History of Gillian of Croydon.”  After a long summary of the contents in small type came the statement, “The Whole done much after the same Method as those celebrated Novels, By Mrs. ELIZA HAYWOOD,” the forged author’s name being emphasized in the largest possible type in the hope that a cursory glance at the title-page might deceive a prospective buyer.[17] Of her forty publications before 1728 only fifteen, of which five from their libelous nature could not be acknowledged, failed to sail openly under her colors.  Only once did she employ any sort of pseudonym, and only in one case was her signature relegated to the end of the dedication.[18] A word of scorn from the literary dictator, however, was enough to turn the taste of the town, not indeed away from sensational and scandalous fictions, but away from the hitherto popular writer of them.  Eliza Haywood was no longer a name to conjure with; her reputation was irretrievably gone.  It was no unusual thing in those days for ladies in semi-public life to outlive several reputations.  The quondam Clio had already found the notoriety of that name too strong for her comfort, and had been rechristened Mira by the dapper Mr. Mallet.[19] Instead of adopting some such expedient Mrs. Haywood found it more convenient simply to lapse into anonymity.  Of the four novels published within a year after “The Dunciad” none bore her name on the title-page, though two had signed dedications and the others were advertised as by her.  Not one of them was re-issued.  The tragedy “Frederick, Duke of Brunswick-Lunenburgh,” known to be of her make, was a complete failure, and “Love-Letters on All Occasions” (1730) with “Collected by Mrs. Eliza Haywood” on the title-page never reached a second edition.  Both her translations from the French, “L’Entretien des Beaux Esprits” (1734) and “The Virtuous Villager” (1742), were acknowledged at the end of the dedications, and both were unsuccessful, although the anonymous predecessor of the former, “La Belle Assemblee” (1725), ran through eight editions.  The single occurrence of Mrs. Haywood’s name on a title-page after 1730, if we except the two reprints of “Secret Histories,” was when the unacknowledged “Adventures of Eovaai” (1736) re-appeared five years later as “The Unfortunate Princess” with what seems to be a “fubbed” title-page for which the author was probably not responsible.  And the successful works referred to by Professor Lounsbury were all either issued without any signature or under such designations as “the Author of the Fortunate Foundlings,” or “Mira, one of the Authors of the Female Spectator,” or “Exploralibus,” so that even the reviewers sometimes appeared to be ignorant of the writer’s identity.