e and careful forebodings of
Clarissa's tragic fate. Moreover, unlike Pamela, whose reward is
marriage to her would-be rapist, Clarissa escapes from her seducer,
achieving a morally unambiguous reward, her heroic death.

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NOTES TO THE INTRODUCTION

[1] Aaron Hill to Samuel Richardson, 17 December 1740, printed in
"Introduction to this Second Edition," _Pamela; or, Virtue Rewarded_,
ed. T. C. Duncan Eaves and Ben D. Kimpel (Boston: Houghton Mifflin Co.,
1971), p. 9; Knightley Chetwood to Ralph Courteville, 27 January 1741,
cited in _Pamela_, ed. Eaves and Kimpel, p. vi; _Gentleman's Magazine_,
11 (1741), 56.

[2] For dates of publication, see T. C. Duncan Eaves and Ben D. Kimpel,
_Samuel Richardson: A Biography_ (Oxford: Clarendon Press, 1971), pp.
127, 129; concerning Fielding's composition of _Shamela_, see Charles B.
Woods, "Fielding and the Authorship of _Shamela_," _PQ_, 25 (1946),
248-72.

[3] B. W., "Introduction," _Pamela's Conduct in High Life_ (London: Ward
and Chandler, 1741), I, xii-xiii; Alan Dugald McKillop, _Samuel
Richardson: Printer and Novelist_ (Chapel Hill: Univ. of North Carolina
Press, 1936), p. 78; _The Richardson-Stinstra Correspondence and
Stinstra's Prefaces to Clarissa_, ed. William C. Slattery (Carbondale:
Southern Illinois Univ. Press, 1969), pp. xxiii-xxiv.

[4] Collier, _A Short View of the Immorality, and Profaneness of the
English Stage_ (London: S. Keble, R. Sare, and H. Hindmarsh, 1698),
chap. I; _A Vindication of the Stage, with the Usefulness and Advantages
of Dramatick Representations_ (London: Joseph Wild, 1698), p. 6;
_Pamela's Conduct_, I, xiii.

[5] _The Progress of Romance and the History of Charoba, Queen of
AEgypt_ (1785; rpt. New York: Facsimile Text Society, 1930), II, 78.

[6] _A Comparative View of the State and Faculties of Man with Those of
the Animal World_ (London: J. Dodsley, 1765), pp. 138-39.

[7] As twentieth-century readers, we are probably more familiar
with--and more sympathetic to--the side that supported the ethical
superiority of novels over romances. Much of Catherine Moreland's
education in Jane Austen's _Northanger Abbey_ (1818), for instance,
involves her gradual realization of the inferiority of romances. Her
errors continue as long as she expects to lead a life like that of Emily
in Ann Radcliffe's _Mysteries of Udolpho_ (1794). Crucial to Catherine's
education is her discovery "that human natur