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By de Boer.

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But it is with authors possessed of a very clear and pre-formed personal agenda that one cannot help feeling that the Jacobin novel was an excuse, and soon a clich´e, frequently commandeered merely as a serviceable horse on which to ride into their own private battles.  Whether genuinely felt, or designedly constructed, however, enmity towards Jacobin novels remained an essential component of the antiJacobin novel long after its dominance had been established. It was its raison d’ˆetre and its vindication, and it never forgot it.

It was without their knowing it that these guileless readers would be drawn into iniquity, which made not Jacobinism itself, however reprehensible, the primary object of reproach, but its transmission through fiction. Nowhere is this made clearer than in Modern Literature, the hero of which, William Hamilton, reads the philosophical treatise of one ‘St Leon’ – that is to say Godwin’s Political Justice – and, being an educated and sensible man, immediately spots its many errors. The danger only arises when a narrative – Caleb Williams – appears in its support: Subtle sophistry alone could hardly establish the inutility of criminal justice, but an affecting fable, setting forth the punishment of innocence and escape of guilt, strongly interests the feelings; and the emotions of the heart are mistaken for the conclusions of the head.

In any case, what is clear is that Smith was attempting to seize the moral high ground, claiming that she was dealing only with truth whilst others – the fanatical enemies of the Revolution whom she claims have been paying to have events in France misrepresented – are forced to fictionalise that which they wish to condemn. It was doubtless this same faith in the power of truth, and distrust of falsification, that convinced other radically inclined authors not to attempt vindicatory fictionalised representations of the Revolution.

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