DOCSLIB.ORG

A Review of William Hogarth's Marriage À La Mode with Particular

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Review of William Hogarth's Marriage À La Mode with Particular A Review of William Hogarth's Marriage ~ la Mode -with Particular Reference to Character and Setting by Robert L. S. Cowley VOLUME· I THE THESIS Submitted in fulfilment of the requirements for the degree of Dootor of Philosophy of the University of Birmingham Shakespeare Institute May, 1977 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ANY IMAGES MISSING FROM THIS DIGITAL COpy HAVE BEEN EXCLUDED AT THE REQUEST OF THE UNIVERSITY SYNOPSIS The thesis has been prepared on the assumption that Hogarth's pioture series are essentially narrative works. They are oonsidered in the Introduotion in the light of reoent definitions of the narrative strip, a medium in whioh Hogarth was a oonsiderable innovator. The first six ~hapters oonsist of an analysis of each of the pic- tures in Marriage ~ la Mode. The analysis was undertaken as a means of exploring the nature of Hogarth's imagination and to disoover how ooherent a work the series is. There is an emphasis on oharaoterization and setting because Hogarth himself chose to isolate character as a feature in the subscription ticket to Marriage ~ la Mode. The figures aoquire their depth through their interaction with the setting. The interaction compensates for the laok of physical movement in Hogarth's picture narratives and is a source of much of his humour. A number of sections is concerned with relevant background information, such as the traditional rivalry between the cities of London and Westminster, and the medical details of the quaok doctor's laboratory. The ,seventh chapter is concerned with the literary allusion in Marriage a la Mode, particularly to the popular drama of the time. The eighth is conoerned with the extensive and ironio use of analogies. The ninth chapter is concerned with the subject of structure, including the delineation of the rBle of the projected speotator as defined by the work which contains him. The tenth is about theme and includes the use made of the traditional elements and 'humours'. It is concluded that Marriage a la Mode is a tragi-comic and melodramatic work, and that Hogarth in what are here termed periphrastic sequences came close to making images behave like words without their becoming dependent on any verbal form. His achievement lay in the ability intelligently to organize diversity into a unified structure, similar to that of situation comedy. 105, 000 words Intricacy in form, therefore, I shall define to be that peculiarity in the lines, which compose it, that leads the eye a wanton kind of chace, and from the pleasure that gives the mind, intitles it to the name of beautiful. William Hogarth, The Analysis of Beauty (1753) CONTENTS Preface i Introduction: the Essential Form of Hogarth's Narrative- Art 1 PART ONE I. The Marriage Contract 20 II. Shortly After the Marriage 60 III. The Visit to the Quack Doctor 85 IV. The Countess's Morning Lev~e 104 V. The Killing of the Earl 126 VI. The Suicide of the Countess 144 PART TWO VII. The Literary Allusions 169 VIII. Analogical Relationships in Marriage a" la Mode 189 IX. Some Structural Considerations 201 x. Some Thematic Considerations 221 Conclusion to the Thesis 235 Bibliography 253 ILLUSTRATIONS There are three types of illustration: (i) those numbered and listed below; they are usually referred to in the text (ii) a number of illustrations, cuttings from the prints, which are neither numbered nor referred to in the text; they are identified as !!!! standing (iii) the prints bound into Volume II, The SUpplement. as a series. The reader is invited to pullout the sequence and to have it in front of him in its entirety as he reads the thesis. I am grateful to the Director of the National Gallery for per- mission to reproduce the paintings and for access to the Hogarth dossier. The various photographs are taken mainly from the dossier. Illustration Gulielmus Hogarth (1740) frontispiece 1. Albrecht Durer (11) Frontispiece to !he Origins ~ (1489) opposite page 6 2. The Temptation Scene from the Caedmonian Genesis 6 3. Characters and Caricaturas, the Subscription Ticket to Marriage ~ la Mode (1743) 9 4. The Marriage Contract I (painting) 20 5. Le Brun's 'Passion' Pure Love 34 6. Le Brun's 'Passion' Fright 44 7. The Marriage Contract (drawing) 50 8. Shortly After the Marriage II (painting) 60 9. Shortly After the Marriage (drawing) 64 10. The Tune Book (detail) 64 