LOVE in Excess;| OR THE| FATAL ENQUIRY,| A NOVEL.| [rule]| Part the Second.| [rule]| Each Day we break the bond of Humane Laws| For Love, and vindicate the common Cause.| Laws fo Defence of civil Rights ar plac'd, (waste| Love throws the Fences down, and makes a General| Maids, Widows, Wives, without distinction fall,| The sweeping deluge Love comes on and covers all.| [rule]| By Mrs. HAYWOOD.| [rule]| [vignette]| [rule]| LONDON:| Printed for W. CHETWOOD, at Cato's-Head under| Tom's Cofee-house, in Russel-street, Covent Garden,| and Sold by J. ROBERTS in Warwick-Lane, Price 2 s.| Where may be had the first Part of Love in Excess;| and the Spaniard, or Don Zara del Fogo, a New| Romance, Just Publish'd.
Titlepage/  pp. 2 poem praising Mrs. Eliz. Haywood "on her Novel"; first signed: Richard Savage/ p.-111/ 8°.
cf. 1st vol. (1719).
Forts. des ersten Teil 1719 - D'Elmont wird Vormund von Melliora, verliebt sich in sie, sie kann nicht umhin, zu erwidern. Alovisa bemerkt, wie die Gefühle ihres Gatten schwächer werden, vermutet in Melantha die zu fürchtende Rivalin, was für eine komödienhafte Szene im Hause von Melanthas Bruder ausreicht, der hinwiederum hofft, er könne an Alovisa herankommen, wenn ihm ein Arrangement gelingt, bei dem sie ihren Gatten mit Melliora inflagranti erwischt. Die Intrige endet chaotisch, da Melantha sich in das Bett bringt, in dem D'Elmont Melliora vermutet, sie wird am Ende mit dem entsetzten Count entdeckt. Noch chaotischer ist die Schlußszene, in der Alovisa Melanthas zudringlichen Bruder ermordet und dann im Dunklen in den Degen des herbeieilenden Gatten rennt. Ausgiebiges "languishing" D'Elmonts und Mellioras mit mehreren Momenten, in denen in letzter Sekunde störende Dritte die Erfüllung all der ruinösen Sehnsuchte verhindern. Melliora geht ins Kloster, D'Elmont auf Reisen, Melantha heiratet und bringt ein Siebenmonatskind zur Welt.
cf. 1st vol. (1719).
Amenas Schicksal wird vervollständigt: Sie schreibt einen Brief an D'Elmont kurz bevor sie den endgültigen Eintritt ins Kloster vollzieht – Ein Wort der Liebe, das sie von ihm verlangt, wiewohl sie weiß, daß er verheiratet ist, könne alles aufhalten. Er schreibt ein ungefähres Wort solcher Liebe, sein Brief wird jedoch von Amena abgefangen, was Amenas Schicksal besiegelt.
Alovisa bemerkt nicht, wen ihr Mann da tatsächlich liebt: Melliora. Die Beziehungen spitzen sich auf dem Sommersitz zu <p.32 ff.> Ein benachbarter Baron ermuntert den Graf, den Angriff auf Melliora zu versuchen – Sie soll »Sacrifice of Lovelso muß er mit seiner Frau ihr einen Besuch abstatten, den er nutzen kann, von beiden unbeobachtet Wachsabdrücke der Schlüssel zu nehmen. Ganz ausführlich kommt dann <p.47> die große Bettszene – er nächtens in Mellioras Zimmer – die Szene wird langfristig angelegt, die ganze Schlüsselbeschaffung ist schon so etwas wie ein Vorspiel; er nun hat sich eine Entschuldigung nächtlicher Abwesenheit verschafft, ist ausgeritten und nun heimlich zu seinem eigenen Wohnsitz zurückgekehrt:
[...] his Desires made him not spare the Horse, which he tied by the Bridle, hot, and foaming, as he was, to a huge Oak which grew pretty near his Garden, it was Incompassed only with a Hedge, and that so low, that he got over it without any Difficulty: He look'd carefully about him, and found no Tell-tale lights in any of the Rooms, and Concluding all as hush'd as he cou'd wish, opened the first Door, but the Encreasing Transports of his Soul, as he came up the Stairs, to be so near the end of all his Wishes, are more easily Ima-|<47>gined than Expresst, but as violent as they were, they presently receiv'd a vast Addition, when he came into the happy Chamber, and by a most Delightful Gloom a Friend to Lovers; for it was neither Dark nor Light, he beheld the lovely Melliora in her Bed, and fast asleep, her Head inclin'd on one of her Arms; a Pillow softer and whiter far than that it lean'd on, the other was strech'd out, and with its Extention had thrust down the Bed-Cloths so far, that all the Beauties of her Neck and Breast appear'd to view. He took an inexpressible Pleasure, in gazing at her as she lay, and in this silent Contemplation of her Thousand Charms, his mind was Agitated with various Emotions, and the resistless posture he beheld her in, rouz'd all that was Honourable in him, he thought it pity even to wake her, but more to wring such Innocence, and he was sometimes Prompted to return and leave he as he found her.
