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Hogarth’s Literary Relationships

Hogarth’s Literary Relationships

ROBERT ETHERIDGE MOORE
Copyright Date: 1948
Edition: NED - New edition
Pages: 232
https://www.jstor.org/stable/10.5749/j.cttttcpt
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  • Book Info
    Hogarth’s Literary Relationships
    Book Description:

    Hogarth’s narrative drawings -- A Harlot’s Progress, A Rake’s Progress, Marriage a la Mode -- have long been the delight of devotees of the eighteenth century. Although the relationship between Hogarth and the writers of the period has not passed unnoticed, it has never been analyzed in detail before. In this engaging book Mr. Moore points out specific instances of the “manifest obligations” owed by Fielding and Smollett (and several minor contemporary novelists and dramatists) to Hogarth. He amply proves his two theses: that Hogarth was a fountain of literary inspiration and that appreciation of the artist as a satirist is essential to an understanding of eighteenth-century literature. From the beginning of his career Hogarth was constantly imitated and plagiarized, and the illustrations in this volume include some of the more famous plagiaries. Hogarth’s own work is too little known to present generation -- no complete collection has been available for some hundred years -- and the drawings reproduced in this book add greatly to its value.

    eISBN: 978-1-4529-3649-9
    Subjects: Language & Literature

Table of Contents

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  1. Front Matter
    (pp. i-viii)
  2. Table of Contents
    (pp. ix-2)
  3. CHAPTER I Hogarth Invades the Augustan Age
    (pp. 3-23)

    To speak of Hogarth’s appearance upon the Augustan scene as an invasion may seem strong and even flamboyant, but in truth no more accurate term can be employed. He was an invader from the beginning of his career to its end. The truth of the epithet is in no way lessened by recognizing that Hogarth, like all great artists, was as much molded by his age as the age in turn was molded by him. Indeed, in a study of this kind it is of the very first importance to make clear at once that Hogarth is not being considered...

  4. CHAPTER II Grub Street Invades Hogarth
    (pp. 24-76)

    That Hogarth was easily the most eminently and immediately vendible of all English pictorial artists is shown by the tribe of authors who at once embracedA Harlot’s Progressas a great fountainhead of literary inspiration, and by the enormous public who bought their feeble works. The series was so popular that on 24 April 1732, about two weeks after the publication of the prints, there appeared a pamphlet setting forth the story in verse, which in its turn was so popular that it actually went through four editions in seventeen days.¹ Even more surprising is another pamphlet professing to...

  5. CHAPTER III Hogarth and Fielding Invade the Theater
    (pp. 77-106)

    The writer most closely connected with Hogarth is the greatest novelist of the century, Henry Fielding. By the time he began writing novels in 1741, Hogarth was already a well-known literary figure. The artist was celebrated as the author of narrative pictures, and, whether he desired it or not, Grub Street had brazenly made those narratives its own property. During nearly all the decade of the 1730’s the young Fielding, rapidly turning out potboilers for the theater, was a part of this same Grub Street world. He himself came to London as a man of good family and at least...

  6. CHAPTER IV Hogarth’s Role in Fielding’s Novels
    (pp. 107-161)

    Among all the writers of any particular age there must be, irrespective of their own wills, a resemblance. They cannot escape subjection to a common influence which arises out of many circumstances belonging to the times in which they live. In this view of things it is hardly more intelligent to call Shakespeare the imitator of Marlowe than Marlowe the imitator of Shakespeare. The age makes the man even more than the man makes the age. Yet Marlowe did materially influence Shakespeare in particular ways that go far beyond their common Elizabethan milieu, and a study of these ways contributes...

  7. [Illustrations]
    (pp. None)
  8. CHAPTER V Hogarth and Smollett
    (pp. 162-196)

    Next to Fielding, the eighteenth-century novelist who paints the broadest canvas with the greatest vigor is the Scotch doctor, Tobias Smollett. These two artists are separated from the narrow shut-in world of Samuel Richardson on the one hand, and the whimsical stream-of-consciousness novel of Laurence Sterne on the other. An understanding of Hogarth can profit us little in reading Richardson or Sterne, but just as it helps us enormously in reading Fielding, so does it also in Smollett. The purpose of the present chapter is to discuss not merely the debt of Smollett to the painter, but in addition something...

  9. Index
    (pp. 197-202)