Transcriber's Notes:
This book contains inconsistent punctuation and various misspellings which have been retained as they appear in the original. An Errata List with unresolved printer errors can be found at the end of the book. In the text, printer errors are indicated with red dotted underlining; hover the mouse over the underlined text to see a Transcriber's Note. The illustration at page 136 was placed at the end of the section so as not to disrupt the text.
The Augustan Reprint Society
OLINDA'S
ADVENTURES:
Or the Amours of a
Young Lady
(1718)
Introduction by ROBERT ADAMS DAY
PUBLICATION NUMBER 138
WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
University of California, Los Angeles
1969
GENERAL EDITORS
William E. Conway, William Andrews Clark Memorial Library
George Robert Guffey, University of California, Los Angeles
Maximillian E. Novak, University of California, Los Angeles
ASSOCIATE EDITOR
David S. Rodes, University of California, Los Angeles
ADVISORY EDITORS
Richard C. Boys, University of Michigan
James L. Clifford, Columbia University
Ralph Cohen, University of Virginia
Vinton A. Dearing, University of California, Los Angeles
Arthur Friedman, University of Chicago
Louis A. Landa, Princeton University
Earl Miner, University of California, Los Angeles
Samuel H. Monk, University of Minnesota
Everett T. Moore, University of California, Los Angeles
Lawrence Clark Powell, William Andrews Clark Memorial Library
James Sutherland, University College, London
H. T. Swedenberg, Jr., University of California, Los Angeles
Robert Vosper, William Andrews Clark Memorial Library
CORRESPONDING SECRETARY
Edna C. Davis, William Andrews Clark Memorial Library
EDITORIAL ASSISTANT
Mary Kerbret, William Andrews Clark Memorial Library
INTRODUCTION
A standard modern history of the English novel speaks of "the appearance of the novel round about 1700. Nothing that preceded it in the way of prose fiction can explain it."1 Though today many scholars would assert that "nothing" is too strong a term, just how much of the original fiction written under the later Stuarts could "explain" Defoe and Richardson? Most late seventeenth-century novels, it is true, are rogue biographies, scandal-chronicles, translations and imitations of French nouvelles, or short sensational romances of love, intrigue, and adventure with fantastic plots and wooden characters. Only occasionally was a tale published which showed that it was not examples of the novelist's craft that were wanting to inspire the achievement of a Defoe, but rather the sustained application of that craft over hundreds of pages by the unique combination of talents of a Defoe himself.
Such a novel is Olinda's Adventures, a brief epistolary narrative of 1693, a minor but convincing demonstration of the theory that a literary form such as the novel develops irregularly, by fits and starts, and of the truism that a superior mind can produce superior results with the most seemingly ungrateful materials. Of Defoe, Olinda's Adventures must appear a modest precursor indeed; but measured, as a realistic-domestic novel, against the English fiction of its day, it is surprisingly mature; and if we believe the bookseller and assign its authorship to a girl of fourteen, we must look to the juvenilia of Jane Austen for the first comparable phenomenon.
Olinda's Adventures seems to owe what success it had entirely to the bookseller Samuel Briscoe. It appeared in 1693 in the first volume of his epistolary miscellany Letters of Love and Gallantry and Several Other Subjects. All Written by Ladies, the second volume following in 1694.2 It may have been the nucleus of the collection, however, since it begins the volume, and since Briscoe states in "The Bookseller to the Reader" (sig. A2) that various ladies, hearing that he was going to print Olinda's letters, have sent in amorous correspondence of their own—a remark that could indicate some previous circulation in manuscript. Another edition (or issue) of the miscellany, with a slightly altered title, was advertised in 1697, but no copy of this is recorded.3 Nothing further is heard of Olinda for some years, but meanwhile Briscoe became something of a specialist in popular epistolary miscellanies, perhaps because he was a principal employer of Tom Brown, much of whose output consisted of original and translated "familiar letters." In 1718 Briscoe assembled a two-volume epistolary collection with the title Familiar Letters of Love, Gallantry and Several Occasions; this collection was apparently made up of the best and most popular items in his miscellanies of the past twenty-five years.4 Here Olinda appears in much more impressive company than the anonymous "ladies," for the collection includes the first letter of Heloise to Abelard (said to be translated by L'Estrange) with actual correspondence and epistolary fiction by Butler, Mrs. Behn, Dennis, Otway, Etherege, Dryden, Tom Brown, Mrs. Mary Manley, Farquhar, Mrs. Centlivre, and other wits. Another edition (or issue) was advertised for W. Chetwood in 1720; and if the edition of 1724 ("Corrected. With Additions") is really the sixth, as Briscoe's title-page states, Olinda must have reached a respectable number of readers.
