plot, each incident and dialogue tending to the completion of the plan; and so ingeniously does she sometimes contrive the story, that the most experienced novel-reader is taken by surprise in the unforseen denouement. Like all who write much, she has produced books of very unequal merit, but the best exhibit both tenderness and wit; and what must be highly commended, because more rare in Flinch novels, there is nothing extravagant in sentiment or offensive to morals to be found in her works. An able English critic has truly said, "Madd, me Charles Reybaud, little known to English readers, is a good and captivating writer of considerable ability. Her numerous productions may be perused without fear by the conscientious and scrupulous reader. We are doing them a service in recommending this interesting author to their notice. She will cheer many a winter evening, and the pleasant languor of a July noon; she will occupy very agreeably the odd hour between the return from the drive and the appearance at the dinner-table. Her intentions and tendencies are good; her sentiments very sweet and delicate; a strong sense of religious and moral responsibility evidently pervades her mind. She introduces her readers to the antique relics of that beautiful and graceful aristocracy—let us give all their due—which was destroyed by the first French revolution."
We subjoin the titles of her most popular works, commending as our favourites, "Les deux Marguerites," "Sans Dot," and "Espagrioles et Françaises." The others are,—"Etona Marianna," "Fabiana," "Geraldine," "Lena," "Madame de Rieux," "Mademoiselle de Chazeuil," "Marie d'Enambue," "Mèzelie," "Misé Brun." "La Pauvre Paysanne," "La Petite Reine," "Romans du Cœur," and "Valdepeiras."
RICCOBONI, MARTE LABORAS-MEZIERES,
Was born at Paris, in 1714. She married Luigi Riccoboni, an actor, and also an author of several successful comedies, and of various works on the literature of the drama. He was considered the first among the Italian comedians, but he retired from the stage, owing to religious scruples. His wife contributed, by her taste and her advice, to the success of his productions. Before Madame Riccoboni, the novels of the Abbé Prevost enjoyed a great reputation; doubtless these gave the impulse to this lady when she timidly presented to the public works of the same description, but which were destined entirely to eclipse the tedious commonplaces and unnatural incidents which make up the "Deau of Coleraine," the "Adventures of a Man of Quality," etc.
Madame Riccoboni has written quite a numerous collection of fictitious histories, the least interesting of which would not suffer in comparison with any of the contemporary novels; the best is usually considered to be "Juliette de Catesby;" it is written with grace and vivacity, the thoughts are true and well expressed, and the details natural and interesting. She also translated Fielding's "Amelia," and made a continuation of Marivaux's "Mariane," with a most successful imitation of the style and manners of that author. Madame Riccoboni died in poverty, at the age of sixty-eight, in 1762 With her abilities, her worth, and her amiable disposition, she deserved a happier fate.
