This phrase serves two purposes; it further develops Fantomina as a social deviant, and it characterizes her as somebody who acts on impulse. Because she acted on her own "inclinations and humours" and not on the expectations of others or society, Fantomina can be considered extraordinarily deviant from the society this story takes place in; a society that depends on rigidity and conducting one's self in a distinguished manner does not tolerate one who thinks freely or acts on their own account, particularly if that person is an oppressed group like women. Fantomina, a woman who chooses to act freely, further distinguishes herself as a social deviant by doing so. Additionally, Fantomina acting on her "inclinations" without much preemptive thought or consideration characterizes her as impulsive. Haywood, later in the phrase, mentions that Fantomina acted upon a "whim," which has a connotation of underlying impulsivity and lack of forethought. As such, Fantomina's social deviation is also a testament of her impulsiveness.

Fantomina's behavior, here, also serves a twofold purpose: highlighting her ambitiousness and furthering her commitment to being a social deviant. Once again, Fantomina is young, spirited, and committed to serving her "inclinations and humours." If she's to earn the affection of lower class men (like she later does,) she must necessarily mingle amongst them, even if in sections of the theatre that are less desirable. Fantomina's willigness to do so is a clear demonstration of commitment to her ideas (that is, ambition.) Furthermore, theatre seating in 18th century England was determined based on social class. Being an upper-crust lady, Fantomina had not only the privilege but the societal obligation to sit among other distingushed persons, as per social customs of the time period. Committing to sitting with persons of lower status (not to mention disguising as a prostitute) demonstrated Fantomina's lack of care for social customs. Fantomina is, thoroughly, a social deviant.

This is a euphemism for "prostitute," the use of which is evidence that the 18th century social values of decent self-presentation and politeness permeate even Haywood's writing about a young woman who refuses to abide by them. Fantomina exists in a fictional but nonetheless realistic 18th Century England, where these same social morals are in place and expected to be followed. Even though Fantomina can (and does) choose to reject these social norms, Eliza Haywood does not have this luxury. The general public loves stories of the risque and taboo, but despises the realities thereof. A fictional character behave contrarily without fear of real-life repercussions, but the author cannot; writing works deemed too controversial can come at the expense of the author's job, which can jeopardize their means of living. That said, while Fantomina is not bound by 18th century morals, Eliza Haywood still is.

This word choice serves, primarily, to establish the craftiness and further highlight the impulsiveness that Haywood has bestowed upon Fantomina. The Oxford English Dictionary defines "whim" as "A capricious notion or fancy; a fantastic or freakish idea; an odd fancy."

"whim, n.1." OED Online, Oxford University Press, December 2019, www.oed.com/view/Entry/228353. Accessed 10 February 2020.

This "whim" of Fantomina's is later described as coming "immediately into her head," and the fact that she chooses to act upon this sudden urge is a blatant display of impulsiveness and a lack or forethought. Furthermore, because a "whim" is a "fantastic or freakish idea," a great deal of creativity and craftiness is required to conjure one, especially with the speed at which Fantomina did. As such, Fantomina's whim is a testament of her craftiness and creativity of thought.

This serves two purposes: establish the story as realistic fiction for the time period in which it was written and characterize Fantomina as a social deviant. Adam Smith, an 18th century economist and philosopher known for his works regarding human psychology and behavior, documented and commented extensively on class structure and its impact on human behavior. In his "Wealth of Nations," particularly, he notes that "A man of rank and fortune is, by his station, the distinguished member of a great society, who attend to every part of his conduct, and who thereby oblige him to attend to every part of it himself." [] (https://enlightenmens.lmc.gatech.edu/items/show/484) Adam Smith, “Pressures on different classes to behave morally according to Adam Smith,” Enlightenmens, accessed February 12, 2020, https://enlightenmens.lmc.gatech.edu/items/show/484.

First and foremost, the idea of wealthy people having a societal obligation to present themselves as polite and distinguished and hold others responsible for doing the same places the story of "Fantomina" in a realistic society for the era; this philosophy was commonplace in 18th century England, and rules society in "Fantomina." However, the fact that Fantomina had nobody to hold her accountable for her self-presentation allowed her, more or less, to do as she pleased without too much fear of repressions. Being new to town and free to act as she liked allowed Fantomina to be a social deviant, and behave contrary to societal standards.

The reputation of being a "stranger to the world" branded onto Fantomina, here, only further perpetuates the ideas of inexperience in youth that were introduced at the beginning of this phrase. The oxford dictionary defines "stranger" as "One who is not a native of, or who has not long resided in, a country, town, or place. Chiefly, a new comer, one who has not yet become well acquainted with the place, or (cf. 4) one who is not yet well known."

"stranger, n. (and adj.)." OED Online, Oxford University Press, December 2019, www.oed.com/view/Entry/191250. Accessed 12 February 2020.

