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.