A DATABASE OF
PHASE II: The
Flowers of Literature
Peter Garside, Anthony Mandal, Sharon Ragaz
can also access a downloadable version of this checklist in one
file from our Project Downloads
Published annually to cover the years 1801–09,
The Flowers of Literature consisted primarily of extracts
from what were perceived to be the year’s most popular publications.
The extracts were drawn from a range of genres, including poetry,
travel writing, biography and prose fiction. Initially Flowers
was jointly edited by Francis William Blagdon and the Revd Francis
Provost, but in 1804 Blagdon became the sole editor.* Brief
critical comments of a few lines on individual titles are provided
at the end of each volume, in the form of an ‘Alphabetical List’.
Each issue also had an ‘Introduction’ outlining the ‘State and
Progress of Literature, Foreign and Domestic’ for the year in
question, which afforded the editors the opportunity to make
general observations on genres such as the novel and on specific
texts selected for inclusion in the volume. In terms of novels,
it was often the case that a work would be discussed twice,
once in the Introduction and again in the list at the end of
format itself does not necessarily make Flowers unique
for its time. However, the fact that the works chosen for inclusion
were the subject of critical commentary by named individuals
means that the Flowers of Literature occupies an unusual
space somewhere between a literary review and a record of a
more personal, anecdotal reception of Romantic-era fiction.
The authorship of the critical commentary on the year’s selected
publications can be attributed initially to two individuals
(Blagdon and Prevost) and, after 1804, to Blagdon alone. Although
presented in the impersonal editorial ‘we’ voice that characterised
early nineteenth century reviewing practice in general, the
commentaries do represent the opinions of an individual reader.
A headnote in the 1806 volume asserted that ‘No books are inserted
in this list but such have been perused by the editor, for the
purpose of making extracts and comments. The criticisms are,
therefore, the result of his own impartial opinion’ (Flowers
of Literature for 1806, p. 494). That Blagdon himself
can personally claim to have examined all the works under scrutiny
in each volume acts as a guarantee for his readers, constituting
a special pact between reader and reviewer/editor in an otherwise
increasingly impersonal literary marketplace.
relationship extends to the underlying design of the periodical
as a whole, in that Flowers seems to have been conceived
to help guide readers through the growing numbers of publications
vying for their attention, especially at a time when the British
reading public may have been preoccupied with other extra-literary
That the convulsions of nations, the
threatening aspect of the times, and our warlike preparations
have, in some degree, interrupted peaceful pursuits, we are willing
to admit; but we cannot believe that, amid the din of arms, literature
is absolutely at a stand; that books find neither readers nor
purchasers, as is daily declared by those whom Johnson has called
the only Maecenas of the modern world, and who thus wish to discourage
the hopes of an author, or to depreciate his labours. Do not those,
who are prompted by taste to peruse the new publications, still
find that time is too short to inspect them all? Do not reviewers,
as well as ourselves, still find it difficult to keep pace with
the works that daily issue from the press? (Flowers of Literature
for 1803, p. xliii).
Thus, Flowers was designed to help readers
keep abreast of current literature, although the yearly format
somewhat mitigated the timeliness of the information. In providing
extracts and short, easily digestible commentaries on these works,
Flowers presented itself as an indispensable resource for
those who wished to appear educated and well read, but who might
not have had the leisure (or, indeed, the inclination) to read
and form an opinion on the thirty or so titles covered in each
volume of the periodical. Blagdon himself makes no secret of the
design of Flowers: the extracts and notices are presented
to ‘the gens du monde, who are desirous to become, without
serious application, conversant with modern literary taste’ (‘Preface’,
Flowers of Literature for 1801–02, unnumbered).
The practice of including
the ‘Alphabetical List’ of notices ended in 1807. Ever sensitive
to the demands of his readers, Blagdon noted the change in a preface
dated 15 September 1808: ‘The only difference between the present
and our former volumes, consists in an improvement which has been
pointed out to us by several subscribers. They have recommended
us to give a general list of the books which have been
published during the year […] but the brief criticisms which we
were accustomed to insert under the titles, being deemed repetitions
of the opinions expressed in our introductory remarks, (and which
in fact they unavoidably were), we have consented to discontinue
them’ (Flowers of Literature for 1807, p. iii).
Coverage of novels
the Flowers of Literature was fairly substantial—there
were, for example, notices of 28 novels contained in the volume
for 1806—despite the fact that Blagdon’s introductory remarks
often echo familiar critical discourse on the dubious moral and
literary value of the genre. Although the notices were often short
to the point of being telegraphic, the space and attention devoted
to novels differed little from that given to other genres. Well
known authors and novels, such as Owenson’s The Wild Irish
Girl and Opie’s Adeline Mowbray, received significant
attention, as did popular works such as Surr’s Winter in London
(which was given two notices in the volume for 1806). Even after
the practice of including short notices ceased, the introductory
material continued to comprise a number of pages of commentary
on recent novels.
The Flowers of
Literature was published by the London firm of Benjamin Crosby
and Co., which operated between 1794 and 1814, from Stationer’s
Hall Court on Ludgate Hill and ‘near Paternoster Row’—establishing
it firmly in the topographical centre of the London booktrade.
The concern dealt mainly in musical pieces and songs, supported
by the publication of religious discourses and sermons, as well
as numerous children’s works, amongst them the usual gamut of
conduct-books and educational textbooks. Of literary works, Crosby
published a substantial amount of drama, poetry, and fiction,
with numerous reprints of earlier titles. In addition to reprints
of poetry such as Alexander Pope’s Iliad (1808) and James
Thomson’s The Seasons (1802), Crosby also part-published
Byron’s Hours of Idleness (1807).
In terms of fiction
output, the firm was very much a significant source, being the
fourth most prolific primary publisher of novels throughout the
1800s. Crosby had auspiciously begun his publication of fiction
with Godwin’s Things as They Are (1794), and throughout
its twenty years, Crosby and Co. displayed a consistent commitment
to fiction, and a total of sixty-eight titles appeared between
1794 and 1814 with Crosby’s name first on the title-page imprint.
Many of its novels were run-of-the-mill fictions, with output
of new titles consisting typically of sentimental romances and
Gothic tales that were especially concentrated in the 1790s and
late 1800s. The Gothic titles themselves matched the respective
periods of favour of first the Radcliffean derivatives and then
the more scurrilous, post-Monk horrors. Paradigmatic Gothic
fictions included John Palmer’s The Haunted Cavern (1796),
Theodore Melville’s The White Knight (1802), Mary Julia
Young’s Moss Cliff Abbey (1803), David Carey’s Secrets
of the Castle (1806), and Francis Lathom’s The Fatal Vow
(1807). Most of its fiction can best be described as domestic
melodramas within a broadly sentimental framework. The combination
of fashionable or upper-class locales with dramatic incident and
manoeuvring Machiavels is a popular formula for Crosby novels.
Typical examples include The History of Netterville, a Chance
Pedestrian (1802) and Anne Ker’s Gothic-sounding Mysterious
Count; or, Montville Castle (1803). In addition to its Gothic
romances and sentimental melodramas, Crosby published a number
of stories with a modern setting, either comic or domestic: these
include Horatio Smith’s A Family Story (1800), Elizabeth
Gunning’s The Farmer’s Boy (1802), and Sophia Woodfall’s
anti-fashionable Frederick Montravers; or, the Adopted Son
Around the time of
Crosby and Co.’s publication of the first number of The Flowers
of Literature, the firm was enjoying a marked rise in its
production of fiction, precisely when the output of the Minerva
Press was noticeably in decline. Although Crosby never approached
Minerva in terms of magnitude as a novel producer, there was a
time, however brief, when it seemed that the older concern had
outlived its success and that newer and aggressive firms might
take up the mantle. It was during this period that Crosby was
setting himself up as a bulk publisher of eye-catching, even flash,
fictions. After the dissolution of the partnership Crosby and
Letterman in 1802–03, Crosby embarked upon a brief but remarkable
association with James Fletcher Hughes, who would later become
notorious for his shady dealings, practice of puffing, and scandalous
fictions. Ultimately, the associates would split abruptly and
apparently acrimoniously, but in the short term, the arrangement
marked a significant rise in production of Crosby’s novels from
4 titles with 1802 imprints to 10 in 1803, most of which recorded
both associates’ names on imprints. One result of Crosby’s association
with Hughes was his adoption of certain modes of self-puffery,
in an attempt to pass himself off as one of the foremost publishers
of fiction by listing large numbers of novels as ‘just published
by B. Crosby’—when in most cases, such works were either reprints
or remaindered copies of other publishers’ works.
the proportion of Crosby’s fictions reviewed in The Flowers
of Literature remains relatively small. Of 43 works published
by Crosby (and in 1803, with Hughes) between 1801 and 1809, only
20 were actually mentioned in the Flowers. In the Flowers
for 1801–02 and 1804, none were given notices, while for the figures
for the remaining years up to 1806 are as follows: 1803, 4 of
22 notices; 1805, 5 of 17; and 1806, 4 of 29. When the Flowers
stopped including notices and moved instead to prefatory ‘Introductions’,
Crosby was publisher of only 5 of the 11 works of fiction mentioned
in the 1807 Flowers and 3 of the 13 mentioned in the 1808–09
issue. Although most of the reviews were positive, this was not
always the case. For instance, the reviewer described Elisabeth
Guénard’s Three Monks!!! (1803), as ‘containing a few good
passages, but of the most detestable principles—consequently the
less which is said or known of it the better’ (Flowers for
1803, p. 456). Similarly, Mrs Norris’s Edward and
Anna (1806) ‘contains a few good passages, amongst a farrago
of the vilest nonsense that was ever put together, and which could
never have happened to the author or any other person in this
world’ (Flowers for 1806, p. 501).
If the firm of Crosby
and Co. is remembered by Romantic-period scholars nowadays it
is for its dealings with Jane Austen over the manuscript of what
would eventually be published by John Murray as Northanger
Abbey (1818). In the spring 1803, Austen had sold the manuscript
of the novel, then titled Susan, to Crosby for £10. It
appears that Crosby had intended to publish it, since a work entitled
‘Susan; a Novel, in 2 vols.’ was advertised as ‘In the Press’
in The Flowers of Literature for 1801 and 1802 itself (reproduced
here). For a number of (mainly financial) reasons, Crosby did
not publish Susan, and this led to a bitter exchange between
Austen and the firm, with each party challenging the other over
the ownership of the work. Following this unsatisfactory correspondence,
Austen’s dealings with Crosby ceased until 1816, when her brother
Henry bought back the manuscript, following the publication of
Emma. According to the James Edward Austen-Leigh’s Memoir
of Austen (1870–71), Henry ‘found the purchaser very willing
to receive back his money, and to resign all claim to the copyright’;
once the exchange had been made, Henry ‘had the satisfaction of
informing him that the work which had been so lightly esteemed
was by the author of Pride and Prejudice.’
[*Blagdon (1778–1819) was a fairly
well known figure in early nineteenth century literary and political
circles. He began his career by publishing mostly translated and
edited works, such as Mooriana, or Selections from the Works
of Dr John Moore in 1803 (with Prevost). He eventually came
to write for the Morning Post, and, according to the DNB,
helped to edit the newspaper for a time. His Tory views led him
into a dispute with William Cobbett, and in response to Cobbett’s
Political Register (1802–35), Blagdon planned to publish
‘Blagdon’s Weekly Political Register’. While the prospectus for
this appeared in October 1809, the work itself never materialised.]
British Fiction, 1800–29: The
Flowers of Literature, 1801–09
[Note: All spelling and formatting
of the original text as transcribed has been retained. The original
headings in the ‘Alphabetical Lists’ have also been retained.
The only exception to this is the omission of footnotes in the
‘Introductions’; these footnotes usually act only to refer the
reader to the notices at the end of the volume. Where the note
contains more substantive information, it has been retained and
is given, with the appropriate page reference, at the end of the
‘Introduction’. For further bibliographical details of the novels
discussed in Flowers of Literature for 1801–09, please
see the index of novel titles at the end of this document. This
index provides the corresponding references to Peter Garside,
James Raven, and Rainer Schöwerling (eds.), The English Novel
1770–1829: A Bibliographical Survey of Prose Fiction Published
in the British Isles, 2 vols. (Oxford: OUP, 2000), vol. 2.]
LITERATURE FOR 1801 AND
From ‘Introduction’: Novels, pages unnumbered.
