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 Sultan in the New Entertainment.” On the other hand, the Ghost of Queen Common-Sense appears before she is killed, and is with some difficulty persuaded that her action is premature. Part of “the Mob” play truant to see a show in the park; Law, straying without the playhouse passage is snapped up by a Lord Chief-Justice’s Warrant; and a Jew carries off one of the Maids of Honour. These little incidents, together with the unblushing realism of the Pots of Porter that are made to do duty for wine, and the extra two-penny worth of Lightning that is ordered against the first night, are all in the spirit of that inimitable picture of the Strolling Actresses dressing in a Barn, which Hogarth gave to the world two years later, and which, very possibly, may have borrowed some of its inspiration from Fielding’s “dramatic satire.”

There is every reason to suppose that the profits of Pasquin were far greater than those of any of its author’s previous efforts. In a rare contemporary caricature, preserved in the British Museum, [Footnote: Political and Personal Satires, No. 2287.] the “Queen of Common-Sense” is shown presenting “Henry Fielding, Esq.,” with a well-filled purse, while to “Harlequin” (John Rich of Covent Garden) she extends a halter; and in some doggerel lines underneath, reference is made to the “show’rs of Gold” resulting from the piece. This, of course, might be no more than a poetical fiction; but Fielding himself attests the pecuniary success of Pasquin in the Dedication to Tumble-Down Dick, and Mrs. Charke’s statement in her Memoirs that her salary for acting the small part of Lord Place was four guineas a week, “with an Indulgence in Point of