diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 38659-8.txt | 2380 | ||||
| -rw-r--r-- | 38659-8.zip | bin | 0 -> 42518 bytes | |||
| -rw-r--r-- | 38659-h.zip | bin | 0 -> 50956 bytes | |||
| -rw-r--r-- | 38659-h/38659-h.htm | 3144 | ||||
| -rw-r--r-- | 38659-h/images/logo.png | bin | 0 -> 3791 bytes | |||
| -rw-r--r-- | 38659.txt | 2380 | ||||
| -rw-r--r-- | 38659.zip | bin | 0 -> 42498 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
10 files changed, 7920 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/38659-8.txt b/38659-8.txt new file mode 100644 index 0000000..75ec0c8 --- /dev/null +++ b/38659-8.txt @@ -0,0 +1,2380 @@ +The Project Gutenberg EBook of The Harlot's Progress, The Rake's Progress, by +Theophilus Cibber and Anonymous and Mary F. 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 + + + + + + + + + + THE AUGUSTAN REPRINT SOCIETY + + _THE_ + HARLOT'S PROGRESS + + THEOPHILUS CIBBER + (_1733_) + + _and_ + + _THE_ + RAKE'S PROGRESS + + (_MS., Ca. 1778-1780_) + + + _Introduction by_ + MARY F. KLINGER + + + PUBLICATION NUMBER _181_ + WILLIAM ANDREWS CLARK MEMORIAL LIBRARY + UNIVERSITY OF CALIFORNIA, LOS ANGELES + _1977_ + + + + + GENERAL EDITORS + William E. Conway, William Andrews Clark Memorial Library + George Robert Guffey, University of California, Los Angeles + Maximillian E. Novak, University of California, Los Angeles + David Stuart Rodes, University of California, Los Angeles + + + ADVISORY EDITORS + James L. Clifford, Columbia University + Ralph Cohen, University of Virginia + Vinton A. Dearing, University of California, Los Angeles + Arthur Friedman, University of Chicago + Louis A. Landa, Princeton University + Earl Miner, Princeton University + Samuel H. Monk, University of Minnesota + Everett T. Moore, University of California, Los Angeles + Lawrence Clark Powell, William Andrews Clark Memorial Library + James Sutherland, University College, London + H. T. Swedenberg, Jr., University of California, Los Angeles + Robert Vosper, William Andrews Clark Memorial Library + + + CORRESPONDING SECRETARY + Beverly J. Onley, William Andrews Clark Memorial Library + + + EDITORIAL ASSISTANT + Frances M. Reed, University of California, Los Angeles + + + + + INTRODUCTION + + +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 (_The +Clandestine Marriage_, 1766), burletta with _tableau vivant_ (_Ut +Pictura Poesis!_ 1789), specialty act (_A Modern Midnight Conversation_, +1742), cantata (_The Roast Beef of Old England_, ca. 1759), ballad opera +(_The Decoy_),[1] pantomime (_The Jew Decoy'd_ and _The Harlot's +Progress_, 1733), and a morality ballad opera (_The Rake's Progress_, +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 _THE HARLOT'S PROGRESS_; or The +Ridotto Al'Fresco," was first published 31 March 1733 for its Drury Lane +debut as an afterpiece.[2] 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.[3] + +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,[4] 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.[5] 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."[6] These dramas add visual and +musical insights to literary concerns of the time. + +In "A Harlot's Progress" (1732) Hogarth's six prints recount a few years +in the young life of "M. Hackabout" from 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 +_The Harlot's Progress_ 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.[7] 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 _The +Harlot's Progress_ has been treated as pantomime, Fiske considers it a +"mixture of masque, ballad opera and pantomime."[8] 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."[9] 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 _The Harlot's +Progress_ (p. 12). + +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. + +The "Keeper" forces her and other women to beat hemp, but the blocks +suddenly disappear; in their stead appear her 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.[10] + +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).[11] 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." + +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. + +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.[12] 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 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 _Harlot's Progress_: "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."[13] This theatrical quarrel created much public discussion in +the first decade of the century (_LS_, 3, 1, "Introduction," _passim_). +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 (_HGW_, I, 156-7).[14] _The Harlot's +Progress_ 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. + +Hogarth's eight prints of "A Rake's Progress" of 1735[15] 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 _The +Rake's Progress_, 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.[16] 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.[17] The +piece was not performed. + +Like the Cibber work, the text consists of stage directions 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. + +_The Rake's Progress_ 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." + +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 +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^{e} Debts of y^{e} 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). + +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 _Poor Vulcan!_ by Charles Dibdin, which +premiered in February 1778 (_LS_, 5, I, 109). Basically, Hogarth's eight +prints of 1735 are transformed in part into a series of _tableaux +vivants_ which served, with variations, in the late 1770's as strong +visual reminders for an audience already familiar with the original +pictorial sequence. + +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 _The Beggar's Opera_. 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. + +The drama closely follows the series for the rake's levee, where +professionals "pay Court" to Rakewell. A new character, "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. + +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." + +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. + +_The Rake's Progress_ 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. + +Although _The Rake's Progress_ purports to imitate Hogarth's "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. + +Clearly Theophilus Cibber's comical, lyrical exploitation in _The +Harlot's Progress_ of Hogarth's designs exhibits a more coherent +dramatic structure than the tentative, disjointed medley of music and +moralism in _The Rake's Progress_. 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 +_The Rake's Progress_ 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. + + + THE TUNES + +_The Harlot's Progress_ and _The Rake's Progress_ 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 _The Beggar's +Opera_. In _The Harlot's Progress_, the six "Airs" come from varied +sources, with new lyrics by Theophilus Cibber. Of the approximately 24 +unnumbered tunes and catches in _The Rake's Progress_, 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 various professionals who +compete for his money. The most important tunes are those from _Poor +Vulcan!_ the burletta by Charles Dibdin (February 1778), supporting my +1778-1780 date for _The Rake's Progress_ manuscript. + +The sources used to trace the musical airs include Claude Simpson's _The +British Broadside Ballad and Its Music_ (New Brunswick: Rutgers +University Press, 1966); Minnie Sears' _Song Index_ (and _Supplement_) +(New York: Wilson Company, 1926 and 1934); Edythe N. Backus: _Catalogue +of Music Printed Before 1801_ (San Marino, Cal.: The Huntington Library, +1949), and William Barclay Squire, "An Index of Tunes in the +Ballad-Operas," _The Musical Antiquary_, II (October 1910), 1-17.[18] +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."[19] The catches +in _The Rake's Progress_ are not traceable. The numbering for songs in +_The Rake's Progress_ 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.[20] + + + THE HARLOT'S PROGRESS + +_Air I_: "What tho I am a Country Lass" is an eighteenth century ballad + by Martin Parker printed in _Orpheus Calendonius; or, A Collection + of Scots Songs Set to Music by W[illiam] Thomson_, 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 _The Devil to + Pay_ 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 _The + Harlot's Progress_, 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. + +_Air II_: "Brisk Tom and Jolly Kate" is Air IX of Lacy Ryan's _The + Cobler's Opera_ (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). + +_Air III_: "Maggy Lawther" is a tune used by Theophilus Cibber (Air IX) + in _Patie and Peggy ... A Scotch Ballad Opera_ (London 1730), p. 10. + +_Air IV_: "Oh! what Pleasures will abound" is Air VII of Henry + Fielding's _The Lottery_ (London 1732). Johann Pepusch composed the + music for this air in collaboration with Lewis Theobald for the + pantomime opera _Perseus and Andromeda_ (1730). Fielding's name for + the tune was "In Perseus and Andromeda." + +_Air V_: "Lads a Dunce." The music is preserved in British Library Add. + MS. 29371, fol. 30a, no. 45, and printed in Fielding's _The + Grub-Street Opera_ as Air II (ed. Edgar V. Roberts, Lincoln: + University of Nebraska Press, 1968), p. 92. Its composer is not + known. + +_Air VI_: "Maidens fresh as a Rose" appears as Air VI in Ebenezer + Forrest's ballad opera _Momus turn'd fabulist; or, Vulcan's + Wedding_, 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 _Wit + and Mirth: or, Pills to Purge Melancholy_ (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). + + + THE RAKE'S PROGRESS + +_Airs I-III_ are not traceable ("From Virue's sluggish Rules be free," + "Mary's Dream" and "Alteration"). + +_Air IV_: "Duett" to the tune "An Old Woman Cloathed in Gray" is the + familiar first tune of John Gay's _The Beggar's Opera_, ed. Edgar V. + Roberts (Lincoln: University of Nebraska Press, 1969), pp. 94-95. + +_Air V_: 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 _Don Quixote in England_ (1733). + Simpson (p. 454) gives one example in dialect: "By Creist my dear + Morish vat makes de sho'shad" (ca. 1689). + +_Air VI_: "Shelah O'Sudds" (to the tune "The Siege of Troy") is not + traceable. + +_Air VII_: "Medley. Tune, 'Petition Poor Vulcan'" is from Charles + Dibdin's burletta _Poor Vulcan!_ (London 1778) which begins: "The + humble prayer and petition/Of Vulcan, who his sad condition" (I, 1, + p. 7). + +_Air VIII_: "Tune. Hunting Chorus, 'Poor Vulcan'" is the "Chorus and + Air" from Dibdin's _Poor Vulcan!_ It begins: "Blacksmith: 'Strike, + strike, ton, ton ton, ron'/Huntsman: 'Sound, Sound, tan, ran, ran, + tan'" (I, ii, p. 10). + +_Air IX_: "Tune: 'Finale 1st act _Poor Vulcan!_'" seems to be the song + "Pike; 'Pooltroon! Damnation! Zounds, unhand me;/ Either you + villain, eat that word,'" (_Poor Vulcan!_ I, p. 23). + +_Air X_: "Medley. Tune, 'Black Joke'" is Leveridge's song of 1730. See + E. V. Roberts, ed. Henry Fielding, _The Grub-Street Opera_ (p. 105) + and Charles Wood's _The Author's Farce_ (Lincoln: University of + Nebraska Press, 1966), p. 116. + +_Air XI_: "Welcome, Brother Debtor" appears in many eighteenth-century + song collections, including Henry Roberts' _Calliope; or, English + Harmony, a collection of ... English and Scots tunes_ (London, + 1739-1749), p. 315. + +_Airs XII_, _XIII_ _and XIV_ are not traceable. ("Medley tunes 'Stoney + Batter,' 'Tyburn Tree,' and 'Ballance a Straw.'") + +_Air XV_: "Bailiff's Song" has no tune and is not traceable. + +_Air XVI_: "Mind the Golden Rule" is not identifiable. + +_Air XVII_: "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 _Crown Garland of + Roses_ (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 _Select Collection_ of 1779 (III, No. 71). + +_Air XVIII_: The "Clown's Song" seems to have been specially composed + for this work. + +_Air XIX_: "Tune: 'Let us take the Road'" is the famous "March in + Rinaldo" by Handel. See Air XX, _The Beggar's Opera_ (Act II, ed. + Roberts, pp. 130-131). + +_Air XX_: "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 _Choice New + Songs_ (1684) and appears as an untitled air in Kane O'Hara's comic + opera _Midas_ (1764; ARS 167). It is also called "Newmarket," or + "Newmarket Horse Race," Air XXII of the 1730 and 1750 versions of + Fielding's _The Author's Farce_. The music is printed in Woods's + edition of _The Author's Farce_, p. 133. + +California State University +Northridge + + + + + NOTES TO THE INTRODUCTION + + +[1]: There are at least three dramatic pieces other than the _Theophilus + Cibber_ work reprinted here which were inspired by William Hogarth's + "A Harlot's Progress." Ronald Paulson reports one announced in the + _Daily Advertiser_ (13 November 1732) by Charlotte Charke entitled + _The Harlot_. It had been printed by Curll; but there is no record + of performance (_Hogarth: His Life, Art, and Times_, I, London and + New Haven: Yale University Press, 1971, p. 290). Paulson also + mentions the publication announcement in the _Daily Advertiser_ (5 + February 1732/3) of: "_The Decoy_, or _The Harlot's Progress_ (on + February 14 called _The Jew Decoy'd_), a new ballad opera, said to + be performed at Goodman's Fields" (p. 290). _The Jew Decoy'd_, a + work never performed and discussed at length by Robert E. Moore + (_Hogarth's Literary Relationships_, Minneapolis: University of + Minnesota Press, 1948, pp. 34-36) as being published in 1733, is a + different piece than _The Decoy; or, The Harlot's Progress, A New + Ballad Opera_ [By Henry Potter] (_The London Stage_, ed. Arthur + Scouten, Part 3, Vol. I, Carbondale: Southern Illinois University + Press, 1962-68, pp. 269-270, abbreviated in later citations as + "_LS_" followed by part, volume and page number.) The title page of + Potter's piece reads: "_The Decoy. An Opera. As it is Acted at the + New Theatre in Goodman's Fields_. 