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which Pamela once more "Reconciles the new perverted man," to adapt the last line of A Lover's Complaint to the situation. Grandison, like Clarissa, has a much wider range of personage and incident than Pamela, and is again double the length of it. No detailed criticism of these enormous books (both of which are conducted in the letter?form, though, in the latter case especially, with long retrospects and narratives which rather strain the style) is possible here. But a few remarks on the characters of Lovelace and Clarissa, which have usually been regarded as Richardson's greatest triumphs, may fitly precede some on his whole character as a novelist. Admiration and sympathy, tempered with a few reserves, have been the general notes of comment on Clarissa: and--as she goes through the long martyrdom of persecution by her family for not marrying the man she does not love; of worse persecution from the man whom she does love, but who will not marry her, at least until he has conquered her virtue; and of perhaps worst when she feels it her duty to resist his repentant and
improbable that she would in any case have spoken and behaved like a drunken fishfag quarrelling with another in the street: and the extreme prolongation of the scene brings its impropriety more forcibly into view. Here, as elsewhere (a point of great importance to which I may invite attention), Richardson follows out, with extraordinary minuteness and confidence, a wrong course: and his very expertness in the process betrays him and brings him to grief. If he had run the false scent for a few yards only it would not matter: in a chase prolonged to something like "Hartleap Well" extension there is less excuse for his not finding it out. Nevertheless it would of course be absurd not to rank this "knowledge of the human heart" among the claims which not only gave him but have kept his reputation. I do not know that he shows it much less in the later part of the first two volumes (Pamela's recurrent tortures of jealous curiosity about Sally Godfrey are admirable) or even in the dreary sequel. But analysis for analysis' sake can have few real, though it may have some pretended,
devotees. The foregoing remarks have been designed, less as a criticism of Pamela (which would be unnecessary here), or even of Richardson (which would be more in place, but shall be given in brief presently), than as an account and justification of the book's position in the real subject of this volume--the History of the English Novel. And this account will dispense us from dealing, at corresponding length, with the individually more important but historically subordinate books which followed. Of these Clarissa, as few people can be ignorant, is a sort of enlarged, diversified, and transposed Pamela, in which the attempts of a libertine of more resolution and higher gifts than Mr. B. upon a young lady of much more than proportionately higher station and qualities than Pamela's, are--as such success goes--successful at last: but only to result in the death of the victim and the punishment of the criminal. The book is far longer than even the extended Pamela; has a much wider range; admits of episodes and minor plots, and is altogether much more ambitious; but still--though the