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Title: The Covent Garden Theatre, or Pasquin Turn'd Drawcansir


Author: Charles Macklin



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Language: English

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          The Augustan Reprint Society


                CHARLES MACKLIN

              _THE COVENT GARDEN_
                   _THEATRE,_

                       OR
          _Pasquin Turn'd Drawcansir_

                     (1752)

                 _INTRODUCTION_
                       by
                  JEAN B. KERN

                  [Decoration]

             Publication Number 116
     WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
     University of California, Los Angeles
                      1965




GENERAL EDITORS

  Earl R. Miner, _University of California, Los Angeles_
  Maximillian E. Novak, _University of California, Los Angeles_
  Lawrence Clark Powell, _Wm. Andrews Clark Memorial Library_


ADVISORY EDITORS

  Richard C. Boys, _University of Michigan_
  John Butt, _University of Edinburgh_
  James L. Clifford, _Columbia University_
  Ralph Cohen, _University of California, Los Angeles_
  Vinton A. Dearing, _University of California, Los Angeles_
  Arthur Friedman, _University of Chicago_
  Louis A. Landa, _Princeton University_
  Samuel H. Monk, _University of Minnesota_
  Everett T. Moore, _University of California, Los Angeles_
  James Sutherland, _University College, London_
  H. T. Swedenberg, Jr., _University of California, Los Angeles_


CORRESPONDING SECRETARY

  Edna C. Davis, _Clark Memorial Library_




EDITORS' NOTE

Although of considerable interest in itself, this hitherto unpublished
manuscript play is reprinted in facsimile in response to requests by
members of the Society for a manuscript facsimile of use in graduate
seminars.




INTRODUCTION


The Larpent collection of the Huntington Library contains the
manuscript copy of Charles Macklin's COVENT GARDEN THEATRE, OR
PASQUIN TURN'D DRAWCANSIR in two acts (Larpent 96) which is here
reproduced in facsimile.[1] It is an interesting example of that
mid-eighteenth-century phenomenon, the afterpiece, from a period when
not only Shakespearean stock productions but new plays as well were
accompanied by such farcical appendages.[2] This particular afterpiece
is worth reproducing not only for its catalogue of the social foibles of
the age, but as an illustration of satirical writing for the stage at a
time when dramatic taste often wavered toward the sentimental. It
appears that it has not been previously printed.

As an actor Charles Macklin is remembered for his Scottish dress in the
role of Macbeth, for his realistic portrayal of Shylock, for his quarrel
with Garrick in 1743, and for his private lectures on acting at the
Piazza in Covent Garden. He is less well known than he deserves as a
dramatist although there has been a recent revival of interest in his
plays stimulated by a biography by William W. Appleton, _Charles
Macklin: An Actor's Life_ (Harvard University Press, 1960) and evidenced
in "A Critical Study of the Extant Plays of Charles Macklin" by Robert
R. Findlay (PhD. Thesis at the State University of Iowa, 1963). Appleton
mentions that Macklin lost books and manuscripts in a shipwreck in 1771
(p. 150) and that play manuscripts may also have disappeared in the sale
of his books and papers at the end of his long life at the turn of the
eighteenth century. It is possible that more of Macklin's work may come
to light, like _The Fortune Hunters_ which appeared in the National
Library in Dublin. Until a complete critical edition of Macklin's plays
appears, making possible better assessment of his merit, such farces as
THE COVENT GARDEN THEATRE will have to stand as an example of one genre
of eighteenth-century theatrical productions.

There are many reasons why Macklin's plays are less well known than is
warranted by his personality and acting ability during his long
association with the British stage. His first play, _King Henry VII_,
a tragedy hastily put together to capitalize on the anti-Jacobite
sentiment following the invasion attempt of 1745, was an ambitious
failure. After this discouragement, he also had trouble with the
Licenser so that his comedy _Man of the World_ was not presented until
1781, twenty years after a portion of it first appeared at Covent
Garden.[3] Nor were censorship and a bad start his only problems as a
playwright. He also, and apparently with good reason,[4] was fearful
of piracy and was thus reluctant to have his plays printed. His
eighteenth-century biographer Kirkman mentions Macklin's threats to "put
the law against every offender of it, respecting my property, in full
force."[5] His biographers also mention his practice of giving each
actor only his own role at rehearsals while keeping the manuscript copy
of the whole play under lock, but this did not prevent whole acts from
being printed in such magazines as _The Court Miscellany_, where Act I
of _Love-a-la-Mode_ was printed as it was taken down in shorthand by the
famous shorthand expert Joseph Gurney. If Macklin had not been required
to submit copies of his plays to the Licenser, it is doubtful that as
much would have survived. The contentious Macklin had reason for
zealously guarding his manuscripts, with such provincial theatre
managers as Tate Wilkinson at York always anxious for new plays.

Finally, Macklin's best work as a playwright was satiric enough and
topical enough to be short-lived in popularity even in his own day. Sir
Pertinax McSychophant in the _Man of the World_ is a good character,
especially in his famous speech on the necessity of bowing to get ahead
in the world, as is Sir Archy MacSarcasm in _Love-a-la-Mode_, but the
latter produced _A Scotsman's Remarks on the Farce Love-a-la Mode_ in
the _Gentleman's Magazine_ for June, 1760, and Macklin's additional
troubles with the Licenser would indicate that his satiric barbs were
not always well received.

Larpent manuscript 96, here reproduced, bears the application of John
Rich to the Duke of Grafton, dated 1752, for the Licenser's permission
and an inscription to William Chetwynd, Esq. (spelled "Chetwyne" on
the MS.). It was extensively advertised before its one and only
performance in the Covent Garden Theatre on April 8, 1752. The
advertisement printed in _The London Stage_, Pt. 4, I, 305, is taken
from the _General Advertiser_ and warns the public not to confuse this
farce with Charles Woodward's _A Lick at the Town_ of 1751. The fact
that the sub-title PASQUIN TURN'D DRAWCANSIR carried an obvious allusion
to Fielding's pseudonym Alexander Drawcansir in his _Covent Garden
Journal_, and the fact that the _Covent Garden Journal_ carried the
advertisement for Macklin's play on March 14, 17, 21 and 28, 1752,
before the single performance on April 8, 1752, might suggest that
Fielding may possibly have seen the script before the play was produced.
Esther M. Raushenbush in an article on "Charles Macklin's Lost Play
about Henry Fielding," _MLN_, LI (1936), 505-14, points out that Macklin
was not attacking Fielding in this play as W. L. Cross and G. E. Jensen
had earlier suggested, but instead was trading on the popularity of
Fielding's _Enquiry into the Causes of the Late Increase of Robbers_,
which had appeared in January, 1751. Macklin's farce makes clear
reference to Section III of Fielding's pamphlet near the end of THE
COVENT GARDEN THEATRE where Pasquin delivers a lecture against Sharpers.

The advertisement for Macklin's play in Fielding's _Covent Garden
Journal_ is the same as that printed in _The London Stage_ from the
_General Advertiser_:

  a New Dramatic Satire ... written on the model of the Comedies of
  Aristophanes or like Pasquinades of the Italian Theatre in Paris:
  with the Characters of the People after the manner of Greek
  drama--The parts of the Pit, the Boxes, the Galleries, the Stage,
  and the Town to be performed By Themselves for their Diversion. The
  Parts of several dull, disorderly characters in and about St. James,
  to be performed by Certain Persons, for Example: and the part of
  Pasquin Drawcansir, to be performed by his Censorial Highness, for
  his Interest.[6] The Satire to be introduced by an Oration and to
  conclude by a Peroration. Both to be spoken from the Rostrum in the
  manner of certain Orators by Signior Pasquin.

No cast remains, but presumably from references in the play itself,
Macklin took the role of Pasquin who with the aid of Marforio calls in
review characters representing all the foibles of the age. There is no
plot. Act I simply ends while Pasquin and the Spectators retire to the
Green Room to await the appearance of those characters whom Marforio has
called in review.

In this ambitious attempt to list all the follies of his age, Macklin
employs the popular technique of eighteenth-century plays such as
Fielding's _The Author's Farce_--the play appears to be writing itself
on the stage. He displays all the tricks of satire--exaggeratedly ironic
praise, allegorical names (Miss Giggle, Miss Brilliant, Miss Bashfull),
stock characters of satire (Pasquin, Marforio, Hydra, Drawcansir), lists
of offenses, parodies of polite conversation reminiscent of Swift, and
constant topical references: to the Robin Hood Society to which little
Bob Smart belongs; to Mother Midnight; to playwrights (Fielding, Foote,
Woodward, Cibber, and himself); to contemporary theatrical taste
(Pantomime, Delaval's _Othello_ which Macklin himself had coached,
Harlequins, Masquerades, and various theatrical tricks); to Critics
(Bonnell Thornton, who later reviewed this afterpiece, is called
Termagent since Thornton's pseudonym was "Roxana Termagent"; John Hill
is referred to as the "Inspector" of the _Daily Advertiser_; and
Fielding is called Sir Alexander Drawcansir). The farce abounds in these
topical references, from Pasquin's opening invocation to Lucian,
"O thou, who first explored and dared to laugh at Public Folly," to its
closing lecture against Sharpers like Count Hunt Bubble where the
obvious allusions to Section III on Gaming of Fielding's _Enquiry_ ...
are applauded by Solomon Common Sense, the voice of Reason.

This vast parade of fashions and foibles with frequent thinly veiled
references to individuals may explain the numerous Licenser's marks on
the manuscript. If all the marked lines were omitted, it is small wonder
that this afterpiece was performed only once. Dramatic satire, without
plot, is difficult to sustain even in farce, and if the marked lines
were cut, there was little left to recommend the play. It is not
surprizing that the Licenser objected to such passages as the
description of Miss Giggle's "nudities," but his frequent objections
to topical and personal references took all the bite out of Macklin's
satire.

