class="heading">NOTES TO THE INTRODUCTION</p>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1" /><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Most scholars attribute the preface to Georges de
+Scud&eacute;ry, but it seems impossible to say whether he collaborated with
+his sister in writing the romance itself or whether the work was
+written entirely by her.
+</p><p>
+Cogan's translation of <i>Ibrahim</i> and the preface appeared first in
+1652.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2" /><a href="#FNanchor_2_2"><span class="label">[2]</span></a> See the texts in Allan H. Gilbert's <i>Literary
+Criticism: Plato to Dryden</i> (N.Y.: American Book Co., 1940) and the
+discussion in A.E. Parsons' &quot;The English Heroic Play,&quot; <i>MLR</i>, XXXIII
+(1938), 1-14.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3" /><a href="#FNanchor_3_3"><span class="label">[3]</span></a> <i>Clelia. An Excellent New Romance. The Fourth Volume
+... Rendered into English by G.H.</i> (1677; Part IV, Book II), pp.
+540-543.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4" /><a href="#FNanchor_4_4"><span class="label">[4]</span></a> See <i>An Apology for the Life of Mr. Bempfylde-Moore
+Carew ... The Sixth Edition</i>, p. xix; <i>Critical Remarks on Sir
+Charles Grandison</i> (1754), p. 20.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5" /><a href="#FNanchor_5_5"><span class="label">[5]</span></a> IV, 184. The footnote could have come, contrary to the
+assertion of Sir Walter Raleigh (<i>Six Essays</i> [Oxford, 1910], p.
+94), from either the original French (<i>Conversations sur Divers
+Sujets</i> [Paris, 1680], II, 586-587) or the English translation
+(1683, II, 102). In both editions, the passage appears soon after
+the dialogue on how to compose a romance. I am indebted to Dr.
+Arthur M. Eastman for help in tracing Raleigh's vague reference.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6" /><a href="#FNanchor_6_6"><span class="label">[6]</span></a> <i>The Moral Characters of Theophrastus</i> (1725), pp.
+31-32.</p></div>
+<span class="pagenum"><a name="pagexii" id="pagexii"></a>[pg xii]</span>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7" /><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Jane Collier and Sarah Fielding.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8" /><a href="#FNanchor_8_8"><span class="label">[8]</span></a> The &quot;Essay&quot; was written in 1762, but I quote it as it
+appeared in the third edition (1766) of <i>The Works of Henry
+Fielding</i>, I, 75.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9" /><a href="#FNanchor_9_9"><span class="label">[9]</span></a> James B. Foster, <i>History of the Pre-Romantic Novel in
+England</i> (N.Y.: Modern Lang. Assoc., 1949), p. 76.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10" /><a href="#FNanchor_10_10"><span class="label">[10]</span></a> <i>The Wanderings of the Heart and Mind: or, Memoirs of
+Mr. de Meilcour</i>, translated by M. Clancy. Clara Reeve maintained in
+1785 that Cr&eacute;billon's book was never popular in England and that
+&quot;Some pious person, fearing it might poison the minds of youth ...
+wrote a book of meditations with the same title, and <i>this</i> was the
+book that <i>Yorick's fille de Chambre</i> was purchasing&quot; (<i>The Progress
+of Romance</i> [N.Y.: Facsimile Text Society, 1930], pp. 130-131).</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11" /><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Richardson said that he dropped Warburton's preface
+because <i>Clarissa</i> had been well received and no longer needed such
+an introduction. A fourth explanation of the natter and much other
+relevant information were presented by Ronald S. Crane, &quot;Richardson,
+Warburton and French Fiction,&quot; <i>MLR</i>, XVII (1922), 17-23.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12" /><a href="#FNanchor_12_12"><span class="label">[12]</span></a> <i>The Works of Alexander Pope</i> (1751), IV, 166-169. The
+footnote is on line 146 of the Epistle to Augustus (&quot;And ev'ry
+flow'ry Courtier writ Romance&quot;).</p></div>
+
+<hr class="full" />
+<br />
+
+<a name="article1" id="article1"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>IBRAHIM, OR THE ILLUSTRIOUS BASSA.</h2>
+
+<hr class="short" />
+
+<h3>The whole Work,</h3>
+
+<h3>In Four Parts.</h3>
+
+<h3>Written in French by <i>Monsieur de Scud&eacute;ry</i>,</h3>
+<h3>And Now Englished</h3>
+
+<h3>by</h3>
+
+<h3>Henry Cogan, Gent.</h3>
+
+<hr class="short" />
+<br />
+<br />
+
+<h4>London,</h4>
+
+<p>Printed by <i>J.R.</i> and are to be sold by <i>Peter Parker</i>, at his Shop
+at the <i>Leg</i> and <i>Star</i> over against the Royal Exchange, and <i>Thomas
+Guy</i>, at the Corner-shop of <i>Little-Lumbard street</i> and <i>Cornhil</i>,
+1674.</p>
+
+<span class="pagenum"><a name="page1" id="page1"></a>[pg 1]</span>
+
+<br />
+
+<h2><i>IBRAHIM, or The Illustrious Bassa</i></h2>
+
+<h3><a name="THE_PREFACE" id="THE_PREFACE"></a>THE PREFACE</h3>
+
+<p>I do not know what kind of praise the Ancients thought they gave to
+that Painter, who not able to end his Work, finished it accidentally
+by throwing his pencil against his Picture; but I know very well,
+that it should not have obliged me, and that I should have taken it
+rather for a Satyre, than an Elogium. The operations of the Spirit
+are too important to be left to the conduct of chance, and I had
+rather be accused for failing out of knowledge, than for doing well
+without minding it. There is nothing which temerity doth not
+undertake, and which Fortune doth not bring to pass; but when a man
+relies on those two Guides, if he doth not erre, he may erre; and of
+this sort, even when the events are successefull, no glory is
+merited thereby. Every Art hath its certain rules, which by
+infallible means lead to the ends proposed; and provided that an
+Architect takes his measures right, he is assured of the beauty of
+his Building. Believe not for all this, Reader, that I will conclude
+from thence my work is compleat, because I have followed the rules
+which may render it so: I know that it is of this labour, as of the
+Mathematical Sciences, where the operation may fail, but the Art
+doth never fail; nor do I make this discourse but to shew you, that
+if I have left some faults in my Book, they are the effects of my
+weakness, and not of my negligence. Suffer me then to
+<span class="pagenum"><a name="page2" id="page2"></a>[pg 2]</span>discover unto
+you all the resorts of this frame, and let you see, if not all that
+I have done, at leastwise all that I have endeavoured to doe.</p>
+
+<p>Whereas we cannot be knowing but of that which others do teach us,
+and that it is for him that comes after, to follow them who precede
+him, I have believed, that for the laying the ground-plot of this
+work, we are to consult with the Grecians, who have been our first
+Masters, pursue the course which they have held, and labour in
+imitating them to arrive at the same end, which those great men
+propounded to themselves. I have seen in those famous <i>Romanzes</i> of
+Antiquity, that in imitation of the Epique Poem there is a principal
+action whereunto all the rest, which reign over all the work, are
+fastned, and which makes them that they are not employed, but for
+the conducting of it to its perfection. The action in <i>Homers
+Iliades</i> is the destrustion of <i>Troy</i>; in his <i>Odysseas</i> the return
+of <i>Ulysses</i> to <i>Ithaca</i>; in <i>Virgil</i> the death of <i>Turnus</i>, or to
+say better, the conquest of <i>Italy</i>; neerer to our times, in <i>Tasso</i>
+the taking of <i>Jerusalem</i>; and to pass from the Poem to the
+<i>Romanze</i>, which is my principal object, in <i>Helidorus</i> the marriage
+of <i>Theagines</i> and <i>Cariclia</i>. It is not because the Episodes in the
+one, and the several Histories in the other, are not rather beauties
+than defects; but it is alwayes necessary, that the Addresse of him
+which employes them should hold them in some sort to this principal
+action, to the end, that by this ingenious concatenation, all the
+parts of them should make but one body, and that nothing may be seen
+in them which is loose and
+<span class="pagenum"><a name="page3" id="page3"></a>[pg 3]</span>unprofitable. Thus the marriage of my
+<i>Justiniano</i> and his <i>Isabella</i>, being the object which I have
+proposed unto my self, I have employed all my care so to doe, that
+all parts of my work may tend to that conclusion; that there may be
+a strong connexion between them; and that, except the obstacle which
+Fortune opposeth to the desires of my <i>Hero</i>'s, all things may
+advance, or at leastwise endeavour to advance his marriage, which is
+the end of my labour. Now those great Geniusses of antiquity, from
+whom I borrow my light, knowing that well-ordering is one of the
+principal parts of a piece, have given so excellent a one to their
+speaking Pictures, that it would be as much stupidity, as pride, not
+to imitate them. They have not done like those Painters, who present
+in one and the same cloth a Prince in the Cradle, upon the Throne,
+and in the Tombe, perplexing, by this so little judicious a
+confusion, him that considers their work; but with an incomparable
+address they begin their History in the midle, so to give some
+suspence to the Reader, even from the first opening of the Book; and
+to confine themselves within reasonable bounds they have made the
+History (as I likewise have done after them) not to last above a
+year, the rest being delivered by Narration. Thus all things being
+ingeniously placed, and of a just greatness, no doubt, but pleasure
+will redound from thence to him that beholds them, and glory to him
+that hath done them. But amongst all the rules which are to be
+observed in the composition of these works, that of true resemblance
+is without question the most necessary; it is, as it were, the
+fundamental stone of this building, and but upon which it
+<span class="pagenum"><a name="page4" id="page4"></a>[pg 4]</span>cannot
+subsist; without it nothing can move, without it nothing can please:
+and if this charming deceiver doth not beguile the mind in
+<i>Romanzes</i>, this kinde of reading disgusts, instead of entertaining
+it: I have laboured then never to eloigne my self from it, and to
+that purpose I have observed the Manners, Customs, Religions, and
+Inclinations of People: and to give a more true resemblance to
+things, I have made the foundations of my work Historical, my
+principal Personages such as are marked out in the true History for
+illustrious persons, and the wars effective. This is the way
+doubtless, whereby one may arrive at his end; for when as falshood
+and truth are confounded by a dexterous hand, wit hath much adoe to
+disintangle them, and is not easily carried to destroy that which
+pleaseth it; contrarily, whenas invention doth not make use of this
+artifice, and that falshood is produced openly, this gross untruth
+makes no impression in the soul, nor gives any delight: As indeed
+how should I be touched with the misfortunes of the Queen of
+<i>Gundaya</i>, and of the King of <i>Astrobacia</i>, whenas I know their very
+Kingdoms are not in the universal Mapp, or, to say better, in the
+being of things? But this is not the only defect which may carry us
+from the true resemblance, for we have at other times seen
+<i>Romanzes</i>, which set before us monsters, in thinking to let us see
+Miracles; their Authors by adhering too much to wonders have made
+Grotesques, which have not a little of the visions of a burning
+Feaver; and one might demand of these Messieurs with more reason,
+than the Duke of <i>Ferrara</i> did of <i>Ariosto</i>, after he had read his
+<i>Orlando, Messer Lodovico done diavolo havete pigliato tante
+coyonerie</i>? As
+<span class="pagenum"><a name="page5" id="page5"></a>[pg 5]</span>for me, I hold, that the more natural adventures
+are, the more satisfaction they give; and the ordinary course of the
+Sun seems more marvellous to me, than the strange and deadly rayes
+of Comets; for which reason it is also that I have not caused so
+many Shipwrecks, as there are in some ancient <i>Romanzes</i>; and to
+speak seriously, <i>Du Bartas</i> might say of these Authors,</p>
+
+<span style="margin-left: 2em;"><i>That with their word they bind,</i></span><br />
+<span style="margin-left: 2em;"><i>Or loose, at will, the blowing of the wind.</i></span><br />
+
+<p>So as one might think that <i>&AElig;olus</i> hath given them the Winds
+inclosed in a bagg, as he gave them to <i>Ulysses</i>, so patly do they
+unchain them; they make tempests and shipwracks when they please,
+they raise them on the Pacifique Sea, they find rocks and shelves
+where the most expert Pilots have never observed any: But they which
+dispose thus of the winds, know not how the Prophet doth assure us,
+that God keeps them in his Treasures; and that Philosophy, as clear
+sighted as it is, could never discover their retreat. Howbeit I
+pretend not hereby to banish Shipwrecks from <i>Romanzes</i>, I approve
+of them in the works of others, and make use of them in mine; I know
+likewise, that the Sea is the Scene most proper to make great
+changes in, and that some have named it the Theatre of inconstancy;
+but as all excess is vicious, I have made use of it but moderately,
+for to conserve true resembling: Now the same design is the cause
+also, that my <i>Heros</i> is not oppressed with such a prodigious
+quantity of accidents, as arrive unto some others, for that
+according to my sense, the same is far from true resemblance, the
+life of no man having ever been so cross'd. It would be better in my
+opinion to separate the
+<span class="pagenum"><a name="page6" id="page6"></a>[pg 6]</span>adventures, to form divers Histories of
+them, and to make persons acting, thereby to appear both fertile and
+judicious together, and to be still within this so necessary true
+resemblance. And indeed they who have made one man alone defeat
+whole Armies, have forgotten the Proverb which saith, <i>not one
+against two</i>; and know not that Antiquity doth assure us, how
+<i>Hercules</i> would in that case be too weak. It is without all doubt,
+that to represent a true heroical courage, one should make it
+execute some thing extraordinary, as it were by a transport of the
+<i>Heros</i>; but he must not continue in that sort, for so those
+incredible actions would degenerate into ridiculous Fables, and
+never move the mind. This fault is the cause also of committing
+another; for they which doe nothing but heap adventure upon
+adventure, without ornament, and without stirring up passions by the
+artifices of Rhetorick, or irksome, in thinking to be the more
+entertaining. This dry Narration, and without art, hath more of an
+old Chronicle, than of a <i>Romanze</i>, which may very well be
+imbellished with those ornaments, since History, as severe and
+scrupulous as it is, doth not forbear employing them. Certain
+Authors, after they have described an adventure, a daring design, or
+some surprising event, able to possess one with the bravest
+apprehensions in the world, are contented to assure us, that such a
+<i>Heros</i> thought of very gallant things, without telling us what they
+are; and this is that alone which I desire to know: For how can I
+tell, whether in these events Fortune hath not done as much as he?
+whether his valour be not a brutish valour? and whether he hath born
+the misfortunes that arrived unto him, as
+<span class="pagenum"><a name="page7" id="page7"></a>[pg 7]</span>a worthy man should doe?
