It is probable that to a Frenchman the style of Richardson is not so objectionable when translated, as to ourselves.  I think myself that it is very idiomatic and energetic; others have thought differently.  The misfortune of Richardson was, that he was unskilful in the art of writing, and that he could never lay the pen down while his inkhorn supplied it.

He was delighted by his own works.  No author enjoyed so much the bliss of excessive fondness.  I heard from the late Charlotte Lenox the anecdote which so severely reprimanded his innocent vanity, which Boswell has recorded.  This lady was a regular visitor at Richardson’s house, and she could scarcely recollect one visit which was not taxed by our author reading one of his voluminous letters, or two or three, if his auditor was quiet and friendly.

The extreme delight which he felt on a review of his own works the works themselves witness.  Each is an evidence of what some will deem a violent literary vanity.  To Pamela is prefixed a letter from the editor (whom we know to be the author), consisting of one of the most minutely laboured panegyrics of the work itself, that ever the blindest idolater of some ancient classic paid to the object of his frenetic imagination.  In several places there, he contrives to repeat the striking parts of the narrative which display the fertility of his imagination to great advantage.  To the author’s own edition of his Clarissa is appended an alphabetical arrangement of the sentiments dispersed throughout the work; and such was the fondness that dictated this voluminous arrangement, that such trivial aphorisms as, “habits are not easily changed,” “men are known by their companions,” &c., seem alike to be the object of their author’s admiration.  This collection of sentiments, said indeed to have been sent to him anonymously, is curious and useful, and shows the value of the work, by the extensive grasp of that mind which could think so justly on such numerous topics.  And in his third and final labour, to each volume of Sir Charles Grandison is not only prefixed a complete index, with as much exactness as if it were a History of England, but there is also appended a list of the similes and allusions in the volume; some of which do not exceed three or four in nearly as many hundred pages.

Literary history does not record a more singular example of that self-delight which an author has felt on a revision of his works.  It was this intense pleasure which produced his voluminous labours.  It must be confessed there are readers deficient in that sort of genius which makes the mind of Richardson so fertile and prodigal.

INFLUENCE OF A NAME.

    What’s in a NAME?  That which we call a rose,
    By any other name would smell as sweet.

Names, by an involuntary suggestion, produce an extraordinary illusion.  Favour or disappointment has been often conceded as the name of the claimant has affected us; and the accidental affinity or coincidence of a name, connected with ridicule or hatred, with pleasure or disgust, has operated like magic.  But the facts connected with this subject will show how this prejudice has branched out.[20]