11. The Battle of the Pictures (1744/5) 80 12. The Visit to the Quack Doctor (drawing) 85 13. The Visit to the Quack Doctor III (painting) 87 14. The Countess's Morning Levee IV 104 15. The Countess's Morning Levee (drawing) 105 16. The Lovers and the Toilette: the Heraldic Associations 108 (continued) Illustration 11. The Dutch Screen (detail) opposite page 109 18. Lot and His Daughters engraved by Lud. du Guernier after Caravaggio 120 19. The Killing of the Earl V (painting) 126 20. Le Brun's 'Passion' Bodily Pain 121 21. The Killing of the Earl (drawing) 129 22. The Suicide of the Countess.VI (painting) 144 23. The Suicide of the Countess (drawing) 153 24. The Patches of River Damp on the Ceiling (detail) 156 25. Silvertongue's Dying Speech (detail) 151 26. The Notes of Invitation (detail) 169 i PREFACE The original intention behind the thesis was to prepare a survey of Hogarth's narrative art as an enlargement on an MA thesis about! 1" Rake's Progress (1735)•. It was discovered, however, that a critical study of Marriage ~ la Mode (17421-1745), one of Hogarth's most impor- tant 'series' (his preferred term), had"not been made. The general survey was, postponed, therefore, for the sake of a detailed study of Marriage a la Mode. This series is appropriate to study for a number of reasons: first, it is one of Hogarth's most sustained and difficult works. Eric Newton made the point that the 'plot' of the first picture alone 2 'permeates every corner of the canvas'. His claim provides a starting point for an examination of the whole series in order to discover how coherent it is. Secondly, a development is apparent in Hogarth's choice of subjects from a concern with a country seamstress who becomes a harlot, through a merchant's son who is a rake, to the children of an earl and an alderman in Marriage ~ la Mode. The next series, Industry and Idleness (1747) represents a return to a humbler social class in its study of the careers of apprentices. Thirdly, Marriage ~ la Mode is a special case from the point of view of structure. The progresses are "histories", fictional bio- graphies, whereas Marriage a la Mode is constructed on a concept, that of marriage, to which the recurrent figures are made subordinate. (The Four Times of the Day (1738) is not taken into account because its principle of unification is one of duration and there are no recurrent figures.) Fourthly, Marriage a la Mode was composed during a period when the eighteenth-century novel was emerging. It is an overstatement to claim that Hogarth was the father of the English novel, but his influence on 3 , Fielding in the 1740s was considerable. Marriage a la Mode is worth studying in a thesis submitted to an English department for this reason, especially as Hogarth makes reference to Joseph Andrews in his subscrip- tion ticket (Introduction 4, page 10). Fifthly,"Ronald Paulson has examined A Harlot's Progress (1732) in his biography, Hogarth, His Life. Art, and Times.4 The MA thesis was an attempt to explore the next series. Paulson and Sean Shesgreen have considered Industry and Idleness in some detail in Emblem and Expres- ii ~ and Eighteenth-Century Studies respectively. Separate studies of Hogarth's quartets and pendant pairs remain to be made. The narrowness of scope is recognized, but the study of a single work of six pictures has its precedents: Mary F.S. Hervey published a Ph. D. thesis solely on the subject of Holbein's Ambassadors and Hildegard Omberg has concentrated on Hogarth's portrait of Captain Coram.5 An a,ttempt is made in the Introduction to compensate both for the narrowness and the postponement of the critical survey by consid- ering Marriage ~ la Mode in relation to the wider context of Hogarth's narrative art and to the theory of the narrative strip worked out in the twentieth-century. At first sight, this thesis is no more than a repetition of the approach to A Rake's Progress undertaken for the MA. It is thought there is an advance however: the question was asked whether a Hogarth- ian series did have an essentially narrative form and, if it did, whether an appropriate critical language could be found in which to discuss it. Marriage ~ la Mode has been approached on the assumptions that Hogarth's narratives are autonomous and that the appropriate critical language exists. The first six chapters consist Qf an analysis of each picture of a.rc:. 4~~ the series and the last four~with more general features. They represent in part a continuing attempt to study Hogarth's narrative art through Marriage a la Mode.
