Cleomelia's generosity does not seem to be as notable as the sub-title would indicate, but the story was evidently intended to illustrate virtues exalted to a high romantic level.
With the same end in view Mrs. Haywood attempted an even loftier flight into the empyrean of romance, with the result that "Philidore and Placentia: or, L 'Amour trop Delicat" (1727) is more conventional and stilted than any other work from her pen. It imitates closely the heroic French romances, both in the inflated style and elaborate regard for the tender passion, and in the structure of the plot with little histories of the principal characters interspersed at intervals throughout the story. In substance the tale is simply a mosaic of romantic adventures, though some of the hero's wanderings in the desert after being marooned by pirates and especially his encounter with the "tyger" sound like a faint echo of "Captain Singleton" or of Captain John Smith's "True Travels."
The noble Philidore falls in love with the rich and beautiful Placentia, but as his estate is no match for hers, he contents himself with entering her service in disguise and performing menial offices for the pleasure of seeing her. One day she hears him singing in a grotto, and is charmed by the graceful replies he makes to her questions. A little later he saves her from robbers at the expense of a slight wound. She offers to make him groom of her chamber, but fearful of being recognized, he declines. Finally she lays her fortune at his feet, but he has too much generosity to accept the offer. Leaving a letter revealing his true rank and his poverty, he sails for Persia. Some time later, the return of Placentia's long lost brother, by depriving her of her fortune, puts her on a level with her lover.
Philidore is captured by pirates and with eleven others set on shore on a desert strand. Three of the little company reach civilization. After recuperating their strength, they set out for Persia overland, but a tiger deprives Philidore of his two companions. A little later he rescues an unknown youth from three assailants, but not before the stranger has been seriously wounded. A passing traveller carries them to the castle of a Persian nobleman. There Philidore waits with the utmost impatience for the wounded man to recover strength enough to relate his story, but this, as also the misfortunes, perplexities, and dangers to which the despairing passion of the enamoured Placentia occasioned her to reduce herself, and the catastrophe of Philidore's surprising fate, must be told in a Second Part.
Part II. The youthful stranger, concealing his name and family, relates the sad effects of his love for the favorite wife of the Bashaw of Liperto, and how by her aid he was enabled to escape from slavery, only to be pursued and about to be retaken by janizaries when rescued by Philidore.
Our hero is kindly received by his uncle in Persia, who soon dies and leaves him sole heir of an enormous fortune. He is now Placentia's equal in wealth as well as rank, and immediately embarks for England. Driven into Baravat by contrary winds, he is moved to ransom a female captive on hearing of her grief at her hard fate, but what is his surprise when the fair slave proves to be Placentia. "Kisses, embraces, and all the fond endearments of rewarded passion made up for their want of speech— in their expressive looks, and eager graspings, the violence of their mutual flame was more plainly demonstrated, than it could have been by the greatest elegance of language—those of the Persians that stood by, who understood not English, easily perceived, not only that they were lovers, but also that they were so to the most unbounded height of tender passion."
Placentia relates how she had eluded her brother and set sail to rejoin her lover, how she had been saved from the arms of the brutal ship's captain by a timely attack of pirates, and how, sold to a Moslem merchant and still annoyed by the attentions of the captain, she had abandoned all thoughts of life till redeemed by Philidore's generosity.
With Placentia, her maid, and young Tradewell, the maid's lover, ransomed, Philidore sails blissfully to England. But upon landing Placentia becomes suddenly cold to him. He forces his way into her house, and finds that her brother is the young stranger whose life he had saved in Persia. Meanwhile Placentia, whose fortune is now no match for Philidore's, flees to parts unknown, leaving a letter conjuring him to forget her. After a long search the brother and lover find her place of concealment, and the former removes her scruples by settling a large estate upon her. "Nothing could be more splendid than the celebration of their nuptials; and of their future bliss, the reader may better judge by their almost unexampled love, their constancy, their generosity and nobleness of soul, than by any description I am able to give of it."
"Philidore and Placentia" is one of the few novels by Mrs. Haywood that do not pretend to a moral purpose. Realism needed some justification, for realism at the time almost invariably meant a picture of vice and folly, and an author could not expose objectionable things except in the hope that they would lessen in fact as they increased in fiction. But in spite of the disapproval sometimes expressed for fables on the ground of their inherent untruth, idealistic romances were generally justified as mirrors of all desirable virtues. Pious Mrs. Penelope Aubin wrote no other kind of fiction, though she sometimes admitted a deep-dyed villain for the sake of showing his condign punishment at the hands of providence. It was perhaps due to the sale of this lady's novels, largely advertised toward the end of 1727 and apparently very successful, that Mrs. Haywood was encouraged to desert her favorite field of exemplary novels showing the dangerous effects of passion for an excursion into pure romance. That she found the attempt neither congenial nor profitable may be inferred from the fact that it was not repeated.
If the highly imaginary romances suffered from an excess of delicacy, certain other tales by Mrs. Haywood overleaped decency as far on the other side. The tendency of fiction before Richardson was not toward refinement. The models, French and Spanish, which writers in England found profit in imitating, racked sensationalism to the utmost degree by stories of horrible and perverted lust. All the excitement that could be obtained from incest, threatened, narrowly averted, or actually committed, was offered to eager readers. Usually, as in Defoe's "Moll Flanders" or Fielding's "Tom Jones," ignorance of birth was an essential element in the plot. A story of this type in which the catastrophe is prevented by a timely discovery of the hero's parentage, is "The Force of Nature: or, the Lucky Disappointment" (1725).