The True History of Tom & Jerry: or, Life in London, by Charles Hindley

When the long run of Tom and Jerry ended at the Adelphi, a spectacular extravaganza of the same kind was produced with the title of “Green in France,” but it did not catch the fancy of the town like its predecessors.[34]

In 1825, Mr. Moncrieff published his dramatic version of Tom and Jerry; or, Life in London—which he dedicated to:—

His Royal Highness, Frederick Duke of York,

May it Please Your Highness:—

The distinguished honour conferred by your Royal Highness on this Drama, in commanding and witnessing its performance at the Adelphi Theatre, (an honour unprecedented in the annals of the Minor Stage) and the flattering manner in which your Royal Highness was afterwards graciously pleased to express your high approbation of it, emboldens me, with the most profound respect, to lay it at your Royal Highness’s feet, and under the sanction of your illustrious name, commit it in its present form to the world.

Having no higher pretensions than that of presenting a faithful picture of the various scenes it pourtrays, the favourable opinion of your Royal Highness stamps it with an authority that was alone wanted to crown the success with which it has been received by the Public.

Like the illustrious Haroun al Raschid, your Royal Highness is said to have made yourself acquainted with the many coloured changes of life; presented in the people over whom you may be one day called to preside, by wisely throwing off the restraint of rank, and witnessing nature in its genuine state. That the scenes I have pourtrayed are not caricatured for the sake of dramatic effect, but are actually those which might have been seen by any one choosing to seek them, your Royal Highness can therefore adequately testify; and your Royal Highness’s imprimatur will effectually ward off all the imputations that have been cast upon my motives and veracity, by the bigoted and envious.

I have the honour to be,
With the most profound respect and devotion,
Your Royal Highness’s
Most obedient and very humble Servant,
W. T. Moncrieff.

104, Drury Lane,
Dec. 15, 1825.

Mr. Moncrieff in his Dedication—To His Royal Highness: and in his Preface that follows throws so much true light and shade on public opinion—pro et con—of the period, that we deem it not only desirable but instructive to the present generation to publish the same in extenso.

PREFACE.

“It is scarcely necessary to observe this Drama is founded on the “Life in London” of my friends Pierce Egan, and the inimitable Cruickshank. Aided by Pierce’s clever illustrations to the matchless series of plates to that work, I have in this piece, endeavoured to put them into dramatic motion; running a connecting story through the whole, making such modifications and amplifications, and furnishing such reflections and results, as I deemed necessary. From the popularity of the subject, the novelty and acknowledged truth of the various scenes comprised in it, and the beauty of the music I fortunately selected, this Piece obtained a popularity, and excited a sensation, totally unprecedented in Theatrical History; from the highest to the lowest, all classes were alike anxious to witness its representation; Dukes and Dustmen were equally interested in its performance, and Peers might be seen mobbing it with Apprentices to obtain admission. Seats were sold for weeks before they could be occupied, every Theatre in the United Kingdom, even in the United States, enriched its coffers by performing it; and the smallest tithe-portion of its profits, would for ever have rendered it unnecessary for its Author to have troubled the public with any further productions of his Muse. It established the fortunes of most of the Actors engaged in its representation, and gave birth to many publications and several newspapers. The success of the “Beggar’s Opera,” the “Castle Spectre,” and “Pizarro,” sunk into the shade before it. In the furore of its popularity, persons have been known to travel post from the furthest parts of the Kingdom to see it; and five guineas have been offered for a single seat.—These facts are not recapitulated here from any feeling of egotism—the success of this Drama, was the temporary rage of the moment, from time-serving circumstances, and was never regarded in any other light by its Author; they are merely noticed as curious events in theatrical history.—With respect to the cry of immorality, so loudly raised by those inimical to the success and plain-speaking of this piece, it is soon answered! To say nothing of the envy of rival Theatres feeling its attraction most sensibly in their Saturday Treasuries, those notorious pests the Watchmen; dexterously joined in the war-howl of detraction raised against it, and by converting every trifling street-broil into a “Tom and Jerry row,” endeavoured to revenge themselves for the exposè its scenes afforded of their villany and extortion; but all in vain. In vain, too, it was the Actor’s old rivals, the Methodists, took the alarm—in vain they distributed the whole of the stock of the Religious Tract Society at the doors of the Theatre—in vain they denounced “Tom and Jerry” from the pulpit—in vain the puritanical portion of the Press prated of its immorality—in vain the prejudices of the stiff-backed part of the Bench—the hypocritical host of Saints cried it down, and preached woe and destruction to those who supported it.—They but increased the number of its followers, and added to its popularity. Vainly, too, was the Lord Chamberlain called upon to suppress it—His Grace came one night to see it, and brought his Duchess the next. It was nearly the same with the Chief Magistrate of Bow Street: his experience rendered him perfectly sensible, that, long before the appearance of “Tom and Jerry,” young men and country gentlemen would in moments of hilarity, sometimes exceed in their potations, be provoked into quarrels by designing Watchmen, and consigned, for purposes of extortion on the following morning, to His Honour, the Night Constable; but according to the Saints’ accounts, to believe their tales, it must be held as a point of faith, that no one, previous to the appearance of “Tom and Jerry,” ever got into a row!—Oh, no—drinking and all its train of follies were unknown to youth, until inculcated into their minds by the example of “Tom and Jerry!” How many an unsuspecting Country Cousin has been converted, in the public newspapers, through an hour of harmless frolic, into a Jerry; while his equally unconscious Town relation figured as a Tom, and any honest plodder they may have had with them is transformed into a Bob Logic—his first appearance in that character. The thing speaks for itself: the hue and cry of the immorality and danger of this piece was raised merely for the purposes of plunder, by Watchmen and others. So far from being immoral, if the piece be fairly examined, it will be found to be as correct in its tendency as any production ever brought on the stage. The obnoxious scenes of life are only shown that they may be avoided: the danger of mixing in them is strikingly exemplified; and every incident tends to prove, that happiness is only to be found in the domestic circle.

