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has an air of insincerity, although, contrasted with some of the writer’s later productions, Love in Several Masques is comparatively pure. But he might honestly think that the work which had received the imprimatur of a stage-queen and a lady of quality should fairly be regarded as morally blameless, and it is not necessary to bring any bulk of evidence to prove that the morality of 1728 differed from the morality of to-day.

To the last-mentioned year is ascribed a poem entitled the “Masquerade. Inscribed to C——t H——d——g——r. By Lemuel Gulliver, Poet Laureate to the King of Lilliput.” In this Fielding made his satirical contribution to the attacks on those impure gatherings organised by the notorious Heidegger, which Hogarth had not long before stigmatised pictorially in the plate known to collectors as the “large Masquerade Ticket.” As verse this performance is worthless, and it is not very forcibly on the side of good manners; but the ironic dedication has a certain touch of Fielding’s later fashion. Two other poetical pieces, afterwards included in the Miscellanies of 1743, also bear the date of 1728. One is A Description of U——n G—— (alias'' New Hog’s Norton) in Com. Hants'', which Mr. Keightley has identified with Upton Grey, near Odiham, in Hampshire. It is a burlesque description of a tumbledown country-house in which the writer was staying, and is addressed to Rosalinda. The other is entitled To Euthalia, from which it must be concluded that, in 1728, Sarah Andrew had found more than one successor. But in spite of some biographers, and of the apparent encouragement given to his first comedy, Fielding does