“’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 rosy1 gills, round paunch, and greedy eye;
And, when he first beheld2 the greasy3 load,
His benediction4 on it he bestow’d;
And while the solid fat his fingers press’d,
He lick’d his chops, and thus the knight5 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 gravy6;
Not all thy country’s force combined,
Should from my fury save thee!
‘Renown’d sirloin! oft times decreed
The theme of English ballad7,
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 displeased8 at every thing he saw out of Old England. For a meagre, powdered figure, hung with tatters, à-la-mode de Paris, to affect the airs of a coxcomb9, 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 ridicule10, to see natural hilarity11 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 satirist12 could not contemplate13 with common patience. The swarms14 of grotesque15 figures who paraded the streets excited his indignation, and drew forth16 a torrent17 of coarse abusive ridicule, not much to the honour of his liberality. He compared them to Callot’s beggars — Lazarus on the painted cloth — the prodigal18 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 sketch19. 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 favourable20 circumstance, the governor, with great politeness, assured 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 dominions21 of “the grande monarque.” Two sentinels were then ordered to escort him to his hotel, from whence they conducted him to the vessel22; nor did they quit their prisoner, until he was a league from shore; 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 molestation23.
So mortifying24 an adventure he did not like to hear recited, but has in this print recorded the circumstance 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.
The French sentinel is so situated25, as to give some idea of a figure hanging in chains: his ragged26 shirt is trimmed with a pair of paper ruffles27. The old woman, and a fish which she is pointing at, have a striking resemblance. The abundance of parsnips, and other vegetables, indicate what are the leading articles in a Lenten feast.
Mr. Pine, the painter, sat for the friar, and from thence acquired the title of Father Pine. This distinction did not flatter him, and he frequently requested that the countenance28 might be altered, but the artist peremptorily29 refused.

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收听单词发音

1
rosy
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adj.美好的,乐观的,玫瑰色的 | |
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2
beheld
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v.看,注视( behold的过去式和过去分词 );瞧;看呀;(叙述中用于引出某人意外的出现)哎哟 | |
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3
greasy
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adj. 多脂的,油脂的 | |
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4
benediction
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n.祝福;恩赐 | |
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5
knight
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n.骑士,武士;爵士 | |
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6
gravy
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n.肉汁;轻易得来的钱,外快 | |
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7
ballad
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n.歌谣,民谣,流行爱情歌曲 | |
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8
displeased
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a.不快的 | |
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9
coxcomb
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n.花花公子 | |
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10
ridicule
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v.讥讽,挖苦;n.嘲弄 | |
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11
hilarity
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n.欢乐;热闹 | |
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12
satirist
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n.讽刺诗作者,讽刺家,爱挖苦别人的人 | |
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13
contemplate
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vt.盘算,计议;周密考虑;注视,凝视 | |
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14
swarms
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蜂群,一大群( swarm的名词复数 ) | |
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15
grotesque
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adj.怪诞的,丑陋的;n.怪诞的图案,怪人(物) | |
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16
forth
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adv.向前;向外,往外 | |
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17
torrent
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n.激流,洪流;爆发,(话语等的)连发 | |
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18
prodigal
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adj.浪费的,挥霍的,放荡的 | |
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19
sketch
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n.草图;梗概;素描;v.素描;概述 | |
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20
favourable
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adj.赞成的,称赞的,有利的,良好的,顺利的 | |
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21
dominions
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统治权( dominion的名词复数 ); 领土; 疆土; 版图 | |
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22
vessel
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n.船舶;容器,器皿;管,导管,血管 | |
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23
molestation
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n.骚扰,干扰,调戏;折磨 | |
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24
mortifying
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adj.抑制的,苦修的v.使受辱( mortify的现在分词 );伤害(人的感情);克制;抑制(肉体、情感等) | |
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25
situated
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adj.坐落在...的,处于某种境地的 | |
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26
ragged
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adj.衣衫褴褛的,粗糙的,刺耳的 | |
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27
ruffles
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褶裥花边( ruffle的名词复数 ) | |
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28
countenance
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n.脸色,面容;面部表情;vt.支持,赞同 | |
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29
peremptorily
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adv.紧急地,不容分说地,专横地 | |
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