DOI Page / Citation link:
https://doi.org/10.11588/diglit.61480#0030
22
HOGARTH'S WORKS.
he is now plundered more than "a little month." On the opposite side is another, on
whom fortune has severely frowned, biting his nails in the anguish of his soul. The
fifth completes the climax; he is frantic; and with a drawn sword endeavours to
destroy a pauvre miserable whom he supposes to have cheated him, but is prevented by
the interposition of one of those staggering votaries of Bacchus who are to be found in
every company where there is good wine; and gaming, like the rod of Moses, so far
swallows up every other passion, that the actors, engrossed by greater objects, willingly
leave their wine to the audience.
In the back-ground are two collusive associates, eagerly dividing the profits of the
evening.
A nobleman in the corner is giving his note to an usurer. The lean and hungry
appearance of this cent, per cent, worshipper of the golden calf, is well contrasted by
the sleek, contented vacancy of so well-employed a legislator of this great empire.
Seated at the table, a portly gentleman, of whom we see very little, is coolly sweeping
off his winnings.
So engrossed is every one present by his own situation, that the flames which sur-
round them are disregarded, and the vehement cries of a watchman entering the room,
are necessary to rouse their attention to what is generally deemed the first law of
nature, self-preservation.
Mr. Gilpin observes:—“ The fortune, which our adventurer has just received, enables him to
make one push more at the gaming-table. He is exhibited, in the sixth print, venting curses on his
folly for having lost his last stake.—This is, upon the whole, perhaps, the best print of the set.
The horrid scene it describes, was never more inimitably drawn. The composition is artful,
and natural. If the shape of the whole be not quite pleasing, the figures are so well grouped, and
with so much ease and variety, that you cannot take offence.
“ The expression, in almost every figure, is admirable; and the whole is a strong representation of
the human mind in a storm. Three stages of that species of madness which attends gaming, are
here described. On the first shock, all is inward dismay, The ruined gamester is represented
leaning against a wall, with his arms across, lost in an agony of horror. Perhaps never passion was
described with so much force. In a short time this horrible gloom bursts into a storm of fury: he
tears in pieces what comes next him; and, kneeling down, invokes curses upon himself. He next
attacks others; every one in his turn whom he imagines to have been instrumental in his ruin.—
The eager joy of the winning gamesters, the attention of the usurer, the vehemence of the watch-
man, and the profound reverie of the highwayman, are all admirably marked. There is great
coolness, too, expressed in the little we see of the fat gentleman at the end of the table."
HOGARTH'S WORKS.
he is now plundered more than "a little month." On the opposite side is another, on
whom fortune has severely frowned, biting his nails in the anguish of his soul. The
fifth completes the climax; he is frantic; and with a drawn sword endeavours to
destroy a pauvre miserable whom he supposes to have cheated him, but is prevented by
the interposition of one of those staggering votaries of Bacchus who are to be found in
every company where there is good wine; and gaming, like the rod of Moses, so far
swallows up every other passion, that the actors, engrossed by greater objects, willingly
leave their wine to the audience.
In the back-ground are two collusive associates, eagerly dividing the profits of the
evening.
A nobleman in the corner is giving his note to an usurer. The lean and hungry
appearance of this cent, per cent, worshipper of the golden calf, is well contrasted by
the sleek, contented vacancy of so well-employed a legislator of this great empire.
Seated at the table, a portly gentleman, of whom we see very little, is coolly sweeping
off his winnings.
So engrossed is every one present by his own situation, that the flames which sur-
round them are disregarded, and the vehement cries of a watchman entering the room,
are necessary to rouse their attention to what is generally deemed the first law of
nature, self-preservation.
Mr. Gilpin observes:—“ The fortune, which our adventurer has just received, enables him to
make one push more at the gaming-table. He is exhibited, in the sixth print, venting curses on his
folly for having lost his last stake.—This is, upon the whole, perhaps, the best print of the set.
The horrid scene it describes, was never more inimitably drawn. The composition is artful,
and natural. If the shape of the whole be not quite pleasing, the figures are so well grouped, and
with so much ease and variety, that you cannot take offence.
“ The expression, in almost every figure, is admirable; and the whole is a strong representation of
the human mind in a storm. Three stages of that species of madness which attends gaming, are
here described. On the first shock, all is inward dismay, The ruined gamester is represented
leaning against a wall, with his arms across, lost in an agony of horror. Perhaps never passion was
described with so much force. In a short time this horrible gloom bursts into a storm of fury: he
tears in pieces what comes next him; and, kneeling down, invokes curses upon himself. He next
attacks others; every one in his turn whom he imagines to have been instrumental in his ruin.—
The eager joy of the winning gamesters, the attention of the usurer, the vehemence of the watch-
man, and the profound reverie of the highwayman, are all admirably marked. There is great
coolness, too, expressed in the little we see of the fat gentleman at the end of the table."