The Works of William Hogarth Part 4

See our hero then, in the scene before us, raving in all the dismal horrors of hopeless insanity, in the hospital of Bethlehem, the senate of mankind, where each man may find a representative; there we behold him trampling on the first great law of nature, tearing himself to pieces with his own hands, and chained by the leg to prevent any further mischief he might either do to himself or others. But in this scene, dreary and horrid as are its accompaniments, he is attended by the faithful and kind-hearted female whom he so basely betrayed. In the first plate we see him refuse her his promised hand. In the fourth, she releases him from the harpy fangs of a bailiff; she is present at his marriage; and in the hope of relieving his distress, she follows him to a prison. Our artist, in this scene of horror, has taken an opportunity of pointing out to us the various causes of mental blindness; for such, surely, it may be called, when the intuitive faculties are either destroyed or impaired. In one of the inner rooms of this gallery is a despairing wretch, imploring Heaven for mercy, whose brain is crazed with lip-labouring superst.i.tion, the most dreadful enemy of human kind; which, attended with ignorance, error, penance and indulgence, too often deprives its unhappy votaries of their senses. The next in view is one man drawing lines upon a wall, in order, if possible, to find out the longitude; and another, before him, looking through a paper, by way of a telescope. By these expressive figures we are given to understand that such is the misfortune of man, that while, perhaps, the aspiring soul is pursuing some lofty and elevated conception, soaring to an uncommon pitch, and teeming with some grand discovery, the ferment often proves too strong for the feeble brain to support, and lays the whole magazine of notions and images in wild confusion. This melancholy group is completed by the crazy tailor, who is staring at the mad astronomer with a sort of wild astonishment, wondering, through excess of ignorance, what discoveries the heavens can possibly afford; proud of his profession, he has fixed a variety of patterns in his hat, by way of ornament; has covered his poor head with shreds, and makes his measure the constant object of his attention. Behind this man stands another, playing on the violin, with his book upon his head, intimating that too great a love for music has been the cause of his distraction. On the stairs sits another, crazed by love, (evident from the picture of his beloved object round his neck, and the words "charming Betty Careless"

upon the bannisters, which he is supposed to scratch upon every wall and every wainscot,) and wrapt up so close in melancholy pensiveness, as not even to observe the dog that is flying at him. Behind him, and in the inner room, are two persons maddened with ambition. These men, though under the influence of the same pa.s.sion, are actuated by different notions; one is for the papal dignity, the other for regal; one imagines himself the Pope, and saying ma.s.s; the other fancies himself a King, is encircled with the emblem of royalty, and is casting contempt on his imaginary subjects by an act of the greatest disdain. To brighten this distressful scene, and draw a smile from him whose rigid reasoning might condemn the bringing into public view this blemish of humanity, are two women introduced, walking in the gallery, as curious spectators of this melancholy sight; one of whom is supposed, in a whisper, to bid the other observe the naked man, which she takes an opportunity of doing by a leer through the sticks of her fan.

Thus, imagining the hero of our piece to expire raving mad, the story is finished, and little else remains but to close it with a proper application. Reflect then, ye parents, on this tragic tale; consider with yourselves, that the ruin of a child is too often owing to the imprudence of a father. Had the young man, whose story we have related, been taught the proper use of money, had his parent given him some insight into life, and graven, as it were, upon his heart, the precepts of religion, with an abhorrence of vice, our youth would, in all probability, have taken a contrary course, lived a credit to his friends, and an honour to his country.

[Ill.u.s.tration: THE RAKE'S PROGRESS.

PLATE 8.

SCENE IN BEDLAM.]

THE DISTRESSED POET.

This Plate describes, in the strongest colours, the distress of an author without friends to patronise him. Seated upon the side of his bed, without a shirt, but wrapped in an old night-gown, he is now spinning a poem upon "Riches:" of their _use_ he probably knoweth little; and of their _abuse_,--if judgment can be formed from externals,--_certes_, he knoweth less. Enchanted, impressed, inspired with his subject, he is disturbed by a nymph of the _lactarium_. Her shrill-sounding voice awakes one of the _little loves_, whose _chorus_ disturbs his meditations. A link of the golden chain is broken!--a thought is lost!--to recover it, his hand becomes a subst.i.tute for the barber's comb:--enraged at the noise, he tortures his head for the fleeting idea; but, ah! no thought is there!