With respect to the NOVELS
of our day, those imported from abroad, and chiefly those translated
from the German, have lately presented nothing but an incongruous
and cumbrous mass of fair captives, enchanted castles, or dreadful
and mysterious apparitions, fit only to captivate or alarm weak
imaginations. French novels, too, although a more faithful picture
of modern manners, have been found to contain licentious and seductive
descriptions of unbridled passions and abandoned profligacy. Among
these novelists, however, we may find some, but very few, more
moral and less dangerous; such as PIGAULT LE BRUN, who by the
delicate true wit, humour, keen satire, and purer morality of
his novel, has acquired deserved celebrity all over Europe; or
such as Mr. MARMORIERE, who, in // an interesting story or fable,
(which he has represented as a one of Chaldean origin, in order
to give a venerable air to its characters or incidents,) has delivered
a system of moral or philosophical lessons, exemplified in the
life of an interesting personage. He is traced through all his
adventures, and a series of actions and sufferings ascribed to
him, which induce a train of reflections, and give rise to a considerable
degree both of interest and instruction. The sentiments of this
writer are always in favour of morality, religion, and social
Our domestic Novelists,
absurdly imitating the German literati, have long dealt in the
marvellous; and, though they seem for the present to have abandoned
the idle and frightful dreams of a distorted imagination, they
are nevertheless to be deprecated for teaching youth to mistake
loose sentiments for liberal opinions, heedless profligacy for
benevolent disposition, and impiety for strength of mind. Happy
would it be, for the welfare of the present generation, if those
ridiculous fabrications, of weak minds and often depraved hearts,
which constitute the enchantment of circulating libraries, could
be entirely annihilated! Our readers cannot expect that we should
give them a catalogue of those pernicious publications, which
increase the laxity of manners and debility of character, already
so prevalent in all degrees of society: we will, on the contrary,
content ourselves with specifying a few novelists, in whose works,
instead of poisonous, they will find a grateful and nutritive
combination. The justly-celebrated author of an Essay on Education,
Mrs. [sic] EDGEWORTH, has very successfully displayed her
powers, in a general representation of life and modern manners†.
Mrs. WELLS’S novels are re-//commendable for the purity and soundness
of principles, for the piety and Christian humility which they
inculcate*; and Mr. DALLAS, in a masterly romance, has lately
presented us with a beautiful picture of virtue in its most engaging
form, which ought to be studied by all those who are desirous
of conciliating the esteem of their fellow creatures, of securing
the satisfaction of their own conscience, and deserving the approbation
of their God. The great object of this interesting novelist, is
to rescue moral sentiment from the degradation into which it has
fallen; to fortify the minds of the fair sex, to expose the wiles
of seduction, to give an exalted idea of marriage, to justify
our social regulations, to paint a highly-coloured view of human
nature, and thus, according to the title of his novel, to vindicate
it from the attacks of her detractors, from the dark colouring
of misanthropy, by proving that whatever is vicious or bad is
not nature, but a deviation from it; that depravity, vice,
and irreligion, so widely diffused through human nature, are not
essential to it; but that, on the contrary sentiment, virtue and
piety constitute its essence. In warmly recommending, therefore,
this romance to the perusal of youth, and even of parents and
guardians, we do not think we are recommending novel reading,
but the perusal of a system of morals congenial to the dignity
of human nature, and calculated to promote rational happiness.
As the numerous host of our common novel writers, instead of defending
virtuous truths, and exposing vicious folly, too often represent
the precipitate choice of evil as a mark of a generous spirit,
dis-//obedience to parental authority, as a proof of a heroic
mind; and love and philanthropy as the only rulers of our actions;
we will, before we conclude this article, and our rapid view of
the state of domestic and foreign literature, earnestly entreat
our young and fair readers, who are seeking for materials to amuse
their imagination and gratify their curiosity, to turn from the
perusal of those idle, dangerous, and unfaithful pictures of human
life, (the trash of Circulating Libraries,) to those faithful
descriptions contained in authentic travels, which display the
wonders of nature in remote regions, trace the intellectual characters
of men, savage or civilized, and mark, with the pencil of truth,
the variations of customs, and the shades of national manners.
By such a change in their taste, we will venture to assert, that,
however great may be their eagerness after rational entertainment,
they will never want the means to satisfy their inclination for
reading. For, we may sincerely, and with justice, congratulate
our countrymen, on the immense store of knowledge, and means of
improvement, which the numberless and successful exertions of
our judicious writers have laid open to our view. We may presume
to congratulate them on the eminent and unquestionable superiority,
for sound sense, nice judgment, and general information, which
the literature of England has attained over that of the neighbouring
countries; a pre-eminence which, among many others, we are ready
to ascribe to the same cause, that has given to England a superiority
in the arts; namely, to the benign influence of a virtuous and
enlightened Sovereign, who is the patron of science, the defender
of virtue, of its safeguard, religion; and the father of his people.
* Chiefly the West Indian.
Belinda. By Maria Edgeworth, 3vols. 8vo. 1l. 1s.
This novel, though deficient perhaps
in the contrivance, with respect to plot, and in the ingenuity
with respect to catastrophe, is remarkable for its faithful delineation
of living manners. (p. 448)
Elnathan; ou les Ages de l’Homme, traduit du
“Elnathan; or the Ages of Man, translated
from the Chaldean.” Par A. B. Marmorieres, &c. 3 tomes, 8vo.
The author of this publication has
adopted the plan of delivering a system of moral instruction,
by means of an interesting story, in which he has given us his
opinions respecting the various periods of the existence of men.
The book does not want merit; but it is too florid and pompous.
It may be read, however, with pleasure and profit. (p. 450)
Father and the Daughter. By Mrs. Opie.
This is a short, pathetic tale,
related in a plain, but very impressive manner. (p. 451)
Isabel; or the Orphan of Valdarno. By a Student
of Trinity College. Lane.
This romance is founded upon historical
facts: the writer has delineated the character and the crimes
of the Duke of Borgia, (nephew to the profligate Pope Alexander
the Sixth) in the same colours as history has pourtrayed them
to us. (p. 452)
Letters of a Solitary Wanderer, containing narratives
of various descriptions. By Charlotte Smith, 3 Vols. Low.
These volumes have not the originality
which Mrs. Smith’s former novels exhibited. We cannot wonder at
it, the author has nearly accomplished forty volumes in labours
of this description. It may be expected, that she has exhausted
her imagination. (p. 452)
Man of Fortitude. By —— Frere, Esq.
The author of this well-written
and truly moral novel, (the events of which, however, are rather
improbable), seems to be deeply read in the works of J. J. Rousseau,
and his enthusiastic admirers. (p. 453)
Old Nick, a Satyrical Story. In 3 volumes.
By the writer of a Piece of Family Biography. [454/455]
This work is written in obvious
imitation of FIELDING and STERNE: it does not fall much below
the knowledge of mankind and genuine humour of the former, and
has something of the SHANDYAN irregularity and spirit. It is an
amusing story. (pp. 454–55)
Percival, or Nature Vindicated, a Novel.
By R. C. Dallas, Esq. 4 vol. 12mo. 18s. boards. Longman and Rees.
The appellation of novel
has, in this work, been restored to a considerable share of that
dignity which the compositions of a Richardson first attached
to it. From the perusal of it, the purest heart and most enlightened
head may receive delight and instruction. (p. 455)
School for Fashion. By Mrs. Thicknesse.
The best trait in this work is its
moral tendency, and the admirable instruction it contains, to
correct the education of female youth. (p. 457)
Uncle Thomas, a romance, from the French of Pigault
Le Brun, 4 vols. Lane. 1801.
This novel has been highly celebrated,
on the continent, for its wit, its humour, and its satire; to
all of which it lays unquestionable claim. (p. 461)
LITERATURE FOR 1803
From ‘Introduction: Novelists’, pp. xliv–xlix.
“Half pleas’d, contented will I be,
Contented half to please.”
Such seems to be
their motto, and that of their readers, for novels are certainly
the lowest class of literary productions: (lowest we
say, though we rank a good novel very high amongst the works
of genius;) and the mania of NOVEL WRITING seems to pervade
all orders of writers, as that of NOVEL-READING does all classes
“Novels maintain their hold with such unfailing
We love them e’en in age, and at our latest day*.”
“There once did live a lady fair,
And she was in love with a gentleman.”
But descending from
general opinions to particular elucidations, we shall, by passing
over such as are harmless in their nature and ordinary in their
execution, leave ourselves room to specify a few which deserve
to hold a distinguished rank in the repositories of fiction.
The active pen of
MADAME DE GENLIS, whose successful efforts to ridicule that propensity
for the hor- [xlv/xlvi] rific, we noticed in our last introduction,
(p. xlvi.) has, in her novel called The Depraved Husband, given,
we hope, the death-blow to these disorganising principles of the
French philosophers, which threatened to break asunder the bonds
of morality and piety, throughout the civilised world. In the
present instance, her object has been to expose the depravity
and licentiousness of such writers, by the introduction, with
the happiest effect, of many of their most obnoxious passages,
which their authors evidently intended to apply to real life.
In short, we have met with no production of this kind more capable
of rendering service to the world, by the exposure of false principles,
if we except MISS HAMILTON’S “Modern Philosophers.”
We are sorry, however,
that we cannot bestow equal praise upon a subsequent work of MADAME
DE GENLIS, “The Duchess of La Valliere;” which, though it exhibits
the sufferings arising to such votaries of vice as have not become
callous to virtue, yet it may have a bad effect in its ultimate
operation, by inculcating the idea that the crime of adultery
is diminished, the greater the rank of the parties who commit
it. The intention of the indefatigable author was, however, indisputably
good, and hence censure would be unjustifiable.
Amongst the fair novelists
of our own country, MRS. LE NOIR holds a very distinguished rank.
Her novel, entitled, “Village Anecdotes,” is a very interesting
production, wherein every incident has the strongest claim to
probability; and, notwithstanding an apology for numerous errata,
he must be indeed fastidious, who could peruse it without uncommon
satisfaction: her translations of French poetry in this novel,
also afford an additional proof of her refined taste and ability.
MRS. HUNTER, in a
novel, entitled “Letters from Mrs. Palmerston to her Daughter,”
has displayed a habit of observation on men and manners, which
confers upon her no small credit; while the virtuous tendency
of this work cannot fail to afford many useful lessons to the
[xlvi/xlvii] juvenile reader. The tale of the mother-in-law is
The unknown author
of “St. Clair; or, the Heiress of Desmond,” whom we take to be
a female, is likewise a writer of no common stamp: her work is
replete with passages of the purest taste and most refined sensibility;
and, though the rigid moralists might consider its plot to be
of a dangerous tendency, yet it too plainly exposes the consequence
of allowing sentiment to gain the ascendency [sic] over
reason, even in vulgar or untutored minds.
MRS. THOMPSON, who
is well known to novel-readers, and whose writings are distinguished
by just and probable characters, has added to her reputation by
her late novel of “The Pride of Ancestry;” the style and incidents
of which are easy and natural, while its object is the amusement
of fancy and the improvement of life.
Reverting to the principal
novel-writers of the other sex, we have no hesitation of classing
in the foremost rank, MR. DALLAS, whose novel of “Percival” we
criticised in our first volume, p. 455. This gentleman has since
published another, under the title of “Aubrey,” which, though
we have not yet been able to do justice to it, in the way of extracts,
we have no hesitation in saying is far, very far superior to most
of such productions; as it not only has an unequivocal moral tendency,
but abounds in the most interesting situations and adventures.
A new candidate for
literary fame, as a novel writer, has started in the person of
MR. H. SIDDONS, the object of whose production is to inculcate
a strict regard for virtuous conduct, in the various relations
of life; as a first attempt, it is entitled to considerable praise,
though the author is not very happy in his imitation of the manner
The anonymous author
of “The Swiss Emigrants,” advantageously exhibits the happiness
derivable from [xlvii/xlviii] beneficence, even in obscure stations,
and gives such a picture of the miseries of continental war as
must make us truly enviable of our insulated situation.
We must here remark
that, except those already mentioned, a great portion of the novels
which have been published since our last volume made its appearance,
are foreign sprigs, transplanted and naturalised in our own soil.
We have always been adverse to exuberances of the imagination,
of exotic growth; but either the French or German literati have
become more partial to morality, or our own doers into English
have been more choice in their selection. We have seen a work
of the jacobin and athiest [sic], BARON GOETHE, author
of “The Sorrows of Werter,” entitled, “Heliodora;” which, to our
surprise, we found free from the gross immorality and scepticism
that disgraced his former productions, the present tale being,
with very few exceptions, interesting and harmless.
German writer of celebrity, and of less equivocal principles than
his countryman the Baron, has also contributed abundantly to the
stock of our libraries. His “Henrietta Bellman” is a very interesting
publication, calculated to please every taste, and of a good moral
tendency; while his “Lobenstein Village,” also translated within
the last year, abounds in strong and just satire, combined with
such attractive incidents, and happy moral reflections, as must
place it very high in the class to which it belongs.