Like Macklin's other early farces, THE COVENT GARDEN THEATRE contains
proto-characters for his later plays. Sir Roger Ringwood, a "five-bottle
man," who rode twenty miles from a "red-hot Fox Chace" to appear before
Pasquin, is an early study for Macklin's later hard-drinking,
fox-hunting Squire Groom in _Love-a-la Mode_ or Lord Lumbercourt in _The
Man of the World_. But Macklin's usual good ear for dialogue is missing
from this play, nor is any character except his own as Pasquin followed
long enough to make his characteristic speech identifiable. Since plot
is absent too, all that remains is the wealth of topical and personal
satire which in itself is interesting to the historian of the
mid-eighteenth-century theatre. If THE COVENT GARDEN THEATRE is studied
along with his other two unpublished afterpieces in the Larpent
collection (A WILL AND NO WILL, OR A BONE FOR THE LAWYERS and THE NEW
PLAY CRITICIZ'D, OR THE PLAGUE OF ENVY), Macklin's skill at satiric
comedy after his initial abortive attempt at tragedy can be seen as
developing steadily toward such later full-length comedies as the better
known _Love-a-la Mode_ (1759) and _The Man of the World_ (1764). His
recognition that tragedy was not his forte and his self-criticism in THE
COVENT GARDEN THEATRE, where he exhorts the audience to "explode" him
when he is dull, reveal the comic spirit operative in his sometimes
cantankerous personality. It is that strain, here seen in genesis, which
develops full-fledged in his later comedies.

A word should be added about the Dramatis Personae for the play. It does
not contain the Stage-Keeper, who speaks only once, the Servant whose
single word is accompanied by the stage direction "This Servant is to be
on from the beginning," nor the Romp (probably the Prompter, who speaks
twice off-stage during the play). Hic and Haec Scriblerus, however,
although he is listed in the cast of characters, speaks only once, and
his entrance on stage is never indicated.

The "naked lady," Lady Lucy Loveit, whose entrance causes so much
excitement, is described as appearing in a Pett-en-l'air, which
eighteenth-century costume books portray as a short, loose shift!

_Coe College_




NOTES TO THE INTRODUCTION


    [Footnote 1: The author of this introduction is indebted to the
    Henry E. Huntington Library, San Marino, California, both for a
    research Fellowship in the summer of 1963 and for permission to
    reproduce this Macklin play as well as two others by the same
    author, A WILL AND NO WILL, OR A BONE FOR THE LAWYERS (Larpent 58)
    and THE NEW PLAY CRITICIS'D, OR THE PLAGUE OF ENVY (Larpent 64).]

    [Footnote 2: George W. Stone, _The London Stage_, Part 4, I,
    cxlv.]

    [Footnote 3: Dougald MacMillan, "Censorship in the Case of
    Macklin's _The Man of the World_," _Huntington Library Quarterly_,
    No. 10 (1936), pp. 79-101.]

    [Footnote 4: W. Matthews, "The Piracies of Macklin's _Love-a-la
    Mode_," _Review of English Studies_, X (1934), 311-18.]

    [Footnote 5: James T. Kirkman, _Memoirs of the Life of Charles
    Macklin, Esq._ (1799), II, 33. Kirkman quotes Macklin's letters
    both to his solicitor and to James Whitley of Leicester to stop
    all such pirated performances (II, 37-41).]

    [Footnote 6: John Rich's application to the Licenser indicates
    that "Mr. Macklin designs to have [the play] performed at his
    Benefit Night...."]




1752


Covent Garden Theatre.

or

Pasquin turn'd Drawcansir

A

Dramatic Satyr.

  Sr.

  This peice ent'd Covt. Garden Theatre
  or Pasquin turn'd Drawcansir Mr.
  Macklin designs to have perform'd on his
  Benefit Night wth the permission of his Grace
  the Duke of Grafton.

  To William Chetwyne Esq.

  I am
  Sr. yr humble Srvt
  Jno Rich




Dramatis Personae


Men.

  Pasquin.
  Marforio.
  Sir Eternal Grinn.
  Sir Conjecture Possitive.
  Sir Roger Ringwood.
  Bob: Smart.
  Solomon Common Sense
  Count Hunt bubble.
  Sr. Iohn Ketch.
  Hic & haec Scriblerus.
  Hydra.


Women.

  Lady Lucy Lovit
  Miss Diana Singlelife
  Miss Brilliant.
  Miss Giggle.
  Miss Bashful.


Scene. Covent Garden Theatre.

Time an hour.




  Covent Garden Theatre
  Or
  Pasquin turn'd Drawcansir.


  Scene. The Stage, with a Rostrum on it.

  Enter Pasquin. Goes in the Rostrum.

Pas:
Nobles,-- Commons-- Beaux, Bells-- Wits, Critics,-- Bards & Bardlins,--
and ye my very good Friends of Common Sense,-- tho' last, not least in
Merit,-- Greeting, and Patience to you all. I Seignior Pasquin, of the
Quorum of Parnassus. Drawcansir and Censor of Great Britain, by my Bills
and Advertisements, have Summoned You together this Night to hear a
Public Examination of several Public Nusances, My Scene I have laid in
the Common Theatre, which is my usual place of exposing those Knaves and
Fools, who despise the Moral-- and those who are too great or too Subtle
for the common Law, and as my whole design is new, I hope You, my
Gracious Patrons, will not be Offended if I Assigne you a part in this
Pasquinade, which is this,-- You are to Act as a Chorus to the whole.
When you behold a Fool pleasantly exposed You are to laugh, if you
please, not else;-- When a Knave is Satyrized with Spirit & Wit, You are
to Applaud;-- and when Pasquin is dull you are to explode, which I
Suppose will be the Chief of Your Part. But, before I Enter upon my
Office of Public Censor, give me leave Gracious Patrons, as is my
Custom, whenever I come, to give a short Sketch of my Character and
Practice. I am known throughout the Globe, have been Caress'd in most of
the Courts, lock'd up in most Prisons in Europe. The dexterity of my
Flattery has introduced me to the Tables of the First Dons in Madrid one
Day, and, the boldness of my Satyr, into the Inquisition next. I have
Revel'd with the Princes of the Blood, and have made all Paris laugh at
my Wit over Night, and, have had the Honour of being in the Bastile the
next Morning. indeed I fared but indifferently in Holland; for, all that
my Flattery, or Satyr, my Ridicule or my Wit, cou'd procure me there,
was an Appartment in the Rasp House. At length, most Gracious and
Indulgent Britons, I am arrived in this Great Metropolis! this Magazine
of all the World! this Nurse of Trade! this Region of Liberty! this
School of Arts and Sciences! This Universal Rendevouz of all the
Monsters produced by wagish Nature & fantastick Art, here Panopticons,
Microcosms, Bears, Badgers, Lyons, Leapords, Tygers, Panthers, Ostriches
and Unicorns,-- Giants, dwarfs, Hermorphradites and Conjurers, Statemen,
Nostrums, Patriots and Corncutters! Quacks, Turks, Enthusiasts, and Fire
Eaters. Mother Midnights, Termagants, Clare Market, and Robin Hood
Orators, Drury Lane Journals, Inspectors, Fools, and Drawcansirs, dayly
Tax the Public by Virtue of the Strangeness the Monstrosity or delicacy
of their Nature or Genius, And hither I am come, knowing you were fond
of Monsters, To exhibit Mine, the newest & I hope the greatest Monster
of them all, for the Public is a common Bank, upon which every Genius
and every Beauty has a right to draw in proportion to their merit, from
a Minister of State and a Maid of Honour, down to a Chien Savant or a
Covent Garden Mistress, To Conclude, my Business in this Land may be
Sum'd up in a few Words; it is to get your money and cure you of Your
Foibles. for wherever Pasquin comes the Public is his Patient; its Folly
his Support. (#bows#) So much by way of Oratia now for Action-- then for
Peroration.

Hollo! Marforio! (#goes to the door#).

  Enter Marforio.

Mar:
Here my Fellow Labourer!

Pas:
Have you prepared for general Search?

Mar:
I have-- but let me once more entreat you to alter your design. do not
behave with your usual Sacasm and boldness upon your first appearance.
Strive to gain the favour of the Public by Morality and Panegyrick-- not
by undaunted Satyr--

Pas:
Marforio, We are come to England to make Our Fortune by Our parts, And
you Advise to begin with Morality and Flattery. You might as well Advise
a Soldier to make his Fortune by Cowardice. No Sir, he, who wou'd gain
the Esteem of a Brave, a wise, and a free people, must lash their Vices,
and laugh at their Folies.

Mar:
Well, if you must be Satyrical, confine Your Satyr to the City.

Pas:
No, I'll begin at the Source. the Bourgoie is but the Ape of the
Courtier; Correct the one, the other Mends of Course. I will Scour the
whole Circle of this metropolis; not a tilted Sharpor, or a fair
Libertine, but I will Gibbet in Effigie. Birth Privilege or Quality
shall not be a Sanction to the ignominious Practices of the one, nor
shall Fashion or Beauty be a Skreen for the Folly or Indecency of the
other. Tho' they elude the Laws of Westminster, they shall not escape
the Lash of Parnassus. Here we have no Inquisition, no Bastile, no Rasp
House, to dread. So without a Single hesitation more of Doubt or fear,
let us at once plunge into Action.-- Go you & take a Set of proper
Officers with you and, by a Warrant from Appollo, Search every
disorderly House in Town. Routs, drums, and Assemblies, particularly the
den.

Mar:
It shall be done.    (#Exit Marforio#)

Pas:
O thou, who first explored and dar'd to laugh at Public Folly; Sweet
facetious Lucian, Father of Gibes and laughing Ridicule Inspire thy
Votary, teach me this Night to draw a Striking Likeness in which the
free born Britons may behold their Beauties and Deformities as perfectly
as the Inquisitive Eye does its own Image in the faithful Mirror!

  Enter Marforio.

Pas:
What brings you back?

Mar:
I met the Town at the Stage door & return'd to give you Notice, that
they may not Surprize you.

Pas:
I am glad they are come, what sort of Humour are they in.

Mar:
Seemingly in a good one. But in roaring Spirits and in high Expectation
of Riot and Fun as they term it.

  Hydra. behind the Scenes

Hyd:
Where, where, which way! here, this Way, this way Ladies. this way.

Pas:
Here they come, begone-- leave them to Me-- Proceed you in your Search.

Mar:
I shall. (Exit)

Hyd:
This way, this way Ladies.

Pas:
I'll retire, till I see what humour they are in (#retires#).

  Enter Hydra, Miss Brilliant &
  Stage-Keeper.

Stage.
Mr. Hydra Servant.

Servt:
Here (this Servt: be on from the begining)

Hyd:
This way Madam.

Brill:
Well do you know Mr. Hydra that I am upon the Tip-toe of Expectation to
know what this Medley can be?

Hyd:
Upon Honour so am I-- quite upon the Rack, but where is the rest of Our
Party? Miss Bashfull here's mighty good Room. Bob Smart won't you hand
miss Bashfull to her Place.

