How Clarissa, in resisting parental pressure to marry a loathsome man for his money, falls prety to Lovelace, is raped and dies, is the bare outline of a story that blossomed in all directions under Richardson's hands. He was, self-confessedly and happily, 'a poor pruner.' Written in letters, the novel contains all the urgency and tension of personal communications set down 'to the moment, ' compelling our confidence but also our distrust. Its rich ambiguities - our sense of Clarissa's scrupulous virtue tinged with intimations of her capacity for self-deception in matters of sex; the wicked and amusing faces of Lovelace, who must be easily the most charming villain in English literature - give the story extraordinary psychological momentum. In that fatally attracted pair, Richardson created lovers that haunt the imagination as Romeo and Juleit do, or Tristan and Osolde.
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