Load more

Recommended publications
  • Hogarth in British North America
    PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2014 © 2014 Colleen Terry All Rights Reserved UMI Number: 3642363 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3642363 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts & Sciences Approved: ___________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]
  • 'The Little-Ingenious Garrick and the Ingenious Little Hogarth'
    Video transcript 'The little-ingenious Garrick and the ingenious little Hogarth' Robin Smith Honorary Professor of English, University College London and William Chubb Actor The Queen’s Gallery, Buckingham Palace Wednesday, 23 April 2014 ROBIN SIMON: In July 1746 the great actor David Garrick wrote a reply to an invitation from the reverend John Hoadly – [CAPTION: The Revd John Hoadly (right) detail from double portrait with Dr Maurice Greene, 1747, National Portrait Gallery] WILLIAM CHUBB: Your invitation to the Old Alresford I most cordially accept of and the little ingenious Garrick with the ingenious little Hogarth will get up on a horseblock. Mount a couple of quadrupeds, or one if it carries double and high away to the reverend Rigdom Funnydose there to be merry, facetious, mad and nonsensical. ' ROBIN SIMON: Well they were certainly facetious. The house party acted, at least to their great enjoyment, what was described as a little bawdy play by Garrick, entitled Rag-and-jaw – rag and jaw. At this stage I think I ought to make one thing clear about Georgian life and humour, it’s, well how shall we put it, very down to earth. And so if you wish you may put your hands over your ears now. Rag-and-jaw is a skit upon the relationship between Brutus and Cassius in Julius Caesar, only now of course inevitably the characters are Brute-arse and Cassy-arse. I didn't say that Georgian, Georgian hjour was subtle. <Footer addr ess> Accompanied by Lucius, oh sorry Loose-arse. Garrick played Cassy-arse and the reverend John Hoadly was Brute-arse.
    [Show full text]
  • Case 1:16-Cv-21301-DPG Document 580 Entered on FLSD Docket 02/07/2020 Page 1 of 85
    Case 1:16-cv-21301-DPG Document 580 Entered on FLSD Docket 02/07/2020 Page 1 of 85 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF FLORIDA CASE NO.: 16-cv-21301-GAYLES SECURITIES AND EXCHANGE COMMISSION, Plaintiff, v. ARIEL QUIROS, WILLIAM STENGER, JAY PEAK, INC., Q RESORTS, INC., JAY PEAK HOTEL SUITES L.P., JAY PEAK HOTEL SUITES PHASE II. L.P., JAY PEAK MANAGEMENT, INC., JAY PEAK PENTHOUSE SUITES, L.P., JAY PEAK GP SERVICES, INC., JAY PEAK GOLF AND MOUNTAIN SUITES L.P., JAY PEAK GP SERVICES GOLF, INC., JAY PEAK LODGE AND TOWNHOUSES L.P., JAY PEAK GP SERVICES LODGE, INC., JAY PEAK HOTEL SUITES STATESIDE L.P., JAY PEAK GP SERVICES STATESIDE, INC., JAY PEAK BIOMEDICAL RESEARCH PARK L.P., AnC BIO VERMONT GP SERVICES, LLC, Defendants, and JAY CONSTRUCTION MANAGEMENT, INC., GSI OF DADE COUNTY, INC., NORTH EAST CONTRACT SERVICES, INC., Q BURKE MOUNTAIN RESORT, LLC, Relief Defendants. Q BURKE MOUNTAIN RESORT, HOTEL AND CONFERENCE CENTER, L.P. Q BURKE MOUNTAIN RESORT GP SERVICES, LLC1 AnC BIO VT, LLC,2 Additional Receivership Defendants _____________________________________________/ 1See Order Granting Receiver’s Motion to Expand Receivership dated April 22, 2016 [ECF No. 60]. 2See Order Granting Receiver's Motion for Entry of an Order Clarifying that AnC Bio VT, LLC is included in the Receivership or in the Alternative to Expand the Receivership to include AnC Bio VT, LLC, Nunc Pro Tunc, dated September 7, 2018 [ECF No. 493]. 51898202;2 Case 1:16-cv-21301-DPG Document 580 Entered on FLSD Docket 02/07/2020 Page 2 of 85 RECEIVER’S MOTION FOR AUTHORIZATION TO SELL 2266 DARLING HILL ROAD, LYNDON, VERMONT AND SUPPORTING MEMORANDUM OF LAW Michael I.