  Enter Bob Smart.

Bob.
Upon Honour I cannot prevail upon her to come on. She's Affraid the
Audience will take her for one of the Actresses and hiss her.

Omn:
Ha, ha, ha, ridiculous.

Brill.
Dear Creature come on. Lord I have Sat upon the Stage a hundred times
(#pulls her on#) and if they should take us for some of the Characters
in the Farce. I vow I should be glad of it.

Bob:
Upon Honour so Should I.

Bash.
O Lud, I should instantly faint away if they took me for an Actress.

Brill.
Ha-- ha-- ha-- O Lud I protest there's Sr. Conjecture Possitive. in the
Musick Place.

Bash.
Upon Honour so he is.

Brill.
Sr: Conjecture your Servant, won't you come up to Us? we'll make Room
for You.

  #Sr. Conjecture in the Musick Room.#

Sr. Con:
Miss your humble I am afraid so many of us upon the Stage will offend
the Audience.

Brill.
O not at all, It is in the Bills that the Town are to Sit upon the
Stage, & sure Sir Conjecture the World must Allow you to be a Principall
Character amongst Us.

Sr. Con:
The World is very kind Madam. I'll do my Self the Honour to attend you.

Bash.
Pray Miss Brilliant do you know who this Pasquin is?

Brill.
Yes Child; he is one of the Heathen Gods; Iupiter's Grandfather. You may
read a particular Account of him my dear, in Homer, or Milton, or any of
the Greek Poets (#pulls out a Bill of the Farce#) well I vow its a
Whimsicall Bill this; a charming Puff. Lud where's Sir Conjecture?
I suppose he can give us a particular Account of it. for he knows every
thing.

Hyd:
You mean Miss he pretends to know every thing..

Brill.
Why that is as Pleasant to him Mr. Hydra, as if he really had knowledge,
he is a strange conceited Coxcomb to be sure, but entertaining. I wonder
his Character was never introduced upon the Stage, he is a most
ridiculous Fellow.

  Enter Sr. Conjecture

Sr. Con:
Ha-- ha-- ha-- who is that dear Miss is a ridiculous Fellow.

Omn:
Ha-- ha-- ha--

Brill:
O Lud, I hope he did not here me (#apart#)

Omn:
Ha-- ha-- ha,

Brill:
Why this-- a-- a-- Macklin, Macklin,-- or Pasquin-- or Drawcansir-- or
who ever it was that writ this Play Bill.

Sr. Con:
It is a Puff, a Puff-- a Puff, a very good Puff upon Honour, like
Woodward's lick at the Town last year. I am afraid tho' All the Wit of
the Author is in the Bill, ha, ha, ha.

Omn:
Ha, ha, ha.

Brill:
Now upon Honour I like it for it's Novelty.

Bob:
And upon Honour I shall damn it for it's Novelty, ev'ry Man in his
Humour as the Play says.

Hyd:
Ha, ha, well said Bob.

Brill:
But the Pit, Boxes and Gallery's doing their parts for their Diversion,
that's what puzzles me.

Hyd:
Lord, that's all a Puff. he'll have some body upon the Stage to
represent them.

Sr. Con:
No, no, no, you are out, you are out, he is to have one of the Actors in
the Pitt; who is to Speak from thence-- See there-- there he is the very
Actor-- You may See him from hence-- he sits next to that very handsome
Gentleman that looks like a Iew's Bastard.

Omn:
Ha, ha, ha-- I see him, I see him.

Sr. Con:
And there's one of the Actresses some where or other in the Front
Boxes;-- She's a New Woman-- very handsome they say, one Miss
Tweezeldon. I wish we cou'd find her out.

Hyd:
I can't see her;-- unless that be She with the White teeth that laughs
so heartily, and is playing with her Fan.

Sr. Conj.
I believe that is She; yes, yes, that is she I am Possitive, for she
blushes at Our Speaking of her, but we shall put her out of
Countenance.-- Ladies we should not let the Audience so far into the
Secret; it will not be fair;-- come let us Step into the Green Room for
a Moment-- I want to have a little Chat with this Pasquin.

Brill:
Miss Bashfull come Child we'll go into the Green Room. were you ever
there.

Bash:
Never Madam.

Brill:
Come then I'll shew it you.

Bash:
O with all my heart-- I long to See the Green Room; I have often heard
of it-- they say the Actresses paint Prodigiously-- I shou'd like of all
things to see them near.

Sr. Con:
Come Ladies if you please I'll Introduce you.

  Exeunt.

  Enter Pasquin.

Pas:
So there they go,-- the choice Spirits, the Infalibles, who preside at
all Public Diversions; and on whom the Fate of Pasquin this Night
depends.

Hyd:
Where is he, where is this Drawcansir } within

Romp.
This way Sir, on the Stage.          }

Hyd:
(#_Running up to him with great Ceremony_#) Seignior Pasquin--
Drawcansir-- Censor of great Britain, your Satyrical Mightiness is
welcome to London. and now Sir, as you and I are to be very intimate to
night, pray, Sir, give me leave to have the Honour of introducing my
self to you.

Pas:
Sir you do me great Honour.

Hyd:
I am Sir, for my Taste in Public Diversions, honoured with the facetious
Appellation of the Town.-- but my real Name is Iack Hydra. for these
many Years, Sir, I have been the North Star of the Pit; by which All
Criticks have Steered their Iudgement: And am Sir at the Head of the
Genii who direct the Public,-- We decide between contending Toasts, pass
Iudgement upon Actors, damn, or encourage Authors; and are the Bucks, my
dear, that I fancy will do for you to Night.

Pas:
Sir of the Infallibility and Power of the Town I am very well apprized;
therefore I have invited you this Night, that my Proceedings may have
the Sanction of your Approbation. for whatever the Town disapproves I
shall my self Condemn.

Hyd:
But harkee Pasquin, prithy what is this Humbug. Bill of Yours about it;
Why how the Devil will you gett off your Promise of the Pit, Boxes, and
Galleries, performing their parts for their Diversion

Pas:
As the Politicious say Sir, you are a little premature in your Question.
Puffing Sr: & the Drama have their Arcana's as well as Love or Politics.
I'll engage the Pit, Boxes, and Galleries perform their parts to a
Numerous and Polite Audience, and with Universal Applause. As soon as
they shall hear the Cue depend upon it you'll hear them Speak.

Hyd:
Well Sir, Preliminaries being Settled I will now individually introduce,
to your censorial Highness, the Genii who are to Sit upon you.

Pas:
Sir, I shall think my self highly honour'd in their Acquaintance.

Omn:
(#within#) Where is he, where is he? what, upon the Stage, ha, ha, ha.
(#as they all press to come on Hydra stops them#)

Hyd:
Nay, nay, softly, softly Gentlemen, & I'll Introduce You all if you will
have Patience! One at a time, You must come on but one at a time.

Omn:
Ay, ay, one at a time, keep back, keep back; pray keep back; We shall
have the Audience hiss us.

  Enter Bob Smart.

Hyd:
The first Character I have the Honour to introduce to your Highness is
the facetious Bob Smart, a professed Wit and Critic; no Man knows the
Intrigues of the Court, the Theatres, or the City better, No Man has a
finer Taste in the Belle' Letters, for he is deemed one of the best
Gentlemen Harlequins in Europe, and is an Emminent Orator at the Robin
Hood Society.

Bob:
Yes, Seignior, I am little Bob Smart at your Service; did you ever hear
of me Abroad?

Pas:
Often, often Sir.

Bob:
I thought so; have you got ever a Harlequin in this Farce of yours,
Mr. Drawcansir?

Pas:
No Sir.

Bob:
Then you'll be damn'd Sir. by your Bills I thought there was a Pantomime
in it. I wish you had consulted me, I have wrote two-- And a Parcell of
us intend next Winter to have one of the Theatres, and to treat the
Public with the finest Pantomime that ever was seen, in Immitation of
the Gentlemen Who Play'd Othello.

Omn:
Ha, ha, ha, Bravo, Bravo (_at the side of the Scenes_)

Bob:
Don't you think it will exceed Othello?

Pas:
Certainly Sir; and be a much more rational Entertainment, and what will
Shew your Genius to vast Advantage.

Bob:
I am to do the Harlequin in it, tidi, doldi, doldi, doldi dee, tidi,
doldi, doldi, doldi dee (#Sings & dances the Harlequin.#)

Omn:
Ha, ha, ha, ha, Bravo, Bravo.

Bob:
Do you think that will do Seignior?

Pas:
To Admiration.

Bob:
I practice it three Hours evry Morning, but what is the Nature of this
Farce of yours? have you any Smart, ridiculous, droll Fellows in it ha!

Pas:
No Sir. they are all polite, Sensible, decent, Characters such as yours!

Bob.
Nay Igad if they are like me I'll engage they'll make the public
laugh.-- for by all that's drole I always Set the Coffee House in a Roar
when I am there, he! don't I Hydra.

Hyd:
Why you are the very Yorick of the Age.

Bob:
Igad I have more humour than Foot a thousand times; and I'll lay a
Chaldron of Guineas to a Nutshell that my Pantomime, is a better thing
than his Taste. I think I have some Fun in me demme.

Hyd:
This Mr. Pasquin is the Noted Sr. Conjecture Possitive; a Gentleman who
was never in an Error in his Life,-- consequently cou'd never be
convinced. Sr. he understands Politics and Butterflies, Whale fishing
and Cricket, Fortification and Shittle Cock; Poetry and Wolf Dogs; in
short ev'ry thing, in ev'ry Art and Science, from a Pins Head, to the
Longitude & Philosopher's Stone, better than any Man in Europe.

Sr. Con:
O Fye, Mr. Hydra, you are too lavish, Mr. Pasquin will think you are
imposing upon him.

Hyd:
Sir, he has such Segacity and Penetration that he can decypher a Lady's
Affections, or a Statesman's Heart by a glance of the Eye; and has such
profound critical Knowledge that he can pronounce upon a New Play the
Moment he has heard the first Speech of it.

Sr. Con:
Mr. Hydra is apt to think too well of his Friends Abilities Mr.
Pasquin;-- it is his Foible; But however, I have some knowledge-- I am
not in the common herd of Critics. I can give a tollerable Guess at most
of the Productions in Art and Nature.

Pas:
I believe it Sir; for your Mein, & Countenance, Dress and mannor of
speaking, are an Index of Sagacity and Penetration.

