“No friend’s complaint, no kind domestic tear,
Pleas’d thy pale ghost, or grac’d thy mournful bier:
By harlots’ hands thy dying eyes were clos’d;
By harlots’ hands thy decent limbs compos’d;
By harlots’ hands thy humble1 grave adorn’d;
By harlots honour’d, and by harlots mourn’d.”
The adventures of our heroine are now concluded. She is no longer an actor in her own tragedy; and there are those who have considered this print as a farce2 at the end of it: but surely such was not the author’s intention.
The ingenious writer of Tristram Shandy begins the life of his hero before he is born; the picturesque3 biographer of Mary Hackabout has found an opportunity to convey admonition, and enforce his moral, after her death. A wish usually prevails, even among those who are most humbled4 by their own indiscretion, that some respect should be paid to their remains5; that their eyes should be closed by the tender hand of a surviving friend, and the tear of sympathy and regret shed upon the sod which covers their grave; that those who loved them living, should attend their last sad obsequies; and a sacred character read over them the awful service which our religion ordains6, with the solemnity it demands. The memory of this votary7 of prostitution meets with no such marks of social attention, or pious8 respect. The preparations for her funeral are as licentious9 as the progress of her life, and the contagion10 of her example seems to reach all who surround her coffin11. One of them is engaged in the double trade of seduction and thievery; a second is contemplating12 her own face in a mirror. The female who is gazing at the corpse13, displays some marks of concern, and feels a momentary14 compunction at viewing the melancholy15 scene before her: but if any other part of the company are in a degree affected16, it is a mere17 maudlin18 sorrow, kept up by glasses of strong liquor. The depraved priest does not seem likely to feel for the dead that hope expressed in our liturgy19. The appearance and employment of almost every one present at this mockery of woe20, is such as must raise disgust in the breast of any female who has the least tincture of delicacy21, and excite a wish that such an exhibition may not be displayed at her own funeral.
In this plate there are some local customs which mark the manners of the times when it was engraved22, but are now generally disused, except in some of the provinces very distant from the capital; sprigs of rosemary were then given to each of the mourners: to appear at a funeral without one, was as great an indecorum as to be without a white handkerchief. This custom might probably originate at a time when the plague depopulated the metropolis23, and rosemary was deemed an antidote24 against contagion. It must be acknowledged that there are also in this print some things which, though they gave the artist an opportunity of displaying his humour, are violations25 of propriety26 and customs: such is her child, but a few removes from infancy27, being habited as chief mourner, to attend his parent to the grave; rings presented, and an escutcheon hung up, in a garret, at the funeral of a needy28 prostitute. The whole may be intended as a burlesque29 upon ostentatious and expensive funerals, which were then more customary than they are now. Mr. Pope has well ridiculed30 the same folly31;
“When Hopkins dies, a thousand lights attend
The wretch32 who, living, sav’d a candle’s end.”
The figures have much characteristic discrimination; the woman looking into the coffin has more beauty than we generally see in the works of this artist. The undertaker’s gloating stare, his companion’s leer, the internal satisfaction of the parson and his next neighbour, are contrasted by the Irish howl of the woman at the opposite side, and evince Mr. Hogarth’s thorough knowledge of the operation of the passions upon the features. The composition forms a good shape, has a proper depth, and the light is well managed.
Sir James Thornhill’s opinion of this series may be inferred from the following circumstance. Mr. Hogarth had without consent married his daughter: Sir James, considering him as an obscure artist, was much displeased33 with the connexion. To give him a better opinion of his son-in-law, a common friend, one morning, privately34 conveyed the six pictures of the Harlot’s Progress into his drawing-room. The veteran painter eagerly inquired who was the artist; and being told, cried out, “Very well! Very well indeed! The man who can paint such pictures as these, can maintain a wife without a portion.” This was the remark of the moment; but he afterwards considered the union of his daughter with a man of such abilities an honour to his family, was reconciled, and generous.
When the publication was advertised, such was the expectation of the town, that above twelve hundred names were entered in the subscription35 book. When the prints appeared, they were beheld36 with astonishment37. A subject so novel in the idea, so marked with genius in the execution, excited the most eager attention of the public. At a time when England was coldly inattentive to every thing which related to the arts, so desirous were all ranks of people of seeing how this little domestic story was delineated, that there were eight piratical imitations, besides two copies in a smaller size than the original, published, by permission of the author, for Thomas Bakewell. The whole series were copied on fan-mounts, representing the six plates, three on one side, and three on the other. It was transferred from the copper38 to the stage, in the form of a pantomime, by Theophilus Cibber; and again represented in a ballad39 opera, entitled, the Jew Decoyed; or, the Harlot’s Progress.

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1
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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2
farce
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n.闹剧,笑剧,滑稽戏;胡闹 | |
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3
picturesque
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adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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4
humbled
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adj. 卑下的,谦逊的,粗陋的 vt. 使 ... 卑下,贬低 | |
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5
remains
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n.剩余物,残留物;遗体,遗迹 | |
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6
ordains
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v.任命(某人)为牧师( ordain的第三人称单数 );授予(某人)圣职;(上帝、法律等)命令;判定 | |
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7
votary
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n.崇拜者;爱好者;adj.誓约的,立誓任圣职的 | |
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8
pious
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adj.虔诚的;道貌岸然的 | |
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9
licentious
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adj.放纵的,淫乱的 | |
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10
contagion
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n.(通过接触的疾病)传染;蔓延 | |
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11
coffin
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n.棺材,灵柩 | |
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12
contemplating
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深思,细想,仔细考虑( contemplate的现在分词 ); 注视,凝视; 考虑接受(发生某事的可能性); 深思熟虑,沉思,苦思冥想 | |
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13
corpse
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n.尸体,死尸 | |
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14
momentary
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adj.片刻的,瞬息的;短暂的 | |
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15
melancholy
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n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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16
affected
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adj.不自然的,假装的 | |
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17
mere
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adj.纯粹的;仅仅,只不过 | |
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18
maudlin
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adj.感情脆弱的,爱哭的 | |
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19
liturgy
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n.礼拜仪式 | |
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20
woe
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n.悲哀,苦痛,不幸,困难;int.用来表达悲伤或惊慌 | |
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21
delicacy
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n.精致,细微,微妙,精良;美味,佳肴 | |
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22
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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23
metropolis
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n.首府;大城市 | |
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24
antidote
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n.解毒药,解毒剂 | |
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25
violations
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违反( violation的名词复数 ); 冒犯; 违反(行为、事例); 强奸 | |
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26
propriety
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n.正当行为;正当;适当 | |
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infancy
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n.婴儿期;幼年期;初期 | |
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28
needy
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adj.贫穷的,贫困的,生活艰苦的 | |
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29
burlesque
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v.嘲弄,戏仿;n.嘲弄,取笑,滑稽模仿 | |
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30
ridiculed
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v.嘲笑,嘲弄,奚落( ridicule的过去式和过去分词 ) | |
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31
folly
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n.愚笨,愚蠢,蠢事,蠢行,傻话 | |
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32
wretch
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n.可怜的人,不幸的人;卑鄙的人 | |
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33
displeased
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a.不快的 | |
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34
privately
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adv.以私人的身份,悄悄地,私下地 | |
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subscription
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n.预订,预订费,亲笔签名,调配法,下标(处方) | |
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36
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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37
astonishment
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n.惊奇,惊异 | |
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38
copper
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n.铜;铜币;铜器;adj.铜(制)的;(紫)铜色的 | |
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39
ballad
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n.歌谣,民谣,流行爱情歌曲 | |
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