Comment les thèmes satiriques de Hogarth dans ses œuvres de jeunesse reflètent-ils la transition de l'Angleterre des années 1720 vers une société plus commerciale et urbaine, particulièrement à travers sa critique des excès culturels et économiques de l'époque ?
Early works

Early satirical works included an Emblematical Print on the South Sea Scheme (c. 1721, published 1724), about the disastrous stock market crash of 1720, known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Roman Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride". The people are scattered around the picture with a sense of disorder, while the progress of the well dressed people towards the ride in the middle shows the foolishness of the crowd in buying stock in the South Sea Company, which spent more time issuing stock than anything else.

Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormagons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich 's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington 's protégé, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket.

In 1726, Hogarth prepared twelve large engravings illustrating Samuel Butler 's Hudibras.These he himself valued highly, and they are among his best early works, though they are based on small book illustrations.

In the following years, he turned his attention to the production of small " conversation pieces " (i.e., groups in oil of full-length portraits from 12 to 15 inches (300 to 380 mm) high. Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c. 1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay 's popular The Beggar's Opera. One of his real-life subjects was Sarah Malcolm, whom he sketched two days before her execution.

One of Hogarth's masterpieces of this period is the depiction of an amateur performance by children of John Dryden 's The Indian Emperour, or The Conquest of Mexico by Spaniards, being the Sequel of The Indian Queen (1732–1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square.

Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope 's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.
Peintre et graveur de sujets moraux modernes

Hogarth a vécu à une époque où l'art devenait de plus en plus commercialisé, exposé dans les vitrines des magasins, les tavernes et les bâtiments publics, et vendu dans les ateliers d'imprimerie. Les vieilles hiérarchies s'effondraient et de nouvelles formes commençaient à prospérer : l'opéra ballad, la tragédie bourgeoise, et surtout, une nouvelle forme de fiction appelée le roman, avec laquelle des auteurs tels que Henry Fielding ont connu un grand succès. Ainsi, à cette époque, Hogarth a eu une idée novatrice : "peindre et graver des sujets moraux modernes... traiter mes sujets comme un dramaturge ; ma peinture était ma scène", comme il le remarquait lui-même dans ses notes manuscrites.

Il s'est inspiré de la tradition protestante très moralisatrice de la peinture de genre néerlandaise, et des traditions satiriques très vives des broadsheets anglais et d'autres types d'impressions populaires. En Angleterre, les beaux-arts étaient peu enclins à la comédie avant Hogarth. Ses gravures étaient coûteuses, et le restèrent jusqu'aux réimpressions du début du XIXe siècle qui les ont rendues accessibles à un public plus large.
### Query ###
Comment les thèmes satiriques de Hogarth dans ses œuvres de jeunesse reflètent-ils la transition de l'Angleterre des années 1720 vers une société plus commerciale et urbaine, particulièrement à travers sa critique des excès culturels et économiques de l'époque ?

### Main Text ###
Early works

Early satirical works included an Emblematical Print on the South Sea Scheme (c. 1721, published 1724), about the disastrous stock market crash of 1720, known as the South Sea Bubble, in which many English people lost a great deal of money. In the bottom left corner, he shows Protestant, Roman Catholic, and Jewish figures gambling, while in the middle there is a huge machine, like a merry-go-round, which people are boarding. At the top is a goat, written below which is "Who'l Ride". The people are scattered around the picture with a sense of disorder, while the progress of the well dressed people towards the ride in the middle shows the foolishness of the crowd in buying stock in the South Sea Company, which spent more time issuing stock than anything else.

Other early works include The Lottery (1724); The Mystery of Masonry brought to Light by the Gormagons (1724); A Just View of the British Stage (1724); some book illustrations; and the small print Masquerades and Operas (1724). The latter is a satire on contemporary follies, such as the masquerades of the Swiss impresario John James Heidegger, the popular Italian opera singers, John Rich 's pantomimes at Lincoln's Inn Fields, and the exaggerated popularity of Lord Burlington 's protégé, the architect and painter William Kent. He continued that theme in 1727, with the Large Masquerade Ticket.

