BIBLIOGRAPHICAL NOTE
The facsimile of The Harlot's Progress (1733) is reproduced from the copy (Shelf Mark: 151783) in the Henry E. Huntington Library. The total type-page (p. 9) measures 155 x 115 mm. The Rake's Progress (ca. 1778-1780) is presented in type from a manuscript (Additional MS. 25997) in the British Library. Spelling, capitalization, and punctuation have been preserved, but colons and doubled colons used to indicate word divisions have been silently emended to hyphens or closed, and free-form brackets for stage directions have been standardized to parentheses.
THE
HARLOT'S PROGRESS;
OR, THE
RIDOTTO AL' FRESCO:
A
Grotesque Pantomime Entertainment.
As it is perform'd by his Majesty's Company of Comedians
AT THE
Theatre-Royal in Drury-Lane.
Compos'd by Mr. Theophilus Cibber, Comedian.
The SONGS made (to old Ballad Tunes) by a Friend.
Printed for the Benefit of Richard Cross the Prompter;
and Sold at the Theatre. 1733. [Price Six Pence.]
THIS
ENTERTAINMENT
Is Dedicated to the Ingenious
Mr. H O G A R T H,
(On Whose
Celebrated Designs it is Plan'd,)
By his Well-wisher,
and obliged
Humble Servant,
Theo. Cibber.
Saturday, March
31st, 1733.
Persons in the Harlot's Progress.
| Harlequin, | Mr. Le Brun. |
| Beau Mordecai, | Mr. Stoppelaer. |
| Old Debauchee, | Mr. Berry. |
| Justice Mittimus, | Mr. Mullart. |
| Mons. Poudre, | Mr. Oates. |
| Constable, | Mr. Jones. |
| Keeper, | Mr. Burnet. |
| Porter, | Mr. Peploe. |
| Pompey, | Y. Grace. |
| Beadles, | {Mr. Gray. |
| {Mr. Wright. | |
| Miss Kitty, | Miss Raftor. |
| Madam Decoy, | Mrs. Mullart. |
| Jenny, | Mrs. Grace. |
| Bess Brindle, | Mr. Leigh. |
Persons in the Ridotto al' Fresco.
Les Capricieux by Mr. Essex and Miss Robinson. The Hungarians by Mr. Houghton and Mrs. Walter. The Fingalians by Mr. Lally Sen. and Miss Mears. Scaramouch, Pierot, and Mezetin by Mr. Lally, Junior, Mr. Tench, and Mr. Stoppelaer. Ladies of Pleasure by Miss Mann, Miss Atherton and Miss Price. The Marquis de Fresco by Monsieur Arlequin en Chien.
THE
HARLOT'S PROGRESS;
OR THE
RIDOTTO AL FRESCO:
After the Overture, the Curtain rises;—the Scene represents an Inn; The Bawd, the Country Girl, the Debauchee and the Pimp, all rang'd as they are in the first Print.—The Parson on the Right Hand, reading the Letter, soon goes off——while the Bawd is persuading the Girl to go along with her, Harlequin appears at the Window, and seeing the Country Girl, jumps down, and gets into a Trunk which belongs to her, while the Bawd sings.
AIR I. What tho' I am a Country Lass.
Let Country Damsels plainly nice, In Home-spun Russet go, Sir; While, Frolick we, chearful as wise, More pleasing Transports know, Sir. They dull and coy, Refuse the Joy, All bashful void of Skill-a: We gay and free To each fond He Yield up our selves at Will-a.
At last our Youth and Charms decay'd, Like old experienc'd Sinners, We follow the procuring Trade, And train up young Beginners. Thus ample Gains, Reward our Pains; Then mock not our Profession, Like Courtiers we, Secure the Fee, And laugh at the Transgression.
After the Song, the Bawd beckons a Porter, orders him to take up the Trunk and follow her and the Girl, which he does, with Harlequin in it.—Then the Debauchee comes forward, who seems to be enamour'd with the Girl; the Pimp assures him he can procure her for him, upon which the Debauchee seems rejoic'd and sings in Praise of Women and Wine.
