Mary Robinson

Mrs. M. Robinson. Vancenza; or, The Dangers of Credulity. 3 vols.

London:  Bell, 1792.

Contemporary Reviews

Analytical Review 12 (1792): 339-41.

ART. XLIX. Vancenza, or the Dangers of Credulity. By Mrs. M. Robinson. Authoress of the Poems of Laura Maria, Ainsi va le Monde, &c. 2 vols. Fools-cap 8vo. 280 pages. pr. 5s. sewed. Bell. 1792.

That a person may write many pretty little detached pieces of poetry, who cannot render a tale interesting, experience has repeatedly proved before the appearance of Mrs. R.'s novel; yet we expected to have met with more passion and character in the production of a female who has not been an idle spectator of life. This story, however, wants a connecting thread, and the episodes are, literally speaking, introduced to spin it out; yet are not in the smallest degree interwoven with the woof. Moral the tale is, most undoubtedly; but very insipid. The very incident on which the catastrophe turns is trite, a mouse creeping out of a mountain, that had long been rumbling; and then the heroine is allowed to depart to the tomb of all the milk and water heroines without a sigh, because the close of the volume is anticipated when she bows her head and dies. Some remarks are just and well expressed; but the descriptions of nature, which are for ever recurring, are seldom poetical, and always so redundant, that they scarcely leave a distinct idea in the mind, and the language is as artificial as the sentiments are common.

The first description, written with care, is a favourable specimen: P. 1
'Upon the side of a beautiful forest, sheltered from the northern blasts by a chain of mountains, bordered with trees and shrubs, the growth of many centuries, rising above a canopy of luxuriant foliage, the gilded vanes of Vancenza glistened to the eyes of the far-distant traveler-while the lofty turrets cast their long shadows across an extensive lake, that partly overspread the neighbouring valley.
'The towering precipice, from whose dizzy height the fearful shepherds gazed with terror and astonishment, hung over its woody skirts tremendously sublime; while down its winding paths the rushing torrents scattered their white foam, sometimes lost in unseen channels, at other dividing in small currents towards the lake beneath!
'So wild, so romantic a spot, seemed rather the work of inchantment, than the earthly habitation of any thing mortal! The harmonious warblings of the feathered minstrels; the murmuring sound of intermingling streams; the lulling moan of the confined breezes, amidst the flint-rooted pines, that waved their tall heads, rocking their callow tenants in leafy cradles; the verdant glades, here and there opening to the skies, and scattered over with sheep and wild goats; the adjacent hills hanging their dark brows over a vast sheet of quivering water: presented a scene so magnificent, so abstracted from the busy world, that the beholder's heart thrilled with delicious transport, harmonized by the sublime sensations of enchanting melancholy.
'The castle of Vancenza had been built in the beginning of the twelfth century; the structure consisting of a spacious court- / yard, encircled with a vast pile of architecture, of the most exquisite order; at each corner a lofty tower commanded a variety of luxuriant prospects; the front facing the lake was raised upon an invulnerable rampart, whose ivy-covered battlements formed a beautiful and extensive terrace. The southern aspect presented innumerable avenues, cut through the venerable forest which led to the boundaries of Old Castle. The northern view was terminated by mountains grandly romantic. The valley beyond the lake led to a verdant opening of some miles in length, revealing at once a thousand undescribable and fascinating attractions!"

Critical Review 4 (1792): 268-72

Vancenza; or, the Dangers of Credulity. By Mrs. Robinson. 2 Vols. Small 8 vo. 5 s. Bell. 1792.

Mrs. Robinson's eager, particle, and injudicious friends, have misled and injured her; nor are we wholly free from the inconveniencies which they have occasioned. The merits of Vancenza have so often met our eyes; it has been so often styled excellent, admirable; the world has been so frequently called on to confirm this suffrage with their plaudits, that we dare not hint a fault, or hesitate dislike. What we disapprove, we must speak of plainly, and, if our gallantry is called in question, the blame will fall on those who have compelled us to be explicit. After this introduction we need not say that we think this novel unworthy of the high reputation of its author, a reputation the source of which it is not our present business to examine.