+it is not by things without him, it is not by the caprichioes of
+destiny, that I will judge of him; it is by the motions of his soul,
+and by that which he speaketh. I honour all them that write at this
+day; I know their persons, their works, their merits; but as
+canonizing is for none but the dead, they will not take it ill if I
+do not Deifie them, since they are living. And in this occasion I
+propose no other example, than the great and incomparable <i>Urf&eacute;</i>;
+certainly it must be acknowledged that he hath merited his
+reputation; that the love which all the earth bears him is just; and
+that so many different Nations, which have translated his Book into
+their tongues, had reason to do it: as for me, I confess openly,
+that I am his adorer; these twenty years I have loved him, he is
+indeed admirable over all; he is fertile in his inventions, and in
+inventions reasonable; every thing in him is mervellous, every thing
+in him is excellent; and that which is more important, every thing
+in him is natural, and truly resembling: But amongst many rare
+matters, that which I most esteem of is, that he knows how to touch
+the passions so delicately, that he may be called the Painter of the
+Soul; he goes searching out in the bottom of hearts the most secret
+thoughts; and in the diversity of natures, which he represents, evey
+one findes his own pourtrait, so that</p>
+
+<span style="margin-left: 2em;"><i>If amongst mortals any be</i></span><br />
+<span style="margin-left: 2em;"><i>That merits Altars</i>, Urf&eacute;'s <i>he</i></span><br />
+<span style="margin-left: 2em;"><i>Who can alone pretend thereto.</i></span><br />
+
+<p>Certainly there is nothing more important in this kind of
+composition, than strongly to imprint the Idea, or (to say better)
+the image of the <i>Heroes</i> in the mind of the Reader, but in such
+sort, as if
+<span class="pagenum"><a name="page8" id="page8"></a>[pg 8]</span>they were known to them; for that it is which
+interesseth him in their adventures, and from thence his delight
+cometh, now to make them be known perfectly, it is not sufficient to
+say how many times they have suffered shipwreck, and how many times
+they have encountered Robbers, but their inclinations must be made
+to appear by their discourse: otherwise one may rightly apply to
+these dumb <i>Heroes</i> that excellent motto of Antiquity, <i>Speak that I
+may see thee</i>. And if from true resemblance and inclinations,
+expressed by words, we will pass unto manners, goe from the pleasant
+to the profitable, and from Delight to Example, I am to tell you,
+Reader, that here Vertue is seen to be alwayes recompenced, and Vice
+alwayes punished, if he that hath followed his unruliness hath not
+by a just and sensible repentance obtained Grace from Heaven; to
+which purpose I have also observed equality of manners in all the
+persons that do act, unless it be whereas they are disordered by
+passions, and touched with remorse.</p>
+
+<p>I have had a care likewise to deal in such sort, as the faults,
+which great ones have committed in my History, should be caused
+either by Love or by Ambition, which are the Noblest of passions,
+and that they be imputed to the evil counsell of Flatterers; that so
+the respect, which is alwayes due unto Kings, may be preserved. You
+shall see there, Reader, if I be not deceived, the comeliness of
+things and conditions exactly enough observed; neither have I put
+any thing into my Book, which the Ladies may not read without
+blushing. And if you see not my <i>Hero</i> persecuted with Love by
+Women, it is not because he was not amiable, and that
+<span class="pagenum"><a name="page9" id="page9"></a>[pg 9]</span>he could not
+be loved, but because it would clash with Civility in the persons of
+Ladies, and with true resemblance in that of men, who rarely shew
+themselves cruel unto them, nor in doing it could have any good
+grace: Finally, whether things ought to be so, or whether I have
+judged of my <i>Hero</i> by mine own weakness, I would not expose his
+fidelity to that dangerous triall, but have been contented to make
+no <i>Hilas</i>, nor yet an <i>Hipolitus</i> of him.</p>
+
+<p>But whilest I speak of Civility, it is fit I should tell you (for
+fear I be accused of falling therein) that if you see throughout all
+my Work, whenas <i>Soliman</i> is spoken unto, Thy Highness, Thy
+Majestie, and that in conclusion he is treated with Thee, and not
+with You, it is not for want of Respect, but contrarily it is to
+have the more, and to observe the custom of those people, who speak
+after that sort to their Sovereigns. And if the Authority of the
+living may be of as much force, as that of the dead, you shall find
+examples of it in the most famous <i>Othomans</i>, and you shall see that
+their Authors have not been afraid to employ in their own Tongue a
+manner of speaking, which they have drawn from the Greek and Latin;
+and then too I have made it appear clearlie, that I have not done it
+without design; for unless it be whenas the Turks speak to the
+Sultan, or he to his Inferiours, I have never made use of it, and
+either of them doth use it to each other.</p>
+
+<p>Now for fear it may be objected unto me, that I have approached some
+incidents nearer than the Historie hath shewed them to be, great
+<i>Virgil</i> shall be my Warrant, who in his Divine <i>&AElig;neids</i> hath made
+<i>Dido</i>
+<span class="pagenum"><a name="page10" id="page10"></a>[pg 10]</span> appear four Ages after her own; wherefore I have believed I
+might do of some moneths, what he hath done of so many Years, and
+that I was not to be afraid of erring, as long as I followed so good
+a guide. I know not likewise whether some may not take it ill, that
+my <i>Hero</i> and <i>Heronia</i> are not Kings; but besides that the Generous
+do put no difference between wearing of Crowns, and meriting them,
+and that my <i>Justiniano</i> is of a Race which hath held the Empire of
+the Orient, the example of <i>Athenagoras</i>, me-thinks, ought to stop
+their mouths, seeing <i>Theogines</i> and <i>Charida</i> are but simple
+Citizens.</p>
+
+<p>Finally, Reader, such Censors may set their hearts at rest for this
+particular, and leave me there, for I assure them, that <i>Justiniano</i>
+is of a condition to command over the whole Earth; and that
+<i>Isabella</i> is of a House, and Gentlewoman good enough, to make
+Knights of the <i>Rhodes</i>, if she have children enough for it, and
+that she have a minde thereunto. But setting this jesting aside, and
+coming to that which regards the <i>Italian</i> names, know that I have
+put them in their natural pronunciation. And if you see some Turkish
+words, as <i>Alla</i>, <i>Stamboll</i>, the <i>Egira</i>, and some others, I have
+done it of purpose, Reader, and have left them as Historical marks,
+which are to pass rather for embellishments than defests. It is
+certain, that imposition of names is a thing which every one ought
+to think of, and whereof nevertheless all the World hath not
+thought: We have oftentimes seen Greek Names given to barbarous
+Nations, with as little reason as if I should name an English man
+<i>Mahomet</i>, and that I should call a Turk <i>Anthony</i>; for my part I
+have believed that more care is
+<span class="pagenum"><a name="page11" id="page11"></a>[pg 11]</span>to be had of ones with; and if any
+one remarks the name of <i>Satrape</i> in this <i>Romanze</i>, let him not
+magine that my ignorance hath confounded the ancient and new Persia,
+and that I have done it without Authority, I have an example thereof
+in <i>Vigenere</i>, who makes use of it in his Illustrations upon
+<i>Calchondila</i>; and I have learned it of a <i>Persian</i>, which is at
+<i>Paris</i>, who saith, that by corruption of speech they call yet to
+this day the Governours of Provinces, <i>Soltan Sitripin</i>.</p>
+
+<p>Now lest some other should further accuse me for having improperly
+named <i>Ibrahim</i>'s House a Palace, since all those of quality are
+called <i>Seraglioes</i> at <i>Constantinople</i>, I desire you to remember
+that I have done it by the counsel of two or three excellent
+persons, who have found as well as my self, that this name of
+<i>Seraglio</i> would leave an <i>Idea</i> which was not seemly, and that it
+was fit not to make use of it, but in speaking of the Grand Signior,
+and that as seldom as might be. But whilest we are speaking of a
+Palace, I am to advertise you, that such as are not curious to see a
+goodly building, may pass by the gate of that of my <i>Heroe</i> without
+entring into it, that is to say, not to read the description of it;
+it is not because I have handled this matter like to <i>Athenagoras</i>,
+who playes the Mason In the Temple of <i>Jupiter Hammon</i>; nor like
+<i>Poliphile</i> in his dreams, who hath set down most strange terms, and
+all the dimensions of Architecture, whereas I have employed but the
+Ornaments thereof; it is not because they are not Beauties suitable
+to the <i>Romanze</i>, as well as to the <i>Epique Poem</i>, since the most
+famous both of the one and the other have
+<span class="pagenum"><a name="page12" id="page12"></a>[pg 12]</span>them; nor is it too
+because mine is not grounded on the History, which assures us that
+it was the most superb the Turks ever made, as still appears by the
+remains thereof, which they of that Nation call <i>Serrau Ibrahim</i>.</p>
+
+<p>But to conclude, as inclinations ought to be free, such as love not
+those beautifull things, for which I have so much passion (as I have
+said) pass on without looking on them, and leave them to others more
+curious of those rarities, which I have assembled together with art
+and care enough. Now Reader, ingenuity being a matter necessary for
+a man of Honour, and the theft of glory being the basest that may be
+committed, I must confess here for fear of being accused of it, that
+the History of the Count of <i>Lavagna</i>, which you shall see in my
+Book, is partly a Paraphrase of <i>Mascardies</i>; this Adventure falling
+out in the time whilest I was writing, I judged it too excellent not
+to set it down, and too well indited for to undertake to do it
+better; so that regard not this place but as a Translation of that
+famous Italian, and except the matters, which concern my History,
+attribute all to that great man, whose Interpreter only I am. And if
+you finde something not very serious in the Histories of a certain
+French Marquis, which I have interlaced in my Book, remember if you
+please, that a <i>Romanze</i> ought to have the Images of all natures;
+and this diversity makes up the beauties of it, and the delight of
+the Reader; and at the worst regard it as the sport of a
+Melancholick, and suffer it without blaming it. But before I make an
+end, I must pass from matters to the manner of delivering them, and
+desire
+<span class="pagenum"><a name="page13" id="page13"></a>[pg 13]</span>you also not to forget, that a Narrative stile ought not to
+be too much inflated, no more than that of ordinarie conversations;
+that the more facile it is, the more excellent it is; that it ought
+to glide along like the Rivers, and not rebound up like Torrents;
+and that the less constraint it hath, the more perfection it hath; I
+have endeavoured then to observe a just mediocrity between vicious
+Elevation, and creeping Lowness; I have contained my self in
+Narration, and left my self free in Orations and in Passions, and
+without speaking as extravagants and the vulgar, I have laboured to
+speak as worthy persons do.</p>
+
+<p>Behold, Reader, that which I had to say to you, but what defence
+soever, I have imployed, I know that it is of works of this nature,
+as of a place of War, where notwithstanding all the care the
+Engineer hath brought to fortifie it, there is alwayes some weak
+part found, which he hath not dream'd of, and whereby it is
+assaulted; but this shall not surprize me; for as I have not forgot
+that I am a man, no more have I forgot that I am subject to erre.</p>
+
+<hr class="full" />
+<br />
+<a name="article2" id="article2"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>The Secret History of Queen <i>ZARAH</i>,</h2>
+
+<h3>and the</h3>
+
+<h2><i>Zarazians</i>;</h2>
+
+<h3>Being a</h3>
+
+<h2>Looking-glass</h2>
+
+<h3>for</h3>
+
+<h3>&mdash;&mdash;&mdash; &mdash;&mdash;&mdash;&mdash;&mdash;</h3>
+
+<h3>In the Kingdom of</h3>
+
+<h2><i>ALBIGION</i>.</h2>
+
+<p class="center">Faithfully Translated from the <i>Italian</i> Copy now lodg'd in the
+<i>Vatican</i> at <i>Rome</i>, and never before Printed in any Language.</p>
+<br />
+<h4><i>Albigion</i>, Printed in the Year 1705.</h4>
+<br />
+<h4>Price Stitch'd 1 <i>s.</i> Price Bound 1 <i>s.</i> 6 <i>d.</i></h4>
+
+<h3>TO THE READER.</h3>
+
+<p><i>The Romances in</i> France <i>have for a long Time been the Diversion
+and Amusement of the whole World; the People both in the City and at
+Court have given themselves over to this Vice, and all Sorts of
+People have read these Works with a most surprizing Greediness; but
+that Fury is very much abated, and they are all fallen off from this
+Distraction: The Little</i> Histories <i>of this Kind have taken Place
+of</i> Romances, <i>whose Prodigious Number of Volumes were sufficient to
+tire and satiate such whose Heads were most fill'd with those
+Notions.</i></p>
+
+<p><i>These little Pieces which have banish'd</i> Romances <i>are much more
+agreeable to the Brisk and Impetuous Humour of the</i> English, <i>who have
+naturally no Taste for long-winded Performances, for they have no
+sooner begun a Book, but they desire to see the End of it: The
+Prodigious Length of the Ancient</i> Romances, <i>the Mixture of so many
+Extraordinary Adventures, and the great Number of Actors that appear
+on the Stage, and the Likeness which is so little managed, all which
+has given a Distaste to Persons of good Sense, and has made Romances
+so much cry'd down, as we find 'em at present. The Authors of
+Historical Novels, who have found out this Fault, have run into the
+same Error, because they take for the Foundation of their History
+no more than one Principal Event, and don't overcharge it with</i>
+Episodes, <i>which wou'd extend it to an Excessive Length; but they
+are run into another Fault, which I cannot Pardon, that is, to
+please by Variety the Taste of the Reader, they mix particular
+Stories with the Principal</i> History, <i>which seems to me as if they
+reason'd Ill; in Effect the Curiosity of the Reader is deceiv'd by
+this Deviation from the Subject, which retards the Pleasure he wou'd
+have in seeing the End of an Event; it relishes of a Secret
+Displeasure in the Author, which makes him soon lose Sight of those
+Persons with whom he began to be in Love; besides the vast Number of
+Actors who have such different Interests, embarresses his Memory,
+and causes some Confusion in his Brain, because 'tis necessary for
+the Imagination to labour to recal the several Interests and
+Characters of the Persons spoken of, and by which they have
+interrupted the</i> History.</p>
+
+<p><i>For the Reader's better Understanding, we ought not to chuse too
+Ancient Accidents, nor unknown Heroes, which are fought for in a
+Barbarous Countrey, and too far distant in Time, for we care little
+for what was done a Thousand Years ago among the</i> Tartars <i>or</i>
+Ayssines.</p>
+
+<p><i>The Names of Persons ought to have a Sweetness in them, for a
+Barbarous Name disturbs the Imagination; as the Historian describes
+the Heroes to his Fancy, so he ought to give them Qualities which
+affect the Reader, and which fixes him to his Fortune; but he ought
+with great Care to observe the Probability of Truth, which consists
+in saying nothing but what may Morally be believed.</i></p>
+
+<p><i>For there are Truths that are not always probable; as for Example
+'tis an allowed Truth in the</i> Roman History <i>that</i> Nero <i>put his
+Mother to Death, but 'tis a Thing against all Reason and Probability
+that a Son shou'd embrue his Hand in the Blood of his own Mother; it
+is also no less probable that a Single Captain shou'd at the Head of
+a Bridge stop a whole Army, although 'tis probable that a small
+Number of Soldiers might stop, in Defiles, Prodigious Armies,
+because the Situation of the Place favours the Design, and renders
+them almost Equal. He that writes a True History ought to place the
+Accidents as they Naturally happen, without endeavouring to sweeten
+them for to procure a greater Credit, because he is not obliged to
+answer for their Probability; but he that composes a History to his
+Fancy, gives his Heroes what Characters he pleases; and places the
+Accidents as he thinks fit, without believing he shall be
+contradicted by other Historians, therefore he if obliged to Write
+nothing that is improbable; 'tis nevertheless allowable that an
+Historian shows the Elevation of his</i> Genius, <i>when advancing
+Improbable Actions, he gives them Colours and Appearances capable of
+Perswading.</i></p>
+
+<p><i>One of the Things an Author ought first of all to take Care of, is
+to keep up to the Characters of the Persons he introduces. The
+Authors of</i> Romances <i>give Extraordinary Virtues to their Heroins,
+exempted from all the Weakness of Humane Nature, and much above the
+Infirmities of their Sex; 'tis Necessary they shou'd be Virtuous or
+Vicious to Merit the Esteem or Disesteem of the Reader; but their
+Virtue out to be spared, and their Vices exposed to every Trial: It
+wou'd in no wise be probable that a Young Woman fondly beloved by a
+Man of great Merit, and for whom she had a Reciprocal Tenderness,
+finding her self at all Times alone with him in Places which
+favour'd their Loves, cou'd always resist his Addresses; there are
+too Nice Occasions; and an Author wou'd not enough observe good
+Sense, if he therein exposed his Heroins; 'tis a Fault which Authors
+of</i> Romances <i>commit in every Page; they would blind the Reader
+with this Miracle, but 'tis necessary the Miracle shou'd be
+feisable, to make an Impression in the Brain of Reasonable Persons;
+the Characters are better managed in the Historical Novels, which
+are writ now-a-days; they are not fill'd with great Adventures, and
+extraordinary Accidents, for the most simple Action may engage the
+Reader by the Circumstances that attend it; it enters into all the
+Motions and Disquiets of the Actor, when they have well express'd to
+him the Character. If he be Jealous, the Look of a Person he Loves,
+a Mouse, a turn of the Head, or the least complaisance to a Rival,
+throws him into the greatest Agitations, which the Readers perceive
+by a Counter-blow; if he be very Vertuous, and falls into a
+Mischance by Accident, they Pity him and Commiserate his
+Misfortunes; for Fear and Pity in Romance as well as Tragedies are
+the Two Instruments which move the Passion; for we in some Manner
+put our selves in the Room of those we see in Danger; the Part we
+take therein, and the fear of falling into the like Misfortunes,
+causes us to interest our selves more in their Adventures, because
+that those sort of Accidents may happen, to all the World; and it
+touches so much the more, because they are the common Effect of
+Nature.</i></p>
+
+<p><i>The Heroes in the Ancient</i> Romances <i>have nothing in them that is
+Natural; all is unlimited in their Character; all their Advantages
+have Something Prodigious, and all their Actions Something that's
+Marvellous; in short, they are not Men: A single Prince attact by a
+great Number of Enemies, it so far from giving way to the Croud,
+that he does Incredible Feats of Valour, beats them, puts them to
+flight, delivers all the Prisoners, and kills an infinite Number of
+People, to deserve the Title of a Hero. A Reader who has any Sense
+does not take part with these Fabulous Adventures, or at least is
+but slightly touch'd with them, because they are not natural, and
+therefore cannot be believ'd. The Heroes of the Modern Romances are
+better Characteriz'd, they give them Passions, Vertues or Vices,
+which resemble Humanity; thus all the World will find themselves
+represented in these Descriptions, which ought to be exact, and
+mark'd by Tracts which express clearly the Character of the Hero, to
+the end we may not be deceived, and may presently know our
+predominant Quality, which ought to give the Spirit all the Motion
+and Action of our Lives; 'tis that which inspires the Reader with
+Curiosity, and a certain impatient Desire to see the End of the
+Accidents, the reading of which causes an Exquisite Pleasure when
+they are Nicely handled; the Motion of the Heart gives yet more, but
+the Author ought to have an Extraordinary Penetration to distinguish
+them well, and not to lose himself in this Labyrinth. Most Authors
+are contented to describe Men in general, they represent them
+Covetous, Courageous and Ambitious, without entering into the
+Particulars, and without specifying the Character of their
+Covetousness, Valour or Ambition; they don't perceive Nice
+Distinctions, which those who know it Remark in the Passions; in
+Effect, the Nature, Humour and Juncture, give New Postures to Vices;
+the Turn of the Mind, Motion of the Heart, Affection and Interests,
+alter the very Nature of the Passions, which are different in All
+Men; the Genius of the Author marvellously appears when he Nicely
+discovers those Differences, and exposes to the Reader's Sight those
+almost unperceivable Jealousies which escape the Sight of most
+Authors, because they have not an exact Notion of the Turnings and
+Motions of Humane Understanding; and they know nothing but the gross
+Passions, from whence they make but general Descriptions.</i></p>
+
+<p><i>He that Writes either a True or False History, ought immediately
+to take Notice of the Time and Sense where those Accidents
+happen'd, that the Reader may not remain long in Suspence; he ought
+also in few Words describe the Person who bears the most
+Considerable Part in his Story to engage the Reader; 'tis a Thing
+that little conduces to the raising the Merit of a Heroe, to Praise
+him by the Beauty of his Face; this is mean and trivial, Detail
+discourages Persons of good Taste; 'tis the Qualities of the Soul
+which ought to render him acceptable; and there are those Qualities
+likewise that ought to be discourag'd in the Principal Character of
+a Heroe, for there are Actors of a Second Rank, who serve only to
+bind the Intrigue, and they ought not to be compar'd with those of
+the First Order, nor be given Qualities that may cause them to be
+equally Esteemd; 'tis not by Extravagant Expressions, nor Repeated
+Praises, that the Reader's Esteem is acquired to the Character of
+the Heroe's, their Actions ought to plead far them; 'tis by that
+they are made known; and describe themselves; altho' they ought to
+have some Extraordinary Qualities, they ought not all to have 'em in
+an equal degree; 'tis impossible they shou'd not have some
+Imperfections, seeing they are Men, but their Imperfections ought
+not to destroy the Character that is attributed to them; if we
+describe them Brave, Liberal and Generous, we ought not to attribute
+to them Baseness or Cowardice, because that their Actions wou'd
+otherwise bely their Character, and the Predominant Virtures of the
+Heroes: 'Tis no Argument that</i> Salust, <i>though so Happy in the
+Description of Men, in the Description of</i> Cataline <i>does not in
+some manner describe him Covetous also; for he says this Ambitious
+Man spent his own Means profusely, and raged after the Goods of
+another with an Extream Greediness, but these Two Motions which seem
+contrary were inspired by the same Wit; these were the Effects of
+the Unbounded Ambition of</i> Cataline, <i>and the desire he had to Rise
+by the help of his Creatures on the Ruins of the</i> Roman <i>Republic;
+so vast a Project cou'd not be Executed by very great Sums of Money,
+which obliged</i> Cataline <i>to make all Sorts of Efforts to get it from
+all Parts.</i></p>
+
+<p><i>Every Historian ought to be extreamly uninterested; he ought
+neither to Praise nor Blame those he speaks of; he ought to be
+contented with Exposing the Actions, leaving an entire Liberty to
+the Reader to judge at he pleases, without taking any care not to
+blame his Heroes, or make their Apology; he is no judge of the merit
+of his Heroes, his Business is to represent them in the same Form as
+they are, and describe their Sentiments, Manners and Conduct; it
+deviates in some manner from his Character, and that perfect
+uninterestedness, when he adds to the Names of those he introduces
+Epithets either to Blame or Praise them; there are but few
+Historians who exactly follow this Rule, and who maintain this
+Difference, from which they cannot deviate without rendring
+themselves guilty of Partiality.</i></p>
+
+<p><i>Although there ought to be a great Genius required to Write a
+History perfectly, it is nevertheless not requisite that a Historian
+shou'd always make use of all his Wit, nor that he shou'd strain
+himself, in Nice and Lively Reflexions; 'tis a Fault which is
+reproach'd with some Justice to</i> Cornelius Tacitus, <i>who is not
+contented to recount the Feats, but employs the most refin'd
+Reflexions of Policy to find out the secret Reasons and hidden
+Causes of Accidents, there is nevertheless a distinction to be made
+between the Character of the Historian and the Heroe, for if it be
+the Heroe that speaks, then he ought to express himself
+Ingeniously, without affecting any Nicety of Points or Syllogisms,
+because he speaks without any Preparation; but when the Author
+speaks of his Chief, he may use a more Nice Language, and chuse his
+Terms for the better expressing his Designs; Moral Reflexions,
+Maxims and Sentences are more proper in Discourses for Instructions
+than in Historical Novels, whose chief End if to please; and if we
+find in them some Instructions, it proceeds rather from their
+Descriptions than their Precepts.</i></p>
+
+<p><i>An Acute Historian ought to observe the same Method, at the Ending
+as at the Beginning of his Story, for he may at first expose Maxims
+relating but a few Feats, but when the End draws nigher, the
+Curiosity of the Reader is augmented, and he finds in him a Secret
+Impatience of desiring to see the Discovery of the Action; an
+Historian that amuses himself by Moralizing or Describing,
+discourages an Impatient Reader, who is in haste to see the End of
+Intrigues; he ought also to use a quite different Sort of Stile in
+the main Part of the Work, than in Conversations, which ought to be
+writ after an easie and free Manner: Fine Expressions and Elegant
+Turns agree little to the Stile of Conversation, whose Principal
+Ornament consists in the Plainness, Simplicity, Free and Sincere
+Air, which is much to be preferr'd before a great Exactness: We see
+frequent Examples in Ancient Authors of a Sort of Conversation which
+seems to clash with Reason; for 'tis not Natural for a Man to
+entertain himself, for we only speak that we may communicate our
+Thoughts to others; besides, 'tis hard to comprehend how an Author
+that relates Word for Word, the like Conversation cou'd be
+instructed to repeat them with so much Exactness; these Sort of
+Conversations are much more Impertinent when they run upon strange
+Subjects, which are not indispensibly allied to the Story handled:
+If the Conversations are long they indispensibly tire, because they
+drive from our Sight those People to whom we are engaged, and
+interrupt the Seque of the Story.</i></p>
+
+<p><i>'Tis an indispensible Necessity to end a Story to satisfie the
+Disquiets of the Reader, who is engag'd to the Fortunes of those
+People whose Adventures are described to him; 'tis depriving him of
+a most delicate Pleasure, when he is hindred from seeing the Event
+of an Intrigue, which has caused some Emotion in him, whose
+Discovery he expects, be it either Happy or Unhappy; the chief End
+of History is to instruct and inspire into Men the Love of Vertue,
+and Abhorrence of Vice, by the Examples propos'd to them; therefore
+the Conclusion of a Story ought to have some Tract of Morality which
+may engage Virtue; those People who have a more refin'd Vertue are
+not always the most Happy; but yet their Misfortunes excite their
+Readers Pity, and affects them; although Vice be not always
+punish'd, yet 'tis describ'd with Reasons which shew its Deformity,
+and make it enough known to be worthy of nothing but
+Chastisements.</i></p>
+
+<hr class="full" />
+<br />
+
+<a name="article3" id="article3"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>THE JEWISH SPY:</h2>
+
+<h3>BEING A</h3>
+
+<h3>PHILOSOPHICAL, HISTORICAL and
+CRITICAL <i>Correspondence,</i></h3>
+
+<h2><i>By</i> LETTERS</h2>
+
+<h3>Which lately pass'd between certain <i>JEWS</i></h3>
+<h3 style="margin-top:-1.0em">in <i>Turky, Italy, France, &amp;c.</i></h3>
+<br />
+<h4>Translated from the ORIGINALS into <i>French</i>,</h4>
+
+<h4><i>By the</i> MARQUIS D'ARGENS;</h4>
+<h4><i>And now done into</i> English.</h4>
+
+<h2>THE SECOND EDITION.</h2>
+
+<h2>VOL. I.</h2>
+
+<div class="figcenter">
+<img src="images/053.png" alt="" title="" />
+</div>
+
+<h3><i>LONDON</i>:</h3>
+
+<p>Printed for D. BROWNE, without <i>Temple-Bar;</i> R. HETT, in the
+<i>Poultry</i>; J. SHUCKBURGH, in <i>Fleet-street</i>; J. HODGES, on <i>London
+Bridge</i>; and A. MILLAR, in the <i>Strand</i>. M DCC XLIV.
