 |
 |
 |
 |
 |
 |
 |
 |
After
1736
14 11/16” X 12 1/16” (H X W)
Etched and Engraved by Hogarth after his painting.
View the full resolution plate here.
View the painting here.
View the first state of three (i/iii) here.
Peter Quennell states that the situation of “After” is “possibly disastrous” (74). The lovemaking complete, the male prepares to depart, despite the pleading of his partner. The fall is complete as evidenced by the fallen desk, mirror, bed curtains and broken chamberpot. The gentleman’s expression is the typical Hogarthian representation of sexual exhaustion, as Shesgreen notes, “changed from one of sexual frenzy to one of wonder and release” (38). The pamphlet on the floor reads, “Omne Animal Post Coitum Triste.” This sentiment is all the more true if, after sex, there is the abandonment implicit here. The potential disaster that Quennell perceives is the danger that is realized in other series where casual sex is followed through to its conclusions which not only depict personal loss but also reveal social disorder, as it is assumed that the man will take his desires (and potentially his newly acquired disease) elsewhere. The erection of desire as a false god is always problematic in Hogarth, and the girl with her pictures of Cupid (Here, his phallic rocket is spent.) and her book of Rochester poems worships at such an altar. The dog catches a post-coital nap.
After
Shesgreen, Sean. Engravings by Hogarth. (1973)
In this scene the pursuit and flight of Before have become passive moods and reactions. The expression on the gentleman’s face is changed from one of sexual frenzy to one of wonder and release. He dresses to leave. The girl’s anxiety is changed to a clinging affection. In a reversal of roles, she now attempts to detain him.
On the floor a book is open to a page reading, “Omne Animal Post Coitum Triste/ Aristotle” (Every animal is sad after intercourse). The passage of time is marked by the sun’s illumination of “After,” a picture of the putto smiling at his exhausted rocket’s downward course. Symbolic breakages fill the room: the mirror, the chamber pot, the curtain rail. The sleeping dog reflects its mistress’ mood (38).
After
Quennell, Peter. Hogarth’s Progress. (1955)
From 1730 or 1731 . . .date the two canvases that he called Before and After—pictures of a young man attempting seduction, while a girl, endeavouring to preserve her virginity, over-turns her dressing-table, and of the same young man when he has accomplished his purpose, the broken looking-glass lying in fragments at his feet, and his mistress, disheveled and lachrymose, pleading for advice and affection. Both are awkward and somewhat unpleasing works; but they throw an interesting sidelight on the painter’s temperament. . . .Sentiment and grivoiserie are equally lacking. This, we feel is a possibly disastrous and undoubtedly ridiculous episode, such as happened yesterday and will happen again to-morrow, in the too-accommodating shelter of a half hundred curtained beds. The girl is a goose: her lover is a booby. The very gesture with which the young man hurriedly tugs at his breeches reveals his coarse ineptitude (73-74).
After
Paulson, Ronald. Hogarth’s Graphic Works. (1965)
The picture with Cupid lighting the rocket and “BEFORE” is now obscured by a shadow cast from the bed; a new picture appears below it: Cupid showing us the rocket returning to earth spent, labeled “AFTER.” Part of the bed curtain has come down, the mirror is shattered, as is the chamber pot (visible under the bed in Before). The dog is now sound asleep. Also referring to the man is the treatise of “ARISTOTLE” on the floor, with the apothegm traditionally ascribed to him: “Omne Aminal Post Coitum Triste” (“Every creature is dejected after coition”: a paraphrase of passages in Of the Generation of Animals, 1.18 [725b] and Problems, 4.6 [877a]; 4.12 [877b], 4.21 [879a], and 30.1 [9552]). The woman is now in the supplication position of the man in Before (172).
After: Aristotle
Paulson, Hogarth's Graphic Works
Also referring to the man is the treatise of “ARISTOTLE” on the floor, with the apothegm traditionally ascribed to him: “Omne Aminal Post Coitum Triste” (“Every creature is dejected after coition”: a paraphrase of passages in Of the Generation of Animals, 1.18 [725b] and Problems, 4.6 [877a]; 4.12 [877b], 4.21 [879a], and 30.1 [9552]) (172).
After: Chamber Pot
Paulson, Hogarth's Graphic Works
Part of the bed curtain has come down, the mirror is shattered, as is the chamber pot (visible under the bed in Before) (172).
After: Cupid
The erection of desire as a false god is always problematic in Hogarth, and the girl with her pictures of Cupid (Here, his phallic rocket is spent.) and her book of Rochester poems worships at such an altar. The previous plate features the rocket about to be sent into flight. Hogarth teases the viewer, using these images to suggest the act he does not show in the prints.