In estimating the merits of Vancenza, it is not necessary, with all the formality of an Aristarchus, to lay down rules for the conduct of an epopeia of the familiar kind. It is enough that the plot be artfully involved and naturally unraveled, while each part co-operates to produce the event. In reality, nothing extraneous should be introduced, and each trifling episode should be remotely connected with the catastrophe. This, however, is a rule which must occasionally be dispensed with. Ornaments are often required in such works, and they cannot always be parts of one whole; nor should be have objected that the pilgrim's story, in the second volume of the novel before us, was an isolated appendage, if the slightest contrivance had not been sufficient to have connected it with the principal event, and to have explained the only part in which the denouement seems too artificial; --we mean the removal of the pictures to discover the fatal panel. These are supposed to have hung there for many years, nor was it within the circle of expected contingencies, that they should be re- / moved in the life-time of Elvira: so that the whole of the history might be lost for ever, the prince Almanza might have married his sister, and their innocent progeny never known the crimes to which they owed their birth. In other respects the story is conducted with skill.

To the adventitious ornaments our censure must be chiefly directed. The language is in general highly and poetically laboured. It is refined into obscurity; and perspicuity of description is often sacrificed to a flowing period. There are many instances where, but from the future pages, it is difficult to discover the events in the blaze of description: a particular one now lies before us in the assassination of the count of Vancenza. The old observation may be well applied to Mrs. Robinson: if you intended the language to be prose, it is too poetical; if to be poetry, it is very faulty.-But to the proof

We need not point out that some of these epithets are unnecessary, some inconsistent, and some improper. In the next passage that we shall select, we find the earth decorated with gems: this may be; but these gems are also enameled; nor are they in their usual situations. If we suppose too, that the gems so enameled may be flowers, we must not imagine that they grow in the usual way: the enameled gems at Vancenza are shook from the wings of summer, the wings are perfumed, and summer blushes: while the flowers are gems, the corn is of gold, the hills slope, and a vineyard is neither yellow nor black, but tawny. The whole, however, is too luxuriant for analysis.

Some of the metaphors are ludicrous or incorrect. 'The manners of the Spanish beauties, when compared with those of Elvira, sink into contempt as the twinkling of the glow-worm fades before the orient day.' Again: 'true merit defies the honeyed tongue of flattery, as the diamond mocks the fire of the consuming crucible.' These are not solitary instances; yet we ought to add, that the metaphors are sometimes animated, sometimes elegant-'Chastity exposed to the breath of slander is like the waxen model placed in the rays of a meridian sun: by degrees it loses its finest traits, till at length it becomes an insipid mass of useless deformity.' Again: 'here he turned aside to wipe away the involuntary tear wrung from his bursting heart by the hard grasp of unrelenting conscience.'

Mrs. Robinson's partiality for the ornamented language of poetry has led her also to employ it improperly, as in the following passage.

Polished and figurative language like this is the production of a mind at ease; and the passage we have quoted is written in a moment of the most poignant agony, at a time when the tears flowing, had, in a great degree, defaced the manuscript, and the passage was, on that account, 'with difficulty deciphered.'

Elvira, at the age of fifteen, is described as in 'the noon of cultivated youth;' and we find, in these volumes, the true criterion, we have formerly noticed, of a female pen, the discriminate use of the epithet 'fine.' No milliner's apprentice / scrawls a love-scene without introducing her hero as a man of fine sense, fine accomplishments, as well as fine eyes. Mrs. Robinson should have avoided it; but she has 'fine passions,' 'a fine sense of honour,' 'fine accomplishments,' &c. The female author is conspicuous in other circumstances. After the death of the heroine, she stays to tell us that prince Almanza was chief mourner; at the revival of Almanza from his insensibility, into which he had fallen in consequence of the accident in hunting the wild boar, he addresses Elvira with all the rapture of Aimwell, declaring himself in Elysium and the object of his attention an angel: this we suppose the ladies may consider as 'quite in nature;' but we are too old to join in the opinion.

