In the modern version of Kane O'Hara, to which songs were added, the _Tragedy of Tragedies_ still keeps, or kept the stage. But its crowning glory is its traditional connection with Swift, who told Mrs. Pilkington that he "had not laugh'd above twice" in his life, once at the tricks of a merry-andrew, and again when (in Fielding's burlesque) Tom Thumb killed the ghost. This is an incident of the earlier versions, omitted in deference to the critics, for which the reader will seek vainly in the play as now printed; and he will, moreover, discover that Mrs. Pilkington's memory served her imperfectly, since it is not Tom Thumb who kills the ghost, but the ghost of Tom Thumb which is killed by his jealous rival, Lord Grizzle. A trifling inaccuracy of this sort, however, is rather in favour of the truth of the story than against it, for a pure fiction would in all probability have been more precise. Another point of interest in connection with this burlesque is the frontispiece which Hogarth supplied to the edition of 1731. It has no special value as a design, but it constitutes the earliest reference to that friendship with the painter, of which so many traces are to be found in Fielding's works. Hitherto Fielding had succeeded best in burlesque. But, in 1732, the same year in which he produced the _Modern Husband_, the _Debauchees_, and the _Covent Garden Tragedy_, he made an adaptation of Moliere's _Medecin malgre lui_, which had already been imitated in English by Mrs. Centlivre and others. This little piece, to which he gave the title of the _Mock-Doctor_; or, _The Dumb Lady cur'd_, was well received. The French original was rendered with tolerable closeness; but here and there Fielding has introduced little touches of his own, as, for instance, where Gregory (Sganarelle) tells his wife Dorcas (Martino), whom he has just been beating, that as they are but one, whenever he beats her he beats half of himself. To this she replies by requesting that for the future he will beat the other half. An entire scene (the thirteenth) was also added at the desire of Miss Raftor, who played Dorcas, and thought her part too short. This is apparently intended as a burlesque of the notorious quack Misaubin, to whom the _Mock-Doctor_ was ironically dedicated. He was the proprietor of a famous pill, and was introduced by Hogarth into the _Harlot's Progress_. Gregory was played by Theophilus Cibber, and the preface contains a complimentary reference to his acting, and the expected retirement of his father from the stage. Neither Genest nor Lawrence gives the date when the piece was first produced, but if the "April" on the dubious author's benefit ticket attributed to Hogarth be correct, it must have been in the first months of 1732.