Marriage à la Mode

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Marriage à la Mode

engravings in which Hogarth satirically depicts the daily lives of a countess and an earl. [Br. Art: EB (1963) XI, 625]
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Victoria winces as she recalls the recreation of a painting in a series by Hogarth, Marriage A-la-Mode, in which she had to sit awkwardly with her arms raised.
4) At the same time, I want to question the most paradoxical of all discussions of Restoration tragicomedy, the dialectical reading of Marriage A-la-Mode offered by Michael McKeon.
Even the comic plots concern themselves with the graceful behavior of courtiers, and these courtiers share a number of social and stylistic values with the principal characters of the heroic plot; in Marriage A-la-Mode, for instance, Melantha's frantic social climbing is ridiculed by reliable speakers within both halves of the tragicomic structure.
To speak of radical royalism in this light is to emphasize the recuperative powers of Dryden's drama, and nowhere are these powers more evident than in the comic plot of Marriage A-la-Mode (1671).
The proviso scenes of Marriage A-la-Mode and, before that, of Secret Love (1667), however influential upon the later practice of Restoration comedy, embody a contractualist optimism that Dryden could never sustain.
While the comic plot of Marriage A-la-Mode deflects this Oedipal struggle, the heroic plot encounters it more squarely.
In Marriage A-la-Mode, Palmyra reenacts the ambivalence of English royalists after 1649, who were forced to choose between loyalty to a de jure monarch and obedience to a de facto sovereign.
As in Marriage A-la-Mode, the rebellious son is rescued from filial impiety--and, in this case, from incest--by the revelation of heretofore mistaken identity: Alphonso, it turns out, is neither Veramond's son nor his subject, but is instead the son of Ramirez, King of Castile.
In Love Triumphant, the feminine voice of passive obedience gains a new power to shape the heroic action, a power conspicuously lacking in Marriage A-la-Mode.
Because Dryden enforces a more or less rigid separation between comic and heroic characters--more rigid in Secret Love and Marriage A-la-Mode, less so in The Spanish Fryar and Don Sebastian--these rakes avoid direct contact with the heroic plot until the moment of deepest dynastic crisis.
WILLIAM Hogarth's Marriage A-la-Mode is a six-part series of paintings made in 1742 and 1742 and engraved in 1745.
He abandoned crowd-pleasing rant and bombast in 1672 with the staging of his brilliant comedy MARRIAGE A-LA-MODE .