    [Show full text]
  • The Morgan Presents the Satirical Drawings of Celebrated British
    Press Contacts Noreen Khalid Ahmad 212.590.0310 [email protected] Shaili Shah 212.590.0311 [email protected] The Morgan Presents the Satirical Drawings of Celebrated British Artist William Hogarth Hogarth: Cruelty and Humor May 24, 2019 to September 22, 2019 New York, NY, Wednesday, April 3, 2019 — The Morgan Library & Museum announces a new exhibition of satirical drawings and prints by renowned artist William Hogarth (1697–1764). Best known for his humorous political commentary, Hogarth’s work engaged a broad audience and agitated for legislative and social change. His intricate drawings and richly anecdotal scenes depict the ills and injustices of eighteenth-century urban life, exploring the connections between violence, crime, alcohol abuse, and cruelty to animals. He hoped his William Hogarth (1697–1764), Detail of Fourth Stage of Cruelty, 1750–51, red chalk, some graphite, on paper, incised with stylus. The Morgan Library & Museum, III, 32e, purchased by graphic work would amuse, shock, and Pierpont Morgan (1837–1913) in 1909. Photography Steven H. Crossot, 2014. ultimately edify his audience. Opening May 24, Hogarth: Cruelty and Humor tells the story of Hogarth’s iconic images and the social realities of life in Georgian London that inspired him to advocate for reform through popular works of art. It is the first show at the Morgan devoted to this artist, whose style was so influential in British art that the word “Hogarthian” remains a recognizable way of describing works of satire. Featuring over twenty works, the show investigates Hogarth’s creative process and examines his embrace of humor, highlighting the Morgan’s exceptional cache of preparatory drawings for his two most acclaimed print series from 1751: Beer Street and Gin Lane, and The Stages of Cruelty.
    [Show full text]
  • Graves of Artists and Architects Buried There
    Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage.
