Part 2

_Air VI_: "Maidens fresh as a Rose" appears as Air VI in Ebenezer Forrest's ballad opera _Momus turn'd fabulist; or, Vulcan's Wedding_, a work translated from the French of Fuzelier and Le Grand (London 1729), p. 12. It also could be the song in D'Urfey's _Wit and Mirth: or, Pills to Purge Melancholy_ (1719), with a slightly different title, "Maiden fresh as a Rose," though the syllabic pattern does not seem to match: "Young buxome and full of jollity,/Take no Spouse among Beaux," (I, p. 57).

THE RAKE'S PROGRESS

_Airs I-III_ are not traceable ("From Virue's sluggish Rules be free," "Mary's Dream" and "Alteration").

_Air IV_: "Duett" to the tune "An Old Woman Cloathed in Gray" is the familiar first tune of John Gay's _The Beggar's Opera_, ed. Edgar V. Roberts (Lincoln: University of Nebraska Press, 1969), pp. 94-95.

_Air V_: Van Butchel's song ("See Martin dus his goods display") is not in the songbooks. Prof. Roberts suggests the lyrics could fit the music of "Lillibullero," sometimes used for songs in dialect. Henry Purcell wrote or arranged this Irish burden which was used in 12 ballad operas, including Fielding's _Don Quixote in England_ (1733). Simpson (p. 454) gives one example in dialect: "By Creist my dear Morish vat makes de sho'shad" (ca. 1689).

_Air VI_: "Shelah O'Sudds" (to the tune "The Siege of Troy") is not traceable.

_Air VII_: "Medley. Tune, 'Petition Poor Vulcan'" is from Charles Dibdin's burletta _Poor Vulcan!_ (London 1778) which begins: "The humble prayer and petition/Of Vulcan, who his sad condition" (I, 1, p. 7).

_Air VIII_: "Tune. Hunting Chorus, 'Poor Vulcan'" is the "Chorus and Air" from Dibdin's _Poor Vulcan!_ It begins: "Blacksmith: 'Strike, strike, ton, ton ton, ron'/Huntsman: 'Sound, Sound, tan, ran, ran, tan'" (I, ii, p. 10).

_Air IX_: "Tune: 'Finale 1st act _Poor Vulcan!_'" seems to be the song "Pike; 'Pooltroon! Damnation! Zounds, unhand me;/ Either you villain, eat that word,'" (_Poor Vulcan!_ I, p. 23).

_Air X_: "Medley. Tune, 'Black Joke'" is Leveridge's song of 1730. See E. V. Roberts, ed. Henry Fielding, _The Grub-Street Opera_ (p. 105) and Charles Wood's _The Author's Farce_ (Lincoln: University of Nebraska Press, 1966), p. 116.

_Air XI_: "Welcome, Brother Debtor" appears in many eighteenth-century song collections, including Henry Roberts' _Calliope; or, English Harmony, a collection of ... English and Scots tunes_ (London, 1739-1749), p. 315.

_Airs XII_, _XIII_ _and XIV_ are not traceable. ("Medley tunes 'Stoney Batter,' 'Tyburn Tree,' and 'Ballance a Straw.'")

_Air XV_: "Bailiff's Song" has no tune and is not traceable.

_Air XVI_: "Mind the Golden Rule" is not identifiable.

_Air XVII_: "Tune 'Mary's Lamentation'" is the old ballad (set to the music of "Crimson Velvet"), the "lamentable complaint" of Queen Mary for the "unkind departure" of King Philip, "in whose absence she fell sick, and died," which begins "Mary doth complain;/Ladies be you moved," and appears in Richard Johnson's _Crown Garland of Roses_ (1659), ed. Chappell, 1895. Though popular in the seventeenth century, it may have been written soon after Queen Mary's death in 1558 (Simpson, p. 141). Verses similar to Air XVII ("I Sigh and lament me in vain,/These Walls can but echo my moan,") appeared in Signior Giordani's "Queen Mary's Lamentation," printed in Domenico Corri's _Select Collection_ of 1779 (III, No. 71).

_Air XVIII_: The "Clown's Song" seems to have been specially composed for this work.

_Air XIX_: "Tune: 'Let us take the Road'" is the famous "March in Rinaldo" by Handel. See Air XX, _The Beggar's Opera_ (Act II, ed. Roberts, pp. 130-131).