After: Cupid
Paulson, Hogarth's Graphic Works
The picture with Cupid lighting the rocket and “BEFORE” is now obscured by a shadow cast from the bed; a new picture appears below it: Cupid showing us the rocket returning to earth spent, labeled “AFTER” (172).
After: Dog
The dog, erect and frisky in the previous plate, catches a post-coital nap. He is representative of the male desire which is, here, spent. Although Shesgreen comments that he represents the female’s mood, he is more a reflection of the exhaustion and disinterest of the man.
After: Girl
Peter Quennell states that the situation of “After” is “possibly disastrous” (74). The lovemaking complete, the male prepares to depart, despite the pleading of his partner. The erection of desire as a false god is always problematic in Hogarth, and the girl with her pictures of Cupid (Here, his phallic rocket is spent.) and her book of Rochester poems worships at such an altar. The dog catches a post-coital nap.
After: Girl
Quennell
From 1730 or 1731 . . .date the two canvases that he called Before and After—pictures of a young man attempting seduction, while a girl, endeavouring to preserve her virginity, over-turns her dressing-table, and of the same young man when he has accomplished his purpose, the broken looking-glass lying in fragments at his feet, and his mistress, disheveled and lachrymose, pleading for advice and affection. Both are awkward and somewhat unpleasing works; but they throw an interesting sidelight on the painter’s temperament. . . .Sentiment and grivoiserie are equally lacking. This, we feel is a possibly disastrous and undoubtedly ridiculous episode, such as happened yesterday and will happen again to-morrow, in the too-accommodating shelter of a half hundred curtained beds. The girl is a goose: her lover is a booby. The very gesture with which the young man hurriedly tugs at his breeches reveals his coarse ineptitude (73-74).
After: Girl
Paulson, Hogarth's Graphic Works
The woman is now in the supplication position of the man in Before (172).
After: Man
Peter Quennell states that the situation of “After” is “possibly disastrous” (74). The lovemaking complete, the male prepares to depart, despite the pleading of his partner. The gentleman’s expression is the typical Hogarthian representation of sexual exhaustion, as Shesgreen notes, “changed from one of sexual frenzy to one of wonder and release”(38). The potential disaster that Quennell perceives is the danger that is realized in other series where casual sex is followed through to its conclusions which not only depict personal loss but also reveal social disorder, as it is assumed that the man will take his desires (and potentially his newly acquired disease) elsewhere.
After: Man
Quennell
From 1730 or 1731 . . .date the two canvases that he called Before and After—pictures of a young man attempting seduction, while a girl, endeavouring to preserve her virginity, over-turns her dressing-table, and of the same young man when he has accomplished his purpose, the broken looking-glass lying in fragments at his feet, and his mistress, disheveled and lachrymose, pleading for advice and affection. Both are awkward and somewhat unpleasing works; but they throw an interesting sidelight on the painter’s temperament. . . .Sentiment and grivoiserie are equally lacking. This, we feel is a possibly disastrous and undoubtedly ridiculous episode, such as happened yesterday and will happen again to-morrow, in the too-accommodating shelter of a half hundred curtained beds. The girl is a goose: her lover is a booby. The very gesture with which the young man hurriedly tugs at his breeches reveals his coarse ineptitude (73-74).
After: Mirror
Shesgreen
Symbolic breakages fill the room: the mirror, the chamber pot, the curtain rail (38).
After: Mirror
Quennell
From 1730 or 1731 . . .date the two canvases that he called Before and After—pictures of a young man attempting seduction, while a girl, endeavouring to preserve her virginity, over-turns her dressing-table, and of the same young man when he has accomplished his purpose, the broken looking-glass lying in fragments at his feet, and his mistress, disheveled and lachrymose, pleading for advice and affection. Both are awkward and somewhat unpleasing works; but they throw an interesting sidelight on the painter’s temperament. . . .Sentiment and grivoiserie are equally lacking. This, we feel is a possibly disastrous and undoubtedly ridiculous episode, such as happened yesterday and will happen again to-morrow, in the too-accommodating shelter of a half hundred curtained beds. The girl is a goose: her lover is a booby. The very gesture with which the young man hurriedly tugs at his breeches reveals his coarse ineptitude (73-74).
After: Mirror
Paulson, Hogarth's Graphic Works
Part of the bed curtain has come down, the mirror is shattered, as is the chamber pot (visible under the bed in Before) (172).