Perhaps the most salient qualities of Olinda, in contrast to the fiction of its day, are restraint and control. With the exception of the rather ridiculous way in which the complications are resolved at the end (Orontes's sequestration and death from smallpox), everything in the novel is planned and motivated with some care. Inclinations develop slowly and believably; the springs of action, barring a few not very fantastic coincidences and accidents, are anti-romantic—almost too much so. Indeed, such criteria of the "modern novel" as those proposed by Ian Watt[9] are all modestly but adequately met. Most important, the situation and behavior of the heroine, her values, and the world in which she lives are (but for their sketchy development) what a reader of Jane Austen might take for granted, yet are all but unique before 1740.
Here is a middle-class heroine who is fully as moral as Pamela, but with a wry sense of humor; she defers to her mother as a matter of course when marriage is in question, yet would willingly evade parental decrees; she is capable of Moll Flanders's examinations of motive, yet sees through her own hypocrisies; she lives in London in reduced circumstances and agrees to a marriage of convenience although tempted to engage in a dashing adultery; and she endures the onset of both love and jealousy without melodramatic or sentimental posturings.
Other technical achievements of Olinda aside, the portrait of the heroine as she reveals herself to her confidant is the novel's most significant feature. A fictional heroine of this early date who can be sententious without being tedious, who is moderately and believably witty, who is courted by a goldsmith (even though, conformably to the times, he is named Berontus) rather than a prince borrowed from Astrée, and who satirizes herself soberly for scorning him, who meets her ideal lover with a business letter rather than in a shipwreck, and who level-headedly fends him off because he is both married and a would-be philanderer, is a rarity indeed.
Olinda commends itself to the student of English literary history principally for two reasons: because it so ably anticipates in embryo so many features which the English domestic and realistic novel would develop in its age of maturity and popularity, and because we do not yet understand, and need to investigate, the cultural factors—literary, social, and economic—which prevented the kind of achievement it represents from being duplicated with any frequency for several decades.
Queens College,
City University of New York
NOTES TO THE INTRODUCTION
[1.] Walter Allen, The English Novel (New York, 1968), p. 4.
[2.] Advertised in the Term Catalogues, Trinity Term, 1693 (II, 466); Wing L1784, L1785.
[3.] It is listed in Harold C. Binkley, "Letter Writing in English Literature" (unpublished Harvard dissertation, 1923).