“The snares1 are set, the plot is laid,
Ruin awaits thee — hapless maid!
Seduction sly assails2 thine ear,
And gloating, foul3 desire is near;
Baneful4 and blighting5 are their smiles,
Destruction waits upon their wiles6;
Alas7! thy guardian8 angel sleeps,
Vice9 clasps her hands, and virtue10 weeps.”
The general aim of historical painters, says Mr. Ireland, has been to emblazon some signal exploit of an exalted11 and distinguished12 character. To go through a series of actions, and conduct their hero from the cradle to the grave, to give a history upon canvass13, and tell a story with the pencil, few of them attempted. Mr. Hogarth saw, with the intuitive eye of genius, that one path to the Temple of Fame was yet untrodden: he took Nature for his guide, and gained the summit. He was the painter of Nature; for he gave, not merely the ground-plan of the countenance14, but marked the features with every impulse of the mind. He may be denominated the biographical dramatist of domestic life. Leaving those heroic monarchs15 who have blazed through their day, with the destructive brilliancy of a comet, to their adulatory16 historians, he, like Lillo, has taken his scenes from humble17 life, and rendered them a source of entertainment, instruction, and morality.
This series of prints gives the history of a Prostitute. The story commences with her arrival in London, where, initiated18 in the school of profligacy19, she experiences the miseries20 consequent to her situation, and dies in the morning of life. Her variety of wretchedness, forms such a picture of the way in which vice rewards her votaries21, as ought to warn the young and inexperienced from entering this path of infamy22.
The first scene of this domestic tragedy is laid at the Bell Inn, in Wood-street, and the heroine may possibly be daughter to the poor old clergyman who is reading the direction of a letter close to the York waggon23, from which vehicle she has just alighted. In attire24 — neat, plain, unadorned; in demeanor25 — artless, modest, diffident: in the bloom of youth, and more distinguished by native innocence26 than elegant symmetry; her conscious blush, and downcast eyes, attract the attention of a female fiend, who panders27 to the vices28 of the opulent and libidinous29. Coming out of the door of the inn, we discover two men, one of whom is eagerly gloating on the devoted30 victim. This is a portrait, and said to be a strong resemblance of Colonel Francis Chartres.
The old procuress, immediately after the girl’s alighting from the waggon, addresses her with the familiarity of a friend, rather than the reserve of one who is to be her mistress.
Had her father been versed32 in even the first rudiments33 of physiognomy, he would have prevented her engaging with one of so decided34 an aspect: for this also is the portrait of a woman infamous35 in her day: but he, good, easy man, unsuspicious as Fielding’s parson Adams, is wholly engrossed36 in the contemplation of a superscription to a letter, addressed to the bishop37 of the diocese. So important an object prevents his attending to his daughter, or regarding the devastation38 occasioned by his gaunt and hungry Rozinante having snatched at the straw that packs up some earthenware39, and produced
“The wreck40 of flower-pots, and the crash of pans!”
From the inn she is taken to the house of the procuress, divested41 of her home-spun garb42, dressed in the gayest style of the day; and the tender native hue43 of her complexion44 incrusted with paint, and disguised by patches. She is then introduced to Colonel Chartres, and by artful flattery and liberal promises, becomes intoxicated45 with the dreams of imaginary greatness. A short time convinces her of how light a breath these promises were composed. Deserted46 by her keeper, and terrified by threats of an immediate31 arrest for the pompous47 paraphernalia48 of prostitution, after being a short time protected by one of the tribe of Levi, she is reduced to the hard necessity of wandering the streets, for that precarious49 subsistence which flows from the drunken rake, or profligate50 debauchee. Here her situation is truly pitiable! Chilled by nipping frost and midnight dew, the repentant51 tear trickling52 on her heaving bosom53, she endeavours to drown reflection in draughts54 of destructive poison. This, added to the contagious55 company of women of her own description, vitiates her mind, eradicates56 the native seeds of virtue, destroys that elegant and fascinating simplicity57, which gives additional charms to beauty, and leaves, in its place, art, affectation, and impudence58.
Neither the painter of a sublime59 picture, nor the writer of an heroic poem, should introduce any trivial circumstances that are likely to draw the attention from the principal figures. Such compositions should form one great whole: minute detail will inevitably60 weaken their effect. But in little stories, which record the domestic incidents of familiar life, these accessary accompaniments, though trifling61 in themselves, acquire a consequence from their situation; they add to the interest, and realise the scene. In this, as in almost all that were delineated by Mr. Hogarth, we see a close regard paid to things as they then were; by which means his prints become a sort of historical record of the manners of the age.