Sr. Con:
I shall give you my Opinion very freely; I know you intend to bring on
some particular Characters from Our End of the Town-- Capt. Crimp--
Match Count Hunt-Bubble & that Knot-- To be sure they are all Sharpers,
and deserve to be exposed-- but, they are what are called Men of
Fashion-- You had better let them alone-- they are a Nest of Hornets--
You may be Stung to death by them-- they'll damn your Piece if they can
do nothing else

  Enter Miss Bashfull.

Pas:
Sir, I thank you for your Caution-- I shall Act with Prudence.

Hyd:
This, Sir, is Miss Bashfull, who is under the Tuition of Miss Brilliant,
A Novice at present, but will in Time make a Shining Figure-- For She's
a Genius-- but not ripe yet.

Bas.
I, I, I, I,-- Assure You Mr. Pasquin-- I-- I-- I am mightily pleased
with your Bill about A, a, aristo-- pha-- nes and-- Paskee-- in-- des.
and the Per-- oration, I reckon they are very Comical-- Your hble. Sr.

Pas:
Your Servant Madam.

Bash:
(#To Miss Brilliant#) Well I never Spoke to a Poet before! Lord how
frightened I was.

  Enter Miss Brilliant.

Lord Mr. Hydra, I should laugh if the Audience shou'd take me for one of
the Actresses-- but if they do I don't care; for I am resolved I'll See
this Farce if I never See another.

Hyd:
This Mr. Pasquin is the Sprightly Miss Brilliant, a Lady who pants to be
acquainted with you; She is intimate with Mr. Garrick-- is known to the
Fool, corresponds with Sir Alexander Drawcansir, and has writ several
Admired Inspectors.

Brill:
Yes, Mr. Pasquin the World is kind enough to say my Friend Prometheus
has given me a little Flame, a small Portion-- A Spark-- A Ray of the
Etherial-- that's all. I wish you wou'd come and breakfast with me One
Morning. I wou'd shew you a little thing that wou'd please you, it is
but a Trifle;-- but it is neat-- something like Sapho-- a Ia ne se
quoi-- Do you know the Inspector.

Pas:
No Madam.

Brill:
Nor the Fool.

Pas:
No Madam.

Brill.
Nor Sir Alexander.

Pas:
I am not so happy Madam.

Brill.
I'll make them your Friends-- If I see them here to Night, I'll
Introduce them to you. I am intimate with all the Genii in Town. but
prithee what is this Piece of yours? it has excited vast Curiosity. Is
it after the Manner of Aristophanes-- or Fielding-- or Foot's Pieces--
don't tell me-- I won't have my Pleasure Anticipated-- but I assure I
shall applaud-- I am mighty glad I don't know what it is-- It is much
pleasanter to be Surprized be it good or bad.

  Enter Sir Eternal Grin.

Hyd:
This, Mr. Pasquin is Sir Eternal Grin. He is what is call'd a good
natured Man & extremely well bred-- So Polite he never frownd in his
Life.

Grin.
No, never in my Life I assure you Mr. Pasquin.

Hyd:
He is an uncommon Favourite with the Ladies, And is never so happy as
when they employ him.

Grin.
No never Sir. ha, ha.

Hyd:
His whole Life is spent in their Service, ev'ry Morning you may See him
running from Play House to Play House, regulating the Box Book in
Consequence of the Commissions he recieved over night for Places. that
done he hurrys away to mill their Chocolate, toast their Muffins, make
their Tea, and wait on them to the Mercers-- In the Evening you may See
him in every part of the Play-House, handing then in and Out, and
between every Act, whisking from Box to Box; whispering News and
Appointments. thence to half a dozen, Drums and Routs; where, after
loosing to them at Cards 'till two in the Morning, he has the happiness
of seeing the dear Creatures to their Chairs, and then goes home as
happy, as an Author after a Successfull first Night.

Grin.
'Tis true Mr. Pasquin as Mr. Hydra says my whole Life is devoted to
the Service of the Fair. therefore I hope there is no Indelicacy, no
severity, Satyr, or Ridicule against them in your Piece. if there be you
must not take it Ill if I head a Party to damn it. ha, ha, ha.

Pas.
Sir, I never Pollute my Productions with Invectives against the Fair.
I am to the best of my poor Abilities, their constant Advocate. he, he,
he, he. (#laughing & Mimicking him#).

Grin.
Why then I am your Friend to perpetuity: as to other Characters you may
take what Liberty you please with them. there is Hydra an Admiral
Character-- he pretends to Taste-- but he is ignorant as-- dear Sir I
can furnish you with a thousand such ridiculous Wretches so that you
need not have recourse to the Ladies.

Pas:
Sir I shall take particular Notice of Your Advice, and follow it
implicitly. and shall be Obliged to you for a few Characters.

Grin.
I'll send them to you depend upon it, your Servant (#turns to the
Company#) this Pasquin is a very Sensible Fellow, and I believe will
Please the Public-- for he minds what the Iudicious say to him.

  Enter Sir Roger Ringwood.

Sr. Rog:
Haux, haux, haux! hido, hido. Iack Hydra, yours.-- What is this ancient
Chorus begun yet? this Farce after the manner of Aristotle and all the
Heathen Gods.-- Zounds I am come twenty Miles, from a red-hot-Fox Chace,
on purpose to see it. What the Devil is this Hotch-Potch? a Pantomime,
or a Tragedy? I believe I shall Salute it with a Seranade-- tip it dead
Hollow Haux, haux, dead, dead, dead & damned-- but who is this Pasquin?

Hyd:
If you please I'll introduce you to him.

Sr. Rog:
With all my heart.

Hyd:
Sir this is the famous Sr. Roger Ringwood. a five bottle Man I assure
you; remarkable for his Taste in dramatic Performances, & the loudest
Voice that ever damn'd a Play.

Sr. Rog:
Hem (#Hems very loud#) yes I have pretty good Lungs. hido, hido!

Hyd.
Sr: I have known him fright a whole Box of Ladies into Fits with One
blast of his Voice; drive the whole Party of an Author's Friends out of
the Pit, with the tremendous Courage of a few Oaths; and have frequently
heard him harangue an Audience on a first night with as much Applause as
every Tully did the Romans-- Sir Roger this is ye Celebrated Seignior
Pasquin.

Sr. Rog:
Hum! dam me he looks like Mahomet Charratha going to dance the Rope.
harkee Seignior-- what is this Medley of yours? this Covent Garden
Theatre? Is it in Italian?

Pas:
No, Sir.

Sr. Rog:
In French?

Pas:
Neither Sir.

Sr. Rog:
Neither-- Why what the Devil Language is it in then?

Pas:
English Sir.

Sr. Rog:
English! Zounds I never heard of any English Farce with Greek Chorus's
before. I reckon it is damn'd low Stuff.

Q Scrib:
That it is I'll answer for it before I see it.

Sr. Rog:
Harkee, Seignor, be it Tragedy or Farce I don't Care a Hare's Scut, so
there is but Fun in it. but none of your French Fricassies according to
Rule! haux, haux, my honies; give us a fair Burst of Fun, my dear, &
we'll follow you for fifty nights end-ways, haux, haux, something of the
Antients now-- Something of a-- a-- old Shakespear, or Horace, or Homer,
or Ben Johnson, as they have at Drury Lane. do you hear-- Something that
way & I'll engage it takes. but if it is any of your New Moral Stuff,
according to Rule, I shall Tip it a dead Hollow, (#Hollows#) think of
that and be dull if you dare.

Pas:
Certainly such a Iudicious Patron as Sr. Roger Ringwood, must inspire
both an Author and an Actor.

  Enter Miss Diana Single-Life.

Hyd:
This is Miss Diana Single-Life, a maiden Lady of Youth, Beauty,
Chastity, & Erudition: who has read more Romances, Novels, Poems &
Plays, than there are Acts of Parliament in ye English Language.

Diana:
Yes, Mr. Pasquin I may venture to say, with the Strictest Propriety,
that I have read as much as any Lady that has Existed in the Circle of
Literature.-- not the great Daicer excepted: but I hope Mr. Pasquin you
have nothing in your Exhibition that is Shocking to Chastity, no double
Entendres in your Examinations; If you have I shall certainly explode
them. You must know I was once perswaded to go to hear a Tryal for a
Rape-- I vow I blush at the bare mention of the Word-- what wou'd you
have of it-- in short I went;-- but I thought I shou'd have Swoon'd away
upon the Spot, the Tryal was so full of double Entendres, and what the
filthy Lawyers call-- Rems in Re-- --

Omn:
Ha, ha, ha, ha.

Pas:
Madam, you may assure your self that the Virgin Particles of Your
Modesty shall never be Agitated by the Amorous Transparancy of Pasquin's
Obscenity. (#Mimicking her#)

Hyd:
Look, look, if the impudent Rogue is not taking the Old Maid Off to her
face, & she does not See it.

Omn:
Ha, ha, ha.

Dia.
Sir, I am your humble--

Pas.
Your devoted--

Dia.
And immense Admirer.

Pas.
And superlatively honour'd humble Servant.

  (#She is going to the Company but turns short to Pasquin#)

Dia.
O Mr. Pasquin I had like to have forgot, I must give you a hint, as you
intend to Satyrize the vicious & the ridiculous, that may be useful to
you. that Lady You See there is the greatest Coquet in Town. She is the
Noted Miss Brilliant that is Supposed to be well with his Grace, and the
Old General-- there are several others talk'd of, but the World you know
is censorious-- Upon my Honour I don't believe any Body but his Grace
and the General ever had any Connexion with her.

Pas.
Your Ladyship is very tender in thinking so-- but it is certain Sir
Harry and she were least together in a Bagnio one Masquerade Night.

Dia.
Why, that I knew to be true, Mr. Pasquin, but I did not care to say all
I know, because I wou'd not be thought Censorious-- that Young Lady with
her, Miss Bashful, has a very fine Boy at Nurse, above half a year Old.
but very few Knew any thing of it.-- And she is now going to be marry'd
to the North Country Knight-- It wou'd be pity to speak of it-- She will
pass upon him-- he's a very great Blockhead and She is good enough for
him-- For he was not born in Wedlock himself.

Pas.
They will be a very proper Match, Madam.

Dia.
Most proper, Your humble Servant Seignior.

Pas.
Your Lordships most Obedient.

