William Cowper (Oxford Companion)

 
From the Oxford Companion to English Literature, ed. Margaret Drabble.


COWPER, William (1731-1800), elder son of the rector of Great Berkhamsted, Hertfordshire, whose mother died when he was 6. He was educated at a private school (where he was bullied) and at Westminster, where he was a contemporary of Charles *Churchill and W. *Hastings. He was called to the bar in 1754. Sensitive and hypochondriac by nature as a child, he began to suffer from severe depression, and when called for examination for a disputed clerkship in the House of Lords he broke down completely and attempted suicide; his illness may have been aggravated by the failure of his hope of marrying his cousin Theodora Cowper. From this time he was subject to periods of acute melancholia which took a religious form; he felt himself cast out of God's mercy, and wrote later in his moving autobiographical Memoir (c. 1767, pub. 1816), 'conviction of sin and expectation of instant judgement never left me.' He spent some months in Dr Cotton's Collegium Insanorum at St Albans, and turned increasingly to evangelical Christianity for consolation. In 1765 he became a boarder (in his own words, 'a sort of adopted son') in the home of the Revd Morley Unwin at Huntingdon, and on Morley's death moved with Mary, his widow, to Olney.

There he came under the influence of J. *Newton, the evangelical curate, with whom he wrote Olney Hymns (1669); his contributions include 'God moves in a mysterious way' and 'Oh, for a closer walk with God'. He became engaged to Mrs Unwin, but suffered another period of severe depression and made another suicide attempt; he spent a year with the Newtons before returning to Mrs Unwin's home. A calmer period followed, during which at her suggestion he wrote his satires ('Table Talk', 'The Progress of Error', 'Truth', 'Expostulation', 'Hope', 'Charity', 'Conversation', and 'Retirement') which were published in 1782 with several shorter poems 8including 'Verses Supposed to be Written by Alexander Selkirk; see SELKIRK); in the same year he wrote 'John Gilpin' and in 1783-4 his best-known long poem The Task (1785), both subject suggested by his new friend and neighbour Lady Austen. The volume in which these appeared also contained 'Tirocinium', a vigorous attack on public schools. In 1786 he moved with Mrs Unwin to Weston Underwood, where he wrote various poems published after his death, including the unfinished 'Yardley-Oak' (admired by *Wordsworth), the verses 'On the Loss of the Royal George' ('Toll for the brave . . . '), 'To Mary', and 'The Poplar-Field'. His translation of *Homer, published in 1791, was not successful. From 1791 Mrs Unwin suffered a series of paralytic strokes; she died in1796, leaving Cowper in severe depression from which he never fully recovered.

He wrote 'The Castaway' shortly before his death; like many of his poems it deals with man's isolation and helplessness. Storms and shipwrecks recur in his work as images of the mysterious ways of God, and Cowper's search for a retired and quiet life of simple domestic and rural pleasures gave him little sense of permanent security. Yet his poems and his much admired letters (published posthumously) have been highly valued for their intimate portrait of tranquillity and for their playful and delicate wit. His sympathetic feelings for nature (expressed in the lines from The Task admired by Jane *Austen's Fanny Price, 'Ye fallen avenues! Once more I mourn, / Your fate unmerited') presage *Romanticism, and his use of blank verse links that of James *Thomson with that of *Wordsworth. He was also, like his evangelical friends, a champion of the oppressed, and wrote verses on *Wilberforce and the slave trade. Whether religion was cause or cure of his depression has been much disputed; the sense of guilt and paranoia displayed in his Memoir has much in common with that of Bunyan's *Grace Abounding. A life by his friend W. *Hayley was published 1803-4; see also The Stricken Deer (1929) by David *Cecil and a critical biography by M. Quinlan (1953). Cowper's *Letters and Prose Writings, ed. J. King and C. Ryskamp, appeared in 3 vols, 1979-82.





The Task, a poem in six books by Cowper, published 1785.