+<br clear="all" />
+<span class="pagenum"><a name="page255" id="page255"></a>[pg 255]</span></p>
+
+<br />
+<div class="figcenter" style="width: 400px;">
+<img src="images/055.png" width="400" height="35" alt="Graphic" />
+</div>
+
+<h3>LETTER XXXV.</h3>
+<br />
+<h4><span class="sc">Aaron Monceca</span> <i>to</i> <span class="sc">Isaac Onis</span>, <i>a Rabbi, at</i> Constantinople.</h4>
+
+<h4><i>Paris</i>&mdash;&mdash;</h4>
+
+<p>I still expect the Books from <i>Amsterdam</i>; and have writ several
+times to <i>Moses Rodrigo</i> to press him to send them to me; but to no
+purpose: He puts me off to the End of the Month, and I shall not be
+able to send them to <i>Constantinople</i> in less than five Weeks.</p>
+
+<p>I have search'd all the Booksellers Shops at <i>Paris</i> for some choice
+new Tracts, to add to those which I shall receive from <i>Holland</i>,
+but found nothing good besides what I have already sent thee, except
+two little. Romances that are lately come out. The first is
+intitled, <i>Les &Eacute;garemens du Coeur &amp; de l'Esprit</i>; the Author of
+which I have already made mention of in my former Letters.<a name="FNanchor_13_13" id="FNanchor_13_13" /><a href="#Footnote_13_13" class="fnanchor">[13]</a> He
+writes in a pure Stile, understands Human Nature, and
+<span class="pagenum"><a name="page256" id="page256"></a>[pg 256]</span>he lays the
+Heart of Man open with a great deal of Clearness and Justice: But in
+this Work he has fallen into an Error, which he has often condemn'd
+in the Writings of others. He makes it plain to the Reader, that he
+affects to be witty; and there are some Passages where Nature is
+sacrificed to the false Glare. But this Error, which is not common,
+is repair'd by a thousand Beauties. The Author of this Romance
+paints rather than writes Things; and the Pictures he draws strike
+the Imagination with Pleasure. Do but consider if it be possible to
+define the first Surprize of a Heart with more Justness and
+Clearness. <i>Without searching into the Motive of my Action, I
+managed, I interpreted her Looks; I endeavour'd to make her least
+Motions my Lessons. So much Obstinacy in not losing Sight of her
+made me at last taken notice of by her. She looked upon me in her
+turn, I fix'd her without knowing it, and during the Charm with
+which I was captivated whether I wou'd or not, I know not what my
+Eyes told her, but she turn'd hers away with a sort of Blush.</i></p>
+
+<p>None but a Man who was at that Juncture, or had been formerly, in
+Love cou'd, with so much Truth and Delicacy, have painted all the
+Motions of the Soul. Genius, Wit, and Learning cannot draw Pictures
+so much to the Life, it being a Point to which the Heart alone can
+attain. When I say the Heart, I mean a tender Heart, and one that is
+in such Situations. The following is the Character of a Prude in
+Love. <i>Being not to be depended upon in her Proceedings, she was a
+perpetual Mixture of Tenderness and Severity: She seem'd to yield
+only to be the more obstinate in her Opposition. If she thought she
+had, by what she said, disposed me to entertain any sort of Hopes,
+being on the Watch how to disappoint me, she presently resum'd that
+Air
+<span class="pagenum"><a name="page257" id="page257"></a>[pg 257]</span>which had made me so often tremble, and left me nothing to
+trust to but a melancholy Uncertainty</i>. One cannot help being struck
+with the Truth and Nature which, prevail in this Character. Without
+an Acquaintance with the World, and a perfect Knowledge of Mankind,
+'tis impossible to attain to this Point. 'Tis difficult to
+distinguish the different Forms, and, as one may say, the internal
+Motives of different Characters. A mean Writer does only take a
+Sketch of 'em; but a good Author paints them, sets them plainly in
+Sight, and exposes them as they really are.</p>
+
+<p>A Romance is consider'd in no other Light than as a Work composed
+only for Amusement; but something else ought to be the Scope of it:
+For every Book that has not the Useful as well as the Agreeable,
+does not deserve the Esteem of good Judges. The Heart ought to be
+instructed at the same time as the Mind is amused; and this is the
+Quality with which the greatest Men have render'd their Writings
+famous.</p>
+
+<p>A Writer who, abounding with bold Fictions and Imaginations, amuses
+the Readers for a matter of a dozen Volumes with Incidents, work'd
+up artfully and importantly, and who nevertheless in the Close of
+his Book entertains his Reader's Imagination with nothing but Rapes,
+Duels, Sighs, Despair, and Tears<a name="FNanchor_14_14" id="FNanchor_14_14" /><a href="#Footnote_14_14" class="fnanchor">[14]</a>; has not the Talent of
+instructing, nor can he attain to Perfection; for he possesses but
+the least part of his Art. An Author who pleases without
+instructing, does not please long; for he sees his Book grow mouldy
+in the Bookseller's Shop, and his Works have the Fate of sorry
+Sermons and cold Panegyric.</p>
+
+<p>Heretofore Romances were nothing more than a Rhapsody of tragical
+Adventures, which captivated the
+<span class="pagenum"><a name="page258" id="page258"></a>[pg 258]</span>the Imagination and distracted the
+Heart<a name="FNanchor_15_15" id="FNanchor_15_15" /><a href="#Footnote_15_15" class="fnanchor">[15]</a>. 'Twas pleasant enough to read them, but nothing more was
+got by it than feeding the Mind with Chim&aelig;ras, which were often
+hurtful. The Youth greedily swallow'd all the wild and gigantic
+Ideas of those fabulous Heroes, and when their Genius's were
+accustomed to enormous Imaginations, they had no longer a Relish for
+the Probable. For some time past this manner of Thinking has been
+chang'd: Good Taste is again return'd; the Reasonable has succeeded
+in the place of the Supernatural; and instead of a Number of
+Incidents with which the least Facts were overcharg'd, a plain
+lively Narration is required, such as is supported by Characters
+that give us the <i>Utile Dulci</i>.</p>
+
+<p>Some Authors have wrote in this Taste, and have advanced more or
+less towards Perfection, in proportion as they have copy'd
+Nature<a name="FNanchor_16_16" id="FNanchor_16_16" /><a href="#Footnote_16_16" class="fnanchor">[16]</a>.</p>
+
+<p>There are others who carry Things to Extremity; for, by affecting to
+appear natural, they become low and creeping, and have neither the
+Talent of pleasing nor of instructing<a name="FNanchor_17_17" id="FNanchor_17_17" /><a href="#Footnote_17_17" class="fnanchor">[17]</a>.</p>
+
+<p>Some have had recourse to insipid Allegory<a name="FNanchor_18_18" id="FNanchor_18_18" /><a href="#Footnote_18_18" class="fnanchor">[18]</a>, thinking to please
+by a new Taste; but their Works dy'd in their Birth, and were so
+little read that they escaped Criticism.</p>
+
+<p>If the bad Authors were but to reflect on the Talents and
+Qualifications necessary for a good Romance, Works of this kind
+would no longer be their Refuge. A Man who is press'd both by Hunger
+and Thirst, sets about writing a Book, and tho'
+<span class="pagenum"><a name="page259" id="page259"></a>[pg 259]</span> he has not
+Knowledge enough to write History, nor Genius for Works of Morality,
+he stains a couple of Quires of Paper with a Heap of ill-digested
+Adventures, which he relates without Taste, and without Genius, and
+carries his Work to a Bookseller, who, were he oblig'd to buy it by
+Weight, and to give him but twice the Cost of the Paper, wou'd pay
+more for it than the Worth of it. Perhaps there is as much need for
+Wit, an Acquaintance with Mankind, and the Knowledge of the
+Passions, to compose a Romance as to write a History. The only
+Qualification to paint Manners and Customs, is a long Experience;
+and a Man must have examin'd the various Characters very closely, to
+be able to describe them to a Nicety.</p>
+
+<p>How can an Author, whose common Vocation is staining of Paper, and
+spending his whole Time in a Coffee-house or in a Garret, give a
+just Definition of a Prince, a Courtier, or a fine Lady? He never
+sees those Persons but as he walks the Streets; and I can scarce
+think that the Mud with which he is often dash'd by their Equipages,
+communicates to him any Share of their Sentiments. Yet there is not
+a wretched Author but makes a Duke and Dutchess speak as he fancies.
+But when a Man of Fashion comes to cast his Eye on these ridiculous
+Performances, he is perfectly surpriz'd to see the Conversation of
+<i>Margaret</i> the Hawker, retail'd by the Name of the Dutchess of &mdash;&mdash;,
+or the Marchioness of &mdash;&mdash;. Yet be these Books ever so bad,
+abundance of 'em are sold; for many People, extravagantly fond of
+Novelty, who only judge of Things superficially, buy those Works,
+tho' by the Perusal of 'em they acquire a Taste as remote from a
+happy Talent of Writing, as the Authors themselves are.
+<span class="pagenum"><a name="page260" id="page260"></a>[pg 260]</span></p>
+
+<p>Don't fear, dear <i>Isaac</i>, that I shall ever send thee a Collection
+of such paultry Books. Be a Man ever so fond at <i>Constantinople</i> of
+Romances and Histories of Gallantry, 'tis expected they should serve
+not only for Pleasure but for Edification.</p>
+
+<p>The second Book that I have bought, seems to me to be written with
+this View. 'Tis intitled, <i>Memoirs of the Marquis</i> de Mirmon; <i>or
+the Solitary Philosopher</i>. The Author writes with an easy lively
+Stile<a name="FNanchor_19_19" id="FNanchor_19_19" /><a href="#Footnote_19_19" class="fnanchor">[19]</a>; and 'tis plain, that he himself was acquainted with the
+Characters which he paints. Without affecting to appear to have as
+much Wit as the former Author that I mention'd to thee, he delivers
+the Truth every where in an amiable Dress. If any Fault can be found
+with him, 'tis explaining himself a little too boldly; and he is
+also reproach'd with a sort of Negligence pardonable in a Man whose
+Stile is in general so pure as his is. The following is his
+Character of Solitude, <i>'Tis not to torment himself that a wise Man
+seems to separate himself from Mankind: He is far from imposing new
+Laws on himself, and only follows those that are already prescrib'd
+to his Hands. If he lays himself under any new Laws, he reserves to
+himself the Power of changing them, being their absolute Master, and
+not their Slave. Being content to cool his Passions, and to govern
+them by his Reason, he does not imagine it impossible to tame them
+to his own Fancy, and does not convert what was formerly an innocent
+Amusement to him, into a Monster to terrify him. He retains in
+Solitude all the Pleasures which Men of Honour have a Relish for in
+the World, and only puts it out of their Power of being hurtful, by
+preventing them from being too violent.</i></p>
+
+<p>There are several other Passages in this Book, which are as
+remarkable for their Perspicuity as
+<span class="pagenum"><a name="page261" id="page261"></a>[pg 261]</span>their Justness. Such is the
+Description of the Disgust which sometimes attends Marriages. <i>When
+Persons are in Love, they put the best Side outwards. A Man who is
+desirous of pleasing, takes a world of Care to conceal his Defects.
+A Woman knows still better how to dissemble. Two Persons often study
+for six Months together to bubble one another, and at last they
+marry, and punish one another the Remainder of their Lives for their
+Dissimulation.</i></p>
+
+<p>You will own, dear <i>Isaac</i>, that there is a glaring Truth and
+Perspicuity in this Character, which strikes the Mind. These naked
+Thoughts present themselves with Lustre to the Imagination, which
+cannot help being pleased, because they are so just. If the Authors
+who write Romances in this new Taste, would always adhere to the
+Truth, and never suffer themselves to be perverted to any new Mode
+(for this is what Works of Wit are liable to) their Writings wou'd
+probably be as useful in forming the Manners as Comedy, because they
+wou'd render Romances the Picture of Human Life. A covetous Man will
+therein find himself painted in such natural Colours; a Coquette
+will therein see her Picture so resembling her, that their
+Reflection upon reading the Character will be more useful to them
+than the long-winded Exhortations of a Fryar, who makes himself
+hoarse with Exclamation, and often tires out the Patience of his
+Hearers.</p>
+
+<p>Authors who set about writing Romances, ought to study to paint
+Manners according to Nature, and to expose the most secret
+Sentiments of the Heart. As their Works are but ingenious Fictions,
+they can never please otherwise than as they approach to the
+Probable. Nor is every thing that favours of the Marvellous,
+esteem'd more among Men of Taste than pure Nonsense. Both generally
+
+<span class="pagenum"><a name="page262" id="page262"></a>[pg 262]</span>go together, and the Authors who fall into gigantic or unnatural
+Ideas, have commonly a declamatory Stile, bordering upon a pompous
+and unintelligible Diction.</p>
+
+<p>The Stile of Romances ought to be simple; indeed it should be more
+florid than that of History, but not have all that Energy and
+Majesty. Gallantry is the Soul of Romance, and Grandeur and Justness
+that of History. A Person must be very well acquainted with the
+World to excel in the one, and he must have Learning and Politics to
+distinguish himself in the other. Good Sense, Perspicuity, Justness
+of Characters, Truth of Descriptions, Purity of Stile are necessary
+in both. The Ladies are born Judges of the Goodness of a Romance.
