Hudibras Triumphant (Plate 4: Illustrations to Samuel Butler's Hudibras) 1725 - 1730

Editor: So, this is “Hudibras Triumphant” by William Hogarth, an engraving dating from between 1725 and 1730. It feels almost like a scene from a play, all these figures frozen in their little dramas. What captures your attention when you look at it? Curator: Well, I'm immediately drawn into its layered narrative, like eavesdropping on a particularly absurd performance. Hogarth isn't just showing us a scene; he's offering a satirical commentary, right? Can't you almost hear the ridiculous boasting of these so-called triumphant figures? The captured fellow looks none too happy. Editor: Right! I noticed how stiff everyone seems, especially that guy on the horse. Is it just me, or is there a real sense of awkwardness in the air? Curator: Precisely! It’s Hogarth lampooning the self-importance of the figures of the day. Hogarth uses the stiffness and lack of grace in Baroque to hint at the shallowness. Look at how Hudibras is displaying captured gear—it reads to me as rather sad. Don't you think the historical context—England finding its footing after upheaval—plays a big part here? A laugh in the face of turmoil. Editor: Absolutely, that makes perfect sense. Seeing it as a reflection of post-revolution anxieties definitely adds a layer I hadn't considered. Almost like he’s mocking the very idea of ‘triumph.’ Curator: Exactly! He’s nudging us to question authority, to laugh at pomp, which is exactly how I approach life, actually. Always ask myself: what would William make of this? Editor: I'll never look at Baroque the same way again! It's so much more than just fancy costumes and horses. Curator: Indeed, it's a conversation, a wink through the ages. Now, tell me, what 'trophies' do you think William might've taken today, had he strolled through our modern lives?