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1
snares
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n.陷阱( snare的名词复数 );圈套;诱人遭受失败(丢脸、损失等)的东西;诱惑物v.用罗网捕捉,诱陷,陷害( snare的第三人称单数 ) | |
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2
assails
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v.攻击( assail的第三人称单数 );困扰;质问;毅然应对 | |
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3
foul
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adj.污秽的;邪恶的;v.弄脏;妨害;犯规;n.犯规 | |
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4
baneful
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adj.有害的 | |
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blighting
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使凋萎( blight的现在分词 ); 使颓丧; 损害; 妨害 | |
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6
wiles
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n.(旨在欺骗或吸引人的)诡计,花招;欺骗,欺诈( wile的名词复数 ) | |
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alas
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int.唉(表示悲伤、忧愁、恐惧等) | |
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8
guardian
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n.监护人;守卫者,保护者 | |
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vice
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n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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10
virtue
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n.德行,美德;贞操;优点;功效,效力 | |
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11
exalted
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adj.(地位等)高的,崇高的;尊贵的,高尚的 | |
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12
distinguished
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adj.卓越的,杰出的,著名的 | |
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13
canvass
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v.招徕顾客,兜售;游说;详细检查,讨论 | |
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countenance
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n.脸色,面容;面部表情;vt.支持,赞同 | |
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monarchs
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君主,帝王( monarch的名词复数 ) | |
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adulatory
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adj. 谄媚的, 奉承的, 阿谀的 | |
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17
humble
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adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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18
initiated
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n. 创始人 adj. 新加入的 vt. 开始,创始,启蒙,介绍加入 | |
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19
profligacy
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n.放荡,不检点,肆意挥霍 | |
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miseries
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n.痛苦( misery的名词复数 );痛苦的事;穷困;常发牢骚的人 | |
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21
votaries
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n.信徒( votary的名词复数 );追随者;(天主教)修士;修女 | |
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22
infamy
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n.声名狼藉,出丑,恶行 | |
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23
waggon
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n.运货马车,运货车;敞篷车箱 | |
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24
attire
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v.穿衣,装扮[同]array;n.衣着;盛装 | |
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demeanor
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n.行为;风度 | |
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26
innocence
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n.无罪;天真;无害 | |
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panders
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v.迎合(他人的低级趣味或淫欲)( pander的第三人称单数 );纵容某人;迁就某事物 | |
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28
vices
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缺陷( vice的名词复数 ); 恶习; 不道德行为; 台钳 | |
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29
libidinous
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adj.淫荡的 | |
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30
devoted
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adj.忠诚的,忠实的,热心的,献身于...的 | |
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immediate
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adj.立即的;直接的,最接近的;紧靠的 | |
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versed
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adj. 精通,熟练 | |
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33
rudiments
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n.基础知识,入门 | |
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decided
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adj.决定了的,坚决的;明显的,明确的 | |
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infamous
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adj.声名狼藉的,臭名昭著的,邪恶的 | |
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engrossed
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adj.全神贯注的 | |
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bishop
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n.主教,(国际象棋)象 | |
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38
devastation
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n.毁坏;荒废;极度震惊或悲伤 | |
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earthenware
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n.土器,陶器 | |
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40
wreck
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n.失事,遇难;沉船;vt.(船等)失事,遇难 | |
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41
divested
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v.剥夺( divest的过去式和过去分词 );脱去(衣服);2。从…取去…;1。(给某人)脱衣服 | |
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42
garb
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n.服装,装束 | |
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43
hue
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n.色度;色调;样子 | |
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complexion
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n.肤色;情况,局面;气质,性格 | |
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45
intoxicated
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喝醉的,极其兴奋的 | |
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deserted
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adj.荒芜的,荒废的,无人的,被遗弃的 | |
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47
pompous
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adj.傲慢的,自大的;夸大的;豪华的 | |
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48
paraphernalia
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n.装备;随身用品 | |
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49
precarious
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adj.不安定的,靠不住的;根据不足的 | |
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50
profligate
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adj.行为不检的;n.放荡的人,浪子,肆意挥霍者 | |
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51
repentant
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adj.对…感到悔恨的 | |
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52
trickling
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n.油画底色含油太多而成泡沫状突起v.滴( trickle的现在分词 );淌;使)慢慢走;缓慢移动 | |
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53
bosom
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n.胸,胸部;胸怀;内心;adj.亲密的 | |
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54
draughts
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n. <英>国际跳棋 | |
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contagious
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adj.传染性的,有感染力的 | |
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56
eradicates
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根除者( eradicate的名词复数 ); 褪色灵 | |
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57
simplicity
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n.简单,简易;朴素;直率,单纯 | |
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58
impudence
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n.厚颜无耻;冒失;无礼 | |
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59
sublime
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adj.崇高的,伟大的;极度的,不顾后果的 | |
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60
inevitably
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adv.不可避免地;必然发生地 | |
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61
trifling
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adj.微不足道的;没什么价值的 | |
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