The implication of not being "well acquainted" also serves as a testament of both Fantomina's physical and social youth. Again, she is young, and therefore inexperienced. Being a "stranger to the world, and consequently to the dangers of it," is an outright testament of her naivete; she is young and impressionable, vulnerable to the dangers of the world, as she has yet to experience them and gain wisdom from them.

The Oxford English Dictionary defines young in two ways that relate to our protagonist, Fantomina: "That has lived or existed for a relatively short time; that is in the early stage of life or growth; youthful; juvenile," and "New to a position, occupation, status, or place; newly or recently recruited. Also: inexperienced or unpractised."

"young, adj. and n.1." OED Online, Oxford University Press, December 2019, www.oed.com/view/Entry/232153. Accessed 12 February 2020.

This particular diction serves a twofold purpose: establish Fantomina as not only ambitious, but also as naive. Young people are passionate, as they have energy and the enticing prospect of a future (however immediate it may be.) That said, young people are also inexperienced; wisdom is attained with age and experience, and cannot be fabricated. This makes navigating the futures that young people look forward to impossible without error. Our protagonist is no exception; she is a young woman who will, later, continuously seek the affection of a man who takes advantage of her sexually. Eliza Haywood furthers this characterization by, in the same phrase, referring to Fantomina as a "stranger to the world," only perpetuating the idea of naivete and inexperience that accompanies young age.

The gallery-box was theatre seating that served commoners. Fantomina's high status would, typically, prompt her to sit elsewhere, where the view of the stage was nicer or the sitting arrangements more comfortable, but Fantomina chooses to mingle here to further "sell" her disguise. To play the part of a prostitute is to do all the things a prostitute would do, and Haywood knows this. As such, she places Fantomina in commoners' seating to further convince the other characters of this disguise and to solidify Fantomina's conviction of her desires towards Beauplaisir. (A lady of high status would never be seen with the commoners except for drastic reason, you see.)

Defined by the Oxford English dictionary as "A capricious notion or fancy; a fantastic or freakish idea; an odd fancy." "whim, n.1." OED Online, Oxford University Press, December 2019, www.oed.com/view/Entry/228353. Accessed 10 February 2020. This word choice serves, primarily, to highlight the craftiness that Haywood bestows upon Fantomina. Fantomina's urgency to earn the affection of Beauplaisir requires some finesse, as he is otherwise unattracted and uninterested. That said, Fantomina must be crafty and crative in order to accomplish her goal and obtain the results she seeks. The "whim" is a product of that craftiness that Haywood decided she must have.

A euphemism for Prostitute. The use of the euphemism is, also, in and of itself another dig at societal expectations for women's politeness; Haywood, herself a woman, cannot be known for writing with vulgarity such as calling a prostitute by name, so she must use euphemism. The euphemism is also, however, a testament of Fantomina's disguise. She is not actually a prostitute; this is merely a facade she uses to gain access to the attention of a singular man. This is not the behavior of a real prostitute, who sells themselves indiscriminately, therefore, it serves to reemphasize Fantomina's true purpose for the disguise.

Once again, this is Haywood taking a dig at the belief that women would act selfishly and without regard for civility or propriety without the help and guidance of a man.

This serves, primarily, as a commentary on the social expectations for women, at the time. Haywood, by emphasizing that Fantomina had nobody to behave "politely" or "properly" for, is dismissing the general consensus at the time of how women should behave publicly as nor only ridiculous, but also insulting. Furthermore, the implications of Fantomina's first disguise, then, being a prostitute, is also a dismissal of general attitudes towards women. The general belief was that, left unchecked or unaccounted for, women would "go wild," that is, behave according to their instincts, as they had no rationality or means of keeping themselves civil without man's help or guidance. Haywood's use of Fantomina's first disguise serves to comment on her negative view towards that sentiment.

Once again, Haywood further propels the idea of loneliness and lack of belonging. Fantomina has nobody, and craves attention and companionship.

Haywood's emphasis on Fantomina's young age serves primarily to place the reader in her head space; whether the reader is young and can relate to being infant-like to the world and to society, or the reader was once young and felt such things, one can sympathize with a young person who is desperate to belong and have a place. Haywood's primary goal, here, is to establish Fantomina's motivation and mindset.

The Oxford English Dictionary defines "stranger" as " One who belongs to another country, a foreigner; chiefly (now exclusively), one who resides in or comes to a country to which he is a foreigner; an alien." "stranger, n. (and adj.)." OED Online, Oxford University Press, December 2019, www.oed.com/view/Entry/191250. Accessed 10 February 2020. Haywood uses this particular word to illustrate Fantomina's intense out-of-placeness (that is, how much she fails to "fit in") and, thus, catalyzes the first of Fantomina's many disguises.