When Cowper's friend Lady Austen (whom he met in 1781) suggested to him the sofa in his room as the subject of a poem in blank verse, the poet set about 'the task'. Its six books are entitled 'The Sofa', 'The Time-Piece', 'The Garden', 'The Winter Evening', 'The Winter Morning Walk', and 'The Winter Walk at Noon'. Cowper opens with a mock-heroic account of the evolution of the sofa ('I sing the sofa') and thence digresses to description, reflection, and opinion. The poem stresses the delights of a retired life ('God made the country, and man made the town'), Bk I, 749); describes the poet's own search for peace ('I was a stricken deer, that left the herd', Bk III, 108), and evokes the pleasures of gardening, winter evenings by the fire, etc. The moral passages condemn blood sports, cards, and other diversions; the poet manifests tenderness not only for his pet hare but even for worms and snails.The poem was extremely popular: *Burns found it 'a glorious poem' that expressed 'the Religion of God and Nature', and it helped to create and supply the growing demand for natural description and tender emotion that found a fuller expression in Wordsworth's *Prelude, a poem which contains many echoes of Cowpar.





'The Castaway', a poem by Cowper, written 1799, published 1803. It is based on an incident from *Anson's Voyage Round the World. Cowper depicts with tragic power the suffering of a seaman swept overboard and awaiting death by drowning. Mr Ramsay in V. Woolf's *To the Lighthouse is given to declaiming its last lines: 'We perish'd, each alone: / But I beneath a rougher sea, / And whelm'd in deeper gulphs than he.'

Henry Fielding (Oxford Companion)

 Fielding, Henry (1707-54), the son of a lieutenant (who later became lieutenant general), born at Sharpham Park, the house of his maternal grandfather in Somerset. His mother died when he was 11, and when his father remarried Henry was sent to Eton. There he was happy, enjoyed his studies, and made lifelong friends of *Lyttelton, who was to become a generous future patron, and of *Pitt the elder. At 19 he attempted to elope with a beautiful heiress, but failing in this settled in London, determined to earn his living as a dramatist. Lady M. W. *Montagu, a distant cousin, encouraged him, and in 1728 at Drury Lane his play Love in Several Masques was successfully performed. In the same year he became a student of letters at Leiden, where he remained about 18 months, greatly enlarging his knowledge of classical literature. On his return to London he continued his energetic but precarious life as a dramatist, and between 1729 and 1737 wrote some 25 assorted  dramas, largely in the form of farce and satire, and including two adaptations of Molière, The Mock Doctor and The Miser. In 1730 three of his plays were performed: The Author's Farce, Rape upon Rape, a savage satire on the practices of the law, embodied in Justice Squeezum; and the most successful of all his dramas, *Tom Thumb (which was published in a revised form the following year as The Tragedy of Tragedies, or The Life and Death of Tom Thumb the Great), one of several extravagant burlesques modelled on Buckingham's *The Rehearsal, of the turgid fashionable tragedies of the day. *Hogarth designed the frontispiece, and a long and close friendship began. Don Quixote, a satire which is in part a tribute to *Cervantes, appeared in 1734. In the same year Fielding married Charlotte Cradock, who became his model for Sophia in *Tom Jones and for the heroine of Amelia, and with whom he enjoyed ten years of great happiness until her death. His improvidence led to long periods of considerable poverty, but he was greatly assisted at various periods of his life by his close and wealthy friend R. *Allen, who became, with Lyttleton, the model for Allworthy in Tom Jones. In 1736 Fielding took over the management of the New Theatre, for the opening of which he wrote the hightly successful satirical comedy Pasquin, which aimed at various religious and political targets, including electioneering abuses. But The Historical Register for 1736 was fiercer political satire than *Walpole's government would tolerate, and the Licensing Act of 1737, introducing censorship by the lord chamberlain, brought Fielding's career in the theatre to an end.