Hyd.
This, Mr. Pasquin, is a plain honest Citizen. He is called honest
Solomon Common Sense; If you can please him, and make him Your friend,
he can influence a large Number in your Favour; which will be of more
Service to you than the Approbation of all the Pitt-- Maitres, Critics,
and Wou'd-be Witts, from St. James's to White Chappel.

Pas.
I have often heard of the Gentleman, he is in great Esteem amongst Our
best Critics abroad, and I shall make it my particular Study to merit
his Approbation.

Com.
Mr. Pasquin you have it already. I like your manner of exposing the
Follies of the Public extremely. Your making the Theatre the Scene of
Action, and the Censure and Approbation of the Audience the Chorusses to
your Characters upon the Stage, is quite New, and very happily
immagin'd. But now you have made us acquainted with your Characters.
I think the sooner you throw them into Action and come to a Conclusion
the better.

Pas.
Sir your Criticism is very just; And if Marforio is return'd I will
proceed to an Examination of the Culprits and close for this night.
(#Goes to ye side of the Scene#) Promptor, is Marforio come back?

Prom.
No Sir.

Pas.
Gentlemen & Ladies, I cannot possibly proceed till he returns. I reckon
he will be here in about five Minutes; till then I shall take it as a
Favour if you will step into the Green Room; and, in the mean time The
Musick, by way of Act Tune, may play God save Great George Our King, to
keep the Audience in Humour.

Omn:
Admirable! with all Our Hearts. God save the King. (#Ext Singing God
save Great George#)




Act. 2.

Enter. All the Characters.


Pas.
Gentlemen and Ladies, pray take Your Places, and now Marforio make your
return.

Mar.
Why, this being Masquerade Night there are no Drums or Routs. So we have
taken up but a very few-- But, as I return'd me Guide led me to the
other Play House, from whence, by the unanimous Consent of the Audience
I have brought away a disorderly Lady.

Pas.
Produce her.

  Marforio brings on Miss Giggle.

Miss Brill.
Miss Giggle as I live, dear Creature what brings you here?

Gig.
This Exotic Gentleman, by an Authority from Apollo, as he says----

Omn.
Ha, ha, ha, ha.

Pas.
Pray what is the Lady's Offence?

Mar.
Disturbing the Audience.

Pas.
In what manner.

Gig.
Why, I'll tell you Mr. Pasquin. You must know the Play was a Tragedy;
and several of the Audience were ridiculous enough to cry at it-- And so
Sr. Charles Empty and I were diverting Our selves with laughing at the
various Strange Tragical Faces the Animals, exhibited, that's all.

Omn.
Ha, ha, ha, ha.

Gig.
Upon this the Goths fell a hissing-- & cry'd out-- out-- out--

Sr. Eter.
O the Savages!

Mar.
But there is a further Charge against this Lady; She is said to be a
common Nusance at the Theatres; and that She frequently Sets the whole
House in a Titter to the Confusion of the Actors, & the general
disturbance of the Audience, by constantly exposing her Nudities to
Publick View, contrary to the Ideas of female Modesty, and the Laws of
Decency.

Miss Dy.
O fye Seignior, how can you make use of so indelicate an Expression.
A Lady's Nudities, why, you might as well have said-- I vow it is almost
plain English, I protest such an Expression is enough to get your Farce
hiss'd off the Stage--

Pas.
I am extremely Sorry the Phrase offends your Ladyship, but if you will
Substitute any other.

Dia.
I think Mr. Drawcansir when those Objects are to be expos'd that--
a Lady's Proturberances, her Snow balls, or her Lover's Amusements--
wou'd be much more delicate.

Sr. Rog.
You are very right Madam, and if they happen to be of the immense kind--
Cupid's Kettle Drums Mr. Pasquin, wou'd not be an-- unelegant Phrase,
ha, ha, ha.

Omn.
Ha, ha, ha, ha.

Pas.
Your Ladyship is quite right, go on with the Charge.

Mar.
That the moment this Lady appears in the Boxes the grave part of the
fair Sex are seen to put their Fans before their Faces; and are heard to
whisper one another-- Lud what an indecent Sight Miss Giggle's Neck is--
It is really quite obscene! I wonder somebody does not tell her of it,
then the Men, they are all in a high Grin; and the Smarts are frequently
heard to roar out-- O Gad-- they are ravishingly White, and smooth as
polish'd Marble!

Dia.
Mr. Pasquin observing upon the whiteness or smoothness of a Lady's
Circumstances is not so Chaste as I cou'd wish.

Pas.
Your Ladyship is in the Right, pray omit those Amorous Exclamations; for
tho' they may be the genuin Language of the Smarts, and may be thought
Wit and Humour amongst themselves, yet upon the Stage such warm
Expressions will be Condemned.

Gig.
Well, Mr. Pasquin, what is Your Highness's Censure upon this dreadfull
Affair. ha, ha, ha.

Pas.
Upon my word Madam, I see no Crime in a desire to please; which I
suppose was Your Ladyship's Motive. on the Contrary, I have always heard
it asserted by the Iudicious in dress, that a fine Woman can never shew
too much--

Gig.
Sir I am infinitely Obliged to you, (#bowing very low#) for your
Compliment.

Dia.
Mr. Pasquin, you will forfeit my good Opinion-- I assure you, if you
encourage such proceedings. This Lady's indecency is remarkable, and,
for public Example, you ought to have Satyriz'd her severely; for there
are a Set of them go about on purpose to Exhibit as the Men Phrase it.

Sr. Rog.
You are very right Madam and if there be not a stop put to it, they may
in time become Adamites, and go without so much as a Fig leaf.

Pas.
It is a very great Offence against the Laws of Decency to be sure Madam,
and in my next Piece I shall give the Coquets no Quarter.-- Your next
Culprit Marfario.

Mar.
I as Extraordinary a ffigure as ever was Exhibited upon a Theatre. here,
Desire that naked Lady to walk in.

Dia.
O Heav'ns! a naked Lady:-- Why sure Mr. Pasquin, you don't mean to
expose such an Object.

Sr. Rog.
Zounds, let her come in.

Omn.
Ay, ay, produce her, produce her.

Sr. Rog.
Lets have her. lets have her! of all things let us have a naked Lady--
If she be-- handsome Pasquin I'll engage your Farce runs a hundred
Nights-- I'll hold a Hogshead of Claret to a Gill, she pleases more than
the Ostrich.

Sr. Et:
Why, Mr. Pasquin, you will frighten all the Ladies out of the Boxes.
I see several of them now that are ready to faint at the bare Idea of a
naked Object.

Pas.
You need not fear Sr. Eternal, there shall be nothing exhibited by me
offensive to decency or Modesty! Pray lett the Lady walk in, she will be
the best Apology for the Expression.

  Enter. Lady Lucy Loveit in a Venetian mask, dress'd in a very short
  Pet: en l'air Slippers, no Stays, her Neck bare, in a Compleat
  Morning Dress of a very high-bread Woman of Quality.

Ly. Lucy.
Iack Hydra (#running up to him#) do you know me? Miss Brilliant Your
Servant-- what you are come to see the New Farce? you never miss a first
Night I think-- well what is to become of poor Pasquin, damn'd I
Suppose.

Brill.
Inevitably Madam unless the Spirit of your Character saves him.

Ly. Lucy.
O your Servant Madam-- Miss Giggle shall wee see you at the Masquerade
to Night?

Gigg.
Certainly-- who can She be? She is very elegantly dress'd.

Hyd.
By all that's whimsical it is Lady Lucy, come, come, unmask, unmask,
there is no veiling the Sun.

Ly. Lucy.
O you fulsome Creature [#she unmasks#] from what Antiquated Romance did
you Steal that vile Compliment.

Omn.
Lady Lucy.

Ly. Lucy.
Ladies your Servant. do you know that I am immensly delighted at meeting
so much good Company here?

Hyd:
You dear Romantic Angel, what brought you hither thus equipt?

Ly. Lucy.
My dear, I am dress'd for the Masquerade; and was just Steping into my
Chair to go to Lady High-Lifes; who Sees Masks to night, when this
worthy Weight, with great Civility, told me he had a Warrant from Apollo
to take up all disorderly Persons, and said I must go before Monsieur
Drawcansir, the Censor of Great Britain.

Omn.
Ridiculous.

Ly. Lucy.
I was pleas'd with the Conceit; so hither I am come to attend his
Worship.

Hyd.
You dear Wild Creature.

Ly. Lucy.
Have you had any Sport.

Hyd.
Infinite-- we have had such hissing, and clapping and laughing-- poor
Pasquin has been roasted devilishly.

Ly. Lucy.
O Lud, I am Sorry for that. prithee introduce me to him.

Hyd.
Mr. Pasquin your Friend Marforio was mistaken in this Lady; she is a
Woman of Fashion, the Celebrated Lady Lucy Loveit, who has made great
part of the Tour of Europe in Cavalier.

Pas.
Sir I have had the Honour of seeing the Lady Abroad, the last time I
perform'd upon the Italian Theatre in Paris.

Ly. Lucy.
Well Mr. Pasquin, tho' I am brought before you, As an Offender, I am
vastly glad to see you in England. perhaps they may not relish you at
first but I am sure you will take when once the Canaille come to
understand you. I'll send you a thousand Anecdotes of my own
Acquaintance. I will let you into the Secrets of every Intrigue, Family,
and Character, from Pall. Mall to Grosvenor Square.

Pas.
That will hit my plans exactly, Madam.

Ly. Lucy.
I know it will [#whispers to him#] let me tell you there are some
Characters present wou'd make Admirable Sport upon the Stage. there is
Miss Single-Life, that pretended Old Maid is an immense fine one. I can
give you all the Out-lines & some of the most glaring Colours of her
Character.

Pas.
Madam, I shall take it as a Singular Favour.

Ly. Lucy.
I'll give it aloud before her Face, as of another Person, Mr. Pasquin.

Pas.
O dear Madam, that will be vastly kind, and quite polite.

Ly. Lucy.
Miss Dy-- My dear, I am going to describe a Character to Seignior
Pasquin for his next piece.

Dia.
Madam, the Company will be ineffably Oblig'd to you.

Ly. Lucy.
You must know, my dear, the History of the Lady is this-- Her Intellects
are as odd and as aukward as her Person; her mind a Composition of
Hypocrisy and Vanity; her Head, like the Study of Don Quixot, Stuffed
with the exploded-- Romances-- of the two last Centuries-- her Style the
quaint Quintessence of Romantic Fustian, and her Manners those of a
Princess in an Inchanted Castle.