    [Show full text]
  • Bulloch Herald
    Georgia Southern University Digital Commons@Georgia Southern Bulloch County Newspapers (Single Issues) Bulloch County Historical Newspapers 3-11-1954 Bulloch Herald Notes Condition varies. Some pages missing or in poor condition. Originals provided for filming by the publisher. Gift of tS atesboro Herald and the Bulloch County Historical Society. Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/bulloch-news- issues Recommended Citation "Bulloch Herald" (1954). Bulloch County Newspapers (Single Issues). 3573. https://digitalcommons.georgiasouthern.edu/bulloch-news-issues/3573 This newspaper is brought to you for free and open access by the Bulloch County Historical Newspapers at Digital Commons@Georgia Southern. It has been accepted for inclusion in Bulloch County Newspapers (Single Issues) by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. , ,IIRI11 H. Moore, Allon McCoy, R NOTICE Mor- The Bulloch Herald, WE AR�: LOOION , FRO Cnrlos Mc ov, MI". H. 1_. Stateshol'O ... ,\JI,"'I ------=========----...--- ,'II articles of rurnnure und .. QUI' rison M,',. P. F'. MRI'Un JI'., MARCH A rrir.e-Wlnnln, mu-packer" Seeder. of THURSDAY, 4, 1954. ---, slllllln,' 8rUcies In the shop 00 rnobile B. A late BI d DonleJ Newspaper rrll.Wlnnln, lost record showa lhul the M. I�. Marttn, New-I • LI lot LOin E Brannen ien _ . L. D. ------. N.... ' Mr. ous GI'OO"�I' wns using It Continued from Front Page mnn f\ladlHon P111'1'81,I I ,,'I'S,It C 1\"II's. D. E. Simmon, 1\'11'8. p.... " not for' within RUTH'S 1953 bv fO"� R'lled AUTOJ..IA'1'lC under QUI' tl P I 1\.n .1 "eIJ�II' MrH.
    [Show full text]
  • Words You Should Know How to Spell by Jane Mallison.Pdf
    WO defammasiont priveledgei Spell it rigHt—everY tiMe! arrouse hexagonnalOver saicred r 12,000 Ceilling. Beleive. Scissers. Do you have trouble of the most DS HOW DS HOW spelling everyday words? Is your spell check on overdrive? MiSo S Well, this easy-to-use dictionary is just what you need! acheevei trajectarypelled machinry Organized with speed and convenience in mind, it gives WordS! you instant access to the correct spellings of more than 12,500 words. YOUextrac t grimey readallyi Also provided are quick tips and memory tricks, such as: SHOUlD KNOW • Help yourself get the spelling of their right by thinking of the phrase “their heirlooms.” • Most words ending in a “seed” sound are spelled “-cede” or “-ceed,” but one word ends in “-sede.” You could say the rule for spelling this word supersedes the other rules. Words t No matter what you’re working on, you can be confident You Should Know that your good writing won’t be marred by bad spelling. O S Words You Should Know How to Spell takes away the guesswork and helps you make a good impression! PELL hoW to spell David Hatcher, MA has taught communication skills for three universities and more than twenty government and private-industry clients. He has An A to Z Guide to Perfect SPellinG written and cowritten several books on writing, vocabulary, proofreading, editing, and related subjects. He lives in Winston-Salem, NC. Jane Mallison, MA teaches at Trinity School in New York City. The author bou tique swaveu g narl fabulus or coauthor of several books, she worked for many years with the writing section of the SAT test and continues to work with the AP English examination.
    [Show full text]
  • Bondholder Sues Sch0ol60ard As Town Plans
    <MEN IN THE NEWS' PROFILES FOLLOW DONOHUE'S SPORTS m. RUSSELL AND HIS MEN COMMENT IN'OR SO IT SEEMS' 0N THE EDITORIAL PAGE EVERY WEEK ON SPORT PAGE fl XVI, No. 39 WOODRRIDGE, N. J., FRIDAY/NOVEMBER 30, 1934 PRICE THREE CENli* .....jjaMKi WATER RATES HERE LARSON MAY STAY FROM OUR LASHED AS'UNJUST' helin Mother Prays Desperately IN THE TAX OFFICE BONDHOLDER SUES SCH0OL60ARD FRONT For Old Mattress You Don't Need INTOWfTSPETITION It seemj nj if there must be someone in Woodbridge Town- ASTRAINERDEPUTY ship who !ia8 an old mattresj thnt isn't in use nny more. AS TOWN PLANS $15,000 STADIUM McElroy Files Plea With Not a new one, you understand. A mother up in Iseiin, who Administration Ponders Hobart Files Papers WINDOW has worried dnys nnd sleepless nights, ngonizfed because there is G.O.P. Caucus Tonight Set Public Utility Board food nnd fuel and warm clothing thnt must comevsomewherc for Wisdom of Rehiring To Leave Board Get $1,022.50 Due her youngsters, isn't asking for something new and fluffy nnd To Approve Site Negligent service at tke local soft. Just a mattress. ,,,ciigcr station of the Penn.yl- Asking Reduction Beaten Incumbent On Grove St. On July 1 It isn't for herself. She will bo a good sport and make the j,.,,,ia RnilrOnd i« injuring rather most of that hard spring on her bed with only m piece of thin ,1 ,n increasing patronage, it- AUTHORIZE 6'; PROFIT enrdhonrd for n cushion these dreary, drizily nights when tho eold FEAR DEFYING VOTERS CERAMICS SUGGESTED FEAR ORGANIZED PUSl! ,ir,ling to regular commuters just can't bo kept out.