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 _The Beggar's Opera_, 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 (_LS_, 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" (_LS_ 3, I, 270). Hogarth had advertised the + subscription for "A Harlot's Progress" as early as 8 March 1731. + (See Ronald Paulson, _Hogarth's Graphic Works_, I, Rev. Ed., New + Haven and London: Yale University Press, 1970, p. 141. Citations in + my text are abbreviated _HGW_ followed by volume and page number.) + This piece appears in Baker's _Biographia Dramatica_ (Vol. II, p. + 157) without comment, while he lists "_The Jew Decoy'd; or The + Progress of an Harlot_," 8vo. 1733 "as never being performed, but + founded on the Hogarth series." _The Jew Decoy'd_ 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 _Hogarth's Graphic Works_. + +[2]: 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). Yale University has a + photostat facsimile of the Boston Public Library edition. I thank + David Rodes for looking at the British Library copy. + +[3]: 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 "_The Rake's Progress_: A New + Dramatic Version of William Hogarth's Prints," in _Notes and + Queries_ (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 (_HGW_, I, + 188). Cibber himself played an active role in the creation of the + position of stage manager or "under-manager" (_LS_, 3, I, xcvi). + +[4]: See my essay concerning such connections, in "William Hogarth and + London Theatrical Life," _Studies in Eighteenth Century Culture, + Vol. 5_, ed. R. Rosbottom (Madison: University of Wisconsin Press, + 1975), 11-31. + +[5]: See my "Music and Theatre in Hogarth," The _Musical Quarterly_, 57 + (July 1971), 409-426. + +[6]: "Some Aspects of Music and Literature," repr. _Facets of the + Enlightenment_ (Berkeley: University of California Press, 1968), + p. 92. + +[7]: See "The Tunes" at end of Introduction. + +[8]: _English Theatre Music in the Eighteenth Century_ (London: Oxford + University Press, 1973), p. 108. + +[9]: "The Popularity of Various Types of Entertainment at Lincoln's Inn + Fields and Covent Garden Theatres, 1720-1733," _Theatre Notebook_, + XXIV: 4 (Summer 1970), 156. + +[10]: The complete title is "_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_," 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 _The London Stage_ entry for 31 + March 1733 reads: "John Banks's _The Albion Queens_ ... Also _The + Harlot's Progress; or, the Triumph of Beauty_" (_LS_, 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 _The + Harlot's Progress_ is Weaver's piece (p. 12). + +[11]: Paulson (_HGW_, 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. + +[12]: 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 _LS_, 3, I, xxxix). Cibber's + _The Harlot's Progress_ 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 _LS_, 3, I, 304). It + played as an afterpiece to such works as _Cato_ and _The Provok'd + Husband_, and on 26 April a playbill announced the "Royal Family + expected to attend" (_LS_, 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 (_LS_, 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" (_LS_, 3, I, 321). On 27 + October 1733 it had a command performance at Drury Lane (_LS_, 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 + _The Conscious Lovers_ and _The Harlot's Progress_. The cast list is + the same as that in the text reprinted here (_LS_, 3, I, 390). The + successful run continued through October 1734; after that it was + only played a couple of times before the 1736 season (_LS_, 3, I, + _passim_). 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" (_LS_, 3, + I, xcvi). + +[13]: "A Letter from Theo. Cibber, Comedian, To John Highmore, Esq." + (London 1733). + +[14]: 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, _Some Account of the English Stage from + the Restoration in 1660 to 1830_, III, Bath: 1832, pp. 415-416, + Richard H. Barker, _Mr. Cibber of Drury Lane_ (New York: Columbia + University Press, 1939), pp. 168-171, and Arthur Scouten, _LS_, 3, + I, lxxxix-xciii. + +[15]: For exposition of the eight prints of "A Rake's Progress" (1735) + see Paulson's _HGW_, I, 158-170. The subscription was announced in + late 1733, but the paintings were not completed until mid-1734. + +[16]: Esther K. Sheldon, _Thomas Sheridan of Smock-Alley_ (Princeton, + N.J.: Princeton University Press, 1967), pp. 284-285, and Raymond C. + Rhodes, _Harlequin Sheridan: The Man and the Legend_ (Oxford: B. + Blackwell, 1933), p. 79. + +[17]: Sheldon, p. 301. + +[18]: 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. + +[19]: "Mr. Seedo's London Career and His Work with Henry Fielding," + _Philological Quarterly, XLV_ (January 1966), 185 and 189. + +[20]: See Bronson's article (above, n. 6) _passim_, where he mentions + many of the songbooks. + + + + + BIBLIOGRAPHICAL NOTE + + +The facsimile of _The Harlot's Progress_ (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. _The Rake's Progress_ (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. + + + + + THE + HARLOT'S PROGRESS; + OR, THE + _RIDOTTO AL' FRESCO_: + + + A + Grotesque Pantomime Entertainment. + + + As it is perform'd by his Majesty's Company of Comedians + AT THE + THEATRE-ROYAL in _Drury-Lane_. + + Compos'd by Mr. _Theophilus Cibber_, Comedian. + + The SONGS made (to old Ballad Tunes) by a Friend. + + + Printed for the Benefit of _Richard Cross_ the Prompter; + and Sold at the Theatre. 1733. [Price Six Pence.] + + + + + THIS + ENTERTAINMENT + + Is Dedicated to the Ingenious + Mr. _H O G A R T H_, + + (On Whose + Celebrated Designs it is Plan'd,) + + _By his Well-wisher,_ + _and obliged_ + _Humble Servant_, + + Theo. Cibber. + +_Saturday, March_ +_31st, 1733._ + + + + +Persons in the Harlot's Progress. + + Harlequin, Mr. _Le Brun_. + Beau _Mordecai_, Mr. _Stoppelaer_. + Old Debauchee, Mr. _Berry_. + Justice _Mittimus_, Mr. _Mullart_. + Mons. _Poudre_, Mr. _Oates_. + Constable, Mr. _Jones_. + Keeper, Mr. _Burnet_. + Porter, Mr. _Peploe_. + _Pompey_, Y. _Grace_. + Beadles, {Mr. _Gray_. + {Mr. _Wright_. + Miss _Kitty_, Miss _Raftor_. + Madam _Decoy_, Mrs. _Mullart_. + _Jenny_, Mrs. _Grace_. + Bess _Brindle_, Mr. _Leigh_. + + +Persons in the _Ridotto al' Fresco_. + +_Les Capricieux_ by Mr. _Essex_ and Miss _Robinson_. +The _Hungarians_ by Mr. _Houghton_ and Mrs. _Walter_. +The _Fingalians_ by Mr. _Lally_ Sen. and Miss _Mears_. +_Scaramouch_, _Pierot_, and _Mezetin_ by Mr. _Lally_, Junior, Mr. + _Tench_, and Mr. _Stoppelaer_. +Ladies of Pleasure by Miss _Mann_, Miss _Atherton_ and Miss _Price_. +The Marquis _de Fresco_ by Monsieur _Arlequin en Chien_. + + + + + THE + HARLOT'S PROGRESS; + OR, THE + _RIDOTTO AL' FRESCO_: + + +AFTER the Overture, the Curtain rises;--the Scene represents an Inn; The +Bawd, the Country Girl, the _Debauchee_ and the Pimp, all rang'd as they +are in the _first Print_.--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. + + + AIR I. What tho' I am a Country Lass. + + _Let Country Damsels plainly nice, + In Home-spun Russet go, Sir; + While, Frolick we, chearful as wise, + More pleasing Transports know, Sir. + They dull and coy, + Refuse the Joy, + All bashful void of Skill-a: + We gay and free + To each fond He + Yield up our selves at Will-a._ + + _At last our Youth and Charms decay'd, + Like old experienc'd Sinners, + We follow the procuring Trade, + And train up young Beginners. + Thus ample Gains, + Reward our Pains; + Then mock not our Profession, + Like Courtiers we, + Secure the Fee, + And laugh at the Transgression._ + +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 _Debauchee_ comes forward, who seems to be enamour'd with +the Girl; the Pimp assures him he can procure her for him, upon which +the _Debauchee_ seems rejoic'd and sings in Praise of Women and Wine. + + + AIR II. _Brisk_ Tom _and Jolly_ Kate. + + _Brisk Wine and Women are, + The Sum of all our Joy; + A Brimmer softens every Care, + And Beauty ne'er can cloy: + Then let us Drink and Love, + While still our Hearts are gay, + Women and Wine, by turns shall prove, + Our Blessings Night and Day._ + +After the Song he follows her--the Pimp struts about and sings. + + + AIR III. _Maggy Lawther._ + + _Pimping is a Science, Sir, + The only Mode and Fashion, + To Virtue bids Defiance, Sir, + 'Tis the Glory of the Nation. + In City, Country, or in Court, + It is the Coup d'Grace, Sir; + If you your Patron's Vice support, + You need not fear a Place, Sir._ + + _The Lawyer pimps to gain a Coif, + While Porters pimp for Hire; + Kind_ Betty _serves his Worship's Wife, + The Page pimps for the Squire, + 'Tis pimping gains a large Estate, + Makes Valets wear their Swords, Sir, + For Pimps oft look as big and great, + As any Duke or Lord, Sir._ + +After the Song he follows the Debauchee.--The Scene changes to the +Street; the Debauchee having found Harlequin in Company with Miss +_Kitty_, turns her out of Doors, and the Pimp kicks out Harlequin; +_Kitty_ 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, _&c_. At length he resolves to follow her, +and determines to dress himself like a smart _Cadet_, 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 _Mordecai_ has provided for +_Kitty_, whom he has just taken into high Keeping. (This Scene is taken +from _the Second Print_) she is discovered lolling upon a _Settée_, +attended by her Maid and Black-Boy, admiring the Grandeur of which she +is possess'd, and then sings. + + + AIR IV. Oh! what Pleasures will abound. + + _Who wou'd not a Mistress be, + Kept in Splendor thus like me? + Deckt in golden rich Array, + Sparkling at each Ball and Play! + Gaily toying, + Sweets enjoying + Foreign to that thing a Wife, + Flirting, flaunting, + Jilting, jaunting, + Oh the Charming happy Life!_ + +After the Song Harlequin creeps from under her Toilet, in the Habit of +the _Cadet_, and courts Miss _Kitty_; she appears Coy at first, but at +length yields to him.--Then sings. + + + AIR V. _Lad's a Dunce._ + + _Thus finely set out, + I'll make such a Rout, + And top all the Rantipole Girls of the Town; + With Glances so bright, + Lords and Dukes I'll delight, + And make all the Rakes with their Ready come down, + The Stock-jobbing Cit, + For a hundred I'll hit, + While me he is rifling, I'll riflle his Purse; + With Saint-like Smile + I'll Zealots beguile, + And make the fond Hypocrite freely disburse._ + + _Thus, thus in full Pow'r, + I'll sweeten, I'll sour, + I'll whindle, I'll bluster, I'll wheedle, I'll cant, + I'll bubble, I'll blind, + Make Fools of Mankind, + Each Cully shall think he's my only Gallant, + With such Supplies + To Grandeur I'll rise, + And revel in Pleasure, in Plenty and Ease, + While in the dark, + A favourite Spark, + I'll keep at my Call to enjoy when I please._ + +After the Song they retire to the Bed; immediately is heard a knocking +at the Door; the Maid looks out and perceives it to be the _Jew_, 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 _Settée_, and orders the Maid to let +_Mordecai_ 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 _Kitty_ 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, _Kitty_ 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 _Jew_, who turning about perceives Harlequin, +upon which Miss _Kitty_ in a Passion over-sets the Tea-Table.--The _Jew_ +enrag'd, runs to secure the Door, and is in the greatest Passion with +her, she laughs at him, and they sing the following _Duette_. + + + AIR VI. _Maidens as fresh as a Rose._ + + Kitty. _Farewell, good Mr._ Jew; + _Now I hate your tawny Face; + I'll have no more to do + With you or any of your Race._ + + Jew. _Begone, you saucy Jade, + I will ne'er believe thee more; + Follow the_ Drury _Trade, + Thou shalt ne'er deceive me more._ + + Kitty. _Then take your self away, + Since I have chous'd you well, you Cull; + But come another Day, + When you have got your Pockets full._ + + Jew. _Be not so pert, my Dear, + This Pride may shortly have a Fall, + Soon shall I see or hear, + Madam,_ in Bridewell, _milling Doll._ + + Repeat. _Soon shall I see or hear_, &c. +She repeats with him. _Ne'er more will I come near,_ + _Such a pitiful pimping Fool._ + +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 _Jew_ with Horns upon his Head.--While he stands +in astonishment the other Picture changes likewise, and represents +Harlequin and _Kitty_ embracing--upon which the _Jew_ runs out in the +greatest surprize. Scene changes to the Street. Harlequin meets the +_Jew_, who immediately draws; Harlequin catches him by the Leg, and +throws him down, jumps over him, and runs off, the _Jew_ pursues +him.----The Scene changes to a poor Apartment in _Drury-Lane_. (This is +taken from the Third Print) _Kitty_ is discover'd sitting disconsolate +by the Bedside, drinking of Tea, attended by _Bess Brindle_ (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 _Mittimus_ enters with the Constable, &c. the Watch +seize _Kitty_ 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 _unfortunate Women_) are led cross the Stage as going to +_Bridewell_, with _Kitty_ and her Maid, the Bawd, &c. Three Justices +bring up the Rear.--Scene changes to _Bridewell_. 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, _Pierrot_, and +_Mezetin_, each takes out his Lady to dance, and signify they'll go to +the _Ridotto al Fresco_; 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 _Ridotto_, among whom appears the Marquiss +_ae Fresco_, perform'd by the little Harlequin Dog. + +The Scene changes to the _Ridotto al Fresco_, illuminated with several +Glass Lustres, (the Scene taken from the place at _Vaux-Hall_) Variety +of People appear in Masquerade, and a grand Comic Ballad is perform'd by +different Characters to _English_, _Scotch_, _Irish_ and _French_ Tunes, +which concludes the whole. + + * * * * * + +Then follows the Masque of the _Judgment of Paris_, &C. + + + _F I N I S._ + + + + + The +Rake's Progress. + + + from W. Shaw. + + The Rake's Progress. + + ("Hogarth's Series of Pictures Dramatised." P.G.P.) + + 25,997 British Museum + + + + + _The Rake's Progress_ + +_Before the Curtain--Prefaratory Address._ + + + To wake the Soul by tender strokes of Art + To raise the Genius & to mend the Heart + To make mankind in conscious virtue bold + Was Hogarth's wish while Rakewell's Tale he told, + And strongly painted in gradations nice, + The pomp of Folly, & the Shame of Vice, + Reach'd thro' the laughing Eye--the mended Mind, + And moral humour sportive art beguil'd; + The Walks of humour were his cast of style, + Which probing to the quick, yet makes us smile; + 'Twas Comedy, his natural road to fame, + (Nor let me call it by a meaner name). + Where a biginning, middle & and End + Are aptly Join'd; where parts on parts depend, + Each made for each, as Bodies for their Soul, + So as to form one true & perfect whole, + Where a plain story to the Eye is told, + Which we conceive the moment we behold; + This _we_ adopt, your Feelings to engage, + And bring his glowing Portraits on the Stage, + In action tell the workings of the mind + And paint the Various follies of Mankind, + Nor criticism the Attempt destroy, + If with pure Gold we mingle an alloy, + And his great Scenes where nature's self is shewn + Connect with trifling sketches of our own + Nor (to the moral Tale give ample Vigour) + Deny the aid of allegoric Figure; + But Vice & Virtue see this Mansion tread, + And in preludium tow'rds the Story lead, + Attentive view each action of our Rake, + And 'plaud the actor for the Painter's Sake. + + * * * * * + + _Scene 1^{st}_ + + _Enter Vice._ + +_Recitative._ Deck'd in the gaieties of thoughtless Joy + Let jocund Laughter in each orbit beam + In mirth alone I passing time Employ + Attune my Voice & Pleasure is the Theme. + The Flowery maze of Pleasure is divine + And Mortals bow at Vice's dazzling Shrine. + + Air.