“It has been said, that many of the scenes of this piece should not have been exhibited, being scenes of dissipation, riot, and impropriety—ridiculous!—Has not Shakespeare asserted that the proper use of the drama is—“to hold, as ’twere, the mirror up to nature, to show virtue her own feature, and vice her own image, and the very age and body of the time its form and pressure:” could any piece do this more effectually than “Tom and Jerry?” take away the scenes complained of, it ceases to show the form and pressure of the age and time.

“I should not have published this piece had not its success produced such a host of imitations and plagiarisms, that more to prevent myself suffering from the demerits of others than to avail myself of any merits of my own. I give it with all its imperfections on its head, to the world; willing to pay smart blunt for my own misdeeds, but not stand Sammy for those of others. To those venerable noodles who complain that I and my prototype, Pierce, have made this the age of flash; I answer any age is better than The age of cant! I tell my pious lecturers, in plain terms, I shall always feel pleasure in reflecting that I have in this piece, nosed every move on the board, in the game of the spell; opened the ogles of the green and the yokel, and the muff, and the raw; struck a light on the darky of their knowledge boxes, flashed the gab of the prig, the leg, the scamp and the stringer, in their listeners, put them fly and awake to all they should be up and down to, and enabled them, if their lugs are at all wing to the bits of good truth, pattered to them in every scene of this piece, bank their rag, chivey their nurses, nash their leading strings, and keep out of the way of the cut-along-coaches as they travel the high toby of existence; and having so done, can lay my mawley on my core, and conscienciously chaunt my conviction, in which my reader will bear me out, “that I’ve cut all the buzmen, and done the thing right.”

W. T. M.

104, Drury Lane,
Dec. 15, 1825.

Mr. Walbourn’s theatrical fame was made by, and, strange to say, expired with the character of Dusty Bob. Pierce Egan, in his “Life of an Actor,”—which he dedicated to Edmund Kean—classes his performance of this part, as giving him a title in the niche of fame beside John Kemble, Mrs. Siddons, and all the great actors contained in his “Catalogues of Parts Acted”—which can never be forgotten by those who witnessed them. Here is the note, and will be found at page twelve of the work:—“The personification of Dusty Bob, by the above actor, has been unanimously decided by the public to be one of the greatest triumphs of the histrionic art ever exhibited on any stage. The first tragedian of the day,[35] with the utmost liberality, gave it as his opinion, that, during the whole course of his theatrical life, he had never seen any performance equal to it. Also, a comic actor of the greatest celebrity[36] exclaimed, ‘Good heaven! is it possible? Do my eyes deceive me? Most certainly it is a real dustman they have got upon the stage. I am very sorry the profession has descended so low as to be compelled to resort to the streets to procure a person of that description to sustain the character.’ He left the body of the theatre in utter disgust—nor was it until introduced to Mr. Walbourn in person, behind the scenes, that he would believe it was an actor. Further praise than this is superfluous.”