In 1726, Hogarth prepared twelve large engravings illustrating Samuel Butler 's Hudibras.These he himself valued highly, and they are among his best early works, though they are based on small book illustrations.

In the following years, he turned his attention to the production of small " conversation pieces " (i.e., groups in oil of full-length portraits from 12 to 15 inches (300 to 380 mm) high. Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c. 1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay 's popular The Beggar's Opera. One of his real-life subjects was Sarah Malcolm, whom he sketched two days before her execution.

One of Hogarth's masterpieces of this period is the depiction of an amateur performance by children of John Dryden 's The Indian Emperour, or The Conquest of Mexico by Spaniards, being the Sequel of The Indian Queen (1732–1735) at the home of John Conduitt, master of the mint, in St George's Street, Hanover Square.

Hogarth's other works in the 1730s include A Midnight Modern Conversation (1733), Southwark Fair (1733), The Sleeping Congregation (1736), Before and After (1736), Scholars at a Lecture (1736), The Company of Undertakers (1736), The Distrest Poet (1736), The Four Times of the Day (1738), and Strolling Actresses Dressing in a Barn (1738). He may also have printed Burlington Gate (1731), evoked by Alexander Pope 's Epistle to Lord Burlington, and defending Lord Chandos, who is therein satirized. This print gave great offence, and was suppressed. However, modern authorities such as Ronald Paulson no longer attribute it to Hogarth.

### Supplementary Text ###
Peintre et graveur de sujets moraux modernes

Hogarth a vécu à une époque où l'art devenait de plus en plus commercialisé, exposé dans les vitrines des magasins, les tavernes et les bâtiments publics, et vendu dans les ateliers d'imprimerie. Les vieilles hiérarchies s'effondraient et de nouvelles formes commençaient à prospérer : l'opéra ballad, la tragédie bourgeoise, et surtout, une nouvelle forme de fiction appelée le roman, avec laquelle des auteurs tels que Henry Fielding ont connu un grand succès. Ainsi, à cette époque, Hogarth a eu une idée novatrice : "peindre et graver des sujets moraux modernes... traiter mes sujets comme un dramaturge ; ma peinture était ma scène", comme il le remarquait lui-même dans ses notes manuscrites.

Il s'est inspiré de la tradition protestante très moralisatrice de la peinture de genre néerlandaise, et des traditions satiriques très vives des broadsheets anglais et d'autres types d'impressions populaires. En Angleterre, les beaux-arts étaient peu enclins à la comédie avant Hogarth. Ses gravures étaient coûteuses, et le restèrent jusqu'aux réimpressions du début du XIXe siècle qui les ont rendues accessibles à un public plus large.

### Draft ###

Query: "Comment les thèmes satiriques de Hogarth dans ses œuvres de jeunesse..."

Translation check: "How do Hogarth's satirical themes in youth works reflect England's 1720s transition to more commercial/urban society through critique of cultural/economic excesses?"

Key semantic load: "jeunesse" = early career (not biographical youth), "transition" = social transformation process, "excès" = excesses/extremes.

Task classification: Complex interpretive synthesis. Not simple retrieval → requires connecting artistic content to historical context.

### 1. Temporal/Geographic Context

England 1720s: Post-South Sea Bubble crash. Financial speculation mania → collapse. Urban growth accelerating. Commercial bourgeoisie expansion. Cultural democratization but also new forms of excess/vulgarity.

⟨H≈0.8⟩ *The print shops, coffee houses, theaters. New money flaunting in Vauxhall gardens. Opera boxes filled with nouveaux riches. Satirical prints as mass medium - information + entertainment + moral commentary. Hogarth born 1697, early career 1720s-30s...*

### 2. Core Works Analysis

South Sea Bubble (c.1721-24): ● High confidence
- Wheel of Fortune imagery
- Gambling figures (Protestant/Catholic/Jewish stereotypes)
- Chaotic vs. orderly social critique
- Financial speculation madness

Key insight: Economic critique through visual metaphor

Other early works:
- The Lottery (1724) ◐ 
- Masquerades and Operas (1724) ●
- Hudibras illustrations (1726) ●
- Strolling Actresses series ●

Pattern recognition: Theater, gambling, financial speculation, masquerade culture = targets of satirical critique.