--From Virue's sluggish Rules be free, + Ye mortals who my Shrine adore, + Dance, Laugh & Quaff, & sing like me, + And dissipate the tasteless hour: + In frolic, pastime, Sport & Play + Revel in Joys your Lives away. + + _Enter Virtue._ + + _Recitative._ + +_Vice._ But Virtue comes!--Offends my sickening Eye! + +(Virtue touches the Scene & a Transparency of _Hogarth_ appears with a +Scrool in his hand on which is inscribed "_The Rake's Progress_.") + + And Hogarth!--Moral Painter too I see! + In dark oblivion shall thy Semblance lie, + Hogarth & Virtue're enemies to me + + (_Approaches to Destroy the Transparency._) + + _Recitative._ + + _Virtue._ Forbear, forbear--by Hogarth is pourtray'd + The Fate of those thy precepts have betray'd, + As in a Mirror's seen each impious Joy, + That Courts the Victim only to destroy. + And look--(_Vice goes off._) Appall'd Vice trembles at the Sound + In virtue only is true Pleasure found. (_Exit._) + + * * * * * + +_Before the Drop--Enter Virtue._ + + _Air. Tune, "Mary's Dream."_ + + Beware--nor lur'd by Vice's Arts, + A moment listen to her wiles, + He who from Virtue's path departs + In seas of trouble she beguiles; + This Hogarth's living pictures shew + View thoughtless man, by Vice undone, + A warning 'tis design'd for you, + Behold--& baneful pleasure Shun. (_Exit_) + + * * * * * + + _Scene 2^{nd}_ (_No Music._) + + A Loud knocking at Street Door + +Enter _Starved Maid_ O.P.--She goes across so slow that the Knocking +increases; just before she gets to the Door it is burst open by +_Rake_ (a Youth from College) follow'd by _attorney_, _Upholsterer_ & +_Clown Servant_. _Rake_ flourishes about, kicks against Closet Door, +breaks it open. (Tune "Alteration") takes Keys from thence--Opens an +Iron chest, assisted by _Clown_--_Rake_ 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; _Upholsterer_ fetches a Ladder & goes to work to take +down Tapestry. _Rake_ breaks open Bureau, throws parchments about; +seeming to look for one in particular. _Clown_ having observed the +_Lawyer_ pocke[ts] some Cash, places himself so near _Lawyer_, that he +puts the money into _Clown's_ pocket, supposing to have put it into his +own. A Knocking at the Door obliges _Clown_ to go. _Taylor_, with a Roll +of Black Cloth, is introduced by _Clown_, much ceremony between _Taylor_ +& _Clown_.--_Taylor_ proceeds & measures _Rake_. _Clown_ gets his +fingers snipp'd for interfering. The Door having been left open--Enter +_Starv'd Maid_ with wood; & goes to the Fireplace; _Clown_ then looking +at _Upholsterer_ at Work, the money from the raftor falls into _Clown's_ +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. _Mother & Daughter_, at sight of whom +_Rake_ stands aghast.--Girl approaches him. _Rake_ turns from her--She +retreats in Tears--_Mother_ enraged shews Letters--_Girl_ shews a +Ring--_Rake_ takes a handful of Guineas, offers _mother_--who rejects +them, striking his hand, scatters them on the Ground; _Lawyer_ Turns +_Mother & Daughter_ out, placing _Clown_ with his back against the Door. +_Rake_ in great agitation, walks about, _Taylor_ following him to finish +measuring him: Lawyer picking up the money & pocketing some.--_Clown_ +points to _Rake_--who, on seeing _Lawyer_ at it, takes Rolls of +Parchment & beats _Lawyer_ about the Head--upon which _Clown_ takes the +Roll of Black Cloth & knocks it about _Taylor's_ head, _Taylor_ resists, +_Upholsterer_ on his Ladder Laughs--The Scuffle increases, in which they +knock down the Ladder, _Upholsterer_ falls--_Rake_ & _Clown_ turn them +all out. + + * * * * * + + _Scene 3^{d}_ + + _Enter Mother & Daughter_ + + _Duett_--Tune--"An Old Woman Cloathed in Grey." + + _Mother._ His Vows, ah! Why did'st thou believe? + He ne'er meant a promise to keep, + He talk'd but of Love to decieve, + Then Leave plunder'd Virtue to weep. + Yet Tears my Sad Chidings disarm, + For thy fault Pity pleadingly moves + In her Bosom Affection Shall warm + The Daughter she tenderly loves. + + _Daughter._ Dear Parent, oh! Cease to complain + And heedfully hear thy lost Child + Go tell the false ear of my Swain + How deeply his Vows have beguil'd;-- + Go tell him what sorrow I bear, + See yet if his heart feel my woe, + 'Tis now he must heal my despair, + Or death will make pity too slow. _Exeunt._ + + * * * * * + + _Scene 4^{th}_ + +Discovers all the _Characters_ in Waiting at Rake's Levee. _Italian_ +Singing &c--_Clown_ introduces _Van Butchel_, who displays a variety of +his Articles.--_Van Butchel_ Sings. + +Song-- See Martin dus his goods display-- + "Advice Two Guineas"--vat you say? + "Big Ben--John Hunter--Duc d'Orleans-- + "Knows vat my regulations means; + "De Gent I make of de aukward ninny, + "But first to be sure I must touch de Guinea, + "Den De Lame I vil make go dance de hay + "And de old & decripid go jump away. + + "Beware De Counterfiet if they should + "Be imitate, as are all things good-- + "On de Guinea--for to abash bad men + "I have write my name wid de author's Pen. + "They'll cure you be sure if them once you lap on + "Of all de complainings dat ever may happen, + "De blind they'll make see to go dance the Hay, + "And de Old & decripid vill jump away. + +Enter _Rakewell_ to whom they all pay Court &c + + _Medley._ + +_Poet._ To Rakewell, whose enlivening Features (Tune + Pronounce him first of happy creatures Petition + By wealth a Croesus 'self Created, _Poor Vulcan_) + This fair Epistle's Dedicated + +_Dance^{g} Mas^{r}_ Look! Look! Look! (Spoke.) + With my tun'd little Kit (Tune + Every fancy I hit + And merrily prance it _Black Joke_.) + And caper & Dance it + With Ease, Elegance & Grace + +_Fenc.^{g} Mas^{r}_ Ha! ha!--there I had him + Carte & Fierce my Blade (Tune + La! La!--there I bled him-- + Damme!--See, he's dead. _Stoney Batter_.) + Tol lol lol do + +_Van But_: Since 'mong your Friends I have gain'd me a place + All who Gallows her vant, vy, I'll presently trace + Not you (_to Bully_) for the Gallows is mark in your Face + Vish you can't deny. + (Tune _Tyburn Tree_) + +_Bully._ You Reptile! Scoundrel! Death! Damnation! (Tune + Say that again, & by my Soul Finale +_Gard.^{n.}_ My Garden plan I here unroll 1^{st} act +_Bully._ I'll crush to atoms--Damme, Sirrah! _Poor Volcan_) +_French.^{n.}_ While the Horn shall sound Ta, ran, tan, (Hunting + ta ra Chorus +_Jockey_. And Whip & Spur wins you the Bowl.-- _Poor Vulcan_) + + _Chorus._ Tune--"Ballance a Straw" + +_To Rake._-- In us, noble Sir, your best Friends you behold +_To each other_ Who will smile in your Face while we pocket your Gold +_To Rake._-- We'll write, -Sing, -Fence, Dance, Fight, Run, + hunt,--all for thee +(To each Other And plunder him fast as we can agree. +Shaking +hands.--) + + _Exeunt._ + + * * * * * + + _Scene 5^{th}_ + +_Link Boys &c &c. The Characters in next Scene to pass from_ P.S. to +O.P. + +_Rakewell_--Well--but not full dup'd--_Chairmen_ take great notice of +him bowing very low &c--_Clown_--loiters behind--seems well acquainted +with _Constables_--_Chairmen Girls_ &c. _Clown_ treats _Constables_ with +Beer & while drinking with them has his pocket picked.--During the Whole +Scene the following Catch is Sung. + +_Catch._--"See Bob, See, the play is done." + + * * * * * + + _Scene 6^{th}_ + + _Some Ladies discoverd--One President._ + +_Rake_: Enters they all get up & greet him, some kiss him (a _Black Girl +& waiter_ on)--After much Ceremony they sit Other _Ladies & Gentlemen_ +Enter--When all are Seated + +_Omnes._ A Song! A Song!-- (NB: Plenty of Bottles & + _Glasses on_.--) + + _Ladies Sing a Duett._ + +_Rake_: Drinks freely during the Duett--When Ended + +_Omnes._ Bravo! Bravo! + +_Rake._ Continues drinking freely--the actor must let his intoxication +gradually increase. They all Sing. + +_a Catch._ Ladies & Gentlemen, Silence, + Tomorrow night this play again + I say no more--Encore--Encore + +during the Catch--_Ballad Singer_ Enters & Joins them, Singing--"I say +no more" &c--The Catch Ended the Scene Closes. + + * * * * * + + _Scene 7^{th}_ + + _Enter Bailiff & Follower._ + + _Song, Bailiff._ + + Tim Touch behold, as smart a Blade + As ere a writ expos'd to view + Who so genteely knows my Trade + That I nabs my man, with a "How do you do"? + A Lodging Strong vil soon procure + A Cage vere each may chaunt his lay, + From rambling keep your Rake Secure, + Because I has such a taking Vay. + + (2.) + + E'en Ma'am, so proud of grand Parade + Who at the Race-course makes her Bett + Or runs to Ball & Masquerade + 'Till she runs herself o'er Ears in debt + Tho 'my devoirs don't please her much, + We meet, I every art essay + She's mine by a Necromantic touch + Because I has such a taking Vay. + + (3.) + + Box-lobby Loungers to my will + Obedient Yield, I change their Song + From bullying Bass to Treble Shrill + E'en Dammes tremble on their Tongue; + I mimicry too; practice much, + In taking off great Art display + I'm quite at home by a single touch, + Because I has such a taking Vay. (_They Retire._) + +Enter _Sarah Young_ & her _Servant Girl_, with a Box--on which is +written "Sarah Young"--_Bailiffs_, come forward, look pryingly +about--The Chair comes on P.S. _Bailiff_ stops _Rake_ and arrests +him,--_Boy_ Steals his Cane--_Sarah Young_ pays the money for _Rake_, he +kisses her hand, returns into Chair & is carried back: She goes off O.P. +supported by her _Girl_; having left the Contents of her Box on the +Ground--The Shoe-Boy is picking them up, when _Clown_ Enters, who reads, +& recollects the name, disputes with _Boy_ about the Contents of the +Box, & seeing his Master's Cane claims it--a Scuffle ensues.--Whenever +_Clown_ attempts to Strike _Boy_--_Boy_ throws his Stool in _Clown's_ +way over which he breaks his Shins--_Clown_ has already a great Leak in +his Hat, & finding a Muff in the Box, wears it, & apes the _Welchman_ +who is going to Court. + + * * * * * + + _Scene 8^{th}_ + + _Bells Ringing--Marrow Bones & Cleavers &c &c_ + +_Rake & Old Woman._ Richly dress'd coming from Church. _Men Servants_ in +Rich Liveries--_Clown._--_old Lady's maid Serv^{t.}_ &c all in +favours.--_Parish Clerk_ Bows very low--_Old Lady_ Stops & makes him a +present--_Marrow Bones & Cleavers_ beg of _Rake_ who throws money on the +Ground, they Scramble for it. Company go off.--Tune during the Whole +time--"Mind the Golden Rule." _Sarah Young_, on coming out of Church, +faints against a Monument: Recovers to see them go off--Looks after +them.--pause--Sings + + _Air.--Tune--"Mary's Lamentation."_ + + I sigh, I lament me in vain + The Chill wind Re-echo's my moan; + Alas, what can equal my pain-- + When I think that for ever he's gone. + + My Eyes, when they're raised above, + View Birds as they wanton in Air + Sweet Birds!--Ye are coupled by Love + I weep & I sink in despair. + + Tho' Affection be all turn'd to hate + And that Hate be the Sum of my woes + My fears will arrise for his Fate, + I cannot divest me of those. + + Base Man! know in Ages to come, + Thy falsehood detested Shall be + And when I am Cold in my tomb + Some Heart still shall sorrow for me. (_Bell Tolls._) + + What Visions now crowd on my Sight! + White Rob'd--with Eyes bent on the ground! + Ah! me--'tis a Funeral Rite-- + I hear the deep Bell's solemn sound. + + It tells me my Sorrows will close, + On Care's softest pillow all lye + The Grave will extinguish my woes + Then Sarah--prepare thee to die! + + (_Exit._) + + * * * * * + + _Scene 9^{th}_ + +_Servants_ attending--Enter _Rake_ follow'd by _Clown_, who is +ridiculously dress'd--_Rake_ gives Orders to _Servants_ and +Exit--_Clown_ follows a little way--then conceitedly returns & Sings to +Servants. + + _Song. Clown._ + + Quite a Clod I came up my Shoes tied with a thong, + Lookd foolish--quite mulish I trudg'd it along, + And gaz'd like an Oaf at the wonderful throng, + That here so gay smart & brave are; + A ninny--the Twaddle--Lord quite a mere Hic + A terrible bore--quite a Thing--a Queer Stick-- + But now, I'm the tippee--the dandy--the kick-- + "Look here--here again--here again--here" (_Spoke_) + Tol de rol, de rol, la rol lol, la rol, lal la + Oh, Damme! I'm devilish clever. + + (2.) + + For Band Regulations to Butchells I pop + My ankles just hid by a Natty Boot-top, + Pig-tails are a Bore so I mount the neat Crop + To appear the clean thing's my Endeavour + My negligent coat-cape proclaims me the Beau + Ease & Elegance always are habited so + I'm the tippee--the dandy--the kick too--heigho! + "Look here &c &c &c + + (3.) + + The Girls all admire me--each fancy I please, + To one give a leer, tip the other a Squeeze, + Blow a kiss to the Third--for you see I'm all ease + And each Whispers thanks for the favour + Boh--Damme!--an oath I so pleasantly swear + And for Duels--Bounce--Bang--let them fight me who dare + I'm the tippee--the Dandy--the Kick too--look there-- + There again &c &c-- _Exit_ + +Noise without. Enter _Porter_ with a _Washing Machine_, 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 _Women_ hold +him, while an _Irish Washerwoman_ sings the following _Song_. + + _Song Shelah O'Sudds--Tune "The Siege of Troy."_ + + Och! Mr. Acrostic I hate your big notes, + In op'ning your Mouth, why you'd stop all our Thoats; + Wid Natty Men Milliners, Och! You'd be even, + And Starve all the Fair-Sex wid Men-Washer-Women. + But leave off such Nonsense 'tis better, my Joy, + Than let Shelah O'Sudds be widout her Employ; + We'll beat all your Beat'ems but give us fair-play + While wid Elbows & Fists we lather away. + +_Chorus._ Sing Latherum, whack!--boderation, my Joy, + Let Shelah O'Sudds pray now have her employ + She'll beat all your Beat'ems but give her fair play + While wid Elbows & fists She Lather'd away. + + (2.) + + Wid your Saving & Soaping you make such a fuss, + But you save what is Ours for you steal it from us + 'Bout your Beauty & Elegance, always are teizing, + By my Soul it's too pleasant, for long to be pleasing. + So leave off &c-- + + (3.) + + To destroy our Endeavours to live is't you mean? + It's a black, dirty Job, tho' you do it so Clean + But a Wipe we must give you; agree, my dear Jewel-- + And an Irish Shilaleh shall serve as the Towel. + So leave off &c + +_Exeunt--beating him off._ + + * * * * * + + _Scene 10^{th}_ + + _One O'Clock in The Morning._ + +Two or More _Chairmen_ playing at All-fours & Singing-- + + _Catch._--"Agree, Agree, if not d'ye see." + +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 +_Gamblers_ who are in the next Scene, are to pass from P.S. to O.P. +Sculkingly. _Rake_ passes,--Stops,--pulls out his purse, shakes it, and +Shutting one Eye--Signifies he had it from his One Ey'd Wife. _Catch +Continues_--"Agree Agree" &c--Scene Closes. + + * * * * * + + _Scene 11^{th}_ + + Discovers _Gamblers_ at play. _Rake_ Seated. + +_Catch_--"Pass the Box, come pass it faster."-- + or--"Rattle Dice, Rattle."