Theagenes and Chariclia_ (1717), wish to hear of "Flame and Spirit in an Author, of fine Harangues, just Characters, moving Scenes, delicacy of Contrivance, surprising turns of action ... indeed the choicest Beauties of a _Romance_." The two novels that d'Argens recommended had different fortunes in England. D'Argens's book, _Memoires du Marquis de Mirmon, ou Le Solitaire Philosophe_ (Amsterdam, 1736) was never translated into English and apparently was not much read. But Claude Prosper Jolyot de Crébillon, the younger, was extolled by Thomas Gray and Horace Walpole, quoted by Sarah Fielding,[9] and had the honor, if one can trust Walpole, of an offer of keeping from Lady Mary Wortley Montagu. His _Égaremens du Coeur et de l'Esprit_ (1736-38) was translated in 1751[10] and is the novel which Yorick helped the _fille de chambre_ slide into her pocket. Crébillon was damned, however, in _The World_ (No. 19, May 10, 1753) in an essay that, oddly enough, reminds one of d'Argens's Letter 35. The work referred to in the third footnote on page 258 is _Le Chevalier des Essars et la Comtesse de Berci_ (1735) by Ignace-Vincent Guillot de La Chassagne. The last footnote on that page refers to G.H. Bougeant's satire, _Voyage Merveilleux du Prince Fan-Férédin dans la Romancie_ (1735). The preface which William Warburton was invited by Richardson to supply for Volumes III and IV of _Clarissa_ when they first appeared in 1748 has never, I think, been reprinted in full. Richardson dropped it from the second edition (1749) of _Clarissa_, probably because he relished neither its implication that he was following French precedents nor its suggestion that his work was one "of mere Amusement." In the "Advertisement" in the first volume of the second edition he insisted that _Clarissa_ was "not to be considered as a _mere Amusement_, as a _light Novel_, or _transitory Romance_; but as a _History_ of LIFE and MANNERS ... intended to inculcate the HIGHEST and _most_ IMPORTANT _Doctrines_."[11] Warburton, offended in turn perhaps, thriftily salvaged more than half of the preface (paragraphs 2 to 6) to use as a footnote in his edition of Alexander Pope,[12] but he there made a striking change: not Richardson but Marivaux and Fielding were praised as the authors who, with the extra enrichment of comic art, had brought the novel of "real LIFE AND MANNERS ... to its perfection."