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Klinger + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Harlot's Progress, The Rake's Progress + (MS., CA. 1778-1780) + +Author: Theophilus Cibber + Anonymous + Mary F. Klinger + +Release Date: January 24, 2012 [EBook #38659] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK HARLOT'S PROGRESS, RAKE'S PROGRESS *** + + + + +Produced by Chris Curnow, Joseph Cooper, Ernest Schaal and +the Online Distributed Proofreading Team at +https://www.pgdp.net + + + + + + +</pre> + + +<p class="center"><span class="smcap">The Augustan Reprint Society</span></p> + +<p class="h2a"><i>THE</i></p> + +<p class="h2a">HARLOT'S PROGRESS</p> + +<p class="center">THEOPHILUS CIBBER</p> + +<p class="center">(<i>1733</i>)</p> + +<p class="center"><i>and</i></p> + +<p class="h2a"><i>THE</i></p> + +<p class="h2a">RAKE'S PROGRESS</p> + +<p class="center">(<i>MS., Ca. 1778-1780</i>)</p> + +<hr class="hrsm"/> + +<p class="cnobmargin"><i>Introduction by</i></p> +<p class="cnotmargin"><span class="smcap">Mary F. Klinger</span></p> + +<hr class="hrsm"/> + +<p class="cnobmargin">PUBLICATION NUMBER <i>181</i></p> +<p class="cnomargins">WILLIAM ANDREWS CLARK MEMORIAL LIBRARY</p> +<p class="cnomargins"><span class="smcap">University of California, Los Angeles</span></p> +<p class="cnotmargin"><i>1977</i></p> + +<hr class="hr2" /> + +<p>GENERAL EDITORS</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">William E. Conway, William Andrews Clark Memorial Library</span> +<span class="i0">George Robert Guffey, University of California, Los Angeles</span> +<span class="i0">Maximillian E. Novak, University of California, Los Angeles</span> +<span class="i0">David Stuart Rodes, University of California, Los Angeles</span> +</div> +</div> + +<p>ADVISORY EDITORS</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">James L. Clifford, Columbia University</span> +<span class="i0">Ralph Cohen, University of Virginia</span> +<span class="i0">Vinton A. Dearing, University of California, Los Angeles</span> +<span class="i0">Arthur Friedman, University of Chicago</span> +<span class="i0">Louis A. Landa, Princeton University</span> +<span class="i0">Earl Miner, Princeton University</span> +<span class="i0">Samuel H. Monk, University of Minnesota</span> +<span class="i0">Everett T. Moore, University of California, Los Angeles</span> +<span class="i0">Lawrence Clark Powell, William Andrews Clark Memorial Library</span> +<span class="i0">James Sutherland, University College, London</span> +<span class="i0">H. T. Swedenberg, Jr., University of California, Los Angeles</span> +<span class="i0">Robert Vosper, William Andrews Clark Memorial Library</span> +</div> +</div> + +<p>CORRESPONDING SECRETARY</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Beverly J. Onley, William Andrews Clark Memorial Library</span> +</div> +</div> + +<p>EDITORIAL ASSISTANT</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Frances M. Reed, University of California, Los Angeles</span> +</div> +</div> + +<hr class="hr2" /> + +<p><span class="pagenum"><a name="pagei" id="pagei"></a>[pg i]</span></p> + +<h2>INTRODUCTION</h2> + +<p class="indent">The prints and engraved sequences of William Hogarth +(1697-1764) inspired a wide range of dramatic entertainments +throughout the eighteenth century. The types include comedy +of manners (<i>The Clandestine Marriage</i>, 1766), burletta with +<i>tableau vivant</i> (<i>Ut Pictura Poesis!</i> 1789), specialty act (<i>A +Modern Midnight Conversation</i>, 1742), cantata (<i>The Roast +Beef of Old England</i>, ca. 1759), ballad opera (<i>The Decoy</i>),<a name="FNanchor_1_1" id="FNanchor_1_1"></a> +<a href="#Footnote_1_1" class="fnanchor">[1]</a> +pantomime (<i>The Jew Decoy'd</i> and <i>The Harlot's Progress</i>, 1733), +and a morality ballad opera (<i>The Rake's Progress</i>, ca. 1778-1780). +Two of these are reprinted here. Theophilus Cibber's +"Grotesque Pantomime Entertainment" of Hogarth's six-scene +series "A Harlot's Progress" (1732), entitled <i>THE HARLOT'S +PROGRESS</i>; or The Ridotto Al'Fresco," was first published 31 +March 1733 for its Drury Lane debut as an afterpiece.<a name="FNanchor_2_2" id="FNanchor_2_2"></a> +<a href="#Footnote_2_2" class="fnanchor">[2]</a> Less +familiar is the anonymous "Dramatised Version" of Hogarth's +eight-print sequence "A Rake's Progress" (1735), British +Library Add. MS. 25997, entitled The Rake's Progress.<a name="FNanchor_3_3" id="FNanchor_3_3"></a> +<a href="#Footnote_3_3" class="fnanchor">[3]</a></p> + +<p class="indent">Of critical interest in looking at the engravings along with +the dramas they inspired is the evidence provided of significant +visual-verbal reciprocities in the period. In particular, it shows +one aspect of the interrelationship operative between (1) +creation of the prints, with the artist often relying perceptibly +on dramatic literature and theatrical sets,<a name="FNanchor_4_4" id="FNanchor_4_4"></a> +<a href="#Footnote_4_4" class="fnanchor">[4]</a> and (2) inspiration +from print to theater, as playwrights generated new stage +pieces based on the graphic works. Moreover, these two +dramas underscore the importance of music in eighteenth century +theater where the use of songs in pantomimes and new +lyrics for old tunes in ballad opera were alike commonplace by +mid-century.<a name="FNanchor_5_5" id="FNanchor_5_5"></a> +<a href="#Footnote_5_5" class="fnanchor">[5]</a> The plays lend support to Bertrand Bronson's observation +that, in an age which "thought Man the proper study +of Mankind," it is not surprising that the "major emphasis (and +accomplishment) in music should be dramatic and, in a broad +sense, social."<a name="FNanchor_6_6" id="FNanchor_6_6"></a> +<a href="#Footnote_6_6" class="fnanchor">[6]</a> These dramas add visual and musical insights +to literary concerns of the time.</p> + +<p class="indent">In "A Harlot's Progress" (1732) Hogarth's six prints +recount a few years in the young life of "M. Hackabout" from +<span class="pagenum"><a name="pageii" id="pageii"></a>[pg ii]</span> +her innocent arrival in London (from Yorkshire) through +debauchery, prostitution, and theft to death from venereal +disease at the age of 23. Hogarth's engraved sequence shows +about 12 characters, including Moll's child and supernumerary +harlots at her funeral. The stage piece by Colley Cibber's son +entitled <i>The Harlot's Progress</i> consists solely of stage directions +and verses set to six "Airs." It has 27 characters, including +a "little Harlequin Dog." The harlot's new name, +"Kitty," probably refers to the actress (Mrs. Raftor, later Kitty +Clive) who initially played this role. The music for the songs +seems to be lost, though many tunes can be identified.<a name="FNanchor_7_7" id="FNanchor_7_7"></a> +<a href="#Footnote_7_7" class="fnanchor">[7]</a> Furthermore, +Roger Fiske reports that later in 1733 this work was offered +at Bartholomew Fair with a band that included "oboes, +bassoons, horns, trumpets, drums and strings." Though traditionally +<i>The Harlot's Progress</i> has been treated as pantomime, +Fiske considers it a "mixture of masque, ballad opera and +pantomime."<a name="FNanchor_8_8" id="FNanchor_8_8"></a> +<a href="#Footnote_8_8" class="fnanchor">[8]</a> Actually Cibber's piece, with its concluding +"Masque," more closely fits Paul Sawyer's definition of pantomime +as "a mixture of comic (sometimes called grotesque) +elements" concerning the love adventures and misadventures +of Harlequin and Columbine, "largely in dumb show," but "occasionally +interspersed with songs and dances."<a name="FNanchor_9_9" id="FNanchor_9_9"></a> +<a href="#Footnote_9_9" class="fnanchor">[9]</a> In addition, +Sawyer notes, there is a "serious part," usually drawn from +mythology, featuring dancing, recitative, song, and some +dialogue. In the present case, this would be the masque of "The +Judgment of Paris" which concludes <i>The Harlot's Progress</i> (p. +12).</p> + +<p class="indent">On the stage, Cibber shifts the Hogarthian tone from an +ineluctable moral formula (the wages of sin equal death) to one +that transforms social and moral punishment into lyrical +pageantry. To accomplish this, he uses the mechanical humor +of harlequinade and omits three grim occasions portrayed by +Hogarth: Hackabout's apprehension by Sir John Gonson in a +garret (Pl. 4), her early death from venereal disease (Pl. 5), and +her funeral with its morally dubious mourners (Pl. 6). Cibber +replaces the potential moral commentary of these three prints +with stage antics and dance. Cibber's harlot "Kitty" is sent to +Bridewell like Hogarth's Moll Hackabout (Pl. 4), but her +punishment there turns magically into a dance.</p> + +<p class="indent">The "Keeper" forces her and other women to beat hemp, +but the blocks suddenly disappear; in their stead appear her +<span class="pagenum"><a name="pageiii" id="pageiii"></a>[pg iii]</span> +lover Harlequin, with Scaramouch and others, and all "dance +off" to the "Ridotto al'Fresco," while the Keeper "runs away +frighted." The threat of punishment vanishes with the blocks. +At the "Ridotto," in a stage set depicting a Vauxhall scene, people +appear in masquerade, and a grand "Comic Ballad" is performed +to various musical tunes. But this is not the end of the +pantomime, for yet to come is "The Judgment of Paris," John +Weaver's "Dramatic Entertainment" after the "Manner of the +Ancient Greeks and Romans," which had premiered in +February 1733.<a name="FNanchor_10_10" id="FNanchor_10_10"></a> +<a href="#Footnote_10_10" class="fnanchor">[10]</a></p> + +<p class="indent">Though he was quite consciously imitating Hogarth's +"Celebrated Designs," Cibber's directions do not specify that +costuming duplicate Hogarth's contemporary London figures +such as the notorious Mother Needham, Colonel Charteris (Pl. +1), Justice Gonson (Pl. 4), or the quarreling doctors Misaubin +and Rock at Moll's deathbed (Pl. 5).<a name="FNanchor_11_11" id="FNanchor_11_11"></a> +<a href="#Footnote_11_11" class="fnanchor">[11]</a> In addition to changing +the name "M. Hackabout" to "Kitty" the "Country Girl," Cibber +dubs his Charteris character "Old Debauchee," Needham +"Madame Decoy," and the Jew who keeps Kitty, "Beau Mordecai."</p> + +<p class="indent">The comic element asserts itself in the first stage scene as +Harlequin hides in Kitty's trunk and then disguises himself as a +cadet, imitating Hackabout's lover in Hogarth's second print. +During this stage trick, Madame Decoy sings new verses to an +eighteenth century ballad celebrating the innocent beauties of +rural poverty (Air I, "What tho' I am a Country Lass"). Clearly, +audiences familiar with the more biting pictorial scenes of a +harlot's life would be easily diverted, even relieved, by the +elaborate mixture of Greek and Italian elements, and the +flourish of songs in the parodic ballad opera tradition. Cibber +of course capitalized on the occasion, popularity, and +familiarity of Hogarth's six prints in 1733, but his theatrical +realization clarifies the quality of pantomimic entertainment +with its numerous contemporary graphic allusions, revealing +an aborted moral embellished by a splay of music and masque.</p> + +<p class="indent">Theophilus Cibber's entertainment was quite successful +on the London stage, having a good run at the patent theaters +and the fairs in 1733 and for a while thereafter.<a name="FNanchor_12_12" id="FNanchor_12_12"></a> +<a href="#Footnote_12_12" class="fnanchor">[12]</a> Furthermore, +it is related to an important event in Drury Lane history. Cibber +seceded with a group of actors in May of 1733 from that theater +<span class="pagenum"><a name="pageiv" id="pageiv"></a>[pg iv]</span> +because of management disputes. After playing at the fairs, the +protesting actors performed at the Little Theatre in the +Haymarket until the spring of 1734 when they returned to +Drury Lane. In a letter to patentee John Highmore, Cibber +wrote of the <i>Harlot's Progress</i>: "This entertainment (for which +I am indebted to Mr. Hogarth's designs) the Town were pleased +to approve of and encourage." But, he adds, it might have been +performed "three months sooner than it was, but for the Obstructions +I met with from my Partners."<a name="FNanchor_13_13" id="FNanchor_13_13"></a> +<a href="#Footnote_13_13" class="fnanchor">[13]</a> This theatrical +quarrel created much public discussion in the first decade of +the century (<i>LS</i>, 3, 1, "Introduction," <i>passim</i>). Hogarth included +in his print "Southwark Fair" (which came out after August +1733) a showcloth of John Laguerre's engraving "The Stage +Mutiny," a print that in turn had been inspired by the actors' +secession. Hogarth's additions to the Laguerre print demonstrate +his close touch with these events (<i>HGW</i>, I, 156-7).<a name="FNanchor_14_14" id="FNanchor_14_14"></a> +<a href="#Footnote_14_14" class="fnanchor">[14]</a> <i>The +Harlot's Progress</i> provides us with a good example of +the genre "Grotesque Pantomime," and throws much light on +the London stage entertainment stream of an evening that included +Hogarth, harlequin, Venus and Paris, as well as dancing +and singing.</p> + +<p class="indent">Hogarth's eight prints of "A Rake's Progress" of 1735<a name="FNanchor_15_15" id="FNanchor_15_15"></a> +<a href="#Footnote_15_15" class="fnanchor">[15]</a> provided +the subject—the rise and fall of a libertine—for a +morality ballad opera more than forty years later. The 15-scene +stage piece, entitled <i>The Rake's Progress</i>, elaborates visually +and musically the formula: follow virtue and avoid vice. The +author clearly counted on audience familiarity with the graphic +scenes many years after their appearance, and on an increased +receptivity to explicit moralizing. This manuscript was submitted +by the unknown playwright to Drury Lane sometime between +September 1778 and June 1780. The possible date is most +clearly focused in the Sheridans' joint management. Richard +assumed the management in 1776 and held it to at least 1809, +but his father Thomas managed it with his son only for the +seasons 1778-1779 and 1779-1780.