Clarissa: Preface, Hints of Prefaces, and Postscript Part 4

To enforce this Moral, it was necessary to Paint out all the Distresses of the Sufferer; and to make her suffer to the End: In doing which, the Author, I dare say, has given several Pangs to his own Heart, as well as to the Hearts of his Readers. But these should be looked upon like the Incisions made by a kind Surgeon; who feels himself for every Stroke that he gives; and who gives them only out of Humanity, and to save his Patients.

Indeed, as the Patients here are the Ladies, the Suffering must be the greater; to the Author, as well as to them: But had they not better suffer, from these generous Tendernesses of their own Hearts, than from the Villainies of such Enemies, as they are here warned to avoid? Their Tears look beautifully, when they are shed for a Clarissa; but they would be a killing Sight to one, were they to be shed for themselves, upon falling into Distresses like hers.

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I do not wonder, that in reading this Story, many of them should wish, that it might have ended less unfortunately. It is agreeable to the Tenderness and Goodness of their Hearts. The Author, no doubt, wished so too: But that could not be brought about, without taking away the Moral, or, at least, very much weakening the Force of it. The Business of this Work is to shew the Distresses of an almost innocent Sufferer, and the Villainies of a debauched Man, who wanted chiefly to pride himself in the Conquest of her. It/ /is all but one Story, with one Design; and the making the Lady fortunate in the End, would have varied the Fact, and undermined his Design. In a Picture that represents any melancholy Story, a good Painter will make the Sky all dark and cloudy; and cast a Gloom on every thing in it: If the Subject be gay, he gives a Brightness to all his Sky; and an Enlivening to all the Objects: But he will never confound these Characters; and give you a Picture that shall be sad in one half of it, and gay in the other. In this Work the Design is as much one, and the Colouring as much one, as they can be in a Picture; and to confuse either, would be the most ready way to spoil both.

Clarissa takes but one false Step in the whole Piece. She is impelled toward it, in general, by the strange Behaviour of her Family; and betrayed into it, at the time, by the strange Contrivances of her Deceiver. But this single Step was of the utmost Consequence. It flings her into the Power of the most dangerous of Men; and that makes all the Remainder of her Life melancholy and distressed. This is the Lesson: And if it be a good one, the Force of it ought not to be weakened by her Recovering from all her Distresses, and growing quite happy again; which indeed would not only weaken, but intirely take away, all the Force that was intended to be given to it.

Yet if Clarissa be unfortunate, she is not miserable. She preserved her Innocence thro' all her Trials, after that one false Step: When she had no Comfort to expect in this World, she turns her Hopes and Confidence toward Heaven: Her Afflictions are soon ended, for the Course of this whole Affair (taking it from the very Beginning) is included within the Bounds of one Year: And she departs with Pleasure from a Life full of Trouble, to be rewarded without End. So that, tho' we are warned by Clarissa's Example, we have no Reason to be concerned at her Dissolution: Much more n.o.ble, and more to be admired, in her Steadiness, and just Conduct, then, than when she was caressed by all her Relations, in the Bloom of her unviolated Innocence, and busied in all the little endearing Offices of her good Nature, and good Sense. / /

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All the Objections to the Design and Conduct of the History of =Clarissa=, which have seemed to carry any Weight in them, being, we presume, obviated in the PS. to this Work, we apprehend it will be only expected from us, on this Second Publication, that we exhibit some Particulars, which may help to shew the superiority of its Moral to any of the Morals of those Works of Invention, which have been offered to the Public under the Name of =Novel=, or =Romance=.

Now what a Romance usually professes to entertain us with, may be considered under Three General Heads; _Ridicule_; or, _Serious Adventures_; or, lastly, a _Mixture of both_.

It must be owned, that there are some Works under the First of these Heads, which have their Excellencies; Tho' we may be permitted to doubt, whether _Ridicule_ is a proper Basis (without the Help of more solid b.u.t.tresses) whereon to build Instruction, whatever Delight it may administer to the Reader.

As to those Authors who have given us the _Serious_; some of them make use of a Style as horrid as their Matter: We may be excused mentioning their Names, in this Place, since, without Self-flattery, we may say, we disdain to appear on the same Page with them. We shall only observe in general, that they are far from being clear of the strained Metaphors, and unnatural Rants, of the old Romances, whose enormous Volumes would be enough to terrify a Reader who sought only for Amus.e.m.e.nt, and not for Employment of his better to be employed Hours.

Between these two Extremes that something useful to the Cause of Religion and Virtue should be struck out, was the Author of Clarissa's Intent. Such an Intent has Two manifest Advantages over all other Works which of Invention ~that~ have yet appeared.

The First of these is, That, by the Work now presented to our Fair Readers, they may be instructed to render themselves superior to that _extravagant_ Taste in Courts.h.i.+p, which was the prevailing Mode in Two or Three preceding Centuries; and from which the present, we are sorry to say, is not absolutely free.

