volumes and several in two or more parts. If we may judge by the number
and frequency of editions, most of the indefatigable scribbler's tales
found a ready sale, while the best of them, such as "Idalia" (1723),
"The Fatal Secret" (1724), "The Mercenary Lover" (1726), "The Fruitless
Enquiry" and "Philidore and Placentia" (1727), gained for her not a
little applause.

Nor was the young adventuress in letters unhailed by literary men. Aaron
Hill immediately befriended her by writing an epilogue for her first
play and another of Hill's circle, the irresponsible Richard Savage,
attempted to "paint the Wonders of Eliza's Praise" in verses prefixed to
"Love in Excess" and "The Rash Resolve" (1724).[21]

Along with Savage's first complimentary poem were two other effusions,
in one of which an "Atheist to Love's Power" acknowledged his conversion
through the force of Eliza's revelation of the tender passion, while the
other expressed with less rapture the same idea. But it remained for
James Sterling, the friend of Concanen, to state most vigorously the
contemporary estimate of Mrs. Haywood and her early writings.[22] "Great
Arbitress of Passion!" he exclaims,

"Persuasion waits on all your bright Designs,
And where you point the varying Soul inclines:
See! Love and Friendship, the fair Theme inspires
We glow with Zeal, we melt in soft Desires!
Thro' the dire Labyrinth of Ills we share
The kindred Sorrows of the gen'rous Pair;
Till, pleas'd, rewarded Vertue we behold,
Shine from the Furnace pure as tortur'd Gold:"