world, sometimes, it is true, marked with the names of real places, but no more truly realistic than the setting of "Arcadia" or "Parthenissa." Nor are the figures that people the eighteenth century paradise of romance more definitely pictured than the landscape. They are generally unindividualized, lay figures swayed by the passions of the moment, or at best mere "humour" characters representing love's epitome, extravagant jealousy, or eternal constancy. Pope could make a portrait specific by the vigorous use of epigrams, but Mrs. Haywood's comments on her heroes and heroines are but feeble. The description of Lasselia, for instance, contains no trait that is particular, no characteristic definitely individual. The girl is simply the type of all that is conventionally charming in her sex, "splendidly null, dead perfection." "But if the grave Part of the World were charm'd with her Wit and Discretion, the Young and Gay were infinitely more so with her Beauty; which tho' it was not of that dazzling kind which strikes the Eye at first looking on it with Desire and Wonder, yet it was such as seldom fail'd of captivating Hearts most averse to Love. Her features were perfectly regular, her Eyes had an uncommon Vivacity in them, mix'd with a Sweetness, which spoke the Temper of her Soul; her Mien was gracefully easy, and her Shape the most exquisite that could be; in fine, her Charms encreas'd by being often seen, every View discover'd something new to be admir'd; and tho' they were of that sort which more properly may be said to persuade than to command Adoration, yet they persuaded it in such a manner, that no Mortal was able to resist their Force." (p. 2.) Mrs. Haywood's heroes are merely the masculine counterparts of her women. Bellcour, the type of many more, "had as much Learning as was necessary to a Gentleman who depended not on that alone to raise his Fortune: He had also admirable Skill in Fencing, and became a Horse as well as any Man in the World."[11] Victor over a thousand hearts, the Haywoodian male ranges through his glittering sphere, ever ready to fall in or out of love as the occasion demands. D'Elmont of "Love in Excess" possesses a soul large enough to contain both love and fury at almost the same moment. A "brulée" with his spouse merely increases his tenderness for his ward.