The pamphleteer has more to say about Charlotte than about Harriet, Sir Charles, or Clementina, the characters with whom later criticism has been chiefly concerned. Charlotte’s “whimsical” or “arch” way evidently got on his nerves. He catches up a phrase which Harriet applies to her, “dear flighty creature,” and derisively repeats it several times. Contemporary readers paid her considerable attention. The _Candid Examination_ names among the fine things in the book “a Profusion of Wit and Fancy in Lady G--’s Conversation and Letters,” and thinks that Harriet at times treats her levity too severely (pp. 6, 14-16). The author of _Louisa: Or, Virtue in Distress_ (1760) remarks that Lady G-- is one of the most imitated of Richardson’s characters--“I have observed that most of our modern novels abound with a lady G--” (p. x). There were objections even among Richardson’s admirers, however, as by Mrs. Delany: “Miss Grandison is sometimes diverting, has wit and humour, but considering her heart is meant to be a good one, she too often behaves as if it were stark naught” (_Autobiography and Correspondence_, London, 1861, 1 Ser., III, 251). The evidence seems to show that early readers of _Grandison_ did not isolate the principal characters, except perhaps Clementina, but considered them with due reference to the secondary characters and to the whole social context in which they appear. Finally, this critic is irritated by the conversational and epistolary style which Richardson evolves in the process of “writing to the moment”; he is particularly vexed at the coined or adapted words which are sometimes italicized and dwelt on as characteristic of an individual. He cites only a few, such as Uncle Selby’s _scrupulosities_, but he has others in mind, both from _Grandison_ and from Lovelace’s letters in _Clarissa_, and wonders whether such words as these will get into the dictionary. (It happened that Johnson was entering words from _Clarissa_ in his _Dictionary_ during these years.) He burlesques an epistle from Charlotte, slipping in a few of Lovelace’s locutions as well (pp. 47-48; cf. _Grandison_, 1754, VI, 288). The author of the _Candid Examination_ distinguishes between what he considers the low mawkish talk of some of Richardson’s characters, which he condemns (pp. 11-12), and Richardson’s freedom in coining words, which he approves (p. 36). These slight instances may serve to remind us that many of Richardson’s early readers must have been keenly aware of his innovations in style, and that these developments form an important link in the 1750’s between Richardson and the further innovations of Sterne. The present reproduction is made by permission from a copy in the University of Michigan Library. _Alan Dugald McKillop_ _The Rice Institute_ CRITICAL REMARKS ON _Sir CHARLES GRANDISON, CLARISSA and PAMELA._ ENQUIRING, Whether they have a Tendency to corrupt or improve the Public Taste and Morals. IN A