He entered the Middle Temple and began to read for the bar. In 1739-40 he wrote most of the columns of the *Champion, a satirical and anti-Jacobite journal. In 1740 he was called to the bar but his health began to fail and he suffered acutely from gout. In the same year Richardson's Pamela appeared and enjoyed tremendous popular success. In 1741 Fielding expressed his contempt in his pseudonymous parody An Apology for the Life of Mrs *Shamela Andrews. Meanwhile, because of increasing illness, he was unable to pursue his legal career with any consistency. Instead, in 1742, he produced The Adventures of *Joseph Andrews and His Friend, Mr Abraham Adams, for which he received from his publisher £185 11s. In 1743 his old friend *Garrick put on Fielding's The Wedding Day, and in the same year Fielding published three volumes of Miscellanies, which included *A Journey from This World to the Next and a ferocious satire, The Life and Death of *Jonathan Wild the Great. In 1744 he suffered a terrible blow in the death of his wife, and for a year or so he wrote little except a preface to his sister Sarah's novel *David Simple, and some journalism, particularly the True Patriot and the Jacobite's Journal. In 1746 he probably began The History of Tom Jones, a Foundling, and in 1747 caused some scandal by marrying his wife's maid and friend Mary Daniel. With the aid of Lyttelton, he was appointed JP for Westminster in 1747 and once again joined battle, now from the inside, with legal corruption and the 'trading justices' who imposed and embezzled fines. In 1749 Tom Jones was enthusiastically received by the general public, if not by *Richardson, *Smollett, Dr *Johnson, and other literary figures. In the same year his legal jurisdiction was extended to the whole county of Middlesex, and he was made chairman of the quarter sessions of Westminster. From his court in Bow Street he continued his struggle against corruption and lawlessness and, with his blind half-brother and fellow magistrate Sir John Fielding, strove to establish new standards of honesty and competence on the bench. He wrote various influential legal enquiries and pamphlets, including a proposal for the abolition of public hangings. In 1751 he published Amelia, which sold the best of all his novels. He returned to journalism in 1752 with the *Covent Garden Journal, and published in 1753 a Provision for the Poor. He organized and saw successfully implemented a plan for breaking up the criminal gangs who were then flourishing in London. But his gout, asthma, and other afflictions were now so far advanced that he had to use crutches, and in 1754, in hope of improvement, he set off with his wife and one of his daughters for Portugal. *The Journal of a Voyage to Lisbon, published poshumously in 1755, describes in unsparing detail the departure and journey. He had prepared it for the press ('a novel without a Plot') before he died in Lisbon in October.

Fielding is generally agreed to be an innovating master of the highest originality. He himself believed he was 'the founder of a new province of writing,' and Sir Walter *Scott commended him for his 'high notions of the dignity of an art which he may be considered as having founded'. His three acknowledged masters were *Lucian, *Swift, and Cervantes. In breaking away from the epistolary method of his contemporary Richardson, and others, he devised what he described as 'comic epics in prose', which may be characterized as the first modern novels in English, leading straight to the works of *Dickens and *Thackeray. The standard biography is M. C. Battestin, Henry Fielding (1989). The standard edition is the Wesleyan Edition (1967- ) with 11 volumes printed as of 1997.

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Tom Thumb,  a Tragedy, a farce by Henry Fielding, performed and published 1730, and published in in a different version in 1731 under the title of The Tragedy of Tragedies, or, The Life and Death of Tom Thum the Great.
    The most successful of Fielding's many plays, this is an exuberant farce in the mock-heroic manner, ridiculing the 'Bombastic Greatness' of the fashionable grandiose tragedies of authors such as Nathaniel *Lee and James *Thomson, and similar in form to Buckingham's *The Rehearsal. It was published with a heavy apparatus of absurd scholarly notes, and a frontispiece by *Hogarth. *Swift declared that he had laughed only twice in his life, once at a Merry-Andrew and once at a performance of Tom Thumb.


A Journey from This World to The Next, the second volume of Miscellanies, by Henry *Fielding, published 1743.
    The author purports to have found an almost indecipherable manuscript, consisting of a series of 'Epistles', which was left in an attic by someone now departed to the West Indies. The soul leaves the body in its lodgings in Cheapside and finds itself, guided by Mercury, in a stage-coach with other departing souls. They pass through the City of Diseases and past the black marble Palace of Death, on to the Wheel of Fortune. At the door of Elysium Minos dictates who shall be permitted to enter; the generous and the honest are favoured, whatever their station, while the cruel and hypocritical are rejected. In the Elysian Fields heroes and writers of antiquity converse animatedly with Shakespeare, *Milton, *Dryden, *Addison, Fielding's own *Tom  Thumb, and many others. The spirit of Julian the Apostate appears and, for the major part of the book, discourses in several guises as slave, Jew, courtier, and statesman. The tale (the last part of which, about Anne Boleyn, may have been by Sarah *Fielding) comes to a somewhat haphazard end with the excuse that the rest of the 'manuscript' has been unfortunately burned. It was edited by C. Rawson, 1973; the best text is found in Miscellanies, by Henry Fielding, ed. Hugh Amory and Bertrand A. Goldgar (vol. ii, 1993).


