We find this a strange and even a ridiculous spectacle, the men who had prided themselves on their common sense and reasonableness, whose literature had sparkled with wit and epigram, blubbering and crying like great children; but whatever we think of it, that is what happened. The first artist of the new type was a Frenchman, Marivaux, and his _Vie de Marianne_ is a study of a young woman who is the embodiment of sensibility and self-consciousness, an amiable and virtuous girl, who is hardly able to enjoy the good that life brings her, for fear lest she should miss the opportunity of renunciation. The first great novel of sentiment is also French, the Abbe Prevost's _Manon Lescaut_, and here indeed we are in the deep waters of affliction; there are but few moments between the beginning and the end of his sad story when the hero is not in tears. And yet it is a great novel, for there are few studies of human nature, as absorbed and almost lost in emotion, which are more moving. These novels, however, which appeared between 1730 and 1740, are overshadowed by the works of the great Englishmen, by Richardson and Sterne and Goldsmith, for these are not artists of England alone, but of all Europe, known and loved and imitated in every country in Europe. The sorrows of _Clarissa_, the pathetic or maudlin humour of Sterne, the idyllic grace and gentle laughter of Goldsmith, these, as they moved every heart, influenced even the greatest of European artists. The influence of _Clarissa_ on Rousseau, of Goldsmith on Goethe and Jean Paul Richter need no exposition.