_Air XX_: "Ballad Tune: 'The Race Horse'" with the title "The Rake's Progress." Thomas D'Urfey's tune is called "The Race Horse," and begins "To Horse, brave Boys of Newmarket, to Horse," and is "set to an excellent Scotch tune" called "Cock up thy Beaver" (Simpson, p. 112). It was first published with the music in D'Urfey's _Choice New Songs_ (1684) and appears as an untitled air in Kane O'Hara's comic opera _Midas_ (1764; ARS 167). It is also called "Newmarket," or "Newmarket Horse Race," Air XXII of the 1730 and 1750 versions of Fielding's _The Author's Farce_. The music is printed in Woods's edition of _The Author's Farce_, p. 133.

California State University Northridge

NOTES TO THE INTRODUCTION

[1]: There are at least three dramatic pieces other than the _Theophilus Cibber_ work reprinted here which were inspired by William Hogarth's "A Harlot's Progress." Ronald Paulson reports one announced in the _Daily Advertiser_ (13 November 1732) by Charlotte Charke entitled _The Harlot_. It had been printed by Curll; but there is no record of performance (_Hogarth: His Life, Art, and Times_, I, London and New Haven: Yale University Press, 1971, p. 290). Paulson also mentions the publication announcement in the _Daily Advertiser_ (5 February 1732/3) of: "_The Decoy_, or _The Harlot's Progress_ (on February 14 called _The Jew Decoy'd_), a new ballad opera, said to be performed at Goodman's Fields" (p. 290). _The Jew Decoy'd_, a work never performed and discussed at length by Robert E. Moore (_Hogarth's Literary Relationships_, Minneapolis: University of Minnesota Press, 1948, pp. 34-36) as being published in 1733, is a different piece than _The Decoy; or, The Harlot's Progress, A New Ballad Opera_ [By Henry Potter] (_The London Stage_, ed. Arthur Scouten, Part 3, Vol. I, Carbondale: Southern Illinois University Press, 1962-68, pp. 269-270, abbreviated in later citations as "_LS_" followed by part, volume and page number.) The title page of Potter's piece reads: "_The Decoy. An Opera. As it is Acted at the New Theatre in Goodman's Fields_. London, 1733, with the "Dedication" signed by Potter. This three-act piece contains 52 songs, three of which also appear in Cibber's "The Harlot's Progress." The "Introduction" alludes to Hogarth's series as the source ("the Sketch is now in Print"), but it has many links to John Gay's _The Beggar's Opera_, and, like Cibber's piece, only follows the first three plates. Potter's small theater in the Haymarket opened in 1720 but no organized company had produced legitimate drama there by 1728 (_LS_, 3, I, cxxxix). The run was successful for Potter: he had a benefit on 8 February, with the comment "On account of the great Demand for Places, the Pit and Boxes will be laid together at 5s each" (_LS_ 3, I, 270). Hogarth had advertised the subscription for "A Harlot's Progress" as early as 8 March 1731. (See Ronald Paulson, _Hogarth's Graphic Works_, I, Rev. Ed., New Haven and London: Yale University Press, 1970, p. 141. Citations in my text are abbreviated _HGW_ followed by volume and page number.) This piece appears in Baker's _Biographia Dramatica_ (Vol. II, p. 157) without comment, while he lists "_The Jew Decoy'd; or The Progress of an Harlot_," 8vo. 1733 "as never being performed, but founded on the Hogarth series." _The Jew Decoy'd_ discussed by Moore has the title page: "London: Printed for E: Rayner ... 1733," published on 14 February (p. 34). The Henry E. Huntington Library has a copy, "Printed by W: Rayner ... 1735" but does not have the frontispiece Moore describes. For engravings, see Vol. II of Paulson's _Hogarth's Graphic Works_.

[2]: Reprinted here with permission of the Henry E. Huntington Library (No. 151783). There are two other extant copies of the first edition: one in the Boston Public Library and the other in the British Library. The British Library copy has two inserted engraved portraits (Theophilus Cibber in his role of Pistol, and Hogarth seated at an easel studying a cartoon of a goddess, probably based on "Hogarth Painting the Comic Muse" of 1758). Yale University has a photostat facsimile of the Boston Public Library edition. I thank David Rodes for looking at the British Library copy.