-- + +_Rake_ looses all his Cash--then his Watch--Sword Knee-Buckles +--Snuff-Box--Ring--Everything. _A Man_ 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. + + * * * * * + + _Scene 12^{th}_ + +_Red Blinds waved Sometimes Quick Down then rais'd again._ Watchmens +Rattles heard, all bustle & noise at a little Distance. Enter some +_Loosers_ with _Characters of Suspicious look_--they produce Pistols to +the Chagrin'd _Loosers_.--The _Loosers_ take the Pistols.--Tune--"Let us +take the Road."--They go off. Enter _watchmen_ with Rattles. _Beadle_, +_Mob_ with Fire Engine (_Covent Garden or Hadley._) Furniture carried +across from the Gaming Room. Enter _Fire Men_.--Hose & Pipe conveyed +across. Variety of _Characters_ alarmed by Fire. _A Boy_ carries a +Feather-bed across--he falls down--Some _Characters_ fall on it. NB: +Confusion kept up as long as Necessary. + + * * * * * + + _Scene 13^{th}_ + +_Rake_--is inhumanly dragg'd off by Bailiffs P.S. + +_Wife_ follows in great Agitation. + + _Enter Ballad-Singer_ + + A Ballad Entitled & Call'd--"The Rake's Progress"-- + + _Ballad. Tune "The Race-Horse."_ + + See the Massy Chests Open'd, with Riches replete, + Plate, Jewels, & Rent-Rolls an ample Estate; + Bonds, Mortgages, Leases long buried are found, + Lawyers Servants & Tradesmen Attending around: + While with heart quite 'Elated, cheeks glowing with health, + Discarding his love, gazing pleas'd at his wealth, + Resolv'd each dull thought in gay pleasure to drown, + The Libertine Rakewell--first starts on the Town. + + (2.) + + His Levee attended by Bully & Sot + (Plighted vows to his fair Rustic Charmer forgot) + Poets, Dancers, Musicians, his Mansion Resort; + Boxers--Jockies, & Huntsmen, his patronage Court. + And now, in a Brothel, mid nymphs void of Fame, + Whom depravity's Render'd long Callous to Shame + He squanders his Fortune to infamy meet + And the Libertine Rakewell's the Dupe of Deceit. + + (3.) + + Now poverty Steals on her victim apace + And the gripe of Stern Law calls up dread in his Face, + 'Till resolv'd to retrieve by his wants basely led [?] + He for Riches consents to deformity wed; + Then hurries to gaming to drive away thought, + Where Soon's dissipated the Wealth that she brought + For by Sharpers Surrounded--Each planning his Fall + The Libertine Rakewell's depriv'd of his all. + + (4.) + + And now in each feature we penury trace, + No longer health in his once blooming face, + Reproach in a Prison's dread gloom must he bear, + While discord & want drive the wretch to despair; + 'Till of life fully Sated, pale, meagre, oppress'd, + By Friendship forsaken, All hell in his breast; + By Suicides aid from the world he retires + And the Libertine Rakewell unpitied Expires. (_Exit_) + + * * * * * + + _Scene 14^{th}_ + +_Chymist_--Discover'd. _Tune "Welcome, Brother Debtor."_ +Enter _Goaler_ O.P. Introducing _Rake_ & _Old Wife_ He Sits P.S. +Enter _Men & Women Prisoners-OP._--_All Sing_. + + Welcome, Welcome, Brother Debtor + To this poor but merry place; + Where No Bailiff--Dun--or Setter, + Dares to shew his frightful face. + But, kind Sir, as you're a Stranger + Down your Garnish you must pay, + Or your Coat will be in Danger + You must either Strip or pay. + +_Rake_ Strips his Coat off & turns out his Breeches Pockets;--At this +Period _Financer_ drops his paper; it is picked up by another +_Prisoner_, who holds it so to Read that the audience may Read also. +"Scheme to Pay the National Debt."-- + +During the above Business--They all Sing-- + + Ne'er repine at your Confinement + For your Children or your Wife + Wisdom lies in true Resignment, + Thro' the various Scenes of life; + Every Island is a prison + Strongly guarded by the Sea + Kings & Princes for that Reason + Prisoners are as well as we. + +Tune continues; but is Slower & Slower, till render'd as Dismal as +possible. _Rake_ 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.-- + + _Enter Virtue._ + +_Recitative._ + + Thus does the baneful influence of Vice + Onward to sure destruction man Entice; + In time be warn'd--Hope liberty to see + Benevolence & Pity'll set you free. + + _Chorus of Prisoners._ + + This let the Captive's Supplication be, + May Virtue & Benevolence soon set us free, + May we taste smiling liberty & tread her happy plain + Where Virtue & Benevolence in Concord reign. + + _Recitative. Virtue._ + + Then Vice discard & follow Virtue's train + View her Retreat & join her Sacred Strain. + + _Scene Changes._ + + _Scene 15^{th}_ + +Cloud Descends: _Liberty_ 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 _Medalion_ of _The King_--over that of +_Virtue_ one of the _Queen_. + + _Aerial Chorus._ + + Tho' Beauty & wealth may Unite, + To dispell from each Bosom dull care + 'Tis in vain to expect true delight, + Unless Virtue's a Resident there. + + _Recitative. Virtue._ + + By Heav'n approv'd--by Liberty caress'd, + The Truly Virtuous are the truly bless'd. + + _Full Chorus._ + + This let the Captives &c-- + + + Finis + + * * * * * + + + + + WILLIAM ANDREWS CLARK + MEMORIAL LIBRARY + _UNIVERSITY OF CALIFORNIA, LOS ANGELES_ + + + [Illustration] + + + The Augustan Reprint Society + PUBLICATIONS IN PRINT + + + + + =The Augustan Reprint Society= + PUBLICATIONS IN PRINT + + + =1948-1950= + +16. Henry Nevil Payne, _The Fatal Jealousie_ (1673). + +18. "Of Genius," in _The Occasional Paper_, Vol. III. No. 10 (1719), and + Aaron Hill, _Preface to The Creation_ (1720). + +19. Susanna Centlivre, _The Busie Body_ (1709). + +22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two + _Rambler_ papers (1750). + +23. John Dryden, _His Majesties Declaration Defended_ (1681). + + + =1951-1953= + +26. Charles Macklin, _The Man of the World_ (1792). + +31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and + _The Eton College Manuscript_. + +41. Bernard Mandeville, _A Letter to Dion_ (1732). + + + =1964-1965= + +110. John Tutchin, _Selected Poems_ (1685-1700). + +111. _Political Justice_ (1736). + +113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698). + + + =1965-1967= + +115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_ + (1705, 1706, 1720, 1722). + +116. Charles Macklin, _The Covent Garden Theatre_ (1752). + +117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680). + +120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_ + (1740). + +124. _The Female Wits_ (1704). + + + =1968-1969= + +133. John Courtenay, _A Poetical Review of the Literary and Moral + Character of the Late Samuel Johnson_ (1786). + +136. Thomas Sheridan, _A Discourse Being Introductory to His Course of + Lectures on Elocution and the English Language_ (1759). + +137. Arthur Murphy, _The Englishman from Paris_ (1756). + + + =1969-1970= + +138. [Catherine Trotter] _Olinda's Adventures_ (1718). + +139. John Ogilvie, _An Essay on the Lyric Poetry of the Ancients_ + (1762). + +140. _A Learned Dissertation on Dumpling_ (1726) and _Pudding and + Dumpling Burnt to Pot or a Compleat Key to the Dissertation on + Dumpling_ (1727). + +141. Sir Roger L'Estrange, Selections from _The Observator_ (1681-1687). + +142. Anthony Collins, _A Discourse Concerning Ridicule and Irony In + Writing_ (1729). + +143. _A Letter From a Clergyman to His Friend, with an Account of the + Travels of Captain Lemuel Gulliver_ (1726). + +144. _The Art of Architecture, A Poem_ (1742). + + + =1970-1971= + +145-146. Thomas Shelton. _A Tutor to Tachygraphy, or Short-writing_ + (1642) and _Tachygraphy_ (1647). + +147-148. _Deformities of Dr. Samuel Johnson_ (1782). + +149. _Poeta de Tristibus: or the Poet's Complaint_ (1682). + +150. Gerard Langbaine, _Momus Triumphans: or the Plagiaries of the + English Stage_ (1687). + + + =1971-1972= + +151-152. Evan Lloyd, _The Methodist. A Poem_ (1766). + +153. _Are These Things So?_ (1740), and _The Great Man's Answer to Are + These Things So?_ (1740). + +154. Arbuthnotiana: _The Story of the St. Alb-ns Ghost_ (1712), and _A + Catalogue of Dr. Arbuthnot's Library_ (1779). + +155-156. A Selection of Emblems from Herman Hugo's _Pia Desideria_ + (1624), with English Adaptations by Francis Quarles and Edmund + Arwaker. + + + =1972-1973= + +157. William Mountfort. _The Life and Death of Doctor Faustus_ (1697). + +158. Colley Cibber, _A Letter from Mr. Cibber to Mr. Pope_ (1742). + +159. [Catherine Clive] _The Case of Mrs. Clive_ (1744). + +160. [Thomas Tryon] _A Discourse ... of Phrensie, Madness or + Distraction_ from _A Treatise of Dreams and Visions_ [1689]. + +161. Robert Blair, _The Grave. A Poem_ (1743). + +162. [Bernard Mandeville] _A Modest Defence of Publick Stews_ (1724). + + + =1973-1974= + +163. [William Rider] _An Historical and Critical Account of the Lives + and Writings of the Living Authors of Great Britain_ (1762). + +164. Thomas Edwards, _The Sonnets of Thomas Edwards_ (1765, 1780). + +165. Hildebrand Jacob, _Of the Sister Arts: An Essay_ (1734). + +166. _Poems on the Reign of William III_ [1690, 1696, 1699, 1702]. + +167. Kane O'Hara, _Midas: An English Burletta_ (1766). + +168. [Daniel Defoe] _A Short Narrative History of the Life and Actions + of His Grace John, D. of Marlborough_ (1711). + + + =1974-1975= + +169-170. Samuel Richardson, _The Apprentice's Vade-Mecum_ (1734). + +171. James Bramston, _The Man of Taste_ (1733). + +172-173. Walter Charleton, _The Ephesian Matron_ (1668). + +174. Bernard Mandeville, _The Mischiefs That Ought Justly to be + Apprehended From a Whig-Government_ (1714). + +174X. John Melton, _Astrologaster_ (1620). + + + =1975-1976= + +175. _Pamela Censured_ (1741). + +176. William Gilpin, _Dialogue upon the Gardens ... at Stowe_ (1748). + +177. James Bramston, _Art of Politicks_ (1729). + +178. James Miller, _Harlequin-Horace or the Art of Modern Poetry_ + (1731). + +179. [James Boswell] _View of the Edinburgh Theatre during the Summer + Season, 1759_ (1760). + +180. Satires on Women: Robert Gould, _Love Given O're_ (1682); Sarah + Fige, _The Female Advocate_ (1686); and Richard Ames, _The Folly of + Love_ (1691). + + +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. + +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. + + + _Make check or money order payable to_ + + THE REGENTS OF THE UNIVERSITY OF CALIFORNIA + + _and send to_ + + The William Andrews Clark Memorial Library + 2520 Cimarron Street, Los Angeles, California 90018 + + + + + Transcriber's Notes + +Passages in italics were indicated by _underscores_. + +Passages in bold were indicated by =equal signs=. + +Small caps were replaced with ALL CAPS. + +Throughout the document, the oe ligature was replaced with "oe". + +Throughout the document, the superscripted letters are preceeded by a +carot and are enclosed by curly brackets. Thus, the word "y^{e}" +represents a word where the "y" is normal and the "e" is superscripted; +and the word "1^{st}" represents a word where the "1" is normal and the +"st" is superscripted. In the ordinal numbers (e.g., 1^{st}) the +supercripted numbers where underlined by dotted lines. These dotted +lines also appeared under some other (but not all) of the superscripted +letters. + +Throughout the dialogues, there were words used to mimic accents of the +speakers. Those words were retained as-is. + +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. +Sometimes there were mismatched quotation marks, where it was less than +clear where the missing quotation marks should go. + +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. + +The acute accent for Settee was changed to Settée throughout the text. + +On the second page 1 "& and End" was replaced with "& an End". + +On the second page 5 (yes, there are two pages 5), "rake" was replaced +with "Rake". + +On the second page 5 the word "Clown" was italizied to make it it +consistent with other instances of the word. + +On the second Page 6 "PS and OP" were replaced with "P.S. and O.P." + +On the second page 8 a period was added after "coming from Church". + +On the second page 11, "SCENE 12" was replaced with "Scene 12". + +On the second page 12, the word "Mansion", which was crossed out in the +book was deleted. + + + + + + +End of the Project Gutenberg EBook of The Harlot's Progress, The Rake's +Progress, by Theophilus Cibber and Anonymous and Mary F. Klinger + +*** END OF THIS PROJECT GUTENBERG EBOOK HARLOT'S PROGRESS, RAKE'S PROGRESS *** + +***** This file should be named 38659-8.txt or 38659-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/6/5/38659/ + +Produced by Chris Curnow, Joseph Cooper, Ernest Schaal and +the Online Distributed Proofreading Team at +https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/38659-8.zip b/38659-8.zip Binary files differnew file mode 100644 index 0000000..a539444 --- /dev/null +++ b/38659-8.zip diff --git a/38659-h.zip b/38659-h.zip Binary files differnew file mode 100644 index 0000000..c124f31 --- /dev/null +++ b/38659-h.zip diff --git a/38659-h/38659-h.htm b/38659-h/38659-h.htm new file mode 100644 index 0000000..e9672d6 --- /dev/null +++ b/38659-h/38659-h.htm @@ -0,0 +1,3144 @@ + +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of The Harlot's Progress and the Rake's Progress, by Theophilus Cibber. + </title> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; + } + +h1 { + margin-top: 7%; + text-indent: 0%; + text-align: center; + clear: both; +} + +h2 { + margin-top: 4%; + text-indent: 0%; + text-align: center; + clear: both; +} + +h3, h4 { + text-indent: 0%; + text-align: center; + clear: both; +} + +/* paragraphs */ + +p { + margin-top: 3%; + margin-bottom: 3%; + text-align: justify; +} /* general paragraph */ + +p.h2a { + text-indent: 0%; + text-align: center; + font-size: 150%; + font-weight: bold; +} /* h2 type without top margin */ + +p.h3 { + margin-top: 7%; + text-indent: 0%; + text-align: center; + font-size: 100%; + font-weight: bold; +} + +p.cnobmargin { + text-align: center; + margin-bottom: .0%; +} /* centered no bottom margin */ + +p.cnomargins { + text-align: center; + margin-bottom: .0%; + margin-top: .0%; +} /* centered no bottom or top margin */ + +p.cnotmargin { + text-align: center; + margin-top: .0%; +} /* centered no top margin */ + +p.indent { + text-indent: 4%; +} /* indented paragraph */ + +p.hangindent { + margin-left: 12%; + margin-right: 4%; + text-indent: -8%; +} /* hanging indentation */ + +/* horizontal rules */ + +hr { + width: 33%; + margin-top: 8%; + margin-bottom: 8%; + margin-left: auto; + margin-right: auto; + clear: both; +} + +.hrsm { + width: 25%; + margin-top: 4%; + margin-bottom: 4%; + margin-left: auto; + margin-right: auto; + clear: both; +} + +.hr2 +{ + width: 90%; + max-width: 90%; + color: #CCCCCC; + background-color: #FFFFFF; + border: none; + border-bottom: 6px double black; + margin: 8% auto; +} /* horizontal rule for chapter divisions */ + +/* tables */ + +table { + margin-left: auto; + margin-right: auto; +} + +.tdr {text-align: right;} /* right align cell */ + +.tdl {text-align: left;} /* left align cell */ + +.pagenum { + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; +} /* page numbers */ + +/* block quotes and notes */ +.blockquot { + margin-left: 10%; + margin-right: 10%; +} + +.sidenote { + width: 20%; + padding-bottom: .5em; + padding-top: .5em; + padding-left: .5em; + padding-right: .5em; + margin-left: 4%; + float: right; + clear: right; + margin-top: 4%; + font-size: smaller; + color: black; + background: #eeeeee; + border: dashed 1px; +} + +/* Formatting */ + +.center { + text-indent: 0%; + text-align: center; +} + +.right {text-align: right;} + +.smcap {font-variant: small-caps;} + +.caption {font-weight: bold;} + +/* Links attributes */ + +a:link { color:#000000; text-decoration: none; border-bottom: 1px dashed #808080;} + +a:visited { color:#25383C; text-decoration: none; border-bottom: 1px dashed #808080;} + +a:hover { color:#008000; text-decoration: none; border-bottom: 1px dashed #808080;} + +a:active { color:#000000; text-decoration: none; border-bottom: 1px dashed #808080;} + +ins {text-decoration: none; border-bottom: 1px dashed #dcdcdc;} + +/* Images */ + +img { + padding: 6px; +} /* without border */ + +.figcenter { + margin: auto; + text-align: center; +} + +/* Footnotes */ + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +/* Poetry */ +.poem { + margin-left:10%; + margin-right:10%; + text-align: left; +} + +.poem .stanza {margin: 4% 0% 4% 0%;} + +.poem span.i0 { + display: block; + margin-left: 0%; + padding-left: 12%; + text-indent: -12%; +} + +.poem span.i2 { + display: block; + margin-left: 8%; + padding-left: 12%; + text-indent: -12%; +} + +.poem span.i4 { + display: block; + margin-left: 16%; + padding-left: 12%; + text-indent: -12%; +} + +/* Other */ +span.ralign { + position: absolute; + right: 10%; + top: auto; +} + +sup { border-bottom: 1px dotted;} + +div.tnote { + border-style: dotted; + margin-left: 10%; + margin-right: 10%; + padding: 1%; + font-style: normal; + text-align: justify; +} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Harlot's Progress, The Rake's Progress, by +Theophilus Cibber and Anonymous and Mary F. 