Olinda enjoyed another distinction, nearly unique for English popular fiction before 1700. While by the middle of the eighteenth century novel-readers in France were reveling in the adventures of the English epigones of Pamela and Clarissa, defending their virtue or exhibiting their sensibility in translation, the current of literary influence before Defoe ran overwhelmingly in the opposite direction. Olinda anticipated the Miss Sally Sampsons of sixty years later by appearing in 1695 in a French translation as
While Olinda was ascribed merely to an anonymous "young lady" in the first edition, the editions of 1718 and 1724 gave it to "Mrs. Trotter." This lady, who since 1707 had been the wife of the Reverend Patrick Cockburn, a Suffolk curate, was then living in relative obscurity (her husband, having lost his living at the accession of George I, was precariously supporting his family by teaching), though she had enjoyed a certain literary success in King William's time and would later be heard from as a "learned lady" and writer on ethics. The fact that her maiden name was used, though not likely in 1718 to add very much luster to Briscoe's collection, and the similarities between the heroine's situation and Mrs. Trotter's own early life (to be discussed later) make Briscoe's attribution seem worthy of acceptance. It is true that if Mrs. Trotter wrote Olinda she did it at fourteen. But she had been a child of astonishing precocity; she had produced a successful blank-verse tragedy at sixteen, and both Lady Mary Wortley Montagu and Jane Austen were to perform similar novelistic feats (to say nothing of Daisy Ashford).
Catherine Trotter (1679-1749)6 was the daughter of David Trotter, a naval commander who died on a voyage in 1683, and Sarah Bellenden (or Ballenden), whose connections with the Maitland and Drummond families seem to have helped support her and her daughter in genteel poverty until she gained a pension of £20 per year under Queen Anne; Bishop Burnet was also her friend and patron. Catherine, a child prodigy, learned Latin and logic, and is said to have taught herself French; she extemporized verses in childhood, and at fourteen composed a poem on Mr. Bevil Higgons's recovery from the smallpox which is no worse than many "Pindarics" of the period. In 1695, however, Catherine Trotter established herself as a female wit with the impressive success of her tragedy Agnes de Castro, adapted from Mrs. Behn's retelling of an episode from Portuguese history. It was produced at the Theatre Royal in Drury Lane in December, with a prologue by Wycherley and with Mr. and Mrs. Verbruggen and Colley Cibber in the cast. The Fatal Friendship, a tragedy produced at Lincoln's Inn Fields in 1698, had a moderate success; two later plays did not. But Mrs. Trotter gained the acquaintance of Congreve, Dryden, and Farquhar, and was well enough known to be lampooned in The Female Wits (1704; acted 1696) along with Mrs. Pix and Mrs. Manley. In 1702 she turned to more serious writing, and her Defence of the Essay of Humane Understanding and other treatises defending Locke's theories against the charge of materialism were impressive enough to earn her a flattering letter from Locke himself; she also corresponded with Leibniz, who analyzed her theories at some length. The History of the Works of the Learned printed an essay of hers on moral obligation in 1743, and in 1747 Warburton contributed a preface to one of her treatises.