<a name="FNanchor_16_16" id="FNanchor_16_16"></a> +<a href="#Footnote_16_16" class="fnanchor">[16]</a> I think it is therefore +possible to suggest a date for the manuscript between September +1778 when Thomas Sheridan came to Drury Lane, and the +end of the 1779-1780 theatrical season, when he left at the age +of 61.<a name="FNanchor_17_17" id="FNanchor_17_17"></a> +<a href="#Footnote_17_17" class="fnanchor">[17]</a> The piece was not performed.</p> + +<p class="indent">Like the Cibber work, the text consists of stage directions +<span class="pagenum"><a name="pagev" id="pagev"></a>[pg v]</span> +and songs. Allusions to Hogarth appear in title, characters, plot, +and specific scenes. Moreover, a "transparency" introduces the +artist in a literal stage portrait. This device praises Hogarth and +reminds the audience of the graphic correspondences in +dramatic form to come.</p> + +<p class="indent"><i>The Rake's Progress</i> makes significant changes in the content +of Hogarth's series, expanding characters and scenes, and +altering the denouement somewhat from madness to suicide. +New elements of music and clowning change his lugubrious +didacticism to a lyrical warning in a form I call "morality +ballad opera." The morality and masque features appear in +such characters as "Virtue" and "Vice" who frame the piece, +and "Liberty" and "Benevolence" who descend and ascend on a +cloud, at the end taking Virtue with them. Not included in the +theater version is Hogarth's depiction of the harsh realities of +Bethlehem Hospital, or Bedlam, where spectators pay to gawk +at the inmates, and where Rakewell's libertine journey ends +dismally (Pl. 8). On the boards, the didacticism is even more +emphatic. Rakewell shoots himself to background music which +slows in tempo until it is "render'd as dismal as possible" and +Virtue proclaims a triumph over the demonstrated "baneful influence +of Vice."</p> + +<p class="indent">In "A Rake's Progress" (1735), Hogarth depicts an inverse +relationship between morality and the misuse of money. In the +first of the eight prints, young Tom Rakewell inherits wealth +from his miserly father and misspends it for the remainder of +his life in copying the lifestyle of an aristocrat. His moral +poverty is evident as he offers money to the mother of pregnant +Sarah Young, his former girlfriend, who stands disconsolately +poising a wedding ring. Letters containing his false promises to +her clarify the situation. Material wealth is the cornerstone of +this series as we next see the rake being measured by a tailor +for new clothes while a lawyer pilfers cash; and an upholsterer's +hammering to ready the room for mourning results in a +shower of previously hidden gold coins (Pl. 1). The levee (Pl. 2) +shows Rakewell in a fashionable morning gown, courted by a +gardener, huntsman, and others, while a list of gifts from the +nobility to opera star Farinelli includes a snuff box from Rakewell. +His nocturnal taste shows in the Rose Tavern where he +carouses and is himself raked by harlots (Pl. 3). As part of this +debauched ambiance, a pregnant woman sings the bawdy +<span class="pagenum"><a name="pagevi" id="pagevi"></a>[pg vi]</span> +ballad "Black Joke." In daylight, the faithful Sarah saves +Rakewell from street arrest while a group of gamblers fills out +the visual exposition of the rake's dissipation (Pl. 4). Saved by +the middle class girl he ruined, Rakewell next weds a rich +widow to recoup his losses. Sarah, her mother, and Rakewell's +infant offspring unsuccessfully try to abort this clandestine +wedding (Pl. 5). Rakewell's marriage of convenience cannot +meet his needs, and he soon rails despairingly in a Covent Garden +gambling house (Pl. 6). The juggernaut of vice presses on +as he is jailed for debt in Fleet Street prison where he runs up +more bills. A prisoner drops a "Scheme for paying y<sup>e</sup> Debts of +y<sup>e</sup> Nation" to the floor as Sarah faints away and Rakewell's +wife scolds (Pl. 7). The social nadir of Bedlam illumines darkly +Rakewell's last loss—his reason—and this graphic anti-progress +concludes, as it began, with Sarah's sorrow (Pl. 8).</p> + +<p class="indent">What did the playwright do with Hogarth's harsh comment +on the misappropriation of inherited wealth? He seems to have +enhanced entertainment values and emphasized instruction at +the same time. The drama embellishes the series by (a) adding +stage links only imaginable by spectators of the print sequences, +(b) framing the progress with a morality masque starring +Virtue and Vice, and (c) replacing Hogarth's serious ironic +tone with slapstick and songs drawn from stage musical fare, +such as the burletta <i>Poor Vulcan!</i> by Charles Dibdin, which +premiered in February 1778 (<i>LS</i>, 5, I, 109). Basically, Hogarth's +eight prints of 1735 are transformed in part into a series of +<i>tableaux vivants</i> which served, with variations, in the late +1770's as strong visual reminders for an audience already +familiar with the original pictorial sequence.</p> + +<p class="indent">For example, directions for the second scene attempt to put +on the boards the initial print, adding music and slapstick as +"money from the raftor falls into Clown's mouth." The play invites +the spectator to follow Sarah and her mother after they +leave Rakewell and listen to their duet, sung to the music of Air +I of <i>The Beggar's Opera</i>. The lyrics change, so that Peachum's +cynical comment "Through all the employments of life/Each +neighbor abuses his brother" becomes "His vows, ah! Why +did'st thou believe?/He ne'er meant a promise to keep," with +the new association of Sarah's being cast off by Rakewell.</p> + +<p class="indent">The drama closely follows the series for the rake's levee, +where professionals "pay Court" to Rakewell. A new character, +<span class="pagenum"><a name="pagevii" id="pagevii"></a>[pg vii]</span> +"Van Butchel," who sings in dialect, is added. The opportunism +of those proffering services to the young man becomes clear in +their musical medley when they announce they will "plunder +him as fast as we can agree." At the Rose Tavern, stage directions +for Rakewell state "the actor must let his intoxication +gradually increase." Before Rakewell's arrest, the bailiff sings a +solo. Sarah saves her lover, as in the sequence, but a small +revelation of his character not in the print marks the incident: +he "kisses her hand" before returning to his sedan chair.</p> + +<p class="indent">The stage piece exploits the potential emotional element in +such gestures to the point of sentimentality. For instance, +Sarah's lament following Rakewell's marriage to the rich "Old +Woman" shows grief driving her to despair; she sings "The +Grave will extinguish my woes/Then Sarah—prepare thee to +die" to the music of the seventeenth century ballad tune +"Mary's Lamentation." The drama also exploits the sensational +as the smoking fire in a Covent Garden gambling house +(Hogarth's Pl. 5) becomes a public catastrophe with fire +engines and furniture being carried into the street and "Confusion +kept up as long as necessary."</p> + +<p class="indent">In the jail scene, the rake turns out of his breeches a +"Scheme to Pay the National Debt," a specific verbal echo of +the Fleet Street print, and the prisoners sing a familiar tune +("Welcome, Brother Debtor") as musical background to his off-stage +suicide. Then Virtue returns to ascend with "Liberty and +Benevolence" on a cloud, able to relax now that Vice's influence +has run its destructive course.</p> + +<p class="indent"><i>The Rake's Progress</i> is an essentially uneven dramatic +work. The playwright colors the didacticism of Hogarth's +prints with music and farce, yet underscores it by adding Virtue +and Vice and the melodrama of Rakewell's suicide and +Sarah's probable death. The author capitalizes on the suspense +of choice, characteristic of the morality play, by dramatizing it +in conflicts between Vice and Virtue. Yet the effect remains unbalanced. +This palpable form of Hogarth's visual satire loses +much of its impact without a balance of serious, comic, and +musical ingredients. Furthermore, the musical elements are so +haphazardly distributed that they often contribute to a patchwork +effect, as when the bailiff sings a solo prior to making an +arrest.</p> + +<p class="indent">Although <i>The Rake's Progress</i> purports to imitate Hogarth's +<span class="pagenum"><a name="pageviii" id="pageviii"></a>[pg viii]</span> +"Comedy," where a "biginning, middle & an End/ Are Aptly +join'd; where parts on parts depend,/ Each made for each, as +Bodies for their Soul," the 15 scenes alternate too erratically +between humor and melodrama to convey the artistic unity and +moral conviction evident in the pictorial sequence. But this +stage piece does demonstrate the persistence of Hogarth's +visual presence in later eighteenth-century life along with the +adaptability of his graphic scenes for the London theater.</p> + +<p class="indent">Clearly Theophilus Cibber's comical, lyrical exploitation +in <i>The Harlot's Progress</i> of Hogarth's designs exhibits a more +coherent dramatic structure than the tentative, disjointed +medley of music and moralism in <i>The Rake's Progress</i>. Further, +Cibber's piece adds literary insight to our concept of the hardly +dumb genre of pantomime, with its musical and masque components. +The added melodrama and sentimentality in <i>The +Rake's Progress</i> can help to index theatrical taste in the later +period. For students of the century, both works demonstrate +clearly an aspect of the reliance on Hogarth's art by playwrights. +They also show the flexibility of the London stage in +the use of elements of music and dance to link separate print +scenes, and so attempt a bridge between the forms of art and +drama. These two examples of the lively interplay operative +between stage and print in the early and late decades heighten +appreciation of the expectancies of cultural experiences of different +audiences in the eighteenth century.</p> + +<h3>THE TUNES</h3> + +<p class="indent"><i>The Harlot's Progress</i> and <i>The Rake's Progress</i> are alike +interesting for the parodic ballad opera pattern of setting new +words to familiar tunes. Though neither work includes the +music, some songs indicate familiar melodies such as "Let us +take the road" from <i>The Beggar's Opera</i>. In <i>The Harlot's Progress</i>, +the six "Airs" come from varied sources, with new lyrics +by Theophilus Cibber. Of the approximately 24 unnumbered +tunes and catches in <i>The Rake's Progress</i>, the most outstanding +in connection with the print sequence is "Black Joke," Richard +Leveridge's bawdy tune shown by Hogarth in the Rose Tavern +print being sung by a pregnant woman (Pl. 5). In the stage +piece, this song is part of a medley sung to Rakewell by the +<span class="pagenum"><a name="pageix" id="pageix"></a>[pg ix]</span> +various professionals who compete for his money. The most +important tunes are those from <i>Poor Vulcan!</i> the burletta by +Charles Dibdin (February 1778), supporting my 1778-1780 date +for <i>The Rake's Progress</i> manuscript.</p> + +<p class="indent">The sources used to trace the musical airs include Claude +Simpson's <i>The British Broadside Ballad and Its Music</i> (New +Brunswick: Rutgers University Press, 1966); Minnie Sears' +<i>Song Index</i> (and <i>Supplement</i>) (New York: Wilson Company, +1926 and 1934); Edythe N. Backus: <i>Catalogue of Music Printed +Before 1801</i> (San Marino, Cal.: The Huntington Library, 1949), +and William Barclay Squire, "An Index of Tunes in the Ballad-Operas," +<i>The Musical Antiquary</i>, II (October 1910), 1-17.<a name="FNanchor_18_18" id="FNanchor_18_18"></a> +<a href="#Footnote_18_18" class="fnanchor">[18]</a> E. V. +Roberts points out that "the lack of a ballad designation for a +ballad-opera air usually means that the tune in question was +composed specially for that ballad opera" and that, because +most "unnamed tunes were unknown outside their ballad +operas," they were "neither copied nor printed, and simply do +not turn up in the collections."<a name="FNanchor_19_19" id="FNanchor_19_19"></a> +<a href="#Footnote_19_19" class="fnanchor">[19]</a> The catches in <i>The Rake's +Progress</i> are not traceable. The numbering for songs in <i>The +Rake's Progress</i> is my own. Airs from both plays give us some +idea of the rich musical treasure English stagewriters could +draw upon for theatrical offerings in the eighteenth century.<a name="FNanchor_20_20" id="FNanchor_20_20"></a> +<a href="#Footnote_20_20" class="fnanchor">[20]</a></p> + +<h3>THE HARLOT'S PROGRESS</h3> + +<p class="hangindent"><i>Air I</i>: "What tho I am a Country Lass" is an eighteenth century +ballad by Martin Parker printed in <i>Orpheus Calendonius; +or, A Collection of Scots Songs Set to Music by +W[illiam] Thomson</i>, II (London 1733), p. 85. Its first two +lines are "Although I be but a Country Lass/Yet a lofty +Mind I bear-a." It was used by Theophilus Cibber (as Air +XII) in his 1732 one-act version of Charles Coffey's <i>The +Devil to Pay</i> where the transformed cobbler's wife Nell +sings: "Tho late I was a Cobler's Wife,/In cottage most obscure-a" +(pp. 20-21). In <i>The Harlot's Progress</i>, this air, sung +by Madame Decoy, is clearly appropriate for seducing +Kitty-Moll into the world of bawds and prostitutes, with its +theme of magical change and the conquest of innocence by +vice.