As in the month of June, the damask rose, which chance hath planted among the lilies, with their candid hues mixes his vermilion; or, as some playful heifer in the pleasant month of May diffuses her odoriferous breath over the flowery meadows; or as, in the blooming month of April, the gentle, constant dove, perched on some fair bough, sits meditating on her mate, so sits Sophia, looking a hundred charms, and breathing as many sweets, her thoughts being fixed on her Tommy (Vol. II, p. 61). A third passage, also satirical, is, “And now the moon began to put forth her silver light, as the poets call it (though she looked at that time more like a piece of copper)” (Vol. II, p. 172). There is one appreciative reference to the attractive scenery of Devon and Dorset. The description of Mr. Allworthy’s estate which owed “less to art than to nature,” is modern in tone and marks the break already made with the formal garden (Vol. I, p. 12). In another passage there is an expression of pleasure in a wide prospect, seen by moonlight, for “the solemn light which the moon casts on all objects is beyond expression beautiful, especially to an imagination which is desirous of cultivating melancholy ideas” (Vol. I, p. 422). The other passages are of no significance. “Peter Wilkins” (Robert Paltock, 1751) is the first and most famous of the successors of “Robinson Crusoe.” The scene of Peter’s trials and successes is laid in Africa and the southern islands. There is but one brief passage in which there is even the slightest indication that the author thought of Nature from any but the utilitarian point of view. “Pompey the Little” (Coventry, 1751) is a romance ostensibly relating with serio-comic minuteness the life and adventures of a lapdog much in the manner of the _novele picaresco_ of Mendozo and Aleman, but really dealing in thinly disguised social satire. It makes no use of Nature, unless we may count poor Mr. Rhymer who looks at the moon and quotes Milton to the extravagant amusement of a group of dandies who observe him. In “Peregrine Pickle” (Smollett, 1751) Peregrine sings one of the conventional songs to Emilia, beginning, Thy charms divinely bright appear And add new splendor to the year. This is the only use of Nature in the book. The eighteen months of travel in France and Holland do not suggest a single phrase about the scenery of those countries. Mrs. Lennox’s “The Female Quixote” (1752) is a record of the absurd and futile attempts of a beautiful maiden unfortunately brought up on “the languishing love romances of the Calprenedos and the Scuderis” to make over the practical world about her according to the laws of love and chivalry. Almost all her adventures occur in the country, but there are only two references to the out-door world. Of the estate of the marquis it is said: “The most laborious endeavours of art had been expended to make it appear like the beautiful product of wild uncultivated nature.”