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Art. VII. Derwent Priory; or Memoirs of an Orphan: in a Series of Letters. First published periodically, now republished, with Additions, by the Author of the 'Castle on the Rock.' 2 Vols. 12mo. 7s. sewed. Symonds. 1798.
The learned Martinus Scriblerus, in his directions how to write a book without genius, very strongly recommends amplification. 'It is' (he says) 'the spinning-wheel of the Bathos, which draws out and spreads it in the finest thread. There are amplifiers, who can extend half a dozen thin thoughts over a whole folio, but for which, the tale of many a vast romance, and the substance of many a fair volume, might be reduced into the size of a primer.'
This precept of the great critic has not been lost upon minor novelists, who generally shew much skill in making a small portion of thought cover a great portion of paper. The epistolary form is peculiarly favourable to dilation and prolixity. Incidents and characters, either trite or unnatural, when they form the subjects of letters, afford room for opinions and sentiments, in recording and exhibiting them as trite or extravagant as themselves. It is, therefore, no wonder that the epistolary form is so much in request among the lower classes of romance writers. We think the authoress of Derwent Priory has shewn judgement in choosing this mode of communicating vapid and frothy ideas.
The novel contains four pairs of lovers, two principal and one subordinate couple. Of the two heroines, one, Lady Laura, is in love with Clifford, a most beautiful and accomplished man, who rescues her from a danger somewhat similar to that which constitutes one of the most interesting incidents in Tom Jones. But the story is told in a very different manner indeed. However, the authoress endeavours to go beyond the danger of Sophia from the 'Squire's sorrel mare. Lady Laura, after escaping unhurt from the back of the vicious horse, is in imminent hazard, before her lover rides up to her assistance, of being assaulted by a still more vicious cow; whose exploits, to use the writer's phrase, had rendered her renowned in the country in which she was stationed. The cow was not the only assailant from [418] whom her adventurous lover saved her. He had before that time delivered her from a ravisher; but it appears, that the cow was the more formidable antagonist of the two, to her champion, as the ravisher ran off on Clifford's making his appearance, whereas the cow faced him, and was not repulsed without difficulty. For his valorous atchievements, and many excellent qualities, she rewards Clifford with her heart and hand, and 30,000l. Most fortunately, a few days after the marriage, an uncle of Clifford's returns from India with an immense fortune, part of which is bestowed on, and the remainder destined to, the young couple. The other heroine, an orphan, disowned by her grandfather, a dependent on the family of Earl Derwent, falls in love with his eldest son, who wishes to marry her privately. Lord Derwent finds out his son's intention, and forbids the bands [sic]; when, most strange and pleasing to tell, her grandfather's heart is so softened by the oversetting of a coach, that he becomes reconciled to his grand-daughter, Miss Rutland, and agrees to give her a great fortune; of course she is married to the young Lord; and two friends of the heroines are each married to their respective lovers. The old Earl, in a few days, from being ambitious, proud, and covetous, becomes liberal, humble, and contented. Thus the novel goes on rapidly, without waiting for the slow movements of probability, and all parties become virtuous and happy.
In celebrating the qualifications of this Clifford, Lady Laura praises him as a scholar. We hope, that should her Ladyship favour the world with any more of her letters, she will display literary improvement, derived from the instructions of her husband. Under his tuition she may perhaps bestow attention on English grammar, in which, at present, she is somewhat deficient. We must extend the same observation to the other writers in this piece. As to order and connection, these we are not so sanguine as to expect from such talents as are here evinced.
But if there be little to inform the understanding in this novel, or to amuse the fancy, there is nothing to corrupt the heart. It is a very harmless production. [complete]
Provided by Julie A. Shaffer, January 2000
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