Mr. Walbourn as “Dusty Bob,” was drawn and engraved by George Cruikshank, and sold, with other character-portraits, at the Adelphi Theatre. During the long run of the piece, he exchanged one species of hops for another, as he gave up his business as a private and stage dancing-master, and took the “Maidenhead” public-house at Battle Bridge. The house, previous to his taking it was doing only a small trade; but, when he became the landlord, and put out a spick-span new and a “not so dusty” sign of himself as “Dusty Bob,” painted in oil by George Cruikshank, it drew together many of the “Dusty” fraternity—and their doxies. After that, “Dusty Bob,” together with “Black Sal,” became to be bye words, as, near to the house, was Smith’s dust-yard, at which hundreds were employed, male and female. But:—

“A heap of dust alone remains of thee;
’Tis all thou art, and all the proud shall be!”

My dawning genus fust did peep,
Near Battle Bridge ’tis plain, sirs—
You recollect the cinder heap,
Vot stood in Gray’s Inn Lane, sirs?[37]
’Twas there I studied pic—turesque,
Vhile I my bread vos yarning,
And there, inhailing the fresh breeze,
I sifted out my larnin’!
They calls me Adam Bell, ’tis clear,
(As Adam vos the furst man),
And by a co—in—side—ance queer,
Vy, I’m the fust of dustmen!—
A Literary Dustman!

The “Old Pub.” of sixty years ago is now The Victoria Tavern, Great Northern Railway. Maiden Lane is York Road, and Battle Bridge is known as King’s Cross, from a statue of George IV.—a most execrable performance—taken down in 1842.

Great sculptors all conwarse wi’ me,
And call my taste diwine, sirs—
King George’s statty at King’s Cross
Vas built from my design, sirs.
The Literary Dustman.

Besides the authors already mentioned. Tom Dibden, Farrell, and Douglas Jerrold, each produced dramas upon the popular theme; and during the seasons of 1821-2, “Life in London” was performed with great éclat, at ten theatres in and around the metropolis, to overflowing houses. But Pierce Egan at length became tired of the successes of the playwrights in using his book, and resolved to try his own hand at a dramatic version—or, as he termed it, “to take a leaf or two out of his own book”—and the Author’s Piece was “got up” and performed for the first time at Sadler’s Wells, under the respectable management of Mr. Egerton, on Monday, April 8, 1822, with most decided success.

It was thus announced by Mrs. Egerton, in the address written for the occasion by T. Greenwood, Esq.

“To-night, my friends, this modern taste to meet,
We show you Jerry at his country seat;
Then up to town transport the rustic beau,
And show him ‘Life in London,’ HIGH and LOW.”

Under the Direction of Mr. Egerton, of the Theatre Royal, Covent Garden, Sole Proprietor.

The Brilliant Success, and increasing Attraction of Pierce Egan’s “Tom and Jerry”: not exceeded by any performance ever yet produced; and the celebrated Pony Races, exciting an interest equal to the Race Course itself: being nightly performed to crowded Audiences, amidst Roars of Laughter and Shouts of applause, will be repeated Every Evening, at half-past six o’clock precisely:—

The new Pedestrian, Equestrian, and Operatic Extravaganza: in Three Acts—of Gaiety, Frisk, Lark, and Patter, called