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. Klinger + +*** END OF THIS PROJECT GUTENBERG EBOOK HARLOT'S PROGRESS, RAKE'S PROGRESS *** + +***** This file should be named 38659-h.htm or 38659-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/6/5/38659/ + +Produced by Chris Curnow, Joseph Cooper, Ernest Schaal and +the Online Distributed Proofreading Team at +https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> + diff --git a/38659-h/images/logo.png b/38659-h/images/logo.png Binary files differnew file mode 100644 index 0000000..a0fec38 --- /dev/null +++ b/38659-h/images/logo.png diff --git a/38659.txt b/38659.txt new file mode 100644 index 0000000..7b92607 --- /dev/null +++ b/38659.txt @@ -0,0 +1,2380 @@ +The Project Gutenberg EBook of The Harlot's Progress, The Rake's Progress, by +Theophilus Cibber and Anonymous and Mary F. 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: ASCII + +*** 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 + + + + + + + + + + THE AUGUSTAN REPRINT SOCIETY + + _THE_ + HARLOT'S PROGRESS + + THEOPHILUS CIBBER + (_1733_) + + _and_ + + _THE_ + RAKE'S PROGRESS + + (_MS., Ca. 1778-1780_) + + + _Introduction by_ + MARY F. KLINGER + + + PUBLICATION NUMBER _181_ + WILLIAM ANDREWS CLARK MEMORIAL LIBRARY + UNIVERSITY OF CALIFORNIA, LOS ANGELES + _1977_ + + + + + GENERAL EDITORS + William E. Conway, William Andrews Clark Memorial Library + George Robert Guffey, University of California, Los Angeles + Maximillian E. Novak, University of California, Los Angeles + David Stuart Rodes, University of California, Los Angeles + + + ADVISORY EDITORS + James L. Clifford, Columbia University + Ralph Cohen, University of Virginia + Vinton A. Dearing, University of California, Los Angeles + Arthur Friedman, University of Chicago + Louis A. Landa, Princeton University + Earl Miner, Princeton University + Samuel H. Monk, University of Minnesota + Everett T. Moore, University of California, Los Angeles + Lawrence Clark Powell, William Andrews Clark Memorial Library + James Sutherland, University College, London + H. T. Swedenberg, Jr., University of California, Los Angeles + Robert Vosper, William Andrews Clark Memorial Library + + + CORRESPONDING SECRETARY + Beverly J. Onley, William Andrews Clark Memorial Library + + + EDITORIAL ASSISTANT + Frances M. Reed, University of California, Los Angeles + + + + + INTRODUCTION + + +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 (_The +Clandestine Marriage_, 1766), burletta with _tableau vivant_ (_Ut +Pictura Poesis!_ 1789), specialty act (_A Modern Midnight Conversation_, +1742), cantata (_The Roast Beef of Old England_, ca. 1759), ballad opera +(_The Decoy_),[1] pantomime (_The Jew Decoy'd_ and _The Harlot's +Progress_, 1733), and a morality ballad opera (_The Rake's Progress_, +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 _THE HARLOT'S PROGRESS_; or The +Ridotto Al'Fresco," was first published 31 March 1733 for its Drury Lane +debut as an afterpiece.[2] 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.[3] + +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,[4] 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.[5] 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."[6] These dramas add visual and +musical insights to literary concerns of the time. + +In "A Harlot's Progress" (1732) Hogarth's six prints recount a few years +in the young life of "M. Hackabout" from 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 +_The Harlot's Progress_ 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.[7] 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 _The +Harlot's Progress_ has been treated as pantomime, Fiske considers it a +"mixture of masque, ballad opera and pantomime."[8] 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."[9] 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 _The Harlot's +Progress_ (p. 12). + +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. + +The "Keeper" forces her and other women to beat hemp, but the blocks +suddenly disappear; in their stead appear her 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.[10] + +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).[11] 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." + +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. + +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.[12] 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 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 _Harlot's Progress_: "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."[13] This theatrical quarrel created much public discussion in +the first decade of the century (_LS_, 3, 1, "Introduction," _passim_). +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 (_HGW_, I, 156-7).[14] _The Harlot's +Progress_ 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. + +Hogarth's eight prints of "A Rake's Progress" of 1735[15] 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 _The +Rake's Progress_, 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.[16] 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.[17] The +piece was not performed. + +Like the Cibber work, the text consists of stage directions 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. + +_The Rake's Progress_ 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." + +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 +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^{e} Debts of y^{e} 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). + +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 _Poor Vulcan!_ by Charles Dibdin, which +premiered in February 1778 (_LS_, 5, I, 109). Basically, Hogarth's eight +prints of 1735 are transformed in part into a series of _tableaux +vivants_ which served, with variations, in the late 1770's as strong +visual reminders for an audience already familiar with the original +pictorial sequence. + +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 _The Beggar's Opera_. 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. + +The drama closely follows the series for the rake's levee, where +professionals "pay Court" to Rakewell. A new character, "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. + +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." + +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. + +_The Rake's Progress_ 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. + +Although _The Rake's Progress_ purports to imitate Hogarth's "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. + +Clearly Theophilus Cibber's comical, lyrical exploitation in _The +Harlot's Progress_ of Hogarth's designs exhibits a more coherent +dramatic structure than the tentative, disjointed medley of music and +moralism in _The Rake's Progress_. 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 +_The Rake's Progress_ 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. + + + THE TUNES + +_The Harlot's Progress_ and _The Rake's Progress_ 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 _The Beggar's +Opera_. In _The Harlot's Progress_, the six "Airs" come from varied +sources, with new lyrics by Theophilus Cibber. Of the approximately 24 +unnumbered tunes and catches in _The Rake's Progress_, 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 various professionals who +compete for his money. The most important tunes are those from _Poor +Vulcan!_ the burletta by Charles Dibdin (February 1778), supporting my +1778-1780 date for _The Rake's Progress_ manuscript. + +The sources used to trace the musical airs include Claude Simpson's _The +British Broadside Ballad and Its Music_ (New Brunswick: Rutgers +University Press, 1966); Minnie Sears' _Song Index_ (and _Supplement_) +(New York: Wilson Company, 1926 and 1934); Edythe N. Backus: _Catalogue +of Music Printed Before 1801_ (San Marino, Cal.: The Huntington Library, +1949), and William Barclay Squire, "An Index of Tunes in the +Ballad-Operas," _The Musical Antiquary_, II (October 1910), 1-17.[18] +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."[19] The catches +in _The Rake's Progress_ are not traceable. The numbering for songs in +_The Rake's Progress_ 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.[20] + + + THE HARLOT'S PROGRESS + +_Air I_: "What tho I am a Country Lass" is an eighteenth century ballad + by Martin Parker printed in _Orpheus Calendonius; or, A Collection + of Scots Songs Set to Music by W[illiam] Thomson_, 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 _The Devil to + Pay_ 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 _The + Harlot's Progress_, 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. + +_Air II_: "Brisk Tom and Jolly Kate" is Air IX of Lacy Ryan's _The + Cobler's Opera_ (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). + +_Air III_: "Maggy Lawther" is a tune used by Theophilus Cibber (Air IX) + in _Patie and Peggy ... A Scotch Ballad Opera_ (London 1730), p. 10. + +_Air IV_: "Oh! what Pleasures will abound" is Air VII of Henry + Fielding's _The Lottery_ (London 1732). Johann Pepusch composed the + music for this air in collaboration with Lewis Theobald for the + pantomime opera _Perseus and Andromeda_ (1730). Fielding's name for + the tune was "In Perseus and Andromeda." + +_Air V_: "Lads a Dunce." The music is preserved in British Library Add. + MS. 29371, fol. 30a, no. 45, and printed in Fielding's _The + Grub-Street Opera_ as Air II (ed. Edgar V. Roberts, Lincoln: + University of Nebraska Press, 1968), p. 92. Its composer is not + known. + +_Air VI_: "Maidens fresh as a Rose" appears as Air VI in Ebenezer + Forrest's ballad opera _Momus turn'd fabulist; or, Vulcan's + Wedding_, 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 _Wit + and Mirth: or, Pills to Purge Melancholy_ (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). + + + THE RAKE'S PROGRESS + +_Airs I-III_ are not traceable ("From Virue's sluggish Rules be free," + "Mary's Dream" and "Alteration"). + +_Air IV_: "Duett" to the tune "An Old Woman Cloathed in Gray" is the + familiar first tune of John Gay's _The Beggar's Opera_, ed. Edgar V. + Roberts (Lincoln: University of Nebraska Press, 1969), pp. 94-95. + +_Air V_: 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 _Don Quixote in England_ (1733). + Simpson (p. 454) gives one example in dialect: "By Creist my dear + Morish vat makes de sho'shad" (ca. 1689). + +_Air VI_: "Shelah O'Sudds" (to the tune "The Siege of Troy") is not + traceable. + +_Air VII_: "Medley. Tune, 'Petition Poor Vulcan'" is from Charles + Dibdin's burletta _Poor Vulcan!_ (London 1778) which begins: "The + humble prayer and petition/Of Vulcan, who his sad condition" (I, 1, + p. 7). + +_Air VIII_: "Tune. Hunting Chorus, 'Poor Vulcan'" is the "Chorus and + Air" from Dibdin's _Poor Vulcan!_ It begins: "Blacksmith: 'Strike, + strike, ton, ton ton, ron'/Huntsman: 'Sound, Sound, tan, ran, ran, + tan'" (I, ii, p. 10). + +_Air IX_: "Tune: 'Finale 1st act _Poor Vulcan!_'" seems to be the song + "Pike; 'Pooltroon! Damnation! Zounds, unhand me;/ Either you + villain, eat that word,'" (_Poor Vulcan!_ I, p. 23). + +_Air X_: "Medley. Tune, 'Black Joke'" is Leveridge's song of 1730. See + E. V. Roberts, ed. Henry Fielding, _The Grub-Street Opera_ (p. 105) + and Charles Wood's _The Author's Farce_ (Lincoln: University of + Nebraska Press, 1966), p. 116. + +_Air XI_: "Welcome, Brother Debtor" appears in many eighteenth-century + song collections, including Henry Roberts' _Calliope; or, English + Harmony, a collection of ... English and Scots tunes_ (London, + 1739-1749), p. 315. + +_Airs XII_, _XIII_ _and XIV_ are not traceable. ("Medley tunes 'Stoney + Batter,' 'Tyburn Tree,' and 'Ballance a Straw.'") + +_Air XV_: "Bailiff's Song" has no tune and is not traceable. + +_Air XVI_: "Mind the Golden Rule" is not identifiable. + +_Air XVII_: "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 _Crown Garland of + Roses_ (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 _Select Collection_ of 1779 (III, No. 71). + +_Air XVIII_: The "Clown's Song" seems to have been specially composed + for this work. + +_Air XIX_: "Tune: 'Let us take the Road'" is the famous "March in + Rinaldo" by Handel. See Air XX, _The Beggar's Opera_ (Act II, ed. + Roberts, pp. 130-131). + +_Air XX_: "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 _Choice New + Songs_ (1684) and appears as an untitled air in Kane O'Hara's comic + opera _Midas_ (1764; ARS 167). It is also called "Newmarket," or + "Newmarket Horse Race," Air XXII of the 1730 and 1750 versions of + Fielding's _The Author's Farce_. The music is printed in Woods's + edition of _The Author's Farce_, p. 133. + +California State University +Northridge + + + + + NOTES TO THE INTRODUCTION + + +[1]: There are at least three dramatic pieces other than the _Theophilus + Cibber_ work reprinted here which were inspired by William Hogarth's + "A Harlot's Progress." Ronald Paulson reports one announced in the + _Daily Advertiser_ (13 November 1732) by Charlotte Charke entitled + _The Harlot_. It had been printed by Curll; but there is no record + of performance (_Hogarth: His Life, Art, and Times_, I, London and + New Haven: Yale University Press, 1971, p. 290). Paulson also + mentions the publication announcement in the _Daily Advertiser_ (5 + February 1732/3) of: "_The Decoy_, or _The Harlot's Progress_ (on + February 14 called _The Jew Decoy'd_), a new ballad opera, said to + be performed at Goodman's Fields" (p. 290). _The Jew Decoy'd_, a + work never performed and discussed at length by Robert E. Moore + (_Hogarth's Literary Relationships_, Minneapolis: University of + Minnesota Press, 1948, pp. 34-36) as being published in 1733, is a + different piece than _The Decoy; or, The Harlot's Progress, A New + Ballad Opera_ [By Henry Potter] (_The London Stage_, ed. Arthur + Scouten, Part 3, Vol. I, Carbondale: Southern Illinois University + Press, 1962-68, pp. 269-270, abbreviated in later citations as + "_LS_" followed by part, volume and page number.) The title page of + Potter's piece reads: "_The Decoy. An Opera. As it is Acted at the + New Theatre in Goodman's Fields_. 