But as perfection
cannot be either attained or expected, we find a few passages
in this work which contain principles only calculated for the
meridian of Paris; a circumstance the more to be regretted, as
the continuance of such productions as the one before us would
soon recover this class of literature from the disrepute into
which it has fallen; and thus leave but little room for the censure
of the moralist against novels in general.
Another German, of
considerable talent, M. KARAMSIN, has, in his tales, betrayed
evident marks of genius, and shown much feeling and humanity in
his [xlviii/xlix] “Russian Tales.” If they exhibit a true picture
of human nature in Russia, it is evident that the hardy Russian
breast contains a very warm and susceptible heart. He has recorded
in them the benevolent virtue of a Russian peasant, which deserves
to live in history.
We shall conclude
this article with lamenting the wretched state in which foreign
novels appear, when clothed in an English dress; from the ignorance
of most of the translators, and the rapidity with which they are
obliged to perform their task. We do not mean to make any particular
allusion to the translators of the works above-mentioned, who
are, on the whole, rather an exception to the stigma; but we must
reprobate the practice of translating from a translation; most
of the works which we have from the German being translated from
French editions; the latter of which are, at best, but miserable
and mutilated performances.
From ‘Biographical Sketch of R. C. Dallas’,
[Note: The discussion of Dallas’s novels is
limited to one paragraph on p. 34.]
Mr. Dallas’s sentiments
and character appear throughout his writings. In his dedication
of Percival alone, short as it is, we see the affectionate husband,
the tender father, and the friend of order and society. The description
of the death of Cowper’s daughter, in the third volume of Aubrey,
is said to be the exact narrative of his own loss: a narrative,
not to be read without a tear […]
Augustus and Mary; or, The Maid of Buttermere. A Tale.
By W. Mudford. 1 vol. pp. 188. Jones. 1804.
A true and interesting story
is here ridiculously mutilated, for the purpose of swelling the
volume, by the introduction of fictitious and irrelevant trash;
and poor dame virtue, whose advocate the author professes to be,
certainly never had a more miserable defender. Some attacks are
made, in this wretched publication, upon several literary characters
of prominence, which must, of course, give the reader a very high
opinion of the author’s judgement. (p. 449)
Heliodora; or, the Grecian Minstrel. From
the German of Goëthe. 3 vols. 12mo. Dutton. 1804.
An interesting and moral
tale, from the pen of a writer formerly celebrated for the immorality
and impiety of his productions. (p. 454)
The History Of A Dog. Written By Himself, And
Published By A Gentleman Of His Acquaintance. Translated from
the French of Pigault Le Brun. Minerva press. 1804.
This is a novel which rivals
‘Pompey the Little;’ the translator deserves much praise, for
having given such an animated copy of its entertaining original.
Night (The First) of My Wedding.
Translated from the French of Pigault Le Brun. 2 vols. 12mo. 7s.
A humorous and very amusing
novel of a writer already celebrated; translated with a spirited
correctness very uncommon in our days. (p. 459)
Popular Tales. By Maria Edgeworth. 3 vols.
12mo. 15s. Johnson.
This lady, already well
known by her moral publications, will acquire additional fame
by her present production, which is more accessible to the middling
class of readers. (p. 461)
Pride of Ancestry; or, Who is She? A Novel.
In 4 vols. By Mrs. Thompson. 1804. Parsons.
A very entertaining work,
which cannot fail to increase the reputation which the fair author
has already acquired. (p. 461)
St. Clair; or, the Heiress of Desmond. By
S.O. 12mo. Pp. 248. 4s. 1803. Highley.
This is a very attractive
little volume, full of the finest sentiments of friendship and
sensibility, though liable to the charge of inconsistency. (p.
Tales (Russian). By Nicolai Karamsin. 8vo.
Pp. 274. 10s. 6d. Printed by G. Sidney. No Bookseller’s Name.
These are, for the most,
love tales, which have much merit, though often alloyed by the
tinsel of sentimentality, and the dross of declamation. (p. 463)
Unexpected Legacy; a Novel. By Mrs. Hunter,
of Norwich. 2 vols. 12mo. 9s. Longman and Co.
of this novel are such as occur in ordinary life; and they are
so well delineated, that the work rises far above the majority
of similar productions. (p. 466)
Village Anecdotes; or, the Journal of a Year,
from Sophia to Edward. With Original Poems. By Mrs. Le Noir.
3 vols. Vernor and Hood. [466/467]
We wish that the pleasure
derived by the reader of this volume may equal what we have ourselves
received; it will then not be inconsiderable. (pp. 466–67)
Virtuous Poverty; a novel. In 4 vols. By
Henry Siddons, Esq. Phillips. 1804.
This novel seems to be a
tribute of filial affection to an excellent parent. The language
is chaste and elegant, and the incidents numerous and rational.
LITERATURE FOR 1805
From ‘Introduction: Novelists’, pp. lvi–lxii.
With respect to works of fancy,
they have been far less numerous during the period above mentioned,
than for many preceding years; and, with great pleasure we add,
that in proportion as their number has decreased, their claims
to public notice have become greater. In short, we may class amongst
the most pleasing and well-written productions of 1805
and not one work of that description has fallen
under our own observation, which is likely, in any way, to contaminate
the morals of the juvenile reader.
This is a consideration
of no small importance, when we reflect on a truth that must be
generally acknowledged, namely, that “in all stages of human society,
from the time, at least, of its emerging from absolute barbarism,
no disposition has been more general, than the delight which is
taken in works of fiction.”
Thus, by the
rational change in the sentiments of writers of eminence, by the
decrease of those who had no pretensions to literary merit, and
by the introduction to the paths of the belles lettres
of gentlemen, who, though they make literature chiefly an amusement,
do not hesitate to devote their attention to the writing of novels,
the objections of persons of character and understanding to this
kind of composition will soon be abolished, and novels, which
till lately were considered as the most injurious publications
that could be put into the hands of young persons, will be rescued
from the odium and contempt which they had acquired, through the
efforts of ignorance and licentiousness. [lvi/lvii]
which have, within these few years, contributed more than others
to re-establish fictitious narratives upon the bases of morality
and reason, are unquestionably those of Mr. DALLAS: they communicate
a knowledge of human life and manners, that produces a better
effect than hundreds of works which are the emanations of a depraved
taste and a distempered fancy. We are happy in being enabled to
add, that the opinion which we gave in our first volume (p. 455)
of, we believe, the first novel written by this gentleman,
is not only strengthened, but still farther increased by a perusal
of his Aubrey. In this work, which is highly interesting
on the score of its probability, the characters and manners are
preserved throughout; and the author, by making his hero a clergyman,
who, from great expectations, had neglected his profession in
the early part of his life, and is, in consequence, reduced to
a degree of distress bordering upon misery, inculcates a strict
attention to the divine objects of it, and exposes the wickedness
of taking orders merely with the view of preferment†.
whose former principles we viewed with detestation, and
whose return to those of reason and sensibility we greeted with
unqualified pleasure, has lately appeared again as a novel writer;
and, in his Fleetwood, shows, in odious colours, the consequences
of the passion of jealousy; but, by making the hero of his piece
commit the most improbable and ridiculous outrages, he not only
excites the disgust of the readers, who can scarcely find patience
to follow [lvii/lviii] the character to the end of his career;
but causes them to lay down the book with the conviction, that
no such a being ever existed in the world. Indeed, some parts
of the narrative are so extravagant, that we not only must enter
our caveat against the assertion of the author, who says, that
the story consists of such adventures as, for the most part, have
occurred to at least one half of the Englishmen now existing,
of the same rank of life as his hero; but we will assert, that
such adventures never occurred to any human being; and thus the
work, instead of teaching the recluse to form an idea of the world,
will tend only to mislead him. In thus freely expressing our opinion,
we are far from wishing to intimate, that ‘Fleetwood’ is not a
work of merit. Any thing from the pen of Mr. Godwin must be interesting;
but we must decidedly declare, that though this work contain many
splendid passages, which bespeak the hand of a master, yet it
will bear no comparison with ‘Caleb Williams;’ for, notwithstanding
the tendency of that publication was mischievous in the extreme,
it nevertheless displayed sterling abilities. The character of
‘Fleetwood,’ on the contrary, though divested of political prejudice,
is throughout absurd, and contradictory to common sense.
One of the
principal novels which appeared soon after the conclusion of our
last volume, and which we have examined in the present, is Modern
Literature, from the pen of Dr. BISSET, who is now no more.
It cannot be asserted, that novel-writing was the forte
of this well-known character, who was eminent both as a biographer
and a historian; but it must be admitted, that in the present
work he has been more successful than in his other attempts at
fictitious narrative. The subject affords a capacious field for
observation, animadversion, and comment; and the doctor has, in
each, displayed his talents for satire and his knowledge of human
nature. His hero is a young man of respectable family, but small
fortune, who, being destined to rise to eminence by the labours
of his pen, [lviii/lix] has an opportunity of being introduced
to literary characters and their employers, by which many interesting
anecdotes are developed. The characters appear to be chiefly copied
from nature; and the interest of the story is skilfully preserved
by probable incidents.
Mr. T. HARRAL,
a gentleman with whose name, as a writer, the public are not much
acquainted, has thought proper to throw aside the anonymous mask,
and avow himself the author of a very interesting novel, entitled
Scenes of Life. The object of this work is, the laudable
one of bringing into contempt the ridiculous and disgusting tenets
of modern philosophers, as they prevailed a few years ago, when
their progress bid fair to overthrow, with the altar and the throne,
the moral system of all civilized nations. The author states,
in an elaborate preface, that “coldness of constitution and imbecility
of intellect are the only apologies which can be alleged, in the
present day, for neutrality of principle, either civil or religious;”
and the rational, though spirited, manner in which he has treated
his subject, proves that he possesses neither one nor the
other. This novel contains some judicious criticisms on the detestable
principles of the German drama; and the work affords sufficient
evidence, not only that the author possesses a correct taste,
but that he is no tyro in the walks of literature.
novels of the last or present year, a mark of the most favourable
distinction must be placed upon a Winter in London, which
is replete with excellent morality, wholesome satire, sometimes
poignant, sometimes playful; and the appropriate situations which
augment the interest from the first to the last page of the volumes.
The characters are powerfully exhibited; and though many of them
reflect the images, or rather the shadows, of the times, immediately
before us; the moral they convey is of substantial moment. We
have to regret, that our confined limits will not allow us to
particularize the varieties of good sentiment and good sense,
impressive description, [lix/lx] and touching incidents with which
this work abounds. It is written by Mr. T. S. SURR, author of
‘George Barnwell,’ ‘Splendid Misery,’ &c.; and is no ways
inferior to either of those well-received productions.
We shall conclude
our sketch of the masculine attempts at the composition
of fictitious narrative, by mentioning an uncommonly interesting
and well-written novel of the historical class.
it paints the errors and vices that, in all ages, have disgraced
mankind, always fills the mind with melancholy. A man of feeling
is naturally disposed to espouse the cause of the unfortunate,
and is always much interested for the vanquished, the captive,
and oppressed, even when suffering their deserts. Is it then wonderful
or inexcusable, that such a man of feeling should have recourse,
for relief, to the fairy pencil of imagination, which, at least,
renders the prospect agreeable? If a melancholy incident, or a
depraved character, in a romance, affect the heart, or shock the
judgment, one has the consolation of reflecting that it is
Such a consolation
will be peculiarly necessary after perusing the attractive and
well-concerted incidents of Gondez the Monk, the production
of Mr. W. H. IRELAND, already well known to the public. Historical
facts are, in this novel, so intimately blended with fiction,
that the anxiety they excite is so great, as to leave an impression
upon the mind that the whole is reality; such an impression is,
indeed, little inferior to that produced by the celebrated novel
called ‘The Recess,’ in which history has been so far perverted
as to gain over the opinions of some of our most celebrated writers,
who have attempted to prove that the anecdotes were literally
true. Mr. Ireland has dressed up his narrative quite in the Shaksperian
[sic] style; and though many of his images and metaphors
are inflated, and savour a little of the bombastic, yet
no small number of others exhibit such brilliancy of imagination
as we have seldom seen equalled. It is impossible, in our limits,
to give even a brief idea of [lx/lxi] a story unusually complex,
but the interest of which is kept up even to the last chapter.
pen of Mrs. PARSONS has, within the last year, produced no less
than six volumes. Her novel, entitled Murray House, is
formed upon very probable incidents, of which, we fear, too many
examples are to be found in fashionable life, though perhaps they
are not carried to the extremes which a writer is justified in
describing. Indeed, from what we know of the temper and
disposition of modern ladies of the haut ton, there is
probably not one of them who would tacitly suffer herself to be
conveyed from the very centre of fashion, to he hidden from the
world in an untenantable castle in the Highlands of Scotland.
