BIBLIOGRAPHICAL NOTE

[15]For exposition of the eight prints of "A Rake's Progress" (1735) see Paulson'sHGW, I, 158-170. The subscription was announced in late 1733, but the paintings were not completed until mid-1734.

[16]Esther K. Sheldon,Thomas Sheridan of Smock-Alley(Princeton, N.J.: Princeton University Press, 1967), pp. 284-285, and Raymond C. Rhodes,Harlequin Sheridan: The Man and the Legend(Oxford: B. Blackwell, 1933), p. 79.

[17]Sheldon, p. 301.

[18]I am indebted to Prof. Edgar V. Roberts for pointing out this source to me, and for his help in identifying many of the tunes.]

[19]"Mr. Seedo's London Career and His Work with Henry Fielding,"Philological Quarterly, XLV(January 1966), 185 and 189.

[20]See Bronson's article (above, n. 6)passim, where he mentions many of the songbooks.

The facsimile ofThe 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:

Grotesque Pantomime Entertainment.

As it is perform'd by his Majesty's Company of Comedians

AT THE

Theatre-RoyalinDrury-Lane.

Compos'd by Mr.Theophilus Cibber, Comedian.

The SONGS made (to old Ballad Tunes) by a Friend.

Printed for the Benefit ofRichard Crossthe 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 obligedHumble Servant,

Theo. Cibber.

Saturday, March31st, 1733.

Persons in the Harlot's Progress.

Persons in theRidotto al' Fresco.

Les Capricieuxby Mr.Essexand MissRobinson.TheHungariansby Mr.Houghtonand Mrs.Walter.TheFingaliansby Mr.LallySen. and MissMears.Scaramouch,Pierot, andMezetinby Mr.Lally, Junior, Mr.Tench, and Mr.Stoppelaer.Ladies of Pleasure by MissMann, MissAthertonand MissPrice.The Marquisde Frescoby MonsieurArlequin 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, theDebaucheeand the Pimp, all rang'd as they are in thefirst 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 freeTo each fond HeYield 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.

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 theDebaucheecomes forward, who seems to be enamour'd with the Girl; the Pimp assures him he can procure her for him, upon which theDebaucheeseems rejoic'd and sings in Praise of Women and Wine.

AIR II.BriskTomand JollyKate.

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;KindBettyserves 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.

The Lawyer pimps to gain a Coif,While Porters pimp for Hire;KindBettyserves 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 MissKitty, turns her out of Doors, and the Pimp kicks out Harlequin;Kittygoes 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 smartCadet, 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 BeauMordecaihas provided forKitty, whom he has just taken into high Keeping. (This Scene is taken fromthe Second Print) she is discovered lolling upon aSettée, 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 enjoyingForeign 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 theCadet, and courts MissKitty; 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 SmileI'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 SuppliesTo 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.

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 SuppliesTo 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 perceivesit to be theJew, 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 theSettée, and orders the Maid to letMordecaiin—when he enters he seems angry that she made him wait so long at the Door, but is soon pacify'd when he seesKittyalone.—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,Kittyappears 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 theJew, who turning about perceives Harlequin, upon which MissKittyin a Passion over-sets the Tea-Table.—TheJewenrag'd, runs to secure the Door, and is in the greatest Passion with her, she laughs at him, and they sing the followingDuette.

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 doWith you or any of your Race.Jew.Begone, you saucy Jade,I will ne'er believe thee more;Follow theDruryTrade,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 theJewwith Horns upon his Head.—While he stands in astonishment the other Picture changes likewise, and represents Harlequin andKittyembracing—upon which theJewruns out in the greatest surprize. Scene changes to the Street. Harlequin meets theJew, who immediately draws; Harlequin catches him by the Leg, and throws him down, jumps over him, and runs off, theJewpursues him.——The Scene changes to a poor Apartment inDrury-Lane. (This is taken from the Third Print)Kittyis discover'd sitting disconsolate by the Bedside, drinking of Tea, attended byBess 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—JusticeMittimusenters with the Constable,&c. the Watch seizeKittyand 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 (aliasunfortunate Women) are led cross the Stage as going toBridewell, withKittyand her Maid, the Bawd, &c. Three Justices bring up the Rear.—Scene changes toBridewell. 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, andMezetin, each takes out his Lady to dance, and signify they'll go to theRidotto 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 theRidotto, among whom appears the Marquissae Fresco, perform'd by the little Harlequin Dog.

The Scene changes to theRidotto al Fresco, illuminated with several Glass Lustres, (the Scene taken from the place atVaux-Hall) Variety of People appear in Masquerade, and a grand Comic Ballad is perform'd by different Characters toEnglish,Scotch,IrishandFrenchTunes, which concludes the whole.