If we are willing to admit that Olinda is Mrs. Trotter's work, its virtues may be explained in part by seeing it as romanticized autobiography. Olinda, like Mrs. Trotter, is a wit and something of a beauty in adolescence, a fatherless child living with a prudent mother who is anxious to marry her off advantageously, and a solicitor of favors from noble or wealthy connections. Of the details of her character and circumstances at this time, however, no information is certain, and we must rely upon two presumably biased contemporary portraits. Mrs. Trotter gets off lightly in The Female Wits; she is represented (in "Calista," a small role) as being somewhat catty and pretentious, vain of her attainments in Latin and Greek (she has read Aristotle in the original, she says), but her moral character is not touched upon.7 Another account of her early life, in Mrs. Manley's fictionalized autobiography and scandal-chronicle, The Adventures of Rivella (1714), may be entirely unreliable; but its author was certainly well acquainted with Mrs. Trotter, and what she says of her life in the 1690's, what is narrated in Olinda, and what Mrs. Trotter's scholarly memoirist Thomas Birch relates are similar in outline, similar enough so that we may speculate that the same set of facts has been "improved" in Olinda, perhaps maliciously distorted in Rivella. Cleander, the Platonic friend of the novel, Orontes, the kidnapped bridegroom, and Cloridon, the inconveniently married noble lover, appear to be three aspects of the same person; for Mrs. Manley tells at length (pp. 64-71) of "Calista's" relationship with "Cleander" (identified in the "key" to Rivella as Mrs. Trotter and Mr. Tilly).8 John Tilly, the deputy warden of the Fleet prison, whose mistress Mrs. Manley became and remained until 1702, first met her, she says, through Mrs. Trotter, who sought her aid in interceding with her cousin John Manley, appointed chairman of a committee to look into alleged misdemeanors of Tilly as prison administrator. Mrs. Trotter, says Mrs. Manley, was a prude in public, not so in private; she was the first, "Cleander" said, who ever made him unfaithful to his wife. Mrs. Manley goes on, with a tantalizing lack of clarity (pp. 101-102):
[Calista's] Mother being in Misfortunes and indebted to him, she had offered her Daughter's Security, he took it, and moreover the Blessing of one Night's Lodging, which he never paid her back again.... [Calista] had given herself Airs about not visiting Rivella, now she was made the Town-Talk by her Scandalous Intreague with Cleander.
Whatever the truth about Mrs. Trotter's adolescent amours may have been, or whether they have any connection with Olinda's fictional ones, must remain a matter for speculation; but the artistic merits of Olinda are in no such doubt. Although technically it may be called an epistolary novel, its author is no Richardson in marshalling the strategies of the epistolary technique. Nevertheless, although it is actually a fictional autobiography divided somewhat arbitrarily into "letters," the postponement of the letter to Cloridon until the end, the introduction of what might be called a subplot as Olinda tries to promote Cleander's courtship of Ambrisia and notes its progress, the breaking off of the letters at moments of (mild) suspense,
Perhaps the most salient qualities of Olinda, in contrast to the fiction of its day, are restraint and control. With the exception of the rather ridiculous way in which the complications are resolved at the end (Orontes's sequestration and death from smallpox), everything in the novel is planned and motivated with some care. Inclinations develop slowly and believably; the springs of action, barring a few not very fantastic coincidences and accidents, are anti-romantic—almost too much so. Indeed, such criteria of the "modern novel" as those proposed by Ian Watt9 are all modestly but adequately met. Most important, the situation and behavior of the heroine, her values, and the world in which she lives are (but for their sketchy development) what a reader of Jane Austen might take for granted, yet are all but unique before 1740.
Here is a middle-class heroine who is fully as moral as Pamela, but with a wry sense of humor; she defers to her mother as a matter of course when marriage is in question, yet would willingly evade parental decrees; she is capable of Moll Flanders's examinations of motive, yet sees through her own hypocrisies; she lives in London in reduced circumstances and agrees to a marriage of convenience although tempted to engage in a dashing adultery; and she endures the onset of both love and jealousy without melodramatic or sentimental posturings.
Other technical achievements of Olinda aside, the portrait of the heroine as she reveals herself to her confidant is the novel's most significant feature. A fictional heroine of this early date who can be sententious without being tedious, who is moderately and believably witty, who is courted by a goldsmith (even though, conformably to the times, he is named Berontus) rather than a prince borrowed from Astrée, and who satirizes herself soberly for scorning him, who meets her ideal lover with a business letter rather than in a shipwreck, and who level-headedly fends him off because he is both married and a would-be philanderer, is a rarity indeed.
Olinda commends itself to the student of English literary history principally for two reasons: because it so ably anticipates in embryo so many features which the English domestic and realistic novel would develop in its age of maturity and popularity, and because we do not yet understand, and need to investigate, the cultural factors—literary, social, and economic—which prevented the kind of achievement it represents from being duplicated with any frequency for several decades.
