just after the Jacobite rising of 1745. This happened again with A Letter from H---- G----g, Esq. (1750). She grew more directly political in The Invisible Spy (1755) and The Wife (1756). Translations Haywood published eight translations of popular continental romances: Letters from a Lady of Quality (1721, translating Edme Boursault's play), The Lady's Philosopher's Stone (1723, translating Louis Adrien Duperron de Castera's historical novel), La Belle Assemblée (1724–1734, translating Madame de Gomez's novella), Love in its Variety (1727, translating Matteo Bandello's stories), The Disguis'd Prince (1728, translating Madame de Villedieu's 1679 novel), The Virtuous Villager (1742, translating Charles de Fieux's work), and with William Hatchett, The Sopha (1743, translating Prosper Jolyot de Crébillon's novel). Critical reception Haywood is notable as a transgressive, outspoken writer of amatory fiction, plays, romance and novels. Paula R. Backscheider claims, "Haywood's place in literary history is equally remarkable and as neglected, misunderstood, and misrepresented as her œuvre" (p. xiii intro drama). For a time Eliza Haywood was more frequently noted for appearing in Alexander Pope's The Dunciad rather than on her literary merits. Though Alexander Pope centred her in the heroic games of The Dunciad in Book II, she was in his view "vacuous". He does not dismiss her as a woman, but as having nothing of her own to say – for her politics and implicitly for plagiarism. Unlike other "dunces", Pope's verdict does not seem to have caused her subsequent obscurity. Rather it was as literary historians came to praise and value the masculine novel and most importantly dismiss the courtship novel and novels of eroticism that she was upstaged by more chaste or overtly philosophical works. In The Dunciad, booksellers race to reach Eliza, their reward to be all of her books and her company. In Pope's view, she is for sale, in other words, in literature and society. As with other "dunces", she was not without complicity in the attack. Haywood had begun to make it known that she was poor and in need of funds; she seemed to be writing for pay and to please an undiscerning public. In the conclusion to Old Mortality (1816), one of Walter Scott's comic characters references Haywood's Jemmy and Jenny Jessamy (1753) as a model of pathos. Editors suggest the novel had become something of a joke in literary circles by the late 18th century. Eliza Haywood is seen as "a case study