+Posterity decides the Merit of a History.</p>
+
+<p>Fare thee well, dear <i>Isaac</i>. As soon as I have receiv'd the new
+Books from <i>Holland</i>, I will send them to thee.</p>
+
+<h3>Notes:</h3>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13" /><a href="#FNanchor_13_13"><span class="label">[13]</span></a> <i>Cr&eacute;billon</i> the Son.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14" /><a href="#FNanchor_14_14"><span class="label">[14]</span></a> <i>La Calprenede</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15" /><a href="#FNanchor_15_15"><span class="label">[15]</span></a> The <i>Polexandre of Gomberville</i>, the <i>Ariana</i> of <i>Des
+Maretz</i>, &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16" /><a href="#FNanchor_16_16"><span class="label">[16]</span></a> <i>Le Prevot d'Exiles</i>. See the <i>Bibliotheque des
+Romans</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17" /><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Histoire du Chevalier des <i>Essars</i>, &amp; de la Comtesse
+de <i>Merci</i>, &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18" /><a href="#FNanchor_18_18"><span class="label">[18]</span></a> <i>Fanseredin</i>, &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19" /><a href="#FNanchor_19_19"><span class="label">[19]</span></a> M. <i>d'Argens</i>.</p></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/062.png" width="400" height="36" alt="Graphic" />
+</div>
+
+<hr class="full" />
+<br />
+
+<a name="article4" id="article4"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>CLARISSA.</h2>
+
+<h3>OR, THE</h3>
+
+<h2>HISTORY</h2>
+
+<h3>OF A</h3>
+
+<h2>YOUNG LADY:</h2>
+<br />
+<h4>Comprehending</h4>
+
+<h4><i>The most</i> Important Concerns <i>of</i> Private <span class="sc">Life</span>,</h4>
+<h4>And particularly shewing,</h4>
+<h4>The <span class="sc">Distresses</span> that may attend the Misconduct</h4>
+<h4>Both of <span class="sc">Parents</span> and <span class="sc">Children</span>,</h4>
+<h4>In Relation to <span class="sc">Marriage</span>.</h4>
+<br />
+<h4><i>Published by the</i> <span class="sc">Editor</span> <i>of</i> PAMELA.</h4>
+
+<h3>VOL. IV.</h3>
+
+<div class="figcenter" style="width: 150px;">
+<img src="images/063.png" width="150" height="64" alt="Graphic" />
+</div>
+
+<h3><i>LONDON:</i></h3>
+
+<p>Printed for S. Richardson: And Sold by <span class="sc">John Osborn</span>, in <i>Pater-noster
+Row</i>; <span class="sc">Andrew Millar</span>, over-against <i>Catharine-street</i> in the
+<i>Strand</i>; J. and <span class="sc">Ja. Rivington</span>, in <i>St. Paul's Church-yard</i>;
+And by J. <span class="sc">Leake</span>, at <i>Bath</i></p>
+
+<br />
+<h4>M.DCC.XLVIII.</h4>
+
+<span class="pagenum"><a name="page65" id="page65"></a>[pg i]</span>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/065.png" width="400" height="128" alt="Graphic" />
+</div>
+
+<h3>THE EDITOR <i>to the</i> READER.</h3>
+
+<p>If it may be thought reasonable to criticise the Public Taste, in
+what are generally supposed to be Works of mere Amusement; or modest
+to direct its Judgment, in what is offered for its Entertainment; I
+would beg leave to introduce the following Sheets with a few cursory
+Remarks, that may lead the common Reader into some tolerable
+conception of the nature of this Work, and the design of its Author.</p>
+
+<p>The close connexion which every Individual has with all that relates
+to <span class="sc">Man</span> in general, strongly inclines us to turn our observation upon
+human affairs, preferably to other attentions, and impatiently to
+wait the progress and issue of them. But, as the course of human
+actions is too slow to gratify our inquisitive curiosity,
+<span class="pagenum"><a name="page66" id="page66"></a>[pg ii]</span>
+observant
+men very easily contrived to satisfy its rapidity, by the invention
+of <i>History</i>. Which, by recording the principal circumstances of
+past facts, and laying them close together, in a continued
+narration, kept the mind from languishing, and gave constant
+exercise to its reflections.</p>
+
+<p>But as it commonly happens, that in all indulgent refinements on our
+satisfactions, the Procurers to our pleasures run into excess; so it
+happened here. Strict matters of fact, how delicately soever dressed
+up, soon grew too simple and insipid to a taste stimulated by the
+Luxury of Art: They wanted something of more poignancy to quicken
+and enforce a jaded appetite. Hence the Original of the first
+barbarous <i>Romances</i>, abounding with this false provocative of
+uncommon, extraordinary, and miraculous Adventures.</p>
+
+<p>But satiety, in things unnatural, soon, brings on disgust. And the
+Reader, at length, began to see, that too eager a pursuit after
+<i>Adventures</i> had drawn him from what first engaged his attention,
+<span class="sc">Man</span> <i>and his Ways</i>, into the Fairy Walks of Monsters and Chimeras.
+And now those who
+<span class="pagenum"><a name="page67" id="page67"></a>[pg iii]</span>had run farthest after these delusions, were the
+first that recovered themselves. For the next Species of Fiction,
+which took its name from its <i>novelty</i>, was of <i>Spanish</i> invention.
+These presented us with something of Humanity; but of Humanity in a
+stiff unnatural state. For, as every thing before was conducted by
+<i>Inchantment</i>; so now all was managed by <i>Intrigue</i>. And tho' it had
+indeed a kind of <i>Life</i>, it had yet, as in its infancy, nothing of
+<i>Manners</i>. On which account, those, who could not penetrate into the
+ill constitution of its plan, yet grew disgusted at the dryness of
+the Conduct, and want of ease in the Catastrophe.</p>
+
+<p>The avoiding these defects gave rise to the <i>Heroical Romances</i> of
+the <i>French</i>; in which some celebrated Story of antiquity was so
+stained and polluted by modern fable and invention, as was just
+enough to shew, that the contrivers of them neither knew how to lye,
+nor speak truth. In these voluminous extravagances, <i>Love</i> and
+<i>Honour</i> supplied the place of <i>Life</i> and <i>Manners</i>. But the
+over-refinement of Platonic sentiments always sinks into the dross
+and feces of that Passion. For in attempting a
+<span class="pagenum"><a name="page68" id="page68"></a>[pg iv]</span>more natural
+representation of it, in the little amatory Novels, which succeeded
+these heavier Volumes, tho' the Writers avoided the dryness of the
+Spanish Intrigue, and the extravagance of the French Heroism, yet,
+by too natural a representation of their Subject, they opened the
+door to a worse evil than a corruption of <i>Taste</i>; and that was, A
+corruption of <i>Heart</i>.</p>
+
+<p>At length, this great People (to whom, it must be owned, all Science
+has been infinitely indebted) hit upon the true Secret, by which
+alone a deviation from strict fact, in the commerce of Man, could be
+really entertaining to an improved mind, or useful to promote that
+Improvement. And this was by a faithful and chaste copy of real
+<i>Life and Manners</i>: In which some of their late Writers have greatly
+excelled.</p>
+
+<p>It was on this sensible Plan, that the Author of the following
+Sheets attempted to please, in an Essay, which had the good fortune
+to meet with success: That encouragement engaged him in the present
+Design: In which his sole object being <i>Human Nature</i>; he thought
+himself at liberty to draw a Picture of it in that light which
+
+<span class="pagenum"><a name="page69" id="page69"></a>[pg v]</span>would shew it with most strength of Expression; tho' at the expense
+of what such as read merely for Amusement, may fancy can be
+ill-spared, the more artificial composition of a story in one
+continued Narrative.</p>
+
+<p>He has therefore told his Tale in a Series of Letters, supposed to
+be written by the Parties concerned, as the circumstances related,
+passed. For this juncture afforded him the only natural opportunity
+that could be had, of representing with any grace those lively and
+delicate impressions which <i>Things present</i> are known to make upon
+the minds of those affected by them. And he apprehends, that, in the
+study of Human Nature, the knowlege of those apprehensions leads us
+farther into the recesses of the Human Mind, than the colder and
+more general reflections suited to a continued and more contracted
+Narrative.</p>
+
+<p>This is the nature and purport of his Attempt. Which, perhaps, may
+not be so well or generally understood. For if the Reader seeks here
+for Strange Tales, Love Stories, Heroical Adventures, or, in short,
+for anything but a <i>Faithful Picture of Nature</i> in
+<span class="pagenum"><a name="page70" id="page70"></a>[pg vi]</span> <i>Private Life</i>,
+he had better be told beforehand the likelihood of his being
+disappointed. But if he can find Use or Entertainment; either
+<i>Directions for his Conduct</i>, or <i>Employment for his Pity</i>, in a
+<span class="sc">History</span> <i>of</i> <span class="sc">Life</span> <i>and</i>
+<span class="sc">Manners</span>, where, as in the World itself, we
+find Vice, for a time, triumphant, and Virtue in distress, an idle
+hour or two, we hope, may not be unprofitably lost.</p>
+
+<div class="figcenter">
+<img src="images/070.png" alt="Graphic" />
+</div>
+
+<hr class="full" />
+<br />
+
+<a name="article5" id="article5"></a>
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>MEMOIRS</h2>
+
+<h3>OF THE</h3>
+
+<h2><i>Count</i> <span class="sc">Du Beauval</span>,</h2>
+
+<h3>INCLUDING</h3>
+
+<h3>Some curious <span class="sc">Particulars</span></h3>
+<br />
+<h4>Relating to the <span class="sc">Dukes</span> of</h4>
+
+<h2>Wharton <i>and</i> Ormond,</h2>
+
+<h3>During their Exiles.</h3>
+<br />
+<h4>WITH</h4>
+<br />
+<h4><span class="sc">Anecdotes</span> of several other Illustrious</h4>
+<h4>and Unfortunate Noblemen of the present Age.</h4>
+<br />
+<h4><i>Translated from the</i> French <i>of the Marquis</i></h4>
+<h4><span class="sc">D'Argens</span>, <i>Author of</i> The Jewish Letters.</h4>
+
+<h3><i>By Mr.</i> DERRICK.</h3>
+
+<h3><i>LONDON:</i></h3>
+<h4>Printed for M. <span class="sc">Cooper</span>, at the <i>Globe</i> in <i>PaterNoster-Row</i>.</h4>
+
+<h3>M.DCC.LIV.</h3>
+<br />
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+<p><i>The Ground-work of Romances, till of late Years, has been a Series
+of Actions, few of which, ever existed but in the Mind of the
+Author; to support which, with proper Spirit, a strong picturesque
+Fancy, and a nervous poetical Diction, were necessary. When these
+great Essentials were wanting, the Narration became cold, insipid,
+and disagreeable.</i></p>
+
+<p><i>The principal Hero was generally one who fac'd every Danger, without
+any Reflection, for it was always beneath him to think; it was a
+sufficient Motive of persisting, if there seem'd Peril; conquering
+Giants, and dissolving Enchantments, were as easy to him as riding.
+He commonly sets out deeply in Love; his Mistress is a Virgin, he
+loses her in the Beginning of the Book, thro' the Spite or Craft of
+some malicious Necromancer, pursues her thro' a large Folio Volume
+of Incredibility, and finds her, indisputably, at the End of it,
+like try'd Gold, still more charming, from having pass'd the Fire
+Ordeal of Temptation.</i></p>
+
+<p><i>Amusement and Instruction were the Intent of these Sort of Writings;
+the former they always fulfill'd, and if they sometimes fail'd in
+the latter, it was because the Objects they conjur'd up to Fancy,
+were merely intellectual Ideas, consequently not capable of
+impressing so deeply as those which are to be met with in the Bustle
+of Life.</i></p>
+
+<p><i>Hence those, whose Genius led them to cultivate this Sort of
+writing, have been induc'd to examine amongst such Scenes as are
+daily found to move beneath their Inspection. On this Plan are
+founded the Writings of the celebrated Mons.</i> <span class="sc">Marivaux</span>, <i>and the
+Performances of the ingenious Mr</i>. <span class="sc">Fielding</span>; <i>each of whom are
+allow'd to be excellent in their different Nations.</i></p>
+
+<p><i>The Marquis</i> <span class="sc">D'Argens</span>, <i>sensible of the Advantages accruing from
+Works of this Kind, was not satisfied with barely copying the</i>
+Accidents, <i>but has also united with them the real Names of</i>
+Persons, <i>who have been remarkable in Life; conscious that we pay a
+more strict Attention to the Occurrences that have befallen those
+who enter within the Compass of our Acquaintance, or Knowledge, and
+if a Moral ensues from the Relation, it is more firmly rooted in the
+Mind, than when it is to be deduced from either Manners or Men, with
+whom we are entirely unacquainted.</i></p>
+
+<p><i>The Marquis is easy in his Stile, delicate in his Sentiments, and
+not at all tedious in his Narration. In the following Piece we find
+Nothing heavy or insipid, he dwells not too long upon any Adventure,
+nor does he burthen the Memory, or clog the Attention with
+Reflections intended, too often more for the Bookseller's Emolument,
+in swelling the Bulk of the Performance, than the Service of the
+Reader, on whom he knew it to be otherwise an Imposition; since, by
+long-winded wearisome Comments upon every Passage (a Fault too
+frequent in many Writers) he takes from him an Opportunity of
+exercising his reflective Abilities, seeming thereby to doubt
+them</i>.</p>
+
+<div class="figcenter">
+<img src="images/077.png" alt="Graphic" />
+</div>
+
+<hr class="full" />
+
+<a name="Publications" id="Publications"></a>
+<br />
+<p class="returnTOC"><a href="#Contents">Return to Table of
+    Contents</a></p>
+
+<h2>PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY</h2>
+
+<p><b><span class="sc">First Year</span> (1946-47)</b></p>
+
+<p>Numbers 1-4 out of print.</p>
+
+<p>5. Samuel Wesley's <i>Epistle to a Friend Concerning Poetry</i> (1700)
+and <i>Essay on Heroic Poetry</i> (1693).</p>
+
+<p>6. <i>Representation of the Impiety and Immorality of the Stage</i>
+(1704) and <i>Some Thoughts Concerning the Stage</i> (1704).</p>
+
+
+<p><b><span class="sc">Second Year</span> (1947-1948)</b></p>
+
+<p>7. John Gay's <i>The Present State of Wit</i> (1711); and a section on
+Wit from <i>The English Theophrastus</i> (1702).</p>
+
+<p>8. Rapin's <i>De Carmine Pastorali</i>, translated by Creech (1684).</p>
+
+<p>9. T. Hanmer's (?) <i>Some Remarks on the Tragedy of Hamlet</i> (1736).</p>
+
+<p>10. Corbyn Morris' <i>Essay towards Fixing the True Standards of Wit,
+etc.</i> (1744).</p>
+
+<p>11. Thomas Purney's <i>Discourse on the Pastoral</i> (1717).</p>
+
+<p>12. Essays on the Stage, selected, with an Introduction by Joseph
+Wood Krutch.</p>
+
+
+<p><b><span class="sc">Third Year</span> (1948-1949)</b></p>
+
+<p>13. Sir John Falstaff (pseud.), <i>The Theatre</i> (1720).</p>
+
+<p>14. Edward Moore's <i>The Gamester</i> (1753).</p>
+
+<p>15. John Oldmixon's <i>Reflections on Dr. Swift's Letter to Harley</i>
+(1712); and Arthur Mainwaring's <i>The British Academy</i> (1712).</p>
+
+<p>16. Nevil Payne's <i>Fatal Jealousy</i> (1673).</p>
+
+<p>17. Nicholas Rowe's <i>Some Account of the Life of Mr. William
+Shakespeare</i> (1709).</p>
+
+<p>18. &quot;Of Genius,&quot; in <i>The Occasional Paper</i>, Vol. III, No. 10 (1719);
+and Aaron Hill's Preface to <i>The Creation</i> (1720).</p>
+
+
+<p><b><span class="sc">Fourth Year</span> (1949-1950)</b></p>
+
+<p>19. Susanna Centlivre's <i>The Busie Body</i> (1709).</p>
+
+<p>20. Lewis Theobold's <i>Preface to The Works of Shakespeare</i> (1734).</p>
+
+<p>21. <i>Critical Remarks on Sir Charles Grandison, Clarissa, and
+Pamela</i> (1754).</p>
+
+<p>22. Samuel Johnson's <i>The Vanity of Human Wishes</i> (1749) and Two
+<i>Rambler</i> papers (1750).</p>
+
+<p>23. John Dryden's <i>His Majesties Declaration Defended</i> (1681).</p>
+
+<p>24. Pierre Nicole's <i>An Essay on True and Apparent Beauty in Which
+from Settled Principles is Rendered the Grounds for Choosing and
+Rejecting Epigrams</i>, translated by J.V. Cunningham.</p>
+
+
+<p><b><span class="sc">Fifth Year</span> (1950-51)</b></p>
+
+<p>25. Thomas Baker's <i>The Fine Lady's Airs</i> (1709).</p>
+
+<p>26. Charles Macklin's <i>The Man of the World</i> (1792).</p>
+
+<p>27. Frances Reynolds' <i>An Enquiry Concerning the Principles of
+Taste, and of the Origin of Our Ideas of Beauty, etc.</i> (1785).</p>
+
+<p>28. John Evelyn's <i>An Apologie for the Royal Party</i> (1659); and <i>A
+Panegyric to Charles the Second</i> (1661).</p>
+
+<p>29. Daniel Defoe's <i>A Vindication of the Press</i> (1718).</p>
+
+<p>30. Essays on Taste from John Gilbert Cooper's <i>Letters Concerning
+Taste</i>, 3rd edition (1757), &amp; John Armstrong's <i>Miscellanies</i>
+(1770).</p>
+
+<p>31. Thomas Gray's <i>An Elegy Wrote in a Country Church Yard</i> (1751);
+and <i>The Eton College Manuscript</i>.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Prefaces to Fiction, by Various
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+The Project Gutenberg EBook of Prefaces to Fiction, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Prefaces to Fiction
+
+Author: Various
+
+Release Date: December 30, 2004 [EBook #14525]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PREFACES TO FICTION ***
+
+
+
+
+Produced by David Starner, Richard J. Shiffer and the Online
+Distributed Proofreading Team
+
+
+
+
+
+
+The Augustan Reprint Society
+
+
+PREFACES TO FICTION
+
+Georges de Scudery, Preface to _Ibrahim_ (1674)
+
+Mary De la Riviere Manley, Preface to _The Secret
+History of Queen Zarah_ (1705)
+
+Jean-Baptiste de Boyer, Marquis d'Argens, _The Jewish
+Spy_ (1744), Letter 35
+
+William Warburton, Preface to Volumes III and
+IV (1748) of Richardson's _Clarissa_
+
+Samuel Derrick, Preface to d'Argens's _Memoirs of
+The Count Du Beauval_ (1754)
+
+
+
+With an Introduction by
+
+Benjamin Boyce
+
+
+
+Publication Number 32
+
+
+
+Los Angeles
+William Andrews Clark Memorial Library
+University of California
+1952
+
+     *       *       *       *       *
+
+GENERAL EDITORS
+
+H. RICHARD ARCHER, _Clark Memorial Library_
+RICHARD C. BOYS, _University of Michigan_
+JOHN LOFTIS, _University of California, Los Angeles_
+
+
+ASSISTANT EDITOR
+
+W. EARL BRITTON, _University of Michigan_
+
+
+ADVISORY EDITORS
+
+EMMETT L. AVERY, _State College of Washington_
+BENJAMIN BOYCE, _Duke University_
+LOUIS I. BREDVOLD, _University of Michigan_
+CLEANTH BROOKS, _Yale University_
+JAMES L. CLIFFORD, _Columbia University_
+ARTHUR FRIEDMAN, _University of Chicago_
+EDWARD NILES HOOKER, _University of California, Los Angeles_
+LOUIS A. LANDA, _Princeton University_
+SAMUEL H. MONK, _University of Minnesota_
+ERNEST MOSSNER, _University of Texas_
+JAMES SUTHERLAND, _University College, London_
+H.T. SWEDENBERG, JR., _University of California, Los Angeles_
+
+
+
+
+INTRODUCTION
+
+
+The development of the English novel is one of the triumphs of the
+eighteenth century. Criticism of prose fiction during that period,
+however, is less impressive, being neither strikingly original nor
+profound nor usually more than fragmentary. Because the early
+statements of theory were mostly very brief and are now obscurely
+buried in rare books, one may come upon the well conceived "program"
+of _Joseph Andrews_ and _Tom Jones_ with some surprise. But if one
+looks in the right places one will realize that mid-eighteenth
+century notions about prose fiction had a substantial background in
+earlier writing. And as in the case of other branches of literary
+theory in the Augustan period, the original expression of the
+organized doctrine was French. In Georges de Scudery's preface to
+_Ibrahim_ (1641)[1] and in a conversation on the art of inventing a
+"Fable" in Book VIII (1656) of his sister Madeleine's _Clelie_ are
+to be found the grounds of criticism in prose fiction; practically
+all the principles are here which eighteenth-century theorists
+adopted, or seemed to adopt, or from which they developed, often by
+the simple process of contradiction, their new principles.