There are some other errors, perhaps more important, if the young ladies, in their rapid glances over these enchanting volumes, can be for a moment supposed capable of imbibing information.-In the beginning of the second volume, we have a description of am almost Lapland winter in Spain, while the more tender plants are placed in the same spot. We know that snow sometimes falls even in this climate; and that, on the mountains, it is permanent. But such violent storms in the vallies which defend the citrons are scarcely ever seen. The Spanish ladies, in general, as represented as courting admiration, instead of the secluded modesty, or more natural reserve, with which travelers have decorated them. Indeed the ladies, is we except the marchioness and Elvira, are of our own metropolis; and the heroes differ but in titles from fashionable Englishmen. There is one circumstance which we have professed always to treat with indignation-viz. every attempt to gloss over the follies of popery, or to represent its absurdities as sacred. The pilgrim does penance for crimes. He had stolen a young woman from a convent, and, in his own defence, killed her brother. The latter could not be a crime: is it for the former then that 'Conscience wrings the tear from his bursting heart?' The crime is their's who, from motives of avarice or ambition, could counteract the designs of providence by the seclusion of helpless, reluctant, females. If our casuistry has any credit, we do not hesitate in declaring, that the rescuing one of these is an action that might atone for many sins: but we forget-we are relapsing into one of the tenets of the religion we have reprobated.

We have hinted at the principal faults which occur to our notice in this work, and they are such as we think confirm the opinion given in the beginning of this article. It is with reluctance that we have engaged in this disquisition; but whatever may be the splendour of a name, we have never scrupled offer- / ing our opinion. The public will ultimately decide, and to their supreme tribunal we leave the decision, scarcely apprehending that the judgement will be reversed.

English Review 20 (1792): 111-13.

ART. VII. Vancenza; or, the Dangers of Credulity. By Mrs. M. Robinson, Authoress of the Poems of Laura Maria, Ainsi va le Monde, &c. pp. 286. 12 mo. 2 vols. 5s. sewed. Bell, London. 1792.

There have been so many elegant proofs of the poetical powers of Mrs. ROBINSON, that the most churlish critic cannot refuse to bear testimony in favour of her genius. Indeed, considering the number and variety of her productions, we are disposed to think that she has more successfully climbed Parnassian heights than any female votary of the muses which this country has produced. The novel before us is, we believe, her first attempt to obtain an equal degree of reputation in prose; and though we certainly cannot place it upon a level with her poetical compositions, we cannot withhold from it a tribute of warm commendation; and such, we hope, will induce her to persevere in a species of literature for which she seems to be admirably qualified.

The story is simple, and judiciously expanded. There is an interesting contrast in the characters. The family of VANCENZA are represented as highly amiable, and are drawn with those touches of sensibility that excite in the reader a high respect for the mind which could conceive, and so well exhibit, such a charming series of moral portraits. In striking opposition to this amiable assemblage, are the sordid, despicable, and unprincipled troop of fashionable wretches whom they encounter at Madrid.

As this work is entirely the offspring of fancy, we cannot forgive the fair author for not having more regard to poetical justice. We confess that it does not appear to us necessary that, in a mere work of imagination, the good should be the victims of misfortune, and that any of the flagitious characters she has introduced should be dismissed without due punishment. In this respect we think the lady counteracts her own purpose, and while she 'sends her readers weeping to their 'beds,' has not more effectually directed the moral object in view. Mrs. Robinson, however, had certainly a right to dispose as she pleased of the beings she had created; and we think her for the pleasure she has excited, and the feelings she has exercised, by her elegant and affecting little tale.

Of the language, to speak with the candour of criticism, we must say, that though it is elevated and poetical in many parts, it is in general too florid; and too ornamented for prose, though indeed we consider that exceptionable quality as the effect of / warm affections, and an exuberant fancy, that has been chiefly conversant with poetical images.