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 _The Beggar's Opera_, 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 (_LS_, 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" (_LS_ 3, I, 270). Hogarth had advertised the + subscription for "A Harlot's Progress" as early as 8 March 1731. + (See Ronald Paulson, _Hogarth's Graphic Works_, I, Rev. Ed., New + Haven and London: Yale University Press, 1970, p. 141. Citations in + my text are abbreviated _HGW_ followed by volume and page number.) + This piece appears in Baker's _Biographia Dramatica_ (Vol. II, p. + 157) without comment, while he lists "_The Jew Decoy'd; or The + Progress of an Harlot_," 8vo. 1733 "as never being performed, but + founded on the Hogarth series." _The Jew Decoy'd_ 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 _Hogarth's Graphic Works_. + +[2]: 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). Yale University has a + photostat facsimile of the Boston Public Library edition. I thank + David Rodes for looking at the British Library copy. + +[3]: 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 "_The Rake's Progress_: A New + Dramatic Version of William Hogarth's Prints," in _Notes and + Queries_ (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 (_HGW_, I, + 188). Cibber himself played an active role in the creation of the + position of stage manager or "under-manager" (_LS_, 3, I, xcvi). + +[4]: See my essay concerning such connections, in "William Hogarth and + London Theatrical Life," _Studies in Eighteenth Century Culture, + Vol. 5_, ed. R. Rosbottom (Madison: University of Wisconsin Press, + 1975), 11-31. + +[5]: See my "Music and Theatre in Hogarth," The _Musical Quarterly_, 57 + (July 1971), 409-426. + +[6]: "Some Aspects of Music and Literature," repr. _Facets of the + Enlightenment_ (Berkeley: University of California Press, 1968), + p. 92. + +[7]: See "The Tunes" at end of Introduction. + +[8]: _English Theatre Music in the Eighteenth Century_ (London: Oxford + University Press, 1973), p. 108. + +[9]: "The Popularity of Various Types of Entertainment at Lincoln's Inn + Fields and Covent Garden Theatres, 1720-1733," _Theatre Notebook_, + XXIV: 4 (Summer 1970), 156. + +[10]: The complete title is "_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_," 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 _The London Stage_ entry for 31 + March 1733 reads: "John Banks's _The Albion Queens_ ... Also _The + Harlot's Progress; or, the Triumph of Beauty_" (_LS_, 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 _The + Harlot's Progress_ is Weaver's piece (p. 12). + +[11]: Paulson (_HGW_, 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. + +[12]: 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 _LS_, 3, I, xxxix). Cibber's + _The Harlot's Progress_ 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 _LS_, 3, I, 304). It + played as an afterpiece to such works as _Cato_ and _The Provok'd + Husband_, and on 26 April a playbill announced the "Royal Family + expected to attend" (_LS_, 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 (_LS_, 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" (_LS_, 3, I, 321). On 27 + October 1733 it had a command performance at Drury Lane (_LS_, 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 + _The Conscious Lovers_ and _The Harlot's Progress_. The cast list is + the same as that in the text reprinted here (_LS_, 3, I, 390). The + successful run continued through October 1734; after that it was + only played a couple of times before the 1736 season (_LS_, 3, I, + _passim_). 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" (_LS_, 3, + I, xcvi). + +[13]: "A Letter from Theo. Cibber, Comedian, To John Highmore, Esq." + (London 1733). + +[14]: 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, _Some Account of the English Stage from + the Restoration in 1660 to 1830_, III, Bath: 1832, pp. 415-416, + Richard H. Barker, _Mr. Cibber of Drury Lane_ (New York: Columbia + University Press, 1939), pp. 168-171, and Arthur Scouten, _LS_, 3, + I, lxxxix-xciii. + +[15]: For exposition of the eight prints of "A Rake's Progress" (1735) + see Paulson's _HGW_, I, 158-170. The subscription was announced in + late 1733, but the paintings were not completed until mid-1734. + +[16]: Esther K. Sheldon, _Thomas Sheridan of Smock-Alley_ (Princeton, + N.J.: Princeton University Press, 1967), pp. 284-285, and Raymond C. + Rhodes, _Harlequin Sheridan: The Man and the Legend_ (Oxford: B. + Blackwell, 1933), p. 79. + +[17]: Sheldon, p. 301. + +[18]: 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. + +[19]: "Mr. Seedo's London Career and His Work with Henry Fielding," + _Philological Quarterly, XLV_ (January 1966), 185 and 189. + +[20]: See Bronson's article (above, n. 6) _passim_, where he mentions + many of the songbooks. + + + + + BIBLIOGRAPHICAL NOTE + + +The facsimile of _The Harlot's Progress_ (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. _The Rake's Progress_ (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. + + + + + THE + HARLOT'S PROGRESS; + OR, THE + _RIDOTTO AL' FRESCO_: + + + A + Grotesque Pantomime Entertainment. + + + As it is perform'd by his Majesty's Company of Comedians + AT THE + THEATRE-ROYAL in _Drury-Lane_. + + Compos'd by Mr. _Theophilus Cibber_, Comedian. + + The SONGS made (to old Ballad Tunes) by a Friend. + + + Printed for the Benefit of _Richard Cross_ the Prompter; + and Sold at the Theatre. 1733. [Price Six Pence.] + + + + + THIS + ENTERTAINMENT + + Is Dedicated to the Ingenious + Mr. _H O G A R T H_, + + (On Whose + Celebrated Designs it is Plan'd,) + + _By his Well-wisher,_ + _and obliged_ + _Humble Servant_, + + Theo. Cibber. + +_Saturday, March_ +_31st, 1733._ + + + + +Persons in the Harlot's Progress. + + Harlequin, Mr. _Le Brun_. + Beau _Mordecai_, Mr. _Stoppelaer_. + Old Debauchee, Mr. _Berry_. + Justice _Mittimus_, Mr. _Mullart_. + Mons. _Poudre_, Mr. _Oates_. + Constable, Mr. _Jones_. + Keeper, Mr. _Burnet_. + Porter, Mr. _Peploe_. + _Pompey_, Y. _Grace_. + Beadles, {Mr. _Gray_. + {Mr. _Wright_. + Miss _Kitty_, Miss _Raftor_. + Madam _Decoy_, Mrs. _Mullart_. + _Jenny_, Mrs. _Grace_. + Bess _Brindle_, Mr. _Leigh_. + + +Persons in the _Ridotto al' Fresco_. + +_Les Capricieux_ by Mr. _Essex_ and Miss _Robinson_. +The _Hungarians_ by Mr. _Houghton_ and Mrs. _Walter_. +The _Fingalians_ by Mr. _Lally_ Sen. and Miss _Mears_. +_Scaramouch_, _Pierot_, and _Mezetin_ by Mr. _Lally_, Junior, Mr. + _Tench_, and Mr. _Stoppelaer_. +Ladies of Pleasure by Miss _Mann_, Miss _Atherton_ and Miss _Price_. +The Marquis _de Fresco_ by Monsieur _Arlequin en Chien_. + + + + + THE + HARLOT'S PROGRESS; + OR, THE + _RIDOTTO AL' FRESCO_: + + +AFTER the Overture, the Curtain rises;--the Scene represents an Inn; The +Bawd, the Country Girl, the _Debauchee_ and the Pimp, all rang'd as they +are in the _first Print_.--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. + + + AIR I. What tho' I am a Country Lass. + + _Let Country Damsels plainly nice, + In Home-spun Russet go, Sir; + While, Frolick we, chearful as wise, + More pleasing Transports know, Sir. + They dull and coy, + Refuse the Joy, + All bashful void of Skill-a: + We gay and free + To each fond He + Yield up our selves at Will-a._ + + _At last our Youth and Charms decay'd, + Like old experienc'd Sinners, + We follow the procuring Trade, + And train up young Beginners. + Thus ample Gains, + Reward our Pains; + Then mock not our Profession, + Like Courtiers we, + Secure the Fee, + And laugh at the Transgression._ + +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 _Debauchee_ comes forward, who seems to be enamour'd with +the Girl; the Pimp assures him he can procure her for him, upon which +the _Debauchee_ seems rejoic'd and sings in Praise of Women and Wine. + + + AIR II. _Brisk_ Tom _and Jolly_ Kate. + + _Brisk Wine and Women are, + The Sum of all our Joy; + A Brimmer softens every Care, + And Beauty ne'er can cloy: + Then let us Drink and Love, + While still our Hearts are gay, + Women and Wine, by turns shall prove, + Our Blessings Night and Day._ + +After the Song he follows her--the Pimp struts about and sings. + + + AIR III. _Maggy Lawther._ + + _Pimping is a Science, Sir, + The only Mode and Fashion, + To Virtue bids Defiance, Sir, + 'Tis the Glory of the Nation. + In City, Country, or in Court, + It is the Coup d'Grace, Sir; + If you your Patron's Vice support, + You need not fear a Place, Sir._ + + _The Lawyer pimps to gain a Coif, + While Porters pimp for Hire; + Kind_ Betty _serves his Worship's Wife, + The Page pimps for the Squire, + 'Tis pimping gains a large Estate, + Makes Valets wear their Swords, Sir, + For Pimps oft look as big and great, + As any Duke or Lord, Sir._ + +After the Song he follows the Debauchee.--The Scene changes to the +Street; the Debauchee having found Harlequin in Company with Miss +_Kitty_, turns her out of Doors, and the Pimp kicks out Harlequin; +_Kitty_ 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, _&c_. At length he resolves to follow her, +and determines to dress himself like a smart _Cadet_, 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 _Mordecai_ has provided for +_Kitty_, whom he has just taken into high Keeping. (This Scene is taken +from _the Second Print_) she is discovered lolling upon a _Settee_, +attended by her Maid and Black-Boy, admiring the Grandeur of which she +is possess'd, and then sings. + + + AIR IV. Oh! what Pleasures will abound. + + _Who wou'd not a Mistress be, + Kept in Splendor thus like me? + Deckt in golden rich Array, + Sparkling at each Ball and Play! + Gaily toying, + Sweets enjoying + Foreign to that thing a Wife, + Flirting, flaunting, + Jilting, jaunting, + Oh the Charming happy Life!_ + +After the Song Harlequin creeps from under her Toilet, in the Habit of +the _Cadet_, and courts Miss _Kitty_; she appears Coy at first, but at +length yields to him.--Then sings. + + + AIR V. _Lad's a Dunce._ + + _Thus finely set out, + I'll make such a Rout, + And top all the Rantipole Girls of the Town; + With Glances so bright, + Lords and Dukes I'll delight, + And make all the Rakes with their Ready come down, + The Stock-jobbing Cit, + For a hundred I'll hit, + While me he is rifling, I'll riflle his Purse; + With Saint-like Smile + I'll Zealots beguile, + And make the fond Hypocrite freely disburse._ + + _Thus, thus in full Pow'r, + I'll sweeten, I'll sour, + I'll whindle, I'll bluster, I'll wheedle, I'll cant, + I'll bubble, I'll blind, + Make Fools of Mankind, + Each Cully shall think he's my only Gallant, + With such Supplies + To Grandeur I'll rise, + And revel in Pleasure, in Plenty and Ease, + While in the dark, + A favourite Spark, + I'll keep at my Call to enjoy when I please._ + +After the Song they retire to the Bed; immediately is heard a knocking +at the Door; the Maid looks out and perceives it to be the _Jew_, 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 _Settee_, and orders the Maid to let +_Mordecai_ 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 _Kitty_ 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, _Kitty_ 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 _Jew_, who turning about perceives Harlequin, +upon which Miss _Kitty_ in a Passion over-sets the Tea-Table.--The _Jew_ +enrag'd, runs to secure the Door, and is in the greatest Passion with +her, she laughs at him, and they sing the following _Duette_. + + + AIR VI. _Maidens as fresh as a Rose._ + + Kitty. _Farewell, good Mr._ Jew; + _Now I hate your tawny Face; + I'll have no more to do + With you or any of your Race._ + + Jew. _Begone, you saucy Jade, + I will ne'er believe thee more; + Follow the_ Drury _Trade, + Thou shalt ne'er deceive me more._ + + Kitty. _Then take your self away, + Since I have chous'd you well, you Cull; + But come another Day, + When you have got your Pockets full._ + + Jew. _Be not so pert, my Dear, + This Pride may shortly have a Fall, + Soon shall I see or hear, + Madam,_ in Bridewell, _milling Doll._ + + Repeat. _Soon shall I see or hear_, &c. +She repeats with him. _Ne'er more will I come near,_ + _Such a pitiful pimping Fool._ + +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 _Jew_ with Horns upon his Head.--While he stands +in astonishment the other Picture changes likewise, and represents +Harlequin and _Kitty_ embracing--upon which the _Jew_ runs out in the +greatest surprize. Scene changes to the Street. Harlequin meets the +_Jew_, who immediately draws; Harlequin catches him by the Leg, and +throws him down, jumps over him, and runs off, the _Jew_ pursues +him.----The Scene changes to a poor Apartment in _Drury-Lane_. (This is +taken from the Third Print) _Kitty_ is discover'd sitting disconsolate +by the Bedside, drinking of Tea, attended by _Bess Brindle_ (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 _Mittimus_ enters with the Constable, &c. the Watch +seize _Kitty_ 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 _unfortunate Women_) are led cross the Stage as going to +_Bridewell_, with _Kitty_ and her Maid, the Bawd, &c. Three Justices +bring up the Rear.--Scene changes to _Bridewell_. 