Theophilus Cibber

“ 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 ”

“ 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. ”

“ 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. ”

“ The Rake's Progress makes significant changes in the content of Hogarth's series, expanding characters and scenes, and altering the denouement somewhat from madness to suicide. New elements of music and clowning change his lugubrious didacticism to a lyrical warning in a form I call "morality ballad opera." The morality and masque features appear in such characters as "Virtue" and "Vice" who frame the piece, and "Liberty" and "Benevolence" who descend and ascend on a cloud, at the end taking Virtue with them. ”

“ 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. ”

“ Not included in the theater version is Hogarth's depiction of the harsh realities of Bethlehem Hospital, or Bedlam, where spectators pay to gawk at the inmates, and where Rakewell's libertine journey ends dismally (Pl. 8) . On the boards, the didacticism is even more emphatic. Rakewell shoots himself to background music which slows in tempo until it is "render'd as dismal as possible" and Virtue proclaims a triumph over the demonstrated "baneful influence of Vice."
In "A Rake's Progress" (1735) , Hogarth depicts an inverse relationship between morality and the misuse of money. ”

“ In the jail scene, the rake turns out of his breeches a "Scheme to Pay the National Debt," a specific verbal echo of the Fleet Street print, and the prisoners sing a familiar tune ("Welcome, Brother Debtor") as musical background to his off-stage suicide. Then Virtue returns to ascend with "Liberty and Benevolence" on a cloud, able to relax now that Vice's influence has run its destructive course. ”

“ 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 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. ”

“ 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 Clean But a Wipe we must give you; agree, my dear Jewel— And an Irish Shilaleh shall serve as the Towel. ”

“ The opportunism of those proffering services to the young man becomes clear in their musical medley when they announce they will "plunder him as fast as we can agree." At the Rose Tavern, stage directions for Rakewell state "the actor must let his intoxication gradually increase." Before Rakewell's arrest, the bailiff sings a solo. Sarah saves her lover, as in the sequence, but a small revelation of his character not in the print marks the incident: he "kisses her hand" before returning to his sedan chair. ”

“ 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. ”

“ For instance, Sarah's lament following Rakewell's marriage to the rich "Old Woman" shows grief driving her to despair; she sings "The Grave will extinguish my woes/Then Sarah—prepare thee to die" to the music of the seventeenth century ballad tune "Mary's Lamentation." The drama also exploits the sensational as the smoking fire in a Covent Garden gambling house (Hogarth's Pl. 5) becomes a public catastrophe with fire engines and furniture being carried into the street and "Confusion kept up as long as necessary." ”

“ 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. ”

“ These two examples of the lively interplay operative between stage and print in the early and late decades heighten appreciation of the expectancies of cultural experiences of different audiences in the eighteenth century.
THE TUNES The Harlot's Progress and The Rake's Progress are alike interesting for the parodic ballad opera pattern of setting new words to familiar tunes. Though neither work includes the music, some songs indicate familiar melodies such as "Let us take the road" from The Beggar's Opera. ”

“ 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.
[pg 7] AIR II. Brisk Tom and Jolly Kate.
Brisk Wine and Women are, The Sum of all our Joy ”

“ Moreover, these two dramas underscore the importance of music in eighteenth century theater where the use of songs in pantomimes and new lyrics for old tunes in ballad opera were alike commonplace by mid-century. [5] The plays lend support to Bertrand Bronson's observation that, in an age which "thought Man the proper study of Mankind," it is not surprising that the "major emphasis (and accomplishment) in music should be dramatic and, in a broad sense, social." [6] These dramas add visual and musical insights to literary concerns of the time. ”

“ Catch—"Pass the Box, come pass it faster."— or—"Rattle Dice, Rattle."— Rake looses all his Cash—then his Watch—Sword Knee-Buckles —Snuff-Box—Ring—Everything. A Man Stands 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. ”

“ 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. ”

“ 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 ”

“ 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! ”

“ 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. ”