Omn.
Ha, ha, ha, ha.

Dia.
Your Ladyship has a most masterly Hand in Colouring.

Ly Lucy.
The vain Creature endeavours to pass upon the World for five and
twenty-- A Maid & Strictly Virtuous-- but is fifty at least-- grey as a
Badger-- has had three Children-- one by her Coachman-- One by a Horse
Granadier-- and one by her present Friend-- the tall Straping Irishman,
whom they call the Captain. ha, ha, ha.

Omn.
Ha, ha, ha, ha.

Hyd.
My dear Lady Lucy, you are the very Hogarth of Ridicule, there is no
mistaking the-- Original [#apart#] see, see poor Miss Dy. how She Miffs.
the strapping Irishman was too plain.

Omn.
Ha, ha, ha, ha, O too plain, too plain.

Ly. Lucy
Not in the least, it will give the Old Lady a Complexion, She wants it,
besides I was Indebted to her, for a full length She gave of me the
other Day, to a Country Gentlewoman at Lady Tattle-Tongues

Miss Dia.
There is no being blind to this. I must return the Civility [#aside#]
And pray Mr. Pasquin let me recommend a Character to Your Worship.

Hyd.
Ay, now, now for it Lady Lucy, She'll [#apart#] draw your Likeness.

Ly. Lucy.
Sir, She has my leave, tho' She had the Talents of a Brugier with the
Ill nature of a Swift.

Miss Dia.
The Character I mean Sir, is not immaginary, invented by Slander and
Malice, but a true Copy of a universally known Original, which is a
trifling, wanton femal Rake: composed of Folly, rudeness, and Indecency.
whose Vanity is in pursuit of ev'ry Fellow of Fashion She Sees, and
whose Life is a continual Round of vain Inconstancy.

Omn.
Ha, ha, ha, ha.

Ly Lucy.
Very good out-lines upon Honour-- I fancy her Malice will Stir up some
tollerable Ideas-- pray proceed Madam, ha, ha, ha, [#_laughing
ridiculously & mimick'd by the other_#]

M. Dia.
Ha, ha, ha, O Lud Madam, I intended it-- I shall finish up the Picture
to a perfect Resemblance, you may depend upon it. ha, ha, ha, ha.

Ly Lucy.
Well, you are an agreeable, young, blooming, giddy Creature; and really
Miss your little-- youthfull prettiness becomes you. But Miss Dy-- the
Charactor, the Charactor-- come I'll Sit for you; to quicken your
Ideas-- you left off at vain Inconstancy.

Miss Dia.
I did so Madam-- and I will take it up at her affected Taste and
Politeness if you please which Consist in praising ev'ry thing that's
Foreign and in constantly ridiculing the Customs and Manners of her own
Country tho' She herself is the most ridiculous Objection in the Nation.
ha, ha.

Omn.
Ha, ha, ha, ha.

Ly. Lucy.
Admiral! I vow Miss Dy. You have a very Lively Immagination-- at your
Years, ha, ha, ha-- and very Charecteristic. I am amazed You never writ
a Comedy. ha-- ha-- ha-- ha.

Miss Dia.
When I do Madam, You may be sure I shall enliven it with Lady Lucy
Loveit's Character.

Ly. Lucy.
She will be vastly Oblig'd to you-- for you will certainly do it great
Iustice.

Sr. Rog.
Zounds Ladies have done with Your abuse and let the Farce go on; It was
funny enough at First, but you continue it too long.

Com.
Sir Roger is Right Mr. Pasquin; you have made your Ladies talk too much.
and their Raillery was a little to plain.

Pas.
I did that Sir on purpose to preserve a consistency of Character; for I
thought it impossible, when Ladies were in a view of Slander, to make
them Speak too plain, or too much.

  #Count Hunt-Bubble behind ye Scenes#

Count.
Where is the Scoundrell? damn me, I'll break the Rascal's Head.

Officer.
Knock him down-- knock him down-- take away his Sword-- take away his
Sword.

Pas.
Some Quarrell I apprehend.

Count.
You Scoundrells, I am a Gentleman, and I'll run the first Man through
that Offers to lay hold on me.

Dia.
O Lud I am afraid there will be somebody kill'd.

Pas.
I beg Pardon-- We must Stop for a moment, something extraordinary has
happen'd-- I'll go See what it is-- Possibly Some Quarrel behind the
Scenes [#Ex: Pas.#]

Count.
How dare You-- You Rascal-- A Lady's Character-- knock him down-- I'll
teach him to bring Gentlemen's Character upon the Stage.

Pas.
Pray Sir hear me,-- I have not done it.

Count.
Knock him down; beat him to Mummy.

  Enter Pasquin disorder'd and Bloody.

Pas.
Gentlemen, I hope you'll protect me-- You See how I am us'd.

Omn.
What's the matter, what's the matter?

Pas.
Why a Madman, being Spirited on by three or four Gamesters, drew his
Sword upon me, and says I ought to be run through the Body, for bringing
Gentlemen and Ladies' Characters upon the Stage.

Hyd:
Do you know the Gentleman?

Pas.
Very well Sir; he is one Mr Strictland of Somersetshire

Hyd.
Why the Man's mad-- Was it he wounded You?

Pas.
No Sir, it was a Gentleman that is with Him, whom they call the Count,
a great Gamester

Hyd.
You shou'd have him Secur'd.

Pas.
He is in Custody Sir.

Sr. Rog.
Zounds let us have him brought before the Town.

Pas.
Indeed, if I thought the Audience wou'd not be displeas'd at it, I wou'd
bring him on, and expose him; for he is a common Gamester, tho' he
pretends to be a Man of Fashion.

Hyd.
I dare say the Audience will be glad, and will like the Fun of It.

Pas.
What do you Say Gentlemen? shall I bring him on? If you say the Word,
I'll have him examin'd upon the Stage, before you all.

Sr. Rog.
Zounds, we are the Town, and we will have him on, whether you will
or no.

Omn.
Ay, ay, on, on, on, on, on.

Pas.
Gentlemen-- I thank you; Did not I tell you Mr. Hydra, that they wou'd
Act their Parts with Universal Applause. Why Sir, the French Pit, Boxes,
and Galleries, are nothing to the English for vivacity & Spirit, they
cou'd not have Perform'd their Parts with half this Fun and good Humour.
This now, Gentlemen is after the manner of Aristophanes, and the Italian
Pasquinades.    (Exit Pasquin)

  Enter Pasquin immediately with Count Hunt-Bubble in Mourning.

Pas.
Sir you shall come before the Audience.

Count.
Why, you Rascal, do you think I am afraid. Gentlemen and Ladies Your
Servant [#bowing to the Audience#] I is a Fellow to be Countenanced in
bringing Gentlemen's Characters upon the Stage.

Pas.
I am sure Sir, I shall be Iustifiable in bringing you upon the Stage.
And so I have ye Approbation of the Town, I don't value what You or any
Sharpor can do to me.

Count.
Who Says I am a Sharpor.

Pas.
The whole City of Westminster; By whom, Sir, amongst many others, You
are Presented as a Nusance.

Gentlemen, I have a Petition here, in my hand, against him and several
others, that will raise the utmost Indignation in every hones Breast--
Which, with leave of the Audience, I will read. Is it Your Pleasure that
I shou'd read it.

Omn.
Ay, ay, read it, read it.

  To his most Equitable & Satyrical Worship, Seignior Pasquin. Censor
  of Great Britain.

  The humble Petition of Lord Love-Play, in Behalf of Himself and
  many others.

  Sheweth.

  "That your Petitioners were, by Descent, the lawful Inheritors of
  very great Fortunes; But, by the Arts and Combinations of the Noted
  Hunt-Bubble, and the Knot-- And, by what is commonly called Playing
  all the Game, Your Petitioners have been stript of their large
  Possessions to the utter Ruin of themselves and their distressed
  Families.

  "That your Petitioners, who once made the most Splendid Appearance
  at New Market, Whites, Georges, Bath, Tunbridge, and all Public
  Places, are now in the most deplorable Condition.

  "From these Premises, Your Petitionors humbly pray that Your
  Equitable Worship will take their distress'd State into
  Consideration, and Decree such Redress as to Your Satyrical
  Worship shall seem meet--

  "And your bubbled Petitioners shall ever pray."

Com.
Mr. Pasquin, your bringing such Men to Iustice, is a Public good, and
deserves Public Thanks. They are Charactors that all Men destest, and
that all Men wish to See punish'd.

Pas.
Sir you don't know half the Villany of these Men. Play, in its most
Honourable Commerce, is a pernicious Vice, but as Luxury, Fashion and
Avarice, have improved it all over Europe, It is now become an avow'd
System of Fraud and Ruin. The virtuous and Honourable, who Scorn
Advantage, are a constant Prey to the vicious and dishonourable, who
never Play without one. nor does the Vice Stop here: For the Sharper
having Stript his Bubble of his Estate, he next Corrupts his Mind, by
making him a Decoy-Duck, in Order to retrieve his Fortune as he lost It.
And, from an indegent Virtuous Bubble, the Noble Youth becomes an
Affluent vicious Sharper.

Com.
The Observation, is but too true; And it is Pity the _Ligislature_ do
not contrive some Speedy Method to put an Effectual Stop to such impious
Practices.

Pas.
Thus, instead of Virtue, Honour and Noble Sentiments being Sown in the
Minds of Youth they are tainted with Fraud and Treachery; and those,
who should be the Support and Ornament of their Country, are the
Confederates of Men, who would be a disgrace to the worst of Countries,
in its worst of Times.

Omn.
Bravo, bravo, Pasquin, go on, go on [#they Applaud him#]

Smart.
Does he not speak very well Hydra! I think he would make a good Figure
at the Robin Hood Society.

Count.
Sr, You grow licentious and Attack the whole Body of Nobility. and what
you have uttered is a Libell.

Pas.
Sr. it is You that Libel by your Application my Charge is not against
any particular Person, Degree, Rank, or Set of Men, but against known
Profess'd Sharpers; Who, under the Mask of Honour, Amusement and
Friendship, dayly Commit Crimes that deserve the Hangman's lash rather
than the Satyrist's.

Mar.
Gentlemen, this Invective is most unjust, and as I am Council on the
Side of Count Hunt-bubble and Company, I hope you will indulge me a
moment, while I explain what the Law of Parnassus is in these Cases.

Omn.
Hear him, hear him, go on, go on.

