ed losses in the collapse of the South Sea scheme, Savage
remained henceforth her implacable enemy. Perhaps her abuse of the
divine Clio, the suspected instigator of his attacks upon her, may have
been an unforgivable offense.

No need to particularize further. We need not vex the shade of Addison
by repeating what Eliza records of his wild kinsman, Eustace Budgell
(Bellario). No other person of literary note save Aaron Hill, favorably
mentioned as Lauranus, appears in all the dreary two volumes. The vogue
of the book was not due to its merits as fiction, which are slight, but
to the spiciness of personal allusions. That such reading was
appreciated even in the highest circles is shown by young Lady Mary
Pierrepont's defence of Mrs. Manley's "New Atalantis."[18] In the
history of the novel, however, the _roman a clef_ deserves perhaps more
recognition than has hitherto been accorded it. Specific delineation was
necessary to make effective the satire, and though the presence of the
"key" made broad caricature possible, since each picture was labeled,
yet the writers of scandal novels usually drew their portraits with an
amount of detail foreign to the method of the romancers.[19] While the
tale of passion developed the novelist's power to make the emotions seem
convincing, the _chronique scandaleuse_ emphasized the necessity of
accurate observation of real men and women. But satire and libel, though
necessitating detailed description, did not, like burlesque or parody,
lead to the creation of character. In that respect the "Memoirs of a
Certain Island" and all its tribe are notably deficient.

A less comprehensive survey of current tittle-tattle, perhaps modeled on
Mrs. Manley's "Court Intrigues" (1711), stole forth anonymously on 16
October, 1724, under the caption, "Bath-Intrigues: in four Letters to a
Friend in London," a title which sufficiently indicates the nature of
the work. Like the "Memoirs of a Certain Island" these letters consist
of mere jottings of scandal. Most probably both productions were from
the same pen, though "Bath-Intrigues" has been attributed to Mrs.
Manley.[20] Opposite the title-page Roberts, the publisher, advertised
"The Masqueraders," "The Fatal Secret," and "The Surprise" as by the
same author. One of Mrs. Haywood's favorite quotations, used by her
later as a motto for the third volume of "The Female Spectator," stands
with naive appropriateness on the title-page:

"There is a Lust in