[3] B. W., "Introduction," _Pamela's Conduct in High Life_ (London: Ward and Chandler, 1741), I, xii-xiii; Alan Dugald McKillop, _Samuel Richardson: Printer and Novelist_ (Chapel Hill: Univ. of North Carolina Press, 1936), p. 78; _The Richardson-Stinstra Correspondence and Stinstra's Prefaces to Clarissa_, ed. William C. Slattery (Carbondale: Southern Illinois Univ. Press, 1969), pp. xxiii-xxiv. [4] Collier, _A Short View of the Immorality, and Profaneness of the English Stage_ (London: S. Keble, R. Sare, and H. Hindmarsh, 1698), chap. I; _A Vindication of the Stage, with the Usefulness and Advantages of Dramatick Representations_ (London: Joseph Wild, 1698), p. 6; _Pamela's Conduct_, I, xiii. [5] _The Progress of Romance and the History of Charoba, Queen of AEgypt_ (1785; rpt. New York: Facsimile Text Society, 1930), II, 78. [6] _A Comparative View of the State and Faculties of Man with Those of the Animal World_ (London: J. Dodsley, 1765), pp. 138-39. [7] As twentieth-century readers, we are probably more familiar with--and more sympathetic to--the side that supported the ethical superiority of novels over romances. Much of Catherine Moreland's education in Jane Austen's _Northanger Abbey_ (1818), for instance, involves her gradual realization of the inferiority of romances. Her errors continue as long as she expects to lead a life like that of Emily in Ann Radcliffe's _Mysteries of Udolpho_ (1794). Crucial to Catherine's education is her discovery "that human nature, at least in the midland counties of England," is not "to be looked for" in romances (chap. xxv). Romances can be dangerous since they often provide faulty models of moral action for readers who are likely to confuse romantic adventures with the roles they must assume in real life. This attack on romances in _Northanger Abbey_, moreover, is neither new nor unique, Catherine Moreland being but the literary descendant of such eighteenth-century "female quixotes" as Polly Peachum, Lydia Languish, Polly Honeycomb, and Lydia Melford. [8] Eaves and Kimpel, _Samuel Richardson_, p. 129. [9] For a more thorough discussion of Richardson's revisions, see T. C. Duncan Eaves and Ben D. Kimpel, "Richardson's Revisions of _Pamela_," _Studies in Bibliography_, 20 (1967), 61-88. [10] Richardson's letter to William Warburton, 14 April 1748, cited in Eaves and Kimpel, _Samuel Richardson_, p. 118. [11] "Defoe, Richardson, Joyce, and the Concept of Form in the Novel," in _Autobiography, Biography, and the Novel_ (Los Angeles: William Andrews Clark Memorial Library, 1973), p. 36. BIBLIOGRAPHICAL NOTE The facsimile of _Pamela Censured_ (1741) is reproduced by permission from the copy (Shelf Mark: *EC7/R3961/T741p) in the Houghton Library, Harvard University. The total type-page (p. 7) measures 166 x 83 mm. PAMELA CENSURED: IN A LETTER TO THE EDITOR: SHEWING