Then follows the Masque of theJudgment 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 ArtTo raise the Genius & to mend the HeartTo make mankind in conscious virtue boldWas 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 EndAre 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;Thisweadopt, your Feelings to engage,And bring his glowing Portraits on the Stage,In action tell the workings of the mindAnd 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 shewnConnect with trifling sketches of our ownNor (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 JoyLet jocund Laughter in each orbit beamIn mirth alone I passing time EmployAttune my Voice & Pleasure is the Theme.The Flowery maze of Pleasure is divineAnd 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 & PlayRevel in Joys your Lives away.

Enter Virtue.

Recitative.

Vice.But Virtue comes!—Offends my sickening Eye!

(Virtue touches the Scene & a Transparency ofHogarthappears 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'dThe 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 SoundIn 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 departsIn seas of trouble she beguiles;This Hogarth's living pictures shewView 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

EnterStarved MaidO.P.—She goes across so slow that the Knocking increases; just before she gets to the Door it is burst open byRake(a Youth from College) follow'd byattorney,Upholsterer&Clown Servant.Rakeflourishes about, kicks against Closet Door, breaks it open. (Tune "Alteration") takes Keys from thence—Opens an Iron chest, assisted byClown—Rakescatters 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;Upholstererfetches a Ladder & goes to work to take down Tapestry.Rakebreaks open Bureau, throws parchments about; seeming to look for one in particular.Clownhaving observed theLawyerpocke[ts] some Cash, places himself so nearLawyer, that he puts the money intoClown'spocket, supposing to have put it into his own. A Knocking at the Door obligesClownto go.Taylor, with a Roll of Black Cloth, is introduced byClown, much ceremony betweenTaylor&Clown.—Taylorproceeds & measuresRake.Clowngets his fingers snipp'd for interfering. The Door having been left open—EnterStarv'd Maidwith wood; & goes to the Fireplace;Clownthen looking atUpholstererat Work, the money from the raftor falls intoClown'smouth, 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 whomRakestands aghast.—Girl approaches him.Raketurns from her—She retreats in Tears—Motherenraged shews Letters—Girlshews a Ring—Raketakes a handful of Guineas, offersmother—who rejects them, striking his hand, scatters them on the Ground;LawyerTurnsMother & Daughterout, placingClownwith his back against the Door.Rakein great agitation, walks about,Taylorfollowing him to finish measuring him: Lawyer picking up the money & pocketing some.—Clownpoints toRake—who, on seeingLawyerat it, takes Rolls of Parchment & beatsLawyerabout the Head—upon whichClowntakes the Roll of Black Cloth & knocks it aboutTaylor'shead,Taylorresists,Upholstereron his Ladder Laughs—The Scuffle increases, in which they knock down the Ladder,Upholstererfalls—Rake&Clownturn 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 movesIn her Bosom Affection Shall warmThe Daughter she tenderly loves.Daughter.Dear Parent, oh! Cease to complainAnd heedfully hear thy lost ChildGo tell the false ear of my SwainHow 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.

Daughter.Dear Parent, oh! Cease to complainAnd heedfully hear thy lost ChildGo tell the false ear of my SwainHow 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 theCharactersin Waiting at Rake's Levee.ItalianSinging &c—ClownintroducesVan Butchel, who displays a variety of his Articles.—Van ButchelSings.

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.

"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.

EnterRakewellto whom they all pay Court &c

Medley.

(TunePetitionPoor Vulcan

Poet.To Rakewell, whose enlivening FeaturesPronounce him first of happy creaturesBy wealth a Crœsus 'self Created,This fair Epistle's Dedicated

(TuneBlack Joke.)

DancegMasrLook! Look! Look! (Spoke.)With my tun'd little KitEvery fancy I hitAnd merrily prance itAnd caper & Dance itWith Ease, Elegance & Grace

(TuneStoney Batter.)

Fenc.gMasrHa! ha!—there I had himCarte & Fierce my BladeLa! La!—there I bled him—Damme!—See, he's dead.Tol lol lol do

(TuneTyburn Tree)

Van But: Since 'mong your Friends I have gain'd me a placeAll who Gallows her vant, vy, I'll presently traceNot you (to Bully) for the Gallows is mark in your FaceVish you can't deny.