The novel however conveys an excellent moral, by exhibiting the
severest punishment for guilt, and the most gratifying reward
for virtue. The other three volumes are translations by Mrs. P.
of six very pleasing and instructive tales from LAFONTAINE, which
she has rendered into correct and elegant English.
whose beautiful poems have excited general admiration, has gained
additional credit by her novel called Adeline Mowbray; or,
the Mother and Daughter. It inculcates principles which cannot
fail to make the most striking impression on an inexperienced
mind, and prevent those errors of the affections into which youth
is ever liable to fall.
a lady who also possesses considerable talent for versification,
has produced a pleasant volume, entitled St. Julian, the
plot of which is a clandestine correspondence between two lovers,
in which the author seems to have made Rousseau her model. It
is evident, that the fair writer does not estimate her prose so
highly as she does her poetry; but it will well bear the test
We shall terminate
this article, by recommending to the notice of our readers three
other novels by our fair countrywomen, viz. Can we doubt it?
or, the His- [lxi/lxii] tory of Two Families of Norwich,
by Mrs. GOOCH; Second Love, by Mrs. NORRIS; and Crimes
and Characters, by Mrs. PILKINGTON. Amongst the new novels
which were sent to us at the close of the year, and which we recommend
as being extremely interesting and unexceptionable, having perused
them most attentively, are, The Eventful Marriage, in four
volumes; Ferdinand and Amelia, in three volumes; and Eversfield
Abbey, three volumes; all of which are modestly published
without the names of the authors. They are probably of the opinion,
“Fame, the great ill, from small beginnings
Swift from the first, and every moment brings
New vigour to her flights, new pinions to her wings.”
† Since the close of our extracted portion, Mr.
Dallas has produced a work, under the title of ‘The Morlands:
Tales illustrative of the Simple and Surprising,’ which is
now under our consideration. The title is attractive, and the
work more than gratifies expectation. It consists of two tales,
both of them surprising, and yet, the author having “kept possibility
in view,” both of them simple. We cannot but think, that there
is a strong resemblance between the first ‘Morland’ and Mr. Pratt’s
‘Benignus,’ in ‘Liberal Opinions.’ Both young, interesting, ardent,
and equally the victims of their own benevolence and simplicity.
Adeline Mowbray; or, the Mother and Daughter. A Novel. In
three Volumes. By Mrs. Opie. Second Edition. 12s. Longman &
This is the most interesting
of any of the productions of the beautiful and accomplished author;
it inculcates the most important moral truths, and excites admiration
by the elegance and simplicity of its style. (p. 416)
Aubrey: a Novel. By R. C. Dallas, Esq. 4 vols. 12mo.
18s. Longman and Co. 1804.
Mr. Dallas is, perhaps, the
most chaste and elegant novel writer of the present period. All
his works have in view some grand moral object; and Aubrey, in
particular, excites throughout the most lively interest. (p. 417)
Can we Doubt it? or, the genuine History of two
Families of Norwich, By Charlotte B. Malarme, Member of the Academy
of Arcades of Rome. Translated from the French, by Mrs. Villa-Real-Gooch.
3 vols. 12mo. pp. 527. 10s. 6d. Crosby & Co. 1805.
Although there is much in
these volumes with which the general reader will be pleased, yet
we could point out many parts which are objectionable on the score
of probability, and many more which would demand the censure of
the impartial critic; it is, however, far from deserving the title
of a bad production. (p. 418)
Crimes and Characters; or, the New Foundling. A
Novel. By Mrs. Pilkington, Author of ‘Parental Education,’ &c.
&c. 3 vols. 12mo. pp. 750. 12s. Earle and Hucklebridge. 1805.
This novel is replete with
affecting incidents; but their improbability diminishes the interest
they would otherwise excite. (p. 419)
Duellists (The); or, Men of Honour. A Story to show
the Folly and Sin of Duelling. By W. Lucas. 12mo. pp. 182. 3s.
6d. Suttaby. 1805.
An excellent moral tale,
which breathes throughout a pure spirit of religion. (p. 420)
Eve (The) of San Piedro. A Novel. In 3 vols. 10s.
6d. Cadell and Davies. 1804.
Italian castles, villainous
monks, and all the addenda of the works of Mrs. Radcliffe are
here introduced, though with inferior effect. The story contains
too much of the marvellous; but the author possesses talents of
no ordinary kind. (p. 420)
Eventful Marriage (The), a Tale. By the Author of
Count di Novini, and Monckton. 4 vols. 12mo. pp. 1300. 16s. Crosby.
The author has already gained
much credit by his works of fancy; but the present novel is rendered
doubly interesting, by the combination of historical facts. The
language is chaste and elegant. (pp. 420–21)
Ferdinand and Amelia. A Novel. 3 vols. 12mo. pp.
678. 10s. 6d. Crosby & Co. 1805.
The author, who has concealed
his name, makes many pretensions to probability; and, on the whole,
his tale justifies the idea which he holds out.—There is nothing
absurdly improbable in the volumes, but much that is extremely
interesting; and the whole is well written. (p. 422)
Fleetwood; or, the New Man of Feeling. A Novel.
By W. Godwin. 3 vols. 12mo. pp. 937. Phillips. 1805.
We have only to hope that
Providence will preserve us, and all our readers, from such sentiments
and brutality of disposition as are displayed by the feeling
hero of this novel. As a literary work, it makes no addition to
Mr. Godwin’s acknowledged fame. (p. 422)
Gondez, the Monk. A Romance of the thirteenth Century.
By W. H. Ireland, Author of the ‘Abbess,’ &c. &c. 4 vols.
12mo. pp. 920. 16s. Earle and Huckbridge. 1805.
We do not hesitate to pronounce
this to be one of the most interesting, and most elegantly written,
novels which have fallen under our inspection during the present
year. Many of the passages would not disgrace Shakspeare [sic];
but the anxiety which the author still possesses to imitate the
immortal bard, leads him into absurdities, which deteriorate the
real merit of the work; these are the frequent introduction of
witches, demons, and ghosts, which have so
little relation to the chief incidents of the story, that we hope
to see their officious interference dispensed with in a future
edition, which we doubt not will be demanded. (p. 423)
Love and Gratitude; or, Traits of the Human Heart.
Translated from Augustus La Fontaine, by Mrs. Parsons. 3 vols.
12mo. pp. 742. 12s. Norbury, Brentford. 1805.
These are six very interesting
tales, all of which have a moral tendency. They are far superior
to the common-place novels of the day, and derive no small advantage
from being translated into excellent English. (p. 426)
Modern Literature. A Novel. By R. Bisset, LL.D.
3 vols. 12mo. 15s. Longman and Co. 1804.
Dr. Bisset, who not long
since paid the debt of nature, was one of the most industrious
literati of the present day; but his forte was by no means
novel-writing. ‘Modern Literature,’ however, is amongst the best
of his productions of that class: most of the characters are taken
from life. (p. 429)
Morlands (The); or Tales, illustrative of the simple
and surprising. By R. C. Dallas, Esq. 4 vols. 12mo. pp. 1356.
1l. 1s. Longman & Co. 1806.
These tales are stated in
the preface to contain a display of common, or probable facts,
natural sentiments, and characters so composed, as to engage the
attention and interest the mind. That they will do so, we cannot
entertain a doubt, after the different specimens we have perused
of this author’s abilities. The tales are said to be founded on
a series of facts: so surprising, as to seem improbable, till
accounted for in the winding up of the story. (p. 429)
Murray House. A plain unvarnished Tale. By Mrs.
Parsons. 3 vols. 12mo. pp. 895. 12s. Norbury, Brentford. 1805.
The respectable author of
this novel is well known to our readers. She has gained additional
credit by its production; and, we fear, it is a portrait which
must come home to the feelings of many persons in the fashionable
world, who bear a heavy heart under a profusion of riches and
honours. It is extremely well written. (p. 429)
Scenes of Life. A Novel. By T. Harral, Esq. 3 vols.
pp. 680. Crosby and Co. 1805.
This work is written with
a view to expose folly and castigate vice; and the folly and viciousness
which are at- [432/433] tacked are those of jacobinism, infidelity,
and immorality. The subject is treated in a masterly manner, and
the work contains many curious anecdotes, which we think are taken
from real life. (pp. 432–43)
Second Love; or, the Way to be Happy. A Novel. By
Mrs. Norris. 2 vols. 12mo. pp. 562. 7s. 2d. Crosby. 1806.
We shall merely announce
this volume, as one of which we entertain considerable expectations;
but to which, as yet, we have not been able to pay proper attention.
St. Julian. In a Series of Letters. By Mrs. J. T.
Serres. 8vo. pp. 167. Ridgway. 1805.
The heroine of this tale
being compelled by her family to marry an aged nobleman, corresponds
with St. Julian, her youthful lover, in the style of Eloisa; at
length the [433/434] husband very conveniently dying, she is united
to the object of her choice. The letters are interesting and well
written. (pp. 433–34)
LITERATURE FOR 1806
From ‘Introduction: Novelists’, pp. lxxiv–lxxxi.
It is a remarkable circumstance,
that the most obscene dramatist, whose writings ever polluted
the English stage, was a woman; and it is a circumstance
as remarkable, and as such to be regretted, that, with the exception
of a certain monkish author, the most indecent playright
[sic], and the grossest and most immoral
novelists of the present day, are women! [lxxiv/lxxv]
fair author of Zofloya had before distinguished
herself, in the annals of literary libertinism; and she has now
treated HER admirers with the development of such scenes,
as, we had hoped, no female hand could be found to trace.
as we wish not to initiate our readers in the mysteries of brothels,
or in the more secret vices of the cloister, we dismiss the ungrateful
that universal arbitress, though frequently erroneous in her decisions,
has, for once, by sanctioning Mr. Surr’s Winter in London,
which has now passed through eight editions, proved that she is
sometimes deserving of attention. This truly excellent novel abounds
with satire on the fashionable world. The author’s shafts are
admirably levelled; they never fall short of their aim; his hits
are numerous and palpable. Mr. Surr very broadly exposes
the absurdities of certain fashionable newspapers, and their patrons;
and the infamous artifices of malignant reviewers. He has displayed
great taste in the grouping of his masquerade scene; the character
of the duchess of Belgrave is pourtrayed by the hand of a master;
the letters of that lady are written in the most fascinating style
of characteristic elegance; and, upon the whole, the Winter
in London, must rank with the very best of novels.
by Miss Edgeworth, contains some excellent writing, and is extremely
well adapted to expose the absurdity, and pernicious tendency,
of modern philosophy.
much surprised to find, that the puerile and inconsistent novel
of Adelaide was written by the same author. Abounding with
caverns, groans, shrieks, murders, hobgoblins, and all the wretched
mummery of the Radcliffean school, it is, in every respect, far
below the former works of Miss Edgeworth.
Siddons, the son of our venerable actress, whose Virtuous Poverty
we noticed with approbation [lxxv/lxxvi] in our third volume,
encouraged by the success which that work experienced, has produced
another novel, under the title of Maid, Wife, and Widow,
which, we think, in every respect, surpasses the former.
sorry that Mr. Holcroft, who has, at times, been favoured with
no slight portion of public applause, should make himself appear,
so repeatedly, in so short a space of time, so extremely ridiculous
and contemptible. His Hugh Trevor, and Anna St. Ives,
notwithstanding their ponderosity, and the infamous tendency of
their principles, were not wholly without attraction; but his
Bryan Perdue, with which he has recently favoured
the world, is, in truth, one of the most wretched of wretched
novels. It seems to be quite time for this gentleman to leave
elegantly written morceau, the Man of Feeling, must
be fresh in the recollection of every reader of taste; and every
reader of taste will be gratified, on finding an agreeable companion
to that work, in the Stranger, or New Man of Feeling. The
typographic neatness of this volume is an additional recommendation.
romance of Castle Nuovier is somewhat too romantic;
but the story is ingeniously told.
preceding volume, we announced the appearance of Mr. Dallas’s
Morlands. Since that period, we have again read the work
with renewed and increased pleasure. The diction of the first
tale is at once classical and elegant; the moralist [sic]
truly unexceptionable; and the plot, though not intricate, excites
great interest. As a sport of fancy, the second tale is highly
and irresistibly amusing.
Lewis’s Feudal Tyrants, though abounding in the marvellous,
possesses more originality and probability than his celebrated
Monk; or indeed than most of his other productions; yet,
it is, at first, somewhat intricate; and, perhaps to his fair
readers, may prove, as a novel, less amusing. This deficiency,
however, is amply atoned for by the very high inte- [lxxvi/lxxvii]
rest excited by the adventures of the virtuous Urania, by Venosta’s
Memoirs; and also by those of the heroic, but unfortunate Adelaide,
lady of the Beacon Tower.
