[15] For exposition of the eight prints of "A Rake's Progress" (1735) see Paulson's HGW, 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.

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

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."