There is a very pretty episode entitled THE PILGRIM'S STORY, and two effusions of poesy, that are highly creditable to the taste and tenderness of the plaintive muse. We cannot deny ourselves the pleasure of submitting the latter to the sensible and sympathizing reader.

European Magazine 21 (May 1792): 344-48.

Vancenza; or, The Dangers of Credulity. By Mrs. Maria Robinson. 2 Vols. 12 mo. 6s. Bell.

SCARCELY had the refined mental pleasure subsided, which the Poems of this justly admired Authoress had afforded to every feeling heart, when the elegant prosaic composition now before us made its appearance. / It is a tale more than well told, full of horror, exciting pity, and commanding admiration. We are not favoured with any features of its origin; yet, from many circumstances, we are led to believe that it is not altogether fiction; but that species of romance, the superstructure of which is raised upon the foundation of historic truth. An ancient Spanish record of domestic woe, extremely interesting and pathetic, has been decorated by the pen of our fair enchantress with peculiar taste, elegance, and variety.

We do not believe this lady has ever read that part of "Mason on Elocution," which treats of the power of numbers in prosaic composition; but certain we are, that by the impulse of a fine natural genius, she has been enabled to exhibit a perfect model of that rare species of writing. Every period is full and harmonic, and not one sentence throughout the descriptive part terminates flatly, that is to say, with an insignificant particle, which Mason calls "a lame foot." To extract the essence of this entertaining bagatelle, that may be read through in two or three hours, would be something like the conduct of those petty depredators, who being admitted into a beautiful flower-garden, and allowed to cull a few choice flowers for a nosegay, are not content with this indulgence, but dig up the best by the roots, in order to transplant them into their own parterre. With concern we have observed the plot and chief incidents of these slender volumes thus purloined under the specious title of Reviews; and disapproving of such manæuvres, we shall confine ourselves to specimens of the uncommon, and, in our opinion, truly excellent style of the descriptive and sentimental parts, leaving the story untouched, as well for the benefit of the Authoress, as of many a youth and many a maid, who will eagerly pursue all its winding mazes with unremitted attention, till 'the long confined swelling tear, gushing from its lucid orb, shall fall involuntarily on the concluding pages, and half obliterate the dreadful catastrophe.

The opening scene, which conducts us to the Castle of Vancenza, we produce, in evidence of the strength and beauty of her descriptive powers:

Of the beautiful Elvira, the Orphan of the Castle, the object of universal adoration, the principal character in the story, whom the neighbouring rustics in their / enthusiastic fondness had named "The Rose of Vancenza," we have the following beautiful delination.

Almanza, a Spanish Prince, who becomes the hero of this moral tale, in the hot pursuit of the chace leaves his attendants far behind, and encountering the wild boar, is so dreadfully wounded by the tusks of the enraged animal, near the Castle of Vancenza, that his page, in consternation, on approaching his Royal Master, called aloud for help. The Count flew, with the eagerness pity ever prompts to succour the unhappy. At the outward gate he met the bleeding stranger, borne in the arms of two friends, whose afflicted countenances proclaimed the virtues of their illustrious associate. He was instantly conveyed to a lower apartment, and, surrounded by a train of attendants, laid upon a couch, pallid, and to all appearance lifeless. Affliction seemed to prey on every bosom! "They lovely and tender Elvira, who stood like a weeping angel over the reliques of a martyred saint, raising her fine eyes towards Heaven in silent invocation, drew from her polished brow a veil of transparent lawn, and, unmindful of the group that stood wondering at her exquisite beauty, began to bind it round the lacerated arm of the unfortunate Prince-then, recollecting the impropriety she had been guilty of in exposing her face to the prying eyes of so many strangers, burst into tears, and retired to a window at the farthest end of the apartment."