Owenson’s Novice of St. Dominick, and Wild Irish Girl,
possess an extraordinary portion of attraction. The language of
these novels is elegant, brilliant, and animated; and the plot
and incidents are fraught with interest of no common stamp. Added
to the requisite merits of a novel, the Wild Irish Girl
contains much pleasing and useful information on the manners and
customs of the Irish.—The first-mentioned novel deserves, indeed,
more praise than we have room to bestow on it. The combination
of historical facts with fictitious narrative is continued through
the work in a striking manner; and we must declare, that with
respect to originality of thought, and beauty of language, we
do not recollect any modern work of fancy, which is superior,
if equal to it. In this point of view, her Wild Irish Girl
is greatly inferior.
Temple, the fair author of some excellent poems, of which we took
ample notice in our preceding volume, has produced a ponderous
novel, in five volumes, entitled Ferdinand Fitzormond.
It contains several interesting situations, and a number of beautiful
pieces of poetry; but some of the characters are unnatural, and
the interest is diminished by the extent to which the subject
though a novel, exhibits nothing of novelty. Poetical
justice is, however, strictly observed.
or, the Secret History of the Conspiracy of Piso against Nero;
and Madame de Maintenon; both of them translations from
the French, are historical romances; which, as confounding truth
with fiction, are highly objectionable. The translation of the
latter work (Madame de Genlis’s) is miserably executed.
Lathom, who is so well known, and has been recently so much admired,
in the novel-reading [lxxvii/lxxviii] world, has presented us
with Human Beings, which are not to be classed amongst
those “faultless monsters which the world ne’er saw.” Taking truth
and nature for his model, he has produced a striking and an interesting
picture. The parentage and loves of the drummer-boy and orphan-girl,
and the persevering benevolence of the worthy Lewitzer, ought
not to be “damned by faint praise.”
Curtis’s Monk of Udolpoh [sic] is deserving of association
with most of that gentleman’s other performances. The interesting
Hersilla exhibits one of the finest patterns of filial piety we
have ever seen pourtrayed in a novel: neither is the character
of the Monk himself over-drawn, as is, in general, the case in
productions of this kind. The hero of the piece claims our particular
attention, as possessing much merit. Lorenzo is a most virtuous
character, worthy of imitation: and we will hope, notwithstanding
the cry against the times, that there are, in real life, many
such to be met with.
Baron de Falkenheim, is an unaffected, well-told tale,
but exhibits no very striking feature.
de Genlis’s Alphonsine, or Maternal Affection, may class
with the finest productions of that lady’s pen. Much novelty of
idea is displayed, and the character of the heroine is admirably
the universally attractive Kotzebue, has produced four volumes
of Novellettes; the translation of which has been perused
with uncommon avidity. The original work is excellent; but we
could have wished the translation to be both more correct, and
success of Mr. Surr’s Winter in London, has, as is usually
the case under such circumstances, called forth a herd of imitators.
Amongst these, A Winter in Bath claims the first notice.
Without the aid, however, of an imitative title, its intrinsic
merit would have insured and commanded a gratifying reception
from the public. The story is well written, the incidents are
good, and the characters are excellently pourtrayed.[lxxviii/lxxix]
the same time that A Winter in Bath made its appearance,
a Mrs. Bayfield had a novel ready for publication, under the title
of Love as it may be, and Friendship as it ought to be.
Her bookseller, however, imitating Mr. Surr’s title, and perhaps
conceiving that he might safely practise an imposition on the
public, gave Mrs. Bayfield’s novel the title of A Winter AT
[sic] Bath. This circumstance excited much contention
between the booksellers; and we are not certain whether some legal
proceedings were not commenced upon the subject. Mrs. Bayfield
very candidly declared, not only that the fraud was carried on
without her approbation, but without her knowledge.
Invisible Enemy, the Bravo of Bohemia, Dellenborough Castle, Castle
of Berry, Pomeroy [sic],and the Benevolent
Monk, are so many modern romances, possessing the usual beauties
and defects of such performances.
Opie’s Simple Tales have a far higher claim to notice.
This work, consisting of eighteen or twenty tales, pleasingly
and interestingly related, possesses the general characteristics
of her style and manner of thinking. It may not be amiss to observe,
that her style is that of a well-educated and accomplished woman;
her manner of thinking, that which does her the highest honour!
These tales are truly simple and unaffected, evincing much
genuine pathos in the bosom of their fair author;—that bosom which
has been destined recently to mourn the loss of its departed lord*.
In her own beautiful lines, she may now feelingly exclaim:
“Ee’n reason says I justly weep,
And, ah! She says I weep in vain;
My midnight couch with tears I steep,
Then rise at morn—to weep again!”
meritorious glances of Constantia de Courcy, [lxxix/lxxx]
we should hope, will not succeed in seducing any of our readers.
Her blandishments are the blandishments of a courtesan, who allures
but to destroy.
Stories are very harmless; but they are not sufficiently animated
to warm us.
Parsons, another of our old favourites, has introduced to our
acquaintance, The Convict, or Navy Lieutenant. This novel
not only possesses originality, but, we think, must excite in
every feeling heart, the warmest interest for its unhappy heroine,
and her ill-fated offspring. Mrs. Parsons is well versed in the
art of pleasing, at the same time that she unites instruction
with amusement. The characters are all well delineated, and not
over-drawn: and the moral, such as we could wish implanted in
every human breast.
Armstrong’s Anglo-Saxons, or the Court of Ethelwulph, as
a strong and pleasing picture of ancient manners, ranks far above
the general run of modern romances.
does The Spaniard, a tale which very forcibly reminded
us of the strong vein of satire in Gil Blas. Its comic
situations, rich irony, and humorous descriptions, irresistibly
impelled the exercise of our risible muscles.
Children of Error, Tynemouth Castle, Wilhelmina, and Drelincourt
and Rodalvi, may be considered as very harmless food for the
meet with a novel which contains so much that is good, and so
little that is exceptionable, as Mr. Semple’s Charles Ellis.
The author is a man of no common information, of no common powers
of writing; and the execution of his work is, in all respects,
creditable to his talents and feelings.
the fair author of Santo Sebastiano, continue to make such
rapid progress in this walk of literature, we shall soon learn
to forget the loss of the amiable and unfortunate Charlotte Smith.
Monk of Dissentis is little better than impo- [lxxx/lxxxi]
sition on the public. It is a translation from the vapid and uninteresting
German romance of Rudolph of Werdenberg, which had already
appeared in English, under its proper title.
Mask of Fashion is a story very feelingly written, interwoven
with a description of some of the public amusements and promenades
at Paris. It contains, however, much frivolity, and some of its
love-scenes are what we could not exactly wish them to be.
easily swell this catalogue of romances and novels to a far greater
extent; but, as we have already noticed every thing of this nature,
that is really deserving of attention, we shall proceed to offer
a few brief remarks upon such works as fall under the comprehensive
denomination of MISCELLANIES.
* Mr. Opie died on the 9th of April,
in the present year, in the 46th year of his age.
Adventures (The) of Victor Allan. By Mrs. Fortnum, Author of Waldorf,
&c. 2 vols. 12mo. p. 348. 7s. Hodgson, 1806.
Mrs. F. has made herself
known to the public by six or seven different novels; and we have
nothing to which we wish to object in the one before us. We do
not think that its plot or stile will add to that portion of credit
which the author has acquired by her previous labours. (p. 495)
Alphonisine; or, Maternal Affection. A Novel. By
Madame Genlis. 4 vols. 1l.2s. 1806.
Of all the works which
Madame de Genlis has favoured the public, none is more calculated
to gratify the friends of literature than this interesting effusion
of her genius. The education of Alphonsine in a cave, the solitary
partner of her mother’s woe, unknown to any other being than her
parent, ignorant of the nature of light, and fancying that her
habitation is a whole world, presents a fruitful harvest of new
ideas, and Madame de Genlis has proved a careful reaper. The translation
is well performed. (p. 495)
Anglo-Saxons (The); or, The Court of Elthelwulph.
A Romance. By L. Armstrong, Esq. 4vols. 12mo. 18s. 1806.
This is an historical
novel, a kind more interesting and edifying than any other. The
author is an elegant writer, and by this work of fancy has shewn
himself capable of greater performances. Romance writing is certainly
below his talents. (p. 495)
Adelaide; or, The Chateau de St. Pierre. A Tale
of the Sixteenth Century. By Mrs. Edgeworth. 4 vols. 12mo. p.
920. 18s. Hughes. 1806.
Novels of this kind,
like Adelaide, have always been successful amongst our fair countrywomen,
who prefer an ancient story, as more consistent with their
ideas of romance. Adelaide contains many touching incidents, and
the style is correct throughout, and often elegant. (p. 497)
A Winter in London; or, Sketches of Fashion. A Novel.
By T. Surr, Esq. 3 vols. 12mo. p.1012. 13s. 6d. Phillips. 1806.
The very extraordinary
success of this novel is a sufficient criterion of its merits.
When our last volume was published, it had just made its appearance,
and we mentioned it with strong commendatory terms, in our introduction.
It has since gone through eight editions. We consider it
to be the severest satyre [sic] that has ever appeared
on the detested manners of the fashionable world. (p. 497)
There are two different entries for Winter in London in
this volume of Flowers. For second notice, see below.]
Cottager’s (The) Daughter, A Tale of the Nineteenth
Century. 2 vols. 12mo. p. 254. 6s. Scholey. 1805.
The principal plot
of this novel is the seduction of a young female of respectable
parents by a fashionable miscreant. Its tendency is very far from
being of a moral kind, and we therefore cannot accord it any praise
whatever. (p. 498)
Charles Ellis; or, The Friends. A Novel. Comprising
the Incidents and Observations occurring on a Voyage to the Brazils
and West Indies, actually performed by the Writer, Robert Semple,
Author of “Walks and Sketches at the cape of Good Hope.” 2 vols.
12mo. p. 506. 9s. Baldwins. 1806.
Mr. Semple states
himself to be a young merchant, as an apology for attempting to
write a novel: but the way in which he has executed his task,
proves that he was much better employed in writing than he would
have been while passing his evenings like Young Wilding, in the
Citizen. His book contains much that is good, and little that
is exceptionable. (p. 499)
Convict (The); or, Navy Lieutenant. A Novel. By
Mrs. Parsons, Author of “The Miser and his Family,” &c. 4
vols. 12mo. 18s. p.1145. Norbury. 1807.
Mrs. Parsons has,
as usual, been very fortunate in her choice of a subject that
must excite sympathy in every feeling breast. The interest is
kept up throughout; and the style is so simple, pleasant, and
correct, that we consider this to be the best among the very great
number which this amiable author has produced. (p. 500)
Edward and Anna; or, A Picture of Human Life. A
Novel. By John Bristed, of the Honourable Society of the Inner
Temple, Author of “The System of the Quakers examined.” 2 vols.
12mo. p, 443. 7s. Crosby and Co. 1806.
This member of an
honourable society informs us, as an excuse for his writing
a novel, that he was mad at the time.—We wish many other
writers would profess the same candour, as their reviewers would
then have sufficient reason to shew them lenity! It appears that
Mr. B. afterwards came to his senses, and was so delighted
with what he had penned , while “a fever’s fire ran along all
his veins,” that he determined on giving it to the public
(i.e. for seven shillings a copy). It contains a few good passages,
amongst a farrago of the vilest nonsense that was ever put together,
and which could never have happened to the author or any other
person in this world. (p. 501)
Feudal Tenants; or, The Counts of Carslshiem [sic]
and Sorgans. A Romance, taken from the German. By M.G. Lewis,
Esq. 4 vols. p. 1416. 18s. Second Edition. Hughes. 1807.
The story of this
novel is founded on the time of William Tell, and, by a judicious
combination of history with fiction, [501/502] much interest is
excited. We have some doubts whether this romance be an alteration
from the German; on the contrary, it contains so much of Mr. Lewis’s
peculiar manner, that we suppose it to be an original composition.
At all events, he has considerably increased his reputation by
producing it, notwithstanding the fame he has already acquired.
Ferdinand Fitzormond; or, The Fool of Nature. By
Mrs. Temple. 5 vols. 12mo. p.1657. 1l. 1s. Phillips. 1806.
Mrs. Temple deservedly
acquired considerable fame by her poems, of which we took ample
notice in our last volume; but we cannot say that she has been
equally successful in her novel. The plot has little to boast
of, and the division of the work into letters makes it even more
insipid than it otherwise would be. Perhaps, however, we are under
some mistake with regard to the fair author. Her preface is here
signed F. Temple: the poems appeared under the name of
Laura Sophia Temple. At all events, the poetry in this novel may
be considered as the best parts of it, for the language of the
prose is reduntant [sic], extravagant, and unnatural. (p.