Proudly conscious that the lines already written are sterling, he possesses by antic.i.p.ation the mines of Peru, a view of which hangs over his head. Upon the table we see "Byshe's Art of Poetry;" for, like the pack-horse, who cannot travel without his _bells_, he cannot climb the hill of Parna.s.sus without his _jingling-book_. On the floor lies the "Grub-street Journal," to which valuable repository of genius and taste he is probably a contributor. To show that he is a master of the PROFOUND, and will envelope his subject in a cloud, his pipe and tobacco-box, those friends to cogitation deep, are close to him.

His wife, mending that part of his dress, in the pockets of which the affluent keep their gold, is worthy of a better fate. Her figure is peculiarly interesting. Her face, softened by adversity, and marked with domestic care, is at this moment agitated by the appearance of a boisterous woman, insolently demanding payment of the milk-tally. In the excuse she returns, there is a mixture of concern, complacency, and mortification. As an addition to the distresses of this poor family, a dog is stealing the remnant of mutton incautiously left upon a chair.

The sloping roof, and projecting chimney, prove the throne of this inspired bard to be high above the crowd;--it is a garret. The chimney is ornamented with a _dare for larks_, and a book; a loaf, the tea-equipage, and a saucepan, decorate the shelf. Before the fire hangs half a shirt, and a pair of ruffled sleeves. His sword lies on the floor; for though our professor of poetry waged no war, except with words, a sword was, in the year 1740, a necessary appendage to every thing which called itself "gentleman." At the feet of his domestic seamstress, the full-dress coat is become the resting-place of a cat and two kittens: in the same situation is one stocking, the other is half immersed in the washing-pan. The broom, bellows, and mop, are scattered round the room. The open door shows us that their cupboard is unfurnished, and tenanted by a hungry and solitary mouse. In the corner hangs a long cloak, well calculated to conceal the threadbare wardrobe of its fair owner.

Mr. Hogarth's strict attention to propriety of scenery, is evinced by the cracked plaistering of the walls, broken window, and uneven floor, in the miserable habitation of this poor weaver of madrigals. When this was first published, the following quotation from Pope's "Dunciad" was inscribed under the print:

"Studious he sate, _with all his books_ around, Sinking from thought to thought, a vast profound: Plunged for his sense, but found no bottom there; Then wrote and flounder'd on, in mere despair."

_All his books_, amounting to _only four_, was, I suppose, the artist's reason for erasing the lines.

[Ill.u.s.tration: THE DISTRESSED POET.]

THE BENCH.

CHARACTER, CARICATURA, AND OUTRE.

It having been universally acknowledged that Mr. Hogarth was one of the most ingenious painters of his age, and a man possessed of a vast store of humour, which he has sufficiently shown and displayed in his numerous productions; the general approbation his works receive, is not to be wondered at. But, as owing to the false notions of the public, not thoroughly acquainted with the true art of painting, he has been often called a _caricaturer_; when, in reality, _caricatura_ was no part of his profession, he being a true copier of Nature; to set this matter right, and give the world a just definition of the words, _character_, _caricatura_, and _outre_, in which humorous painting princ.i.p.ally consists, and to show their difference of meaning, he, in the year 1758, published this print; but, as it did not quite answer his purpose, giving an ill.u.s.tration of the word _character_ only, he added, in the year 1764, the group of heads above, which he never lived to finish, though he worked upon it the day before his death. The lines between inverted commas are our author's own words, and are engraved at the bottom of the plate.

"There are hardly any two things more essentially different than _character_ and _caricatura_; nevertheless, they are usually confounded, and mistaken for each other; on which account this explanation is attempted.