### 3. Social Transition Evidence

1720s England showing:
→ Financial speculation as mass phenomenon
→ Cultural democratization (wider access to entertainment)  
→ Distinction between "old" and "new" money/culture
→ Urban concentration of these trends

Hogarth's response: Moral critique through artistic medium that reaches broader public than traditional "high art."

※ Key transition: Art becoming more commercial itself, paralleling society he critiqued.

### 4. Commercial Society Critique

Specific targets:
- Financial speculation folly
- Opera/theater excess (Italian singers, pantomimes)
- Masquerade culture as status display
- Cultural democratization but also vulgarization

Method: Visual satire exposing contradictions/absurdities

⟨H≈1.2⟩ *The prints hanging in coffee houses, circulating among merchants and gentry alike. Hogarth's genius: making art accessible while maintaining critical distance. The paradox of commercial art critiquing commercial society...*

### 5. Artistic Innovation Context

Hogarth's "modern moral subjects" concept:
- Applied theatrical structure to visual art
- Mass production of satirical prints
- Moral instruction through entertainment
- Critique of contemporary social forms

∴ His work = perfect mirror of 1720s commercial/cultural transition

! Key insight: Hogarth both product of and critic of commercial society. His artistic practice embodied the very transformations he satirized.

### 6. Synthesis

Hogarth's early satirical works function as:
1. Cultural barometer of 1720s social change
2. Moral critique of economic/cultural excesses  
3. Artistic innovation adapting to commercialized culture

His prints reveal: Financial speculation madness, cultural democratization gone vulgar, class distinctions blurring through commercial activity.

The transition from traditional moral frameworks to commercial modernity visible through artistic lens.

⟨H≈0.3⟩ *South Sea Bubble → Lottery → Masquerades. Each print traces different aspect of same transformation. Visual evidence of England's commercial awakening, mediated through artist's satirical consciousness...*

**Conclusion**: Hogarth's youth works = artistic documentation of 1720s social transition through satirical lens. His commercial art critiquing commercial society. Perfect synthesis of form and content for understanding this pivotal historical moment.

### Answer###
Les œuvres satiriques de Hogarth de sa jeunesse constituent effectivement un reflet fidèle de la transformation sociale de l'Angleterre des années 1720 vers une société plus commercialisée et urbaine. Ses premières œuvres comme "L'Émule du Schème de la Mer du Sud" (vers 1721, publié 1724) dépeignent avec ironie la folie spéculative qui caractérisait cette époque d'expansion financière. Cette gravure montre les classes sociales - protestants, catholiques romains et juifs - s'adonnant au jeu d'argent, symbolisant ainsi l'engouement général pour les investissements hasardeux.

Hogarth a également critiqué les nouveaux phénomènes culturels qui accompagnaient cette modernisation sociale. Ses œuvres comme "Les Mascarades et les opéras" (1724) et "Le Grand billet de mascarade" (1727) se moquent des modes culturelles de l'époque : les mascarades d'impresarios comme John James Heidegger, les chanteurs d'opéra italiens populaires, et les pantomimes de John Rich. Cette critique s'étendait aux excès du monde théâtral et artistique, notamment l'influence excessive du protégé de Lord Burlington, William Kent.

Son adaptation des illustrations de Hudibras de Samuel Butler en 12 grandes gravures (1726) démontre sa capacité à saisir l'essence satirique de ces transformations culturelles. Les années 1730 ont continué cette veine critique avec des œuvres comme "La Foire de Southwark", "L'Assemblée à Wanstead House" et "Les Actrices errantes se coiffant dans une grange", révélant son intérêt pour les milieux populaires et les nouvelles formes de divertissement urbain.

L'approche innovante de Hogarth de "peindre et graver des sujets moraux modernes" en faisait un observateur aiguisé de ces mutations socioculturelles, capturant l'essence même de cette transition vers une société plus commercialisée et urbaine.