It is the standing etiquette of all novels and romances, that every perfect beauty should have a number of admirers, and at least two contending lovers; one to be made happy, and the other miserable.-it was a case in point, in the present tale, to make the Prince the fortunate man, and, by way of contrast, to throw into the back-ground a fiery Don, a Duke del Vero, the bosom-friend of the Prince, who according to custom, and the manners of the well bred gentlemen of "St. James's air," turns out an arrant traitor when all-seducing lovely woman steps between him and his friendship to the Prince; and the sequel presents us a chain of perfidious contrivances to gain the new mistress of his affections, which are described upon similar occasions, in such strong terms, in our newspaper details of trials for crim.con. that we shall take the liberty to pass them over, and, pursuing our first intention, notice only the following energetic remark:--"The tender passion, when it takes root in stern and violent natures, like the raging o a fever in the strongest constitutions, becomes more fatal from the force that opposes it, and, perpetually fed by its own fire, frequently consumes the object it encounters."

The recovered Prince takes a grateful leave of his noble Host and the fair Elvira, between whom a fond exchange of hearts had taken place, and the probably hope of his speedy return consoled the solitary maiden for his absence. The interval is seized by the Duke del Vero, who suddenly leaves Madrid (to which city his duty had obliged him to attend the Prince), returns to a village near the castle, and, lurking in disguise, imposes, by/

An artful stratagem, on the credulity of Elvira, who is induced to believe, she should meet the Prince at a certain cottage, and is thereby exposed to the dangers of Credulity, the secondary title of our moral tale. She escapes from the snare, however, without ruffling a single feather in the pinion of chastity: but the risk furnishes a fine lesson for the ladies, and a lecture for those insolently-presumptuous married women, who glorying in the single virtue of chastity, and considering it as a full compensation fro the want of every other amiable, endearing qualification, domineer over their wretched husbands, with a conscious sense that the captive for life cannot break the galling chain without deranging his worldly affairs, and exposing himself to the ill natured reflections of a censorious world. Thus pride, domestic tyranny, insolence to inferiors, moroseness and rigour to children, and callous insensibility, are sanctioned and protected under matrimonial rights, while the discontented, secretly-repining Benedick droops, sickens, and dies a martyr to the high-vaunted chastity of his all-commanding wife; and thus the town is filled with buxom widows!

The annexed outline of the Duke del Vero's character seems to be a stor5ke aimed at a person of higher rank, nearer home than Spain:--"Hitherto he had followed the dictates of warm imagination, and dashed through the broad torrent of dissipation; vanity for his guide, and intemperate gratifications the objects of his pursuits." So skilled as our fair Monitor must be allowed to be, it would be unpardonable to omit her advice to her own sex on the management of a lover; and we cannot close our account of this pleasing performance, which has nearly passed through three editions in a very short time, more agreeably.

Gentleman's Magazine 62 (June 1792): 553.

129. Vancenza; or, the Dangers of Credulity. By Mrs. Robinson. The Third Edition.

The taste, and we may say the genius, which this lady displayed in her volume of poems before commended by us, justified the expectation that, if she condescended to exercise herself in this species of writing, she would deserve and obtain popularity. That she had done this sufficiently appears from her works having passed through three editions in a very short space of time. Indeed, amongst the abundance of trash which, under the appellation of Novel, is poured upon the publick, we eagerly seize any opportunity which may offer us of discriminating from the heterogeneous mass good writing or moral sentiment. The sentiment is unexceptionably good; of her style we cannot speak, as we could wish; but, as this is her first prose essay, we consider her style as not yet formed. She will do well to study simplicity of expression, the sweetest charm of writing, and the truest characteristick of excellence.

Monthly Review (Mar. 1791): 300.

ART. XI Vancenza; or, the Dangers of Credulity. By Mrs. M. Robinson. Authoress of the Poems of Laura Maria, Ainsi va le Monde, &c. &c. 12 mo. 5s. sewed. Bell. 1792.

