Although Mrs. Manley's pen was constantly and effectively employed in the interest of the Tory party, she being at one time the editor of the Examiner, the Tory organ, none of her writings had the popularity of the New Atalantis. It went through seven editions and was translated into the French. The book has no intrinsic merit; its language is scurrilous and obscene; but it appealed to the eager curiosity of the public concerning the private immoralities of men and women who were prominent at court. Human nature in its pages furnishes a contemptible spectacle.
The New Atalantis has now, however, assumed a permanent place in the history of fiction. This species of writing had been common, in France, but it was the first English novel in which political and personal scandal formed the groundwork of a romance. Swift followed its general plan in Gulliver's Travels, placing his political enemies in public office in Lilliput and Brobdingnag, only he so wrought upon them with his imagination that he gave to the world a finished work of art, while Mrs. Manley has left only the raw material with which the artist works. Smollett's political satire, Adventures of an Atom, was also suggested by the New Atalantis, but here the earlier writer has surpassed the later. All three of these writers took a low and cynical view of humanity.
The women novelists who directly followed Mrs. Manley did not have her strength, but they had a delicacy that has given to their writings a subtle charm. From the time of Sarah Fielding to the present threatened reaction the writings of women have been marked by chastity of thought and purity of expression.
CHAPTER II
Sarah Fielding. Mrs. Lennox. Mrs. Haywood. Mrs. Sheridan
About the middle of the eighteenth century, some interesting novels were written by women, but their fame was so overshadowed by the early masters of English fiction, who were then writing, that they have been almost forgotten. For in 1740 Pamela was published, the first novel of Samuel Richardson; in 1771, Humphry Clinker appeared, the last novel of Tobias Smollett; and during the thirty-one years between these two dates all the books of Richardson, Fielding, Sterne, and Smollett were given to the world, and determined the nature of the English novel. The plot of most of their fifteen realistic novels is practically the same. The hero falls in love with a beautiful young lady, not over seventeen, and there is a conflict between lust and chastity. The hero, balked of his prey, travels up and down the world, where he meets with a series of adventures, all very much alike, and all bearing very little on the main plot. At last fate leads the dashing hero to the church door, where he confers a ring on the fair heroine, a paltry piece of gold, the only reward for her fidelity, with the hero thrown in, much the worse for wear, and the curtain falls with the sound of the wedding bells in the distance.
The range of these novels is narrow. They describe a world in which the chief occupation is eating, drinking, swearing, gambling, and fighting. Their chief artistic excellence is the strength and vigour with which these low scenes are described. Sidney Lanier says of them: "They play upon life as upon a violin without a bridge, in the deliberate endeavour to get the most depressing tones possible from the instrument." And Taine, who could hardly endure any of them, writes of Fielding what he implies of the others: "One thing is wanted in your strongly-built folks—refinement; the delicate dreams, enthusiastic elevation, and trembling delicacy exist in nature equally with coarse vigour, noisy hilarity, and frank kindness."
The women who essayed the art of fiction during these years did not have so firm a grasp of the pen as their male contemporaries, and they have added no portraits to the gallery of fiction; but they saw and recorded many interesting scenes of British life which quite escaped the quick-sighted Fielding, or Sterne with the microscopic eyes.