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 the most useful Satyrists any Age hath produced. In his excellent Works you see the delusive Scene exposed with all the Force of Humour, and, on casting your Eyes on another Picture, you behold the dreadful and fatal Consequence. I almost dare affirm that those two Works of his, which he calls the Rake’s and the Harlot’s Progress, are calculated more to serve the Cause of Virtue, and for the Preservation of Mankind, than all the Folio’s of Morality which have been ever written; and a sober Family should no more be without them, than without the Whole Duty of Man in their House.” He returned to the same theme in the Preface to Joseph Andrews with a still apter phrase of appreciation:—“It hath been thought a vast Commendation of a Painter, to say his Figures seem to breathe; but surely, it is a much greater and nobler Applause, that they appear to think.” [Footnote: Fielding occasionally refers to Hogarth for the pictorial types of his characters. Bridget Allworthy, he tells us, resembled the starched prude in Morning; and Mrs. Partridge and Parson Thwackum have their originals in the Harlot’s Progress. It was Fielding, too, who said that the Enraged Musician was “enough to make a man deaf to look at” (Voyage to Lisbon, 1755, p. 50).]

When the Champion was rather more than a year old, Colley Cibber published his famous Apology. To the attacks made upon him by Fielding at different times he had hitherto printed no reply—perhaps he had no opportunity of doing so. But in his eighth chapter, when speaking of the causes which led to the Licensing Act, he takes occasion to refer to his assailant in terms which Fielding must have found exceedingly galling. He carefully abstained from mentioning his name, on the ground that it could do him no good, and was of