was employed by three of them independently to compose love-letters.
In 1706 he was bound apprentice to John Wilde, a stationer, and served an exacting master faithfully. He managed to employ his brief leisure in reading and in carrying on a correspondence with ‘a gentleman of ample fortune,’ who, ‘had he lived, intended high things for me.’ These letters were burnt at his correspondent's desire, and it does not appear who the gentleman was. After serving his time, Richardson worked for some years as compositor and corrector of the press at a printing office, and in 1719 took up his freedom and started in business—first in Fleet Street, and soon afterwards in Salisbury Court, where he lived for the rest of his life. He is mentioned as of ‘Salisbury Court’ in 1724, when he was one of the printers ‘said to be high-flyers’ (Nichols, Lit. Anecd. iii. 311). He married Martha, the daughter of Allington Wilde of Aldersgate Street, another ‘high-flying’ printer (whom Mrs. Barbauld confuses with his master, John Wilde). In 1723 he printed the first six numbers of the ‘True Briton,’ a violent opposition paper, for the Duke of Wharton, and is conjectured to have written the last number himself (ib. iv. 580). He appears, however, to have been prudent enough to avoid libellous publications. He had some connection with Arthur Onslow [q. v.], who in 1728 became speaker, and through Onslow's interest he was entrusted with printing the ‘Journals’ of the House of Commons. He ultimately printed twenty-six volumes, and he mentions that a sum of 3,000l. was due to him at one time upon this account. He also, in 1736–7, printed the ‘Daily Journal,’ and in 1738 the ‘Daily Gazetteer.’ He had clearly not allowed his high-flying principles to interfere with his business. Some noblemen and authors formed in 1736 ‘a society for the encouragement of learning,’ and appointed him to be one of their printers. The society, which was intended to make authors independent of publishers, and was looking out vainly for a man of genius to start their business, soon collapsed (ib. ii. 90–5).
In 1739 two booksellers, Rivington and Osborne, proposed to Richardson that he should write a volume of familiar letters as patterns for illiterate country writers. He remembered, as he says, an anecdote which he had heard from a friend, and made the incidents a theme for the imaginary letters. In this way ‘Pamela’ was composed between 10 Nov. 1739 and 10 Jan. 1740. A similar story by Hughes in the ‘Spectator’ (No. 375) has been supposed to have given the hint. It was published by the end of 1740 (Correspondence, i. 53), and made at once a surprising success. It was soon translated into French and Dutch, and numerous English correspondents rivalled each other in eulogy. It was recommended from the pulpit; one writer placed it next to the bible, and ladies at Ranelagh held it up to their friends to show that they were not behindhand in the study. A spurious continuation, called ‘Pamela in High Life,’ was published, and Richardson was induced to add two volumes of his own of inferior merit. Warburton wrote to him (28 Dec. 1742) conveying praises from Pope and himself, and giving hints for future applications of the scheme. Richardson's correspondence shows that at a later time he felt little esteem for either of these great authorities. He was exceedingly provoked when Fielding ridiculed his performance in ‘Joseph Andrews,’ and ever afterwards spoke very bitterly of his rival, even to his rival's sisters. The contrast between the two men sufficiently explains Richardson's judgment without laying too much stress upon the merely personal resentment. Goldoni turned the novel into two plays—‘Pamela Nubile’ and ‘Pamela Maritata.’ It was also dramatised by James Dance, alias Love [q. v.], in 1742.
Richardson was beginning his next novel, ‘Clarissa Harlowe,’ in 1744 (ib. i. 97, 102). It was being read by Cibber in June 1745 (ib. ii. 127). The first four volumes, with a preface by Warburton, appeared in 1747, and the last four were published by the end of 1748 (ib. iv. 237). It eclipsed ‘Pamela,’ and very soon won for him a European reputation. In 1753 Richardson says that he had received from the famous Haller a translation into German, and that a Dutch translation by Stinstra was appearing (ib. vi. 244). There was a French translation, with omissions ‘to suit the delicacy of French taste,’ by the Abbé Prevost, and a fuller one afterwards by Le Tourneur. It brought Richardson a number of enthusiastic correspondents, especially Lady Bradshaigh, wife of Sir Roger Bradshaigh of Haigh, near Wigan. She began by anonymous letters of unbounded enthusiasm, though professing little acquaintance with literature. When he sent her his portrait, she changed her name to Dickenson, that she might not be supposed to correspond with an author. This was possibly the portrait which was afterwards in possession of ‘long’ Sir Thomas Robinson at Rokeby, who had a star and a blue riband painted upon it and christened it ‘Sir Robert Walpole,’ to fit it for aristocratic company (Southey's Life and Correspondence, iii. 347). Lady Brads-