(TuneFinale1stactPoor Volcan)(HuntingChorusPoor Vulcan)

Bully.You Reptile! Scoundrel! Death! Damnation!Say that again, & by my SoulGard.n.My Garden plan I here unrollBully.I'll crush to atoms—Damme, Sirrah!French.n.While the Horn shall sound Ta, ran, tan, ta raJockey. And Whip & Spur wins you the Bowl.—

Chorus.Tune—"Ballance a Straw"

To Rake.—In us, noble Sir, your best Friends you beholdTo each otherWho will smile in your Face while we pocket your GoldTo Rake.—We'll write, -Sing, -Fence, Dance, Fight, Run, hunt,—all for thee(To each Other And plunder him fast as we can agree.Shakinghands.—)

Exeunt.

Scene 5th

Link Boys &c &c. The Characters in next Scene to pass fromP.S. to O.P.

Rakewell—Well—but not full dup'd—Chairmentake great notice of him bowing very low &c—Clown—loiters behind—seems well acquainted withConstables—Chairmen Girls&c.ClowntreatsConstableswith 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 (aBlack Girl & waiteron)—After much Ceremony they sit OtherLadies & GentlemenEnter—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 againI say no more—Encore—Encore

during the Catch—Ballad SingerEnters & 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 BladeAs ere a writ expos'd to viewWho so genteely knows my TradeThat I nabs my man, with a "How do you do"?A Lodging Strong vil soon procureA 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 ParadeWho at the Race-course makes her BettOr runs to Ball & Masquerade'Till she runs herself o'er Ears in debtTho 'my devoirs don't please her much,We meet, I every art essayShe's mine by a Necromantic touchBecause I has such a taking Vay.

(3.)

Box-lobby Loungers to my willObedient Yield, I change their SongFrom bullying Bass to Treble ShrillE'en Dammes tremble on their Tongue;I mimicry too; practice much,In taking off great Art displayI'm quite at home by a single touch,Because I has such a taking Vay. (They Retire.)

EnterSarah Young& herServant Girl, with a Box—on which is written "Sarah Young"—Bailiffs, come forward, look pryingly about—The Chair comes on P.S.BailiffstopsRakeand arrests him,—BoySteals his Cane—Sarah Youngpays the money forRake, he kisses her hand, returns into Chair & is carried back: She goes off O.P. supported by herGirl; having left the Contents of her Box on the Ground—The Shoe-Boy is picking them up, whenClownEnters, who reads, & recollects the name, disputes withBoyabout the Contents of the Box, & seeing his Master's Cane claims it—a Scuffle ensues.—WheneverClownattempts to StrikeBoy—Boythrows his Stool inClown'sway over which he breaks his Shins—Clownhas already a great Leak in his Hat, & finding a Muff in the Box, wears it, & apes theWelchmanwho is going to Court.

Scene 8th

Bells Ringing—Marrow Bones & Cleavers &c &c

Rake & Old Woman.Richly dress'd coming from Church.Men Servantsin Rich Liveries—Clown.—old Lady's maid Servt&c all in favours.—Parish ClerkBows very low—Old LadyStops & makes him a present—Marrow Bones & Cleaversbeg ofRakewho 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 vainThe 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 AirSweet Birds!—Ye are coupled by LoveI weep & I sink in despair.Tho' Affection be all turn'd to hateAnd that Hate be the Sum of my woesMy fears will arrise for his Fate,I cannot divest me of those.Base Man! know in Ages to come,Thy falsehood detested Shall beAnd when I am Cold in my tombSome 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 lyeThe Grave will extinguish my woesThen Sarah—prepare thee to die!

I sigh, I lament me in vainThe 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 AirSweet Birds!—Ye are coupled by LoveI weep & I sink in despair.

Tho' Affection be all turn'd to hateAnd that Hate be the Sum of my woesMy fears will arrise for his Fate,I cannot divest me of those.

Base Man! know in Ages to come,Thy falsehood detested Shall beAnd when I am Cold in my tombSome 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 lyeThe Grave will extinguish my woesThen Sarah—prepare thee to die!

(Exit.)

Scene 9th

Servantsattending—EnterRakefollow'd byClown, who is ridiculously dress'd—Rakegives Orders toServantsand Exit—Clownfollows 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 HicA 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 laOh, Damme! I'm devilish clever.

(2.)

For Band Regulations to Butchells I popMy ankles just hid by a Natty Boot-top,Pig-tails are a Bore so I mount the neat CropTo appear the clean thing's my EndeavourMy negligent coat-cape proclaims me the BeauEase & Elegance always are habited soI'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 easeAnd each Whispers thanks for the favourBoh—Damme!—an oath I so pleasantly swearAnd for Duels—Bounce—Bang—let them fight me who dareI'm the tippee—the Dandy—the Kick too—look there—There again &c &c—Exit

Noise without. EnterPorterwith aWashing 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 theWomenhold him, while anIrish Washerwomansings the followingSong.

Song Shelah O'Sudds—Tune "The Siege of Troy."

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