By Jane Collier
Wickedly humorous and bitingly satirical, The paintings is a comedy of manners that offers insights into eighteenth-century habit in addition to the undying paintings of emotional abuse. it's also an recommendation booklet, a instruction manual of anti-etiquette, and a comedy of manners. Collier describes tools for "teasing and mortifying" one's intimates and neighbors in quite a few social events. Written basically for other halves, moms, and the mistresses of servants, it indicates the problems ladies skilled exerting their effect in deepest and public life--and the methods they bought around them. As such, The paintings offers a desirable glimpse into eighteenth-century way of life. the 1st to hire sleek spelling, this variation contains a energetic creation via editor Katharine A. Craik. Craik places in context many of the disputes defined within the paintings (domestic squabbles, quarrels among lady acquaintances, altercations among social sessions) by means of describing the emergence in mid-eighteenth century of recent notions of bourgeois femininity, besides new rules of relaxation and activity. the result's a literary paintings absolute to be loved either via enthusiasts of satire and people with an curiosity within the genuine day-by-day dramas of the eighteenth-century global.
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Additional resources for An Essay on the Art of Ingeniously Tormenting (Oxford World's Classics)
One requisite for approbation I confess is wanting in this work; for, alas! I fear it will contain nothing new. But what is wanting in novelty, shall be made up in utility; for, although I may not be able to show one new and untried method of plaguing, teasing, or tormenting; yet will it not be a very great help to anyone, to have all the best and most approved methods collected together, in one small pocket volume? Did I promise a new set of rules, then, whatever was not mine, might be claimed by its proper owner; and, like the jay in the fable,* I should justly be stripped of my borrowed plumes: but, as I declare myself only a humble collector, I doubt not, but everyone who has practised, or who in writing has described, an ingenious Torment, will thank me for putting it into this my curious collection.
63) and has been lightly modernized throughout. Collier’s rhetorical style often results in long sentences made up of clauses separated by commas, colons, and semicolons. Punctuation has been regularized only where the original may present diﬃculty to the modern reader. Spelling has been modernized only in words whose sense is unaﬀected, and paragraph breaks remain unaltered. Initial capital letters used for emphasis have been retained, but when Collier capitalizes a whole word for emphasis this has been changed to italics.
C. , Samuel Richardson: A Biography (Oxford: Clarendon Press, 1971). Fielding, Henry and Sarah, The Correspondence of Henry and Sarah Fielding, ed. Martin C. Battestin and Clive T. Probyn (Oxford: Clarendon Press, 1993). Grundy, Isobel, ‘Jane Collier’, in The New Oxford Dictionary of National Biography. Haywood, Eliza, Selections from The Female Spectator, ed. Patricia Meyer Spacks (Oxford: Oxford University Press, 1999). Keymer, Tom, ‘Jane Collier, Reader of Richardson, and the Fire Scene in Clarissa’, in Albert J.