Man that is not to be found in this too lovely Slave?... Besides, who
knows but that his Descent may be otherwise than he pretends--I have
heard of Princes who have wandered in strange disguises--he may be in
reality as far above me as he seems beneath.... The thought that there
was a possibility for such a thing to be, had no sooner entered into her
head than she indulged it with an infinity of rapture, she painted him
in Imagination the most desperate dying Lover that ever was, represented
the transports she shou'd be in when the blest discovery shou'd be made,
held long discourses with him, and formed answers such as she supposed
he wou'd make on such an occasion. Thus, for some hours did she beguile
her Cares, but Love, who takes delight sometimes to torment his Votarys
wou'd not long permit her to enjoy this satisfaction.... Reason, with
stern remonstrances checked the Romantick turn of her late thoughts, and
showed her the improbability of the hope she had entertained: Were he,
cryed she, with an agony proportioned to her former transports, of any
degree which you'd encourage his pretensions to my Love, he cou'd not
for so long a Time have endured the servile Offices to which he has been
put--Some way his ingenious passion wou'd have found out to have
revealed itself--No, no, he is neither a Lover nor a Gentleman, and I
but raise Chimera's to distract myself ...but Ill [_sic_] retrieve all
yet, Ill discharge him from my house and service--he is an Enchanter,
and has bewitched me from my Reason, and never, never more shall he
behold my face."

The normal character in Eliza Haywood's tales almost invariably
conformed to some conventional type borrowed from the romance or the
stage. The author's purpose was not to paint a living portrait, but to
create a vehicle for the expression of vivid emotion, and in her design
she was undoubtedly successful until the reading public was educated to
demand better things.