Queens College,
City University of New York
NOTES TO THE INTRODUCTION
1. Walter Allen, The English Novel (New York, 1968), p. 4.
2. Advertised in the Term Catalogues, Trinity Term, 1693 (II, 466); Wing L1784, L1785.
3. It is listed in Harold C. Binkley, "Letter Writing in English Literature" (unpublished Harvard dissertation, 1923).
4. They included Familiar Letters [of] Rochester (2 vols., 1697), Familiar and Courtly Letters [of] Voiture (2 vols., 1700), A Pacquet from Will's (2nd ed., 1705), The Works of Mr. Thomas Brown (2-4 vols., 1707—), and The Lady's Pacquet of Letters (1710). Briscoe was not in every case the printer of the first edition.
5. "A Cologne. Chez *****. MDCXCV." A copy of the volume is in the Bibliothèque de l'Arsénal in Paris.
6. See DNB, s. v. "Cockburn, Catherine"; Edmund Gosse, "Catharine Trotter, the First of the Bluestockings," Fortnightly Review, N. S., No. 594 (June 1916), pp. 1034-1048; Alison Fleming, "Catherine Trotter—'the Scots Sappho,'" Scots Magazine, XXXIII (1940), 305-314. The source from which all three are derived is Thomas Birch's The Works of Mrs. Catherine Cockburn (2 vols., 1751), including letters and a prefatory biography.
7. The play is reproduced in the Augustan Reprint Society's Publication No. 124 (Los Angeles, 1967), with an introduction by Lucyle Hook.
8. Page references are to the "second edition" of 1715. See Paul B. Anderson, "Mistress Delariviere Manley's Biography," MP, XXXIII (1935-36), 270-271, for further details.
9. The Rise of the Novel (London, 1957), Chapter I.
BIBLIOGRAPHICAL NOTE
The text of this facsimile of Olinda's Adventures (from the second volume of Familiar Letters of Love, Gallantry and Several Occasions [1718]) is published with the permission of the Trustees of the Newberry Library. The unique recorded copy (in the Bodleian Library) of the duodecimo first edition of 1693 is too small and too
Olinda's Adventures:
OR THE
AMOURS
Of a Young LADY.
By Mrs. TROTTER.
Letter I.
Dear Cleander,
I Hope I need not tell you how uneasie this tedious Absence makes me; for I must confess as troublesome as I find it, and as much as I Value you, I can't but wish you may be able to guess at it by what you suffer your self: A strange Effect of the highest degree of Friendship; for if I had less for you, I shou'd not so earnestly desire to hear you are in Pain; but such Contradictions are no Mysteries to you, who understand so well the little Niceties of Friendship. That you may see I study nothing more in this Solitude than to oblige you; I've resolv'd to employ most part of my time in complying with that Request you've often made me, of giving you a particular account of all that has happen'd to me in my Life; tho' I fear I shall lose part of that Esteem which you have hitherto preserved for me, by acquainting you with some Passages of it, which yet I hope have nothing in 'em so ill, that the kindness of a Friend mayn't find out something in the Circumstances of the Story to Excuse: For tho' perhaps I have not always been so nicely cautious as a Woman in strictness ought, I have never gone beyond the bounds of solid Virtue. To put all to the hazard then, I will give you a faithful Account of all my Weaknesses. My Father dying, left me when I was very young, to the Tuition of a Mother, who as you know is qualify'd for such a Charge equal to any of her Sex; and she indeed perform'd her part as well as her small Fortune wou'd permit her, which was scarce sufficient to maintain her, in that Rank her Birth had placed her. However, she gave me all the Education that was necessary; but I believe you'll excuse me if I pass over all that occurr'd till I was Thirteen, for about that time I began to fancy my self a Woman, and the more to perswade me to it, I happen'd to be acquainted with a Gentleman whose Name was Licydon, who the first or second time I saw him, seem'd to have so much confidence in me, that he told me a long story of his Love, and ever after shew'd me all the Letters he either Writ to, or received from his Mistress: This you must think did not a little please me. and I thought my self as Wise as the Gravest Politician, when he ask'd my Advice in any of his Affairs, especially when I heard him commended by many for a Man of great Parts. One day that we were by our selves, we fell into a Discourse of Womens making Love; he Argu'd that 'twas very unjust to deprive 'em of the satisfaction of discovering a Passion, which they were as much subject to as Men: I said as much against him as I cou'd, but