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-playWhile wid Elbows & Fists we lather away.Chorus.Sing Latherum, whack!—boderation, my Joy,Let Shelah O'Sudds pray now have her employShe'll beat all your Beat'ems but give her fair playWhile wid Elbows & fists She Lather'd away.
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-playWhile wid Elbows & Fists we lather away.
Chorus.Sing Latherum, whack!—boderation, my Joy,Let Shelah O'Sudds pray now have her employShe'll beat all your Beat'ems but give her fair playWhile 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—
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 CleanBut a Wipe we must give you; agree, my dear Jewel—And an Irish Shilaleh shall serve as the Towel.So leave off &c
To destroy our Endeavours to live is't you mean?It's a black, dirty Job, tho' you do it so CleanBut 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 MoreChairmenplaying 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 theGamblerswho are in the next Scene, are to pass from P.S. to O.P. Sculkingly.Rakepasses,—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
DiscoversGamblersat play.RakeSeated.
Catch—"Pass the Box, come pass it faster."—or—"Rattle Dice, Rattle."—
Catch—"Pass the Box, come pass it faster."—or—"Rattle Dice, Rattle."—
Rakelooses all his Cash—then his Watch—Sword Knee-Buckles —Snuff-Box—Ring—Everything.A ManStands 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 someLooserswithCharacters of Suspicious look—they produce Pistols to the Chagrin'dLoosers.—TheLooserstake the Pistols.—Tune—"Let us take the Road."—They go off. Enterwatchmenwith Rattles.Beadle,Mobwith Fire Engine (Covent Garden or Hadley.) Furniture carried across from the Gaming Room. EnterFire Men.—Hose & Pipe conveyed across. Variety ofCharactersalarmed by Fire.A Boycarries a Feather-bed across—he falls down—SomeCharactersfall on it. NB: Confusion kept up as long as Necessary.
Scene 13th
Rake—is inhumanly dragg'd off by Bailiffs P.S.
Wifefollows 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.
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 ShameHe squanders his Fortune to infamy meetAnd the Libertine Rakewell's the Dupe of Deceit.
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 ShameHe squanders his Fortune to infamy meetAnd the Libertine Rakewell's the Dupe of Deceit.
(3.)
Now poverty Steals on her victim apaceAnd 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 broughtFor by Sharpers Surrounded—Each planning his FallThe Libertine Rakewell's depriv'd of his all.
Now poverty Steals on her victim apaceAnd 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 broughtFor by Sharpers Surrounded—Each planning his FallThe 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 retiresAnd the Libertine Rakewell unpitied Expires. (Exit)
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 retiresAnd the Libertine Rakewell unpitied Expires. (Exit)
Scene 14th
Chymist—Discover'd.Tune "Welcome, Brother Debtor."EnterGoalerO.P. IntroducingRake&Old WifeHe Sits P.S. EnterMen & Women Prisoners-OP.—All Sing.
Welcome, Welcome, Brother DebtorTo this poor but merry place;Where No Bailiff—Dun—or Setter,Dares to shew his frightful face.But, kind Sir, as you're a StrangerDown your Garnish you must pay,Or your Coat will be in DangerYou must either Strip or pay.
Welcome, Welcome, Brother DebtorTo this poor but merry place;Where No Bailiff—Dun—or Setter,Dares to shew his frightful face.But, kind Sir, as you're a StrangerDown your Garnish you must pay,Or your Coat will be in DangerYou must either Strip or pay.
RakeStrips his Coat off & turns out his Breeches Pockets;—At this PeriodFinancerdrops his paper; it is picked up by anotherPrisoner, 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 ConfinementFor your Children or your WifeWisdom lies in true Resignment,Thro' the various Scenes of life;Every Island is a prisonStrongly guarded by the SeaKings & Princes for that ReasonPrisoners are as well as we.
Ne'er repine at your ConfinementFor your Children or your WifeWisdom lies in true Resignment,Thro' the various Scenes of life;Every Island is a prisonStrongly guarded by the SeaKings & Princes for that ReasonPrisoners are as well as we.
Tune continues; but is Slower & Slower, till render'd as Dismal as possible.Raketakes 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 ViceOnward to sure destruction man Entice;In time be warn'd—Hope liberty to seeBenevolence & Pity'll set you free.
Thus does the baneful influence of ViceOnward to sure destruction man Entice;In time be warn'd—Hope liberty to seeBenevolence & 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 plainWhere Virtue & Benevolence in Concord reign.
This let the Captive's Supplication be,May Virtue & Benevolence soon set us free,May we taste smiling liberty & tread her happy plainWhere Virtue & Benevolence in Concord reign.
Recitative. Virtue.
Then Vice discard & follow Virtue's trainView her Retreat & join her Sacred Strain.
Then Vice discard & follow Virtue's trainView her Retreat & join her Sacred Strain.
Scene Changes.
Scene 15th
Cloud Descends:Libertyseated 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 aMedalionofThe King—over that ofVirtueone of theQueen.
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.
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.
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," inThe 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 twoRamblerpapers (1750).23. John Dryden,His Majesties Declaration Defended(1681).
16. Henry Nevil Payne,The Fatal Jealousie(1673).
18. "Of Genius," inThe 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 twoRamblerpapers (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), andThe Eton College Manuscript.41. Bernard Mandeville,A Letter to Dion(1732).
26. Charles Macklin,The Man of the World(1792).
31. Thomas Gray,An Elegy Wrote in a Country Churchyard(1751), andThe 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).
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).
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).
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) andPudding and Dumpling Burnt to Pot or a Compleat Key to the Dissertation on Dumpling(1727).141. Sir Roger L'Estrange, Selections fromThe 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).
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) andPudding and Dumpling Burnt to Pot or a Compleat Key to the Dissertation on Dumpling(1727).
141. Sir Roger L'Estrange, Selections fromThe 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) andTachygraphy(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).
145-146. Thomas Shelton.A Tutor to Tachygraphy, or Short-writing(1642) andTachygraphy(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), andThe Great Man's Answer to Are These Things So?(1740).154. Arbuthnotiana:The Story of the St. Alb-ns Ghost(1712), andA Catalogue of Dr. Arbuthnot's Library(1779).155-156. A Selection of Emblems from Herman Hugo'sPia Desideria(1624), with English Adaptations by Francis Quarles and Edmund Arwaker.
151-152. Evan Lloyd,The Methodist. A Poem(1766).
153.Are These Things So?(1740), andThe Great Man's Answer to Are These Things So?(1740).
154. Arbuthnotiana:The Story of the St. Alb-ns Ghost(1712), andA Catalogue of Dr. Arbuthnot's Library(1779).
155-156. A Selection of Emblems from Herman Hugo'sPia 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 DistractionfromA Treatise of Dreams and Visions[1689].161. Robert Blair,The Grave. A Poem(1743).162. [Bernard Mandeville]A Modest Defence of Publick Stews(1724).
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 DistractionfromA 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).
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).
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).
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.
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.