</p> + +<p class="hangindent"> +<span class="pagenum"><a name="pagex" id="pagex"></a>[pg x]</span><i>Air II</i>: "Brisk Tom and Jolly Kate" is Air IX of Lacy Ryan's +<i>The Cobler's Opera</i> (London 1729), which has tunes by +Leveridge, Purcell, and others. The lyrics in Ryan's piece +allude to Bridewell: "Pray; Sir, did I not give to you a +Passage free/When Hemp did threaten," (pp. 14-15).</p> + +<p class="hangindent"><i>Air III</i>: "Maggy Lawther" is a tune used by Theophilus Cibber +(Air IX) in <i>Patie and Peggy ... A Scotch Ballad Opera</i> +(London 1730), p. 10.</p> + +<p class="hangindent"><i>Air IV</i>: "Oh! what Pleasures will abound" is Air VII of Henry +Fielding's <i>The Lottery</i> (London 1732). Johann Pepusch +composed the music for this air in collaboration with +Lewis Theobald for the pantomime opera <i>Perseus and Andromeda</i> +(1730). Fielding's name for the tune was "In Perseus +and Andromeda."</p> + +<p class="hangindent"><i>Air V</i>: "Lads a Dunce." The music is preserved in British +Library Add. MS. 29371, fol. 30a, no. 45, and printed in +Fielding's <i>The Grub-Street Opera</i> as Air II (ed. Edgar V. +Roberts, Lincoln: University of Nebraska Press, 1968), p. +92. Its composer is not known.</p> + +<p class="hangindent"><i>Air VI</i>: "Maidens fresh as a Rose" appears as Air VI in +Ebenezer Forrest's ballad opera <i>Momus turn'd fabulist; or, +Vulcan's Wedding</i>, a work translated from the French of +Fuzelier and Le Grand (London 1729), p. 12. It also could +be the song in D'Urfey's <i>Wit and Mirth: or, Pills to Purge +Melancholy</i> (1719), with a slightly different title, "Maiden +fresh as a Rose," though the syllabic pattern does not seem +to match: "Young buxome and full of jollity,/Take no +Spouse among Beaux," (I, p. 57).</p> + +<h3>THE RAKE'S PROGRESS</h3> + +<p class="hangindent"><i>Airs I-III</i> are not traceable ("From Virue's sluggish Rules be +free," "Mary's Dream" and "Alteration"). +<span class="pagenum"><a name="pagexi" id="pagexi"></a>[pg xi]</span></p> + +<p class="hangindent"><i>Air IV</i>: "Duett" to the tune "An Old Woman Cloathed in +Gray" is the familiar first tune of John Gay's <i>The Beggar's +Opera</i>, ed. Edgar V. Roberts (Lincoln: University of +Nebraska Press, 1969), pp. 94-95.</p> + +<p class="hangindent"><i>Air V</i>: Van Butchel's song ("See Martin dus his goods +display") is not in the songbooks. Prof. Roberts suggests +the lyrics could fit the music of "Lillibullero," sometimes +used for songs in dialect. Henry Purcell wrote or arranged +this Irish burden which was used in 12 ballad operas, including +Fielding's <i>Don Quixote in England</i> (1733). Simpson +(p. 454) gives one example in dialect: "By Creist my +dear Morish vat makes de sho'shad" (ca. 1689).</p> + +<p class="hangindent"><i>Air VI</i>: "Shelah O'Sudds" (to the tune "The Siege of Troy") is +not traceable.</p> + +<p class="hangindent"><i>Air VII</i>: "Medley. Tune, 'Petition Poor Vulcan'" is from +Charles Dibdin's burletta <i>Poor Vulcan!</i> (London 1778) +which begins: "The humble prayer and petition/Of Vulcan, +who his sad condition" (I, 1, p. 7).</p> + +<p class="hangindent"><i>Air VIII</i>: "Tune. Hunting Chorus, 'Poor Vulcan'" is the +"Chorus and Air" from Dibdin's <i>Poor Vulcan!</i> It begins: +"Blacksmith: 'Strike, strike, ton, ton ton, ron'/Huntsman: +'Sound, Sound, tan, ran, ran, tan'" (I, ii, p. 10).</p> + +<p class="hangindent"><i>Air IX</i>: "Tune: 'Finale 1st act <i>Poor Vulcan!</i>'" seems to be the +song "Pike; 'Pooltroon! Damnation! Zounds, unhand me;/ +Either you villain, eat that word,'" (<i>Poor Vulcan!</i> I, p. 23).</p> + +<p class="hangindent"><i>Air X</i>: "Medley. Tune, 'Black Joke'" is Leveridge's song of +1730. See E. V. Roberts, ed. Henry Fielding, <i>The Grub-Street +Opera</i> (p. 105) and Charles Wood's <i>The Author's +Farce</i> (Lincoln: University of Nebraska Press, 1966), p. 116.</p> + +<p class="hangindent"><i>Air XI</i>: "Welcome, Brother Debtor" appears in many +eighteenth-century song collections, including Henry +Roberts' <i>Calliope; or, English Harmony, a collection +of ... English and Scots tunes</i> (London, 1739-1749), p. 315.</p> + +<p class="hangindent"><i>Airs XII</i>, <i>XIII</i> <i>and XIV</i> are not traceable. ("Medley tunes +'Stoney Batter,' 'Tyburn Tree,' and 'Ballance a Straw.'") +<span class="pagenum"><a name="pagexii" id="pagexii"></a>[pg xii]</span></p> + +<p class="hangindent"><i>Air XV</i>: "Bailiff's Song" has no tune and is not traceable.</p> + +<p class="hangindent"><i>Air XVI</i>: "Mind the Golden Rule" is not identifiable.</p> + +<p class="hangindent"><i>Air XVII</i>: "Tune 'Mary's Lamentation'" is the old ballad (set +to the music of "Crimson Velvet"), the "lamentable complaint" +of Queen Mary for the "unkind departure" of +King Philip, "in whose absence she fell sick, and died," +which begins "Mary doth complain;/Ladies be you moved," +and appears in Richard Johnson's <i>Crown Garland of Roses</i> +(1659), ed. Chappell, 1895. Though popular in the seventeenth +century, it may have been written soon after Queen +Mary's death in 1558 (Simpson, p. 141). Verses similar to +Air XVII ("I Sigh and lament me in vain,/These Walls can +but echo my moan,") appeared in Signior Giordani's +"Queen Mary's Lamentation," printed in Domenico Corri's +<i>Select Collection</i> of 1779 (III, No. 71).</p> + +<p class="hangindent"><i>Air XVIII</i>: The "Clown's Song" seems to have been specially +composed for this work.</p> + +<p class="hangindent"><i>Air XIX</i>: "Tune: 'Let us take the Road'" is the famous +"March in Rinaldo" by Handel. See Air XX, <i>The Beggar's +Opera</i> (Act II, ed. Roberts, pp. 130-131).</p> + +<p class="hangindent"><i>Air XX</i>: "Ballad Tune: 'The Race Horse'" with the title "The +Rake's Progress." Thomas D'Urfey's tune is called "The +Race Horse," and begins "To Horse, brave Boys of +Newmarket, to Horse," and is "set to an excellent Scotch +tune" called "Cock up thy Beaver" (Simpson, p. 112). It +was first published with the music in D'Urfey's <i>Choice +New Songs</i> (1684) and appears as an untitled air in Kane +O'Hara's comic opera <i>Midas</i> (1764; ARS 167). It is also +called "Newmarket," or "Newmarket Horse Race," Air +XXII of the 1730 and 1750 versions of Fielding's <i>The Author's +Farce</i>. The music is printed in Woods's edition of <i>The +Author's Farce</i>, p. 133.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">California State University</span> +<span class="i0">Northridge</span> +</div> +</div> + +<hr class="hr2" /> + +<p><span class="pagenum"><a name="pagexiii" id="pagexiii"></a>[pg xiii]</span></p> + +<h3>NOTES TO THE INTRODUCTION</h3> + +<div class="footnote"> +<p><a name="Footnote_1_1" id="Footnote_1_1"></a> +<a href="#FNanchor_1_1"> +<span class="label">[1]</span></a> +There are at least three dramatic pieces other than the <i>Theophilus Cibber</i> +work reprinted here which were inspired by William Hogarth's "A +Harlot's Progress." Ronald Paulson reports one announced in the <i>Daily Advertiser</i> +(13 November 1732) by Charlotte Charke entitled <i>The Harlot</i>. It +had been printed by Curll; but there is no record of performance (<i>Hogarth: +His Life, Art, and Times</i>, I, London and New Haven: Yale University Press, +1971, p. 290). Paulson also mentions the publication announcement in the +<i>Daily Advertiser</i> (5 February 1732/3) of: "<i>The Decoy</i>, or <i>The Harlot's Progress</i> +(on February 14 called <i>The Jew Decoy'd</i>), a new ballad opera, said to +be performed at Goodman's Fields" (p. 290). <i>The Jew Decoy'd</i>, a work +never performed and discussed at length by Robert E. Moore (<i>Hogarth's +Literary Relationships</i>, Minneapolis: University of Minnesota +Press, 1948, pp. 34-36) as being published in 1733, is a different +piece than <i>The Decoy; or, The Harlot's Progress, A +New Ballad Opera</i> [By Henry Potter] (<i>The London +Stage</i>, ed. Arthur Scouten, Part 3, Vol. I, Carbondale: Southern Illinois +University Press, 1962-68, pp. 269-270, abbreviated in later citations as "<i>LS</i>" +followed by part, volume and page number.) The title page of Potter's piece +reads: "<i>The Decoy. An Opera. As it is Acted at the New Theatre in Goodman's +Fields</i>. London, 1733, with the "Dedication" signed by Potter. This +three-act piece contains 52 songs, three of which also appear in Cibber's +"The Harlot's Progress." The "Introduction" alludes to Hogarth's series as +the source ("the Sketch is now in Print"), but it has many links to John +Gay's <i>The Beggar's Opera</i>, and, like Cibber's piece, only follows the first +three plates. Potter's small theater in the Haymarket opened in 1720 but no +organized company had produced legitimate drama there by 1728 (<i>LS</i>, 3, I, +cxxxix). The run was successful for Potter: he had a benefit on 8 February, +with the comment "On account of the great Demand for Places, the Pit and +Boxes will be laid together at 5s each" (<i>LS</i> 3, I, 270). Hogarth had advertised +the subscription for "A Harlot's Progress" as early as 8 March 1731. +(See Ronald Paulson, <i>Hogarth's Graphic Works</i>, I, Rev. Ed., New Haven +and London: Yale University Press, 1970, p. 141. Citations in my text are abbreviated +<i>HGW</i> followed by volume and page number.) This piece appears +in Baker's <i>Biographia Dramatica</i> (Vol. II, p. 157) without comment, while +he lists "<i>The Jew Decoy'd; or The Progress of an Harlot</i>," 8vo. 1733 "as +never being performed, but founded on the Hogarth series." <i>The Jew +Decoy'd</i> discussed by Moore has the title page: "London: Printed for E: +Rayner ... 1733," published on 14 February (p. 34). The Henry E. Huntington +Library has a copy, "Printed by W: Rayner ... 1735" but does not +have the frontispiece Moore describes. For engravings, see Vol. II of +Paulson's <i>Hogarth's Graphic Works</i>.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_2_2" id="Footnote_2_2"></a> +<a href="#FNanchor_2_2"> +<span class="label">[2]</span></a> +Reprinted here with permission of the Henry E. Huntington Library (No. +151783). There are two other extant copies of the first edition: one in the +Boston Public Library and the other in the British Library. The British +Library copy has two inserted engraved portraits (Theophilus Cibber in +his role of Pistol, and Hogarth seated at an easel studying a cartoon of a +goddess, probably based on "Hogarth Painting the Comic Muse" of 1758). +<span class="pagenum"><a name="pagexiv" id="pagexiv"></a>[pg xiv]</span> +Yale University has a photostat facsimile of the Boston Public Library +edition. I thank David Rodes for looking at the British Library copy.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_3_3" id="Footnote_3_3"></a> +<a href="#FNanchor_3_3"> +<span class="label">[3]</span></a> +Reprinted here in typescript form from a manuscript difficult to reproduce +legibly. The work is anonymous. The typescript appeared as "Appendix I" +of my unpublished New York University dissertation on William Hogarth +with permission of the Trustees of the British Library. I have discussed it +in "<i>The Rake's Progress</i>: A New Dramatic Version of William Hogarth's +Prints," in <i>Notes and Queries</i> (October 1972), 381-383. The theatrical +career of the author, Theophilus Cibber (1703-1758), has not been fully +assessed. He did know Hogarth: they both belonged to John Rich's group, +the "Sublime Society of Beef Steaks," which met in the scene-painting loft +over the Covent Garden stage. Cibber joined the group in September 1739, +and Hogarth was a charter member in 1735 (<i>HGW</i>, I, 188). Cibber himself +played an active role in the creation of the position of stage manager or +"under-manager" (<i>LS</i>, 3, I, xcvi).</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_4_4" id="Footnote_4_4"></a> +<a href="#FNanchor_4_4"> +<span class="label">[4]</span></a> +See my essay concerning such connections, in "William Hogarth and London +Theatrical Life," <i>Studies in Eighteenth Century Culture, Vol. 5</i>, ed. R. +Rosbottom (Madison: University of Wisconsin Press, 1975), 11-31.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_5_5" id="Footnote_5_5"></a> +<a href="#FNanchor_5_5"> +<span class="label">[5]</span></a> +See my "Music and Theatre in Hogarth," The <i>Musical Quarterly</i>, 57 (July +1971), 409-426.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_6_6" id="Footnote_6_6"></a> +<a href="#FNanchor_6_6"> +<span class="label">[6]</span></a> +"Some Aspects of Music and Literature," repr. <i>Facets of the Enlightenment</i> +(Berkeley: University of California Press, 1968), p. 92.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_7_7" id="Footnote_7_7"></a> +<a href="#FNanchor_7_7"> +<span class="label">[7]</span></a> +See "The Tunes" at end of Introduction.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_8_8" id="Footnote_8_8"></a> +<a href="#FNanchor_8_8"> +<span class="label">[8]</span></a> +<i>English Theatre Music in the Eighteenth Century</i> (London: Oxford University +Press, 1973), p. 108.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_9_9" id="Footnote_9_9"></a> +<a href="#FNanchor_9_9"> +<span class="label">[9]</span></a> +"The Popularity of Various Types of Entertainment at Lincoln's Inn Fields +and Covent Garden Theatres, 1720-1733," <i>Theatre Notebook</i>, XXIV: 4 +(Summer 1970), 156.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_10_10" id="Footnote_10_10"></a> +<a href="#FNanchor_10_10"> +<span class="label">[10]</span></a> +The complete title is "<i>The Judgment of Paris. A Dramatic Entertainment In +Dancing and Singing, After the Manner of the Ancient Greeks and +Romans. As it is Perform'd at the Theatre-Royal in Drury Lane</i>," with +words by Congreve, music by Seedo and "Compos'd by J. Weaver, Dancing-Master." +This work had its Drury Lane debut 6 February 1733, and <i>The +London Stage</i> entry for 31 March 1733 reads: "John Banks's <i>The Albion +Queens</i> ... Also <i>The Harlot's Progress; or, the Triumph of Beauty</i>" (<i>LS</i>, 3, +I, 283). Many actors and actresses doubled (e.g., Mrs. Raftor is one of the +"Graces" in the masque). No doubt the concluding "Masque" of <i>The +Harlot's Progress</i> is Weaver's piece (p. 12).