he had more dexterity to manage his Argument than I; so that I was easily brought to agree with him; but said 'twas well that custom was observ'd, since the complaisance which was paid by their Sex to ours, would sometimes oblige 'em to comply contrary to their Inclination; for I cou'd not imagine how they cou'd civily refuse a Lady's Intreaties. He told me if I wou'd write a Declaration of Love to him, he wou'd shew me how it might be Answer'd with a great deal of Respect, without any Love. I consented to do it, and accordingly did the next day, and he return'd me an Answer which satisfied me: This, tho' it may seem a trivial thing, you will find by the sequel, had like to have produc'd but ill Effects. Some time after this, he brought a Friend of his to Visit us, who was of a good Family; but according to the English custom of breeding the younger Sons to Trades; he was a Goldsmith, but a great Beaux, and one who seem'd to have a Soul above his calling: He ask'd Licydon if he had any pretensions to me, which when he assur'd him he had not, he told him he was very glad he had not a Rival in a Friend; for he was hugely smitten, and shou'd need his Assistance in his design; for he had observ'd such an intimacy between us, as gave him Reason to think he had great influence over me; and he was sure he wou'd not deny him, if he was not my Lover. Licydon assur'd him he had only a Friendship for me, and that he wou'd use all his Credit with me to perswade me to receive all His Addresses favourably; which he did as soon as he had an opportunity. He said all of him that he could imagine most engaging, and especially of the Violence of his Passion. I was well enough pleas'd with the Love, tho' not with the Lover; for 'tis natural at that unthinking Age to covet a croud of Admirers, tho' we despise them: But I believe I need not confine that Vanity to Youth, many of our Sex are troubled with it, when one wou'd think they were Old enough to be sensible of the Folly, and inconvenience of being continually Courted, and haunted by Men they have an indifference, or perhaps an aversion for For my part I think there is no greater Torment; but I was of another Opinion then, and therefore Rally'd at the Love, and seem'd not to blelieve it; which I warrant you gave great Encouragement to my new Lover, when he heard of it; for 'tis a great Sign one wou'd be convinc'd. So I'd best prepare my self for an Attack, which I did not expect long: It was begun by a Billet Doux, which came first to my Mother's Hands; and when she gave it me, she ask'd what Answer I wou'd return. I told her I was wholly to be Govern'd by her; but if I was to follow my own inclination I wou'd not answer it at all: My Mother reply'd, she thought it fit I shou'd Answer it; for she believ'd I cou'd have no aversion to him, and she did not think it an ill Match, considering my Circumstances. Then I desir'd her to indite a Letter for me, for I saw well enough I shou'd not please her. She gave me a Copy of one, that without saying any thing that was kind, gave him cause enough to despair; but I cou'd not dissemble my Looks and Actions, in which he observ'd so much Coldness, that tho' several Letters pass'd between us, that wou'd have given hopes to a Man the least apt to presume; he was often half an hour with me alone, without speaking one Word to me. At last he complain'd to Licydon of the strange contradictions in what I did, and what I Writ; for whenever he begun to speak to me of his Love, I check'd him with such severe Looks, and turn'd the Discourse in such a manner, that he durst proceed no further, tho' my Letters seem'd much to his Advantage. Licydon perswaded him (as perhaps he thought himself) that 'twas only my Modesty, and that perhaps I shou'd be more emboldned, if he cou'd get my Mother's consent to his Proposals. Berontus, for that was his Name, was as well satisfy'd with this, as if I had told him so my self; and away goes he immediately to my Mother, and tells her he's stark staring mad in Love with her Daughter: The next thing they
Wou'd to Heaven you had told me Truth, when you said you were too young to think of Love; you have thought of it too much Olinda, for my quiet; but you were born to Torment me. It is my Fate, why do I complain of you? Pity me, if I fall by my happy Rivals Hand, and if you can, forgive me if I survive him. This is the last time I design to trouble you: I wish he may be more faithful to you than he has been to me: Adieu, Madam, pity the unfortunate Berontus.
