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 ye Debts of
ye 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 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]
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).
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
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 & an 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 1st
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 2nd (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 3d
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 4th
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.
(Tune
Petition
Poor Vulcan
Poet. To Rakewell, whose enlivening Features
Pronounce him first of happy creatures
By wealth a Crœsus 'self Created,
This fair Epistle's Dedicated
(Tune
Black Joke.)
Danceg Masr Look! Look! Look! (Spoke.)
With my tun'd little Kit
Every fancy I hit
And merrily prance it
And caper & Dance it
With Ease, Elegance & Grace
(Tune
Stoney Batter.)
Fenc.g Masr Ha! ha!—there I had him
Carte & Fierce my Blade
La! La!—there I bled him—
Damme!—See, he's dead.
Tol lol lol do
(Tune Tyburn Tree)
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
Finale
1st act
Poor Volcan)
(Hunting
Chorus
Poor Vulcan)
Bully. You Reptile! Scoundrel! Death! Damnation!
Say that again, & by my Soul
Gard.n. My Garden plan I here unroll
Bully. I'll crush to atoms—Damme, Sirrah!
French.n. While the Horn shall sound Ta, ran, tan, ta ra
Jockey. And Whip & Spur wins you the Bowl.—
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 5th
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 6th
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 7th
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 8th
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 Servt &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 9th
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 10th
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 11th
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 12th
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 13th
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 14th
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 15th
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
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:
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.
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 (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 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.