</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_11_11" id="Footnote_11_11"></a> +<a href="#FNanchor_11_11"> +<span class="label">[11]</span></a> +Paulson (<i>HGW</i>, I, 148) describes these two doctors, "well known for their +quack cures for venereal disease." Dr. Rock's name was added by Hogarth +in a later state of the print.]</p> +</div> + +<p><span class="pagenum"><a name="pagexv" id="pagexv"></a>[pg xv]</span></p> + +<div class="footnote"> +<p><a name="Footnote_12_12" id="Footnote_12_12"></a> +<a href="#FNanchor_12_12"> +<span class="label">[12]</span></a> Cibber's piece may have opened as early as 12 March 1733 in the pantomime +house at Sadler's Wells, which had been reconstructed from a seventeenth +century Music Room (see <i>LS</i>, 3, I, xxxix). Cibber's <i>The Harlot's Progress</i> +had a successful run at Drury Lane in the spring of 1733, from 31 +March until 28 May, when the actor-manager dispute led to a closing of the +playhouse (see <i>LS</i>, 3, I, 304). It played as an afterpiece to such works +as <i>Cato</i> and <i>The Provok'd Husband</i>, and on 26 April a playbill +announced the "Royal Family expected to attend" (<i>LS</i>, 3, I, 293). +Thereafter it had a career at the fairs, beginning with the Lee-Harper-Petit +Booth on Tottenham Court on 30 August 1733 (<i>LS</i>, 3, I, 310), moving on 23 +August to Bartholomew Fair and on 28 September to Mile End Green, +where the harlot's name is listed as "Moll Hackabout" (<i>LS</i>, 3, I, 321). On 27 +October 1733 it had a command performance at Drury Lane (<i>LS</i>, 3, I, 330). +It played frequently during that winter and in the spring, on 26 April, the +seceding actors returned to Drury Lane to perform in <i>The Conscious +Lovers</i> and <i>The Harlot's Progress</i>. The cast list is the same as that in the +text reprinted here (<i>LS</i>, 3, I, 390). The successful run continued through +October 1734; after that it was only played a couple of times before the 1736 +season (<i>LS</i>, 3, I, <i>passim</i>). Scouten observes: "a remarkable feature" is that +this piece "places a Jewish merchant in a favorable light, treating him not +with sympathy but with respect as a pillar of trade" (<i>LS</i>, 3, I, xcvi).</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_13_13" id="Footnote_13_13"></a> +<a href="#FNanchor_13_13"> +<span class="label">[13]</span></a> +"A Letter from Theo. Cibber, Comedian, To John Highmore, Esq." (London +1733).</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_14_14" id="Footnote_14_14"></a> +<a href="#FNanchor_14_14"> +<span class="label">[14]</span></a> +Hogarth reversed Laguerre's print, adding the banner "We eat," the label +"Pistol's alive" under Theophilus Cibber's feet and the phrase "Quiet and +Snug" under Colley Cibber. For descriptions of the rebellion, see John +Genest, <i>Some Account of the English Stage from the Restoration in 1660 +to 1830</i>, III, Bath: 1832, pp. 415-416, Richard H. Barker, <i>Mr. Cibber of Drury +Lane</i> (New York: Columbia University Press, 1939), pp. 168-171, and Arthur +Scouten, <i>LS</i>, 3, I, lxxxix-xciii.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_15_15" id="Footnote_15_15"></a> +<a href="#FNanchor_15_15"> +<span class="label">[15]</span></a> +For exposition of the eight prints of "A Rake's Progress" (1735) see +Paulson's <i>HGW</i>, I, 158-170. The subscription was announced in late 1733, +but the paintings were not completed until mid-1734.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_16_16" id="Footnote_16_16"></a> +<a href="#FNanchor_16_16"> +<span class="label">[16]</span></a> +Esther K. Sheldon, <i>Thomas Sheridan of Smock-Alley</i> (Princeton, N.J.: +Princeton University Press, 1967), pp. 284-285, and Raymond C. Rhodes, +<i>Harlequin Sheridan: The Man and the Legend</i> (Oxford: B. Blackwell, +1933), p. 79.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_17_17" id="Footnote_17_17"></a> +<a href="#FNanchor_17_17"> +<span class="label">[17]</span></a> +Sheldon, p. 301.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_18_18" id="Footnote_18_18"></a> +<a href="#FNanchor_18_18"> +<span class="label">[18]</span></a> +I am indebted to Prof. Edgar V. Roberts for pointing out this source to me, +and for his help in identifying many of the tunes.]</p> +</div> + +<p><span class="pagenum"><a name="pagexvi" id="pagexvi"></a>[pg xvi]</span></p> + +<div class="footnote"> +<p><a name="Footnote_19_19" id="Footnote_19_19"></a> +<a href="#FNanchor_19_19"> +<span class="label">[19]</span></a> +"Mr. Seedo's London Career and His Work with Henry Fielding," <i>Philological +Quarterly, XLV</i> (January 1966), 185 and 189.</p> +</div> + +<div class="footnote"> +<p><a name="Footnote_20_20" id="Footnote_20_20"></a> +<a href="#FNanchor_20_20"> +<span class="label">[20]</span></a> +See Bronson's article (above, n. 6) <i>passim</i>, where he mentions many of the +songbooks.</p> +</div> + +<hr class="hr2" /> + +<h3>BIBLIOGRAPHICAL NOTE</h3> + +<p class="indent">The facsimile of <i>The Harlot's Progress</i> (1733) is reproduced +from the copy (Shelf Mark: 151783) in the Henry E. Huntington +Library. The total type-page (p. 9) measures 155 x 115 mm. <i>The +Rake's Progress</i> (ca. 1778-1780) is presented in type from a +manuscript (Additional MS. 25997) in the British Library. +Spelling, capitalization, and punctuation have been preserved, +but colons and doubled colons used to indicate word divisions +have been silently emended to hyphens or closed, and free-form +brackets for stage directions have been standardized to +parentheses.</p> + +<hr class="hr2" /> + +<p class="center">THE</p> + +<p class="h2a">HARLOT'S PROGRESS;</p> + +<p class="center">OR, THE</p> + +<p class="h2a"><i>RIDOTTO AL' FRESCO</i>:</p> + +<p class="cnobmargin">A</p> +<p class="cnomargins">Grotesque Pantomime Entertainment.</p> +<p class="cnomargins">As it is perform'd by his Majesty's Company of Comedians</p> +<p class="cnomargins">AT THE</p> +<p class="cnotmargin"><span class="smcap">Theatre-Royal</span> in <i>Drury-Lane</i>.</p> + +<hr class="hrsm" /> + +<p class="center">Compos'd by Mr. <i>Theophilus Cibber</i>, Comedian.</p> + +<hr class="hrsm" /> + +<p class="center">The SONGS made (to old Ballad Tunes) by a Friend.</p> + +<hr class="hrsm" /> + +<p class="cnobmargin">Printed for the Benefit of <i>Richard Cross</i> the Prompter;</p> +<p class="cnotmargin">and Sold at the Theatre. 1733. [Price Six Pence.]</p> + +<hr class="hr2" /> + +<p class="center">THIS</p> + +<p class="h2a">ENTERTAINMENT</p> + +<p class="center">Is Dedicated to the Ingenious</p> + +<p class="h2a">Mr. <i>H O G A R T H</i>,</p> + +<p class="center">(On Whose</p> + +<p class="h2a">Celebrated Designs it is Plan'd,)</p> + +<p class="right"><i>By his Well-wisher,</i><br /> +<i>and obliged</i><br /> +<i>Humble Servant</i>,</p> + +<p class="right">Theo. Cibber.</p> + +<p><i>Saturday, March</i><br /> +<i>31st, 1733.</i></p> + +<hr class="hr2" /> + +<p class="h2a">Persons in the Harlot's Progress.</p> + +<table border="0" cellpadding="1" cellspacing="0" width="100%" summary="persons"> +<tr> +<td class="tdl">Harlequin,</td> +<td class="tdl">Mr. <i>Le Brun</i>.</td> +</tr> +<tr> +<td class="tdl">Beau <i>Mordecai</i>,</td> +<td class="tdl">Mr. <i>Stoppelaer</i>.</td> +</tr> +<tr> +<td class="tdl">Old Debauchee,</td> +<td class="tdl">Mr. <i>Berry</i>.</td> +</tr> +<tr> +<td class="tdl">Justice <i>Mittimus</i>,</td> +<td class="tdl">Mr. <i>Mullart</i>.</td> +</tr> +<tr> +<td class="tdl">Mons. <i>Poudre</i>,</td> +<td class="tdl">Mr. <i>Oates</i>.</td> +</tr> +<tr> +<td class="tdl">Constable,</td> +<td class="tdl">Mr. <i>Jones</i>.</td> +</tr> +<tr> +<td class="tdl">Keeper,</td> +<td class="tdl">Mr. <i>Burnet</i>.</td> +</tr> +<tr> +<td class="tdl">Porter,</td> +<td class="tdl">Mr. <i>Peploe</i>.</td> +</tr> +<tr> +<td class="tdl"><i>Pompey</i>,</td> +<td class="tdl">Y. <i>Grace</i>.</td> +</tr> +<tr> +<td class="tdl">Beadles,</td> +<td class="tdl">{Mr. <i>Gray</i>.</td> +</tr> +<tr> +<td class="tdl"></td> +<td class="tdl">{Mr. <i>Wright</i>.</td> +</tr> +<tr> +<td class="tdl">Miss <i>Kitty</i>,</td> +<td class="tdl">Miss <i>Raftor</i>.</td> +</tr> +<tr> +<td class="tdl">Madam <i>Decoy</i>,</td> +<td class="tdl">Mrs. <i>Mullart</i>.</td> +</tr> +<tr> +<td class="tdl"><i>Jenny</i>,</td> +<td class="tdl">Mrs. <i>Grace</i>.</td> +</tr> +<tr> +<td class="tdl">Bess <i>Brindle</i>,</td> +<td class="tdl">Mr. <i>Leigh</i>.</td> +</tr> +</table> + +<p class="h2a">Persons in the <i>Ridotto al' Fresco</i>.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Les Capricieux</i> by Mr. <i>Essex</i> and Miss <i>Robinson</i>.</span> +<span class="i0">The <i>Hungarians</i> by Mr. <i>Houghton</i> and Mrs. <i>Walter</i>.</span> +<span class="i0">The <i>Fingalians</i> by Mr. <i>Lally</i> Sen. and Miss <i>Mears</i>.</span> +<span class="i0"><i>Scaramouch</i>, <i>Pierot</i>, and <i>Mezetin</i> by Mr. <i>Lally</i>, Junior, +Mr. <i>Tench</i>, and Mr. <i>Stoppelaer</i>.</span> +<span class="i0">Ladies of Pleasure by Miss <i>Mann</i>, Miss <i>Atherton</i> and Miss +<i>Price</i>.</span> +<span class="i0">The Marquis <i>de Fresco</i> by Monsieur <i>Arlequin en Chien</i>.</span> +</div> +</div> + +<hr class="hr2" /> + +<p><span class="pagenum"><a name="page5" id="page5"></a>[pg 5]</span></p> + +<p class="center">THE</p> + +<p class="h2a">HARLOT'S PROGRESS;</p> + +<p class="center">OR THE</p> + +<p class="h2a"><i>RIDOTTO AL FRESCO</i>:</p> + +<p class="indent">After the Overture, the Curtain rises;—the +Scene represents an Inn; The Bawd, the +Country Girl, the <i>Debauchee</i> and the Pimp, +all rang'd as they are in the <i>first Print</i>.—The Parson on +the Right Hand, reading the Letter, soon goes off——while +the Bawd is persuading the Girl to go along with +her, Harlequin appears at the Window, and seeing the +Country Girl, jumps down, and gets into a Trunk which +belongs to her, while the Bawd sings.</p> + +<p class="center"><span class="pagenum"><a name="page6" id="page6"></a>[pg 6]</span> +AIR I. What tho' I am a Country Lass.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Let Country Damsels plainly nice,</i></span> +<span class="i2"><i>In Home-spun Russet go, Sir;</i></span> +<span class="i0"><i>While, Frolick we, chearful as wise,</i></span> +<span class="i2"><i>More pleasing Transports know, Sir.</i></span> +<span class="i4"><i>They dull and coy,</i></span> +<span class="i4"><i>Refuse the Joy,</i></span> +<span class="i2"><i>All bashful void of Skill-a:</i></span> +<span class="i4"><i>We gay and free</i></span> +<span class="i4"><i>To each fond He</i></span> +<span class="i2"><i>Yield up our selves at Will-a.</i></span> +</div> + +<div class="stanza"> +<span class="i0"><i>At last our Youth and Charms decay'd,</i></span> +<span class="i2"><i>Like old experienc'd Sinners,</i></span> +<span class="i0"><i>We follow the procuring Trade,</i></span> +<span class="i2"><i>And train up young Beginners.</i></span> +<span class="i4"><i>Thus ample Gains,</i></span> +<span class="i4"><i>Reward our Pains;</i></span> +<span class="i2"><i>Then mock not our Profession,</i></span> +<span class="i4"><i>Like Courtiers we,</i></span> +<span class="i4"><i>Secure the Fee,</i></span> +<span class="i2"><i>And laugh at the Transgression.</i></span> +</div> +</div> + +<p class="indent">After the Song, the Bawd beckons a Porter, orders him +to take up the Trunk and follow her and the Girl, which +he does, with Harlequin in it.—Then the <i>Debauchee</i> +comes forward, who seems to be enamour'd with the Girl; +the Pimp assures him he can procure her for him, upon +which the <i>Debauchee</i> seems rejoic'd and sings in Praise +of Women and Wine.</p> + +<p class="center"><span class="pagenum"><a name="page7" id="page7"></a>[pg 7]</span> +AIR II. <i>Brisk</i> Tom <i>and Jolly</i> Kate.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i2"><i>Brisk Wine and Women are,</i></span> +<span class="i4"><i>The Sum of all our Joy;</i></span> +<span class="i2"><i>A Brimmer softens every Care,</i></span> +<span class="i4"><i>And Beauty ne'er can cloy:</i></span> +<span class="i2"><i>Then let us Drink and Love,</i></span> +<span class="i4"><i>While still our Hearts are gay,</i></span> +<span class="i2"><i>Women and Wine, by turns shall prove,</i></span> +<span class="i4"><i>Our Blessings Night and Day.</i></span> +</div> +</div> + +<p class="indent">After the Song he follows her—the Pimp struts about +and sings.</p> + +<p class="center">AIR III. <i>Maggy Lawther.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i2"><i>Pimping is a Science, Sir,</i></span> +<span class="i4"><i>The only Mode and Fashion,</i></span> +<span class="i2"><i>To Virtue bids Defiance, Sir,</i></span> +<span class="i4"><i>'Tis the Glory of the Nation.</i></span> +<span class="i2"><i>In City, Country, or in Court,</i></span> +<span class="i4"><i>It is the Coup d'Grace, Sir;</i></span> +<span class="i2"><i>If you your Patron's Vice support,</i></span> +<span class="i4"><i>You need not fear a Place, Sir.</i></span> +</div> + +<div class="stanza"> +<span class="i2"><i>The Lawyer pimps to gain a Coif,</i></span> +<span class="i4"><i>While Porters pimp for Hire;</i></span> +<span class="i2"><i>Kind</i> Betty <i>serves his Worship's Wife,</i></span> +<span class="i4"><i>The Page pimps for the Squire,</i></span> +<span class="i2"><i>'Tis pimping gains a large Estate,</i></span> +<span class="i4"><i>Makes Valets wear their Swords, Sir,</i></span> +<span class="i2"><i>For Pimps oft look as big and great,</i></span> +<span class="i4"><i>As any Duke or Lord, Sir.