AIR II. Brisk Tom and Jolly Kate.
Brisk Wine and Women are, The Sum of all our Joy; A Brimmer softens every Care, And Beauty ne'er can cloy: Then let us Drink and Love, While still our Hearts are gay, Women and Wine, by turns shall prove, Our Blessings Night and Day.
After the Song he follows her—the Pimp struts about and sings.
AIR III. Maggy Lawther.
Pimping is a Science, Sir, The only Mode and Fashion, To Virtue bids Defiance, Sir, 'Tis the Glory of the Nation. In City, Country, or in Court, It is the Coup d'Grace, Sir; If you your Patron's Vice support, You need not fear a Place, Sir.
The Lawyer pimps to gain a Coif, While Porters pimp for Hire; Kind Betty serves his Worship's Wife, The Page pimps for the Squire, 'Tis pimping gains a large Estate, Makes Valets wear their Swords, Sir, For Pimps oft look as big and great, As any Duke or Lord, Sir.
After the Song he follows the Debauchee.—The Scene changes to the Street; the Debauchee having found Harlequin in Company with Miss Kitty, turns her out of Doors, and the Pimp kicks out Harlequin; Kitty goes out in the greatest Distress—Harlequin by his Action signifies he's in Love, and is in doubt whether to hang or drown himself, or cut his Throat, &c. At length he resolves to follow her, and determines to dress himself like a smart Cadet, in order to address her: To accomplish which he strikes the Ground, and there rises a Dressing-Table fix'd in a Cloud, furnish'd with all necessary Appurtenances.——After he is drest, the Table vanishes and he goes out. The Scene changes to the Lodging that Beau Mordecai has provided for Kitty, whom he has just taken into high Keeping. (This Scene is taken from the Second Print) she is discovered lolling upon a Settée, attended by her Maid and Black-Boy, admiring the Grandeur of which she is possess'd, and then sings.
AIR IV. Oh! what Pleasures will abound.
Who wou'd not a Mistress be, Kept in Splendor thus like me? Deckt in golden rich Array, Sparkling at each Ball and Play! Gaily toying, Sweets enjoying Foreign to that thing a Wife, Flirting, flaunting, Jilting, jaunting, Oh the Charming happy Life!
After the Song Harlequin creeps from under her Toilet, in the Habit of the Cadet, and courts Miss Kitty; she appears Coy at first, but at length yields to him.—Then sings.
AIR V. Lad's a Dunce.
Thus finely set out, I'll make such a Rout, And top all the Rantipole Girls of the Town; With Glances so bright, Lords and Dukes I'll delight, And make all the Rakes with their Ready come down, The Stock-jobbing Cit, For a hundred I'll hit, While me he is rifling, I'll riflle his Purse; With Saint-like Smile I'll Zealots beguile, And make the fond Hypocrite freely disburse.
Thus, thus in full Pow'r, I'll sweeten, I'll sour, I'll whindle, I'll bluster, I'll wheedle, I'll cant, I'll bubble, I'll blind, Make Fools of Mankind, Each Cully shall think he's my only Gallant, With such Supplies To Grandeur I'll rise, And revel in Pleasure, in Plenty and Ease, While in the dark, A favourite Spark, I'll keep at my Call to enjoy when I please.
After the Song they retire to the Bed; immediately is heard a knocking at the Door; the Maid looks out and perceives it to be the Jew, upon which she runs and tells her Mistress, who comes out with Harlequin in the utmost Confusion.—But she advises him to retire to the Bed, which he does; she sits down upon the Settée, and orders the Maid to let Mordecai in—when he enters he seems angry that she made him wait so long at the Door, but is soon pacify'd when he sees Kitty alone.—He sits down by her, and is very fond of her; then orders the Maid to get Tea, which she does—while they are drinking it, Kitty appears in Confusion, and makes Signs to the Maid to let Harlequin out; but while he is attempting to steal away, he accidentally drops his Sword and Cane, which surprizes the Jew, who turning about perceives Harlequin, upon which Miss Kitty in a Passion over-sets the Tea-Table.—The Jew enrag'd, runs to secure the Door, and is in the greatest Passion with her, she laughs at him, and they sing the following Duette.