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, _Pierrot_, and +_Mezetin_, each takes out his Lady to dance, and signify they'll go to +the _Ridotto al Fresco_; 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 _Ridotto_, among whom appears the Marquiss +_ae Fresco_, perform'd by the little Harlequin Dog. + +The Scene changes to the _Ridotto al Fresco_, illuminated with several +Glass Lustres, (the Scene taken from the place at _Vaux-Hall_) Variety +of People appear in Masquerade, and a grand Comic Ballad is perform'd by +different Characters to _English_, _Scotch_, _Irish_ and _French_ Tunes, +which concludes the whole. + + * * * * * + +Then follows the Masque of the _Judgment of Paris_, &C. + + + _F I N I S._ + + + + + The +Rake's Progress. + + + from W. Shaw. + + The Rake's Progress. + + ("Hogarth's Series of Pictures Dramatised." P.G.P.) + + 25,997 British Museum + + + + + _The Rake's Progress_ + +_Before the Curtain--Prefaratory Address._ + + + To wake the Soul by tender strokes of Art + To raise the Genius & to mend the Heart + To make mankind in conscious virtue bold + Was Hogarth's wish while Rakewell's Tale he told, + And strongly painted in gradations nice, + The pomp of Folly, & the Shame of Vice, + Reach'd thro' the laughing Eye--the mended Mind, + And moral humour sportive art beguil'd; + The Walks of humour were his cast of style, + Which probing to the quick, yet makes us smile; + 'Twas Comedy, his natural road to fame, + (Nor let me call it by a meaner name). + Where a biginning, middle & and End + Are aptly Join'd; where parts on parts depend, + Each made for each, as Bodies for their Soul, + So as to form one true & perfect whole, + Where a plain story to the Eye is told, + Which we conceive the moment we behold; + This _we_ adopt, your Feelings to engage, + And bring his glowing Portraits on the Stage, + In action tell the workings of the mind + And paint the Various follies of Mankind, + Nor criticism the Attempt destroy, + If with pure Gold we mingle an alloy, + And his great Scenes where nature's self is shewn + Connect with trifling sketches of our own + Nor (to the moral Tale give ample Vigour) + Deny the aid of allegoric Figure; + But Vice & Virtue see this Mansion tread, + And in preludium tow'rds the Story lead, + Attentive view each action of our Rake, + And 'plaud the actor for the Painter's Sake. + + * * * * * + + _Scene 1^{st}_ + + _Enter Vice._ + +_Recitative._ Deck'd in the gaieties of thoughtless Joy + Let jocund Laughter in each orbit beam + In mirth alone I passing time Employ + Attune my Voice & Pleasure is the Theme. + The Flowery maze of Pleasure is divine + And Mortals bow at Vice's dazzling Shrine. + + Air.--From Virue's sluggish Rules be free, + Ye mortals who my Shrine adore, + Dance, Laugh & Quaff, & sing like me, + And dissipate the tasteless hour: + In frolic, pastime, Sport & Play + Revel in Joys your Lives away. + + _Enter Virtue._ + + _Recitative._ + +_Vice._ But Virtue comes!--Offends my sickening Eye! + +(Virtue touches the Scene & a Transparency of _Hogarth_ appears with a +Scrool in his hand on which is inscribed "_The Rake's Progress_.") + + And Hogarth!--Moral Painter too I see! + In dark oblivion shall thy Semblance lie, + Hogarth & Virtue're enemies to me + + (_Approaches to Destroy the Transparency._) + + _Recitative._ + + _Virtue._ Forbear, forbear--by Hogarth is pourtray'd + The Fate of those thy precepts have betray'd, + As in a Mirror's seen each impious Joy, + That Courts the Victim only to destroy. + And look--(_Vice goes off._) Appall'd Vice trembles at the Sound + In virtue only is true Pleasure found. (_Exit._) + + * * * * * + +_Before the Drop--Enter Virtue._ + + _Air. Tune, "Mary's Dream."_ + + Beware--nor lur'd by Vice's Arts, + A moment listen to her wiles, + He who from Virtue's path departs + In seas of trouble she beguiles; + This Hogarth's living pictures shew + View thoughtless man, by Vice undone, + A warning 'tis design'd for you, + Behold--& baneful pleasure Shun. (_Exit_) + + * * * * * + + _Scene 2^{nd}_ (_No Music._) + + A Loud knocking at Street Door + +Enter _Starved Maid_ O.P.--She goes across so slow that the Knocking +increases; just before she gets to the Door it is burst open by +_Rake_ (a Youth from College) follow'd by _attorney_, _Upholsterer_ & +_Clown Servant_. _Rake_ flourishes about, kicks against Closet Door, +breaks it open. (Tune "Alteration") takes Keys from thence--Opens an +Iron chest, assisted by _Clown_--_Rake_ 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; _Upholsterer_ fetches a Ladder & goes to work to take +down Tapestry. _Rake_ breaks open Bureau, throws parchments about; +seeming to look for one in particular. _Clown_ having observed the +_Lawyer_ pocke[ts] some Cash, places himself so near _Lawyer_, that he +puts the money into _Clown's_ pocket, supposing to have put it into his +own. A Knocking at the Door obliges _Clown_ to go. _Taylor_, with a Roll +of Black Cloth, is introduced by _Clown_, much ceremony between _Taylor_ +& _Clown_.--_Taylor_ proceeds & measures _Rake_. _Clown_ gets his +fingers snipp'd for interfering. The Door having been left open--Enter +_Starv'd Maid_ with wood; & goes to the Fireplace; _Clown_ then looking +at _Upholsterer_ at Work, the money from the raftor falls into _Clown's_ +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. _Mother & Daughter_, at sight of whom +_Rake_ stands aghast.--Girl approaches him. _Rake_ turns from her--She +retreats in Tears--_Mother_ enraged shews Letters--_Girl_ shews a +Ring--_Rake_ takes a handful of Guineas, offers _mother_--who rejects +them, striking his hand, scatters them on the Ground; _Lawyer_ Turns +_Mother & Daughter_ out, placing _Clown_ with his back against the Door. +_Rake_ in great agitation, walks about, _Taylor_ following him to finish +measuring him: Lawyer picking up the money & pocketing some.--_Clown_ +points to _Rake_--who, on seeing _Lawyer_ at it, takes Rolls of +Parchment & beats _Lawyer_ about the Head--upon which _Clown_ takes the +Roll of Black Cloth & knocks it about _Taylor's_ head, _Taylor_ resists, +_Upholsterer_ on his Ladder Laughs--The Scuffle increases, in which they +knock down the Ladder, _Upholsterer_ falls--_Rake_ & _Clown_ turn them +all out. + + * * * * * + + _Scene 3^{d}_ + + _Enter Mother & Daughter_ + + _Duett_--Tune--"An Old Woman Cloathed in Grey." + + _Mother._ His Vows, ah! Why did'st thou believe? + He ne'er meant a promise to keep, + He talk'd but of Love to decieve, + Then Leave plunder'd Virtue to weep. + Yet Tears my Sad Chidings disarm, + For thy fault Pity pleadingly moves + In her Bosom Affection Shall warm + The Daughter she tenderly loves. + + _Daughter._ Dear Parent, oh! Cease to complain + And heedfully hear thy lost Child + Go tell the false ear of my Swain + How deeply his Vows have beguil'd;-- + Go tell him what sorrow I bear, + See yet if his heart feel my woe, + 'Tis now he must heal my despair, + Or death will make pity too slow. _Exeunt._ + + * * * * * + + _Scene 4^{th}_ + +Discovers all the _Characters_ in Waiting at Rake's Levee. _Italian_ +Singing &c--_Clown_ introduces _Van Butchel_, who displays a variety of +his Articles.--_Van Butchel_ Sings. + +Song-- See Martin dus his goods display-- + "Advice Two Guineas"--vat you say? + "Big Ben--John Hunter--Duc d'Orleans-- + "Knows vat my regulations means; + "De Gent I make of de aukward ninny, + "But first to be sure I must touch de Guinea, + "Den De Lame I vil make go dance de hay + "And de old & decripid go jump away. + + "Beware De Counterfiet if they should + "Be imitate, as are all things good-- + "On de Guinea--for to abash bad men + "I have write my name wid de author's Pen. + "They'll cure you be sure if them once you lap on + "Of all de complainings dat ever may happen, + "De blind they'll make see to go dance the Hay, + "And de Old & decripid vill jump away. + +Enter _Rakewell_ to whom they all pay Court &c + + _Medley._ + +_Poet._ To Rakewell, whose enlivening Features (Tune + Pronounce him first of happy creatures Petition + By wealth a Croesus 'self Created, _Poor Vulcan_) + This fair Epistle's Dedicated + +_Dance^{g} Mas^{r}_ Look! Look! Look! (Spoke.) + With my tun'd little Kit (Tune + Every fancy I hit + And merrily prance it _Black Joke_.) + And caper & Dance it + With Ease, Elegance & Grace + +_Fenc.^{g} Mas^{r}_ Ha! ha!--there I had him + Carte & Fierce my Blade (Tune + La! La!--there I bled him-- + Damme!--See, he's dead. _Stoney Batter_.) + Tol lol lol do + +_Van But_: Since 'mong your Friends I have gain'd me a place + All who Gallows her vant, vy, I'll presently trace + Not you (_to Bully_) for the Gallows is mark in your Face + Vish you can't deny. + (Tune _Tyburn Tree_) + +_Bully._ You Reptile! Scoundrel! Death! Damnation! (Tune + Say that again, & by my Soul Finale +_Gard.^{n.}_ My Garden plan I here unroll 1^{st} act +_Bully._ I'll crush to atoms--Damme, Sirrah! _Poor Volcan_) +_French.^{n.}_ While the Horn shall sound Ta, ran, tan, (Hunting + ta ra Chorus +_Jockey_. And Whip & Spur wins you the Bowl.-- _Poor Vulcan_) + + _Chorus._ Tune--"Ballance a Straw" + +_To Rake._-- In us, noble Sir, your best Friends you behold +_To each other_ Who will smile in your Face while we pocket your Gold +_To Rake._-- We'll write, -Sing, -Fence, Dance, Fight, Run, + hunt,--all for thee +(To each Other And plunder him fast as we can agree. +Shaking +hands.--) + + _Exeunt._ + + * * * * * + + _Scene 5^{th}_ + +_Link Boys &c &c. The Characters in next Scene to pass from_ P.S. to +O.P. + +_Rakewell_--Well--but not full dup'd--_Chairmen_ take great notice of +him bowing very low &c--_Clown_--loiters behind--seems well acquainted +with _Constables_--_Chairmen Girls_ &c. _Clown_ treats _Constables_ with +Beer & while drinking with them has his pocket picked.--During the Whole +Scene the following Catch is Sung. + +_Catch._--"See Bob, See, the play is done." + + * * * * * + + _Scene 6^{th}_ + + _Some Ladies discoverd--One President._ + +_Rake_: Enters they all get up & greet him, some kiss him (a _Black Girl +& waiter_ on)--After much Ceremony they sit Other _Ladies & Gentlemen_ +Enter--When all are Seated + +_Omnes._ A Song! A Song!-- (NB: Plenty of Bottles & + _Glasses on_.--) + + _Ladies Sing a Duett._ + +_Rake_: Drinks freely during the Duett--When Ended + +_Omnes._ Bravo! Bravo! + +_Rake._ Continues drinking freely--the actor must let his intoxication +gradually increase. They all Sing. + +_a Catch._ Ladies & Gentlemen, Silence, + Tomorrow night this play again + I say no more--Encore--Encore + +during the Catch--_Ballad Singer_ Enters & Joins them, Singing--"I say +no more" &c--The Catch Ended the Scene Closes. + + * * * * * + + _Scene 7^{th}_ + + _Enter Bailiff & Follower._ + + _Song, Bailiff._ + + Tim Touch behold, as smart a Blade + As ere a writ expos'd to view + Who so genteely knows my Trade + That I nabs my man, with a "How do you do"? + A Lodging Strong vil soon procure + A Cage vere each may chaunt his lay, + From rambling keep your Rake Secure, + Because I has such a taking Vay. + + (2.) + + E'en Ma'am, so proud of grand Parade + Who at the Race-course makes her Bett + Or runs to Ball & Masquerade + 'Till she runs herself o'er Ears in debt + Tho 'my devoirs don't please her much, + We meet, I every art essay + She's mine by a Necromantic touch + Because I has such a taking Vay. + + (3.) + + Box-lobby Loungers to my will + Obedient Yield, I change their Song + From bullying Bass to Treble Shrill + E'en Dammes tremble on their Tongue; + I mimicry too; practice much, + In taking off great Art display + I'm quite at home by a single touch, + Because I has such a taking Vay. (_They Retire._) + +Enter _Sarah Young_ & her _Servant Girl_, with a Box--on which is +written "Sarah Young"--_Bailiffs_, come forward, look pryingly +about--The Chair comes on P.S. _Bailiff_ stops _Rake_ and arrests +him,--_Boy_ Steals his Cane--_Sarah Young_ pays the money for _Rake_, he +kisses her hand, returns into Chair & is carried back: She goes off O.P. +supported by her _Girl_; having left the Contents of her Box on the +Ground--The Shoe-Boy is picking them up, when _Clown_ Enters, who reads, +& recollects the name, disputes with _Boy_ about the Contents of the +Box, & seeing his Master's Cane claims it--a Scuffle ensues.--Whenever +_Clown_ attempts to Strike _Boy_--_Boy_ throws his Stool in _Clown's_ +way over which he breaks his Shins--_Clown_ has already a great Leak in +his Hat, & finding a Muff in the Box, wears it, & apes the _Welchman_ +who is going to Court. + + * * * * * + + _Scene 8^{th}_ + + _Bells Ringing--Marrow Bones & Cleavers &c &c_ + +_Rake & Old Woman._ Richly dress'd coming from Church. _Men Servants_ in +Rich Liveries--_Clown._--_old Lady's maid Serv^{t.}_ &c all in +favours.--_Parish Clerk_ Bows very low--_Old Lady_ Stops & makes him a +present--_Marrow Bones & Cleavers_ beg of _Rake_ who throws money on the +Ground, they Scramble for it. Company go off.--Tune during the Whole +time--"Mind the Golden Rule." _Sarah Young_, on coming out of Church, +faints against a Monument: Recovers to see them go off--Looks after +them.--pause--Sings + + _Air.--Tune--"Mary's Lamentation."_ + + I sigh, I lament me in vain + The Chill wind Re-echo's my moan; + Alas, what can equal my pain-- + When I think that for ever he's gone. + + My Eyes, when they're raised above, + View Birds as they wanton in Air + Sweet Birds!--Ye are coupled by Love + I weep & I sink in despair. + + Tho' Affection be all turn'd to hate + And that Hate be the Sum of my woes + My fears will arrise for his Fate, + I cannot divest me of those. + + Base Man! know in Ages to come, + Thy falsehood detested Shall be + And when I am Cold in my tomb + Some Heart still shall sorrow for me. (_Bell Tolls._) + + What Visions now crowd on my Sight! + White Rob'd--with Eyes bent on the ground! + Ah! me--'tis a Funeral Rite-- + I hear the deep Bell's solemn sound. + + It tells me my Sorrows will close, + On Care's softest pillow all lye + The Grave will extinguish my woes + Then Sarah--prepare thee to die! + + (_Exit._) + + * * * * * + + _Scene 9^{th}_ + +_Servants_ attending--Enter _Rake_ follow'd by _Clown_, who is +ridiculously dress'd--_Rake_ gives Orders to _Servants_ and +Exit--_Clown_ follows a little way--then conceitedly returns & Sings to +Servants. + + _Song. Clown._ + + Quite a Clod I came up my Shoes tied with a thong, + Lookd foolish--quite mulish I trudg'd it along, + And gaz'd like an Oaf at the wonderful throng, + That here so gay smart & brave are; + A ninny--the Twaddle--Lord quite a mere Hic + A terrible bore--quite a Thing--a Queer Stick-- + But now, I'm the tippee--the dandy--the kick-- + "Look here--here again--here again--here" (_Spoke_) + Tol de rol, de rol, la rol lol, la rol, lal la + Oh, Damme! I'm devilish clever. + + (2.) + + For Band Regulations to Butchells I pop + My ankles just hid by a Natty Boot-top, + Pig-tails are a Bore so I mount the neat Crop + To appear the clean thing's my Endeavour + My negligent coat-cape proclaims me the Beau + Ease & Elegance always are habited so + I'm the tippee--the dandy--the kick too--heigho! + "Look here &c &c &c + + (3.) + + The Girls all admire me--each fancy I please, + To one give a leer, tip the other a Squeeze, + Blow a kiss to the Third--for you see I'm all ease + And each Whispers thanks for the favour + Boh--Damme!