</i></span> +</div> +</div> + +<p class="indent"><span class="pagenum"><a name="page8" id="page8"></a>[pg 8]</span> +After the Song he follows the Debauchee.—The Scene +changes to the Street; the Debauchee having found Harlequin +in Company with Miss <i>Kitty</i>, turns her out of +Doors, and the Pimp kicks out Harlequin; <i>Kitty</i> goes +out in the greatest Distress—Harlequin by his Action signifies +he's in Love, and is in doubt whether to hang or +drown himself, or cut his Throat, <i>&c</i>. At length he resolves +to follow her, and determines to dress himself like +a smart <i>Cadet</i>, in order to address her: To accomplish +which he strikes the Ground, and there rises a Dressing-Table +fix'd in a Cloud, furnish'd with all necessary Appurtenances.——After +he is drest, the Table vanishes and he +goes out. The Scene changes to the Lodging that Beau +<i>Mordecai</i> has provided for <i>Kitty</i>, whom he has just taken +into high Keeping. (This Scene is taken from <i>the Second +Print</i>) she is discovered lolling upon a <i>Settée</i>, attended by +her Maid and Black-Boy, admiring the Grandeur of which +she is possess'd, and then sings.</p> + +<p class="center">AIR IV. Oh! what Pleasures will abound.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Who wou'd not a Mistress be,</i></span> +<span class="i2"><i>Kept in Splendor thus like me?</i></span> +<span class="i0"><i>Deckt in golden rich Array,</i></span> +<span class="i0"><i>Sparkling at each Ball and Play!</i></span> +<span class="i4"><i>Gaily toying,</i></span> +<span class="i4"><i>Sweets enjoying</i></span> +<span class="i0"><i>Foreign to that thing a Wife,</i></span> +<span class="i4"><i>Flirting, flaunting,</i></span> +<span class="i4"><i>Jilting, jaunting,</i></span> +<span class="i0"><i>Oh the Charming happy Life!</i></span> +</div> +</div> + +<p class="indent"><span class="pagenum"><a name="page9" id="page9"></a>[pg 9]</span> +After the Song Harlequin creeps from under her Toilet, +in the Habit of the <i>Cadet</i>, and courts Miss <i>Kitty</i>; she appears +Coy at first, but at length yields to him.—Then sings.</p> + +<p class="center">AIR V. <i>Lad's a Dunce.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i4"><i>Thus finely set out,</i></span> +<span class="i4"><i>I'll make such a Rout,</i></span> +<span class="i0"><i>And top all the Rantipole Girls of the Town;</i></span> +<span class="i4"><i>With Glances so bright,</i></span> +<span class="i4"><i>Lords and Dukes I'll delight,</i></span> +<span class="i0"><i>And make all the Rakes with their Ready come down,</i></span> +<span class="i4"><i>The Stock-jobbing Cit,</i></span> +<span class="i4"><i>For a hundred I'll hit,</i></span> +<span class="i0"><i>While me he is rifling, I'll riflle his Purse;</i></span> +<span class="i4"><i>With Saint-like Smile</i></span> +<span class="i4"><i>I'll Zealots beguile,</i></span> +<span class="i0"><i>And make the fond Hypocrite freely disburse.</i></span> +</div> + +<div class="stanza"> +<span class="i4"><i>Thus, thus in full Pow'r,</i></span> +<span class="i4"><i>I'll sweeten, I'll sour,</i></span> +<span class="i0"><i>I'll whindle, I'll bluster, I'll wheedle, I'll cant,</i></span> +<span class="i4"><i>I'll bubble, I'll blind,</i></span> +<span class="i4"><i>Make Fools of Mankind,</i></span> +<span class="i0"><i>Each Cully shall think he's my only Gallant,</i></span> +<span class="i4"><i>With such Supplies</i></span> +<span class="i4"><i>To Grandeur I'll rise,</i></span> +<span class="i0"><i>And revel in Pleasure, in Plenty and Ease,</i></span> +<span class="i4"><i>While in the dark,</i></span> +<span class="i4"><i>A favourite Spark,</i></span> +<span class="i0"><i>I'll keep at my Call to enjoy when I please.</i></span> +</div> +</div> + +<p class="indent">After the Song they retire to the Bed; immediately is +heard a knocking at the Door; the Maid looks out and perceives +<span class="pagenum"><a name="page10" id="page10"></a>[pg 10]</span> +it to be the <i>Jew</i>, upon which she runs and tells her +Mistress, who comes out with Harlequin in the utmost +Confusion.—But she advises him to retire to the Bed, which +he does; she sits down upon the <i>Settée</i>, and orders the +Maid to let <i>Mordecai</i> in—when he enters he seems angry +that she made him wait so long at the Door, but is soon +pacify'd when he sees <i>Kitty</i> alone.—He sits down by her, and +is very fond of her; then orders the Maid to get Tea, +which she does—while they are drinking it, <i>Kitty</i> appears +in Confusion, and makes Signs to the Maid to let Harlequin +out; but while he is attempting to steal away, he accidentally +drops his Sword and Cane, which surprizes the <i>Jew</i>, +who turning about perceives Harlequin, upon which Miss +<i>Kitty</i> in a Passion over-sets the Tea-Table.—The <i>Jew</i> enrag'd, +runs to secure the Door, and is in the greatest Passion +with her, she laughs at him, and they sing the following +<i>Duette</i>.</p> + +<p class="center">AIR VI. <i>Maidens as fresh as a Rose.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Kitty. <i>Farewell, good Mr.</i> Jew;</span> +<span class="i4"><i>Now I hate your tawny Face;</i></span> +<span class="i2"><i>I'll have no more to do</i></span> +<span class="i4"><i>With you or any of your Race.</i></span> +<span class="i0">Jew. <i>Begone, you saucy Jade,</i></span> +<span class="i4"><i>I will ne'er believe thee more;</i></span> +<span class="i2"><i>Follow the</i> Drury <i>Trade,</i></span> +<span class="i4"><i>Thou shalt ne'er deceive me more.</i></span> +<span class="i0">Kitty. <i>Then take your self away,</i></span> +<span class="i4"><i>Since I have chous'd you well, you Cull;</i></span> +<span class="i2"><i>But come another Day,</i></span> +<span class="i4"><i>When you have got your Pockets full.</i></span> +<span class="pagenum"><a name="page11" id="page11"></a>[pg 11]</span> +<span class="i0">Jew. <i>Be not so pert, my Dear,</i></span> +<span class="i4"><i>This Pride may shortly have a Fall,</i></span> +<span class="i2"><i>Soon shall I see or hear,</i></span> +<span class="i4"><i>Madam,</i> in Bridewell, <i>milling Doll.</i></span> +<span class="i0">Repeat. <i>Soon shall I see or hear</i>, &c.</span> +<span class="i0">She repeats with him. <i>Ne'er more will I come near,</i></span> +<span class="i4"><i>Such a pitiful pimping Fool.</i></span> +</div> +</div> + +<p class="indent">After the Song he turns her and her Maid out of Doors, +then pursues Harlequin.—A Picture falls down, Harlequin +jumps thro' the Hangings, and the Picture returns to its +place and conceals him.—The Subject of the Picture, +which was before an Historical Story, is now chang'd to a +Representation of the <i>Jew</i> with Horns upon his Head.—While +he stands in astonishment the other Picture changes +likewise, and represents Harlequin and <i>Kitty</i> embracing—upon +which the <i>Jew</i> runs out in the greatest surprize. +Scene changes to the Street. Harlequin meets the <i>Jew</i>, +who immediately draws; Harlequin catches him by the +Leg, and throws him down, jumps over him, and runs off, +the <i>Jew</i> pursues him.——The Scene changes to a poor +Apartment in <i>Drury-Lane</i>. (This is taken from the Third +Print) <i>Kitty</i> is discover'd sitting disconsolate by the Bedside, +drinking of Tea, attended by <i>Bess Brindle</i> (a Runner +to the Ladies of Pleasure) Harlequin jumps in at the Window; +she seems overjoy'd to see him—just as they are going +to sit down to drink Tea, they hear a Noise without—Harlequin +looks thro' the Key-hole, and discovers it to be +the Justice, Constable, Watch, &c. He is very much surpris'd, +and jumps into a Punch-Bowl that stands upon a Table, to +hide himself—Justice <i>Mittimus</i> enters with the Constable, +<span class="pagenum"><a name="page12" id="page12"></a>[pg 12]</span> +&c. the Watch seize <i>Kitty</i> and the Runner, and carry 'em +off.—The Constable stays behind to pilfer what he can, +during which, Harlequin creeps from under the Table; +the Constable seeing him, goes to seize him, but he jumps +thro' the Window and escapes—the Constable runs off.—The +Scene changes to the Street. A melancholy Tune is +play'd, while several Ladies of Pleasure (alias <i>unfortunate +Women</i>) are led cross the Stage as going to <i>Bridewell</i>, +with <i>Kitty</i> and her Maid, the Bawd, &c. Three Justices +bring up the Rear.—Scene changes to <i>Bridewell</i>. The +Women are discover'd all leaning in an indolent manner +upon their Blocks.—The Keeper enters, and seeing them +so idle, threatens to beat 'em—as they take up their Hammers +and Beetles, and are going to beat, the Blocks all +vanish, and in their stead appear Harlequin, Scaramouch, +<i>Pierrot</i>, and <i>Mezetin</i>, each takes out his Lady to dance, and +signify they'll go to the <i>Ridotto al Fresco</i>; the Keeper runs +away frighted, they all dance off.—Scene changes to the +Street. A great Number of People pass over the Stage, as +going to the <i>Ridotto</i>, among whom appears the Marquiss +<i>ae Fresco</i>, perform'd by the little Harlequin Dog.</p> + +<p class="indent">The Scene changes to the <i>Ridotto al Fresco</i>, illuminated +with several Glass Lustres, (the Scene taken from the +place at <i>Vaux-Hall</i>) Variety of People appear in Masquerade, +and a grand Comic Ballad is perform'd by different +Characters to <i>English</i>, <i>Scotch</i>, <i>Irish</i> and <i>French</i> Tunes, +which concludes the whole.</p> + +<hr /> + +<p class="indent">Then follows the Masque of the <i>Judgment of Paris</i>, &C.</p> + +<p class="h2a"><i>F I N I S.</i></p> + +<hr class="hr2" /> + +<p class="indent">The</p> + +<p>Rake's Progress.</p> + +<p> </p> + +<p class="indent">from W. Shaw.</p> + +<p class="center">The Rake's Progress.</p> + +<p class="right">("Hogarth's Series of Pictures Dramatised." P.G.P.)</p> + +<p class="right">25,997 British Museum</p> + +<hr class="hr2" /> + +<p class="center"><span class="pagenum"><a name="page1" id="page1"></a>[pg 1]</span> +<i>The Rake's Progress</i></p> + +<p class="indent"><i>Before the Curtain—Prefaratory Address.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">To wake the Soul by tender strokes of Art</span> +<span class="i0">To raise the Genius & to mend the Heart</span> +<span class="i0">To make mankind in conscious virtue bold</span> +<span class="i0">Was Hogarth's wish while Rakewell's Tale he told,</span> +<span class="i0">And strongly painted in gradations nice,</span> +<span class="i0">The pomp of Folly, & the Shame of Vice,</span> +<span class="i0">Reach'd thro' the laughing Eye—the mended Mind,</span> +<span class="i0">And moral humour sportive art beguil'd;</span> +<span class="i0">The Walks of humour were his cast of style,</span> +<span class="i0">Which probing to the quick, yet makes us smile;</span> +<span class="i0">'Twas Comedy, his natural road to fame,</span> +<span class="i0">(Nor let me call it by a meaner name).</span> +<span class="i0">Where a biginning, middle & an End</span> +<span class="i0">Are aptly Join'd; where parts on parts depend,</span> +<span class="i0">Each made for each, as Bodies for their Soul,</span> +<span class="i0">So as to form one true & perfect whole,</span> +<span class="i0">Where a plain story to the Eye is told,</span> +<span class="i0">Which we conceive the moment we behold;</span> +<span class="i0">This <i>we</i> adopt, your Feelings to engage,</span> +<span class="i0">And bring his glowing Portraits on the Stage,</span> +<span class="i0">In action tell the workings of the mind</span> +<span class="i0">And paint the Various follies of Mankind,</span> +<span class="i0">Nor criticism the Attempt destroy,</span> +<span class="i0">If with pure Gold we mingle an alloy,</span> +<span class="i0">And his great Scenes where nature's self is shewn</span> +<span class="i0">Connect with trifling sketches of our own</span> +<span class="i0">Nor (to the moral Tale give ample Vigour)</span> +<span class="i0">Deny the aid of allegoric Figure;</span> +<span class="i0">But Vice & Virtue see this Mansion tread,</span> +<span class="i0">And in preludium tow'rds the Story lead,</span> +<span class="i0">Attentive view each action of our Rake,</span> +<span class="i0">And 'plaud the actor for the Painter's Sake.</span> +</div> +</div> + +<hr class="hrsm" /> + +<p class="indent"><i>Scene 1<sup>st</sup></i></p> + +<p class="center"><i>Enter Vice.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Recitative.</i> Deck'd in the gaieties of thoughtless Joy</span> +<span class="i4">Let jocund Laughter in each orbit beam</span> +<span class="i2">In mirth alone I passing time Employ</span> +<span class="i4">Attune my Voice & Pleasure is the Theme.</span> +<span class="i2">The Flowery maze of Pleasure is divine</span> +<span class="i4">And Mortals bow at Vice's dazzling Shrine.</span> +</div> +</div> + +<hr class="hrsm" /> + +<p><span class="pagenum"><a name="page2" id="page2"></a>[pg 2]</span></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Air.—From Virue's sluggish Rules be free,</span> +<span class="i4">Ye mortals who my Shrine adore,</span> +<span class="i2">Dance, Laugh & Quaff, & sing like me,</span> +<span class="i4">And dissipate the tasteless hour:</span> +<span class="i2">In frolic, pastime, Sport & Play</span> +<span class="i2">Revel in Joys your Lives away.</span> +</div> +</div> + +<p class="center"><i>Enter Virtue.</i></p> + +<p class="center"><i>Recitative.</i></p> + +<p class="indent"><i>Vice.</i> But Virtue comes!—Offends my sickening Eye!</p> + +<p class="indent">(Virtue touches the Scene & a Transparency of <i>Hogarth</i> appears with a +Scrool in his hand on which is inscribed "<i>The Rake's Progress</i>.")</p> + +<div class="poem"> +<div class="stanza"> +<span class="i2">And Hogarth!—Moral Painter too I see!</span> +<span class="i0">In dark oblivion shall thy Semblance lie,</span> +<span class="i2">Hogarth & Virtue're enemies to me</span> +</div> +</div> + +<p class="indent">(<i>Approaches to Destroy the Transparency.