Forest (The) of St. Bernardo. A Novel. By Miss Hamilton.
4 vols. 16s. p. 864. Hughes. 1806.
An interesting and
well written tale, the story of which keeps the feelings alive
throughout, while the language gives the fair author a claim to
no ordinary rank in the paths of the belles lettres. (p.
Film-Flams! or, The Life and Errors of my Uncle
and his Friends, with Illustrations and Obscurities. By Messieurs
Tage [sic], Rag and Bobtail. 3 vols. 12mo. p. 784. 18s.
This new edition of
one of the most amusing and singular satyres of the present age,
contains many Improvements upon that which appeared a short time
before. The spirit of ridicule with which the author exposes the
strange fantasies of modern philosophers, is in many parts equal
to that of Juvenal; and it is impossible to peruse any of the
chapters of this curious and eccentric work without deriving an
unusual degree of pleasure and entertainment. (p. 502)
Human Beings. A Novel. By Francis Lathom, Author
of “Men and Manners,” &c. 3 vols. 12mo. p. 903. 12s. Crosby
and Co. 1807.
Mr Lathom, who has
given the world many interesting literary productions, has here
proved that neither his invention nor his genius is exhausted.
The characters are all natural, the story is affecting, and the
stile simple and easy. (p. 503)
Mask (The) of Fashion. A plain Tale; with Anecdotes
foreign and domestic. 2 vols. p. 482. Hughes. 1807.
This novel, which
is dedicated to the Duchess of St. Alban’s, is the effort of a
very superior writer to those who fill the shelves of circulating
libraries; but indeed we may say almost as much of all those novel
writers we have introduced in the present volume. We should have
been better pleased with the Mask of Fashion had the language
been less inflated than it is in many parts; for, to quote a few
words from the author’s preface, “the outline is admirable, but
the colouring too high.” Some very affecting incidents are introduced
in this novel, particularly the story which begins at p. 110;
and we hope such a one as that which begins at p. 171 is merely
a picture of the imagination. (p. 505)
Maid (The), Wife and Widow. A Tale. By H. Siddons,
Esq. Author of “Virtuous Poverty.” 3 vols. 12mo. p. 796. Phillips.
Mr. Siddons urges,
as a plea for writing another novel, the success of his last,
called “Virtuous Poverty.” We, however, prefer the one before
us, which has many pretensions of a superior nature. It seems
a tale founded on facts which have occurred under the author’s
observation; but, at any rate, it is an interesting and well-told
story, in which we think we can discover many allusions to family
incidents! (p. 506)
Monk (The) of Udolpho. A Romance. By T. J. H. Curties,
Esq. Author of the Sable Mask, &c. 4 vols. 12mo. p. 973. Hughes.
This romance is well
calculated to please those who delight in horrors. The Monk as
usual is a most diabolical character, and meets with his deserts.
The terrors of banditti and the inquisition are each of them introduced,
and will not fail to harrow up the feelings of susceptible females.
Mysterious (The) Sisters. A Spanish Romance, 2 vols.
12mo. p. 441. Hughes. 1806.
The Spaniards, though
their literature has been so long on the decline, still excel
in the invention of plot, and its elucidation. The author of the
Mysterious Sisters, it appears, is Don Francisco Sancho Assensio,
his romance is well written, contains many pleasing situations,
and has been very respectably translated. (p. 507)
Novice (The) of Saint Dominick. By Miss Owenson,
Author of St. Clair, 4 vols. 12mo. p. 1465. Phillips. 1806.
This is a romance
of a very superior description. The story is uncommonly interesting
and well kept up, the language is nervous, elegant, and in many
parts beautiful;―in short, it is a work which no person
of taste can peruse without high gratification. (p. 508)
Olivia and Marcella; or, The Strangers. A Novel.
2d edition. By Mrs. Norris. 3 vols. p. 1046. 10s. 6d. Crosby and
There is a considerable
degree of interest kept up throughout these volumes; and the author
writes in so correct and pleasant a style, that she is entitled
to no ordinary rank amongst female novellists. (p. 509)
Secrets of the Castle; or, The Adventures of Charles
D. Almaine. By D. Carey, Author of the Pleasures of Nature, &c.
2 vols. 12mo. p. 227. 7s. Crosby & Co. 1806.
Mr. Carey, although
he does not make so distinguished a figure in his novel, as he
has done in his poems, has nevertheless proved himself capable
of writing a very interesting romance, of unexceptionable moral
tendency; yet bordering upon the extravagant! but this is perhaps
in consequence of his wish to please the still prevalent taste
for horrors, and supernatural agency. (p. 512)
Sophia St. Clare. A Novel, 2 vols. 12mo. p. 404.
9s. Johnson. 1806.
This novel is represented
as “the production of a young lady, a noviciate in Literature,”
but we have no doubt she will soon rank in the line to which she
aspires. Sophia contains much interesting matter, blended with
many attempts at the Radcliffian imagery, and a few grammatical
errors, which future practice will abolish. (p. 513)
St. Botolph’s Priory; or the Sable Mask, an historic
Romance. By T. J. H. Curties, Esq. Author of Ethelivena, &c.
5 vols. P. 1582. Hughes. 1l. 4s. 1806.
Mr. Curteis [sic]
having gained much celebrity by his former romances, has now become
one of the most indefatigable of our literati in that department
of writing. He deserves no small [513/514] credit from his ability
to keep up an extraordinary degree of interest throughout five
ponderous volumes, and at the same time to preserve a sufficient
degree of consistency in his plot. These objects he has attained
in the novel before us. (pp. 513–14)
Vensenshon; or Lover’s Mazes. A Novel. By Mrs. H.
Butler, 3 vols. 12mo. p. 704. Printed for the Author.
A very interesting
novel, written in uncommonly good language, though sometimes a
little inflated. (p. 516)
Village (The) of Fridewalde; or, The Enthusiast.
A Novel, translated from the German of Lafontane [sic].
By J. Powell. 3 vols. 12mo. p. 593. 9s. Hughes. 1806.
of novel writing is well known to the English reader; and the
Village of Friedewalde, by its simplicity and moral tendency will
not deteriorate the fame its author has already acquired. There
is much factitious anecdote in these volumes, which gives a good
view of human nature. The intent of the novel is to check the
imbibition of early enthusiasm. (p. 517)
Winter (A) in London; or, Sketches of Fashion. A
Novel. By T. S. Surr, Esq. 12mo. p. 812. Phillips. 1806.
This is one of the
best satirical novels which have appeared in the present century.
Many well-known characters are introduced with a degree of spirit
and humour, which can scarcely be excelled. We wish we could add
that the contents of this novel were founded on fiction. (p. 518)
There are two different entries for Winter in London in
this volume of Flowers. For other notice, see above.]
Wolf; (The) or, The Tribunal of Blood. A Romance,
from the German of Weber, Author of the Sorcerer, &c. By J.
Powell, Esq. Translator of the Village of Friedewaide, &c.
2 vol. p. 366. Hughes. 1806.
We cannot perceive
what this novel possesses to recemmend [sic] it. It is
a miserable German catchpenny, most wretchedly translated, and
many of the pages contain the enormous number of thirty
words each, as at page 13, Vol. I. (p. 518)
Wild (The) Irish Girl. A National Tale. By Miss
Owenson, Author of St. Clair, &c. 3 vol. 12mo. p. 190. Phillips.
The Wild Irish Girl
is in many respects inferior to the “Novice of St. Dominick,”
by the same fair author; but it contains many just and striking
traits of the Irish character, conveyed under an interesting tale
of former times. The Sketch we fear will give no credit to the
author for her remarks concerning Ossian! (p. 518)
LITERATURE FOR 1807
From ‘Introduction: Novellists’, pp. lii–lvii.
In this department
of literature we have had, as usual, a most abundant harvest,
and we may justly say, that the crop is altogether more favourable
than that of many a preceding season. We have [lii/liii] always
been of opinion, that none but an author of talents can
write a good novel; and however affected cynics, of the modern
stamp, may pretend to despise such productions, we will
contend, as we always have contended, that well-written novels
and romances, do more to improve the taste, and correct the aberrations
of heart, than all the other species of writings in congregation!
If such impassioned females as Rosa Matilda, and such immoral
and delicately-obscene scribblers as Messrs Monk-Lewis
and Anacreon-Moore, have disgraced the English press by
their prosaic and poetical masses of corruption,
issued as they are year after year, shall it be said that they
have affixed a stigma to all works of fancy? The genius
of elegant literature forbids the prevelance [sic] of such
an opinion; and while our country can produce such novels as Lathom’s
Fatal Vow, no reader, whether male or female, need be ashamed
to place it in their library. Those novels in which history
is judiciously blended with fiction, are of all others
best calculated to please the mind of sensibility; and if in the
one just mentioned, we have any thing to object to, it is, that
the quantity of historical matter is too great, and also too highly
coloured to accord with facts. Nothing, however, can be more interesting
than many of the scenes in this work, though it only consists
of two volumes. The manner in which Christabel discovers her mother,
is a masterpiece of delineation, and when we consider the great
versatility of this author’s genius, we shall readily look over
such anachronisms as the production of pistols, before
the period at which they were invented!
de Stael, a veteran in this kind of literature, has produced another
novel, called Corinna. She fixes the scene in Italy; and
her principal aim seems to be to describe the remains of art in
Rome, by the introduction of fictitious characters as visitors.
The most prominent of theses cha- [liii/liv] racters, are a Scotch
nobleman and an Italian heroine; but as the story is evidently
subordinate to the object of describing the antiquities, it is
needless to expatiate upon it. We need merely say, that this novel
displays a correct knowledge of human nature, and that it is not
so exceptionable on the score of morality, as the former productions
of the same author.
most voluminous novel of the last year, and by no means
the least interesting, is The Soldier’s Family, by an anonymous
author, but who we can venture to assert, is a female. The scenes
which fill its four closely-printed volumes, are chiefly of a
low domestic nature, and are described with much affecting simplicity.
favourite writer (with those who do not reflect),
Kotzebue has produced another two works, one entitled Novellettes,
and the other Anecdotes. A third translation has also appeared,
entitled his Romances; but the fact is, that the Novellettes
and the Romances are merely two different translations of the
same original, and as some preference must be given, the translation
of the Novellettes is by far the best. The Anecdotes are evidently
compiled, by this most ingenious writer; but they are interspersed
with such striking observations of his own, that they altogether
have the appearance of originality.—Although, however, we are
not ashamed to confess that we are admirers of that sweet-soothing
sensibility so prevalent in the writings of Kotzebue, we
shall never be found to palliate his insidious immorality, which
is but too frequently evident. To deny that this author is a man
of genius—that he touches the passions with a masterly hand—that
he is a deep reader of the heart, would be a folly and a want
of candour. But, that the story of the Pastor’s Daughter, exhibits
so foul a picture of depravity and lust, as none but a most corrupt
imagination could work upon, and afterwards publish to the world,
is an equal truth. It reminds one of [liv/lv] those beings
whom we sometimes see on the public roads; who, in order to excite
attention, expose their putrid sores and horrid deformities to
the revolting sight of the passengers.
author plainly manifests his hatred of religion, and, consequently,
of God, (for there is no difference,) but, let it be observed,
that a heart influenced by religion, could never have been acted
upon as Charlotte’s was.
has drawn her in her first career, as a highly finished moralist;
and morality, he seems to think a most stable foundation
for temporal and eternal happiness; yet, vanity, the pigmy
vice vanity, has overthrown his beautiful superstructure,
and laid it in ruins. Morality, then he must confess,
is an unstable foundation.
first grand effect of religion, is to humble the creature in the
sight of the CREATOR:—it holds up the glory of God, and the glittering
pride of man fades before it, as the taper is extinguished by
the sun. Vanity, therefore, is destroyed, and Morality
on its firmest basis, stands secure from its most insidious and
the misery of Charlotte and Fernaw, and of all such as may resemble
them, arises from their ignorance of the glory of God, which leads
them to seek a glory in men, whereby they become unstable—contemptible—ignominious—they
have no God but the world, and when that deceives
them—when they find their prospects vanished and their pleasures
blasted, they remain a prey to despair, or take refuge in suicide.—Ye
lovers of Kotzebue, this is truth—if you deny it, you are
as ignorant of God, and as corrupt in heart as he is.
or Memoirs of a German Princess, is an extremely interesting
work. Its incidents are few, but well conceived and finished.
gradual developement [sic] of the heroine’s love, is managed
with peculiar delicacy. It, however, greatly partakes of that
general fault of novels, an [lv/lvi] idolizing and sentimental
language, towards the female, which so intoxicates and corrupts
the minds of the sex.—The heroine also sending her history, (which
is a most important secret to her,) by letters to her friend,
renders the story highly improbable:—with a thinking reader
it quite destroys the effect.
of Former Times, by A. St. John, are properly romantic, and
with scarcely one exception, are truly interesting.—In a moral
view we see nothing exceptionable in them, from beginning to end.