Covent-Garden Journal, a periodical issued twice a week during 1752 by Henry Fielding containing some of the best work of his journalistic career. Under the name of Sir Alexander Drawcansir, Censor of Great Britain, Fielding attacks political abuses, scandal, hypocrisy, meanness, sexual morality, fashion, and many other targets. It contained an attack on Smollett's *Peregrine Pickle and *Roderick Random, to which that author replied in a slanderous pamphlet, A Faithful Narrative of . . . *Habbakuk Hilding, Justice, Dealer, and Chapman.

A Digression on Vanity

THE HISTORY OF TOM JONES EP 1 P1

Henry Fielding: Tom Jones

Crash Course Classics - Samuel Richardson

Samuel Richardson (Oxford Companion)

From The Oxford Companion to English Literature, ed. Margaret Drabble.

Richardson, Samuel (1689-1761), the son of a joiner, born near Derby, where his parents lived briefly before returning to London. Little is known of his boyhood, but because of his father's comparative poverty he appears to have received (in his own words) 'only common School-learning'. The tradition that he attended either Merchant Taylors' or *Christ's Hospital cannot be substantiated. As a boy he read widely, told stories to his friends, and by the age of 13 was employed writing letters for young lovers. In 1706 he was apprenticed to a printer (as his father could not afford to enter him to the Church), and in 1715 he was admitted a freeman of the *Stationers' Company. He set up in business on his own in 1721, in which year he married Martha Wilde, the daughter of his former master. All his working life he was extremely industrious, and his business prospered and expanded steadily. Like all printers of his time, he combined printing and publishing, producing books, journals, advertisement posters, and much miscellaneous work. In 1723 he took over the printing of an influential Tory journal, the True Briton, and by 1727 was sufficiently established in his profession to be appointed renter warden of the Stationers' Company. In the 1720s and early 1730s he suffered the early deaths of all his six children, and in 1731 that of his wife. He attributed the nervous disorders of his later life to the shock of these deaths. In 1733 he married Elizabeth Leake, the daughter of a fellow printer, and four of the daughters of their marriage survived. In the same year he published his The Apprentice's Vade Mecum, a book of advice on morals and conduct. In 1738 he purchased in Fulham a weekend 'country' house, which he always referred to as 'North End' , and which later became famous for his readings and literary parties. He published in 1739 his own version, pointedly moral, of Aesop's Fables, and more importantly, he began Pamela.

Inspiration for the novel initially came from a series of 'familiar letters' which fellow printers had encouraged him to write on the problems and concerns of everyday life. While these eventually grew into Pamela, they were also published separately as Letters . . . to and for Particular Friends (1741). Pamela was written in two months, between November 1739 and January 1740, and was published later that year, to very considerable acclaim. The morality and realism of the work were particularly praised, as Richardson had hoped. However, complaints of its impropriety persuaded him to revise his second edition considerably. The work had a great vogue abroad, and was soon adapted for the stage in France. Imitations and forged 'continuations' persuaded Richardson to go on with the story, and volumes iii and iv (Pamela II) were published in 1741. In that year, there appeared a stinging parody called An Apology for the Life of Mrs *Shamela Andrews, which Richardson believed to be by Fielding (as it almost certainly was) and which he never forgave. Fielding's *Joseph Andrews, which begins as a parody of Pamela, was published in 1742 but did not affect the popularity of Pamela II.

Richardson's business continued to prosper, although his health was beginning to cause him great concern, and he extended his publications in religion, history, biography, and literature. In 1733 he had begun printing for the House of Commons and in 1742 he secured the lucrative post of printer of its journals. His circle of friends had by now vastly increased, and included many admiring young ladies, known as his 'songbirds' or 'honorary daughters'.

During the writing of *Clarissa, which was probably begun in 1744, he endlessly asked his friends for comment and advice, and read passages aloud to them in his 'grotto' (or summer house) at Norht End. The first two volumes of Clarissa appeared in 1747 and were very favourably received. After heavy revision, and determined efforts to prune, a further five volumes appeared in 1748. Correspondents and the circle of friends continued to grow and now included the *Bluestocking ladies Mrs *Delany, Mrs *Carter, and later Mrs *Chapone. Clarissa was an undoubted success but there were complaints about both its length and its indecency, and it was not reprinted as often as Pamela. However, it also became very popular abroad and was translated into French, Dutch, and German.