Who trusts it will not be deemed unfair that he should take a Leaf or Two out of his own Book, several other persons having made free with the Work. The Piece now prepared for representation is not entitled to the appellation of Tragedy, Comedy, Opera, Play, Farce, Ballet, or Melodrama, yet partaking of the Qualities of all, and possessing scenes High and Low in abundance, from the “Sky Parlour” to the “Diamond Vault.” Out and Out, Rambles and Sprees, East and West, and Lots of Characters, Up and Down. A variety of Swells but no Dons: Corinthians and Costard-mongers of many Hues and Colours: Flats and Sharps without a Note—Pinks and Tulips, but no Flowers, yet always in the Hot Houses: and Hells without Devils, only having Black Legs: Muslin and Hopsacks, according as the creatures wear them: the whole forming a “Bit of Good Truth,” en passant, in a Review of Life in London, developed by a precious Trio, in the Persons of a Top-of-The-Tree-Hero Up and Dressed in all suits: seconded by a slap-bang countryman, that neither hedge nor ditch baulk his pursuits; and in unison with a prime piece of Logic without Premises, yet always so much at Home, that Locke and Bacon were muffs to him: also representing the Noble, Respectable, Mechanical, and Tag Rag and Bob-tail part of Society, which constitute the Corinthian Capital, and the Base of the Pillar.

The Overture, with the New and Selected Music, by Mr. Nicholson. The Scenes from Drawings taken on the spot, by Mr. Greenwood, assisted by Mr. Milldenhall and others. The Sporting Subjects, by Mr. George Cruikshank, from designs by himself and Brother, Mr. I. R. Cruikshank. The Quadrilles and Country Dances, by Mr. Kirby. The Machinery, Platforms, and Race Course, by Mr. Copping. Dresses by Mr. Townley and Mrs. Balding.

☞ The eagerness of several Ladies and Gentlemen to Promenade the Course during the Race, having at times produced a temporary delay and inconvenience, they are respectfully intreated to observe the directions of the Clerk of the Course, who will attend with Mrs. Dusty Bob (African Sal) in their Carriage from Maiden Lane, Battle Bridge, for the purpose of preserving order.

A Celebrated Comic Song, written by
T. GREENWOOD, Esq.
And Sung by Mr. Vale, at Sadler’s Wells Theatre, in the Character of Bob Logic.

SUNDAY, got floor’d, in groggy plight,
MONDAY, quite stale, took anti-bilious,
Pester’d by nausea, nerves not quite right,
And noisy duns quite supercilious:
A dish of Mocha, ’chovy toast,
Remov’d the spasms—increased attrition,
So started, when I’d skimm’d the Post,
To Tattersall’s, in high condition.

TUESDAY, got clean’d at Rouge et Noir,
And, done quite brown, was forc’d to toddle;
So then I vow’d to play no more,
Lest, like a lame duck, I should waddle.

WEDNESDAY, reflected; curs’d each star,
Swore never more a card to handle:
Went to the Fives Court, saw them spar,
And patronis’d Cribb, Neat, and Randall.

THURSDAY, bowl’d down to Ascot Heath,
To sport my blunt upon the races:
Rode my own mare almost to death,
For I had won three steeplechases:
Clean’d out again, I came away
Quite undismay’d, though out of feather,
At night I bolted to the play,
To drown ill-luck and care together.

Met with a spree, two glorious frays,
So went to work—I hate long parleys;
Kick’d up a row, then starr’d the glaze,
And mill’d, in style, a brace of Charley’s:
Morris’d away to Almack’s Rooms,
Danc’d a quadrille, alert and showy,
Call’d at the Finish, mops and brooms,
And tumbled to bed as drunk as Chloe.

FRIDAY, I went to see dear Nancy,
But found a Covey there before me,
Was forc’d to bolt, I’d lost my chance,
But Kate, I knew, would still adore me:
So off I set, stay’d SATURDAY,
My comforts took, then home departed;
Book’d for next week, with spirits gay,
I for a fresh game, on SUNDAY started.

SADLER’S WELLS.

PIERCE EGAN,
The Author

of

TOM & JERRY;

or,
Life in London.

Most respectfully informs the Public, and his numerous Friends in the
Sporting World, that:

(Before “all the Gold is taken off the Gingerbread,” being contented
with a Small Slice of it,) his

BENEFIT
is fixed for
Wednesday

The 25th September, 1822.

When a Variety Entertainment, will be performed, in which
THE AUTHOR
Will make his First and only Appearance on this Stage, in a
PRINCIPAL CHARACTER.

LIFE IN A SPREE.

