The eighteenth century began, and Sidney's romance was not yet forgotten; his book was still alive, if one may say so, when the novel assumed its definite shape, style and compass with Defoe, Richardson and Fielding. Addison notices its presence in the fair Leonora's library, among "the some few which the lady had bought for her own use."[229] It continued then to be fashionable, and a subject of conversation. No wonder, therefore, that between the date of "Robinson Crusoe" and the date of "Pamela" two more editions of the "Arcadia" were given to the public. One of them contained engravings after drawings by L. Cheron.[230] The other was "moderniz'd" and was published by subscription under the patronage of the Princess of Wales.[231] Sidney's novel continued to act on men's minds, and many proofs of its influence on eighteenth-century literature might be pointed out. That Sidney was Richardson's first teacher in the art of the novel is well known; that Cowper read the "Arcadia" with delight is well known too, and he confers no mean praise on our author when he speaks of "those golden times And those arcadian scenes that Maro sings And Sidney, warbler of poetic prose."[232] Examples of Sidney's style are also to be found in several authors of that time. Consciously or not, Young sometimes adopts all the peculiarities of Sidney; for example, when he writes: "Sweet harmonist! and beautiful as sweet! And young as beautiful! and soft as young! And gay as soft! and innocent as gay! And happy (if aught happy here) as good! For fortune fond had built her nest on high."[233] Sidney's popularity did not, of course, last so long without encountering some opposition. For Milton, and no wonder, the "Arcadia" was nothing but "a vain amatorious poem," though he is fair enough to add that it is "in that kind, full of worth and wit."[234] Horace Walpole was very hard upon our novelist: "We have a tedious, lamentable, pedantic pastoral romance," says he, in his "Royal and Noble Authors," "which the patience of a young virgin in love cannot now wade through."[235] It is sad to think that the once famous "Castle of Otranto," though twenty times shorter, requires now no smaller dose of patience. [Illustration: "See the fond youth! he burns, he loves, he dies, He wishes as he pines and feeds his famish'd eyes."]