STYLE, like dress, admits of various degrees of ornament, between the limits of perfect plainness and finished elegance, each of which has its proper use and peculiar excellence; and it would be absurd to expect all writers to express themselves in the same style, as to require all men to appear in an uniform habit. Simplicity and ease in language and characters, which, / when they do not degenerate into insipidity and negligence, will be always pleasing: but it would be carrying the matter too far, to measure the merit of all writers by this standard. Rich birth-day suits are not thrown aside, because the poet has said of beauty, that it is, "when unadorned, adorned the most;" nor will true criticism, because it is pleased with the modest simplicity of a Gay or a Parnel, refuse its tribute of admiration to the studied graces of a Pope or a Thomson.

We have said thus much to prevent the unfavourable impression which the language of this novel may possibly, on the first perusal, make on the minds of some readers. Vancenza, it is true, is not written in the simple style: but it is written, and in our opinion well-written, in the style of elegance peculiar to Mrs. R. The richness of fancy and of language, which the fair author had so successfully displayed in her poetical productions, (see our review of her poems, vol. vi. New Series, p. 448) she has transferred to prose narration; and has produced a tale, which, we venture to predict, will be much read and admired.

The outline of the story is as follows: scene SPAIN.

In the fifteenth century, at a castle from which the family took its name, lived the Count Vancenza. His family consisted of the Marchioness of Vallorie, his sister; he daughter, the Countess Carline; and Elvira, a beautiful orphan, the object of universal admiration in the castle and neighborhood, where she was called the Rose of Vancenza.

When Elvira had attained her fifteenth year, she was one morning awakened by the sound of the horn; and calling her friend, they ascended one of the turrets of the castle, where they observed a numerous train of horsemen engaged in the pursuit of a wild boar; and their appearance denoted them to be persons of the higher order. One of the party, the Prince Almanza, was dangerously wounded, and brought to the castle. The family hastened to relieve him; and, among the rest, Elvira. From the impulse of sympathy, she tore her veil; and with it bound up the stranger's wound, while he remained insensible to every attention. At length, returning to life, his opening eyes beheld his lovely benefactress; he was charmed with her beauty and tenderness; and, after three days, he left the castle impressed with an indelible passion for Elvira.

On the other side, Almanza's figure and manner had made an equal impression on the heart of the fair orphan. Among Almanza's companions, was the Duke del Vero; who, while at the castle Vancenza, had become deeply enamoured of Elvira, but was too proud to think of allying himself to a maid whose parents were unknown. He however concealed himself / near the castle, and appeared under Elvira's window in the assumed character of Almanza, whom his jealous eye perceived to be the object of her love. After repeated importunities, he prevailed on her to consent to an interview at the cottage of Ursuline, an old pensionary of the family:--but when she discovered the imposition, her confusion and indignation were extreme, and she returned precipitately to the castle. Self-reproach for her indiscretion, and apprehension left Del Vero, from what had passed, should frame a tale that might injure her in the opinion of Almanza, overpowered her sensible mind, and a dangerous illness was the consequence. On her recovery, in hopes of restoring her spirits, the Count Vancenza proposed an excursion to Madrid, to which she consented. On the day before she left the castle, her melancholy was increased by reading the following plaintive verses, written on a window by a lady, who (as the Count informed her,) had met with great trials, and was now dead:

During their stay at Madrid, Elvira was frequently seen my Almanza, who retained his love for her. It happened that the good Count Vancenza was mortally wounded in rescuing his niece from the assault of a villain. Just before he expired, he took an affectionate leave of Elvira, and presented to her a key of curious workmanship, telling her it was the last solemn gift of—here death stopped his voice, and it was left to time to explain this mystery. After the Count's death, the Marchioness, with Carline and Elvira, returned to the castle; which, after the interval of a year, was to pass over to another family. During this interval, while Elvira was lamenting her loss, deploring her dependent state, and fostering her passion for Almanza, the Prince, finding his attachment to Elvira invincible, determined that false pride should not prevent him from offering her his hand. He accordingly visited the castle of Vancenza;; and after some embarrassment, arising from a misapprehension entertained by the Marchioness concerning the object of Elvira's passion, he obtained from Elvira an acknowledgment of her regard, and the promise of her hand. While the Prince returned to Madrid to prepare the palace for her reception, the family at Vancenza was busy in providing for the nuptials. The picture gallery, which was to be one principal scene of the approaching festival, was cleared of the old pictures, to be splendidly ornamented for the occasion. On removing one of the family portraits, Elvira observed a panel, in which was a curious lock; and presenting the mysterious key, she unlocked the door, and found within the recess a casket, containing a manuscript, from which she learned, that she was the daughter of Madeline Vancenza, sister of the Count, who had been basely seduced and betrayed by the father of Almanza: thus finding, that the man, whom she had so long loved, was her brother, she was unable to support the shock of this discovery, and, after a few days, expired.