A Spree’s the thing, with potent port made merry,
“Go it Bob Logic,” “Keep it up,” cries Jerry.

The Upper Story all abroad—Mr. Lushington at Work; and when the Wine is in, the Wit is out—Ripe for any thing—How to make a Stop—Watch go—And getting the best of the Timekeepers—Must make a noise in the World:—

No way but this left to obtain renown,
Kick up a Row, and knock the Charlie’s down!

Tickets not necessary—Any Port in a Storm—Never a Jack without a Jill—All happiness: no questions asked: and one half the world don’t know how the other half lives—(or dies!)—No matter! Plenty of Taste—Patter without ceremony—And not particular to a shade about Lingo. Spoting a toe without a shoe, and no enquiry after the Snob’s Bill—Reeling without steps—Flooring instead of Waltzing, and nothing the matter. Country or colour no objection—Ladies in mourning not prohibited—Black Sall don’t blush for her appearance—And Dusty Bob not uneasy about his toggery—All the same One Hundred Years hence!—Philosophy.

⁂ To prevent the trouble and fatigue of ascending the numerous Steps to the Author’s Sky Parlour, (in Days of Yore, denominated a Garret, as well as Tumbling over lots of Kids,) Tickets to be had of Messrs. Sherwood, Neely, and Jones, Paternoster Row; Office of the Weekly Dispatch, Wine Office Court, Fleet Street; at all the Sporting Houses; and Places for the Boxes can be taken of Mr. Parker, at the Box Offices, Sadler’s Wells, from 10 till 4.

Brighton, of course, in common with all other large provincial towns had its version of “Life in London.” The theatre was then under the management of Mr. Samuel—or, as he was commonly known, Jerry Sneak Russell, from the inimitable manner in which he personated that character in Foote’s farce of “The Mayor of Garrat.” We have a copy of the play-bill before us, and as we think the manager’s remarks and the selection of criticisms are in their way curious, we here append them, including the cast of characters:

In announcing the successful piece of “Tom and Jerry” for this evening, the manager feels great satisfaction in being able to quote in its favour the following observations from the critiques in the London and other newspapers. “The scenery, dresses, &c., are good throughout, and much credit is due to the manager for the style in which it is got up. It is with pleasure we remark that this piece has been most judiciously freed from the impurities of dialogue, which rendered it improper to meet the delicate ear of the gentler sex. We therefore venture, without subjecting ourselves to reproach, to recommend our readers to see ‘Life in London,’ to witness an exposure of many impositions practised in real life, and be made ‘fly’ (the plain English of au fait) to the multum in parvo phrases which are now introduced into passing conversations.”

“Brighton.—The theatre at this place has just produced its ‘Tom and Jerry’ with great success, and, we may say, deservedly—every objectionable point that might be thought to infringe on decorum having been most ingeniously suppressed, without any diminution of the whim and fire of its varied and entertaining scenes. This regard to propriety argues much discretion, and seems to meet the approbation of the beau monde resorting hither, for the theatre is graced with abundance of fashion and beauty.”

“The ‘Tom and Jerry’ of the Brighton Theatre has good scenery, good acting, and, what in such a piece is perhaps still better, good and chaste dialogue to recommend it; it has been cleansed of its impurities without injuring its life and spirit. As thus represented, it cannot raise a blush on the cheek of the most fastidious female.”

On Wednesday Evening, September 12, 1822, will be reproduced the highly popular and amusing Burletta of

Country Lasses, Ladies at Almack’s in the West, &c., &c.; Prospectus of Scenery, &c., &c., as before.

The notoriety which Tom and Jerry obtained in England, became the topic of conversation amongst our Gallic neighbours—nay, it crept so much into favour with the gay folks of Paris, Life in London was speedily translated into French, under the title of “The Diorama; or, Picturesque Rambles in London—containing the most faithful Notices of the Character, Manners, and Customs of the English Nation, in the various classes of Society. By M. S——.” The translation had a most extensive circulation in France.

The reception of Tom and Jerry was equally flattering—notwithstanding the great prejudices that had previously existed against it—in Dublin. Mr. Wrench, from the Adelphi Theatre, was specially engaged to play the part of Corinthian Tom. The first seven nights produced £1300; and the house, on Mr. Wrench’s benefit night, held £345.