</i>)</p> + +<p class="center"><i>Recitative.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i4"><i>Virtue.</i> Forbear, forbear—by Hogarth is pourtray'd</span> +<span class="i0">The Fate of those thy precepts have betray'd,</span> +<span class="i0">As in a Mirror's seen each impious Joy,</span> +<span class="i0">That Courts the Victim only to destroy.</span> +<span class="i0">And look—(<i>Vice goes off.</i>) Appall'd Vice trembles at the Sound</span> +<span class="i0">In virtue only is true Pleasure found. (<i>Exit.</i>)</span> +</div> +</div> + +<hr class="hrsm" /> + +<p class="indent"><i>Before the Drop—Enter Virtue.</i></p> + +<p class="center"><i>Air. Tune, "Mary's Dream."</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Beware—nor lur'd by Vice's Arts,</span> +<span class="i2">A moment listen to her wiles,</span> +<span class="i0">He who from Virtue's path departs</span> +<span class="i2">In seas of trouble she beguiles;</span> +<span class="i0">This Hogarth's living pictures shew</span> +<span class="i2">View thoughtless man, by Vice undone,</span> +<span class="i0">A warning 'tis design'd for you,</span> +<span class="i2">Behold—& baneful pleasure Shun. (<i>Exit</i>)</span> +</div> +</div> + +<hr class="hrsm" /> + +<p class="indent"><span class="pagenum"><a name="page3" id="page3"></a>[pg 3]</span> +<i>Scene 2<sup>nd</sup></i> <span class="ralign">(<i>No Music.</i>)</span></p> + +<p class="indent">A Loud knocking at Street Door</p> + +<p class="indent">Enter <i>Starved Maid</i> O.P.—She goes across so slow that the Knocking +increases; just before she gets to the Door it is burst open by <i>Rake</i> (a +Youth from College) follow'd by <i>attorney</i>, <i>Upholsterer</i> & <i>Clown Servant</i>. +<i>Rake</i> flourishes about, kicks against Closet Door, breaks it open. +(Tune "Alteration") takes Keys from thence—Opens an Iron chest, +assisted by <i>Clown</i>—<i>Rake</i> scatters Cash about from out of Bags—Lawyer +having sat down & produced a Paper with the Word "Inventory" +written at Top, begins to count Cash, pocketing some at opportunities; +<i>Upholsterer</i> fetches a Ladder & goes to work to take down +Tapestry. <i>Rake</i> breaks open Bureau, throws parchments about; seeming +to look for one in particular. <i>Clown</i> having observed the <i>Lawyer</i> +pocke[ts] some Cash, places himself so near <i>Lawyer</i>, that he puts the +money into <i>Clown's</i> pocket, supposing to have put it into his own. A +Knocking at the Door obliges <i>Clown</i> to go. <i>Taylor</i>, with a Roll of +Black Cloth, is introduced by <i>Clown</i>, much ceremony between <i>Taylor</i> +& <i>Clown</i>.—<i>Taylor</i> proceeds & measures <i>Rake</i>. <i>Clown</i> gets his +fingers snipp'd for interfering. The Door having been left open—Enter +<i>Starv'd Maid</i> with wood; & goes to the Fireplace; <i>Clown</i> then looking +at <i>Upholsterer</i> at Work, the money from the raftor falls into +<i>Clown's</i> mouth, at which he Spits & makes a piece of work as if +hurt, puts his hand to his mouth & finding it is money Returns & holds +up the flap of his coat to catch more. Enter P.S. <i>Mother & Daughter</i>, at +sight of whom <i>Rake</i> stands aghast.—Girl approaches him. <i>Rake</i> +turns from her—She retreats in Tears—<i>Mother</i> enraged shews Letters—<i>Girl</i> +shews a Ring—<i>Rake</i> takes a handful of Guineas, offers +<i>mother</i>—who rejects them, striking his hand, scatters them on the +Ground; <i>Lawyer</i> Turns <i>Mother & Daughter</i> out, placing <i>Clown</i> with +his back against the Door. <i>Rake</i> in great agitation, walks about, <i>Taylor</i> +following him to finish measuring him: Lawyer picking up the money +& pocketing some.—<i>Clown</i> points to <i>Rake</i>—who, on seeing <i>Lawyer</i> +at it, takes Rolls of Parchment & beats <i>Lawyer</i> about the Head—upon +which <i>Clown</i> takes the Roll of Black Cloth & knocks it about +<i>Taylor's</i> head, <i>Taylor</i> resists, <i>Upholsterer</i> on his Ladder Laughs—The +Scuffle increases, in which they knock down the Ladder, +<i>Upholsterer</i> falls—<i>Rake</i> & <i>Clown</i> turn them all out.</p> + +<hr class="hrsm" /> + +<p class="indent"><span class="pagenum"><a name="page4" id="page4"></a>[pg 4]</span> +<i>Scene 3<sup>d</sup></i></p> + +<p class="center"><i>Enter Mother & Daughter</i></p> + +<p class="center"><i>Duett</i>—Tune—"An Old Woman Cloathed in Grey."</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Mother.</i> His Vows, ah! Why did'st thou believe?</span> +<span class="i4">He ne'er meant a promise to keep,</span> +<span class="i2">He talk'd but of Love to decieve,</span> +<span class="i4">Then Leave plunder'd Virtue to weep.</span> +<span class="i2">Yet Tears my Sad Chidings disarm,</span> +<span class="i4">For thy fault Pity pleadingly moves</span> +<span class="i2">In her Bosom Affection Shall warm</span> +<span class="i4">The Daughter she tenderly loves.</span> +</div> + +<div class="stanza"> +<span class="i0"><i>Daughter.</i> Dear Parent, oh! Cease to complain</span> +<span class="i4">And heedfully hear thy lost Child</span> +<span class="i2">Go tell the false ear of my Swain</span> +<span class="i4">How deeply his Vows have beguil'd;—</span> +<span class="i2">Go tell him what sorrow I bear,</span> +<span class="i4">See yet if his heart feel my woe,</span> +<span class="i2">'Tis now he must heal my despair,</span> +<span class="i4">Or death will make pity too slow. <i>Exeunt.</i></span> +</div> +</div> + +<hr class="hrsm" /> + +<p class="indent"><i>Scene 4<sup>th</sup></i></p> + +<p class="indent">Discovers all the <i>Characters</i> in Waiting at Rake's Levee. +<i>Italian</i> Singing &c—<i>Clown</i> introduces <i>Van Butchel</i>, +who displays a variety of his Articles.—<i>Van Butchel</i> Sings.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Song—See Martin dus his goods display—</span> +<span class="i2">"Advice Two Guineas"—vat you say?</span> +<span class="i2">"Big Ben—John Hunter—Duc d'Orleans—</span> +<span class="i2">"Knows vat my regulations means;</span> +<span class="i2">"De Gent I make of de aukward ninny,</span> +<span class="i2">"But first to be sure I must touch de Guinea,</span> +<span class="i2">"Den De Lame I vil make go dance de hay</span> +<span class="i2">"And de old & decripid go jump away.</span> +</div> + +<div class="stanza"> +<span class="i2">"Beware De Counterfiet if they should</span> +<span class="i2">"Be imitate, as are all things good—</span> +<span class="i2">"On de Guinea—for to abash bad men</span> +<span class="i2">"I have write my name wid de author's Pen.</span> +<span class="i2">"They'll cure you be sure if them once you lap on</span> +<span class="i2">"Of all de complainings dat ever may happen,</span> +<span class="i2">"De blind they'll make see to go dance the Hay,</span> +<span class="i2">"And de Old & decripid vill jump away.</span> +</div> +</div> + +<p class="indent"><span class="pagenum"><a name="page5a" id="page5a"></a>[pg 5]</span> +Enter <i>Rakewell</i> to whom they all pay Court &c</p> + +<p class="center"><i>Medley.</i></p> + +<p class="sidenote">(Tune<br /> +Petition<br /> +<i>Poor Vulcan</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Poet.</i> To Rakewell, whose enlivening Features</span> +<span class="i2">Pronounce him first of happy creatures</span> +<span class="i2">By wealth a Crœsus 'self Created,</span> +<span class="i2">This fair Epistle's Dedicated</span> +</div> +</div> + +<p class="sidenote">(Tune<br /> +<i>Black Joke</i>.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Dance<sup>g</sup> Mas<sup>r</sup></i> Look! Look! Look! (Spoke.)</span> +<span class="i4">With my tun'd little Kit</span> +<span class="i4">Every fancy I hit</span> +<span class="i4">And merrily prance it</span> +<span class="i4">And caper & Dance it</span> +<span class="i4">With Ease, Elegance & Grace</span> +</div> +</div> + +<p class="sidenote">(Tune<br /> +<i>Stoney Batter</i>.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Fenc.<sup>g</sup> Mas<sup>r</sup></i> Ha! ha!—there I had him</span> +<span class="i4">Carte & Fierce my Blade</span> +<span class="i4">La! La!—there I bled him—</span> +<span class="i4">Damme!—See, he's dead.</span> +<span class="i4">Tol lol lol do</span> +</div> +</div> + +<p class="sidenote">(Tune <i>Tyburn Tree</i>)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Van But</i>: Since 'mong your Friends I have gain'd me a place</span> +<span class="i2">All who Gallows her vant, vy, I'll presently trace</span> +<span class="i2">Not you (<i>to Bully</i>) for the Gallows is mark in your Face</span> +<span class="i2">Vish you can't deny.</span> +</div> +</div> + +<p class="sidenote">(Tune<br /> +Finale<br /> +1<sup>st</sup> act<br /> +<i>Poor Volcan</i>)<br /> +(Hunting<br /> +Chorus<br /> +<i>Poor Vulcan</i>)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Bully.</i> You Reptile! Scoundrel! Death! Damnation!</span> +<span class="i2">Say that again, & by my Soul</span> +<span class="i0"><i>Gard.<sup>n.</sup></i> My Garden plan I here unroll</span> +<span class="i0"><i>Bully.</i> I'll crush to atoms—Damme, Sirrah!</span> +<span class="i0"><i>French.<sup>n.</sup></i> While the Horn shall sound Ta, ran, tan, ta ra</span> +<span class="i0"><i>Jockey</i>. And Whip & Spur wins you the Bowl.—</span> +</div> +</div> + +<p class="center"><i>Chorus.</i> Tune—"Ballance a Straw"</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>To Rake.</i>—In us, noble Sir, your best Friends you behold</span> +<span class="i0"><i>To each other</i> Who will smile in your Face while we pocket your Gold</span> +<span class="i0"><i>To Rake.</i>—We'll write, -Sing, -Fence, Dance, Fight, Run, hunt,—all for +thee</span> +<span class="i0">(To each Other And plunder him fast as we can agree.</span> +<span class="i0">Shaking</span> +<span class="i0">hands.—)</span> +</div> +</div> + +<p class="right"><i>Exeunt.</i></p> + +<hr class="hrsm" /> + +<p class="indent"><span class="pagenum"><a name="page6a" id="page6a"></a>[pg 6]</span> +<i>Scene 5<sup>th</sup></i></p> + +<p class="center"><i>Link Boys &c &c. The Characters in next Scene to pass from</i> P.S. to O.P.</p> + +<p class="indent"><i>Rakewell</i>—Well—but not full dup'd—<i>Chairmen</i> take great notice +of him bowing very low &c—<i>Clown</i>—loiters behind—seems well +acquainted with <i>Constables</i>—<i>Chairmen Girls</i> &c. <i>Clown</i> treats <i>Constables</i> +with Beer & while drinking with them has his pocket picked.—During +the Whole Scene the following Catch is Sung.</p> + +<p class="indent"><i>Catch.</i>—"See Bob, See, the play is done."</p> + +<hr class="hrsm" /> + +<p class="indent"><i>Scene 6<sup>th</sup></i></p> + +<p class="indent"><i>Some Ladies discoverd—One President.</i></p> + +<p class="indent"><i>Rake</i>: Enters they all get up & greet him, some kiss him (a <i>Black Girl +& waiter</i> on)—After much Ceremony they sit Other <i>Ladies & Gentlemen</i> +Enter—When all are Seated</p> + +<p class="indent"><i>Omnes.</i> A Song! A Song!— <span class="ralign">(NB: Plenty of Bottles &</span> +<span class="ralign"><i>Glasses on</i>.—)</span></p> + +<p class="center"><i>Ladies Sing a Duett.</i></p> + +<p class="indent"><i>Rake</i>: Drinks freely during the Duett—When Ended</p> + +<p class="indent"><i>Omnes.</i> Bravo! Bravo!</p> + +<p class="indent"><i>Rake.</i> Continues drinking freely—the actor must let his +intoxication gradually increase. They all Sing.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>a Catch.</i> Ladies & Gentlemen, Silence,</span> +<span class="i4">Tomorrow night this play again</span> +<span class="i4">I say no more—Encore—Encore</span> +</div> +</div> + +<p class="indent">during the Catch—<i>Ballad Singer</i> Enters & Joins them, Singing—"I +say no more" &c—The Catch Ended the Scene Closes.</p> + +<hr class="hrsm" /> + +<p class="indent"><i>Scene 7<sup>th</sup></i></p> + +<p class="center"><i>Enter Bailiff & Follower.</i></p> + +<p class="center"><i>Song, Bailiff.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Tim Touch behold, as smart a Blade</span> +<span class="i2">As ere a writ expos'd to view</span> +<span class="pagenum"><a name="page7a" id="page7a"></a>[pg 7]</span> +<span class="i0">Who so genteely knows my Trade</span> +<span class="i2">That I nabs my man, with a "How do you do"?</span> +<span class="i0">A Lodging Strong vil soon procure</span> +<span class="i2">A Cage vere each may chaunt his lay,</span> +<span class="i0">From rambling keep your Rake Secure,</span> +<span class="i2">Because I has such a taking Vay.</span> +</div> +</div> + +<p class="center">(2.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">E'en Ma'am, so proud of grand Parade</span> +<span class="i2">Who at the Race-course makes her Bett</span> +<span class="i0">Or runs to Ball & Masquerade</span> +<span class="i2">'Till she runs herself o'er Ears in debt</span> +<span class="i0">Tho 'my devoirs don't please her much,</span> +<span class="i2">We meet, I every art essay</span> +<span class="i0">She's mine by a Necromantic touch</span> +<span class="i2">Because I has such a taking Vay.</span> +</div> +</div> + +<p class="center">(3.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Box-lobby Loungers to my will</span> +<span class="i2">Obedient Yield, I change their Song</span> +<span class="i0">From bullying Bass to Treble Shrill</span> +<span class="i2">E'en Dammes tremble on their Tongue;</span> +<span class="i0">I mimicry too; practice much,</span> +<span class="i2">In taking off great Art display</span> +<span class="i0">I'm quite at home by a single touch,</span> +<span class="i2">Because I has such a taking Vay. (<i>They Retire.