With PIERRE CARLET DE CHAMBLAIN DE MARIVAUX (1688-1763) the novel ceases to be primarily a study of manners or a romance of adventures; it becomes an analysis of passions to which manners and adventures are subordinate. As a journalist he may be said to have proceeded from Addison; by his novels he prepared the way for Richardson and for Rousseau. His early travesties of Homer and of Fenelon's _Telemaque_ seem to indicate a tendency towards realism, but Marivaux's realism took the form not so much of observation of society in its breadth and variety as of psychological analysis. If he did not know the broad highway of the heart, he traversed many of its secret paths. His was a feminine spirit, delicate, fragile, curious, unconcerned about general ideas; and yet, while untiring in his anatomy of the passions, he was not truly passionate; his heart may be said to have been in his head. In the opening of the eighteenth century there was a revival of preciosity, which Moliere had never really killed, and in the _salon_ of Madame de Lambert, Marivaux may have learned something of his metaphysics of love and something of his subtleties or affectations of style. He anticipates the sensibility of the later part of the century; but sensibility with Marivaux is not profound, and it is relieved by intellectual vivacity. His conception of love has in it not a little of mere gallantry. Like later eighteenth-century writers, he at once exalts "virtue," and indulges his fancy in a licence which does not tend towards good morals or manners. His _Vie de Marianne_ (1731-41), which occupied him during many years, is a picture of social life, and a study, sometimes infinitely subtle, of the emotions of his heroine; her genius for coquetry is finely allied to her maiden pride; the hypocrite, M. de Climal--old angel fallen--is a new variety of the family of Tartufe. _Le Paysan Parvenu_ (1735-36), which tells of the successes of one whom women favour, is on a lower level of art and of morals. Both novels were left unfinished; and while both attract, they also repel, and finally weary the reader.[2] Their influence was considerable in converting the romance of adventures into the romance of emotional incident and analysis. [Footnote 2: The twelfth part of _Marianne_ is by Madam Riccoboni. Only five parts of the _Paysan_ are by Marivaux.]