+
+That many of the ideas in the preface to _Ibrahim_ were not new even
+in 1641 becomes plain if one reads the discussions of romance
+written by Giraldi Cinthio and Tasso.[2] The particular way in which
+Mlle. de Scudery attempted to carry out those ideas in her later,
+more subjective works she obligingly set forth in _Clelie_ in the
+passage already alluded to. There it is explained that a
+well-contrived romance "is not only handsomer than the truth, but
+withal, more probable;" that "impossible things, and such as are low
+and common, must almost equally be avoided;" that each person in the
+story must always act according to his own "temper;" that "the
+nature of the passions ought necessarily to be understood, and what
+they work in the hearts of those who are possess'd with them." He
+who attempts an "ingenious Fable" must have great
+accomplishments--wit, fancy, judgment, memory; "an universal
+knowledge of the World, of the Interest of Princes, and the humors
+of Nations," and of both closet-policy and the art of war;
+familiarity with "politeness of conversation, the art of ingenious
+raillery, and that of making innocent Satyrs; nor must he be
+ignorant of that of composing of Verses, writing Letters, and making
+Orations." The "secrets of all hearts" must be his and "how to take
+away plainness and driness from Morality."[3]
+
+The assumption that the new prose fiction could be judged, as the
+Scuderys professed to judge their work, first of all by reference to
+the rules of heroic poetry is frequent in the next century--in the
+unlikely Mrs. Davys (preface, _Works_, 1725); in _Joseph Andrews_ of
+course, where the rules of the serious epic and of the heroic
+romance are to aid the author in copying the ancient but, as it
+happens, nonexistent comic epic; and in Fielding's preface to his
+sister's _David Simple_ (1744). Both Richardson and Fielding were
+attacked on epic grounds.[4] Dr. Johnson's interesting and
+unfriendly essay on recent prose fiction (_Rambler_ No. 4) adopted
+the terminology familiar in the criticism of epic and romance and
+showed that Johnson, unlike d'Argens and Fielding, did not intend
+to give any of the old doctrines new meanings in a way to justify
+realism. Johnson laughed a little in that essay at the heroic
+romances; but like Mlle. de Scudery, whose _Conversations_ he drew
+on for a footnote in his edition of Shakespeare (1765),[5] he
+believed that fiction should be "probable" and yet should idealize
+life and men and observe poetic Justice. Many other writers on prose
+fiction borrowed the old neo-classic rules, and they applied them
+often so carelessly and so insincerely that one is glad to come
+eventually on signs of rebellion, even if from the sentimentalists:
+"I know not," wrote Elizabeth Griffith in the preface to _The
+Delicate Distress_ (1769), "whether novel, like the _epopee_, has
+any rules, peculiar to itself.... Sensibility is, in my mind, as
+necessary, as taste, to intitle us to judge of a work, like this."
+
+The theory of prose fiction offered by the Scuderys was, on the
+whole, better than their practice. The same remark can be made with
+even greater assurance of _The Secret History of Queen Zarah, and
+the Zarazians_ (1705) and the other political-scandalous "histories"
+of Mary De la Riviere Manley. For in spite of the faults of _Queen
+Zarah_, the preface is one of the most substantial discussions of
+prose fiction in the century. Boldly and reasonably it repudiates
+the most characteristic features of the heroic romance--the vastness
+produced by intercalated stories; the idealized characters, almost
+"exempted from all the Weakness of Humane Nature;" the marvelous
+adventures and remote settings; the essay-like conversations; the
+adulatory attitude; and poetic Justice. _Vraisemblance_ and
+_decorum_, we are told, are still obligatory, but the probable
+character, action, dialogue will now be less prodigious, will be
+closer to real life as the modern English reader knows it. Thus Mrs.
+Manley announced a point of view which was, at least in most
+respects, to dominate the theory and invigorate the practice of
+prose fiction throughout the century.
+
+A significant phase of Mrs. Manley's discussion is the emphasis upon
+individual characterization and, in characters, upon not only the
+"predominant Quality" and ruling passion of each but also upon the
+elusive and surprising "Turnings and Motions of Humane
+Understanding." Here one should recognize the influence of
+historical writing rather than of poetry. As Rene Rapin had made
+clear in Chapter XX of his _Instructions for History_ (J. Davies's
+translation, 1680), the historian writes the best portraits who
+finds the "essential and distinctive lines" of a man's character and
+the "secret motions and inclinations of [his] Heart." But Mrs.
+Manley's remarks go beyond Rapin's in implying faith in a sort of
+scientific psychology, especially of "the passions." Other writers
+showed the same interest and worked toward the same end. Thus Henry
+Gally in his essay on Theophrastus and the Character was so carried
+away by a notion of the importance of the Character-writer's knowing
+all about the passions that he allowed himself to say that only by
+such a knowledge could a Character be made to "hit one Person, and
+him only"[6]--the goal obviously not of the Character-writer but of
+the historian and the novelist. The authors of _The Cry_[7] (1754)
+regarded the unfolding of "the labyrinths of the human mind" as an
+arduous but necessary task; indeed they went on to declare that the
+"motives to actions, and the inward turns of mind, seem in our
+opinion more necessary to be known than the actions themselves." It
+was Fielding's refusal, in spite of the titles of his books, to
+write like an historian with highly individualized and psychological
+characterizations that caused his admirer Arthur Murphy to admit in
+his "Essay" on Fielding that "Fielding was more attached to the
+_manners_ than to the _heart_."[8] He thought Fielding inferior to
+Marivaux in revealing the heart just as Johnson, according to
+Boswell, preferred Richardson to Fielding because the former
+presented "characters of nature" whereas the latter created only
+"characters of manners." The author of "A Short Discourse on Novel
+Writing" prefixed to _Constantia; or, A True Picture of Human Life_
+(1751) went so far as to say that prose fiction may teach more about
+the "sources, symptoms, and inevitable consequences" of the passions
+than could easily be taught in any other way. The increasingly
+subjective and individualized characterization in English fiction
+was well supported in contemporary theory.
+
+_The Jewish Spy_, translated from the _Lettres Juives_ (1736-38) of
+Jean-Baptiste de Boyer, Marquis d'Argens, is an early example of
+citizen-of-the-world literature and contains in its five volumes a
+"Philosophical, Historical and Critical Correspondence" dealing with
+French, English, Italian, and other matters. The work had a European
+vogue, and there were at least two English translations, the present
+one, issued in 1739, 1744, and 1766, and another, called _Jewish
+Letters_, published at Newcastle in 1746. (The Dublin edition of
+1753 I have not seen.) Though d'Argens's purpose in Letter 35 may
+have been to advertise his own novel, what he had to say is
+interesting. Like many others, he could scoff at the heroic romances
+and yet borrow and quietly modify the doctrines of _Ibrahim_ and
+_Clelie_. He proposed a still more "advanced" _vraisemblance_ and
+_decorum_--psychological analysis tinged with cynicism rather than
+idealism; gallantry but against the background sometimes of the
+modern city; a plainer style; and only such matters as seemed to
+this student of Descartes and Locke to be entirely reasonable.
+Fielding's chapter in _Tom Jones_ (IX, i) "Of Those Who Lawfully
+May, and of Those Who May Not, Write Such Histories as This" could
+be taken as an indication that he knew not only what Mlle. de
+Scudery thought were the accomplishments of the romancer but that he
+had read d'Argens's words on that subject too. Both d'Argens and
+Fielding believed that in addition to "Genius, Wit, and Learning"
+the novelist must have a knowledge of the world and of all degrees
+of men, distinguishing the style of high people from that of low.
+They agreed that a writer must have felt a passion before he could
+paint it successfully. Much more goes into the making of a novel,
+they sarcastically pointed out, than pens, ink, and quires of paper.
+D'Argens, like Fielding, relished reflective passages and could
+approve, more readily than Mrs. Manley, of "an Historian that amuses
+himself by Moralizing or Describing." D'Argens's list of the
+features to be found in good history and good fiction shows him to
+be a thoroughgoing rationalist and separates his ideal from that of
+young readers, who, according to the preface to _The Adventures of
+Theagenes and Chariclia_ (1717), wish to hear of "Flame and Spirit
+in an Author, of fine Harangues, just Characters, moving Scenes,
+delicacy of Contrivance, surprising turns of action ... indeed the
+choicest Beauties of a _Romance_."
+
+The two novels that d'Argens recommended had different fortunes in
+England. D'Argens's book, _Memoires du Marquis de Mirmon, ou Le
+Solitaire Philosophe_ (Amsterdam, 1736) was never translated into
+English and apparently was not much read. But Claude Prosper Jolyot
+de Crebillon, the younger, was extolled by Thomas Gray and Horace
+Walpole, quoted by Sarah Fielding,[9] and had the honor, if one can
+trust Walpole, of an offer of keeping from Lady Mary Wortley
+Montagu. His _Egaremens du Coeur et de l'Esprit_ (1736-38) was
+translated in 1751[10] and is the novel which Yorick helped the
+_fille de chambre_ slide into her pocket. Crebillon was damned,
+however, in _The World_ (No. 19, May 10, 1753) in an essay that,
+oddly enough, reminds one of d'Argens's Letter 35. The work referred
+to in the third footnote on page 258 is _Le Chevalier des Essars et
+la Comtesse de Berci_ (1735) by Ignace-Vincent Guillot de La
+Chassagne. The last footnote on that page refers to G.H. Bougeant's
+satire, _Voyage Merveilleux du Prince Fan-Feredin dans la Romancie_
+(1735).
+
+The preface which William Warburton was invited by Richardson to
+supply for Volumes III and IV of _Clarissa_ when they first appeared
+in 1748 has never, I think, been reprinted in full. Richardson
+dropped it from the second edition (1749) of _Clarissa_, probably
+because he relished neither its implication that he was following
+French precedents nor its suggestion that his work was one "of mere
+Amusement." In the "Advertisement" in the first volume of the second
+edition he insisted that _Clarissa_ was "not to be considered as a
+_mere Amusement_, as a _light Novel_, or _transitory Romance_; but
+as a _History_ of LIFE and MANNERS ... intended to inculcate the
+HIGHEST and _most_ IMPORTANT _Doctrines_."[11] Warburton, offended
+in turn perhaps, thriftily salvaged more than half of the preface
+(paragraphs 2 to 6) to use as a footnote in his edition of Alexander
+Pope,[12] but he there made a striking change: not Richardson but
+Marivaux and Fielding were praised as the authors who, with the
+extra enrichment of comic art, had brought the novel of "real LIFE
+AND MANNERS ... to its perfection."
+
+The important principle of prose fiction which Richardson and
+Warburton recognized--that there is power in a detailed picture of
+the private life of the middle class--had been suggested earlier.
+Mrs. Manley could not voice it, at least not in _Queen Zarah_, where
+the Duke and Duchess of Marlborough, Godolphln, and Queen Anne were
+to be leading characters. But her sometime-friend Richard Steele
+could. Having laughed in _The Tender Husband_ (1705) at a girl whose
+judgment of life was seriously--or, rather, comically--warped by her
+reading of heroic romances, Steele made a positive plea in _Tatler_
+No. 172 for histories of "such adventures as befall persons not
+exalted above the common level." Books of this sort, still rare in
+1710, would be of great value to "the ordinary race of men." The
+anonymous preface to _The Adventures of Theagenes and Chariclia_
+seven years later attributed to Heliodorus's romance the value of
+suggesting rules "for conducting our Affairs in common Actions of
+Life." In 1751 when the new realism was a _fait accompli_, the
+author of _An Essay on the New Species of Writing Founded by Mr.
+Fielding_ declared roundly (p. 19) that in the new fiction the
+characters should be "taken from common Life." A good argument in
+favor of books about "private persons" was offered in the preface to
+the English translation of the Abbe Prevost's novel, _The Life And
+Entertaining Adventures of Mr. Cleveland, Natural Son of Oliver
+Cromwell_ (1741): "The history of kingdoms and empires, raises our
+admiration, by the solemnity ... of the images, and furnishes one of
+the noblest entertainments. But at the same time that it is so well
+suited to delight the imagination, it yet is not so apt to touch and
+affect as the history of private men; the reason of which seems to
+be, that the personages in the former, are so far above the common
+level, that we consider ourselves, in some measure, as aliens to
+them; whereas those who act in a lower sphere, are look'd upon by us
+as a kind of relatives, from the similitude of conditions; whence we
+are more intimately mov'd with whatever concerns us." A comparison
+of the first two paragraphs of this preface and the first four
+paragraphs of Johnson's _Rambler_ No. 60, if it does not discover
+the source of part of Johnson's paper, will at least reveal how the
+defender of the fictional "secret history" and a famous champion of
+intimate biography played into each other's hands. Johnson's
+appearing to follow the defender of French fiction here is all the
+more interesting when one recalls his alarm in _Rambler_ No. 4 over
+the prevailing taste for novels that exhibited, unexpurgated, "Life
+in its true State, diversified only by the Accidents that daily
+happen in the World." Indeed if it were not for Fielding himself,
+one might imagine from Johnson's unsteady and generally
+unsatisfactory criticism of prose fiction that the old neo-classical
+principles were completely out of date and useless.
+
+Samuel Derrick, the editor of Dryden and friend of Boswell for whom
+Johnson "had a kindness" but not much respect, the "pretty little
+gentleman" described by Smollett's Lydia Melford, translated the
+_Memoirs of the Count Du Beauval_ from _Le Mentor Cavalier, ou Les
+Illustres Infortunez de Notre Siecle_ ("Londres," 1736) by the
+Marquis d'Argens. Only the second paragraph of Derrick's preface
+came from d'Argens, but the drift of the Frenchman's ideas toward
+"le Naturel" is well sustained in Derrick's praise, no doubt based
+on Warburton's, of writers who present scenes that "are daily found
+to move beneath their Inspection." There are ties with the doctrines
+of 1641 even in this preface, but the transformation of
+_vraisemblance_ and _decorum_ was sufficiently advanced for the
+needs of the day.
+
+Benjamin Boyce
+Duke University
+
+
+
+NOTES TO THE INTRODUCTION
+
+[1] Most scholars attribute the preface to Georges de
+Scudery, but it seems impossible to say whether he collaborated with
+his sister in writing the romance itself or whether the work was
+written entirely by her.
+
+Cogan's translation of _Ibrahim_ and the preface appeared first in
+1652.
+
+[2] See the texts in Allan H. Gilbert's _Literary
+Criticism: Plato to Dryden_ (N.Y.: American Book Co., 1940) and the
+discussion in A.E. Parsons' "The English Heroic Play," _MLR_, XXXIII
+(1938), 1-14.
+
+[3] _Clelia. An Excellent New Romance. The Fourth Volume
+... Rendered into English by G.H._ (1677; Part IV, Book II), pp.
+540-543.
+
+[4] See _An Apology for the Life of Mr. Bempfylde-Moore
+Carew ... The Sixth Edition_, p. xix; _Critical Remarks on Sir
+Charles Grandison_ (1754), p. 20.
+
+[5] IV, 184. The footnote could have come, contrary to the
+assertion of Sir Walter Raleigh (_Six Essays_ [Oxford, 1910], p.
+94), from either the original French (_Conversations sur Divers
+Sujets_ [Paris, 1680], II, 586-587) or the English translation
+(1683, II, 102). In both editions, the passage appears soon after
+the dialogue on how to compose a romance. I am indebted to Dr.
+Arthur M. Eastman for help in tracing Raleigh's vague reference.
+
+[6] _The Moral Characters of Theophrastus_ (1725), pp.
+31-32.
+
+[7] Jane Collier and Sarah Fielding.
+
+[8] The "Essay" was written in 1762, but I quote it as it
+appeared in the third edition (1766) of _The Works of Henry
+Fielding_, I, 75.
+
+[9] James B. Foster, _History of the Pre-Romantic Novel in
+England_ (N.Y.: Modern Lang. Assoc., 1949), p. 76.
+
+[10] _The Wanderings of the Heart and Mind: or, Memoirs of
+Mr. de Meilcour_, translated by M. Clancy. Clara Reeve maintained in
+1785 that Crebillon's book was never popular in England and that
+"Some pious person, fearing it might poison the minds of youth ...
+wrote a book of meditations with the same title, and _this_ was the
+book that _Yorick's fille de Chambre_ was purchasing" (_The Progress
+of Romance_ [N.Y.: Facsimile Text Society, 1930], pp. 130-131).
+
+[11] Richardson said that he dropped Warburton's preface
+because _Clarissa_ had been well received and no longer needed such
+an introduction. A fourth explanation of the natter and much other
+relevant information were presented by Ronald S. Crane, "Richardson,
+Warburton and French Fiction," _MLR_, XVII (1922), 17-23.
+
+[12] _The Works of Alexander Pope_ (1751), IV, 166-169. The
+footnote is on line 146 of the Epistle to Augustus ("And ev'ry
+flow'ry Courtier writ Romance").
+
+
+
+
+IBRAHIM,
+
+OR THE
+
+ILLUSTRIOUS
+
+BASSA.
+
+       *       *       *       *       *
+
+The whole Work,
+
+In Four Parts.
+
+Written in French by _Monsieur de Scudery_,
+
+And Now Englished
+
+by
+
+Henry Cogan, Gent.
+
+
+       *       *       *       *       *
+
+
+London,
+
+Printed by _J.R._ and are to be sold by _Peter Parker_, at his Shop
+at the _Leg_ and _Star_ over against the Royal Exchange, and _Thomas
+Guy_, at the Corner-shop of _Little-Lumbard street_ and _Cornhil_,
+1674.
+
+
+
+
+_IBRAHIM, or The Illustrious Bassa_
+
+
+
+
+THE PREFACE
+
+
+I do not know what kind of praise the Ancients thought they gave to
+that Painter, who not able to end his Work, finished it accidentally
+by throwing his pencil against his Picture; but I know very well,
+that it should not have obliged me, and that I should have taken it
+rather for a Satyre, than an Elogium. The operations of the Spirit
+are too important to be left to the conduct of chance, and I had
+rather be accused for failing out of knowledge, than for doing well
+without minding it. There is nothing which temerity doth not
+undertake, and which Fortune doth not bring to pass; but when a man
+relies on those two Guides, if he doth not erre, he may erre; and of
+this sort, even when the events are successefull, no glory is
+merited thereby. Every Art hath its certain rules, which by
+infallible means lead to the ends proposed; and provided that an
+Architect takes his measures right, he is assured of the beauty of
+his Building. Believe not for all this, Reader, that I will conclude
+from thence my work is compleat, because I have followed the rules
+which may render it so: I know that it is of this labour, as of the
+Mathematical Sciences, where the operation may fail, but the Art
+doth never fail; nor do I make this discourse but to shew you, that
+if I have left some faults in my Book, they are the effects of my
+weakness, and not of my negligence. Suffer me then to discover unto
+you all the resorts of this frame, and let you see, if not all that
+I have done, at leastwise all that I have endeavoured to doe.
