continued he frowning,
since you are pleased to assert your Privilege, be assur'd, I too
shall take my turn, and will exert the--Husband! In saying this, he
flung out of the Room in spite of her Endeavours to hinder him, and
going hastily through a Gallery which had a large Window that look'd
into the Garden, he perceiv'd Melliora lying on a green Bank, in a
melancholy but a charming Posture, directly opposite to the place
where he was; her Beauties appear'd, if possible more to advantage
than ever he had seen them, or at least he had more opportunity thus
unseen by her, to gaze upon them: he in a moment lost all the Rage of
Temper he had been in, and his whole Soul was taken up with
Softness.... Ambition, Envy, Hate, Fear, or Anger, every other Passion
that finds entrance in the Soul, Art and Discretion may disguise; but
Love, tho' it may be feign'd, can never be conceal'd, not only the
Eyes (those true and most perfect Intelligencers of the Heart) but
every Feature, every Faculty betrays it! It fills the whole Air of the
Person possess'd of it; it wanders round the Mouth! plays in the
Voice! trembles in the Accent! and shows itself a thousand different
ways! even Melliora's care to hide it, made it more apparent; and the
transported D'Elmont, not considering where he was, or who might be a
witness of his Rapture, could not forbear catching her in his Arms,
and grasping her with an extasy, which plainly told her what his
thoughts were, tho' at that time he had not power to put 'em into
words; and indeed there is no greater Proof of a vast and elegant
Passion, than the being uncapable of expressing it." (p. 79.)

Oddly enough the early experimenters in fiction never perceived that to
seem real a passion must be felt by a real person. They attempted again
and again to heighten the picture of envy, fear, ambition, rage, or love
by all manner of extraordinary circumstances, but they rarely succeeded
in attaching the emotion to a lifelike character. It was indeed passion,
but passion painted on the void, impalpable. Consequently they almost
never succeeded in maintaining complete verisimilitude, nor was their
character drawing any less shadowy than in the sentimental romances of
Sidney and Lodge. Compare, for example, the first expression of
Rosalynde's love with the internal debate of Mrs. Haywood's
Placentia.[12] Both are cast in soliloquy form, and except that the
eighteent