Tom’s name is intentionally general and in a modern equivalent, he might be called ‘Mr. Shadwell's Epsom Wells may be regarded as a chief instigator of an excessive libertinism which is not questioned. A long-handled gardening tool that can also mean an immoral pleasure seeker. The Tavern Scene from A Rake's Progress by William Hogarth. [18] Only towards the end of the century did the increasing criticism of dramatic immorality and obscenity make the authors return to more traditional moral standards. Finally, the philosophical rake, the most attractive libertine figure, is characterised by self-control and refined behaviour as well as by a capacity for manipulating others.
It is this kind of libertinism that has secured the notoriety of, say, William Wycherley's The Country Wife, George Etherege's The Man of Mode, and Sir Charles Sedley's Bellamira: or, The Mistress. Immoral.’ Tom is not unique, he could be any number of people in eighteenth-century Britain.
Often, a rake was also prodigal, wasting his (usually inherited) fortune on gambling, wine, women and song, and incurring lavish debts in the process. What is the meaning of a rake's progress? But he is never a comic fool.
The motivation of a rake to change his libertinistic ways is either hypocritical (falsewits) or honest (truewits). In a historical context, a rake (short for rakehell, analogous to "hellraiser") was a man who was habituated to immoral conduct, particularly womanising. The libertinistic philosophy that the scintillating persistent rakes display seems to rebel against the narrow-mindedness and hypocrisy lurking behind the façade of Puritan honesty and bourgeois moral standards.
It isn’t a modern moral tale but does draw on Hogarth’s themes of lost individuality, commercialisation, nationalism and sex. It is, above all, the emotional distance from the objects of his desire as well as from the havoc he creates, which renders the persistent rake so frightening. DICTIONARY ; THESAURUS ; GRAMMAR . Cad is a closely related term. In their ideal of life, the libertines of this order may almost be compared to the genius of a somewhat later time: like the genius, the libertinistic rake is anti-authoritarian, anti-normative, and anti-traditional. A Rake’s Progress (1735) was Hogarth’s second series and proved to be just as well loved. Another typology distinguishes between the "polite rake" and the "debauch", using criteria of social class and style. However, the number of persistent rakes continued to grow, together with an upsurge in cuckolding action, and, between 1672 and 1687, not all persistent rakes are punished satirically. 87–88. Dubbed the "Merry Gang" by poet Andrew Marvell, their members included King Charles himself; George Villiers, 2nd Duke of Buckingham; John Wilmot, 2nd Earl of Rochester; Sir Charles Sedley; Charles Sackville, 6th Earl of Dorset; and the playwrights William Wycherley and George Etherege. Similarly, extravagant rakes enter into marriage. [13] Not only characters like Horner and Dorimant spring to mind but also Rodophil and Palamede in Dryden's Marriage-a-la-Mode, Longvil and Bruce in Shadwell's The Virtuoso and the eponymous heroine in Sedley's Bellamira. Other articles where A Rake’s Progress is discussed: William Hogarth: Reputation and success: …and held back the eight-part Rake’s Progress until a law of that nature, known as the Hogarth Act, was passed in 1735. Here, the rake falls into any one of three categories: extravagant libertine, vicious libertine, and philosophical libertine. Rather, his libertinism is serious, thus reflecting the philosophical principles of the pleasure-seeking, cynical Court Wits. Between 1663 and 1668, examples are Wellbred in James Howard's The English Mounsieur (1663/64), Philidor in James Howard's All Mistaken (1665/1672), and Celadon in Dryden's Secret Love (1667). They were typified by the "Merry Gang" of courtiers, who included as prominent members the Earl of Rochester; George Villiers, 2nd Duke of Buckingham; and the Earl of Dorset, who combined riotous living with intellectual pursuits and patronage of the arts. Dryden, for one, drew on Hobbesian ideas in his tragedies but these ideas are internalised by villains only.[16]. However, as soon as the persistence of the rakes remains almost unquestioned, it is difficult to decide whether libertines, no matter of what "colour", play a major part in their authors’ satiric strategies. If a persistent rake was allowed to propagate his philosophical libertinism, "poetische Ungerechtigkeit" ("poetic injustice") was likely to threaten the norm. In 1733 William Hogarth began… In this case, the young, witty, and well-bred male character, who dominates the drawing rooms, is in sharp contrast to a contemptible debauch, who indulges in fornication, alcoholism, and hypocrisy.