But whatever Dominion, Honour, and Virtue may have over our waking Thoughts, 'tis certain that they fly from the clos'd Eyes, our Passions then exert their forceful Power, and that which is most Predominant in the Soul, Agitates the fancy, and brings even Things Impossible to pass: Desire, with watchful Diligence repell'd, returns with greater violence in unguarded sleep, and overthrows the vain Efforts of Day. Melliora in spite of herself, was often happy in Idea, and posesst a Blessing, which shame and Guilt, deter'd her from in reality. Imagination at this time was Active, and brought the Charming Count much nearer then indeed|<48> he was, and he, stooping to the Bed, and gently laying his Face close to her's, (Possibly Designing no more than to steal a Kiss from her unperceiv'd) that Action, Concurring at that Instant, with her Dream, made her throw her Arm (still Slumbering) about his Neck, and in a Soft and Languishing Voice, Cry out, O! D'elmont Cease, cease to Charm, to such a height –––– Life cannot bear these Raptures! –––– And then again, Embracing him yet closer, ––––– O! too, to Lovely Count ––––– Extatick Ruiner!
Where was now the Resolution he was forming some Moments before? If he had now left her, some might have applauded an Honour so uncommon; but more wou'd have Condemn'd his Stupidity, for I believe there are very few Men, how Stoical soever they pretend to be, that in such a tempting Circumstance wou'd not have lost all Thoughts, but those, which the present opportunity inspir'd. That he did, is most certain, for he tore open his Waistcoat, and joyn'd his panting Breast to her's, with such a Tumultuous Eagerness! Sez'd her with such a Rapidity of Transported hope Crown'd Passion, as immediately wak'd her from an imaginary Felicity, to the Approaches of a Solid one. Where have I been? (said she, just opening her Eyes) where am I? –––– (And then coming more perfectly to her self, Heaven! What's this? –––– I am D'elmont (Cry'd the Ore!joy'd Count) the happy D'elmont! Melliora's the Charming Melliora's D'elmont! Oh, all ye Saints (Resum'd the surpriz'd Trem-|<49>bling fair) ye Ministring Angels! Whose Business 'tis to guard the Innocent! O! say, how came you here, my Lord? Love, said he, Love that does all, that Wonder-Working Power has sent me here, to Charm thee, sweet Resister, into yielding. O! Hold, (Cry'd she, finding he was proceeding to Liberties, which her Modesty cou'd not allow of) forbear, I do Conjure you, even by that Love you plead before my Honour, I'll resign my Life! Therefore, unless you wish to see me Dead, a Victim to your Cruel, fatal Passion, I beg you to desist, and leave me: ––– I cannot –– Must not (answer'd he, growing still more Bold) what, when I have thee thus! Thus naked in my Arms, Trembling, Devenceless; Yielding, Panting with equal Wishes, thy Love Confest, and every Thought, Desire! What cou'dst thou think if I shou'd leave thee? How justly wou'dst thou scorn my easie Tameness; my Dulness, unworthy of the Name of Lover, or even of Man! –––––– Come, come no more Reluctance (Continu'd he, gathering Kisses from her soft Snowy Breast at every Word) Damp not the fires thou hast rais'd with seeming Coiness! I know thou art mine! All mine! And thus I –– Yet think (said she Interrupting him, and Strugling in his Arms) think what 'tis that you wou'd do, nor for a Moments Joy, hazard your Peace for Ever. By Heaven, cry'd he: I will this Night be Master of my Wishes, no matter what to Morrow may bring forth: Asson as he had spoke these Words, he put it out of her Power either to deny, or to Reproach him, by stopping her Mouth with Kisses, and was just on the point of|<50> making good what he had vow'd, when a loud knocking at the Chamber Door, put a stop to his Beginning Extacy, and chang'd the sweet Confusion, Melliora had been in, to all the Horrors of a shame and guilt Distracted Apprehension: [...] <p.46-50>
Vielerlei Beobachtungen – da ist die Reflexion über die Dinge die sich nicht verdrängen lassen, und gegebenenfalls im Traum umso stärker wieder auftauchen; da ist diese Leseranrede mit dem Apell an das Urteil der Welt selbst in diesem privaten Moment. Dann erotische Untertöne – of a Solid one. Die Szene blieb ohne die letztendliche Erfüllung. Die Freundin Mellioras, Melantha, die dazwischenkam, will dem Count, den sie im Garten gesehen hatte etwas aufziehen, denn sie vermutet, daß er von irgendeiner Liebhaberin unerfüllt heimkehrte – eben diese überredet Melliora in den Garten zu gehen und dort den Grafen zu suchen, man trifft ihn und spaziert etwas herum, Melantha ahnt nicht, wie nah sich der Graf und Melliora sind, und so offenbart die Autorin, wie es nun um Mellioras Gefühle aussieht:
As they were passing thro' a walk with Trees on each side, whose Intermingling Boughs made a Friendly Darkness, and every thing Undistinguishible, the Amorous D'elmont throwing his eager Arms round the wast of his (no less Transported) Melliora, and Printing Burning Kisses on her Neck, reap'd painful Pleasure, and Created in her, a Racking kind of Extasie, which might perhaps, had they been now alone, prov'd her desires were little different from his. <p.56>
Eine heroisch erotische Szene, da sie das Schlüsselloch verstopft hat und er nicht in ihr Closet kommt:
[...] after trying several ways, she tore her Hankerchief into small pieces, and thrust it into the hole with her Busk, so hard that it was Impossible for any Key to enter.
Melliora thought she had done a very Heroick Action, amd sat herself down on the Bedside in a pleas'd Contemplation of the Conquest, she believ'd her Virtue had gain'd over her Passion: But Alas! How little did she know the true State of her own heart? She no sooner heard a little noise at the Door, as presently after she did, but she thought it was the Count, and began to tremble, not with fear, but desire. <p.67>
Fortsetzung Teil 3 (1720).