+
+Whereas we cannot be knowing but of that which others do teach us,
+and that it is for him that comes after, to follow them who precede
+him, I have believed, that for the laying the ground-plot of this
+work, we are to consult with the Grecians, who have been our first
+Masters, pursue the course which they have held, and labour in
+imitating them to arrive at the same end, which those great men
+propounded to themselves. I have seen in those famous _Romanzes_ of
+Antiquity, that in imitation of the Epique Poem there is a principal
+action whereunto all the rest, which reign over all the work, are
+fastned, and which makes them that they are not employed, but for
+the conducting of it to its perfection. The action in _Homers
+Iliades_ is the destrustion of _Troy_; in his _Odysseas_ the return
+of _Ulysses_ to _Ithaca_; in _Virgil_ the death of _Turnus_, or to
+say better, the conquest of _Italy_; neerer to our times, in _Tasso_
+the taking of _Jerusalem_; and to pass from the Poem to the
+_Romanze_, which is my principal object, in _Helidorus_ the marriage
+of _Theagines_ and _Cariclia_. It is not because the Episodes in the
+one, and the several Histories in the other, are not rather beauties
+than defects; but it is alwayes necessary, that the Addresse of him
+which employes them should hold them in some sort to this principal
+action, to the end, that by this ingenious concatenation, all the
+parts of them should make but one body, and that nothing may be seen
+in them which is loose and unprofitable. Thus the marriage of my
+_Justiniano_ and his _Isabella_, being the object which I have
+proposed unto my self, I have employed all my care so to doe, that
+all parts of my work may tend to that conclusion; that there may be
+a strong connexion between them; and that, except the obstacle which
+Fortune opposeth to the desires of my _Hero_'s, all things may
+advance, or at leastwise endeavour to advance his marriage, which is
+the end of my labour. Now those great Geniusses of antiquity, from
+whom I borrow my light, knowing that well-ordering is one of the
+principal parts of a piece, have given so excellent a one to their
+speaking Pictures, that it would be as much stupidity, as pride, not
+to imitate them. They have not done like those Painters, who present
+in one and the same cloth a Prince in the Cradle, upon the Throne,
+and in the Tombe, perplexing, by this so little judicious a
+confusion, him that considers their work; but with an incomparable
+address they begin their History in the midle, so to give some
+suspence to the Reader, even from the first opening of the Book; and
+to confine themselves within reasonable bounds they have made the
+History (as I likewise have done after them) not to last above a
+year, the rest being delivered by Narration. Thus all things being
+ingeniously placed, and of a just greatness, no doubt, but pleasure
+will redound from thence to him that beholds them, and glory to him
+that hath done them. But amongst all the rules which are to be
+observed in the composition of these works, that of true resemblance
+is without question the most necessary; it is, as it were, the
+fundamental stone of this building, and but upon which it cannot
+subsist; without it nothing can move, without it nothing can please:
+and if this charming deceiver doth not beguile the mind in
+_Romanzes_, this kinde of reading disgusts, instead of entertaining
+it: I have laboured then never to eloigne my self from it, and to
+that purpose I have observed the Manners, Customs, Religions, and
+Inclinations of People: and to give a more true resemblance to
+things, I have made the foundations of my work Historical, my
+principal Personages such as are marked out in the true History for
+illustrious persons, and the wars effective. This is the way
+doubtless, whereby one may arrive at his end; for when as falshood
+and truth are confounded by a dexterous hand, wit hath much adoe to
+disintangle them, and is not easily carried to destroy that which
+pleaseth it; contrarily, whenas invention doth not make use of this
+artifice, and that falshood is produced openly, this gross untruth
+makes no impression in the soul, nor gives any delight: As indeed
+how should I be touched with the misfortunes of the Queen of
+_Gundaya_, and of the King of _Astrobacia_, whenas I know their very
+Kingdoms are not in the universal Mapp, or, to say better, in the
+being of things? But this is not the only defect which may carry us
+from the true resemblance, for we have at other times seen
+_Romanzes_, which set before us monsters, in thinking to let us see
+Miracles; their Authors by adhering too much to wonders have made
+Grotesques, which have not a little of the visions of a burning
+Feaver; and one might demand of these Messieurs with more reason,
+than the Duke of _Ferrara_ did of _Ariosto_, after he had read his
+_Orlando, Messer Lodovico done diavolo havete pigliato tante
+coyonerie_? As for me, I hold, that the more natural adventures
+are, the more satisfaction they give; and the ordinary course of the
+Sun seems more marvellous to me, than the strange and deadly rayes
+of Comets; for which reason it is also that I have not caused so
+many Shipwrecks, as there are in some ancient _Romanzes_; and to
+speak seriously, _Du Bartas_ might say of these Authors,
+
+    _That with their word they bind,
+    Or loose, at will, the blowing of the wind._
+
+So as one might think that _AEolus_ hath given them the Winds
+inclosed in a bagg, as he gave them to _Ulysses_, so patly do they
+unchain them; they make tempests and shipwracks when they please,
+they raise them on the Pacifique Sea, they find rocks and shelves
+where the most expert Pilots have never observed any: But they which
+dispose thus of the winds, know not how the Prophet doth assure us,
+that God keeps them in his Treasures; and that Philosophy, as clear
+sighted as it is, could never discover their retreat. Howbeit I
+pretend not hereby to banish Shipwrecks from _Romanzes_, I approve
+of them in the works of others, and make use of them in mine; I know
+likewise, that the Sea is the Scene most proper to make great
+changes in, and that some have named it the Theatre of inconstancy;
+but as all excess is vicious, I have made use of it but moderately,
+for to conserve true resembling: Now the same design is the cause
+also, that my _Heros_ is not oppressed with such a prodigious
+quantity of accidents, as arrive unto some others, for that
+according to my sense, the same is far from true resemblance, the
+life of no man having ever been so cross'd. It would be better in my
+opinion to separate the adventures, to form divers Histories of
+them, and to make persons acting, thereby to appear both fertile and
+judicious together, and to be still within this so necessary true
+resemblance. And indeed they who have made one man alone defeat
+whole Armies, have forgotten the Proverb which saith, _not one
+against two_; and know not that Antiquity doth assure us, how
+_Hercules_ would in that case be too weak. It is without all doubt,
+that to represent a true heroical courage, one should make it
+execute some thing extraordinary, as it were by a transport of the
+_Heros_; but he must not continue in that sort, for so those
+incredible actions would degenerate into ridiculous Fables, and
+never move the mind. This fault is the cause also of committing
+another; for they which doe nothing but heap adventure upon
+adventure, without ornament, and without stirring up passions by the
+artifices of Rhetorick, or irksome, in thinking to be the more
+entertaining. This dry Narration, and without art, hath more of an
+old Chronicle, than of a _Romanze_, which may very well be
+imbellished with those ornaments, since History, as severe and
+scrupulous as it is, doth not forbear employing them. Certain
+Authors, after they have described an adventure, a daring design, or
+some surprising event, able to possess one with the bravest
+apprehensions in the world, are contented to assure us, that such a
+_Heros_ thought of very gallant things, without telling us what they
+are; and this is that alone which I desire to know: For how can I
+tell, whether in these events Fortune hath not done as much as he?
+whether his valour be not a brutish valour? and whether he hath born
+the misfortunes that arrived unto him, as a worthy man should doe?
+it is not by things without him, it is not by the caprichioes of
+destiny, that I will judge of him; it is by the motions of his soul,
+and by that which he speaketh. I honour all them that write at this
+day; I know their persons, their works, their merits; but as
+canonizing is for none but the dead, they will not take it ill if I
+do not Deifie them, since they are living. And in this occasion I
+propose no other example, than the great and incomparable _Urfe_;
+certainly it must be acknowledged that he hath merited his
+reputation; that the love which all the earth bears him is just; and
+that so many different Nations, which have translated his Book into
+their tongues, had reason to do it: as for me, I confess openly,
+that I am his adorer; these twenty years I have loved him, he is
+indeed admirable over all; he is fertile in his inventions, and in
+inventions reasonable; every thing in him is mervellous, every thing
+in him is excellent; and that which is more important, every thing
+in him is natural, and truly resembling: But amongst many rare
+matters, that which I most esteem of is, that he knows how to touch
+the passions so delicately, that he may be called the Painter of the
+Soul; he goes searching out in the bottom of hearts the most secret
+thoughts; and in the diversity of natures, which he represents, evey
+one findes his own pourtrait, so that
+
+    _If amongst mortals any be
+    That merits Altars_, Urfe's _he
+    Who can alone pretend thereto._
+
+Certainly there is nothing more important in this kind of
+composition, than strongly to imprint the Idea, or (to say better)
+the image of the _Heroes_ in the mind of the Reader, but in such
+sort, as if they were known to them; for that it is which
+interesseth him in their adventures, and from thence his delight
+cometh, now to make them be known perfectly, it is not sufficient to
+say how many times they have suffered shipwreck, and how many times
+they have encountered Robbers, but their inclinations must be made
+to appear by their discourse: otherwise one may rightly apply to
+these dumb _Heroes_ that excellent motto of Antiquity, _Speak that I
+may see thee_. And if from true resemblance and inclinations,
+expressed by words, we will pass unto manners, goe from the pleasant
+to the profitable, and from Delight to Example, I am to tell you,
+Reader, that here Vertue is seen to be alwayes recompenced, and Vice
+alwayes punished, if he that hath followed his unruliness hath not
+by a just and sensible repentance obtained Grace from Heaven; to
+which purpose I have also observed equality of manners in all the
+persons that do act, unless it be whereas they are disordered by
+passions, and touched with remorse.
+
+I have had a care likewise to deal in such sort, as the faults,
+which great ones have committed in my History, should be caused
+either by Love or by Ambition, which are the Noblest of passions,
+and that they be imputed to the evil counsell of Flatterers; that so
+the respect, which is alwayes due unto Kings, may be preserved. You
+shall see there, Reader, if I be not deceived, the comeliness of
+things and conditions exactly enough observed; neither have I put
+any thing into my Book, which the Ladies may not read without
+blushing. And if you see not my _Hero_ persecuted with Love by
+Women, it is not because he was not amiable, and that he could not
+be loved, but because it would clash with Civility in the persons of
+Ladies, and with true resemblance in that of men, who rarely shew
+themselves cruel unto them, nor in doing it could have any good
+grace: Finally, whether things ought to be so, or whether I have
+judged of my _Hero_ by mine own weakness, I would not expose his
+fidelity to that dangerous triall, but have been contented to make
+no _Hilas_, nor yet an _Hipolitus_ of him.
+
+But whilest I speak of Civility, it is fit I should tell you (for
+fear I be accused of falling therein) that if you see throughout all
+my Work, whenas _Soliman_ is spoken unto, Thy Highness, Thy
+Majestie, and that in conclusion he is treated with Thee, and not
+with You, it is not for want of Respect, but contrarily it is to
+have the more, and to observe the custom of those people, who speak
+after that sort to their Sovereigns. And if the Authority of the
+living may be of as much force, as that of the dead, you shall find
+examples of it in the most famous _Othomans_, and you shall see that
+their Authors have not been afraid to employ in their own Tongue a
+manner of speaking, which they have drawn from the Greek and Latin;
+and then too I have made it appear clearlie, that I have not done it
+without design; for unless it be whenas the Turks speak to the
+Sultan, or he to his Inferiours, I have never made use of it, and
+either of them doth use it to each other.
+
+Now for fear it may be objected unto me, that I have approached some
+incidents nearer than the Historie hath shewed them to be, great
+_Virgil_ shall be my Warrant, who in his Divine _AEneids_ hath made
+_Dido_ appear four Ages after her own; wherefore I have believed I
+might do of some moneths, what he hath done of so many Years, and
+that I was not to be afraid of erring, as long as I followed so good
+a guide. I know not likewise whether some may not take it ill, that
+my _Hero_ and _Heronia_ are not Kings; but besides that the Generous
+do put no difference between wearing of Crowns, and meriting them,
+and that my _Justiniano_ is of a Race which hath held the Empire of
+the Orient, the example of _Athenagoras_, me-thinks, ought to stop
+their mouths, seeing _Theogines_ and _Charida_ are but simple
+Citizens.
+
+Finally, Reader, such Censors may set their hearts at rest for this
+particular, and leave me there, for I assure them, that _Justiniano_
+is of a condition to command over the whole Earth; and that
+_Isabella_ is of a House, and Gentlewoman good enough, to make
+Knights of the _Rhodes_, if she have children enough for it, and
+that she have a minde thereunto. But setting this jesting aside, and
+coming to that which regards the _Italian_ names, know that I have
+put them in their natural pronunciation. And if you see some Turkish
+words, as _Alla_, _Stamboll_, the _Egira_, and some others, I have
+done it of purpose, Reader, and have left them as Historical marks,
+which are to pass rather for embellishments than defests. It is
+certain, that imposition of names is a thing which every one ought
+to think of, and whereof nevertheless all the World hath not
+thought: We have oftentimes seen Greek Names given to barbarous
+Nations, with as little reason as if I should name an English man
+_Mahomet_, and that I should call a Turk _Anthony_; for my part I
+have believed that more care is to be had of ones with; and if any
+one remarks the name of _Satrape_ in this _Romanze_, let him not
+magine that my ignorance hath confounded the ancient and new Persia,
+and that I have done it without Authority, I have an example thereof
+in _Vigenere_, who makes use of it in his Illustrations upon
+_Calchondila_; and I have learned it of a _Persian_, which is at
+_Paris_, who saith, that by corruption of speech they call yet to
+this day the Governours of Provinces, _Soltan Sitripin_.
+
+Now lest some other should further accuse me for having improperly
+named _Ibrahim_'s House a Palace, since all those of quality are
+called _Seraglioes_ at _Constantinople_, I desire you to remember
+that I have done it by the counsel of two or three excellent
+persons, who have found as well as my self, that this name of
+_Seraglio_ would leave an _Idea_ which was not seemly, and that it
+was fit not to make use of it, but in speaking of the Grand Signior,
+and that as seldom as might be. But whilest we are speaking of a
+Palace, I am to advertise you, that such as are not curious to see a
+goodly building, may pass by the gate of that of my _Heroe_ without
+entring into it, that is to say, not to read the description of it;
+it is not because I have handled this matter like to _Athenagoras_,
+who playes the Mason In the Temple of _Jupiter Hammon_; nor like
+_Poliphile_ in his dreams, who hath set down most strange terms, and
+all the dimensions of Architecture, whereas I have employed but the
+Ornaments thereof; it is not because they are not Beauties suitable
+to the _Romanze_, as well as to the _Epique Poem_, since the most
+famous both of the one and the other have them; nor is it too
+because mine is not grounded on the History, which assures us that
+it was the most superb the Turks ever made, as still appears by the
+remains thereof, which they of that Nation call _Serrau Ibrahim_.
+
+But to conclude, as inclinations ought to be free, such as love not
+those beautifull things, for which I have so much passion (as I have
+said) pass on without looking on them, and leave them to others more
+curious of those rarities, which I have assembled together with art
+and care enough. Now Reader, ingenuity being a matter necessary for
+a man of Honour, and the theft of glory being the basest that may be
+committed, I must confess here for fear of being accused of it, that
+the History of the Count of _Lavagna_, which you shall see in my
+Book, is partly a Paraphrase of _Mascardies_; this Adventure falling
+out in the time whilest I was writing, I judged it too excellent not
+to set it down, and too well indited for to undertake to do it
+better; so that regard not this place but as a Translation of that
+famous Italian, and except the matters, which concern my History,
+attribute all to that great man, whose Interpreter only I am. And if
+you finde something not very serious in the Histories of a certain
+French Marquis, which I have interlaced in my Book, remember if you
+please, that a _Romanze_ ought to have the Images of all natures;
+and this diversity makes up the beauties of it, and the delight of
+the Reader; and at the worst regard it as the sport of a
+Melancholick, and suffer it without blaming it. But before I make an
+end, I must pass from matters to the manner of delivering them, and
+desire you also not to forget, that a Narrative stile ought not to
+be too much inflated, no more than that of ordinarie conversations;
+that the more facile it is, the more excellent it is; that it ought
+to glide along like the Rivers, and not rebound up like Torrents;
+and that the less constraint it hath, the more perfection it hath; I
+have endeavoured then to observe a just mediocrity between vicious
+Elevation, and creeping Lowness; I have contained my self in
+Narration, and left my self free in Orations and in Passions, and
+without speaking as extravagants and the vulgar, I have laboured to
+speak as worthy persons do.
+
+Behold, Reader, that which I had to say to you, but what defence
+soever, I have imployed, I know that it is of works of this nature,
+as of a place of War, where notwithstanding all the care the
+Engineer hath brought to fortifie it, there is alwayes some weak
+part found, which he hath not dream'd of, and whereby it is
+assaulted; but this shall not surprize me; for as I have not forgot
+that I am a man, no more have I forgot that I am subject to erre.
+
+
+
+
+THE
+
+Secret History
+
+OF
+
+Queen _ZARAH_,
+
+AND THE
+
+_Zarazians_;
+
+BEING A
+
+Looking-glass
+
+FOR
+
+----- --------
+
+In the Kingdom of
+
+_ALBIGION_.
+
+
+Faithfully Translated from the _Italian_ Copy now lodg'd in the
+_Vatican_ at _Rome_, and never before Printed in any Language.
+
+_Albigion_, Printed in the Year 1705.
+
+Price Stitch'd 1 _s._ Price Bound 1 _s._ 6 _d._
+
+
+
+
+  TO THE
+
+  READER.
+
+
+_The Romances in_ France _have for a long Time been the Diversion
+and Amusement of the whole World; the People both in the City and at
+Court have given themselves over to this Vice, and all Sorts of
+People have read these Works with a most surprizing Greediness; but
+that Fury is very much abated, and they are all fallen off from this
+Distraction: The Little_ Histories _of this Kind have taken Place
+of_ Romances, _whose Prodigious Number of Volumes were sufficient to
+tire and satiate such whose Heads were most fill'd with those
+Notions._
+
+_These little Pieces which have banish'd_ Romances _are much more
+agreeable to the Brisk and Impetuous Humour of the_ English, _who have
+naturally no Taste for long-winded Performances, for they have no
+sooner begun a Book, but they desire to see the End of it: The
+Prodigious Length of the Ancient_ Romances, _the Mixture of so many
+Extraordinary Adventures, and the great Number of Actors that appear
+on the Stage, and the Likeness which is so little managed, all which
+has given a Distaste to Persons of good Sense, and has made Romances
+so much cry'd down, as we find 'em at present. The Authors of
+Historical Novels, who have found out this Fault, have run into the
+same Error, because they take for the Foundation of their History
+no more than one Principal Event, and don't overcharge it with_
+Episodes, _which wou'd extend it to an Excessive Length; but they
+are run into another Fault, which I cannot Pardon, that is, to
+please by Variety the Taste of the Reader, they mix particular
+Stories with the Principal_ History, _which seems to me as if they
+reason'd Ill; in Effect the Curiosity of the Reader is deceiv'd by
+this Deviation from the Subject, which retards the Pleasure he wou'd
+have in seeing the End of an Event; it relishes of a Secret
+Displeasure in the Author, which makes him soon lose Sight of those
+Persons with whom he began to be in Love; besides the vast Number of
+Actors who have such different Interests, embarresses his Memory,
+and causes some Confusion in his Brain, because 'tis necessary for
+the Imagination to labour to recal the several Interests and
+Characters of the Persons spoken of, and by which they have
+interrupted the_ History.