Mar.
In the Records of that State, the Act of Gaming is not deem'd a Crime,
but a Science. For the famous Barron de Frippon, in his Institutes, Fol:
1st Chap: 3. P. 17, justly calls it the Noble Science of Defence. which
is as necessary to be Study'd by the Nobility of ev'ry Nation, as the
Small Sword, or the Art of War.

Count.
You are right Marforio-- for Gaming is an Absolute State of War; In
which ev'ry Man must kill or be kill'd; Consequently all Advantages are
Justified by the Law of Self Defence.

Omn.
Go on Marforio.

Mar.
Gentlemen. The wise Spartans, as an Encouragement to Ingenuity, always
reward the thieving Genius, who came off unsuspected, and punish'd the
Blockhead who had not Sufficient Art to Conceal his Theft, In Parnussus
the Law is the same relating to Frauds in Play; Tho' it is notorious
that this Gentleman has Play'd the best of the Game a thousand times,
yet it does not Appear that he has ever been detected in a fraud.

Count.
Never, but once, I assure you: and then I instantly Challeng'd the Man,
who charg'd me with it, ran him three times through the Body, disarm'd
him, made him beg his Life, and ask my Pardon in Public and ever since
no Man has dared to Whisper a Suspicion of me.

Mar.
O it's plain the Gentleman's Character is untainted, and has a Right to
Rank as a Man of Honour and a Genius-- and, instead of Censure, is
intitled to the Order of the Chevaliers de Aventuries-- with which, Sir,
you shall be Strait invested.

Here! Order Sr. Iohn Ketch to attend with the Insignia of Gaming, and
let him invest the Noble Count.

  Enter Sr. Iohn Ketch, with a Rope and a Dice Box fasten'd to it as
  a George, and dice in the Box, and a Knave of Diamonds in his Hand.

Sr. Iohn.
Please to kneel Sir [#To Count bubble who kneels#] I, Sr. Iohn Ketch,
Knight, and Officer of Parnassus, by Virtue of a Power from Appollo,
In Consideration of your Subtle and undetectable deceit in the Noble
Science of Defence, vulgarly call'd Sharping, do invest You With these
Insignia-- Which are a Ribbon of the Genuin Tyburn garotte, with a Box
Pendant, two loaded Dice, and a Knave of Diamonds for a Star; bearing
henceforth, the Arms of Gaming, which are, a Pack of Cards in a Green
Field; two reoin'd Lords for Supporters, a Cat and nine Tails for a
Crest and, I have touch'd them for a motto; So rise up Count Hunt.
bubble, Marquiss of Slip Card, Barron de Pharo-Bank, and Knight of the
Noble Order of Sharpors.

Omn.
Bravo, bravo (#all Clap#)

Count.
Seignior Marforio, The Honours you have Conferr'd Me, will bind me Your
Friend everlastingly. If you call upon me any Evening at the Bedford,
I shall be glad to See you. To night I am engaged to deal at my Lady
High-life's;-- His Grace and Miss will be there, and we expect to touch
roundly. Yours, Yours

Exit

Omn.
Ha, ha, ha.

Hyd.
An Admiral Reward for his Ingenuity.

Sr. Eter.
Extremely ridiculous I vow; and very Iust.

Pas.
Have you any more Offenders to Produce.

Mar.
No more-- But here is a Presentment against one Charles Macklin,
Comedian, of the Theatre Royal in Covent Garden.

Omn.
Ha, ha, ha, O pray let us hear that.

Pas.
The Substance of it is, That he hath written a strange hotch-potch
Farce, and puff'd it upon the Town as written after the manner of
Aristophanes and the Pasquinades of the Italian Theatre.-- Gentlemen,
This is an Affair entirely Cognizable to the Town; All I can Say upon it
is, That, if you Condemn him, I will take Care the Blockhead shall never
trouble you again-- In the manner of Aristophanes.

Omn.
Ay, ay, damn him, Damn him.

Omn.
No, no, Save him, save him.

Pas.
Well Gentlemen, since you are divided we must respit Sentence till
he appears in Person the next Court day. Gentlemen and Ladies, Our
Examinations are over for to Night. We must adjourn, for I am afraid we
have detain'd the Town too long.

Hyd.
Mr. Pasquin, You have Satyrized Your Sharpor with great Humour and
Propriety. And I like the Choice of several of your Characters very
well. But I am afraid the Critics will Condemn Your Piece for want of a
Plot

Bob.
Very true, You shou'd have had a Plot Pasquin.

Pas.
Bless me Gentlemen! I am amaz'd at this Criticism. I expected great
Approbation for the Newness and Dexterity of my Plot.

Hyd.
Ay! pray what is the Plot?

Pas.
I thought, by this time that it was known to ev'ry Person in the
Audience. The Plot Sir, is, the filling of this House-- don't you see
how thick it is.

Hyd.
Ha, ha, ha, ha, very well, and now it is unravelled; extremely Clear!
a very good Plott I protest.

Omn.
O very Clear, very clear.

Dia.
But Mr. Pasquin, You have no love, nor Marriage in Your Farce; that is a
fault, a very great fault.

Pas.
Madam, I have vast Quantity of Love in It, as much as wou'd make half a
dozen modern Romances; But I was advised, by some Dramatick Friends,
not to let it appear too soon. For Love, in a Farce, they said, was
generally very dull, and what the English Audience always Complain'd of.
But now we are come to unravel the Plot-- It must be known, that Lady
Lucy, Mr. Hydra, Sir Eternal, Miss Brilliant, and all the Characters,
have a most Passionate Tendre for each other, and have Privately agreed
that this shall be the Happy Night. And, as to a Wedding, I have taken
particular Care of that, for among the disorderly Persons that were
Seized, by mistake, they have taken up a Gentleman that lives near May
Fair, who waits in the Green Room to Sign the Passport of each loving
Pair to The land of Hymen. And this, I think, is as much Love, Plot and
Marriage, as is necessary in any Farce.

Hyd.
Upon Honour, I am of your Opinion Mr. Pasquin. And I like your
Catastrophes extremely. Mr. Common Sense, what is your Opinion?

Com.
For my part Sir, I am pleased with the whole Piece, and think the
Critics, in particular, must approve of it highly; As it is written up
to the Strictest Nicety of Dramatic Rules. Against the next Night, Mr.
Pasquin, you must omit, or alter some exceptionable Expressions, And, if
you were to prune a few Redundances, the whole Piece wou'd be the better
for it.

Pas.
Your Criticism, Mr. Common Sense, is always Iust, and I shall implicitly
observe it.

Com.
And now, Mr. Pasquin, the sooner you come to your Peroration the better.

Omn.
Ay, ay, the Peroration, the Peroration-- come, Mount the Rostrum, Mr.
Pasquin. The Rostrum, the Rostrum,-- bring on the Rostrum. bring on the
Rostrum!

  The Rostrum is brought on.

  Pasquin Ascends.

Pas.
Most August, Respectable, and Tremendous Public! whose Power is as
uncontrolable as the Boundless Winds, whose Iudgement infalable as
opposeless Fate, Whom Party cannot Sway, Fear Intimidate, Flattery
influence, nor Interest byass. You are each in the art of Government,
a Lycurgus; in the Art of War, a Caesar; In Criticism an Aristotle;
In Eloquence a Tully; In Patronage a Mecenas; In Taste and Elegance,
a Patronius.

Hyd.
Harkee, harkee, Domine Pasquin, this Panegerick is quite out of
Character, and Shews great Ignorance of the People You are Addressing.
For know Sir, that the British Public has too much Dignity and Sense,
either to give, or to recieve, Flattery. Your best way of gaining their
Esteem, is by preserving Your Character, to the last, of a General
Satyrist my Dear, not. by degenerating to a Public Sycophant.

Pas.
I am afraid Sir, I have been too free of my Satyr already.

Com.
Not at all Sir.-- while it is General and Circumscribed by decency,
it cannot be too strong for the English. For Our Wit, Sir, like Our
Courage, knows no danger, Spares no Character.

Bob.
Right, Right-- Dem me, my dear give us Satyr, keen cutting Satyr, that's
what Pleases Us-- And as to Your Panegeric, take that to Madrid or
Paris.

Com.
Mr. Pasquin, the Public know they have Follies, as well as Individuals;
and, so far from being Angry with the Man, who ridicules them, they
always reward him with Approbation and Esteem.

Pas:
Why then Sir, under the Protection of the Town, and the Patronage of
Common Sense, I will, like a faithfull Painter, not a modern Dedicator,
finish up the Blemishes as highly as I have the Beauties of my Patron.

Bob.
Ay, now, now for the Town, I should be glad to see our own blind side.
be sure to be Severe, give us no Quarter.

Pas.
I shall not Sir-- You, the Town, are a Monstor, made up of
Contrarieties, Caprice Steers-- Steers your Iudgement-- Fashion and
Novelty, Your Affections; Sometimes so Splenitic, as to damn a Cibber,
and, even a Congreve, in the Way of the World;-- And some times so
good-Natured as to run in Crowds after a Queen Mab, or a Man in a
Bottle.

Hyd.
Why, the Town are a little whimsical sometimes I believe? I beg pardon
Mr. Pasquin for breaking in upon You.

Pas.
O no Offence, Sir, the Town has always a right to interrupt, and disturb
a Performance. It is their Prerogative, and shews their Taste and their
good Breeding

Hyd.
You are right-- go on, go on,-- a good Sensible Fellow, and knows the
Right and Privilege of the Town, go on, go on.

Pas.
You are a Being, composed of all the Virtues and Vices, Wisdom and Folly
of Human Nature. All Men dread you; all Men Court you; All Men love
You-- and yet All Men strive to be independent of You. For you are so
inconsistent, that you are Constant in nothing, but Inconstancy---- So
good Natur'd, so techy, so wise-- and sometimes so otherwise-- In Short,
so much every thing, that were the whole Sisterhood of the imitative
Arts in emulous Association joyn'd, with the Genius of your own Great
Shakespear at their Head, Directing their different Powers, and wing his
own boundless Imagination into Satyr and Panegirick for the Purpose--
They could not be too Severe upon Your Vices-- nor could they do Iustice
to your Matchless Virtues.

Omn.
Bravo, bravo Pasquin.