</i>)</span> +</div> +</div> + +<p class="indent">Enter <i>Sarah Young</i> & her <i>Servant Girl</i>, with a Box—on which is written +"Sarah Young"—<i>Bailiffs</i>, come forward, look pryingly about—The +Chair comes on P.S. <i>Bailiff</i> stops <i>Rake</i> and arrests him,—<i>Boy</i> +Steals his Cane—<i>Sarah Young</i> pays the money for <i>Rake</i>, he kisses +her hand, returns into Chair & is carried back: She goes off O.P. supported +by her <i>Girl</i>; having left the Contents of her Box on the Ground—The +Shoe-Boy is picking them up, when <i>Clown</i> Enters, who reads, +& recollects the name, disputes with <i>Boy</i> about the Contents of the +Box, & seeing his Master's Cane claims it—a Scuffle ensues.—Whenever +<i>Clown</i> attempts to Strike <i>Boy</i>—<i>Boy</i> throws his Stool in +<i>Clown's</i> way over which he breaks his Shins—<i>Clown</i> has already a +great Leak in his Hat, & finding a Muff in the Box, wears it, & apes the +<i>Welchman</i> who is going to Court.</p> + +<hr class="hrsm" /> + +<p class="indent"><span class="pagenum"><a name="page8a" id="page8a"></a>[pg 8]</span> +<i>Scene 8<sup>th</sup></i></p> + +<p class="indent"><i>Bells Ringing—Marrow Bones & Cleavers &c &c</i></p> + +<p class="indent"><i>Rake & Old Woman.</i> Richly dress'd coming from Church. <i>Men +Servants</i> in Rich Liveries—<i>Clown.</i>—<i>old Lady's maid Serv<sup>t</sup></i> &c all +in favours.—<i>Parish Clerk</i> Bows very low—<i>Old Lady</i> Stops & makes +him a present—<i>Marrow Bones & Cleavers</i> beg of <i>Rake</i> who throws +money on the Ground, they Scramble for it. Company go off.—Tune +during the Whole time—"Mind the Golden Rule." <i>Sarah Young</i>, on +coming out of Church, faints against a Monument: Recovers to see +them go off—Looks after them.—pause—Sings</p> + +<p class="center"><i>Air.—Tune—"Mary's Lamentation."</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">I sigh, I lament me in vain</span> +<span class="i2">The Chill wind Re-echo's my moan;</span> +<span class="i0">Alas, what can equal my pain—</span> +<span class="i2">When I think that for ever he's gone.</span> +</div> + +<div class="stanza"> +<span class="i0">My Eyes, when they're raised above,</span> +<span class="i2">View Birds as they wanton in Air</span> +<span class="i0">Sweet Birds!—Ye are coupled by Love</span> +<span class="i2">I weep & I sink in despair.</span> +</div> + +<div class="stanza"> +<span class="i0">Tho' Affection be all turn'd to hate</span> +<span class="i2">And that Hate be the Sum of my woes</span> +<span class="i0">My fears will arrise for his Fate,</span> +<span class="i2">I cannot divest me of those.</span> +</div> + +<div class="stanza"> +<span class="i0">Base Man! know in Ages to come,</span> +<span class="i2">Thy falsehood detested Shall be</span> +<span class="i0">And when I am Cold in my tomb</span> +<span class="i2">Some Heart still shall sorrow for me. (<i>Bell Tolls.</i>)</span> +</div> + +<div class="stanza"> +<span class="i0">What Visions now crowd on my Sight!</span> +<span class="i2">White Rob'd—with Eyes bent on the ground!</span> +<span class="i0">Ah! me—'tis a Funeral Rite—</span> +<span class="i2">I hear the deep Bell's solemn sound.</span> +</div> + +<div class="stanza"> +<span class="i0">It tells me my Sorrows will close,</span> +<span class="i2">On Care's softest pillow all lye</span> +<span class="i0">The Grave will extinguish my woes</span> +<span class="i2">Then Sarah—prepare thee to die!</span> +</div> +</div> + +<p class="right">(<i>Exit.</i>)</p> + +<hr class="hrsm" /> + +<p class="indent"><span class="pagenum"><a name="page9a" id="page9a"></a>[pg 9]</span> +<i>Scene 9<sup>th</sup></i></p> + +<p class="indent"><i>Servants</i> attending—Enter <i>Rake</i> follow'd by <i>Clown</i>, who is +ridiculously dress'd—<i>Rake</i> gives Orders to <i>Servants</i> and Exit—<i>Clown</i> +follows a little way—then conceitedly returns & Sings +to Servants.</p> + +<p class="center"><i>Song. Clown.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Quite a Clod I came up my Shoes tied with a thong,</span> +<span class="i0">Lookd foolish—quite mulish I trudg'd it along,</span> +<span class="i0">And gaz'd like an Oaf at the wonderful throng,</span> +<span class="i2">That here so gay smart & brave are;</span> +<span class="i0">A ninny—the Twaddle—Lord quite a mere Hic</span> +<span class="i0">A terrible bore—quite a Thing—a Queer Stick—</span> +<span class="i0">But now, I'm the tippee—the dandy—the kick—</span> +<span class="i2">"Look here—here again—here again—here" (<i>Spoke</i>)</span> +<span class="i2">Tol de rol, de rol, la rol lol, la rol, lal la</span> +<span class="i2">Oh, Damme! I'm devilish clever.</span> +</div> +</div> + +<p class="center">(2.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">For Band Regulations to Butchells I pop</span> +<span class="i0">My ankles just hid by a Natty Boot-top,</span> +<span class="i0">Pig-tails are a Bore so I mount the neat Crop</span> +<span class="i2">To appear the clean thing's my Endeavour</span> +<span class="i0">My negligent coat-cape proclaims me the Beau</span> +<span class="i0">Ease & Elegance always are habited so</span> +<span class="i0">I'm the tippee—the dandy—the kick too—heigho!</span> +<span class="i2">"Look here &c &c &c</span> +</div> +</div> + +<p class="center">(3.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">The Girls all admire me—each fancy I please,</span> +<span class="i0">To one give a leer, tip the other a Squeeze,</span> +<span class="i0">Blow a kiss to the Third—for you see I'm all ease</span> +<span class="i2">And each Whispers thanks for the favour</span> +<span class="i0">Boh—Damme!—an oath I so pleasantly swear</span> +<span class="i0">And for Duels—Bounce—Bang—let them fight me who dare</span> +<span class="i0">I'm the tippee—the Dandy—the Kick too—look there—</span> +<span class="i2">There again &c &c— <i>Exit</i></span> +</div> +</div> + +<p class="indent">Noise without. Enter <i>Porter</i> with a <i>Washing Machine</i>, puts it down—Enter +Beat'em, pursued by Washerwomen, who beat him & break his +washing machine—Tear his Bills &c &c two or three of the <i>Women</i> +hold him, while an <i>Irish Washerwoman</i> sings the following <i>Song</i>.</p> + + +<p class="indent"><span class="pagenum"><a name="page10a" id="page10a"></a>[pg 10]</span></p> + +<p class="center"><i>Song Shelah O'Sudds—Tune "The Siege of Troy."</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Och! Mr. Acrostic I hate your big notes,</span> +<span class="i0">In op'ning your Mouth, why you'd stop all our Thoats;</span> +<span class="i0">Wid Natty Men Milliners, Och! You'd be even,</span> +<span class="i0">And Starve all the Fair-Sex wid Men-Washer-Women.</span> +<span class="i0">But leave off such Nonsense 'tis better, my Joy,</span> +<span class="i0">Than let Shelah O'Sudds be widout her Employ;</span> +<span class="i0">We'll beat all your Beat'ems but give us fair-play</span> +<span class="i0">While wid Elbows & Fists we lather away.</span> +</div> + +<div class="stanza"> +<span class="i0"><i>Chorus.</i> Sing Latherum, whack!—boderation, my Joy,</span> +<span class="i4">Let Shelah O'Sudds pray now have her employ</span> +<span class="i4">She'll beat all your Beat'ems but give her fair play</span> +<span class="i4">While wid Elbows & fists She Lather'd away.</span> +</div> +</div> + +<p class="center">(2.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Wid your Saving & Soaping you make such a fuss,</span> +<span class="i0">But you save what is Ours for you steal it from us</span> +<span class="i0">'Bout your Beauty & Elegance, always are teizing,</span> +<span class="i0">By my Soul it's too pleasant, for long to be pleasing.</span> +<span class="i0">So leave off &c—</span> +</div> +</div> + +<p class="center">(3.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">To destroy our Endeavours to live is't you mean?</span> +<span class="i0">It's a black, dirty Job, tho' you do it so Clean</span> +<span class="i0">But a Wipe we must give you; agree, my dear Jewel—</span> +<span class="i0">And an Irish Shilaleh shall serve as the Towel.</span> +<span class="i0">So leave off &c</span> +</div> +</div> + +<p class="right"><i>Exeunt—beating him off.</i></p> + +<hr class="hrsm" /> + +<p class="indent"><i>Scene 10<sup>th</sup></i></p> + +<p class="center"><i>One O'Clock in The Morning.</i></p> + +<p class="indent">Two or More <i>Chairmen</i> playing at All-fours & Singing—</p> + +<p class="indent"><i>Catch.</i>—"Agree, Agree, if not d'ye see."</p> + +<p class="indent">Piano & Forte, according to the distance of the Watchman who calls +the Hour, & when the Watchmen Enter they cover their Lanthorn +with a Coat-Flap, & resume the Game when Watchman is gone. +During this time the <i>Gamblers</i> who are in the next Scene, are to pass +from P.S. to O.P. Sculkingly. <i>Rake</i> passes,—Stops,—pulls out his +purse, shakes it, and Shutting one Eye—Signifies he had it from his +One Ey'd Wife. <i>Catch Continues</i>—"Agree Agree" &c—Scene +Closes.</p> + +<hr class="hrsm" /> + +<p class="indent"><span class="pagenum"><a name="page11a" id="page11a"></a>[pg 11]</span> +<i>Scene 11<sup>th</sup></i></p> + +<p class="indent">Discovers <i>Gamblers</i> at play. <i>Rake</i> Seated.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0"><i>Catch</i>—"Pass the Box, come pass it faster."—</span> +<span class="i4">or—"Rattle Dice, Rattle."—</span> +</div> +</div> + +<p class="indent"><i>Rake</i> looses all his Cash—then his Watch—Sword Knee-Buckles +—Snuff-Box—Ring—Everything. <i>A Man</i> Stands at his +Back—supplies him with money on them 'till all is gone—When he +Kneels.—Smoke is issuing thro' the Pannel, which does not alarm +Gamblers in the least. Enter Watchmen—They continue playing & +Singing—Scene Closes.</p> + +<hr class="hrsm" /> + +<p class="indent"><i>Scene 12<sup>th</sup></i></p> + +<p class="indent"><i>Red Blinds waved Sometimes Quick Down then rais'd again.</i> Watchmens +Rattles heard, all bustle & noise at a little Distance. Enter some +<i>Loosers</i> with <i>Characters of Suspicious look</i>—they produce +Pistols to the Chagrin'd <i>Loosers</i>.—The <i>Loosers</i> take the Pistols.—Tune—"Let +us take the Road."—They go off. Enter <i>watchmen</i> with +Rattles. <i>Beadle</i>, <i>Mob</i> with Fire Engine (<i>Covent Garden or Hadley.</i>) +Furniture carried across from the Gaming Room. Enter <i>Fire Men</i>.—Hose +& Pipe conveyed across. Variety of <i>Characters</i> alarmed by Fire. +<i>A Boy</i> carries a Feather-bed across—he falls down—Some <i>Characters</i> +fall on it. NB: Confusion kept up as long as Necessary.</p> + +<hr class="hrsm" /> + +<p class="indent"><i>Scene 13<sup>th</sup></i></p> + +<p class="indent"><i>Rake</i>—is inhumanly dragg'd off by Bailiffs P.S.</p> + +<p class="indent"><i>Wife</i> follows in great Agitation.</p> + +<p class="center"><i>Enter Ballad-Singer</i></p> + +<p class="center">A Ballad Entitled & Call'd—"The Rake's Progress"—</p> + +<p class="center"><i>Ballad. Tune "The Race-Horse."</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">See the Massy Chests Open'd, with Riches replete, +</span> +<span class="i0">Plate, Jewels, & Rent-Rolls an ample Estate;</span> +<span class="i0">Bonds, Mortgages, Leases long buried are found,</span> +<span class="i0">Lawyers Servants & Tradesmen Attending around:</span> +<span class="i0">While with heart quite 'Elated, cheeks glowing with health,</span> +<span class="i0">Discarding his love, gazing pleas'd at his wealth,</span> +<span class="i0">Resolv'd each dull thought in gay pleasure to drown,</span> +<span class="i0">The Libertine Rakewell—first starts on the Town.</span> +</div> +</div> + + +<p class="center"><span class="pagenum"><a name="page12a" id="page12a"></a>[pg 12]</span> +(2.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">His Levee attended by Bully & Sot</span> +<span class="i0">(Plighted vows to his fair Rustic Charmer forgot)</span> +<span class="i0">Poets, Dancers, Musicians, his Mansion Resort;</span> +<span class="i0">Boxers—Jockies, & Huntsmen, his patronage Court.</span> +<span class="i0">And now, in a Brothel, mid nymphs void of Fame,</span> +<span class="i0">Whom depravity's Render'd long Callous to Shame</span> +<span class="i0">He squanders his Fortune to infamy meet</span> +<span class="i0">And the Libertine Rakewell's the Dupe of Deceit.</span> +</div> +</div> + +<p class="center">(3.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Now poverty Steals on her victim apace</span> +<span class="i0">And the gripe of Stern Law calls up dread in his Face,</span> +<span class="i0">'Till resolv'd to retrieve by his wants basely led [?]</span> +<span class="i0">He for Riches consents to deformity wed;</span> +<span class="i0">Then hurries to gaming to drive away thought,</span> +<span class="i0">Where Soon's dissipated the Wealth that she brought</span> +<span class="i0">For by Sharpers Surrounded—Each planning his Fall</span> +<span class="i0">The Libertine Rakewell's depriv'd of his all.</span> +</div> +</div> + +<p class="center">(4.)</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">And now in each feature we penury trace,</span> +<span class="i0">No longer health in his once blooming face,</span> +<span class="i0">Reproach in a Prison's dread gloom must he bear,</span> +<span class="i0">While discord & want drive the wretch to despair;</span> +<span class="i0">'Till of life fully Sated, pale, meagre, oppress'd,</span> +<span class="i0">By Friendship forsaken, All hell in his breast;</span> +<span class="i0">By Suicides aid from the world he retires</span> +<span class="i0">And the Libertine Rakewell unpitied Expires. (<i>Exit</i>)</span> +</div> +</div> + +<hr class="hrsm" /> + +<p class="indent"><i>Scene 14<sup>th</sup></i></p> + +<p class="indent"><i>Chymist</i>—Discover'd. <i>Tune "Welcome, Brother Debtor."</i> +Enter <i>Goaler</i> O.P. Introducing <i>Rake</i> & <i>Old Wife</i> He Sits P.S. +Enter <i>Men & Women Prisoners-OP.</i>—<i>All Sing</i>.