plots and situations which she was not slow to utilize.[2] Furthermore,
her natural interest in emotional fiction was quickened by these and
other translations from the French. The "Letters from a Lady of Quality
to a Chevalier" emphasized the teaching of the "Lettres Portugaises,"
while "The Lady's Philosopher's Stone; or, The Caprices of Love and
Destiny" (1725),[3] although claiming to be an "historical novel" in
virtue of being set "in the time, when Cromwell's Faction prevail'd in
England," was almost entirely occupied with the matters indicated in the
sub-title. And in "The Disguis'd Prince: or, the Beautiful Parisian"
(1728) she translated the melting history of a prince who weds a
merchant's daughter in spite of complicated difficulties.[4] Much
reading in books of this sort filled Mrs. Haywood's mind with images of
exalted virtue and tremendous vice, and like a Female Quixote, she saw
and reported the life about her in terms borrowed from the romances. So,
too, Mrs. Manley had written her autobiography in the character of
Rivella.

This romantic turn of mind was not easily laid aside, but the women
writers made some progress toward a more direct and natural
representation of the passions. The advance was due partly, no doubt, to
a perception of the heroic absurdities of French fiction, but also to
the study of Italian _novelle_ and the "Exemplary Novels" of Cervantes.
But even when imitating the compression of these short tales Mrs.
Haywood did not always succeed in freeing herself from the "amour trop
delicat" of the romantic conventions. In two short "novels" appended to
"Cleomelia: or, the Generous Mistress" (1727) the robust animalism of
the Italian tales comes in sharp contrast with the _délicatesse_ of the
French tradition. "The Lucky Rape: or, Fate the best Disposer"
illustrates the spirit of the _novelle_.