The Letter seem'd so full of Distraction, that I cou'd not chuse but pity him; for I really thought him Mad: But I did not think fit to shew Licydon that which was design'd for him. When he was gone I sent for Berontus, but he refus'd to come, and 'twas with much ado after three or four times sending he was prevail'd with. I told him by what means I had seen both his Letters; but that they appear'd so great Mysteries to me, that I sent for him to explain 'em. 'Twas long before he wou'd let me know the Cause of his suspicions; but I was so importunate, that at last he show'd me the Love Letter I had writ to Licydon: Can I have a greater Proof than this, says he? I confess, reply'd I, you have Reason to think as you do; but you are much deceiv'd; and then I told him upon what occasion it was writ: I saw very well he did not believe me, and I knew not how to convince him, unless I cou'd find Licydon's Answer, which at least wou'd clear him. I found it by good Fortune, and brought it to Berontus. Read this, said I, and you'll see whether it be true, that I Writ to
Thus Cleander, you have an account of the first Adventures of my Life; which made me early know some uneasie Hours: By the next Post I'll acquaint you with a Catalogue of Lovers (that is, they were my En passant, in taking their Rounds, and serv'd better to divert me than the most Romantick Constancy, without giving themselves, or me any trouble) but it's indeed time to make an end. Adieu my Friend, think of me always, and, Write as often as you can to Olinda.
M. Vdr Gucht Sculp
Olinda.
Vol. 2pag. 136
Letter V.
TO proceed in Order to my Relation, I must begin with one, who in respect of his Years as well as the time in which I knew him, demands the Pre-eminence. He was a Dutch Coll. about Threescore; Don't you think one of his Country and Years, will make a pretty Lover? But Old as he was, he had a Mistress in the House with him. I was younger than she, and I believe I may say, without Vanity, I had some other Advantages over her; so that the Old Spark had a Month's mind to me; and I, partly to plague her, and partly to divert my self, received all his Addresses with a great deal of complaisance. I cou'd perceive her fret within her self, tho she durst not shew it. She was in great fear of losing him; for the Man's Money had such Charms as aton'd for his want of 'em, tho' he was Ugliness in perfection; (if that ben't Nonsense) and 'twas the best Jest in the World to me, to see him squint an Amorous Glance upon me with one Eye, whilst 'tother was watching whether she took Notice of him; for we Lodg'd in one House together; so that I cou'd not avoid often being with them both, nor indeed did I endeavour it; for I took a malicious pleasure in laughing at their Follies: Since there's nothing so ridiculous as an Antiquated Lover, who has the Vanity to believe he is belov'd, and a Jealous Woman, who has not Discretion enough to hide it. That I might be sufficiently entertain'd with both, one day I began a Discourse of Young and old Lovers, preferring the last as more Constant, more Fond, and more Solid than the First: He Smil'd, and took me by the Hand, and gave me a thousand Commendations for the Wisdom of my choice; Nay, and so far forgot himself, that he apply'd it to himself, and said such passionate things as wou'd have been extravagant from a young Fellow. She with a great deal of Heat contradicted all I had said, and told all the Impertinences and Inconveniences one finds in an Old Man (which she experimentally knew better than I) without considering how far it touch'd him, she was so earnest against me. This made him so Angry, and her so out of Countenance when she reflected so upon what she had said, that I was never better diverted: So she did not know what Excuse to make for her self; and in fine, the Dispute grew so high, that at last they parted. Upon this the Coll. was hotter upon me than ever; he pester'd me continually with his Visits, and the Brute so little understood my Raillery, that he pretended an Interest in me, and wou'd check me when he saw any body younger than himself with me; but I gave him such Answers, that he did not know what to make of me. When he had Orders for Flanders, he told me I must prepare my self to go with him, and I should live as great and happy as a Queen; I said I wou'd go withal my Heart, upon Condition his Son should be always with us: The Old Man started, my Son, Child, what would you do with him? I think he is fitter company for me than you, says I, and so I left him, so asham'd, that he shunn'd seeing me ever after. He e'en went to Flanders without me, and vow'd, young as he was, he wou'd never have any thing to do with Woman more. Thus I was rid of my Old Impertinent, whose place was soon supply'd by one of those gay youths who never wait for the slow gifts of pity, but Ravish little Favours from us, as if they were their due; who make it impossible for us to think it a Crime to give what they ask with so much boldness; and who are always endeavouring to divert her they design to please. He Courted me with Balls, Musick, and Entertainments, and in the midst of 'em wou'd now and then whisper some pretty Love Maggots. I was first acquainted with him at a Relations of mine at Greenwich: He was an Officer in the Army, and was then in the Camp upon Black-Heath; and being very well known in the House where I was, he came often there. He had heard several things of me to my Advantage, (for Fame generally flatters or
Your faithful Friend
Olinda.