much subordinated to the sensational elements in the story, is
nevertheless distinct and true to life.

Most probably, however, the few attempts at analysis of character or
interrelation of character and plot were of little concern both to the
author of emotional fiction and to her readers. The romancer's purpose
was not to reveal an accurate picture of life and manners, but to thrill
the susceptible bosom by scenes of tender love, amorous rapture, or
desperate revenge. The department of sensationalism especially exploited
by women writers and generally allowed to be most suited to their genius
is sufficiently indicated by the words typographically emphasized on the
title-page of one of Mrs. Haywood's few essays. "Reflections on the
Various Effects of LOVE, According to the contrary Dispositions of the
Persons on whom it operates. Illustrated with a great many Examples of
the good and bad Consequences of that PASSION. Collected from the best
Ancient and Modern HISTORIES. Intermix'd with the latest AMOURS and
INTRIGUES of Persons of the First Rank of both Sexes, of a certain
Island adjacent to the Kingdom of Utopia. Written by the Author of The
Mercenary Lover, and the Memoirs of the said Island. Love is not sin,
but where 'tis sinful Love. Never before made Publick." To any
contemporary connoisseur of hectic literature such a feast of Love,
Passion, Histories, Amours, and Intrigues as this, offered in the shop
of N. Dobb in the Strand for the small price of one shilling, must have
been irresistible. No less moving was the appeal of Eliza's fiction to
such Biddy Tipkins and Polly Honeycombes as delighted in a tale of
amorous adventure, particularly if it was set in the glittering
atmosphere of the court. A typical story of intrigues among the great is
"Lasselia: or, the Self-Abandoned" (1723).

The heroine, niece of Madame de Montespan, finding herself in danger of