Bob.
A very good Peroration upon Honour; I believe he Stole it from the Robin
Hood Society

Pas.
Gratitude and Public Spirit, are the two Noblest Passions, that ever
warm'd the Heart of Man, or fired the Poets Imagination. They Should be
the Springs of every Public Character, and are this Night of Pasquin.
inspired by them he has dar'd laugh at Female Folly and to lash a Noble
Vice that Lords it in Our most Polite Assemblies. For which, he who was
late a Iudge and Public Censor in turn, now trembles at Your dread
Tribunal. The first and last Appeal of Players, Poets, Statesmen,
Fidlers, Fools, Philosophers and Kings. If, by the boldness of his
Satyr, or the daring Novelty of his Plan and Fable, He has offended, He
ought to meet with some degree of Candour, as his Offence was the Effect
of a Noble Gratitude, and an Over-heated Zeal to Please His Noble Guests
& Patrons, whom he Scorn'd to treat with Vulgar Cates Season'd and
Serv'd with Flattery and Common Dramatic Art. For this boldness of his
Satyr, this is his Defence-- But, for his dulness, he has no Plea. If
You Almighty Arbiters find him guilty of that Offence, censure him as
freely as he has censured others. And, like the Roman Censor, he will
cry out with Patriot Ioy, What Pity 'tis, a Blockhead can be damn'd but
once, to Please the Critics.


Finis.




THE AUGUSTAN REPRINT SOCIETY

  _WILLIAM ANDREWS CLARK MEMORIAL LIBRARY_
  University of California, Los Angeles


PUBLICATIONS IN PRINT

  [Where available, Project Gutenberg e-text numbers are given in
  brackets.]


1948-1949

15. John Oldmixon, _Reflections on Dr. Swift's Letter to Harley . . ._
(1712) and _A. Mainwaring's The British Academy . . ._ (1712).  [25091]

17. Nicholas Rowe, _Some Account of the Life of Mr. William Shakespeare_
(1709).  [16275]


1949-1950

22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two
_Rambler_ papers (1750).  [13350]

23. John Dryden, _His Majesties Declaration Defended_ (1681).  [15074]


1950-1951

26. Charles Macklin, _The Man of the World_ (1792).  [14463]


1951-1952

31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and
_The Eton College Manuscript_.  [15409]


1960-1961

85-6. Essays on the Theatre from Eighteenth-Century Periodicals.

90. Henry Needler, _Works_ (1728).


1961-1962

93. John Norris, _Cursory Reflections Upon a Book Call'd, An Essay
Concerning Human Understanding_ (1960)

94. An. Collins, _Divine Songs and Meditacions_ (1653).  [In
Preparation]

95. _An Essay on the New Species of Writing Founded by Mr. Fielding_
(1751).

96. Hanoverian Ballads.


1962-1963

97. Myles Davies, Selections from _Athenae Britannicae_ (1716-1719).

98. _Select Hymns Taken Out of Mr. Herbert's Temple_ (1697).

99. Thomas Augustine Arne, Artaxerxes (1761).

100. Simon Patrick, _A Brief Account of the New Sect of Latitude Men_
(1662).

101-2. Richard Hurd, _Letters on Chivalry and Romance_ (1762).


1963-1964

103. Samuel Richardson, _Clarissa: Preface, Hints of Prefaces, and
Postscript._  [29964]

104. Thomas D'Urfey, _Wonders in the Sun, or, the Kingdom of the Birds_
(1706).

105. Bernard Mandeville, _An Enquiry into the Causes of the Frequent
Executions at Tyburn_ (1725).  [In Preparation]

106. Daniel Defoe, _A Brief History of the Poor Palatine Refugees_
(1709).

107-8. John Oldmixon, _An Essay on Criticism_ (1728).  [In Preparation]


1964-1965

109. Sir William Temple, _An Essay upon the Original and Nature of
Government_ (1680).

110. John Tutchin, _Selected Poems_ (1685-1700).  [_In Preparation_]

111. Anonymous, _Political justice. A Poem_ (1736).

112. Robert Dodsley, _An Essay on Fable_ (1764).

113. T. R., _An Essay Concerning Critical and Curious Learning_ (1680).

114. _Two Poems Against Pope_: Leonard Welsted, _One Epistle to Mr. A.
Pope_ (1730), and Anonymous, _The Blatant Beast_ (1742).  [21499]




  William Andrews Clark Memorial Library:
  University of California, Los Angeles

  THE AUGUSTAN REPRINT SOCIETY


_General Editors_: Earl Miner, University of California, Los Angeles;
Maximillian E. Novak, University of California, Los Angeles; Lawrence
Clark Powell, Wm. Andrews Clark Memorial Library _Corresponding
Secretary_: Mrs. Edna C. Davis, Wm. Andrews Clark Memorial Library

The Society's purpose is to publish reprints (usually facsimile
reproductions) of rare seventeenth and eighteenth century works. All
income of the Society is devoted to defraying costs of publication and
mailing.

Correspondence concerning subscriptions in the United States and Canada
should be addressed to the William Andrews Clark Memorial Library, 2205
West Adams Boulevard, Los Angeles, California. Correspondence concerning
editorial matters may be addressed to any of the general editors. The
membership fee is $5.00 a year for subscribers in the United States and
Canada and 30/- for subscribers in Great Britain and Europe. British and
European subscribers should address B. H. Blackwell, Broad Street,
Oxford, England. Copies of back issues in print may be obtained from the
Corresponding Secretary.


PUBLICATIONS FOR 1965-1966

THOMAS TRAHERNE, _Meditations on the Six Days of the Creation_ (1717).
Introduction by George Robert Guffey.

CHARLES MACKLIN, _The Covent Garden Theatre_ [manuscript] (1752).
Introduction by Jean B. Kern.  [_present text_]

ROGER L'ESTRANGE, _Citt and Bumpkin_ (1680). Introduction by B. J. Rahn.
[_In Preparation_]

DANIEL DEFOE and Others, Accounts of the Apparition of Mrs. Veal
(ca. 1705). Introduction by Manuel Schonhorn.

HENRY MORE, _Enthusiasmus Triumphatus_ (1662). Introduction by M. V.
DePorte.

BERNARD MANDEVILLE, _Aesop Dress'd or a Collection of Fables Writ in
Familiar Verse_ (1704). Introduction by John S. Shea.  [_In
Preparation_]


_ANNOUNCEMENT:_

The Society announces a special publication, a reprint of JOHN OGILBY,
_The Fables of Aesop Paraphras'd in Verse_ (1668), with an Introduction
by Earl Miner. Ogilby's book is commonly thought one of the finest
examples of seventeenth-century bookmaking and is illustrated with
eighty-one plates. Publication is assisted by funds from the Chancellor
of the University of California, Los Angeles. Price: to members of the
Society, $2.50; to non-members, $4.00.

  THE AUGUSTAN REPRINT SOCIETY
  William Andrews Clark Memorial Library
  2205 WEST ADAMS BOULEVARD, LOS ANGELES, CALIFORNIA  90018

Make check or money order payable to THE REGENTS OF THE UNIVERSITY OF
CALIFORNIA.





       *       *       *       *       *





Errors and Inconsistencies noted by transcriber:

The two pages beginning "does not Appear that he ..." and ending "...The
Honours you have Conferr'd" are missing from the facsimile and had to be
taken from a different source. Some readings are uncertain.

This passage from the opening speech shows the original line length:

  Nobles, -- Commons -- Beaux, Bells -- Wits,
  Critics, -- Bards & Bardlins, -- and ye my very
  good Friends of Common Sense, -- tho' last, not
  least in Merit, -- Greeting, and Patience to you


Introduction:

  Sir Archy MacSarcasm in _Love-a-la-Mode_,
    [_printed "Love/a-la-Mode" at line break_]
  Pett-en-l'air, which eighteenth-century costume books portray as
  a short, loose shift
    [_"Pet: en l'air" or "pet-en-l'air" literally translates as
    "fart in the air"_]

Covent Garden:

  of the Quorum of Parnassus  [_"Quorom" with o corrected to u_]
  as my whole design is new  [_or "be new": text smudged near margin_]
  So much by way of Oratia now for Action--
    [_should be "Oration" but looks like "Oratia"_]
  I will Scour the whole Circle of this metropolis
    [_text has "of" at line-end, with beginning of next line crossed
    out and replaced with "of this Metropolis"_]
  I vow I should be glad of it.
    [_"vow" corrected from different word, possibly "own" or "know"_]
  Your hble. Sr.  [_written "hble" with line through ascenders_]
  what the filthy Lawyers call-- Rems in Re
    [_written as shown; correct word is "Reus"_]
  Sir Harry and she were least together
    [_written "least" as shown: garbling of "seen" and "last"?_]
  the Animals, exhibited  [_first e in "exhibited" invisible_]
  But there is a further Charge against this Lady;
    [_phrase roughly underlined, apparently by Examiner_]
  Your Ladyship is quite right, go on with the Charge.
    [_word "Charge" again underlined: end of cut?_]
  "they are ravishingly White, and smooth as polish'd Marble!
    [_no close quote_]
  Obliged to you, (#bowing very low#) for your Compliment
    [_stage direction inserted above line_]
  Ay, ay, produce her, produce her.
    [_after "Ay, ay", the words "Let her come in" crossed out_]
  Very well Sir; he is one Mr Strictland of Somersetshire
    [_original "xxx of xxx" heavily crossed out, with "Strictland of
    Somersetshire" added at end of line_]
  Indignation in every hones Breast  [_spelling unchanged_]
  And it is Pity the _Ligislature_ do not contrive
    [_word "Ligislature" may be underlined by Examiner, along with
    marginal marks_]
  a Pack of Cards in a Green Field; two reoin'd Lords for Supporters
    [_reading uncertain: see note at beginning of Errata_]
  any Evening at the Bedford ... at my Lady High-life's
    [_original text may read "at Lady Highlife's"; name is crossed out
    and "the Bedford" inserted above line; next sentence is written "my
    Lady's" with "High-life's" added above line_]
  Yours, Yours  [_duplication in original_]
  Condemn Your Piece for want of a Plot
    [_word "Piece" written only as catchword; line "for want of a Plot"
    inserted at top of page_]
  You are each in the art of Government
    [_"art of" inserted above line_]
  Caprice Steers-- Steers your Iudgement--  [_duplication in original_]
  It is their Prerogative, and shews their Taste and their good Breeding
    [_text beginning "and shews..." added after other text_]
  and wing his own boundless Imagination  [_text unchanged_]

Augustan Reprints:

  99. Thomas Augustine Arne, Artaxerxes (1761).
    [_printed text repeats title of #100, "Simon Patrick..."_]



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