[14] Notes and Queries, Series VIII, IX, 366. In Smollett's Ferdinand Count Fathom, Chap. XXXIX, Captain Miniken recommends as "modern authors that are worth reading" the Adventures of Loveill, Lady Frail, Bampfylde Moore Carew, Young Scarron, and Miss Betsy Thoughtless. See also A.L. Barbauld, Correspondence of Samuel Richardson (1804), IV, 55-6, and the Autobiography and Correspondence of Mary Granville, Mrs. Delaney (1861), First series, III, 79, 214.
[15] J.G. Lockhart, Life of Scott, Everyman edition, 34. Coleridge's Letters, I, 368.
[16]
W. Scott, Old Mortality, Conclusion. Goethe's Werke (E. Schmidt,
Leipsig, 1910), III, 17.
[17] That the Monthly's review of Betsy Thoughtless, complaining of that novel's lack of "those entertaining introductory chapters, and digressive essays, which distinguish the works of a Fielding, a Smollett, or the author of Pompey the little," rankled in the fair novelist's memory is illustrated by a retort in her next work, Jemmy and Jenny Jessamy, III, Chap. XVIII, which "contains none of those beautiful digressions, those remarks or reflections, which a certain would-be critick pretends are so much distinguished in the writings of his two favorite authors; yet it is to be hoped, will afford sufficient to please all those who are willing to be pleased." For the review of Jemmy and Jenny Jessamy, see Monthly Review, VIII, 77.
[18] A possible return to scandal-mongering should be noted. Letters from the Lady Mary Wortley Montagu, Everyman edition, 461. "You should have given me a key to the Invisible Spy, particularly to the catalogue of books in it. I know not whether the conjugal happiness of the D. of B. [Duke of Bedford] is intended as a compliment or an irony."
[19] Gentleman's Magazine, XXIV, 560, December 1754.
[20] Critical Review, LXV; 236, March 1788.
CHAPTER VIII
CONCLUSION
Though Eliza Haywood produced nothing which the world has not willingly let die, yet at least the obituary of her works deserves to be recorded in the history of fiction. Of the many kinds of writing attempted by her during the thirty-six years of her literary adventuring none, considered absolutely, is superior to the novels of her last period. "Betsy Thoughtless" contains at once her best developed characters, most extensive plot, and most nearly realistic setting. But before it was sent to press in 1751, Richardson, Fielding, and Sarah Fielding had established themselves in public favor, and Smollett was already known as their peer. Even in company with "David Simple" Eliza Haywood's most notable effort could not hope to shine. The value, then, of what is, all in all, her best work is greatly lessened by the obvious inferiority of her productions to the masterpieces of the age. As a writer of amatory romances and scandal novels, on the contrary, Mrs. Haywood was surpassed by none of her contemporaries. The immense reputation that she acquired in her own day has deservedly vanished, for though her tales undoubtedly helped to frame the novel of manners, they were properly discarded as useless lumber when once the new species of writing had taken tangible form. Perhaps they are chiefly significant to the modern student, not as revealing now and then the first feeble stirrings of realism, but as showing the last throes of sensational extravagance. The very extreme to which writers of the Haywoodian type carried breathless adventure, warm intrigue, and soul-thrilling passion exhausted the possibilities of their method and made progress possible only in a new direction.