DigiCat Publishing presents to you this special edition of "A Discourse Concerning Ridicule and Irony in Writing (1729)" by Anthony Collins. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Worldwide literature classic, among top 100 literary novels of all time. A must read for everybody, a book that will keep saying what it has to say for years.

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INTRODUCTION Between 1710 and 1729 Anthony Collins was lampooned, satirized, and gravely denounced from pulpit and press as England's most insidious defiler of church and state. Yet within a year of his death he became the model of a proper country gentleman, ... he had an opulent Fortune, descended to him from his Ancestors, which he left behind him unimpair'd: He lived on his own Estate in the Country, where his Tenants paid him moderate Rents, which he never enhanced on their making any Improvements; he always oblig'd his Family to a constant attendance on Publick Worship; as he was himself a Man of the strictest Morality, for he never suffer'd any Body about him who was deficient in that Point; he exercised a universal Charity to all Sorts of People, without any Regard either to Sect or Party; being in the Commission of the Peace, he administered Justice with such Impartiality and Incorruptness, that the most distant Part of the County flock'd to his Decisions; but the chief Use he made of his Authority was in accommodating Differences;... In a comparison which likens him to Sir Roger de Coverley, there is less truth than fiction. What they did share was a love of the countryside and a "universal Charity" towards its inhabitants. For the most part, however, we can approximate Collins's personality by reversing many of Sir Roger's traits. Often at war with his world, as the spectatorial character was not, he managed to maintain an intellectual rapport with it and even with those who sought his humiliation. He never-as an instance-disguised his philosophical distrust of Samuel Clarke; yet during any debate he planned "most certainly [to] outdo him in civility and good manners." This decorum in no way compromised his pursuit of what he considered objective truth or his denunciation of all "methods" or impositions of spiritual tyranny. Thus, during the virulent, uneven battle which followed upon the publication of the Discourse of Free-Thinking, he ignored his own wounds in order to applaud a critic's suspicions that there is a sophism in what he calls my hypothesis. That is a temper that ought to go thro' all our Inquirys, and especially before we have an opportunity of examining things to the bottom. It is safest at all times, and we are least likely to be mistaken, if we constantly suspect our selves to be under mistakes.... I have no system to defend or that I would seem to defend, and am unconcerned for the consequence that may be drawn from my opinion; and therefore stand clear of all difficultys wch others either by their opinion or caution are involved in. This is the statement of a man whose intellectual and religious commitment makes him see that his own fallibility is symptomatic of a human tendency to error. For himself, hence, he tries to avoid all manner of hard-voiced enthusiasm. Paradoxically, however, Collins searched with a zealot's avidity for any controversy which would either assert his faith or test his disbelief....

The Fringes of Belief is the first literary study of freethinking and religious skepticism in the English Enlightenment. Ellenzweig aims to redress this scholarly lacuna, arguing that a literature of English freethinking has been overlooked because it unexpectedly supported aspects of institutional religion. Analyzing works by John Wilmot, Earl of Rochester, Aphra Behn, Jonathan Swift, and Alexander Pope, she foregrounds a strand of the English freethinking tradition that was suspicious of revealed religion yet often strongly opposed to the open denigration of Anglican Christianity and its laws. By exposing the contradictory and volatile status of categories like belief and doubt this book participates in the larger argument in Enlightenment studies—as well as in current scholarship on the condition of modernity more generally—-that religion is not so simply left behind in the shift from the pre-modern to the modern world.

DigiCat Publishing presents to you this special edition of "Deformities of Samuel Johnson, Selected from His Works" by James Thomson Callender. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

You will appreciate this distinguished analysis of the 20th-century definition of a "man of taste." The Man of Taste is a poem about the morality involved in being tasteful. Excerpt: Criticks indeed are valuable men, But hyper-criticks are as good agen. Tho' Blackmore's works my soul with raptures fill, With notes by Bently they'd be better still..."

"The Harlot's Progress (1733), The Rake's Progress (Ms., ca. 1778-1780)" by Theophilus Cibber. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

'The Life and Death of Doctor Faustus Made into a Farce' is a bawdy, comedy of manners play written by William Mountfort. As one can guess, it's a parody of sorts of the play Doctor Faustus by Christopher Marlowe. The difference between the two works is best summed up in the following: "Marlowe's tragedy has two distinct lines: the mighty verse which makes up the tragedy of an heroic overreacher, and a comic line of farcical lazzi. Mountfort has trimmed away the poetry of Marlowe and, for the most part, retained the farcical elements of the earlier play."