A beautiful episode is introduced, entitled, The Pilgrim's Story.

As a specimen of the poetic style of the work, we extract the following relation of what passed when Almanza first left the castle:

There is something playful in the conceit of the pearly drop of sorrow spangling the fringed lid with the gem of sensibility. The authoress is too fond of this sort of ornament, and often overcharges her language with luxuriant imagery: nevertheless, on the whole, it will not be immoderate panegyric, to say of this elegant little work, that it is the pleasing production of a fertile fancy, and a feeling heart.

›››We have just seen a third edition of this work, 'corrected and enlarged.'

New Annual Register 13 (1792): 300.

Among the Novels which were published during the year 1792, either as original, or translations from foreign languages, the following have been spoken of, as possessing superior merit in this style of writing: "Desmond, in 3 Vols. By Charlotte Smith;"

"The Romance of the Forest, in 3 Vols. [by Ann Radcliffe]" "Vancenza, or the Dangers of Credulity, in 2 Vols. by Mrs. Robinson;" "Anecdotes of the Delborough Family, in 5 Vols. by Mrs. Gunning;" "Anna St. Ives, in 7 Vols. by Mr. Holcroft;" "Arabian Tales, translated from the French, in 4 Vols. by R. Heron;" "Gonzalva or Cordova, or Granada reconquered, an historical Romance, from the French of Florian, in 3 Vols.;" "New Tales, from the French of Florian:" and "the German Gil Blas, from the German of Baron Kuiegge, in 3 Vols." --To the same class belong, "the Castle of St. Vallery, an ancient Story;" "Frederick and Louisa, in 4 Vols." "the History of the Duchess of York, in 2 Vols;" "the noble Enthusiast, in 3 Vols;" Modern Miniature, in 2 Vols;" "Man as He is, in 4 Vols;" "the Fair Impostor, in 3 Vols;" "Elizabeth Percy, in 2 Vols;" "Juliana Ormeston, the fraternal Victim, in 4 Vols;" "Slavery, or the Times, in 2 Vols;" "the Count de Hoensdern, a German Tale, in 3 Vols; "the peaceful Villa, in 2 Vols;" "the Excursion of Osman, a political Romance;" "Adelfrida, in 4 Vols;" "the Family party, in 3 Vols:" "Fanny, or the distressed Daughter, in 2 Vols;" "Lady Jane Gray, in 2 Vols;' "the Double Marriage, in 3 Vols:' "Philario & Eleanora, in 2 Vols;" "Leon, a Spartan Story, in 2 Vols;' "the Rock of Modrec, in 2 Vols;" "Delineations of the Heart, in 3 Vols;" "Elvina, in 2 Vols;" "Terentia, in 2 Vols;" "Butler's Diary, in 2 Vols; "the Female Werther, in 2 Vols; and "Memoirs of a Baroness, in 2 vols." [irregular punctuation in original.]

Town and Country Magazine 24 (1792): 172.

Vancenza; or, the Dangers of Credulity. By Mrs. Robinson. 2 Vols. 8vo. 5s. Bell.

THIS performance will not greatly add to the reputation which Mrs. Robinson has acquired by her very excellent poems. The language, which is highly and poetically laboured, is neither verse nor prose. It is, however, upon the whole, a pleasing kind of romance.

Prepared by Lisa M. Wilson, SUNY-Potsdam, July 2006.
© Lisa M. Wilson, 2006.