[3]: Reprinted here in typescript form from a manuscript difficult to reproduce legibly. The work is anonymous. The typescript appeared as "Appendix I" of my unpublished New York University dissertation on William Hogarth with permission of the Trustees of the British Library. I have discussed it in "_The Rake's Progress_: A New Dramatic Version of William Hogarth's Prints," in _Notes and Queries_ (October 1972), 381-383. The theatrical career of the author, Theophilus Cibber (1703-1758), has not been fully assessed. He did know Hogarth: they both belonged to John Rich's group, the "Sublime Society of Beef Steaks," which met in the scene-painting loft over the Covent Garden stage. Cibber joined the group in September 1739, and Hogarth was a charter member in 1735 (_HGW_, I, 188). Cibber himself played an active role in the creation of the position of stage manager or "under-manager" (_LS_, 3, I, xcvi).

[4]: See my essay concerning such connections, in "William Hogarth and London Theatrical Life," _Studies in Eighteenth Century Culture, Vol. 5_, ed. R. Rosbottom (Madison: University of Wisconsin Press, 1975), 11-31.

[5]: See my "Music and Theatre in Hogarth," The _Musical Quarterly_, 57 (July 1971), 409-426.

[6]: "Some Aspects of Music and Literature," repr. _Facets of the Enlightenment_ (Berkeley: University of California Press, 1968), p. 92.

[7]: See "The Tunes" at end of Introduction.

[8]: _English Theatre Music in the Eighteenth Century_ (London: Oxford University Press, 1973), p. 108.

[9]: "The Popularity of Various Types of Entertainment at Lincoln's Inn Fields and Covent Garden Theatres, 1720-1733," _Theatre Notebook_, XXIV: 4 (Summer 1970), 156.

[10]: The complete title is "_The Judgment of Paris. A Dramatic Entertainment In Dancing and Singing, After the Manner of the Ancient Greeks and Romans. As it is Perform'd at the Theatre-Royal in Drury Lane_," with words by Congreve, music by Seedo and "Compos'd by J. Weaver, Dancing-Master." This work had its Drury Lane debut 6 February 1733, and _The London Stage_ entry for 31 March 1733 reads: "John Banks's _The Albion Queens_ ... Also _The Harlot's Progress; or, the Triumph of Beauty_" (_LS_, 3, I, 283). Many actors and actresses doubled (e.g., Mrs. Raftor is one of the "Graces" in the masque). No doubt the concluding "Masque" of _The Harlot's Progress_ is Weaver's piece (p. 12).

[11]: Paulson (_HGW_, I, 148) describes these two doctors, "well known for their quack cures for venereal disease." Dr. Rock's name was added by Hogarth in a later state of the print.

[12]: Cibber's piece may have opened as early as 12 March 1733 in the pantomime house at Sadler's Wells, which had been reconstructed from a seventeenth century Music Room (see _LS_, 3, I, xxxix). Cibber's _The Harlot's Progress_ had a successful run at Drury Lane in the spring of 1733, from 31 March until 28 May, when the actor-manager dispute led to a closing of the playhouse (see _LS_, 3, I, 304). It played as an afterpiece to such works as _Cato_ and _The Provok'd Husband_, and on 26 April a playbill announced the "Royal Family expected to attend" (_LS_, 3, I, 293). Thereafter it had a career at the fairs, beginning with the Lee-Harper-Petit Booth on Tottenham Court on 30 August 1733 (_LS_, 3, I, 310), moving on 23 August to Bartholomew Fair and on 28 September to Mile End Green, where the harlot's name is listed as "Moll Hackabout" (_LS_, 3, I, 321). On 27 October 1733 it had a command performance at Drury Lane (_LS_, 3, I, 330). It played frequently during that winter and in the spring, on 26 April, the seceding actors returned to Drury Lane to perform in _The Conscious Lovers_ and _The Harlot's Progress_. The cast list is the same as that in the text reprinted here (_LS_, 3, I, 390). The successful run continued through October 1734; after that it was only played a couple of times before the 1736 season (_LS_, 3, I, _passim_). Scouten observes: "a remarkable feature" is that this piece "places a Jewish merchant in a favorable light, treating him not with sympathy but with respect as a pillar of trade" (_LS_, 3, I, xcvi).

[13]: "A Letter from Theo. Cibber, Comedian, To John Highmore, Esq." (London 1733).

[14]: Hogarth reversed Laguerre's print, adding the banner "We eat," the label "Pistol's alive" under Theophilus Cibber's feet and the phrase "Quiet and Snug" under Colley Cibber. For descriptions of the rebellion, see John Genest, _Some Account of the English Stage from the Restoration in 1660 to 1830_, III, Bath: 1832, pp. 415-416, Richard H. Barker, _Mr. Cibber of Drury Lane_ (New York: Columbia University Press, 1939), pp. 168-171, and Arthur Scouten, _LS_, 3, I, lxxxix-xciii.

[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._