Melville’s Benevolent Monk, is a novel of considerable
merit. It is very interesting, and the plot ingeniously managed.
Some of the incidents, however, are extremely improbable and extravagant,
nor does the author seem, at all, to understand what dramatists
call character, as he makes the same person, at one time,
speak in a low and vulgar dialect, and, at another, with refinement
and eloquence. The language is in general smooth and easy, but
too redundant, and frequently ungramatical [sic]: the author
not seeming to understand the different tenses of the verbs.
Sorrows of Gustavus is a work containing much beauty of
language and richness of thought, but very uninstructive in its
plan, and imperfect in its moral, if indeed, it possess any. Its
barrenness of incident, and sameness of sentiment, also, render
it very uninteresting; as far, however, as language, and the generality
of its sentiment goes, this novel is superior to most of its contemporaries.
The character, however, of its hero, is by no means entitled to
that sympathy which the author doubtless hopes to excite for him
in the breast of the reader. He falls in love with the wife of
his guardian—a man of a noble and generous nature—instead of taking
the most effective method of checking his criminal and ungrateful
passion, by flying from the presence of its object, he still lives
under the same roof with her, and nurses it till, like a love-forsaken
girl—he sickens from its [lvi/lvii] influence—sickens—and
dies!—His conduct certainly must excite a far different sentiment
in a generous and manly breast, than that of pity.
Pilkington’s Ellen Heiress of the Castle is of a cast with
her other attempts at novel writing.—There is much pleasing matter,
blended with many improbable situations and events drawn in without
necessity or connexion. A smooth and conversation-like
language pervades all Mrs. P’s works, but we cannot pass over
without expressing our strong disapprobation of it, a sort of
semi-blasphemy, or the introduction of profane oaths,
as at p. 192, of volume I.
de Genlis’s indefatigable pen has produced another historical
romance, entitled The Duke of Lauzun. It is a very ably-drawn
picture of the profligacy of the French court, and is superabundant
in incidents of French intrigue. The author has certainly mistaken
the character of a great man; for the Duke of Lauzun has
nothing great about him. As to the work, considered altogether,
we can scarcely persuade ourselves that it ever came from the
pen of so accomplished and moral an author as Genlis. It
is the most indecent mass of profligacy and corruption which the
year has given rise to, and although there are a few good reflections
interspersed amongst the depravity, they are not worth the seeking
for. The translation of this wretched novel is, however, executed
in a very masterly manner.
Infidel Mother, Julian, or my Father’s House, and The
Fatal Revenge, by D. J. Murphy, all display considerable talent.
The one last mentioned, in particular, is of all others which
the year has furnished, most replete with incidents of a horrific
and mysterious nature, introduced in a grand and poetical,
though frequently pompous mode of expression—the usual attempt
of a vivid fancy—and (as Mr. M. describes himself) a very young
From an article on ‘Mrs. Opie’, pp. 11–13.
We do not remember that any of her productions were published
in the name of Alderson. In the year 1801, she gave to the world
The Father and Daughter, consisting of a [11/12] single
volume. This first production possesses considerable interest,
and is justly admired for the artless simplicity of its language
Encouraged by the
reception of her former effusions, Mrs. Opie, in the early part
of the year 1805, produced a tale in three volumes, entitled Adeline
Mowbray; or the Mother and Daughter.
The laudable object
of this work was to check the progress of the New Philosophy
which pervaded the world, and to shake the virtue of many individuals.
The heroine of the piece is nurtured in the baneful system, and
by reducing the vain theories to practice, proves at once, their
evil and their fallacy. She falls a sacrifice to her delusive
principles, and expiates, by a repentant death, a life of error.
In this admirable
work, Mrs. Opie has evinced powers worthy of the sentiments which
excited and adorned her labour. It is worthy the perusal of every
class of a civilized nation, and is an excellent present for a
parent to his child. The work was well receive, and soon passed
through its first [e]dition. […]
LITERATURE FOR 1808 AND
From ‘Introduction: Novellists’, pp. lxvi–lxxiii.
The catalogue of Novels and
Romances which has come under our inspection, is equally as extensive
as it has been at any former period of our labours, and contains
an equal variety of books of the three denominations, good,
bad, and indifferent. In fact, the term “Novel”
has of late years become so prostituted to the uses of the Circulating
Libraries, that it is not easy to take up a series of volumes
of the kind in question, without a strong degree of prejudice.
Confining ourselves, however, chiefly to such as we may denominate
the good portion, we have much pleasure in recommending
to our readers Mr. Cumberland’s novel, under the title of John
De Lancaster. When such a name as that of Cumberland is attached
to a work, the mind anticipates no common feast: we, therefore,
prepared for a banquet, and found, that the veteran had not forgotten
the skill to gratify the mental taste, and yet we did not rise
with that satisfaction which we expected. John De Lancaster is
a work that amply declares the touches of a master, and will be
found to afford interest and gratification both to those who read
for mere amusement, and those who seek to exercise their judgment.
We humbly think, however, that the character of Robert De Lancaster
(evidently the favourite of the author), is not a consistent one.—He
is at one time represented as a man of deep erudition, of a comprehensive
mind and of clear intellectual faculties; at another, as the mere
creature of credulity, one who implicitly believes in all the
legends of the obscurest history, and the most ex- [lxvi/lxvii]
travagant and ridiculous stories upon record; for instance, that
of the Lady who was punished by having three hundred and sixty-five
children at a birth; such extremes as these we apprehend cannot
meet in the same individual. The incidents are few, and though
not particularly striking, are managed with the happiest skill;
in short we presume, that no one will judge the performance to
be unworthy the pen of its author.
As a Novellist,
Miss Owenson holds the same rank as does Miss Temple amongst the
poets. We have done ample justice to her romance of the Novice
of St. Dominic; and certainly none of the numerous readers of
novels, of whatever age or sex, will take up a work bearing the
name of Owenson with apathy or indifference; neither will
they, if to be amused be their sole object, be diappointed
[sic] in the present work; it will prove to them a rich
repast, but we fear, they will retire from it with minds surcharged
with food more palatable than nutritious; such as will rather
generate fevers then [sic] promote health. Much beauty
of expression and strength of colouring is displayed in “Ida of
Athens;” it may perhaps refine the taste, but it will neither
tend to render youth amiable or age respectable. “Ida of Athens
can never be your wife! exclaims the heroine. Oh! from souls like
her’s [sic], for ever distant be that cold and languid
tie; that tie which nature never imposed; which cold erroneous
feeling invented, which interest or ambition may adopt for narrow,
selfish views, but to which the nature Ida worships, the love
she breathes, and feels, can never submit.” We had hoped that
such sentiments as the above were buried in eternal night, and
that they would no more have been obtruded on revolting sense;
but Miss Owenson awakens them from their dark abodes, and again
ushers them into the presence of day—Are they her own sentiments?
If so, alas! she had better read than write; she
will nevertheless, find many partizans, many admirers;
the votaries of morbid sentiment, will [lxvii/lxviii] revive
at her voice, and hail her as their tutelary saint. After such
sentiments as the above, every lesser defect is forgotten; we
shall, therefore, pass over Miss Owenson’s improvement
of the English language, and her extension of its vocabulary;
for we would rather have our youth speak incorrectly and affectedly,
than think erroneously and act viciously.
A Novel called
Ned Bentley, from the pen of Mr. Amphlet, is exceeded in interest
by none of a similar nature, and in its general merit, in our
opinion, ranks among the first of modern novels. It lays an irresistible
hold of the affections, nor does the mind revolt at their captivity;
many of the incidents are wrought with the greatest ingenuity
and dramatic skill, while the sentiments and reflections with
which it abounds, do equal credit to the head and to the heart.
It indeed proclaims throughout, the touches of a master of no
common skill, and evinces a mind fraught with matured thinking:
it has, however, its faults; at times we trace a pedantic vein
which we could wish corrected, and an insignificancy of quotation
unworthy of genius.—There is too a great improbability in the
naval adventure of the hero; the crew of a man of war would never
have made a passenger their commanding officer, while the
boatswain, gunner, or carpenter were living—The absence of the
father too, who left his dead wife and two infant children for
three days, is not properly accounted for; we were also disappointed
in the author’s falling into that common plot, namely, of making
his hero, who is introduced as a beggar boy, the son of
a gentleman; as if virtue were limited to birth.
novel entitled “The Husband and the Lover,” is altogether
an interesting production. The author appears to be one of the
sentimentalists, abounding with sighs and notes of admiration,
where, when the heroine weeps, we are poetically told, that “the
tear of pity crystallizes her soft eye!” and “the
[lxviii/lxix] dew drops of sensibility gems her
glowing cheek;” with many other “soul subduing strains.”
There is, however, evinced a considerable portion of taste, accompanied
by no mean talent of description, but these merits are eclipsed
by too elaborate a colouring. The account of the tournament, &c.
at the court of Louis XIV. is ingeniously managed, but it is calculated
to infuse into the mind of the youthful reader a love of pleasure,
to which the author’s morality, we fear, will prove but
a powerless antidote.
The novel entitled
“Corinna of England,” by a Lady, is a most ingenious and
successful satire against the votaries of what is erroneously
called sentiment, and of the new school of philosophy.
Corinna is a strong caricature, but is sketched with a
masterly hand, and her eccentricities will excite alternate laughter
and surprise. The visit to the horse barracks, the equivoque
between the heroine and Walwyn, and the embarrassing scene before
the Montgomery family are excellently managed; and while the author
so strikingly evinces her power of ridicule, she no less proves
her skill in striking the chord of sympathy; the characters of
Mary Cuthbert and of Montgomery, being delineated with the greatest
delicacy, Good sense and ability pervade throughout.
the Manor,” is a novel which contains many beauties, and not
a few errors of judgment.—To those who do not regard what
is probable, but who will suffer any tale of woe, however
extravagant, to captivate their feelings, this work will doubtless
afford amusement. The characters are extremely distorted and unnatural,
particularly those of the mule driver, Eloisa Penruddock, and
Miss Fortescue; neither do we consider many of the incidents to
be within the limits of probability. Moreover, the sentiments
of the author are, in our opinion, very offensive and injurious:
of this, the reader shall judge from the following samples. “His
mind’s (lxix/lxx) eye saw not in perspective, the rapacious
tradesman and the low born mechanic, who bestow credit
and civility for a time only to transfix the dart of insolence
and mistrust the deeper.” This is spoken of persons held
up as examples of liberality, and of whom it is afterwards
said, “it really had not struck the thoughts of either, that accumulated
debts far beyond their power to pay, had caused the tongues of
the tradesmen to speak in plain terms.” Again of the same
amiable persons it is, in another place said, “they laughed
at Eloisa’s sallies; but they regarded her with partiality,
and often owned against their better judgment, that she
was in the right.” The author is not aware, perhaps, that
while she thus speaks, she exhibits to the reader a volume more
than she intended, namely, her own heart, which we recommend
to a sound revisal.
History of the Court of England, is an ingenious satire, which,
while it professes to give the private history of the court of
Edward IV. in reality presents us with that of the present. It
may be called a mathematical book; for it treats wholly
of parallels. There is considerable ingenuity displayed,
but unless the reader is intimately acquainted with the memoirs
of the great world, he will frequently stumble in his judgment
and err in his applications; the real events of both ages being
so mingled. We confess, that our ignorance of many events of several
preceding years, disqualifies us from forming a competent opinion
of the work, as its merit must rest chiefly upon the truth
of the various incidents and comparisons.
of Ralph Reybridge,” we find is the first literary effort
of Mr. Linley, a specimen which fully justifies our expectations
of his future performances. In the plan he seems to have had Fielding
and Smollet continually in his mind, and his imitations of those
celebrated authors are far from mean. He well knows how to interest
the feel- [lxx/lxxi] ings and to excite the risible powers, many
of his incidents being well conceived and ably managed, and there
is also running through the piece a vein of genuine humour, the
effects of which are irresistible. There is, however, a great
want of care manifested, many of the observations being trite
and tedious, and the language in several places, incorrect and
slovenly. The speech of Baron Leybrook is an instance of the former,
of the latter are the following: “Sifting to the bottom
of her heart” “Halting” of a stage coach; “brushing
by” of an East Indiaman; “Comrades” of joe, who were
sailors. The author also frequently forgets himself, as an instance
of which he calls Joe Grapling “old joe,” whereas he cannot be
supposed to exceed the age of forty, he having saved the life
of Ralph when he was an infant, when he (Grapling) was
quite a youth, running from his parents to go to sea, and Ralph
being but eighteen years old when Grapling is introduced as quite
an old sailor. Mr. Reybridge’s concealment of the secret
respecting Ralph is highly improbable, because, unnecessary, and
the development of the villainy of Valpine becomes exceedingly
tedious: in short the work would have been considerably improved
by the contentment of one volume.
of Belleville, a tale by Jane Harvey, merits some consideration.
