She had succeeded in life; she was happy, respected, free. Mrs. Inchbald’s plays are so bad that it is difficult to believe that they brought her a fortune. But no doubt it was their faults that made them popular—their sentimentalities, their melodramatic absurdities, their strangely false and high-pitched moral tone. They are written in a jargon which resembles, if it resembles anything, an execrable prose translation from very flat French verse. “Ah, Manuel!” exclaims one of her heroines, “I am now amply punished by the Marquis for all my cruelty to Duke Cordunna—he to whom my father in my infancy betrothed me, and to whom I willingly pledged my faith, hoping to wed; till Romono, the Marquis of Romono, came from the field of glory, and with superior claims of person as of fame, seized on my heart by force, and perforce made me feel I had never loved till then.” Which is the more surprising—that actors could be found to utter such speeches, or that audiences could be collected to applaud them? Perhaps, for us, the most memorable fact about Mrs. Inchbald’s dramatic work is that one of her adaptations (from the German of Kotzebue) was no other than that _Lovers’ Vows_ which, as every one knows, was rehearsed so brilliantly at Ecclesford, the seat of the Right Hon. Lord Ravenshaw, in Cornwall, and which, after all, was _not_ performed at Sir Thomas Bertram’s. But that is an interest _sub specie aeternitatis_; and, from the temporal point of view, Mrs. Inchbald’s plays must be regarded merely as means—means towards her own enfranchisement, and that condition of things which made possible _A Simple Story_. That novel had been sketched as early as 1777; but it was not completely written until 1790, and not published until the following year. A second edition was printed immediately, and several more followed; the present reprint is taken from the fourth, published in 1799—but with the addition of the characteristic preface, which, after the second edition, was dropped. The four small volumes of these early editions, with their large type, their ample spacing, their charming flavour of antiquity, delicacy, and rest—may be met with often enough in secluded corners of secondhand bookshops, or on some neglected shelf in the library of a country house. For their own generation, they represented a distinguished title to fame. Mrs. Inchbald—to use the expression of her biographer—“was ascertained to be one of the greatest ornaments of her sex.” She was painted by Lawrence, she was eulogized by Miss Edgeworth, she was complimented by Madame de Stael herself. She had, indeed, won for herself a position which can hardly be paralleled among the women of the eighteenth century—a position of independence and honour, based upon talent, and upon talent alone. In 1796 she published _Nature and Art_, and ten years later appeared her last work—a series of biographical and critical notices prefixed to a large collection of acting plays.