    [Show full text]
  • Caricature in the Novel, 1740-1840 a Dissertation Submitted in Part
    UNIVERSITY OF CALIFORNIA Los Angeles Sentiment and Laughter: Caricature in the Novel, 1740-1840 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Leigh-Michil George 2016 © Copyright by Leigh-Michil George 2016 ABSTRACT OF THE DISSERTATION Sentiment and Laughter: Caricature in the Novel, 1740-1840 by Leigh-Michil George Doctor of Philosophy in English University of California, Los Angeles, 2016 Professor Jonathan Hamilton Grossman, Co-Chair Professor Felicity A. Nussbaum, Co-Chair This dissertation examines how late eighteenth- and early nineteenth-century British novelists—major authors, Laurence Sterne and Jane Austen, and lesser-known writers, Pierce Egan, Charles Jenner, and Alexander Bicknell—challenged Henry Fielding’s mid-eighteenth-century critique of caricature as unrealistic and un-novelistic. In this study, I argue that Sterne, Austen, Egan, and others translated visual tropes of caricature into literary form in order to make their comic writings appear more “realistic.” In doing so, these authors not only bridged the character-caricature divide, but a visual- verbal divide as well. As I demonstrate, the desire to connect caricature with character, and the visual with the verbal, grew out of larger ethical and aesthetic concerns regarding the relationship between laughter, sensibility, and novelistic form. ii This study begins with Fielding’s Joseph Andrews (1742) and its antagonistic stance towards caricature and the laughter it evokes, a laughter that both Fielding and William Hogarth portray as detrimental to the knowledge of character and sensibility. My second chapter looks at how, increasingly, in the late eighteenth century tears and laughter were integrated into the sentimental experience.
    [Show full text]
  • Laurence Sterne's Tristram Shandy and the Aesthetic Theory And
    LAURENCE STERNE"S TRISTRAM SHANDY AND THE AESTHETIC THEORY AND PRACTISE OF WILLIAM HOGARTH BY NANCY A. WALSH. B.A. AThesis Submitted to the School of OraduateStudies in Partial Fulfillment of the Requirements for the degree Mester of Arts McMester University September 1986 MASTER OF ARTS ( 1986) McMASTER UNIVERSITY ( English) Hamilton, Ontario TITLE: Laurence Sterne's Tristram ShanW and the Aesthetic Theory and Practise of William Hogarth AUTHOR: NanL)' A. Walsh, B. A. (McMaster University) SUPERVISOR: Dr. James King NUMBER OF PAGES: vi; 77 ., II ABSTRACT Laurence Sterne's Tristram Shandy in many wetys follows the same aesthetic principles that English painter William Hogarth displetys in his work and discusses in his treatise The Analysis of Beauty. The affinities between Hogarth's and Sterne's aesthetic methooalogies have been noted--but not subjected to close examination--by modern scholars. This thesis explores some of the slmllarltles between the two men: their rejection of neoclassical convention, their attempts to transcend the boundaries of their respective mediums, their ultimate recognition of the intrinsic differences between literature and art and of the limitations and advantages peculiar to each, and their espousal of rococo values: Hogarth in his moral progresses and In his Analysis of Beauty, and Sterne in the narrative structure of Tristram Shandy. Sterne acquired from Hogarth illustrations to Tristram Shancty, confesses his admiration for the painter's method of characterization, and commended and borrowed freely from his Analysis. This evidence strongly suggests (but cannot conclusively prove) that Hogarth influenced Sterne's narrative methodology in Tristram Shancty. Even if Sterne did not consciously and deliberately incorporate Hogarth's aesthetic prinCiples into his novel, the many analogies between the techniques used by the two men reveal much about the general aesthetic movement taking place in the eighteenth-century; a movement in which they pletyed an important part.