To begin with this work, we must say that there are two volumes
too much of it; for all the incidents might very well have been
related in half the number of pages. There is some ingenuity in
the design, but it is sadly wrought up, the author being lamentably
deficient in the knowledge of character. The Count St. Afrique,
for instance, who is announced as a very accomplished Nobleman,
in his manners, more resembles a French cook than a French Count;
those, however, of the two sisters are prettily conceived, very
well contrasted, [lxxi/lxxii] and, particularly through the first
volume, well supported. The author has a strange method of using
the preposition to. Thus she says, “if fate permit me to
again, &c.—he promised to afterwards intercede,
&c.—would not prevent him to openly solicit, &c.”
She also uses the word abstracted so frequently, that it
seems as if she had just learned the word, which thus dwells upon
her mind like a new tune. We shall conclude with the following
sample of the sublime and beautiful, humbly advising the
author, however, before she again ventures to soar, to
get a lesson on geography. “The high arched concave
of the horizon, clear, refined, and exalted, disclosed
the broad disk of the full-orbed moon, which shed a boundless
immensity of radiance over the now still objects of creation.”
[sic] Tales of Fashionable Life is a work of uncommon
merit. To those who can be pleased with sterling sense, unaided
by the glare of romantic bombast, the productions of this lady
will never cease to charm. Excellent woman! in whom is united
the accomplishment of an instructress with the tenderness of a
matron! whose greatest object seems to be the improvment [sic]
of her readers, and the happiness of society.
work is worthy of her name, and we express ourselves particularly
gratified by her delightful little tale of Madame de Fleury, every
sentence of which evinces a mind enlightened by wisdom, and a
heart in love with goodness. Her little school is a little heaven,
whose deity is Innocence. All its parts are within the
limits of probability; and while they are irresistibly in eresting
[sic], they branch from each other in an order the most
natural. We could wish it were read by every parent, and by every
one who has the superintendence of children: they would find it
a beautiful system of practical education, and be led to consider
the importance of early impressions. [lxxii/lxxiii]
Brewer, author of a highly interesting volume, called Hours
of Leisure, to which we have some time since paid a just tribute
of applause, has published a novel called The Hag! It is
peculiarly adapted for the amusement of those readers who are
fond of extravagancies; and though it is beneath the talents
of such a writer as Mr. Brewer, yet it will hold a respectable
rank amongst works of fancy.
Knights, or Tales illustrative of the Marvellous, seems
to have been written at a time when the author was inclined to
shew the eccentricity of his mind, and the versatility of his
talents. Spectres, ghosts, goblins, witches, devils and dragons,
are here brought forward in regular masquerade, to confound the
judgment and bewilder the senses. Nevertheless, individual scenes
are often well managed; but the succession of wild objects is
so rapid, that the imagination becomes bewildered. There is much
talent displayed in the connection of the incidents contained
in these tales.
Mr. M. G. Lewis,
of Monk celebrity, has published four volumes of Romantic
Tales, which, while they contain a variety of scenes worked
up with striking effect, are free from that licentiousness which
characterized the more recent works of this eccentric author.
These are the
principal works of the romantic kind which we have to enumerate.
To specify the almost innumerable catalogue which the last eighteen
months have given birth to, would be an endless task; we shall
therefore conclude our present long-protracted labours by noticing
two or three of the most prominent publications which come under
the head of
Index of Novels Discussed in
‘Flowers of Literature’, 1801–09
For full bibliographic details for the novels, see
The English Novel, vol. 2. Each novel listed below is given
with its corresponding entry number in The English Novel.
- Adelaide; or, the Chateau de St. Pierre. A Tale of the
Sixteenth Century. 1806:28
- Adeline Mowbray; or the Mother and Daughter. 1805:57
- Adolphe and Blanche; or, Travellers in Switzerland.
- The Adventures of Ralph Reybridge. 1809: 43
- The Adventures of Victor Allan. 1805:30
- Algerine Captive. 1802:59
- Alphonisine; or, Maternal Affection. 1806:31
- Amelia Mansfield. 1803:23
- The Anglo-Saxons; or, the Court of Elthelwulph. 1806:17
- Astonishment!!! 1802:36
- Aubrey: a Novel. 1804:16
- Augustus and Mary; or, the Maid of Buttermere. 1803:51
- The Author and the Two Comedians; or, the Adopted Child.
- Baron De Falkenheim. 1807: 25
- Belinda. 1801:24
- The Benevolent Monk; or, the Castle of Olalla. 1807:
- The Bravo of Bohemia; or, the Black Forest. 1806: 1
- The Bravo of Venice. A Romance. 1805:75
- Can We Doubt it? or, the Genuine History of Two Families
of Norwich. 1804:44
- Castle Nuovier; or, Henrii and Adelina. 1806: 45
- The Castle of Berry Pomeroy. 1806: 48
- Castle of the Tuileries. 1803:62
- The Castle of Tynemouth. 1806: 35 [as ‘Tynemouth
- Charles Ellis; or, the Friends. 1806:60
- The Children of Error. 1806: 2
- Christina; or, Memoirs of a German Princess. 1808:
- Constantia De Courcy. 1806: 3
- Constantia Neville; or, the West Indian. 1800: 77 [Given
in Flowers as ‘the West Indian’]
- The Convict; or, Navy Lieutenant. 1807: 50
- The Corinna of England. 1809: 4
- Corinna, or Italy. 1807: 63
- The Cottager’s Daughter, A Tale of the Nineteenth Century.1806:4
- Crimes and Characters; or, the New Foundling. 1805:60
- Dellingborough Castle; or, the Mysterious Recluse.
- Delphine. 1803:67
- The Depraved Husband. 1803:31
- Donald. A Novel. 1806: 6
- Drelincourt and Rodalvi; or, Memoirs of Two Noble Families.
- Duchess of La Valliere. A Historical Romance. 1804:18
- The Duellists; or, Men of Honour. 1805:51
- The Duke of Lauzun; an Historical Romance. 1808: 45
- Edward and Anna; or, a Picture of Human Life. 1806:19
- Ellen; Heiress of the Castle. 1807: 51
- Elnathan; or the Ages of Man. 1811:17
- The Eve of San Piedro. 1804:53
- The Eventful Marriage. 1806:59
- Eversfield Abbey. 1806: 7
- Fatal Revenge; or, the Family of Montorio. 1807: 42
- The Fatal Vow; or, St. Michael’s Monastery. 1807: 35
- The Father and Daughter. 1801: 54
- Ferdinand and Amelia. 1806:8
- Ferdinand Fitzormond; or, the Fool of Nature. 1805:68
- Feudal Tyrants; or, the Counts of Carlsheim and Sargans.
1806: 50 [given in one instance as ‘ Feudal Tenants; or,
the Counts of Carslshiem [sic] and Sorgans.]
- Film-Flams! Or, the Life and Errors of my Uncle and his
Friends, with Illustrations and Obscurities. 1805:28
- Fireside Stories; or, the Plain Tales of Aunt Deborah and
her Friends. 1806: 44
- The First Night of My Wedding. 1804:61
- Fleetwood; or, the New Man of Feeling. 1805:33
- The Forest of St. Bernardo. 1806:34
- Frederick Montravers; or, the Adopted Son. 1803:77
- Gondez, the Monk. A Romance of the Thirteenth Century.
- The Governor of Belleville. 1808: 53
- Heliodora; or, the Grecian Minstrel. [This title is
not listed in the English Novel. For further bibliographical
details, see ‘ “The English Novel, 1800–1829: Update 1’
[CEIR Project Report 6 <http://www.cf.ac.uk/encap/ corvey/articles/database/update1.html>]
- Henrietta Bellmann: or, the New Family Picture. 1804:
- The History of a Dog. Written by Himself, and Published
by a Gentleman of his Acquaintance. 1804:62
- The History of the Grubthorpe Family; or, the Old Bachelor
and his Sister Penelope. 1802:32
- Home, a Novel. 1802:21
- Human Beings. A Novel. 1807:36
- The Husband and the Lover. 1809: 56
- The Infidel Father. 1802:60
- The Infidel Mother: Or, Three Winters in London. 1807:
- The Invisible Enemy; or, the Mines of Wielitska. 1806:
- Isabel; or the Orphan of Valdarno. 1802:37
- John De Lancaster. 1809: 20
- Julien; Or, my Father’s House. 1807: 22
- Julietta, or the Triumph of Mental Acquirements over Personal
- The Knights: Tales Illustrative of the Marvellous.
- Le Forester. 1802:16
- Leonora. 1806: 29
- Letters of a Solitary Wanderer. 1800:69
- Lobenstein Village. 1804: 34
- Love and Gratitude; or, Traits of the Human Heart.
- The Maid, Wife and Widow. A Tale. 1806:62
- Man of Fortitude. 1801:28
- The Mask of Fashion. 1807:59
- Memoirs of Bryan Perdue. 1805: 37
- Memoirs of Modern Philosophers. 1800: 39
- Modern Literature. 1804:13
- Monckton; or, the Fate of Eleanor. 1802:56
- The Monk of Dissentis. 1807: 34
- The Monk of Udolpho. 1807:16
- The Morlands; or Tales, Illustrative of the Simple and
- Murray House. A Plain Unvarnished Tale. 1804:54
- The Mysterious Sisters. A Spanish Romance. 1806:13
- The Mysterious Visit! 1802:53
- My Uncle Thomas. 1801:56
- Ned Bentley. 1808: 21
- The Novice of Saint Dominick. 1806:53
- Old Nick, a Satyrical Story. 1801:22
- Olivia and Marcella; or, the Strangers. 1806:51
- The Pastor’s Daughter, with Other Romances. 1807: 32
- Percival, or Nature Vindicated, a Novel. 1801:20
- Popular Tales. 1804:17
- Pride of Ancestry; or, Who Is She? 1804:67
- The Private History of the Court of England. 1808:
- Reprobate; a Novel. 1802:35
- Romantic Tales. 1808: 72
- Russian Tales. 1803:38
- Santo Sebastiano: Or, the Young Protector. 1806: 24
- Scenes of Life. A Novel. 1805:34
- School for Fashion. 1800:74
- Second Love; or, the Way to Be Happy. 1805:56
- Secrets of the Castle; or, the Adventures of Charles D.
- Simple Tales. 1806: 52
- The Soldier’s Family; or, Guardian Genii. 1807: 49
- Sophia St. Clare. A Novel. 1806:27
- The Sorrows of Gustavus, or the History of a Young Swede.
- The Spaniard; or, the Pride of Birth. 1806: 58
- St. Botolph’s Priory; or the Sable Mask, an Historic Romance.
- St. Clair; or, the Heiress of Desmond. 1803:55
- St. Julian. In a Series of Letters. 1805:64
- The Stranger; or, the New Man of Feeling. 1806: 15
- Strolling Player; or, Life and Adventures of William Templeton.
- The Swiss Emigrants: A Tale. 1804: 52
- Tales of Fashionable Life. 1809: 22
- Tales of Former Times. 1808: 94
- Tales of the Manor. 1809: 28
- Thaddeus of Warsaw. 1803:59
- The Three Monks. 1803:32
- Unexpected Legacy; a Novel. 1804:26
- Vensenshon; or Lover’s Mazes. 1806:20
- Very Strange, but Very True! or, the History of an Old
Man’s Young Wife. 1803:43
- Village Anecdotes; or, the Journal of a Year, from Sophia
to Edward. 1804:40
- The Village of Fridewalde; or, the Enthusiast. 1806:40
- Virtuous Poverty; a Novel. 1804:64
- The War-Office. 1803:33
- The Wild Irish Girl. A National Tale. 1806:54
- A Winter in Bath. 1807: 7
- A Winter at Bath; or, Love as It May Be, and Friendship
as It Ought to Be. 1807: 9
- A Winter in London; or, Sketches of Fashion. 1806:64
- The Witch of Ravensworth. 1808: 29 [title given as
- The Wolf; or, the Tribunal of Blood. 1806:67
- Woman: Or, Ida of Athens. 1809: 55 [as ‘Ida of Athens’]
- Zofloya; or, the Moor. 1806: 25
7 January, 2002
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