The Works of William Hogarth: In a Series of Engravings | Page 6

our piece, left to himself, upon the death of his father, possessed of a goodly inheritance. Mark how his mind is affected!--determined to partake of the mighty happiness he falsely imagines others of his age and fortune enjoy; see him running headlong into extravagance, withholding not his heart from any joy; but implicitly pursuing the dictates of his will. To commence this delusive swing of pleasure, his first application is to the tailor, whom we see here taking his measure, in order to trick out his pretty person. In the interim, enters a poor girl (with her mother), whom our hero has seduced, under professions of love and promises of marriage; in hopes of meeting with that kind welcome she had the greatest reason to expect; but he, corrupted with the wealth of which he is now the master, forgets every engagement he once made, finds himself too rich to keep his word; and, as if gold would atone for a breach of honour, is offering money to her mother, as an equivalent for the non-fulfilling of his promise. Not the sight of the ring, given as a pledge of his fidelity; not a view of the many affectionate letters he at one time wrote to her, of which her mother's lap is full; not the tears, nor even the pregnant condition of the wretched girl, could awaken in him one spark of tenderness; but, hard hearted and unfeeling, like the generality of wicked men, he suffers her to weep away her woes in silent sorrow, and curse with bitterness her deceitful betrayer. One thing more we shall take notice of, which is, that this unexpected visit, attended with abuse from the mother, so engages the attention of our youth, as to give the old pettifogger behind him an opportunity of robbing him. Hence we see that one ill consequence is generally attended with another; and that misfortunes, according to the old proverb, seldom come alone.
Mr. Ireland remarks of this plate--"He here presents to us the picture of a young man, thoughtless, extravagant, and licentious; and, in colours equally impressive, paints the destructive consequences of his conduct. The first print most forcibly contrasts two opposite passions; the unthinking negligence of youth, and the sordid avaricious rapacity of age. It brings into one point of view what Mr. Pope so exquisitely describes in his Epistle to Lord Bathurst--
'Who sees pale Mammon pine amidst his store, Sees but a backward steward for the poor; This year a reservoir, to keep and spare; The next a fountain, spouting through his heir.'
The introduction to this history is well delineated, and the principal figure marked with that easy, unmeaning vacancy of face, which speaks him formed by nature for a DUPE. Ignorant of the value of money, and negligent in his nature, he leaves his bag of untold gold in the reach of an old and greedy pettifogging attorney, who is making an inventory of bonds, mortgages, indentures, &c. This man, with the rapacity so natural to those who disgrace the profession, seizes the first opportunity of plundering his employer. Hogarth had, a few years before, been engaged in a law suit, which gave him some experience of the PRACTICE of those pests of society."
[Illustration: THE RAKE'S PROGRESS.
PLATE 1.
THE YOUNG HERO TAKES POSSESSION OF THE MISER'S EFFECTS.]

PLATE II.
SURROUNDED BY ARTISTS AND PROFESSORS.
Prosperity (with harlot's smiles, Most pleasing when she most beguiles), How soon, great foe, can all thy train Of false, gay, frantic, loud, and vain, Enter the unprovided mind, And memory in fetters bind? Load faith and love with golden chain, And sprinkle Lethe o'er the brain! Pleasure, on her silver throne, Smiling comes, nor comes alone; Venus comes with her along, And smooth Ly?us, ever young; And in their train, to fill the press, Come apish Dance and swoln Excess, Mechanic Honour, vicious Taste, And Fashion in her changing vest.
HOADLEY.
We are next to consider our hero as launched into the world, and having equipped himself with all the necessaries to constitute him a man of taste, he plunges at once into all the fashionable excesses, and enters with spirit into the character he assumes.
The avarice of the penurious father then, in this print, is contrasted by the giddy profusion of his prodigal son. We view him now at his levee, attended by masters of various professions, supposed to be here offering their interested services. The foremost figure is readily known to be a dancing-master; behind him are two men, who at the time when these prints were first published, were noted for teaching the arts of defence by different weapons, and who are here drawn from the life; one of whom is a Frenchman, teacher of the small-sword, making a thrust with his foil; the other an Englishman, master of the quarter-staff; the