The Second, That, by containing their Views _within the Bounds_ of Nature and Reason, they may be sweetly, but insensibly, drawn to preserve a proper Dignity of Behaviour, whereby to awe the Presumption of the Bold and Forward: So that, while we behold them as Angels of Light, they would be pleased not to give too convincing Evidence of their _Fall_ from that to a lower Character; a detestable one too, which will in a short time sink them as much in the Esteem of their flattering Admirers, as those very Deceivers had before persuaded them, that they were elevated above the common Lot of Mortality.

The Choice the Author has made, in this and a former Performance, of delivering the Sentiments of his Characters in their own Words, by way of Letters, has also Two princ.i.p.al Advantages, which we beg leave to specify. / /

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In the First place, By this means every one is enabled to judge at first Sight, whether the respective Persons represented express themselves in a Style suitable to their Characters, or not, and may thus become a rational Critic on the Merit of the Piece.

Secondly, Those Characters sink deeper into the Mind of the Reader, and stamp there a perfect Idea of the very Turn of Thought, by which the Originals were actuated, and diversified from each other. This must greatly add to the Pleasure of reading, when a Gentleman or Lady can readily say, upon hearing a single Paragraph, "This is the accomplished =Clarissa=; This the spirited and friendly Miss =Howe=; This the supercilious Pedant =Brand=; This the humane and reclaiming =Belford=; This the daring, learned, witty, and thence dangerous Libertine =Lovelace=:"

And so of the rest.

We need not insist on the evident Superiority of this Method to the dry Narrative; where the _Novelist_ moves on, his own dull Pace, to the End of his Chapter and Book, interweaving impertinent Digressions, for fear the Reader's Patience should be exhausted by his tedious Dwelling on one Subject, in the same Style: Which may not unfitly be compared to the dead Tolling of a single Bell, in Opposition to the wonderful Variety of Sounds, which const.i.tute the Harmony of a Handel.

As the major Part of such Works as these might be _omitted_, to the greater Emolument of the Reader, if not of the Writer; so we have the Pleasure to acquaint the Public, that the contrary is true of the Work before us: For the Author has in this Edition _restored_ several Pa.s.sages, which, for Brevity, were omitted in the former. Such are the Instructions in Vol. III. p. ... given by Mr. Lovelace to his Four Friends on their first Visit to his _G.o.ddess_, as he justly calls her, comparing her with the wretches he had so long been accustomed to: Which instructions are highly humorous and characteristical, and by being laid open may suggest proper Cautions to all who are likely to be engaged in justly suspected Company. Several other Inlargements and Alterations there are, which tend further to ill.u.s.trate his Design, and to make it more generally useful. And as these will be presented to the Public without any additional Price, it is hoped they will come recommended on that score also, as well as for their evident Importance, when attentively perused; which it is presumed the whole Work should be, as containing Doc.u.ments of Religion and Morality, which will probably lie hid to a careless or superficial Examiner: And this we speak of those Parts princ.i.p.ally, which have least _Entertainment_, in the vulgar sense of the word.

An Objection remains to be answered; which is so minute, that it is therefore condemned to this last and lowest Place. / /

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"Clarissa is too delicate."--The Author readily acknowleges [sic], that too delicate she is for the Hearts of such as, by Conformity to the loose Manners of the present Age, have confounded Purity with Prudery.

But, for all this, it may be hoped, that the latter will rather endeavour to raise their Affections to =Clarissa's= virtuous Standard, than by striving to impeach her Character, effectually debase, if not violently tear up, the decisive Standard of Right and Wrong.

The just Detestation that injured Lady had of Lovelace's vile Attempt to corrupt her Mind as well as Person, was surely a sufficient Argument against uniting her untainted Purity (surely we may say so, since the Violation reached not her Soul) in Marriage with so gross a Violator; and must for ever continue in Force, till the eternal Differences of Vice and Virtue shall coalesce, and make one putrid Ma.s.s, a Chaos in the Moral and Intellectual World.

We have a remarkable, and in some Degree a parallel Case in Scripture; where we find, that the Rape of _Dinah_ was revenged, cruelly revenged, by the Sons of Jacob. _Dinah_, like =Clarissa=, had Proposals of Marriage made to her by the Ravisher. But these were not thought sufficient to expunge the Stain upon a Person of that Family, from which was to proceed the =Son= of Him whose eyes are purer than to behold Iniquity.

Therefore a Ma.s.sacre was made of the King Hamor, and his son Shechem; and their People were led into Captivity. The Answer of Simeon and Levi to their Father's Complaint of Cruelty was only this: _Should he deal with_ =our Sister=, _as with an_ =Harlot=?

The only Use we intend to make of this Pa.s.sage is, to shew that it is no new thing, that a Violation of this sort should be desperately resented, as this was by the resolute =Morden=; however _new_ it may be, that a young Lady should disdain the Villain, who had betrayed her Person, and soon after laid her Hopes, and the Hopes of all her flouris.h.i.+ng Family, in the Dust of the Grave.

POSTSCRIPT.

_Referred to in the Preface._

IN WHICH

Several Objections that have been made, as well to the Catastrophe as to different Parts of the preceding History, are briefly considered.

The foregoing Work having been published at three different periods of time, the Author, in the course of its publication, was favoured with many anonymous Letters, in which the Writers differently expressed their wishes with regard to the apprehended catastrophe.

