arles's character. We certainly do
not blame him for the attempt to draw an ideally perfect hero. It is a
perfectly legitimate aim in fiction, and the only question can be
whether he has succeeded: for Richardson's own commendation cannot be
taken as quite sufficient, neither can we quite accept the ingenious
artifice by which all the secondary characters perform as decoy-birds to
attract our admiration. They do their very best to induce us to join in
their hymns of praise. 'Grandison,' says a Roman Catholic bishop, 'were
he one of us, might expect canonisation.' 'How,' exclaims his uncle,
after a conversation with his paragon of a nephew, 'how shall I bear my
own littleness?' A party of reprobates about town have a long dispute
with him, endeavouring to force him into a duel. At the end of it one of
them exclaims admiringly, 'Curse me, if I believe there is such another
man in the world!' 'I never saw a hero till now,' says another. 'I had
rather have Sir C. Grandison for my friend than the greatest prince on
earth,' says a third. 'I had rather,' replies his friend, 'be Sir C.
Grandison for this one past hour than the Great Mogul all my life.' And
the general conclusion is, 'What poor toads are we!' 'This man shows
us,' as a lady declares, 'that goodness and greatness are synonymous
words;' and when his sister marries, she complains that her brother 'has
long made all other men indifferent to her. Such an infinite
difference!' In the evening, according to custom, she dances a minuet
with her bridegroom, but whispers a friend that she would have performed
better had she danced with her brother.

The structure, however, of the story itself is the best illustration of
Sir Charles's admirable qualities. The plot is very simple. He rescues
Miss Byron from an attempt at a forcible abduction. Miss Byron,
according to her friends, is the queen of her sex, and is amongst women
what Sir Charles is amongst men. Of course, they straightway fall in
love. Sir Charles, however, shows symptoms of a singular reserve, which
is at last explained by the fact that he is already half-engaged to a
noble Italian lady, Clementina. He has promised, in fact, to marry her
if certain objections on the score of his country and religion can be
surmounted. The interest lies chiefly in the varying inclinations of the
balance, at one moment favourable to Miss Byron, and at another to the
'saint and angel' Clementina. When Miss Byron thinks that Sir Char