The implications of this important difference between Mr. B and the Marquis of L---- V---- should be clear to us even if they were not to the author of _Pamela Censured_. As Ralph Rader indicates in a recent essay dealing with, among other things, the narrative form of _Pamela_: "Richardson's chief problem in the novel is the need his form imposes to make Mr. B. both a villain and a hero. B. must threaten Pamela and threaten her increasingly, else our sense of her danger and the merit which develops from her response to danger will not increase, as the form requires, along lines that make her ultimate reward possible; but the more directly and villainously he does threaten her, the less acceptable he will appear as an ultimate and satisfactory reward for her, something that the form requires also."[11] Jenny's reward, her marriage to the Marquis of L---- V----, raises no serious moral questions since the Marquis remains virtuous throughout the story. Moreover, while Jenny carefully protects her chastity, she does not in any sense seem motivated by mercenary desires since the preservation of her chastity does not necessarily lead to her marriage with the Marquis. Pamela's reward, on the other hand, is marriage to a vicious though presumably reformed rake. The preservation of her chastity, furthermore, seems motivated by mercenary goals. Finding herself in a situation where she either looses her chastity and becomes Mr. B's whore or preserves her chastity and becomes his wife, Pamela clearly chooses the more profitable alternative. The artistic success of _Clarissa_ undoubtedly reflects in part the lesson Richardson learned from such moral attacks as _Pamela Censured_ and _Shamela_. While "warm scenes" remain in his second novel--as indeed they must in any realistic portrayal of male-female relations--Richardson continually tempers these scenes with clear indications of Lovelace's vicious nature and careful forebodings of Clarissa's tragic fate. Moreover, unlike Pamela, whose reward is marriage to her would-be rapist, Clarissa escapes from her seducer, achieving a morally unambiguous reward, her heroic death. University of California Los Angeles NOTES TO THE INTRODUCTION [1] Aaron Hill to Samuel Richardson, 17 December 1740, printed in "Introduction to this Second Edition," _Pamela; or, Virtue Rewarded_, ed. T. C. Duncan Eaves and Ben D. Kimpel (Boston: Houghton Mifflin Co., 1971), p. 9; Knightley Chetwood to Ralph Courteville, 27 January 1741, cited in _Pamela_, ed. Eaves and Kimpel, p. vi; _Gentleman's Magazine_, 11 (1741), 56. [2] For dates of publication, see T. C. Duncan Eaves and Ben D. Kimpel, _Samuel Richardson: A Biography_ (Oxford: Clarendon Press, 1971), pp. 127, 129; concerning Fielding's composition of _Shamela_, see Charles B. Woods, "Fielding and the Authorship of _Shamela_," _PQ_, 25 (1946), 248-72.