    [Show full text]
  • Dairy Culture: Industry, Nature and Liminality in the Eighteenth- Century English Ornamental Dairy
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2008-02-01 Dairy Culture: Industry, Nature and Liminality in the Eighteenth- Century English Ornamental Dairy Ashlee Whitaker Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Whitaker, Ashlee, "Dairy Culture: Industry, Nature and Liminality in the Eighteenth-Century English Ornamental Dairy" (2008). Theses and Dissertations. 1327. https://scholarsarchive.byu.edu/etd/1327 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. DAIRY CULTURE: INDUSTRY, NATURE AND LIMINALITY IN THE EIGHTEENTH- CENTURY ENGLISH ORNAMENTAL DAIRY by Ashlee Whitaker A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of Visual Arts Brigham Young University April 2008 Copyright © 2008 Ashlee Whitaker All Rights Reserved ABSTRACT DAIRY CULTURE: INDUSTRY, NATURE AND LIMINALITY IN THE EIGHTEENTH- CENTURY ENGLISH ORNAMENTAL DAIRY Ashlee Whitaker Department of Visual Arts Master of Arts The vogue for installing dairies, often termed “fancy” or “polite” dairies, within the gardens of wealthy English estates arose during the latter half of the eighteenth century. These polite dairies were functional spaces in which aristocratic women engaged, to varying degrees, in bucolic tasks of skimming milk, churning and molding butter, and preparing crèmes. As dairy work became a mode of genteel activity, dairies were constructed and renovated in the stylish architectural modes of the day and expanded to serve as spaces of leisure and recreation.
    [Show full text]
  • William Hogarth: British Satirical Prints
    Works in the Exhibition William Hogarth: British Satirical Prints 1. Hudibras Encounters the Skimmington (Plate VII) from the series 10. The Battle of the Pictures, 1745 16. The Reward of Cruelty (Plate IV) from The Four Stages of Cruelty See John the soldier, Jack the Tar, with Sword & Pistol arm'd for War, should February 7 — April 13, 2008 Large Illustrations for Samuel Butler’s Hudibras, 1725-26 Thomas Cook, After William Hogarth 1750-51 Mounsir dare come here ! - The Hungry Slaves have smelt our Food, they Thomas Cook, After William Hogarth Etching, 9 x 9 11/16 in. Thomas Cook, After William Hogarth long to taste our Flesh and Blood, Old England's Beef and Beer! - Britons to Arms! and let 'em come, Be you but Britons still, Strike Home, And Lion-like (published by George and John Robinson, 1802) Anonymous Gift, 00.212 (published by George, George and John Robinson, 1799) attack 'em; - No Power can stand the deadly Stroke, That's given from hands Engraving, 13 3/8 x 21 3/8 in. Etching and engraving, 18 7/8 x 15 3/8 in. The Bearer hereof is Entitled (if he thinks proper) to be a Bidder for Mr. & hearts of Oak, With Liberty to back em. Gift of Mr. and Mrs. Leslie S. Pinsof, 00.147 Hogarth’s Pictures which are to be Sold on the Last day of this Month. Anonymous Gift, 00.138 This said, they both advanc'd and rode A Dog Trot through the bawling Behold the Villain’s dire disgrace! Not Death itself can end.
    [Show full text]