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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. 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