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| The Young Heir Takes Possession of The Miser's Effects |
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| Surrounded by Artists and Professors |
Looks like I'm diversifying into writing about art. Well, I always considered myself a visual learner. Last year I stumbled across the works of the 18th Century painter and satirist William Hogarth. It was while doing some research for one of my stories that I discovered A Rake's Progress, a series of eight paintings Hogarth produced between 1732 and 1734, first as canvas and then as engravings. This series, along with his earlier A Harlot's Progress and later Marriage A-la-Mode could be regarded as the first storyboards.
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| The Tavern Scene |
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| Arrested for Debt |
A little context first; a rake is a person (usually male) who is habituated to immoral conduct, typically gambling or womanising. The "original" rakes were a group of witty and carefree aristocrats in the court of King Charles II who combined riotous living with intellectual pursuits and patronage of the arts. Known as "The Merry Gang" or the "Restoration Rakes", their shocking escapades and antics became popular, as they were seen as rejecting the Puritan doctrine of the Lord Protectorate which governed England previously. In fact, the rake became a popular stock character in the Restoration comedies produced at that time. Unfortunately, attitudes changed after King Charles died without a legitimate heir, which would have dangerous consequences for the whole kingdom.
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| Married to an Old Maid |
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| Scene in a Gaming House |
After The Glorious Revolution, the archetype of the rake became the subject of morality tales, the most famous of which was Hogarth's A Rake's Progress. These paintings follow Tom Rakewell as he inherits a substantial fortune upon the death of his father. Eager to live a more lavish lifestyle than his miserly father, he breaks off his engagement to his girlfriend Sarah Young, and exchanges his father's drab home for a more upscale bachelor pad. The second and third scenes show both aspects of his new lifestyle, holding formal receptions with his entourage upon waking up (based on a royal practice known as a levee) , and spending the nights carousing in taverns and brothels (and most likely contracting syphilis). Soon, his lavish lifestyle soon incurs lavish debts, bringing the bailiffs down on him. However, he is saved by Sarah Young, who pays his bail, but he tries to alleviate his debts by marrying a wealthy old woman (while eyeing her maid). It's only a matter of time before that fortune is gambled away, and our protagonist finds himself in a debtor's prison, before descending into madness and spending the remainder of his days in an asylum (most likely the infamous Bethlem Royal Hospital, also known as Bedlam).
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| The Prison Scene |
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| In the Madhouse |
I found these canvas versions on Wikimedia Commons, where you can also find engraved and print versions, which show some of the finer details of the paintings. For example, it's not clear in the canvas version, but in the sixth painting, Tom is shown between a nobleman brokering a loan from a moneylender to keep playing, and a dejected-looking highwayman (he's wearing boots rather than shoes, along with a riding cloak, and there's a mask and pistol sticking out of his pocket). I recommend you check out all three versions.
Happy writing.