[10]. The Restoration rake was a carefree, witty, sexually irresistible aristocrat whose heyday was during the English Restoration period (1660–1688) at the court of Charles II. The rake became the butt of moralistic tales, in which his typical fate was debtor's prison, venereal disease, or, in the case of William Hogarth's A Rake's Progress, insanity in Bedlam. Many of them were inveterate gamblers and brawlers. Please enjoy his observations about Hogarth's breathtaking series, The Rake's Progress, and the modern pictures he took as he went on a quest to search for The Rake's London. Highlights of their careers include Sedley and the Earl of Dorset preaching naked to a crowd from an alehouse balcony in Covent Garden, as they simulated sex with each other, and the lowlight was Buckingham's killing of Francis Talbot, 11th Earl of Shrewsbury in a duel for the latter's wife. The reform of the ordinary rakish gentleman is the common pattern for the ending of the play. But he has returned with a vengeance. Comparable terms are "libertine" and "debauchee". The main character is Tom Rakewell—a rake being a old fashioned term for a man of loose morals or a womaniser. Thomas Shadwell and Dryden, for example, discussed the necessity of poetic justice to punish dissoluteness in their plays. Other rakes include Colonel Charteris; Cagliostro, Lord Byron, John Mytton, Giacomo Casanova, Charles Mohun, 4th Baron Mohun; the Marquis de Sade; Robert Fielding and Beauchamp Bagenal. Some were also duelists, but not with the approval of King Charles, who discouraged the practice of duelling. In 1688, Shadwell’s Squire of Alsatia initiated the return to a Horatian prodesse in comedy, which had already been put forth in the Preface to The Humorist (1671): "My design was it, to reprehend some of the Vices and Follies of the Age, which I take to be the most proper, and most useful way of writing Comedy" (The Complete Works of Thomas Shadwell, ed. David S. Berkeley, "The Penitent Rake in Restoration Comedy", Robert Jordan, "The Extravagant Rake in Restoration Comedy,".
Often, a rake was also prodigal, wasting his (usually inherited) fortune on gambling, wine, women and song, and incurring lavish debts in the process. Similarly, Wycherley's Horner is not punished satirically. In other words, penitent rakes among the falsewits only abandon their way of life for financial reasons, while penitent truewits ever so often succumb to the charms of the witty heroine and, at least, go through the motions of vowing constancy. Hockney’s Rake’s Progress is semi-autobiographical and is a stark contrast to Hogarth’s Rakewell. What are synonyms for a rake's progress? Jordan, "Extravagant Rake," p. 76, pp. D'Urfey's' Love for Money (1691) and Cibber's Love's Last Shift (1696) are moralising plays and pave the way for the sentimental comedy of the early eighteenth century. David Haldane Lawrence (2007) "Sowing Wild Oats: The Fallen Man in Late-Victorian Society Melodrama", Graham Parry (1986) "Minds and Manners 1660–1688" in. Hockney uses a combination of etching and aquatint printing techniques. In his pursuit of pleasure and sensual satisfaction, the philosophical libertine shows hedonistic, Epicurean, and anti-rationalist patterns of thought. On the whole, rakes may be subdivided into the penitent and persistent ones, the first being reformed by the heroine, the latter pursuing their immoral conduct. Tom’s name is intentionally general and in a modern equivalent, he might be called ‘Mr. The extravagant rake is as promiscuous and impulsive as he is wild and frivolous, and he finally finds his match in an equally extravagant and witty heroine. One major counter-argument was the call for poetic justice. [17] To reintroduce moral standards, the rake, they demanded, had to be reformed towards the end of the play.
Gentle Readers, Frequent contributor, Tony Grant from London Calling, has been on a hiatus. Learn how and when to remove this template message, Short View of the Immorality and Profaneness of the English Stage, https://en.wikipedia.org/w/index.php?title=Rake_(stock_character)&oldid=976764167, Articles needing additional references from June 2019, All articles needing additional references, Creative Commons Attribution-ShareAlike License, This page was last edited on 4 September 2020, at 21:18. His pronounced libertinistic leanings are not supposed to contribute anything to the comic development of the plot. Although Etherege's Dorimant is "tamed" by Harriet, his conversion at the end is rather doubtful. A Rake’s Progress (1735) was Hogarth’s second series and proved to be just as well loved. [7], A later group of aristocratic rakes were associated with the Hell Fire Club in the eighteenth century. [5] Following the tone set by the monarch himself, these men distinguished themselves in drinking, womanising, and witty conversation, with the Earl of Rochester outdoing all the rest. Still other assessments of the libertine concentrate on the kind and intensity of libertinistic demeanour. WORD ORIGINS ; LANGUAGE QUESTIONS ; WORD LISTS; SPANISH DICTIONARY; More.
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