toward the Richardsonian method of laying bare the inner natures of
ordinary people. She has here pursued the analysis of character as an
end in itself, for in "The Fatal Secret" there is no hint of disguised
scandal, nor any appeal to the pruriency of degenerate readers.
Sensational in the extreme the story is, but nevertheless the progress
of the narrative is delayed while the sentiments of the heroine are
examined in the minutest detail. While better known romancers exploited
chiefly the strange and surprising adventures (other than amorous) of
their characters, or used the _voyage imaginaire_ for the purposes of
satire, Eliza Haywood and her female colleagues stimulated the popular
taste for romances of the heart. In trying to depict the working of
intense human passions they rendered a distinct service to the
development of English fiction.

The story of "The Mercenary Lover" (1726) involved, besides the ability
to body forth emotion, considerable power to show a gradual degradation
in the character of one of the heroines.

The avaricious Clitander gains the moiety of a fortune by marrying the
young, gay Miranda, but cannot rest without securing to himself the
portion of the elder sister as well. Althea's thoughtful and less
volatile nature has hitherto resisted the assaults of love, but her
insidious brother-in-law undermines her virtue by giving her wanton
books and tempting her with soft speeches until she yields to his
wishes. When he attempts to make her sign a deed of gift instead of a
will to provide for their child, she discovers his treachery and flees
to the country. By playing upon her tenderness he coaxes her back and
poisons her. Miranda is fully informed of her husband's villainy, but
contents herself with removing from the house. Thus Clitander loses not
only his sister-in-law's, but his wife's fortune as well, and is