“O, vanity of youthful blood,
So by misuse1 to poison good!
Reason awakes, and views unbarr’d
The sacred gates he wish’d to guard;
Approaching, see the harpy Law,
And Poverty, with icy paw,
Ready to seize the poor remains2
That vice3 has left of all his gains.
Cold penitence4, lame5 after-thought,
With fear, despair, and horror fraught6,
Call back his guilty pleasures dead,
Whom he hath wrong’d, and whom betray’d.”
The career of dissipation is here stopped. Dressed in the first style of the ton, and getting out of a sedan-chair, with the hope of shining in the circle, and perhaps forwarding a former application for a place or a pension, he is arrested! To intimate that being plundered7 is the certain consequence of such an event, and to shew how closely one misfortune treads upon the heels of another, a boy is at the same moment stealing his cane8.
The unfortunate girl whom he basely deserted9, is now a milliner, and naturally enough attends in the crowd, to mark the fashions of the day. Seeing his distress10, with all the eager tenderness of unabated love, she flies to his relief. Possessed11 of a small sum of money, the hard earnings12 of unremitted industry, she generously offers her purse for the liberation of her worthless favourite. This releases the captive beau, and displays a strong instance of female affection; which, being once planted in the bosom13, is rarely eradicated14 by the coldest neglect, or harshest cruelty.
The high-born, haughty15 Welshman, with an enormous leek16, and a countenance17 keen and lofty as his native mountains, establishes the chronology, and fixes the day to be the first of March; which being sacred to the titular18 saint of Wales, was observed at court.
Mr. Nichols remarks of this plate:—“In the early impressions, a shoe-black steals the Rake’s cane. In the modern ones, a large group of sweeps, and black-shoe boys, are introduced gambling19 on the pavement; near them a stone inscribed20 Black’s, a contrast to White’s gaming-house, against which a flash of lightning is pointed21. The curtain in the window of the sedan-chair is thrown back. This plate is likewise found in an intermediate state; the sky being made unnaturally22 obscure, with an attempt to introduce a shower of rain, and lightning very aukwardly represented. It is supposed to be a first proof after the insertion of the group of blackguard gamesters; the window of the chair being only marked for an alteration23 that was afterwards made in it. Hogarth appears to have so far spoiled the sky, that he was obliged to obliterate24 it, and cause it to be engraved25 over again by another hand.”
Mr. Gilpin observes:—“Very disagreeable accidents often befal gentlemen of pleasure. An event of this kind is recorded in the fourth print, which is now before us. Our hero going, in full dress, to pay his compliments at court on St. David’s day, was accosted26 in the rude manner which is here represented. — The composition is good. The form of the group, made up of the figures in action, the chair, and the lamplighter, is pleasing. Only, here we have an opportunity of remarking, that a group is disgusting when the extremities28 of it are heavy. A group in some respects should resemble a tree. The heavier part of the foliage29 (the cup, as the landscape-painter calls it) is always near the middle; the outside branches, which are relieved by the sky, are light and airy. An inattention to this rule has given a heaviness to the group before us. The two bailiffs, the woman, and the chairman, are all huddled30 together in that part of the group which should have been the lightest; while the middle part, where the hand holds the door, wants strength and consistence. It may be added too, that the four heads, in the form of a diamond, make an unpleasing shape. All regular figures should be studiously avoided. — The light had been well distributed, if the bailiff holding the arrest, and the chairman, had been a little lighter27, and the woman darker. The glare of the white apron31 is disagreeable. — We have, in this print, some beautiful instances of expression. The surprise and terror of the poor gentleman is apparent in every limb, as far as is consistent with the fear of discomposing his dress. The insolence32 of power in one of the bailiffs, and the unfeeling heart, which can jest with misery33, in the other, are strongly marked. The self-importance, too, of the honest Cambrian is not ill portrayed34; who is chiefly introduced to settle the chronology of the story. — In pose of grace, we have nothing striking. Hogarth might have introduced a degree of it in the female figure: at least he might have contrived35 to vary the heavy and unpleasing form of her drapery. — The perspective is good, and makes an agreeable shape.”

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收听单词发音

1
misuse
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n.误用,滥用;vt.误用,滥用 | |
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2
remains
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n.剩余物,残留物;遗体,遗迹 | |
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3
vice
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n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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4
penitence
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n.忏悔,赎罪;悔过 | |
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5
lame
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adj.跛的,(辩解、论据等)无说服力的 | |
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6
fraught
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adj.充满…的,伴有(危险等)的;忧虑的 | |
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7
plundered
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掠夺,抢劫( plunder的过去式和过去分词 ) | |
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8
cane
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n.手杖,细长的茎,藤条;v.以杖击,以藤编制的 | |
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9
deserted
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adj.荒芜的,荒废的,无人的,被遗弃的 | |
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10
distress
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n.苦恼,痛苦,不舒适;不幸;vt.使悲痛 | |
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11
possessed
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adj.疯狂的;拥有的,占有的 | |
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12
earnings
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n.工资收人;利润,利益,所得 | |
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13
bosom
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n.胸,胸部;胸怀;内心;adj.亲密的 | |
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14
eradicated
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画着根的 | |
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15
haughty
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adj.傲慢的,高傲的 | |
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16
leek
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n.韭葱 | |
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17
countenance
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n.脸色,面容;面部表情;vt.支持,赞同 | |
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18
titular
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adj.名义上的,有名无实的;n.只有名义(或头衔)的人 | |
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19
gambling
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n.赌博;投机 | |
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20
inscribed
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v.写,刻( inscribe的过去式和过去分词 );内接 | |
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21
pointed
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adj.尖的,直截了当的 | |
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22
unnaturally
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adv.违反习俗地;不自然地;勉强地;不近人情地 | |
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23
alteration
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n.变更,改变;蚀变 | |
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24
obliterate
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v.擦去,涂抹,去掉...痕迹,消失,除去 | |
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25
engraved
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v.在(硬物)上雕刻(字,画等)( engrave的过去式和过去分词 );将某事物深深印在(记忆或头脑中) | |
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26
accosted
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v.走过去跟…讲话( accost的过去式和过去分词 );跟…搭讪;(乞丐等)上前向…乞讨;(妓女等)勾搭 | |
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27
lighter
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n.打火机,点火器;驳船;v.用驳船运送;light的比较级 | |
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28
extremities
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n.端点( extremity的名词复数 );尽头;手和足;极窘迫的境地 | |
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29
foliage
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n.叶子,树叶,簇叶 | |
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30
huddled
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挤在一起(huddle的过去式与过去分词形式) | |
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31
apron
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n.围裙;工作裙 | |
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32
insolence
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n.傲慢;无礼;厚颜;傲慢的态度 | |
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33
misery
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n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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34
portrayed
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v.画像( portray的过去式和过去分词 );描述;描绘;描画 | |
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35
contrived
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adj.不自然的,做作的;虚构的 | |
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