"It has ever been allowed, that when a _character_ is strongly marked in the living face, it may be considered as an index of the mind, to express which, with any degree of justness, in painting, requires the utmost efforts of a great master. Now that, which has of late years got the name of _caricatura_, is, or ought to be, totally divested of every stroke that hath a tendency to good drawing; it may be said to be a species of lines that are produced, rather by the hand of chance, than of skill; for the early scrawlings of a child, which do but barely hint the idea of a human face, will always be found to be like some person or other, and will often form such a comical resemblance, as, in all probability, the most eminent _caricaturers_ of these times will not be able to equal, with design; because their ideas of objects are so much more perfect than children's, that they will, unavoidably, introduce some kind of drawing; for all the humorous effects of the fashionable manner of _caricaturing_, chiefly depend on the surprise we are under, at finding ourselves caught with any sort of similitude in objects absolutely remote in their kind. Let it be observed, the more remote in their nature, the greater is the excellence of these pieces. As a proof of this, I remember a famous _caricatura_ of a certain Italian singer, that struck at first sight, which consisted only of a straight perpendicular stroke, with a dot over. As to the French word _outre_, it is different from the rest, and signifies nothing more than the exaggerated outlines of a figure, all the parts of which may be, in other respects, a perfect and true picture of nature. A giant or a dwarf may be called a common man, _outre_. So any part, as a nose, or a leg, made bigger, or less than it ought to be, is that part _outre_, which is all that is to be understood by this word, injudiciously used to the prejudice of _character_."--a.n.a.lYSIS OF BEAUTY, chap. vi.

To prevent these distinctions being looked upon as dry and unentertaining, our author has, in this group of faces, ridiculed the want of capacity among some of our judges, or dispensers of the law, whose shallow discernment, natural disposition, or wilful inattention, is here perfectly described in their faces. One is amusing himself in the course of trial, with other business; another, in all the pride of self-importance, is examining a former deposition, wholly inattentive to that before him; the next is busied in thoughts quite foreign to the subject; and the senses of the last are locked fast in sleep.

The four sages on the Bench, are intended for Lord Chief Justice Sir John Willes, the princ.i.p.al figure; on his right hand, Sir Edward Clive; and on his left, Mr. Justice Bathurst, and the Hon. William Noel.

[Ill.u.s.tration: THE BENCH.]

THE LAUGHING AUDIENCE.

"Let him laugh now, who never laugh'd before; And he who always laugh'd, laugh now the more."

"From the first print that Hogarth engraved, to the last that he published, I do not think," says Mr. Ireland, "there is one, in which character is more displayed than in this very spirited little etching.

It is much superior to the more delicate engravings from his designs by other artists, and I prefer it to those that were still higher finished by his own burin.

"The prim c.o.xcomb with an enormous bag, whose favours, like those of Hercules between Virtue and Vice, are contended for by two rival orange girls, gives an admirable idea of the dress of the day; when, if we may judge from this print, our grave forefathers, defying Nature, and despising convenience, had a much higher rank in the temple of Folly than was then attained by their ladies. It must be acknowledged that, since that period, the softer s.e.x have a.s.serted their natural rights; and, s.n.a.t.c.hing the wreath of fashion from the brow of presuming man, have tortured it into such forms that, were it possible, which _certes_ it is not, to disguise a beauteous face----But to the high behest of Fashion all must bow.

"Governed by this idol, our beau has a cuff that, for a modern fop, would furnish fronts for a waistcoat, and a family fire-screen might be made of his enormous bag. His bare and shrivelled neck has a close resemblance to that of a half-starved greyhound; and his face, figure, and air, form a fine contrast to the easy and degagee a.s.surance of the Grisette whom he addresses.

"The opposite figure, nearly as grotesque, though not quite so formal as its companion, presses its left hand upon its breast, in the style of protestation; and, eagerly contemplating the superabundant charms of a beauty of Rubens's school, presents her with a pinch of comfort. Every muscle, every line of his countenance, is acted upon by affectation and grimace, and his queue bears some resemblance to an ear-trumpet.

"The total inattention of these three polite persons to the business of the stage, which at this moment almost convulses the children of Nature who are seated in the pit, is highly descriptive of that refined apathy which characterises our people of fashion, and raises them above those mean pa.s.sions that agitate the groundlings.

"One gentleman, indeed, is as affectedly unaffected as a man of the first world. By his saturnine cast of face, and contracted brow, he is evidently a profound critic, and much too wise to laugh. He must indisputably be a very great critic; for, like _Voltaire's Poccocurante_, nothing can please him; and, while those around open every avenue of their minds to mirth, and are willing to be delighted, though they do not well know why, he a.n.a.lyses the drama by the laws of Aristotle, and finding those laws are violated, determines that the author ought to be hissed, instead of being applauded. This it is to be so excellent a judge; this it is which gives a critic that exalted gratification which can never be attained by the illiterate,--the supreme power of pointing out faults, where others discern nothing but beauties, and preserving a rigid inflexibility of muscle, while the sides of the vulgar herd are shaking with laughter. These merry mortals, thinking with Plato that it is no proof of a good stomach to nauseate every aliment presented them, do not inquire too nicely into causes, but, giving full scope to their risibility, display a set of features more highly ludicrous than I ever saw in any other print. It is to be regretted that the artist has not given us some clue by which we might have known what was the play which so much delighted his audience: I should conjecture that it was either one of Shakespear's comedies, or a modern tragedy. Sentimental comedy was not the fashion of that day.

