By Jane Collier
Wickedly humorous and bitingly satirical, The paintings is a comedy of manners that provides insights into eighteenth-century habit in addition to the undying paintings of emotional abuse. it's also an recommendation publication, a instruction manual of anti-etiquette, and a comedy of manners. Collier describes tools for "teasing and mortifying" one's intimates and friends in various social events. Written basically for better halves, moms, and the mistresses of servants, it indicates the problems ladies skilled exerting their impact in inner most and public life--and the methods they bought around them. As such, The artwork presents a desirable glimpse into eighteenth-century lifestyle. the 1st to hire glossy spelling, this variation incorporates a vigorous creation by means of editor Katharine A. Craik. Craik places in context a number of the disputes defined within the artwork (domestic squabbles, quarrels among lady pals, altercations among social sessions) through describing the emergence in mid-eighteenth century of recent notions of bourgeois femininity, in addition to new principles of rest and activity. the result's a literary paintings guaranteed to be loved either by way of fanatics of satire and people with an curiosity within the actual day-by-day dramas of the eighteenth-century global.
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Extra info for An Essay on the Art of Ingeniously Tormenting (Oxford World's Classics)
1747 Sarah Fielding, Familiar Letters between the Principal Characters in David Simple. Late 1740s JC meets Samuel Richardson and later lives with his family as a companion and friend. 1747–8 Richardson, Clarissa. 1748 or 1749 JC moves to her brother Arthur’s lodgings at the ecclesiastical court of Doctors’ Commons in London. 1749 Death of Margaret Johnson. JC writes a short essay praising Richardson’s Clarissa, originally intended for publication in The Gentleman’s Magazine. Sarah Fielding, The Governess; JC corrects the proofs.
96–7. ), Selections from The Female Spectator, 135. Introduction xxxi against her a volley of the well-worn clichés peddled by those who opposed the education of women: Omit not any of those trite observations; that all Wits are slatterns;— that no girl ever delighted in reading, that was not a slut;—that well might the men say they would not for the world marry a Wit; that they had rather have a woman who could make a pudden, than one who could make a poem;—and that it was the ruin of all girls who had not independent fortunes, to have learnt either to read or write.
Even simple-minded obtuseness is a skill well worth mastering. If your husband wants you to read poetry, ‘you may say, that indeed you have other things to mind besides poetry; and if he was uneasy at your taking care of your family and children, and mending his shirts, you wished he had a learned wife; and then he would soon see himself in a jail, and his family in rags’ (p. 56). Here Collier mocks the damaging assumption that educated women make neglectful wives, incapable of keeping house and fulﬁlling other domestic responsibilities.