--an oath I so pleasantly swear + And for Duels--Bounce--Bang--let them fight me who dare + I'm the tippee--the Dandy--the Kick too--look there-- + There again &c &c-- _Exit_ + +Noise without. Enter _Porter_ with a _Washing Machine_, 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 _Women_ hold +him, while an _Irish Washerwoman_ sings the following _Song_. + + _Song Shelah O'Sudds--Tune "The Siege of Troy."_ + + Och! Mr. Acrostic I hate your big notes, + In op'ning your Mouth, why you'd stop all our Thoats; + Wid Natty Men Milliners, Och! You'd be even, + And Starve all the Fair-Sex wid Men-Washer-Women. + But leave off such Nonsense 'tis better, my Joy, + Than let Shelah O'Sudds be widout her Employ; + We'll beat all your Beat'ems but give us fair-play + While wid Elbows & Fists we lather away. + +_Chorus._ Sing Latherum, whack!--boderation, my Joy, + Let Shelah O'Sudds pray now have her employ + She'll beat all your Beat'ems but give her fair play + While wid Elbows & fists She Lather'd away. + + (2.) + + Wid your Saving & Soaping you make such a fuss, + But you save what is Ours for you steal it from us + 'Bout your Beauty & Elegance, always are teizing, + By my Soul it's too pleasant, for long to be pleasing. + So leave off &c-- + + (3.) + + To destroy our Endeavours to live is't you mean? + It's a black, dirty Job, tho' you do it so Clean + But a Wipe we must give you; agree, my dear Jewel-- + And an Irish Shilaleh shall serve as the Towel. + So leave off &c + +_Exeunt--beating him off._ + + * * * * * + + _Scene 10^{th}_ + + _One O'Clock in The Morning._ + +Two or More _Chairmen_ playing at All-fours & Singing-- + + _Catch._--"Agree, Agree, if not d'ye see." + +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 +_Gamblers_ who are in the next Scene, are to pass from P.S. to O.P. +Sculkingly. _Rake_ passes,--Stops,--pulls out his purse, shakes it, and +Shutting one Eye--Signifies he had it from his One Ey'd Wife. _Catch +Continues_--"Agree Agree" &c--Scene Closes. + + * * * * * + + _Scene 11^{th}_ + + Discovers _Gamblers_ at play. _Rake_ Seated. + +_Catch_--"Pass the Box, come pass it faster."-- + or--"Rattle Dice, Rattle."-- + +_Rake_ looses all his Cash--then his Watch--Sword Knee-Buckles +--Snuff-Box--Ring--Everything. _A Man_ 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. + + * * * * * + + _Scene 12^{th}_ + +_Red Blinds waved Sometimes Quick Down then rais'd again._ Watchmens +Rattles heard, all bustle & noise at a little Distance. Enter some +_Loosers_ with _Characters of Suspicious look_--they produce Pistols to +the Chagrin'd _Loosers_.--The _Loosers_ take the Pistols.--Tune--"Let us +take the Road."--They go off. Enter _watchmen_ with Rattles. _Beadle_, +_Mob_ with Fire Engine (_Covent Garden or Hadley._) Furniture carried +across from the Gaming Room. Enter _Fire Men_.--Hose & Pipe conveyed +across. Variety of _Characters_ alarmed by Fire. _A Boy_ carries a +Feather-bed across--he falls down--Some _Characters_ fall on it. NB: +Confusion kept up as long as Necessary. + + * * * * * + + _Scene 13^{th}_ + +_Rake_--is inhumanly dragg'd off by Bailiffs P.S. + +_Wife_ follows in great Agitation. + + _Enter Ballad-Singer_ + + A Ballad Entitled & Call'd--"The Rake's Progress"-- + + _Ballad. Tune "The Race-Horse."_ + + See the Massy Chests Open'd, with Riches replete, + Plate, Jewels, & Rent-Rolls an ample Estate; + Bonds, Mortgages, Leases long buried are found, + Lawyers Servants & Tradesmen Attending around: + While with heart quite 'Elated, cheeks glowing with health, + Discarding his love, gazing pleas'd at his wealth, + Resolv'd each dull thought in gay pleasure to drown, + The Libertine Rakewell--first starts on the Town. + + (2.) + + His Levee attended by Bully & Sot + (Plighted vows to his fair Rustic Charmer forgot) + Poets, Dancers, Musicians, his Mansion Resort; + Boxers--Jockies, & Huntsmen, his patronage Court. + And now, in a Brothel, mid nymphs void of Fame, + Whom depravity's Render'd long Callous to Shame + He squanders his Fortune to infamy meet + And the Libertine Rakewell's the Dupe of Deceit. + + (3.) + + Now poverty Steals on her victim apace + And the gripe of Stern Law calls up dread in his Face, + 'Till resolv'd to retrieve by his wants basely led [?] + He for Riches consents to deformity wed; + Then hurries to gaming to drive away thought, + Where Soon's dissipated the Wealth that she brought + For by Sharpers Surrounded--Each planning his Fall + The Libertine Rakewell's depriv'd of his all. + + (4.) + + And now in each feature we penury trace, + No longer health in his once blooming face, + Reproach in a Prison's dread gloom must he bear, + While discord & want drive the wretch to despair; + 'Till of life fully Sated, pale, meagre, oppress'd, + By Friendship forsaken, All hell in his breast; + By Suicides aid from the world he retires + And the Libertine Rakewell unpitied Expires. (_Exit_) + + * * * * * + + _Scene 14^{th}_ + +_Chymist_--Discover'd. _Tune "Welcome, Brother Debtor."_ +Enter _Goaler_ O.P. Introducing _Rake_ & _Old Wife_ He Sits P.S. +Enter _Men & Women Prisoners-OP._--_All Sing_. + + Welcome, Welcome, Brother Debtor + To this poor but merry place; + Where No Bailiff--Dun--or Setter, + Dares to shew his frightful face. + But, kind Sir, as you're a Stranger + Down your Garnish you must pay, + Or your Coat will be in Danger + You must either Strip or pay. + +_Rake_ Strips his Coat off & turns out his Breeches Pockets;--At this +Period _Financer_ drops his paper; it is picked up by another +_Prisoner_, who holds it so to Read that the audience may Read also. +"Scheme to Pay the National Debt."-- + +During the above Business--They all Sing-- + + Ne'er repine at your Confinement + For your Children or your Wife + Wisdom lies in true Resignment, + Thro' the various Scenes of life; + Every Island is a prison + Strongly guarded by the Sea + Kings & Princes for that Reason + Prisoners are as well as we. + +Tune continues; but is Slower & Slower, till render'd as Dismal as +possible. _Rake_ 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.-- + + _Enter Virtue._ + +_Recitative._ + + Thus does the baneful influence of Vice + Onward to sure destruction man Entice; + In time be warn'd--Hope liberty to see + Benevolence & Pity'll set you free. + + _Chorus of Prisoners._ + + This let the Captive's Supplication be, + May Virtue & Benevolence soon set us free, + May we taste smiling liberty & tread her happy plain + Where Virtue & Benevolence in Concord reign. + + _Recitative. Virtue._ + + Then Vice discard & follow Virtue's train + View her Retreat & join her Sacred Strain. + + _Scene Changes._ + + _Scene 15^{th}_ + +Cloud Descends: _Liberty_ 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 _Medalion_ of _The King_--over that of +_Virtue_ one of the _Queen_. + + _Aerial Chorus._ + + Tho' Beauty & wealth may Unite, + To dispell from each Bosom dull care + 'Tis in vain to expect true delight, + Unless Virtue's a Resident there. + + _Recitative. Virtue._ + + By Heav'n approv'd--by Liberty caress'd, + The Truly Virtuous are the truly bless'd. + + _Full Chorus._ + + This let the Captives &c-- + + + Finis + + * * * * * + + + + + WILLIAM ANDREWS CLARK + MEMORIAL LIBRARY + _UNIVERSITY OF CALIFORNIA, LOS ANGELES_ + + + [Illustration] + + + The Augustan Reprint Society + PUBLICATIONS IN PRINT + + + + + =The Augustan Reprint Society= + PUBLICATIONS IN PRINT + + + =1948-1950= + +16. Henry Nevil Payne, _The Fatal Jealousie_ (1673). + +18. "Of Genius," in _The Occasional Paper_, Vol. III. No. 10 (1719), and + Aaron Hill, _Preface to The Creation_ (1720). + +19. Susanna Centlivre, _The Busie Body_ (1709). + +22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two + _Rambler_ papers (1750). + +23. John Dryden, _His Majesties Declaration Defended_ (1681). + + + =1951-1953= + +26. Charles Macklin, _The Man of the World_ (1792). + +31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and + _The Eton College Manuscript_. + +41. Bernard Mandeville, _A Letter to Dion_ (1732). + + + =1964-1965= + +110. John Tutchin, _Selected Poems_ (1685-1700). + +111. _Political Justice_ (1736). + +113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698). + + + =1965-1967= + +115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_ + (1705, 1706, 1720, 1722). + +116. Charles Macklin, _The Covent Garden Theatre_ (1752). + +117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680). + +120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_ + (1740). + +124. _The Female Wits_ (1704). + + + =1968-1969= + +133. John Courtenay, _A Poetical Review of the Literary and Moral + Character of the Late Samuel Johnson_ (1786). + +136. Thomas Sheridan, _A Discourse Being Introductory to His Course of + Lectures on Elocution and the English Language_ (1759). + +137. Arthur Murphy, _The Englishman from Paris_ (1756). + + + =1969-1970= + +138. [Catherine Trotter] _Olinda's Adventures_ (1718). + +139. John Ogilvie, _An Essay on the Lyric Poetry of the Ancients_ + (1762). + +140. _A Learned Dissertation on Dumpling_ (1726) and _Pudding and + Dumpling Burnt to Pot or a Compleat Key to the Dissertation on + Dumpling_ (1727). + +141. Sir Roger L'Estrange, Selections from _The Observator_ (1681-1687). + +142. Anthony Collins, _A Discourse Concerning Ridicule and Irony In + Writing_ (1729). + +143. _A Letter From a Clergyman to His Friend, with an Account of the + Travels of Captain Lemuel Gulliver_ (1726). + +144. _The Art of Architecture, A Poem_ (1742). + + + =1970-1971= + +145-146. Thomas Shelton. _A Tutor to Tachygraphy, or Short-writing_ + (1642) and _Tachygraphy_ (1647). + +147-148. _Deformities of Dr. Samuel Johnson_ (1782). + +149. _Poeta de Tristibus: or the Poet's Complaint_ (1682). + +150. Gerard Langbaine, _Momus Triumphans: or the Plagiaries of the + English Stage_ (1687). + + + =1971-1972= + +151-152. Evan Lloyd, _The Methodist. A Poem_ (1766). + +153. _Are These Things So?_ (1740), and _The Great Man's Answer to Are + These Things So?_ (1740). + +154. Arbuthnotiana: _The Story of the St. Alb-ns Ghost_ (1712), and _A + Catalogue of Dr. Arbuthnot's Library_ (1779). + +155-156. A Selection of Emblems from Herman Hugo's _Pia Desideria_ + (1624), with English Adaptations by Francis Quarles and Edmund + Arwaker. + + + =1972-1973= + +157. William Mountfort. _The Life and Death of Doctor Faustus_ (1697). + +158. Colley Cibber, _A Letter from Mr. Cibber to Mr. Pope_ (1742). + +159. [Catherine Clive] _The Case of Mrs. Clive_ (1744). + +160. [Thomas Tryon] _A Discourse ... of Phrensie, Madness or + Distraction_ from _A Treatise of Dreams and Visions_ [1689]. + +161. Robert Blair, _The Grave. A Poem_ (1743). + +162. [Bernard Mandeville] _A Modest Defence of Publick Stews_ (1724). + + + =1973-1974= + +163. [William Rider] _An Historical and Critical Account of the Lives + and Writings of the Living Authors of Great Britain_ (1762). + +164. Thomas Edwards, _The Sonnets of Thomas Edwards_ (1765, 1780). + +165. Hildebrand Jacob, _Of the Sister Arts: An Essay_ (1734). + +166. _Poems on the Reign of William III_ [1690, 1696, 1699, 1702]. + +167. Kane O'Hara, _Midas: An English Burletta_ (1766). + +168. [Daniel Defoe] _A Short Narrative History of the Life and Actions + of His Grace John, D. of Marlborough_ (1711). + + + =1974-1975= + +169-170. Samuel Richardson, _The Apprentice's Vade-Mecum_ (1734). + +171. James Bramston, _The Man of Taste_ (1733). + +172-173. Walter Charleton, _The Ephesian Matron_ (1668). + +174. Bernard Mandeville, _The Mischiefs That Ought Justly to be + Apprehended From a Whig-Government_ (1714). + +174X. John Melton, _Astrologaster_ (1620). + + + =1975-1976= + +175. _Pamela Censured_ (1741). + +176. William Gilpin, _Dialogue upon the Gardens ... at Stowe_ (1748). + +177. James Bramston, _Art of Politicks_ (1729). + +178. James Miller, _Harlequin-Horace or the Art of Modern Poetry_ + (1731). + +179. [James Boswell] _View of the Edinburgh Theatre during the Summer + Season, 1759_ (1760). + +180. Satires on Women: Robert Gould, _Love Given O're_ (1682); Sarah + Fige, _The Female Advocate_ (1686); and Richard Ames, _The Folly of + Love_ (1691). + + +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. + +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. + + + _Make check or money order payable to_ + + THE REGENTS OF THE UNIVERSITY OF CALIFORNIA + + _and send to_ + + The William Andrews Clark Memorial Library + 2520 Cimarron Street, Los Angeles, California 90018 + + + + + Transcriber's Notes + +Passages in italics were indicated by _underscores_. + +Passages in bold were indicated by =equal signs=. + +Small caps were replaced with ALL CAPS. + +Throughout the document, the oe ligature was replaced with "oe". + +Throughout the document, the superscripted letters are preceeded by a +carot and are enclosed by curly brackets. Thus, the word "y^{e}" +represents a word where the "y" is normal and the "e" is superscripted; +and the word "1^{st}" represents a word where the "1" is normal and the +"st" is superscripted. In the ordinal numbers (e.g., 1^{st}) the +supercripted numbers where underlined by dotted lines. These dotted +lines also appeared under some other (but not all) of the superscripted +letters. + +Throughout the dialogues, there were words used to mimic accents of the +speakers. Those words were retained as-is. + +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. +Sometimes there were mismatched quotation marks, where it was less than +clear where the missing quotation marks should go. + +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. + +The acute accent for Settee was changed to Settee throughout the text. + +On the second page 1 "& and End" was replaced with "& an End". + +On the second page 5 (yes, there are two pages 5), "rake" was replaced +with "Rake". + +On the second page 5 the word "Clown" was italizied to make it it +consistent with other instances of the word. + +On the second Page 6 "PS and OP" were replaced with "P.S. and O.P." + +On the second page 8 a period was added after "coming from Church". + +On the second page 11, "SCENE 12" was replaced with "Scene 12". + +On the second page 12, the word "Mansion", which was crossed out in the +book was deleted. + + + + + + +End of the Project Gutenberg EBook of The Harlot's Progress, The Rake's +Progress, by Theophilus Cibber and Anonymous and Mary F. Klinger + +*** END OF THIS PROJECT GUTENBERG EBOOK HARLOT'S PROGRESS, RAKE'S PROGRESS *** + +***** This file should be named 38659.txt or 38659.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/6/5/38659/ + +Produced by Chris Curnow, Joseph Cooper, Ernest Schaal and +the Online Distributed Proofreading Team at +https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. diff --git a/38659.zip b/38659.zip Binary files differnew file mode 100644 index 0000000..36351da --- /dev/null +++ b/38659.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..3d52812 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #38659 (https://www.gutenberg.org/ebooks/38659) |