"The three sedate musicians in the orchestra, totally engrossed by minims and crotchets, are an admirable contrast to the company in the pit."

[Ill.u.s.tration: THE LAUGHING AUDIENCE.]

GATE OF CALAIS.

O, THE ROAST BEEF OF OLD ENGLAND!

"'Twas at the gate of Calais, Hogarth tells, Where sad despair and famine always dwells; A meagre Frenchman, Madame Grandsire's cook, As home he steer'd, his carcase that way took, Bending beneath the weight of famed sirloin, On whom he often wish'd in vain to dine; Good Father Dominick by chance came by, With rosy gills, round paunch, and greedy eye; And, when he first beheld the greasy load, His benediction on it he bestow'd; And while the solid fat his fingers press'd, He lick'd his chops, and thus the knight address'd:

'O rare roast beef, lov'd by all mankind, Was I but doom'd to have thee, Well dress'd, and garnish'd to my mind, And swimming in thy gravy; Not all thy country's force combined, Should from my fury save thee!

'Renown'd sirloin! oft times decreed The theme of English ballad, E'en kings on thee have deign'd to feed, Unknown to Frenchman's palate; Then how much must thy taste exceed Soup-meagre, frogs, and salad!'"

The thought on which this whimsical and highly-characteristic print is founded, originated in Calais, to which place Mr. Hogarth, accompanied by some of his friends, made an excursion, in the year 1747.

Extreme partiality for his native country was the leading trait of his character; he seems to have begun his three hours' voyage with a firm determination to be displeased at every thing he saw out of Old England.

For a meagre, powdered figure, hung with tatters, _a-la-mode de Paris_, to affect the airs of a c.o.xcomb, and the importance of a sovereign, is ridiculous enough; but if it makes a man happy, why should he be laughed at? It must blunt the edge of ridicule, to see natural hilarity defy depression; and a whole nation laugh, sing, and dance, under burthens that would nearly break the firm-knit sinews of a Briton. Such was the picture of France at that period, but it was a picture which our English satirist could not contemplate with common patience. The swarms of grotesque figures who paraded the streets excited his indignation, and drew forth a torrent of coa.r.s.e abusive ridicule, not much to the honour of his liberality. He compared them to Callot's beggars--Lazarus on the painted cloth--the prodigal son--or any other object descriptive of extreme contempt. Against giving way to these effusions of national spleen in the open street, he was frequently cautioned, but advice had no effect; he treated admonition with scorn, and considered his monitor unworthy the name of Englishman. These satirical ebullitions were at length checked. Ignorant of the customs of France, and considering the gate of Calais merely as a piece of ancient architecture, he began to make a sketch. This was soon observed; he was seized as a spy, who intended to draw a plan of the fortification, and escorted by a file of musqueteers to M. la Commandant. His sketch-book was examined, leaf by leaf, and found to contain drawings that had not the most distant relation to tactics. Notwithstanding this favourable circ.u.mstance, the governor, with great politeness, a.s.sured him, that had not a treaty between the nations been actually signed, he should have been under the disagreeable necessity of hanging him upon the ramparts: as it was, he must be permitted the privilege of providing him a few military attendants, who should do themselves the honour of waiting upon him, while he resided in the dominions of "the grande monarque." Two sentinels were then ordered to escort him to his hotel, from whence they conducted him to the vessel; nor did they quit their prisoner, until he was a league from sh.o.r.e; when, seizing him by the shoulders, and spinning him round upon the deck, they said he was now at liberty to pursue his voyage without further molestation.

So mortifying an adventure he did not like to hear recited, but has in this print recorded the circ.u.mstance which led to it. In one corner he has given a portrait of himself, making the drawing; and to shew the moment of arrest, the hand of a serjeant is upon his shoulder.