Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela (1754)
Philosophy
Critical Remarks on Sir Charles Grandison, Clarissa, and Pamela (1754)
Richardson, Samuel, 1689-1761
Ἑκτορα διον αεικεα μηδετο εργα are his words, when he
introduces the narration of that event. No doubt Homer’s
writings have been, and may be abused, and so may the best
and most useful of all human inventions; religion itself has
not escaped, and its abuse has been ever attended with the
most pernicious and destructive consequences. But surely
they are not so liable to be abused as your compositions;
Homer, indeed, describes vicious characters, but all their
viciousness consists in the natural passions being carried
to a blameable excess, he paints no improvement, no
refinement, no elaborate contrivance in villany, this is
what you excell in, above all the authors antient or modern,
I remember to have read. The anger of Achilles was raised by
a most provoking insult which he received from Agamemnon. He
thus expresses himself:
_My maid, my black-ey’d maid he forc’d away,_
_Due to the toils of many a dreadful Day,_
_From me he forc’d her, me, the bold and brave,_
_Disgrac’d, dishonour’d, like the vilest slave._
What could be more natural than a resentment on such an
occasion? And what could be more natural, than for a man of
Achilles’s temper to carry that resentment too far? Both he
and Agamemnon suffer severely for the errors they commit;
and what renders the fable still more beautiful, and the
moral still more instructive, is this consideration, that
their sufferings appear to be the unavoidable and necessary
consequences of their errors; of course, nothing can more
effectually deter others in similar circumstances from being
guilty of the like faults for the future. But the oeconomy
of your plot, and the disposition of your characters, are
entirely different. Lovelace determines on the ruin of
Clarissa, from motives and passions altogether unnatural,
which could subsist no where, but in a heart debauched of
itself, initiated in all the mysteries of villany, and
regularly educated in an academy of wickedness; his motives
and passions are an aversion to marriage, a resentment
against Clarissa’s family, an infamous resolution to wreak
his revenge on the only person in it, who loved him;
a ridiculous doubt of her virtue, and a vain-glorious pride,
in having a reputation for intrigue, and adding an
honourable name to a list, which it seems he kept, of the
credulous fools he had already ruined, and the tricks which
he put in practice, to bring about that diabolical end, are
all uniformly of a piece with the motives and passions which
inspired them; nor is the matter in the least mended by the
catastrophe which ensues; for it is not the necessary and
unavoidable consequence of his committed crimes, you are at
the greatest pains to let us know so much out of his own
mouth: _Who could have thought it_, says he to his friend
Belford, _I have said it a thousand times, surely there
never can be such another woman_; thus, you must be sensible
you have entirely destroyed the moral, and any good effect
Public-domain text, read in full here on John Shaqi.
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