+
+_For the Reader's better Understanding, we ought not to chuse too
+Ancient Accidents, nor unknown Heroes, which are fought for in a
+Barbarous Countrey, and too far distant in Time, for we care little
+for what was done a Thousand Years ago among the_ Tartars _or_
+Ayssines.
+
+_The Names of Persons ought to have a Sweetness in them, for a
+Barbarous Name disturbs the Imagination; as the Historian describes
+the Heroes to his Fancy, so he ought to give them Qualities which
+affect the Reader, and which fixes him to his Fortune; but he ought
+with great Care to observe the Probability of Truth, which consists
+in saying nothing but what may Morally be believed._
+
+_For there are Truths that are not always probable; as for Example
+'tis an allowed Truth in the_ Roman History _that_ Nero _put his
+Mother to Death, but 'tis a Thing against all Reason and Probability
+that a Son shou'd embrue his Hand in the Blood of his own Mother; it
+is also no less probable that a Single Captain shou'd at the Head of
+a Bridge stop a whole Army, although 'tis probable that a small
+Number of Soldiers might stop, in Defiles, Prodigious Armies,
+because the Situation of the Place favours the Design, and renders
+them almost Equal. He that writes a True History ought to place the
+Accidents as they Naturally happen, without endeavouring to sweeten
+them for to procure a greater Credit, because he is not obliged to
+answer for their Probability; but he that composes a History to his
+Fancy, gives his Heroes what Characters he pleases; and places the
+Accidents as he thinks fit, without believing he shall be
+contradicted by other Historians, therefore he if obliged to Write
+nothing that is improbable; 'tis nevertheless allowable that an
+Historian shows the Elevation of his_ Genius, _when advancing
+Improbable Actions, he gives them Colours and Appearances capable of
+Perswading._
+
+_One of the Things an Author ought first of all to take Care of, is
+to keep up to the Characters of the Persons he introduces. The
+Authors of_ Romances _give Extraordinary Virtues to their Heroins,
+exempted from all the Weakness of Humane Nature, and much above the
+Infirmities of their Sex; 'tis Necessary they shou'd be Virtuous or
+Vicious to Merit the Esteem or Disesteem of the Reader; but their
+Virtue out to be spared, and their Vices exposed to every Trial: It
+wou'd in no wise be probable that a Young Woman fondly beloved by a
+Man of great Merit, and for whom she had a Reciprocal Tenderness,
+finding her self at all Times alone with him in Places which
+favour'd their Loves, cou'd always resist his Addresses; there are
+too Nice Occasions; and an Author wou'd not enough observe good
+Sense, if he therein exposed his Heroins; 'tis a Fault which Authors
+of_ Romances _commit in every Page; they would blind the Reader
+with this Miracle, but 'tis necessary the Miracle shou'd be
+feisable, to make an Impression in the Brain of Reasonable Persons;
+the Characters are better managed in the Historical Novels, which
+are writ now-a-days; they are not fill'd with great Adventures, and
+extraordinary Accidents, for the most simple Action may engage the
+Reader by the Circumstances that attend it; it enters into all the
+Motions and Disquiets of the Actor, when they have well express'd to
+him the Character. If he be Jealous, the Look of a Person he Loves,
+a Mouse, a turn of the Head, or the least complaisance to a Rival,
+throws him into the greatest Agitations, which the Readers perceive
+by a Counter-blow; if he be very Vertuous, and falls into a
+Mischance by Accident, they Pity him and Commiserate his
+Misfortunes; for Fear and Pity in Romance as well as Tragedies are
+the Two Instruments which move the Passion; for we in some Manner
+put our selves in the Room of those we see in Danger; the Part we
+take therein, and the fear of falling into the like Misfortunes,
+causes us to interest our selves more in their Adventures, because
+that those sort of Accidents may happen, to all the World; and it
+touches so much the more, because they are the common Effect of
+Nature._
+
+_The Heroes in the Ancient_ Romances _have nothing in them that is
+Natural; all is unlimited in their Character; all their Advantages
+have Something Prodigious, and all their Actions Something that's
+Marvellous; in short, they are not Men: A single Prince attact by a
+great Number of Enemies, it so far from giving way to the Croud,
+that he does Incredible Feats of Valour, beats them, puts them to
+flight, delivers all the Prisoners, and kills an infinite Number of
+People, to deserve the Title of a Hero. A Reader who has any Sense
+does not take part with these Fabulous Adventures, or at least is
+but slightly touch'd with them, because they are not natural, and
+therefore cannot be believ'd. The Heroes of the Modern Romances are
+better Characteriz'd, they give them Passions, Vertues or Vices,
+which resemble Humanity; thus all the World will find themselves
+represented in these Descriptions, which ought to be exact, and
+mark'd by Tracts which express clearly the Character of the Hero, to
+the end we may not be deceived, and may presently know our
+predominant Quality, which ought to give the Spirit all the Motion
+and Action of our Lives; 'tis that which inspires the Reader with
+Curiosity, and a certain impatient Desire to see the End of the
+Accidents, the reading of which causes an Exquisite Pleasure when
+they are Nicely handled; the Motion of the Heart gives yet more, but
+the Author ought to have an Extraordinary Penetration to distinguish
+them well, and not to lose himself in this Labyrinth. Most Authors
+are contented to describe Men in general, they represent them
+Covetous, Courageous and Ambitious, without entering into the
+Particulars, and without specifying the Character of their
+Covetousness, Valour or Ambition; they don't perceive Nice
+Distinctions, which those who know it Remark in the Passions; in
+Effect, the Nature, Humour and Juncture, give New Postures to Vices;
+the Turn of the Mind, Motion of the Heart, Affection and Interests,
+alter the very Nature of the Passions, which are different in All
+Men; the Genius of the Author marvellously appears when he Nicely
+discovers those Differences, and exposes to the Reader's Sight those
+almost unperceivable Jealousies which escape the Sight of most
+Authors, because they have not an exact Notion of the Turnings and
+Motions of Humane Understanding; and they know nothing but the gross
+Passions, from whence they make but general Descriptions._
+
+_He that Writes either a True or False History, ought immediately
+to take Notice of the Time and Sense where those Accidents
+happen'd, that the Reader may not remain long in Suspence; he ought
+also in few Words describe the Person who bears the most
+Considerable Part in his Story to engage the Reader; 'tis a Thing
+that little conduces to the raising the Merit of a Heroe, to Praise
+him by the Beauty of his Face; this is mean and trivial, Detail
+discourages Persons of good Taste; 'tis the Qualities of the Soul
+which ought to render him acceptable; and there are those Qualities
+likewise that ought to be discourag'd in the Principal Character of
+a Heroe, for there are Actors of a Second Rank, who serve only to
+bind the Intrigue, and they ought not to be compar'd with those of
+the First Order, nor be given Qualities that may cause them to be
+equally Esteemd; 'tis not by Extravagant Expressions, nor Repeated
+Praises, that the Reader's Esteem is acquired to the Character of
+the Heroe's, their Actions ought to plead far them; 'tis by that
+they are made known; and describe themselves; altho' they ought to
+have some Extraordinary Qualities, they ought not all to have 'em in
+an equal degree; 'tis impossible they shou'd not have some
+Imperfections, seeing they are Men, but their Imperfections ought
+not to destroy the Character that is attributed to them; if we
+describe them Brave, Liberal and Generous, we ought not to attribute
+to them Baseness or Cowardice, because that their Actions wou'd
+otherwise bely their Character, and the Predominant Virtures of the
+Heroes: 'Tis no Argument that_ Salust, _though so Happy in the
+Description of Men, in the Description of_ Cataline _does not in
+some manner describe him Covetous also; for he says this Ambitious
+Man spent his own Means profusely, and raged after the Goods of
+another with an Extream Greediness, but these Two Motions which seem
+contrary were inspired by the same Wit; these were the Effects of
+the Unbounded Ambition of_ Cataline, _and the desire he had to Rise
+by the help of his Creatures on the Ruins of the_ Roman _Republic;
+so vast a Project cou'd not be Executed by very great Sums of Money,
+which obliged_ Cataline _to make all Sorts of Efforts to get it from
+all Parts._
+
+_Every Historian ought to be extreamly uninterested; he ought
+neither to Praise nor Blame those he speaks of; he ought to be
+contented with Exposing the Actions, leaving an entire Liberty to
+the Reader to judge at he pleases, without taking any care not to
+blame his Heroes, or make their Apology; he is no judge of the merit
+of his Heroes, his Business is to represent them in the same Form as
+they are, and describe their Sentiments, Manners and Conduct; it
+deviates in some manner from his Character, and that perfect
+uninterestedness, when he adds to the Names of those he introduces
+Epithets either to Blame or Praise them; there are but few
+Historians who exactly follow this Rule, and who maintain this
+Difference, from which they cannot deviate without rendring
+themselves guilty of Partiality._
+
+_Although there ought to be a great Genius required to Write a
+History perfectly, it is nevertheless not requisite that a Historian
+shou'd always make use of all his Wit, nor that he shou'd strain
+himself, in Nice and Lively Reflexions; 'tis a Fault which is
+reproach'd with some Justice to_ Cornelius Tacitus, _who is not
+contented to recount the Feats, but employs the most refin'd
+Reflexions of Policy to find out the secret Reasons and hidden
+Causes of Accidents, there is nevertheless a distinction to be made
+between the Character of the Historian and the Heroe, for if it be
+the Heroe that speaks, then he ought to express himself
+Ingeniously, without affecting any Nicety of Points or Syllogisms,
+because he speaks without any Preparation; but when the Author
+speaks of his Chief, he may use a more Nice Language, and chuse his
+Terms for the better expressing his Designs; Moral Reflexions,
+Maxims and Sentences are more proper in Discourses for Instructions
+than in Historical Novels, whose chief End if to please; and if we
+find in them some Instructions, it proceeds rather from their
+Descriptions than their Precepts._
+
+_An Acute Historian ought to observe the same Method, at the Ending
+as at the Beginning of his Story, for he may at first expose Maxims
+relating but a few Feats, but when the End draws nigher, the
+Curiosity of the Reader is augmented, and he finds in him a Secret
+Impatience of desiring to see the Discovery of the Action; an
+Historian that amuses himself by Moralizing or Describing,
+discourages an Impatient Reader, who is in haste to see the End of
+Intrigues; he ought also to use a quite different Sort of Stile in
+the main Part of the Work, than in Conversations, which ought to be
+writ after an easie and free Manner: Fine Expressions and Elegant
+Turns agree little to the Stile of Conversation, whose Principal
+Ornament consists in the Plainness, Simplicity, Free and Sincere
+Air, which is much to be preferr'd before a great Exactness: We see
+frequent Examples in Ancient Authors of a Sort of Conversation which
+seems to clash with Reason; for 'tis not Natural for a Man to
+entertain himself, for we only speak that we may communicate our
+Thoughts to others; besides, 'tis hard to comprehend how an Author
+that relates Word for Word, the like Conversation cou'd be
+instructed to repeat them with so much Exactness; these Sort of
+Conversations are much more Impertinent when they run upon strange
+Subjects, which are not indispensibly allied to the Story handled:
+If the Conversations are long they indispensibly tire, because they
+drive from our Sight those People to whom we are engaged, and
+interrupt the Seque of the Story._
+
+_'Tis an indispensible Necessity to end a Story to satisfie the
+Disquiets of the Reader, who is engag'd to the Fortunes of those
+People whose Adventures are described to him; 'tis depriving him of
+a most delicate Pleasure, when he is hindred from seeing the Event
+of an Intrigue, which has caused some Emotion in him, whose
+Discovery he expects, be it either Happy or Unhappy; the chief End
+of History is to instruct and inspire into Men the Love of Vertue,
+and Abhorrence of Vice, by the Examples propos'd to them; therefore
+the Conclusion of a Story ought to have some Tract of Morality which
+may engage Virtue; those People who have a more refin'd Vertue are
+not always the most Happy; but yet their Misfortunes excite their
+Readers Pity, and affects them; although Vice be not always
+punish'd, yet 'tis describ'd with Reasons which shew its Deformity,
+and make it enough known to be worthy of nothing but
+Chastisements._
+
+
+
+
+THE JEWISH SPY:
+
+BEING A
+
+PHILOSOPHICAL, HISTORICAL and
+CRITICAL _Correspondence,_
+
+_By_ LETTERS
+
+Which lately pass'd between certain _JEWS_
+in _Turky, Italy, France, &c._
+
+Translated from the ORIGINALS into _French_,
+
+_By the_ MARQUIS D'ARGENS;
+_And now done into_ English.
+
+THE SECOND EDITION.
+
+VOL. I.
+
+[Illustration]
+
+_LONDON_:
+
+Printed for D. BROWNE, without _Temple-Bar;_ R. HETT, in the
+_Poultry_; J. SHUCKBURGH, in _Fleet-street_; J. HODGES, on _London
+Bridge_; and A. MILLAR, in the _Strand_. M DCC XLIV.
+
+
+
+
+[Illustration]
+
+LETTER XXXV.
+
+AARON MONCECA _to_ ISAAC ONIS, _a Rabbi, at_ Constantinople.
+
+_Paris_----
+
+
+I still expect the Books from _Amsterdam_; and have writ several
+times to _Moses Rodrigo_ to press him to send them to me; but to no
+purpose: He puts me off to the End of the Month, and I shall not be
+able to send them to _Constantinople_ in less than five Weeks.
+
+I have search'd all the Booksellers Shops at _Paris_ for some choice
+new Tracts, to add to those which I shall receive from _Holland_,
+but found nothing good besides what I have already sent thee, except
+two little. Romances that are lately come out. The first is
+intitled, _Les Egaremens du Coeur & de l'Esprit_; the Author of
+which I have already made mention of in my former Letters.[13] He
+writes in a pure Stile, understands Human Nature, and he lays the
+Heart of Man open with a great deal of Clearness and Justice: But in
+this Work he has fallen into an Error, which he has often condemn'd
+in the Writings of others. He makes it plain to the Reader, that he
+affects to be witty; and there are some Passages where Nature is
+sacrificed to the false Glare. But this Error, which is not common,
+is repair'd by a thousand Beauties. The Author of this Romance
+paints rather than writes Things; and the Pictures he draws strike
+the Imagination with Pleasure. Do but consider if it be possible to
+define the first Surprize of a Heart with more Justness and
+Clearness. _Without searching into the Motive of my Action, I
+managed, I interpreted her Looks; I endeavour'd to make her least
+Motions my Lessons. So much Obstinacy in not losing Sight of her
+made me at last taken notice of by her. She looked upon me in her
+turn, I fix'd her without knowing it, and during the Charm with
+which I was captivated whether I wou'd or not, I know not what my
+Eyes told her, but she turn'd hers away with a sort of Blush._
+
+None but a Man who was at that Juncture, or had been formerly, in
+Love cou'd, with so much Truth and Delicacy, have painted all the
+Motions of the Soul. Genius, Wit, and Learning cannot draw Pictures
+so much to the Life, it being a Point to which the Heart alone can
+attain. When I say the Heart, I mean a tender Heart, and one that is
+in such Situations. The following is the Character of a Prude in
+Love. _Being not to be depended upon in her Proceedings, she was a
+perpetual Mixture of Tenderness and Severity: She seem'd to yield
+only to be the more obstinate in her Opposition. If she thought she
+had, by what she said, disposed me to entertain any sort of Hopes,
+being on the Watch how to disappoint me, she presently resum'd that
+Air which had made me so often tremble, and left me nothing to
+trust to but a melancholy Uncertainty_. One cannot help being struck
+with the Truth and Nature which, prevail in this Character. Without
+an Acquaintance with the World, and a perfect Knowledge of Mankind,
+'tis impossible to attain to this Point. 'Tis difficult to
+distinguish the different Forms, and, as one may say, the internal
+Motives of different Characters. A mean Writer does only take a
+Sketch of 'em; but a good Author paints them, sets them plainly in
+Sight, and exposes them as they really are.
+
+A Romance is consider'd in no other Light than as a Work composed
+only for Amusement; but something else ought to be the Scope of it:
+For every Book that has not the Useful as well as the Agreeable,
+does not deserve the Esteem of good Judges. The Heart ought to be
+instructed at the same time as the Mind is amused; and this is the
+Quality with which the greatest Men have render'd their Writings
+famous.
+
+A Writer who, abounding with bold Fictions and Imaginations, amuses
+the Readers for a matter of a dozen Volumes with Incidents, work'd
+up artfully and importantly, and who nevertheless in the Close of
+his Book entertains his Reader's Imagination with nothing but Rapes,
+Duels, Sighs, Despair, and Tears[14]; has not the Talent of
+instructing, nor can he attain to Perfection; for he possesses but
+the least part of his Art. An Author who pleases without
+instructing, does not please long; for he sees his Book grow mouldy
+in the Bookseller's Shop, and his Works have the Fate of sorry
+Sermons and cold Panegyric.
+
+Heretofore Romances were nothing more than a Rhapsody of tragical
+Adventures, which captivated the the Imagination and distracted the
+Heart[15]. 'Twas pleasant enough to read them, but nothing more was
+got by it than feeding the Mind with Chimaeras, which were often
+hurtful. The Youth greedily swallow'd all the wild and gigantic
+Ideas of those fabulous Heroes, and when their Genius's were
+accustomed to enormous Imaginations, they had no longer a Relish for
+the Probable. For some time past this manner of Thinking has been
+chang'd: Good Taste is again return'd; the Reasonable has succeeded
+in the place of the Supernatural; and instead of a Number of
+Incidents with which the least Facts were overcharg'd, a plain
+lively Narration is required, such as is supported by Characters
+that give us the _Utile Dulci_.
+
+Some Authors have wrote in this Taste, and have advanced more or
+less towards Perfection, in proportion as they have copy'd
+Nature[16].
+
+There are others who carry Things to Extremity; for, by affecting to
+appear natural, they become low and creeping, and have neither the
+Talent of pleasing nor of instructing[17].
+
+Some have had recourse to insipid Allegory[18], thinking to please
+by a new Taste; but their Works dy'd in their Birth, and were so
+little read that they escaped Criticism.
