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The vogue of the satire even demanded a key, as may be seen in an advertisement in the London Daily Post for May 17: This Day is published, Price Four-Pence. A Key to Pasquin, address'd to Henry Fielding Esqre. Mr Pasquin's own advertisements for his little theatre are not without the zest with which our beef-eating ancestors attacked politics, social abuses and one another.

A history might be composed out of Pasquin's sayings, volumes have been written about Cardinal Pompeo Colonna and the ruin he wrought, whole books have been filled with the life and teachings and miracles of Saint Philip Neri, who belonged to this quarter, erected here his great oratory, and is believed to have recalled from the dead a youth of the house of Massimo in that same gloomy palace.

The Farnese palace, built in great part with stone taken from the Colosseum, is a standing monument of the justice of Pasquin's rebukes, the sharpness of which is concentrated in a single telling epigram. "Let us pray for Pope Paul," said Pasquin, "for zeal for his house is consuming him": "Oremus pro Papâ Paulo, quia zelus Domus suae comedit illum."

It was while here that he compiled this book, and sent it as a missile into the camp of his opponents, the enemies of freedom of thought and of the right of private judgment. From this time Pasquin's fame became universal. The words pasquil or pasquinade were adopted info almost every European tongue, and soon embraced in their widening signification all sorts of satiric epigrams.

"For the Benefit of Miss Burgess, who has so zealously espoused the Country Interest.... Miss Burgess hopes all Patriots and Lovers of their Country will appear in her favour and give all encouragement to one who has so early distinguished herself on the side of Liberty." In Pasquin's Election scenes, this lady played the part of Miss Stitch, a political damsel, opposed to Walpole's candidate.

A few further points of minor interest remain to be noted concerning that popular and scathing personage Mr Pasquin. By May the company styled themselves "Pasquin's Company of Comedians"; a fresh indication of the credit attaching to the performance.

It bore no name of editor or printer, and professed to be published at Eleutheropolis, the City of Freedom, or, as it might be rendered in a free translation, the City of Luther. Its 637 pages were filled with satire; it was not merely a collection of Pasquin's sayings, but it contained epigrams and dialogues derived from other sources as well.

It is no wonder then, to return to Tom Davies, that a play by Lillo was announced on the bills of Fielding's theatre within a few months of the opening of his management. On May 27, 1736, the following advertisement appeared: "Guilt its Own Punishment. Never Acted before. By Pasquin's Company of Comedians. Being a True Story in Common Life and the Incidents extremely affecting."

The fifteen years of the pontificate of Clement's successor, Paul III., years, for the most part, of quiet and prosperity at Rome, afforded ample opportunities for the display of Pasquin's spirit. The personal character of the Pope, the exactions which he laid upon the Romans for the profit of his favorites and his family, and his unblushing nepotism were the subjects of frequent satire.

Here, again, it is Pasquin's satire on the prevailing furore for pantomime that is chiefly illustrated; as Common Sense gives to Rich, the harlequin, a halter, while to Fielding she accords an overflowing purse.