Slipslop, Sterne's Widow Wadman, Smollett's Tabitha Bramble, and other mature female characters who experience and express sexual desire became comic fodder for playwrights and novelists.
Slipslop in Henry Fielding's Joseph Andrews is another notable example:
Slipslop is hard to consider as anything but a caricature as she tries to fill some interesting niches of her own with the wrong words, so Hazlitt's Pitt seems to have been pushed over the verge of caricature by the preposterous size of his ministerial deceit" (113).
This technique is very similar to one common in Fielding's novels, first pointed out in his doctoral dissertation by Wilhelm Fuger, one of the doyens of German narratology: "But we will be more courteous to our reader than he [the coachman] was to Mrs
Slipslop, and leaving the coach and its company to pursue their journey, we will carry our reader on after Parson Adams [...]" (Joseph Andrews 2.7).
How far this description differs from the characterization of other women in the novel may be told by a study of the acquisitive nature of Lady B, the voracity of Mrs
Slipslop, the bawdy of Betty, the chambermaid, and the termagant wrath of the innkeeper's wife Mrs Tow-Wouse.