Навчальний посібник для студентів ос «Бакалавр» галузі знань 03 «Гуманітарні науки»



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babenko country study

Marriage à-la-mode
 
In 1743–1745 Hogarth painted the six pictures of 
Marriage à-la-
mode
(National Gallery, London), a pointed skewering of upper class 18th 
century society. This moralistic warning shows the miserable tragedy of an 
ill-considered marriage for money. This is regarded by many as his finest 
project and may be among his best planned story serials. Marital ethics were 
the topic of much debate in 18th century Britain. Marriages of convenience, 
and their unhappiness, came in for particular criticism. 
The series shows the story of the fashionable marriage of the son of 
bankrupt Earl Squanderfield to the daughter of a rich but miserly city 
merchant. It starts with the signing of a marriage contract at the Earl's 


179 
mansion and ending with the murder of the son by his wife's lover, and 
the suicide of the daughter after her lover is hanged at Tyburn.
Industry and Idleness
 
In the twelve prints of 
Industry and Idleness
(1747) Hogarth showed 
the lives of two apprentices, one of whom is dedicated and hard working, the 
other idle. The industrious apprentice becomes Sheriff and Lord Mayor of 
London. The idle turns one to crime. In the end, he is executed at Tyburn. The 
idle apprentice is sent to the gallows by the industrious apprentice himself. 
This shows the work ethic of Protestant England, where those who 
work hard get rewarded, and those who do not end badly, 
Beer Street and Gin Lane
 
Beer Street
and 
Gin Lane
(1751) was his 
warning on alcoholism. They were 
two engravings designed to be seen side by side. Hogarth engraved 
Beer 
Street
to show a happy city drinking the 'good' beverage of English beer. On 
the other side was 
Gin Lane
. This showed the effects of drinking gin which, 
as a harder liquor, caused more problems for society. People are shown as 
healthy, happy and prosperous in 
Beer Street
, while in 
Gin Lane
they are 
scrawny, lazy and careless. 
The woman at the front of 
Gin Lane
who lets her baby fall to its death, echoes 
the tale of Judith Dufour who strangled her baby so she could sell its clothes 
for gin money. The prints were published in support of what would become 
the Gin Act of 1751. 
Hogarth's friend, the magistrate Henry Fielding, may have got Hogarth to help 
with propaganda for the Gin Act: 
Beer Street
and 
Gin Lane
were issued 
shortly after Fielding's work 
An Enquiry into the Causes of the Late Increase 
of Robbers, and Related Writings



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