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Rousseau’s voice from France spoke out a stirring appeal for the recognition of human feelings. Fielding, though attacking Richardson’s exaggeration of manner, and opposing him in his excess of emotionalism, yet added a forceful influence still in favor of the real, present and ordinary, as exemplified in the lives of vigorous human beings.
The former have more exaltation, perhaps more nobility of sentiment, and less consciousness in their intellectual activity—less of the femme auteur, which was Rousseau’s horror in Madame d’Epinay; but the latter have a richer fund of ideas—not more ingenuity, but the materials of an additional century for their ingenuity to work upon.
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