+
+If the bad Authors were but to reflect on the Talents and
+Qualifications necessary for a good Romance, Works of this kind
+would no longer be their Refuge. A Man who is press'd both by Hunger
+and Thirst, sets about writing a Book, and tho' he has not
+Knowledge enough to write History, nor Genius for Works of Morality,
+he stains a couple of Quires of Paper with a Heap of ill-digested
+Adventures, which he relates without Taste, and without Genius, and
+carries his Work to a Bookseller, who, were he oblig'd to buy it by
+Weight, and to give him but twice the Cost of the Paper, wou'd pay
+more for it than the Worth of it. Perhaps there is as much need for
+Wit, an Acquaintance with Mankind, and the Knowledge of the
+Passions, to compose a Romance as to write a History. The only
+Qualification to paint Manners and Customs, is a long Experience;
+and a Man must have examin'd the various Characters very closely, to
+be able to describe them to a Nicety.
+
+How can an Author, whose common Vocation is staining of Paper, and
+spending his whole Time in a Coffee-house or in a Garret, give a
+just Definition of a Prince, a Courtier, or a fine Lady? He never
+sees those Persons but as he walks the Streets; and I can scarce
+think that the Mud with which he is often dash'd by their Equipages,
+communicates to him any Share of their Sentiments. Yet there is not
+a wretched Author but makes a Duke and Dutchess speak as he fancies.
+But when a Man of Fashion comes to cast his Eye on these ridiculous
+Performances, he is perfectly surpriz'd to see the Conversation of
+_Margaret_ the Hawker, retail'd by the Name of the Dutchess of ----,
+or the Marchioness of ----. Yet be these Books ever so bad,
+abundance of 'em are sold; for many People, extravagantly fond of
+Novelty, who only judge of Things superficially, buy those Works,
+tho' by the Perusal of 'em they acquire a Taste as remote from a
+happy Talent of Writing, as the Authors themselves are.
+
+Don't fear, dear _Isaac_, that I shall ever send thee a Collection
+of such paultry Books. Be a Man ever so fond at _Constantinople_ of
+Romances and Histories of Gallantry, 'tis expected they should serve
+not only for Pleasure but for Edification.
+
+The second Book that I have bought, seems to me to be written with
+this View. 'Tis intitled, _Memoirs of the Marquis_ de Mirmon; _or
+the Solitary Philosopher_. The Author writes with an easy lively
+Stile[19]; and 'tis plain, that he himself was acquainted with the
+Characters which he paints. Without affecting to appear to have as
+much Wit as the former Author that I mention'd to thee, he delivers
+the Truth every where in an amiable Dress. If any Fault can be found
+with him, 'tis explaining himself a little too boldly; and he is
+also reproach'd with a sort of Negligence pardonable in a Man whose
+Stile is in general so pure as his is. The following is his
+Character of Solitude, _'Tis not to torment himself that a wise Man
+seems to separate himself from Mankind: He is far from imposing new
+Laws on himself, and only follows those that are already prescrib'd
+to his Hands. If he lays himself under any new Laws, he reserves to
+himself the Power of changing them, being their absolute Master, and
+not their Slave. Being content to cool his Passions, and to govern
+them by his Reason, he does not imagine it impossible to tame them
+to his own Fancy, and does not convert what was formerly an innocent
+Amusement to him, into a Monster to terrify him. He retains in
+Solitude all the Pleasures which Men of Honour have a Relish for in
+the World, and only puts it out of their Power of being hurtful, by
+preventing them from being too violent._
+
+There are several other Passages in this Book, which are as
+remarkable for their Perspicuity as their Justness. Such is the
+Description of the Disgust which sometimes attends Marriages. _When
+Persons are in Love, they put the best Side outwards. A Man who is
+desirous of pleasing, takes a world of Care to conceal his Defects.
+A Woman knows still better how to dissemble. Two Persons often study
+for six Months together to bubble one another, and at last they
+marry, and punish one another the Remainder of their Lives for their
+Dissimulation._
+
+You will own, dear _Isaac_, that there is a glaring Truth and
+Perspicuity in this Character, which strikes the Mind. These naked
+Thoughts present themselves with Lustre to the Imagination, which
+cannot help being pleased, because they are so just. If the Authors
+who write Romances in this new Taste, would always adhere to the
+Truth, and never suffer themselves to be perverted to any new Mode
+(for this is what Works of Wit are liable to) their Writings wou'd
+probably be as useful in forming the Manners as Comedy, because they
+wou'd render Romances the Picture of Human Life. A covetous Man will
+therein find himself painted in such natural Colours; a Coquette
+will therein see her Picture so resembling her, that their
+Reflection upon reading the Character will be more useful to them
+than the long-winded Exhortations of a Fryar, who makes himself
+hoarse with Exclamation, and often tires out the Patience of his
+Hearers.
+
+Authors who set about writing Romances, ought to study to paint
+Manners according to Nature, and to expose the most secret
+Sentiments of the Heart. As their Works are but ingenious Fictions,
+they can never please otherwise than as they approach to the
+Probable. Nor is every thing that favours of the Marvellous,
+esteem'd more among Men of Taste than pure Nonsense. Both generally
+go together, and the Authors who fall into gigantic or unnatural
+Ideas, have commonly a declamatory Stile, bordering upon a pompous
+and unintelligible Diction.
+
+The Stile of Romances ought to be simple; indeed it should be more
+florid than that of History, but not have all that Energy and
+Majesty. Gallantry is the Soul of Romance, and Grandeur and Justness
+that of History. A Person must be very well acquainted with the
+World to excel in the one, and he must have Learning and Politics to
+distinguish himself in the other. Good Sense, Perspicuity, Justness
+of Characters, Truth of Descriptions, Purity of Stile are necessary
+in both. The Ladies are born Judges of the Goodness of a Romance.
+Posterity decides the Merit of a History.
+
+Fare thee well, dear _Isaac_. As soon as I have receiv'd the new
+Books from _Holland_, I will send them to thee.
+
+
+NOTES:
+
+[13] _Crebillon_ the Son.
+
+[14] _La Calprenede_.
+
+[15] The _Polexandre of Gomberville_, the _Ariana_ of _Des
+Maretz_, &c.
+
+[16] _Le Prevot d'Exiles_. See the _Bibliotheque des
+Romans_.
+
+[17] Histoire du Chevalier des _Essars_, & de la Comtesse
+de _Merci_, &c.
+
+[18] _Fanseredin_, &c.
+
+[19] M. _d'Argens_.
+
+[Illustration]
+
+
+
+
+CLARISSA.
+
+OR, THE
+
+HISTORY
+
+OF A
+
+YOUNG LADY:
+
+Comprehending
+
+_The most_ Important Concerns _of_ Private LIFE,
+And particularly shewing,
+The DISTRESSES that may attend the Misconduct
+Both of PARENTS and CHILDREN,
+In Relation to MARRIAGE.
+
+_Published by the_ EDITOR _of_ PAMELA.
+
+VOL. IV.
+
+[Illustration]
+
+_LONDON:_
+
+Printed for S. Richardson: And Sold by JOHN OSBORN, in _Pater-noster
+Row_; ANDREW MILLAR, over-against _Catharine-street_ in the
+_Strand_; J. and JA. RIVINGTON, in _St. Paul's Church-yard_; And by
+J. LEAKE, at _Bath_
+
+M.DCC.XLVIII.
+
+[Illustration]
+
+
+
+
+THE EDITOR _to the_ READER.
+
+
+If it may be thought reasonable to criticise the Public Taste, in
+what are generally supposed to be Works of mere Amusement; or modest
+to direct its Judgment, in what is offered for its Entertainment; I
+would beg leave to introduce the following Sheets with a few cursory
+Remarks, that may lead the common Reader into some tolerable
+conception of the nature of this Work, and the design of its Author.
+
+The close connexion which every Individual has with all that relates
+to MAN in general, strongly inclines us to turn our observation upon
+human affairs, preferably to other attentions, and impatiently to
+wait the progress and issue of them. But, as the course of human
+actions is too slow to gratify our inquisitive curiosity, observant
+men very easily contrived to satisfy its rapidity, by the invention
+of _History_. Which, by recording the principal circumstances of
+past facts, and laying them close together, in a continued
+narration, kept the mind from languishing, and gave constant
+exercise to its reflections.
+
+But as it commonly happens, that in all indulgent refinements on our
+satisfactions, the Procurers to our pleasures run into excess; so it
+happened here. Strict matters of fact, how delicately soever dressed
+up, soon grew too simple and insipid to a taste stimulated by the
+Luxury of Art: They wanted something of more poignancy to quicken
+and enforce a jaded appetite. Hence the Original of the first
+barbarous _Romances_, abounding with this false provocative of
+uncommon, extraordinary, and miraculous Adventures.
+
+But satiety, in things unnatural, soon, brings on disgust. And the
+Reader, at length, began to see, that too eager a pursuit after
+_Adventures_ had drawn him from what first engaged his attention,
+MAN _and his Ways_, into the Fairy Walks of Monsters and Chimeras.
+And now those who had run farthest after these delusions, were the
+first that recovered themselves. For the next Species of Fiction,
+which took its name from its _novelty_, was of _Spanish_ invention.
+These presented us with something of Humanity; but of Humanity in a
+stiff unnatural state. For, as every thing before was conducted by
+_Inchantment_; so now all was managed by _Intrigue_. And tho' it had
+indeed a kind of _Life_, it had yet, as in its infancy, nothing of
+_Manners_. On which account, those, who could not penetrate into the
+ill constitution of its plan, yet grew disgusted at the dryness of
+the Conduct, and want of ease in the Catastrophe.
+
+The avoiding these defects gave rise to the _Heroical Romances_ of
+the _French_; in which some celebrated Story of antiquity was so
+stained and polluted by modern fable and invention, as was just
+enough to shew, that the contrivers of them neither knew how to lye,
+nor speak truth. In these voluminous extravagances, _Love_ and
+_Honour_ supplied the place of _Life_ and _Manners_. But the
+over-refinement of Platonic sentiments always sinks into the dross
+and feces of that Passion. For in attempting a more natural
+representation of it, in the little amatory Novels, which succeeded
+these heavier Volumes, tho' the Writers avoided the dryness of the
+Spanish Intrigue, and the extravagance of the French Heroism, yet,
+by too natural a representation of their Subject, they opened the
+door to a worse evil than a corruption of _Taste_; and that was, A
+corruption of _Heart_.
+
+At length, this great People (to whom, it must be owned, all Science
+has been infinitely indebted) hit upon the true Secret, by which
+alone a deviation from strict fact, in the commerce of Man, could be
+really entertaining to an improved mind, or useful to promote that
+Improvement. And this was by a faithful and chaste copy of real
+_Life and Manners_: In which some of their late Writers have greatly
+excelled.
+
+It was on this sensible Plan, that the Author of the following
+Sheets attempted to please, in an Essay, which had the good fortune
+to meet with success: That encouragement engaged him in the present
+Design: In which his sole object being _Human Nature_; he thought
+himself at liberty to draw a Picture of it in that light which
+would shew it with most strength of Expression; tho' at the expense
+of what such as read merely for Amusement, may fancy can be
+ill-spared, the more artificial composition of a story in one
+continued Narrative.
+
+He has therefore told his Tale in a Series of Letters, supposed to
+be written by the Parties concerned, as the circumstances related,
+passed. For this juncture afforded him the only natural opportunity
+that could be had, of representing with any grace those lively and
+delicate impressions which _Things present_ are known to make upon
+the minds of those affected by them. And he apprehends, that, in the
+study of Human Nature, the knowlege of those apprehensions leads us
+farther into the recesses of the Human Mind, than the colder and
+more general reflections suited to a continued and more contracted
+Narrative.
+
+This is the nature and purport of his Attempt. Which, perhaps, may
+not be so well or generally understood. For if the Reader seeks here
+for Strange Tales, Love Stories, Heroical Adventures, or, in short,
+for anything but a _Faithful Picture of Nature_ in _Private Life_,
+he had better be told beforehand the likelihood of his being
+disappointed. But if he can find Use or Entertainment; either
+_Directions for his Conduct_, or _Employment for his Pity_, in a
+HISTORY _of_ LIFE _and_ MANNERS, where, as in the World itself, we
+find Vice, for a time, triumphant, and Virtue in distress, an idle
+hour or two, we hope, may not be unprofitably lost.
+
+[Illustration]
+
+
+
+
+MEMOIRS
+
+OF THE
+
+_Count_ Du BEAUVAL,
+
+INCLUDING
+
+Some curious PARTICULARS
+
+Relating to the DUKES of
+
+Wharton _and_ Ormond,
+
+During their Exiles.
+
+WITH
+
+ANECDOTES of several other Illustrious
+and Unfortunate Noblemen of the present Age.
+
+_Translated from the_ French _of the Marquis_ D'ARGENS,
+_Author of_ The Jewish Letters.
+
+_By Mr._ DERRICK.
+
+_LONDON:_
+
+Printed for M. COOPER, at the _Globe_ in _PaterNoster-Row_.
+
+M.DCC.LIV.
+
+
+
+
+PREFACE.
+
+
+_The Ground-work of Romances, till of late Years, has been a Series
+of Actions, few of which, ever existed but in the Mind of the
+Author; to support which, with proper Spirit, a strong picturesque
+Fancy, and a nervous poetical Diction, were necessary. When these
+great Essentials were wanting, the Narration became cold, insipid,
+and disagreeable._
+
+_The principal Hero was generally one who fac'd every Danger, without
+any Reflection, for it was always beneath him to think; it was a
+sufficient Motive of persisting, if there seem'd Peril; conquering
+Giants, and dissolving Enchantments, were as easy to him as riding.
+He commonly sets out deeply in Love; his Mistress is a Virgin, he
+loses her in the Beginning of the Book, thro' the Spite or Craft of
+some malicious Necromancer, pursues her thro' a large Folio Volume
+of Incredibility, and finds her, indisputably, at the End of it,
+like try'd Gold, still more charming, from having pass'd the Fire
+Ordeal of Temptation._
+
+_Amusement and Instruction were the Intent of these Sort of Writings;
+the former they always fulfill'd, and if they sometimes fail'd in
+the latter, it was because the Objects they conjur'd up to Fancy,
+were merely intellectual Ideas, consequently not capable of
+impressing so deeply as those which are to be met with in the Bustle
+of Life._
+
+_Hence those, whose Genius led them to cultivate this Sort of
+writing, have been induc'd to examine amongst such Scenes as are
+daily found to move beneath their Inspection. On this Plan are
+founded the Writings of the celebrated Mons._ MARIVAUX, _and the
+Performances of the ingenious Mr_. FIELDING; _each of whom are
+allow'd to be excellent in their different Nations._
+
+_The Marquis_ D'ARGENS, _sensible of the Advantages accruing from
+Works of this Kind, was not satisfied with barely copying the_
+Accidents, _but has also united with them the real Names of_
+Persons, _who have been remarkable in Life; conscious that we pay a
+more strict Attention to the Occurrences that have befallen those
+who enter within the Compass of our Acquaintance, or Knowledge, and
+if a Moral ensues from the Relation, it is more firmly rooted in the
+Mind, than when it is to be deduced from either Manners or Men, with
+whom we are entirely unacquainted._
+
+_The Marquis is easy in his Stile, delicate in his Sentiments, and
+not at all tedious in his Narration. In the following Piece we find
+Nothing heavy or insipid, he dwells not too long upon any Adventure,
+nor does he burthen the Memory, or clog the Attention with
+Reflections intended, too often more for the Bookseller's Emolument,
+in swelling the Bulk of the Performance, than the Service of the
+Reader, on whom he knew it to be otherwise an Imposition; since, by
+long-winded wearisome Comments upon every Passage (a Fault too
+frequent in many Writers) he takes from him an Opportunity of
+exercising his reflective Abilities, seeming thereby to doubt
+them_.
+
+[Illustration]
+
+
+
+
+PUBLICATIONS OF THE AUGUSTAN REPRINT SOCIETY
+
+
+FIRST YEAR (1946-47)
+
+Numbers 1-4 out of print.
+
+5. Samuel Wesley's _Epistle to a Friend Concerning Poetry_ (1700)
+and _Essay on Heroic Poetry_ (1693).
+
+6. _Representation of the Impiety and Immorality of the Stage_
+(1704) and _Some Thoughts Concerning the Stage_ (1704).
+
+
+SECOND YEAR (1947-1948)
+
+7. John Gay's _The Present State of Wit_ (1711); and a section on
+Wit from _The English Theophrastus_ (1702).
+
+8. Rapin's _De Carmine Pastorali_, translated by Creech (1684).
+
+9. T. Hanmer's (?) _Some Remarks on the Tragedy of Hamlet_ (1736).
+
+10. Corbyn Morris' _Essay towards Fixing the True Standards of Wit,
+etc._ (1744).
+
+11. Thomas Purney's _Discourse on the Pastoral_ (1717).
+
+12. Essays on the Stage, selected, with an Introduction by Joseph
+Wood Krutch.
+
+
+THIRD YEAR (1948-1949)
+
+13. Sir John Falstaff (pseud.), _The Theatre_ (1720).
+
+14. Edward Moore's _The Gamester_ (1753).
+
+15. John Oldmixon's _Reflections on Dr. Swift's Letter to Harley_
+(1712); and Arthur Mainwaring's _The British Academy_ (1712).
+
+16. Nevil Payne's _Fatal Jealousy_ (1673).
+
+17. Nicholas Rowe's _Some Account of the Life of Mr. William
+Shakespeare_ (1709).
+
+18. "Of Genius," in _The Occasional Paper_, Vol. III, No. 10 (1719);
+and Aaron Hill's Preface to _The Creation_ (1720).
+
+
+FOURTH YEAR (1949-1950)
+
+19. Susanna Centlivre's _The Busie Body_ (1709).
+
+20. Lewis Theobold's _Preface to The Works of Shakespeare_ (1734).
+
+21. _Critical Remarks on Sir Charles Grandison, Clarissa, and
+Pamela_ (1754).
+
+22. Samuel Johnson's _The Vanity of Human Wishes_ (1749) and Two
+_Rambler_ papers (1750).
+
+23. John Dryden's _His Majesties Declaration Defended_ (1681).
+
+24. Pierre Nicole's _An Essay on True and Apparent Beauty in Which
+from Settled Principles is Rendered the Grounds for Choosing and
+Rejecting Epigrams_, translated by J.V. Cunningham.
+
+
+FIFTH YEAR (1950-51)
+
+25. Thomas Baker's _The Fine Lady's Airs_ (1709).
+
+26. Charles Macklin's _The Man of the World_ (1792).
+
+27. Frances Reynolds' _An Enquiry Concerning the Principles of
+Taste, and of the Origin of Our Ideas of Beauty, etc._ (1785).
+
+28. John Evelyn's _An Apologie for the Royal Party_ (1659); and _A
+Panegyric to Charles the Second_ (1661).
+
+29. Daniel Defoe's _A Vindication of the Press_ (1718).
+
+30. Essays on Taste from John Gilbert Cooper's _Letters Concerning
+Taste_, 3rd edition (1757), & John Armstrong's _Miscellanies_
+(1770).
+
+31. Thomas Gray's _An Elegy Wrote in a Country Church Yard_ (1751);
+and _The Eton College Manuscript_.
+
+
+
+
+
+End of the Project Gutenberg EBook of Prefaces to Fiction, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK PREFACES TO FICTION ***
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