</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Welcome, Welcome, Brother Debtor</span> +<span class="i2">To this poor but merry place;</span> +<span class="i0">Where No Bailiff—Dun—or Setter,</span> +<span class="i2">Dares to shew his frightful face.</span> +<span class="i0">But, kind Sir, as you're a Stranger</span> +<span class="i2">Down your Garnish you must pay,</span> +<span class="i0">Or your Coat will be in Danger</span> +<span class="i2">You must either Strip or pay.</span> +</div> +</div> + + +<p class="indent"><span class="pagenum"><a name="page13a" id="page13a"></a>[pg 13]</span> +<i>Rake</i> Strips his Coat off & turns out his Breeches Pockets;—At this +Period <i>Financer</i> drops his paper; it is picked up by another <i>Prisoner</i>, +who holds it so to Read that the audience may Read also. "Scheme to +Pay the National Debt."—</p> + +<p class="indent">During the above Business—They all Sing—</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Ne'er repine at your Confinement</span> +<span class="i2">For your Children or your Wife</span> +<span class="i0">Wisdom lies in true Resignment,</span> +<span class="i2">Thro' the various Scenes of life;</span> +<span class="i0">Every Island is a prison</span> +<span class="i2">Strongly guarded by the Sea</span> +<span class="i0">Kings & Princes for that Reason</span> +<span class="i2">Prisoners are as well as we.</span> +</div> +</div> + +<p class="indent">Tune continues; but is Slower & Slower, till render'd as Dismal as +possible. <i>Rake</i> takes a Pistol from his Pocket, which only the Audience +observe—he in great agitation of Mind goes off, & the Report of +a Pistol is heard—at which they all stand aghast.—Pause awhile.—</p> + +<p class="center"><i>Enter Virtue.</i></p> + +<p class="indent"><i>Recitative.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Thus does the baneful influence of Vice</span> +<span class="i0">Onward to sure destruction man Entice;</span> +<span class="i0">In time be warn'd—Hope liberty to see</span> +<span class="i0">Benevolence & Pity'll set you free.</span></div> +</div> + +<p class="center"><i>Chorus of Prisoners.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">This let the Captive's Supplication be,</span> +<span class="i0">May Virtue & Benevolence soon set us free,</span> +<span class="i0">May we taste smiling liberty & tread her happy plain</span> +<span class="i0">Where Virtue & Benevolence in Concord reign.</span> +</div> +</div> + +<p class="center"><i>Recitative. Virtue.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Then Vice discard & follow Virtue's train</span> +<span class="i0">View her Retreat & join her Sacred Strain.</span> +</div> +</div> + +<p class="center"><i>Scene Changes.</i></p> + +<p class="indent"><i>Scene 15<sup>th</sup></i></p> + +<p class="indent">Cloud Descends: <i>Liberty</i> seated in the Center, with her Attributes; +on her left hand a Vacant Seat which Virtue ascends, on her +Right hand Benevolence, over whose head is a <i>Medalion</i> of <i>The King</i>—over +that of <i>Virtue</i> one of the <i>Queen</i>.</p> + + +<p class="center"><span class="pagenum"><a name="page14" id="page14"></a>[pg 14]</span> +<i>Aerial Chorus.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">Tho' Beauty & wealth may Unite,</span> +<span class="i2">To dispell from each Bosom dull care</span> +<span class="i0">'Tis in vain to expect true delight,</span> +<span class="i2">Unless Virtue's a Resident there.</span> +</div> +</div> + +<p class="center"><i>Recitative. Virtue.</i></p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">By Heav'n approv'd—by Liberty caress'd,</span> +<span class="i0">The Truly Virtuous are the truly bless'd.</span> +</div> +</div> + +<p class="center"><i>Full Chorus.</i></p> + +<p class="indent">This let the Captives &c—</p> + +<p class="center">Finis</p> + +<hr class="hr2" /> + +<p class="cnobmargin">WILLIAM ANDREWS CLARK</p> +<p class="cnomargins">MEMORIAL LIBRARY</p> +<p class="cnotmargin"><i>UNIVERSITY OF CALIFORNIA, LOS ANGELES</i></p> + +<div class="figcenter"> <img src="images/logo.png" alt="" /></div> + +<p class="h2a">The Augustan Reprint Society</p> + +<p class="center">PUBLICATIONS IN PRINT</p> + +<hr class="hr2" /> + +<p class="h2a">The Augustan Reprint Society</p> + +<p class="center">PUBLICATIONS IN PRINT</p> + +<p class="h3"><b>1948-1950</b></p> + +<blockquote> +<p class="hangindent">16. Henry Nevil Payne, <i>The Fatal Jealousie</i> (1673).</p> + +<p class="hangindent">18. "Of Genius," in <i>The Occasional Paper</i>, Vol. III. No. 10 (1719), and +Aaron Hill, <i>Preface to The Creation</i> (1720).</p> + +<p class="hangindent">19. Susanna Centlivre, <i>The Busie Body</i> (1709).</p> + +<p class="hangindent">22. Samuel Johnson, <i>The Vanity of Human Wishes</i> (1749), and two +<i>Rambler</i> papers (1750).</p> + +<p class="hangindent">23. John Dryden, <i>His Majesties Declaration Defended</i> (1681).</p> +</blockquote> + +<p class="h3"><b>1951-1953</b></p> + +<blockquote> +<p class="hangindent">26. Charles Macklin, <i>The Man of the World</i> (1792).</p> + +<p class="hangindent">31. Thomas Gray, <i>An Elegy Wrote in a Country Churchyard</i> (1751), +and <i>The Eton College Manuscript</i>.</p> + +<p class="hangindent">41. Bernard Mandeville, <i>A Letter to Dion</i> (1732).</p> +</blockquote> + +<p class="h3"><b>1964-1965</b></p> + +<blockquote> +<p class="hangindent">110. John Tutchin, <i>Selected Poems</i> (1685-1700).</p> + +<p class="hangindent">111. <i>Political Justice</i> (1736).</p> + +<p class="hangindent">113. T. R., <i>An Essay Concerning Critical and Curious Learning</i> (1698).</p> +</blockquote> + +<p class="h3"><b>1965-1967</b></p> + +<blockquote> +<p class="hangindent">115. Daniel Defoe and others, <i>Accounts of the Apparition of Mrs. Veal</i> +(1705, 1706, 1720, 1722).</p> + +<p class="hangindent">116. Charles Macklin, <i>The Covent Garden Theatre</i> (1752).</p> + +<p class="hangindent">117. Sir Roger L'Estrange, <i>Citt and Bumpkin</i> (1680).</p> + +<p class="hangindent">120. Bernard Mandeville, <i>Aesop Dress'd or a Collection of Fables</i> +(1740).</p> + +<p class="hangindent">124. <i>The Female Wits</i> (1704).</p> +</blockquote> + +<p class="h3"><b>1968-1969</b></p> + +<blockquote> +<p class="hangindent">133. John Courtenay, <i>A Poetical Review of the Literary and Moral +Character of the Late Samuel Johnson</i> (1786).</p> + +<p class="hangindent">136. Thomas Sheridan, <i>A Discourse Being Introductory to His Course of +Lectures on Elocution and the English Language</i> (1759).</p> + +<p class="hangindent">137. Arthur Murphy, <i>The Englishman from Paris</i> (1756).</p> +</blockquote> + +<p class="h3"><b>1969-1970</b></p> + +<blockquote> +<p class="hangindent">138. [Catherine Trotter] <i>Olinda's Adventures</i> (1718).</p> + +<p class="hangindent">139. John Ogilvie, <i>An Essay on the Lyric Poetry of the Ancients</i> (1762).</p> + +<p class="hangindent">140. <i>A Learned Dissertation on Dumpling</i> (1726) and <i>Pudding and +Dumpling Burnt to Pot or a Compleat Key to the Dissertation on +Dumpling</i> (1727).</p> + +<p class="hangindent">141. Sir Roger L'Estrange, Selections from <i>The Observator</i> (1681-1687).</p> + +<p class="hangindent">142. Anthony Collins, <i>A Discourse Concerning Ridicule and Irony In +Writing</i> (1729).</p> + +<p class="hangindent">143. <i>A Letter From a Clergyman to His Friend, with an Account of the +Travels of Captain Lemuel Gulliver</i> (1726).</p> + +<p class="hangindent">144. <i>The Art of Architecture, A Poem</i> (1742).</p> +</blockquote> + +<p class="h3"><b>1970-1971</b></p> + +<blockquote> +<p class="hangindent">145-146. Thomas Shelton. <i>A Tutor to Tachygraphy, or Short-writing</i> +(1642) and <i>Tachygraphy</i> (1647).</p> + +<p class="hangindent">147-148. <i>Deformities of Dr. Samuel Johnson</i> (1782).</p> + +<p class="hangindent">149. <i>Poeta de Tristibus: or the Poet's Complaint</i> (1682).</p> + +<p class="hangindent">150. Gerard Langbaine, <i>Momus Triumphans: or the Plagiaries of the +English Stage</i> (1687).</p> +</blockquote> + +<p class="h3"><b>1971-1972</b></p> + +<blockquote> +<p class="hangindent">151-152. Evan Lloyd, <i>The Methodist. A Poem</i> (1766).</p> + +<p class="hangindent">153. <i>Are These Things So?</i> (1740), and <i>The Great Man's Answer to Are +These Things So?</i> (1740).</p> + +<p class="hangindent">154. Arbuthnotiana: <i>The Story of the St. Alb-ns Ghost</i> (1712), and <i>A +Catalogue of Dr. Arbuthnot's Library</i> (1779).</p> + +<p class="hangindent">155-156. A Selection of Emblems from Herman Hugo's <i>Pia Desideria</i> +(1624), with English Adaptations by Francis Quarles and Edmund +Arwaker.</p> +</blockquote> + +<p class="h3"><b>1972-1973</b></p> + +<blockquote> +<p class="hangindent">157. William Mountfort. <i>The Life and Death of Doctor Faustus</i> (1697).</p> + +<p class="hangindent">158. Colley Cibber, <i>A Letter from Mr. Cibber to Mr. Pope</i> (1742).</p> + +<p class="hangindent">159. [Catherine Clive] <i>The Case of Mrs. Clive</i> (1744).</p> + +<p class="hangindent">160. [Thomas Tryon] <i>A Discourse ... of Phrensie, Madness or Distraction</i> +from <i>A Treatise of Dreams and Visions</i> [1689].</p> + +<p class="hangindent">161. Robert Blair, <i>The Grave. A Poem</i> (1743).</p> + +<p class="hangindent">162. [Bernard Mandeville] <i>A Modest Defence of Publick Stews</i> (1724).</p> +</blockquote> + +<p class="h3"><b>1973-1974</b></p> + +<blockquote> +<p class="hangindent">163. [William Rider] <i>An Historical and Critical Account of the Lives +and Writings of the Living Authors of Great Britain</i> (1762).</p> + +<p class="hangindent">164. Thomas Edwards, <i>The Sonnets of Thomas Edwards</i> (1765, 1780).</p> + +<p class="hangindent">165. Hildebrand Jacob, <i>Of the Sister Arts: An Essay</i> (1734).</p> + +<p class="hangindent">166. <i>Poems on the Reign of William III</i> [1690, 1696, 1699, 1702].</p> + +<p class="hangindent">167. Kane O'Hara, <i>Midas: An English Burletta</i> (1766).</p> + +<p class="hangindent">168. [Daniel Defoe] <i>A Short Narrative History of the Life and Actions +of His Grace John, D. of Marlborough</i> (1711).</p> +</blockquote> + +<p class="h3"><b>1974-1975</b></p> + +<blockquote> +<p class="hangindent">169-170. Samuel Richardson, <i>The Apprentice's Vade-Mecum</i> (1734).</p> + +<p class="hangindent">171. James Bramston, <i>The Man of Taste</i> (1733).</p> + +<p class="hangindent">172-173. Walter Charleton, <i>The Ephesian Matron</i> (1668).</p> + +<p class="hangindent">174. Bernard Mandeville, <i>The Mischiefs That Ought Justly to be Apprehended +From a Whig-Government</i> (1714).</p> + +<p class="hangindent">174X. John Melton, <i>Astrologaster</i> (1620).</p> +</blockquote> + +<p class="h3"><b>1975-1976</b></p> + +<blockquote> +<p class="hangindent">175. <i>Pamela Censured</i> (1741).</p> + +<p class="hangindent">176. William Gilpin, <i>Dialogue upon the Gardens ... at Stowe</i> (1748).</p> + +<p class="hangindent">177. James Bramston, <i>Art of Politicks</i> (1729).</p> + +<p class="hangindent">178. James Miller, <i>Harlequin-Horace or the Art of Modern Poetry</i> +(1731).</p> + +<p class="hangindent">179. [James Boswell] <i>View of the Edinburgh Theatre during the Summer +Season, 1759</i> (1760).</p> + +<p class="hangindent">180. Satires on Women: Robert Gould, <i>Love Given O're</i> (1682); Sarah +Fige, <i>The Female Advocate</i> (1686); and Richard Ames, <i>The Folly +of Love</i> (1691).</p> +</blockquote> + +<p class="indent">Publications of the first eighteen years of the society (numbers 1-108) +are available in paperbound units of six issues at $16.00 per unit, from +Kraus Reprint Company, Route 100, Millwood, New York 10546.</p> + +<p class="indent">Publications in print are available at the regular membership rate of +$5.00 for individuals and $8.00 for institutions per year. Prices of single +issues may be obtained upon request. Subsequent publications may be +checked in the annual prospectus.</p> + +<p class="center"><i>Make check or money order payable to</i></p> + +<p class="center"><span class="smcap">The Regents of the University of California</span></p> + +<p class="center"><i>and send to</i></p> + +<p class="cnobmargin">The William Andrews Clark Memorial Library</p> +<p class="cnotmargin">2520 Cimarron Street, Los Angeles, California 90018</p> + +<hr class="hr2" /> + +<div class="tnote"> + +<p class="h2a">Transcriber's Notes:</p> + +<hr /> + +<p class="indent">Throughout the dialogues, there were words used to mimic accents of +the speakers. Those words were retained as-is.</p> + +<p class="indent">Errors in punctuations and inconsistent hyphenation were not corrected +unless otherwise noted. For instance, sometimes there were spaces after slashes ("/") and sometimes there were no spaces after slashes.</p> + +<p class="indent">Some words appear to be misspelled, but they were not corrected since this book is so old (1733) and spellings have changed over the centuries.</p> + +<p class="indent">The acute accent for Settee was changed to Settée throughout the text.</p> + +<p class="indent">On the second page 1 "& and End" was replaced +with "& an End"</p> + +<p class="indent">On the second page 5 (there are two pages 5), "rake" was replaced with "Rake".</p> + +<p class="indent">On the second page 5 the word "Clown" was italizied to make it it consistent with other instances of the word.</p> + +<p class="indent">On the second page 8 a period was added after "coming from Church".</p> + +<p class="indent">On the second page 11, "SCENE 12" was replaced with "Scene 12"</p> + +<p class="indent">On the second page 12, the word "Mansion", which was crossed out in the +book was deleted.</p> + +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Harlot's Progress, The Rake's +Progress, by Theophilus Cibber and Anonymous and Mary F. 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