“Beat out of the Pit, and thrown over the Ropes,
Tom and Jerry resign’d their last breath,
With them, too, expired the Manager’s hopes,
Who are left to deplore their sad death!
“Odd and various reports of the cause are about,
But the real one was this I opine:
They were run to a standstill, and, therefore, no doubt,
That the cause was a rapid decline.
“When death showed his Nob, out of Time they were beat,
And neither would come to the scratch;
They hung down their heads and gave up the last heat,
Not prepared with the Spectre to match.
“All wept at the Funeral! the Fancy and all—
Some new, but a great many mended:
And Egan, while Cruikshank and Bob held the pall,
As Chief Mourner in person attended!!!

“Their Sprees and their Rambles no more shall amuse,
Farewell to all nocturnal parleys:
The Town felt regret, as the bell tolled the news,
And no one rejoiced—but the Charleys!
“A monument, too, their kind Patrons will raise,
Inscribed on—‘Here lies TOM and JERRY,
Who, departing the Stage, to their immortal praise,
ONE THOUSAND NIGHTS made the Town merry!!!’
“May their souls rest in peace, since they’ve chosen to flit,
Like other great heroes departed;
May no mischief arise from their sudden exit,
Nor Pierce Egan die—broken-hearted!”

In reference to the above, Pierce Egan states that Jemmy Catnach, the renowned Ballad-monger of the Seven Dials, in less than twelves hours after the publication, produced a pirated edition for street sale, for two-pence.

Mr. Pierce Egan, in his “Finish,” states that he reckoned no less than sixty-five separate publications, which he enumerates in extenso, all derived from his own work, and adds, with his usual amount of large and small Capitals and italics—“We have been pirated, COPIED, traduced; but, unfortunately, not ENRICHED by our indefatigable exertions; therefore NOTORIETY must satisfy us, instead of the smiles of FORTUNE. Our efforts have given rise to numerous productions in the market of literature, yet we can assert, with a degree of confidence hitherto unshaken, that none of our Imitators have dared to think for themselves during the long period of seven years, neither have they shown any originality upon the subject of ‘Life in London’; but who have left it—disinterested souls!—to the Author and Artist to put a CLIMAX to the adventures of Tom, Jerry, and Logic.” The last remark is in reference to the publication of “Pierce Egan’s Finish to the Adventures of Tom, Jerry, and Logic, in their Pursuits through Life in and Out of London. With numerous coloured illustrations by Robert Cruikshank. London: George Virtue & Co., Ivy Lane, Paternoster Row.” Seven years after the date of “The Life in London.” In common with almost all other sequels, or “continuations” it was not successful—the fact being that Pierce Egan, and the subject of his work were alike literally and financially “used up!”

Old Jemmy Catnach, true to his line of life, soon joined what Pierce Egan designates as the “Mob of Literary Pirates” who irritate the poor author almost to madness, blast his prospects, impose on the unwary by their imitations, and render his cash account all but nugatory, and, just as he may be congratulating himself on the success of his genius, receiving the smiles of Fame, and a trifling sweetener from Threadneedle Street, as a reward for his exertions, he may be attacked by Sappers and Miners—those pickers and stealers who do not absolutely come under the denomination of pickpockets, yet thieves to all intents and purposes, and, certainly, robbers of the most unprincipled description—a set of vampires—living upon “the brains” of other persons, and who dare not to think for themselves.

Catnach brought out a broadside, or “whole-sheet,” for street-sale, entitled:—

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The “broadside,” which Pierce Egan calls—“Another wicked piracy, by Catnach,” consists of twelve woodcuts,—of which we have given facsimiles in our pages—it will be seen that they are reduced and very roughly executed copies of the original plates by the Brothers Cruikshank, but in reverse. Therefore the swaggering Notice to Pirates which Jemmy Catnach published reads funny enough. The letter-press matter consists of flash songs, and a poetical epitome of the plot and design of the original work of “Life in London.” And taking it as it stands, and from where it emanated, rather a creditable performance, particularly when we take into consideration—as duly announced by the street-patterer, that it was—“Just printed and pub—lish—ed, all for the low charge of “Twopence.”