criticism may take sides for or against the novel-with-a-purpose,
but that Richardson justified his fiction writing upon
moral grounds and upon those alone is shown in the descriptive
title-page of the tale, too prolix to be often recalled and a
good sample in its long-windedness of the past compared with the
terse brevity of the present in this matter: "Published in order
to cultivate the principles of virtue and religion in the mind
of youth of both sexes"; the author of "Sanford and Merton" has
here his literary progenitor. The sub-title, "or Virtue
Rewarded," also indicates the homiletic nature of the book. And
since the one valid criticism against all didactic aims in
story-telling is that it is dull, Richardson, it will be
appreciated, ran a mighty risk. But this he was able to escape
because of the genuine human interest of his tales and the skill
he displayed with psychologic analysis rather than the march of
events. The close-knit, organic development of the best of our
modern fiction is lacking; leisurely and lax seems the movement.
Modern editions of "Pamela" and "Clarissa Harlowe" are in the
way of vigorous cutting for purposes of condensation. Scott
seems swift and brief when set beside Richardson Yet the slow
convolutions and involutions serve to acquaint us intimately
with the characters; dwelling with them longer, we come to know
them better.

It is a fault in the construction of the story that instead of
making Pamela's successful marriage the natural climax and close
of the work, the author effects it long before the novel is
finished and then tries to hold the interest by telling of the
honeymoon trip in Italy, her cool reception by her husband's
family, involving various subterfuges and difficulties, and the