The great success of “Life in London,” in its dramatic form in the Irish capital lead up to the publication of:—

“Real Life in Ireland; or, the Day and Night Scenes, Rovings, Rambles, and Sprees, Bulls, Blunders, Bodderation, and Blarney of Brian Born, Esq., and his elegant friend Sir Shawn O’Dogherty. 1829. Coloured plates.”

In which the pictorial style of the Brothers Cruikshank was imitated from an Hibernian point of view and colouring.

At both the Theatres in Edinburgh, Tom and Jerry attracted crowded audiences, according to the Editor of the Edinburgh Dramatic Review, who states thus:—

“At length the public of Edinburgh had opportunity of judging of the merits of the above celebrated Extravaganza. From the general tendency of the remarks which appeared in the newspapers, we were led to suppose that this piece consisted of indecency and gross vulgarity. From what we heard reported as to the numerous indelicacies which this sketch of Fun, Frolic, Fashion, and Flash contained, we were afraid that its success with our sober citizens would have been precarious; but, we are happy to say, that the applause which was bestowed on it by the unprecedentedly numerous assemblage on Saturday evening, January 25, 1823, which crowded the Caledonian Theatre, is a sufficient answer to the chimerical doubts which were industriously circulated against its propriety. There is nothing, as we before remarked, associated with disgust or offence. There is neither one word, action, or situation, in the whole course of the piece, that can possibly raise a blush, or offend the most fastidious moralist!”

The Burletta of Tom and Jerry had been repeated so often all over the kingdom, and particularly in the metropolis, that the performers, notwithstanding the great applause they nightly received in the above piece, absolutely became tired and worn-out with the repetition of their characters, when the following piece of satire, written by T. Greenwood, Esq., was published, entitled, “The Tears of Pierce Egan, Esq., for the Death of ‘Life in London’; or, The Funeral of Tom and Jerry. Dedicated to Robert and George Cruikshank, Esqs. Price Two Shillings, with an engraving by George Cruikshank.”

“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:—

Corinthian Tom		Mr. Elliott.
Jerry Hawthorn		Mr. Keeley.
Bob Logic		Mr. Vale.
Dusty Bob		Mr. Walbourn.
African Sal		Mr. Brady.
Little Jemmy		Mr. Cooper.
Billy Waters		Mr. Hartland.

Ponies.		Colours.
1.—The Corinthian		Pink.
2.—Bob Logic’s Miss Sly		Stripe.
3.—Jerry’s Never to be beat		Blue.
4.—Dusty Bob		Black.
5.—Touch and-Go		Blue and Pink.
6.—The Out-and-Outer		Scarlet.
Stewards of the Race		Logic, Tom, and Jerry.
Clerk of the Course		Dusty Bob.

Corinthian Tom		Mr. Power.
Bob Logic		Mr. Chapman.
Jerry Hawthorn		Mr. Russell.
Squire Hawthorn		Mr. Chambers.
Tattersall		Mr. Mortimer.
Yorkshire Cove		Mr. Hatton.
Primefit		Mr. Julian.
Bill Chaunt		Mr. Whatford.
Dusty Bob		Mr. Starmer.
Mr. Mace (Landlord of All Max in the East)		Mr. Jenkins.
Billy Waters		Mr. Sheen.
Mr. Muff		Mr. Collier.
Gammoning Jack		Mr. Mills.
Snoozy		Mr. Cole.
Trifle		Mr. Dale.
Little Jemmy		Master Williams.
Chaffing Sam		Mr. Wiber.
Tom Belcher		Mr. Jones.
President of the Daffy Club		Mr. Campbell.
Huntsmen, Watchmen, Villagers, Cadgers, &c., &c.
Corinthian Kate		Miss M. Cooke.
Hon. Mrs. Gadabout		Mrs. Clarke.
Patty Primrose		Miss Carr.
Mary		Miss Cramer.
Hon. Mrs. Trifle		Miss Grosette.
Fortune Teller		Mrs. Grosette.
Mrs. Allright		Miss H. Grosette.
African Sal		Miss Black.

Valentine		Mr. Power.
Orson		Mr. S. Chapman.