AIR VI. Maidens as fresh as a Rose.
Kitty. Farewell, good Mr. Jew; Now I hate your tawny Face; I'll have no more to do With you or any of your Race. Jew. Begone, you saucy Jade, I will ne'er believe thee more; Follow the Drury Trade, Thou shalt ne'er deceive me more. Kitty. Then take your self away, Since I have chous'd you well, you Cull; But come another Day, When you have got your Pockets full. Jew. Be not so pert, my Dear, This Pride may shortly have a Fall, Soon shall I see or hear, Madam, in Bridewell, milling Doll. Repeat. Soon shall I see or hear, &c. She repeats with him. Ne'er more will I come near, Such a pitiful pimping Fool.
After the Song he turns her and her Maid out of Doors, then pursues Harlequin.—A Picture falls down, Harlequin jumps thro' the Hangings, and the Picture returns to its place and conceals him.—The Subject of the Picture, which was before an Historical Story, is now chang'd to a Representation of the Jew with Horns upon his Head.—While he stands in astonishment the other Picture changes likewise, and represents Harlequin and Kitty embracing—upon which the Jew runs out in the greatest surprize. Scene changes to the Street. Harlequin meets the Jew, who immediately draws; Harlequin catches him by the Leg, and throws him down, jumps over him, and runs off, the Jew pursues him.——The Scene changes to a poor Apartment in Drury-Lane. (This is taken from the Third Print) Kitty is discover'd sitting disconsolate by the Bedside, drinking of Tea, attended by Bess Brindle (a Runner to the Ladies of Pleasure) Harlequin jumps in at the Window; she seems overjoy'd to see him—just as they are going to sit down to drink Tea, they hear a Noise without—Harlequin looks thro' the Key-hole, and discovers it to be the Justice, Constable, Watch, &c. He is very much surpris'd, and jumps into a Punch-Bowl that stands upon a Table, to hide himself—Justice Mittimus enters with the Constable, &c. the Watch seize Kitty and the Runner, and carry 'em off.—The Constable stays behind to pilfer what he can, during which, Harlequin creeps from under the Table; the Constable seeing him, goes to seize him, but he jumps thro' the Window and escapes—the Constable runs off.—The Scene changes to the Street. A melancholy Tune is play'd, while several Ladies of Pleasure (alias unfortunate Women) are led cross the Stage as going to Bridewell, with Kitty and her Maid, the Bawd, &c. Three Justices bring up the Rear.—Scene changes to Bridewell. The Women are discover'd all leaning in an indolent manner upon their Blocks.—The Keeper enters, and seeing them so idle, threatens to beat 'em—as they take up their Hammers and Beetles, and are going to beat, the Blocks all vanish, and in their stead appear Harlequin, Scaramouch, Pierrot, and Mezetin, each takes out his Lady to dance, and signify they'll go to the Ridotto al Fresco; the Keeper runs away frighted, they all dance off.—Scene changes to the Street. A great Number of People pass over the Stage, as going to the Ridotto, among whom appears the Marquiss ae Fresco, perform'd by the little Harlequin Dog.
The Scene changes to the Ridotto al Fresco, illuminated with several Glass Lustres, (the Scene taken from the place at Vaux-Hall) Variety of People appear in Masquerade, and a grand Comic Ballad is perform'd by different Characters to English, Scotch, Irish and French Tunes, which concludes the whole.
Then follows the Masque of the Judgment of Paris, &C.
F I N I S.
The
Rake's Progress.
from W. Shaw.
The Rake's Progress.
("Hogarth's Series of Pictures Dramatised." P.G.P.)
25,997 British Museum
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)
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.
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.
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.
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.)
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.
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.
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.
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.