"Life And Letters Of John Gay (1685-1732), Author of "The Beggar's Opera"" by Lewis Melville John Gay was an English poet and dramatist and a member of the Scriblerus Club. He is best remembered for The Beggar's Opera whose characters became household names. In this book, Melville describes the life of this important figure in literary history through a collection of facts and letters that were collected and thoroughly researched to create an encompassing picture of Gay.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
How did people learn to write letters in the eighteenth century? Among other books, letter-writing manuals provided a possible solution. Although more than 160 editions can be traced for the eighteenth century, most manuals were largely intended for men. As a consequence, when The Ladies Complete Letter-Writer was released in London in 1763, it was the first manual to be exclusively destined for women in eighteenth-century Britain. Even though it was published anonymously, several elements tend to show that it must have been edited by Edward Kimber. It was reprinted in Dublin in 1763 and in London in 1765 and largely circulated. The reasons for its success may have come from its concern in epistolary rhetoric, its original organisation, or the entertainment provided by examples coming from different sources, among which letters by Eliza Haywood, Samuel Richardson, Mary Collier, or the Marquise de Lambert. It also provided women with a variety of subjects which were supposed to be part of their sphere of interest, and others which were not, thus questioning a number of pre-conceived ideas on women and their way of writing with or without propriety. Unedited since 1765, the manual is now presented with introduction, notes and two indices focusing on the issues of sources, society and epistolary writing.
In 'The Present State of Wit,' readers are invited into a carefully curated anthology that traverses a vibrant landscape of 18th-century literary prowess, capturing the essence and dynamics of early modern English satire and journalism. This collection embodies a spectrum of literary styles, ranging from sharp satire to insightful political commentary, reflecting the diverse methodologies writers of the period employed to critique and engage with their rapidly changing world. The anthology is distinguished not only by the caliber of its content but also by its focus on the works of John Gay and Abel Boyer, whose contributions stand as towering examples of the era's wit and intellectual vigor. The backgrounds of John Gay, known for his biting satirical plays, and Abel Boyer, a respected lexicographer and journalist, offer a fascinating dichotomy of perspectives within the anthology. Their collective works, rooted in the literary and cultural movements of the 18th century, reveal an age where the written word wielded significant power in shaping public opinion and social norms. Their contributions, emblematic of the eras rich tapestry of thought, provide invaluable insights into the complexities of early modern English society. 'The Present State of Wit' is thus an essential read for those eager to explore the depths of 18th-century English literature. It not only serves as an educational tool but also as a platform that fosters dialogue among the diverse voices of the period. This anthology will particularly appeal to readers interested in the development of satire and journalism, offering a unique window into the intellectual and cultural currents that defined an era.
The four Hanoverian King Georges may have become fixed in history as 'faintly absurd, certainly unattractive, figures' but in this colourful account of their lives and times, families and courts, Christopher Sinclair-Stevenson restores a sprinkling of credit where it has been due. His account does not neglect the marital discords of George I, the towering paternal disdain of George II or the tragically misunderstood 'madness' of George III. But the reader is also encouraged to consider how the Hanoverian monarchs reacted to the climate of art and fashion in their times, from George II's espousal of Handel to George IV's patronage of Beau Brummell. By its own admission not a comprehensive history, Blood Royal is nevertheless an elegant and shining string of linked vignettes and short studies.