Urged by friends, Richardson began thinking, in about 1750, of the portrayal of a 'Good Man'. He asked for the views of his extensive acquaintance and began experimenting with the 'letters' of Harriet, who was to become one of the heroines of his next novels. His illnesses and general malaise, which appear to have included a form of Parkinson's disease, increased steadily but he persevered strenuously both with his business and his writing. His authors in the 1750s included Charlotte *Lennox, Sarah *Fielding, Edward *Young and George *Lyttelton. He had now become friendly with Dr *Johnson, to whose *Rambler he contributed in 1750 and whom he helped with money in 1751. In 1752 Johnson (together with many of Richardson's other friends) read the draft of Sir Charles *Grandison, and Richardson printed the fourth volume of the Rambler. In 1753 he travelled to Bath and Cheltenham, which was as far as he had ever gone, and in 1753-4 he published the seven volumes of Sir Charles Grandison. The book sold well and rapidly became fashionable, but was assailed in various critical pamphlets for length, tedium, and doubtful morality.

In 1754-5 Richardson was master of the Stationers' Company. He published in 1755 A Collection of the Moral and Instructive Sentiments . . . in the Histories of Pamela, Clarissa, and Sir Charles Grandison, a book which he considered contained the pith of all his work.  In the same year Dr Johnson published the Dictionary, which contained 97 citations from Clarissa. In 1756  Richardson was asked by *Blackstone for adevice on the reform of the *Oxford University Press. Towards the end of his life Richarson wrote a few 'letters' to, from, and about Mrs Beaumont, a minor character from Sir Charles Grandison, who had been someone of mysterious importance in his early life. He continued to revise his novels heavily, and remained active in his business until his death.

Richarson is generally agreed to be one of the chief founders of the modern novel. All his novels were *epistolary, a form he took from earlier works in English and French, which he appreciated for its immediacy ('writing to the moment' as he called it), and which he reaised to a level not attained by any of his predecessors. The 'letters', of which his novels consist, contain many long transcriptions of conversations, and the kinship with drama seems very strong. He was acutely aware of the problems of prolixity ('Length, is my principle Disgust') and worked hard to prune his original drafts, but his interest in minute analysis led inevitably to an expansive style.

A selection of his letters (6 vols, 1804) was edited by Mrs *Barbauld: see also Selected Letters of Samuel Richardson, ed. J. Carroll (1964). There is a life by T. C. D. Eaves and B. D. Kimpel (1971); see also M. Kinkead-Weekes, Samuel Richardson, Dramatic Novelist (1973); M. A. Doody, A Natural Passion (1974). 






Pamela, or Virtue Rewarded, a novel by Samuel *Richardson, published 1740-1.

The first of Richardson's three novels, Pamela consists, like them, entirely of letters and journals, of which Richardson presents himself as the 'editor'. He believed he had hit upon 'a new species of writing' but he was not the inventor of the *epistolary novel, several of which already existed in English and French. He did however raise the form to a level hitherto unknown, and transformed it to display his own particular skills.

There are six correspondents in Pamela, most with their own particular style and point of view, but Pamela herself provides most of the letters and journals, with the 'her', Mr B., having only two. Pamela Andrews is a hansome, intelligent girl of 15 when her kind employer Lady B. dies. Penniless and without protection, Pamela is pursued by Mr B., Lady B.'s son, but she repulses him and remains determined to retain her chastity and unsullied conscience. Letters reveal Mr B.'s cruel dominance and pride, but also Pamela's half-acknowledged tenderness for him, as well as her vanity, prudence, and calculation. Angrily Mr B. separates her from her friends, Mrs Jervis the housekeeper and Mr Longman the steward, and dispatches her to B— Hall, his remote house in Lincolnshire, where she is imprisoned, guarded, and threatened by the cruel Mrs. Jewkes.  Only the chaplain, Mr Williams, is her friend, but he is powerless to help. For 40 days, allowed no visits or correspondence, she keeps a detailed journal, analysing her situation and her feelings, and at the same time revealing her faults of prudence and pride. She despairs, and begins to think of suicide. Mr B., supposing her spirit must now be broken, arrives at B— Hall, and, thinking himself generous, offers to make her his mistress and keep her in style. She refuses indignantly, and he later attempts to rape her and then to arrange a mock-marriage. Two scenes by the pond mark a turning point in their relationship. Both begin to be aware of their faults, and of the genuine nature of their affection. However, Pamela again retreats and refuses his proposal of marriage. She is sent away from B— Hall, but a message gives her a last chance. Overcoming her pride and caution, she decides to trust him, accepts his offer, and they are married. In the remaining third of the book Pamela's goodness wins over even Lady Davers, Mr B.'s supercilious sister, and becomes a model of virtue to her circle of admiring friends; but (as in Pamela, Part II) the author's creative drive becomes overwhelmed by his urge to moralize.