Most of those directed to him by the gentler s.e.x, turned in favour of what they called a _Fortunate Ending_. Some of the fair writers, enamoured, as they declared, with the character of the Heroine, were warmly solicitous to have her made happy:"And others, likewise of their mind, _insisted that Poetical Justice_ required that it should be so.

And when, says one ingenious Lady, whose undoubted motive was good-nature and humanity, it must be concluded, that it is in an author's power to make his piece end as he pleases, why should he not give pleasure rather than pain to the Reader whom he has interested in favour of his princ.i.p.al characters?

"Others, and some Gentlemen, declared against Tragedies in general, and in favour of Comedies, almost in the words of Lovelace, who was supported in his taste by all the women at Mrs. Sinclair's, and by Sinclair herself. 'I have too much _Feeling_, said he[36]. There is enough in the world to make our hearts sad, without carrying grief into our diversions, and making the distresses of others our own.'

"And how was this happy ending to be brought about? Why by this very easy and trite expedient; to wit, by reforming Lovelace, and marrying him to Clarissa--Not, however, abating her one of her tryals, nor any of her sufferings [for the sake of the _sport_ her distresses would give to the _tender-hearted_ reader as she went along] the last outrage excepted: That indeed, partly in compliment to Lovelace himself, and partly for delicacy-sake, they were willing to spare her.

"But whatever were the fate of his work, the Author was resolved to take a different method. He always thought, that _sudden Conversions_, such especially, as were left to the candour of the Reader to _suppose_ and _make out_, had neither _Art_, nor _Nature_, nor even _Probability_, in them; and that they were moreover of very _bad_ example. To have a Lovelace for a series of years glory in his wickedness, and think that he had nothing to do, but as an act of grace and favour to hold out his hand to receive that of the best of women, whenever he pleased, and to have it thought, that Marriage would be a sufficient amends for all his enormities to others, as well as to her; he could not bear that. Nor is Reformation, as he has shewn in another piece, to be secured by a fine face; by a pa.s.sion that has sense for its object; nor by the goodness of a Wife's heart, or even example, if the heart of the Husband be not graciously touched by the Divine Finger.

"It will be seen by this time, that the Author had a great end in view.

He has lived to see Scepticism and Infidelity openly avowed, and even endeavoured to be propagated from the _Press_: The great doctrines of the Gospel brought into question: Those of self-denial and mortification blotted out of the catalogue of christian virtues: And a taste even to wantonness for out-door pleasure and luxury, to the general exclusion of domestic as well as public virtue, industriously promoted among all ranks and degrees of people.

"In this general depravity, when even the Pulpit has lost great part of its weight, and the Clergy are considered as a body of _interested_ men, the Author thought he should be able to answer it to his own heart, be the success what it would, if he threw in his mite towards introducing a Reformation so much wanted: And he imagined, that if in an age given up to diversion and entertainment, he could _steal in_, as may be said, and investigate the great doctrines of Christianity under the fas.h.i.+onable guise of an amus.e.m.e.nt; he should be most likely to serve his purpose; remembring that of the Poet:

"_A verse may find him who a sermon flies, "And turn delight into a sacrifice._

"He was resolved therefore to attempt something that never yet had been done. He considered, that the Tragic poets have as seldom made their heroes true objects of pity, as the Comic theirs laudable ones of imitation: And still more rarely have made them in their deaths look forward to a _future Hope_. And thus, when they die, they seem totally to perish. Death, in such instances, must appear terrible. It must be considered as the greatest evil. But why is Death set in shocking lights, when it is the universal lot?

"He has indeed thought fit to paint the death of the wicked as terrible as he could paint it. But he has endeavoured to draw that of the good in such an amiable manner, that the very Balaams of the world should not forbear to wish that their latter end might be like that of the Heroine.

"And after all, what is the _poetical justice_ so much contended for by some, as the generality of writers have managed it," but another sort of dispensation than that with which G.o.d, by Revelation, teaches us, He has thought fit to exercise mankind; whom placing here only in a state of probation, he hath so intermingled good and evil, as to necessitate us to look forward for a more equal dispensation of both.

The author of the History (or rather Dramatic Narrative) of Clarissa, is therefore well justified by the _Christian System_, in deferring to extricate suffering Virtue to the time in which it will meet with the _Completion_ of its Reward.

But not absolutely to shelter the conduct observed in it under the sanction of Religion [an authority perhaps not of the greatest weight with some of our modern critics] it must be observed, that the author is justified in its Catastrophe by the greatest master of reason, and the best judge of composition, that ever lived. The learned Reader knows we must mean ARISTOTLE; whose sentiments in this matter we shall beg leave to deliver in the words of a very amiable writer of our own Country.

'The English writers of Tragedy, _says Mr. Addison_[37], are possessed with a notion, that when they represent a virtuous or innocent person in distress, they ought not to leave him till they have delivered him out of his troubles, or made him triumph over his enemies.

'This _error_ they have been led into by a _ridiculous_ doctrine in _Modern Criticism_, that they are obliged to an _equal distribution_ of _rewards_ and _punishments_, and an impartial execution of _poetical justice_.