Four Early Pamphlets

by William Godwin

In that instance however he entered the lists with almost the only historian, with whom Dr. Robertson must appear to disadvantage, the incomparable Hume. In the comparison, we cannot but acknowledge that the eloquence of the former speaks the professor, not the man of the world. He reasons indeed, but it is with the reasons of logic; and not with the acuteness of philosophy, and the intuition of genius. Let not the living historian be offended. To be second to Hume, in our opinion might satisfy the ambition of a Livy or a Tacitus.

ARTICLE III. SECRET HISTORY OF THEODORE ALBERT MAXIMILIAN, PRINCE OF HOHENZOLLERN SIGMARINGEN. 12MO.

This agreeable tale appears to be the production of the noble author of the Modern Anecdote. It is told with the same humour and careless vivacity. The design is to ridicule the cold pedantry that judges of youth, without making any allowance for the warmth of inexperience, and the charms of beauty. Such readers as take up a book merely for entertainment, and do not quarrel with an author that does not scrupulously confine himself within the limits of moral instruction, will infallibly find their account in it.

The following specimen will give some idea of the manner in which the story is told.

"The learned Bertram was much scandalized at the dissipation that prevailed in the court of Hohenzollern. He was credibly informed that the lord treasurer of the principality, who had no less than a revenue of 109l. 7s. 10-3/4d. committed to his management, sometimes forgot the cares of an exchequer in the arms of a mistress. Nay, fame had even whispered in his ear, that the reverend confessor himself had an intrigue with a certain cook-maid. But that which beyond all things, afflicted him was the amour of Theodore with the beautiful Wilhelmina. What, cried he, when he ruminated upon the subject, can it be excusable in the learned Bertram, whose reputation has filled a fourth part of the circle of Swabia, who twice bore away the prize in the university of Otweiler, to pass these crying sins in silence? It shall not be said. Thus animated, he strided away to the antichamber of Theodore. Theodore, who was all graciousness, venerated the reputation of Bertram, and ordered him to be instantly admitted. The eyes of the philosopher flashed with anger. Most noble prince, cried he, I am come to inform you, that you must immediately break with the beautiful Wilhelmina. Theodore stared, but made no answer. The vices of your highness, said Bertram, awake my indignation. While you toy away your hours in the lap of a w——e, the vast principality of Hohenzollern Sigmaringen hastens to its fall. Reflect, my lord; three villages, seven hamlets, and near eleven grange houses and cottages, depend upon you for their political prosperity. Alas, thought Theodore, what are grange houses and cottages compared with the charms of Wilhelmina? Shall the lewd tricks of a wanton make you forget the jealous projects of the prince of Hohenzollern Hechingen, the elder branch of your illustrious house? Theodore pulled out his watch, that he might not outstay his appointment. My lord, continued Bertram, ruin impends over you. Two peasants of the district of Etwingen have already been seduced from their loyalty, a nail that supported the chart of your principality has fallen upon the ground, and your father confessor is in bed with a cook-maid. Theodore held forth his hand for Bertram to kiss, and flew upon the wings of desire to the habitation of Wilhelmina."

ARTICLE IV. LOUISA, OR MEMOIRS OF A LADY OF QUALITY. BY THE AUTHOR OF EVELINA AND CECILIA. 3 VOLS. 12MO.

There scarcely seems to exist a more original genius in the present age than this celebrated writer. In the performances with which she has already entertained the public, we cannot so much as trace a feature of her illustrious predecessors; the fable, the characters, the incidents are all her own. In the mean time they are not less happy, than they are new. A Belfield, a Monckton, a Morrice, and several other personages of the admired Cecilia, will scarcely yield to the most finished draughts of the greatest writers. In comedy, in tragedy, Miss Burney alike excels. And the union of them both in the Vauxhall scene of the death of Harrel ranks among the first efforts of human genius. Of consequence we may safely pronounce that the reputation of this lady is by no means dependent upon fashion or caprice, but will last as long as there is understanding to discern, and taste to relish the beauties of fiction.

It must be acknowledged that her defects are scarcely less conspicuous than her excellencies. In her underplots she generally miscarries. We can trace nothing of Miss Burney in the stories of Macartney, Albany, and the Hills. Her comedy sometimes deviates into farce. The character of Briggs in particular, though it very successfully excites our laughter, certainly deforms a work, which in its principal constituents ranks in the very highest species of composition. Her style is often affected, and in the serious is sometimes so laboured and figurative, as to cost the reader a very strict attention to discover the meaning, without perfectly repaying his trouble. These faults are most conspicuous in Cecilia, which upon the whole we esteem by much her greatest performance. In Evelina she wrote more from inartificial nature. And we are happy to observe in the present publication, that the masculine sense, by which Miss Burney is distinguished, has raised her almost wholly above these little errors. The style of Louisa is more polished than that of Evelina, and more consonant to true taste than that of Cecilia.

The principal story of Louisa, like that of Cecilia, is very simple, but adorned with a thousand beautiful episodes. As the great action of the latter is Cecilia's sacrifice of fortune to a virtuous and laudable attachment, so that of the former is the sacrifice of rank, in the marriage of the heroine to a young man of the most distinguished merit, but neither conspicuous by birth, nor favoured by fortune. The event, romantic and inconsistent with the manners of polished society as it may appear, is introduced by such a train of incidents, that it is impossible not to commend and admire the conduct of the heroine.

Her character is that of inflexible vivacity and wit, accompanied with a spice of coquetry and affectation. And though this line of portrait seemed exhausted by Congreve and Richardson, we will venture to pronounce Louisa a perfect original. It is impossible to describe such a character in the abstract without recollecting Millamant and Lady G. But in reading this most agreeable novel, you scarcely think of either. As there is no imitation, so there are not two expressions in the work, that can lead from one to the other. Louisa is more amiable than the former, and more delicate and feminine than the latter.