The book was highly successful and fashionable, and further editions were soon called for. Richardson felt obliged to continue his story, not only because of the success of Pamela but because of the number of forged continuations that began to appear. Pamela, Part II appeared in 1741. Here Pamela is exhibited, through various small and separate instances, as the perfect wife, patiently leading her profligate husband to reform; a mother who adores (and breastfeeds) her children; and a friend who is at the disposal of all, and who brings about the penitence of the wicked. Much space is given over to discussion of moral, domestic, and general subjects. 

*Shamela (1741, almost certainly by *Fielding) vigorously mocked what the author regarded as the hypocritical morality of Pamela; and Fielding's *Joseph Andrews, which begins as a parody of Pamela, appeared in 1742.




Clarissa: or The History of a Young Lady, an *epistolary novel by Samuel *Richardson, published 1748 (for 1747)-1749, in eight volumes. About one-third of the work (which is in all over a million words) consists of the letters of Clarissa and Lovelace, mainly written to Anna Howe and John Belford respectively, but there are over 20 correspondents in all, displaying many points of view and variations in style. 


Lovelace, a handsome, dashing rake, is courting Arabella Harlowe, the elder sister of Clarissa. The Harlowes are an acquisitive, ambitious, 'narrow-souled' family, and when Lovelace transfers his affections to Clarissa they decide he is not good enough and that Clarissa must marry the wealthy but ugly Solmes, whom she detests. When she refuses she is locked up and humiliated. Lovelace, cleverly representing himself as her deliverer, plays on her fears, convinces her that he is forwarding her reconciliation with her family, and persuades her to escape under his protection to London. There he establishes her in a superior brothel, which she at first supposes to be respectable lodgings. She unwaveringly resists his advances and he, enraged by her intransigence, is also attracted by it and finds his love and respect for her increase. Her emotions are likewise deeply confused; she is fascinated by his charm and wit, but distrusts him and refuses his eventual proposals of marriage. In his growing insistence, Lovelace overreaches himself, interfering with her letters, deceiving her over a supposed emissary from her family, violently assalulting her, and cunningly ensnaring her after he escapes. As she unhappily but stubbornly resists, he becomes more obsessive in his determination to conquer, and makes an attempt to rape her. He claims to believe that her resistance is no more than prudery and that, once subdued, she will turn to him: 'Is not this  the hour of trial—And in her, of the trial of the virtue of her whole Sex, so long premeditated, so long threatened? —Whether her frost be frost indeed? Whether her virtue be principle?' (vol. V, Letter 31). To Clarissa chastity represents identity, and the climax of her tragedy comes when Lovelace, abetted by the women of the house, drugs and rapes her, an event he reports in one of the shortest letters of the work: 'And now, Belford, I can go no farther. The affair is over. Clarissa lives.' (Vol. V, Letter 32). 


Slowly Clarissa loses grip of her reason, and Lovelace realizes that he has lost the very dominance he had hoped to establish. Cut off from family, friends, and even correspondence, Clarissa eventually escapes, only to find herself trapped in a debtor's prison. She is rescued by Belford, who looks after her with affectionate care. Lovelace is overwhelmed by remorse. Clarissa recovers her sanity, but almost ceases to write, and her long decline and Christian preparation for death are reported largely in letters by Belford. After her death her cousin, Colonel Morden, kills Lovelace in a duel. Because of its great length, the novel has been more admired than read, but it has always been held in high critical esteem; the characters of the protagonists are developed with great sutblety, and the irresolvable nature of their conflict takes on an emblematic and tragic quality unique for its author and its period.

Bibliografía sobre Samuel Richardson

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Pamela, or Virtue Rewarded: Summary and Analysis