Chapter V: Part 5

Une lourde, une tournante Et un pieu pour roupiller. J'enquille dans sa cambriole, [11] Lonfa malura dondaine, Espérant de l'entifler, [12] Lonfa malura dondé.

J'enquille dans sa cambriole Espérant de l'entifler; Je rembroque au coin du rifle, [13] Lonfa malura dondaine, Un messière qui pionçait, [14] Lonfa malura dondé.

Je rembroque au coin du rifle Un messière qui pionçait; J'ai sondé dans ses vallades, [15] Lonfa malura dondaine, Son carle j'ai pessigué, [16] Lonfa malura dondé.

J'ai sondé dans ses vallades, Son carie j'ai pessigué, Son carle et sa tocquante, [17] Lonfa malura dondaine, Et ses attaches de cé, [18] Lonfa malura dondé.

Son carle et sa tocquante, Et ses attaches de cé, Son coulant et sa montante, [19] Lonfa malura dondaine, Et son combre galuché Lonfa malura dondé.

Son coulant et sa montante Et son combre galuché, [20] Son frusque, aussi sa lisette, [21] Lonfa malura dondaine, Et ses tirants brodanchés, [22] Lonfa malura dondé.

Son frasque, aussi sa lisette Et ses tirants brodanchés. Crompe, crompe, mercandière, [23] Lonfa malura dondaine, Car nous serions béquillés, [24] Lonfa malura dondé.

Crompe, crompe, mercandière, Car nous serions béquillés. Sur la placarde de vergne, [25] Lonfa malura dondaine, II nous faudrait gambiller, [26] Lonfa malura dondé.

Sur la placarde de vergne Il nous faudrait gambiller, Allumés de toutes ces largues, [27] Lonfa malura dondaine, Et du trèpe rassemblé, [28] Lonfa malura dondé.

Allumés de toutes ces largues Et du trèpe rassemblé; Et de ces charlots bons drilles, [29] Lonfa malura dondaine, Tous aboulant goupiner. [30] Lonfa malura dondé.

[1: Vergne, _town._] [2: Goupiner, _to steal._] [3: Mercandière, _tradeswomen._] [4: Du pivois solisait, _sold wine._] [5: Jaspine en bigorne, _say in cant._] [6: Morfiller, _to eat and drink._] [7: Chenu, _good._ Lance, _water._] [8: Larton savonné, _white bread._] [9: Lourde, _door._ Tournante, _key._] [10: Pieu, _bed._ Roupiller, _to sleep._] [11: J'enquille, _I enter._ Cambriole, _room._] [12: Entifler, _to marry._] [13: Rembroque, _see_. Rifle, _fire_.] [14: Mesisère _man_. Pionçait, _as sleeping_.] [15: Vallades, _pockets_.] [16: Carle, _money_. Pessigué, _taken_.] [17: Tocquante, _watch_.] [18: Attaches de ce, _silver buckles_.] [19: Coulant, _chain_. Montante, _breeches_.] [20: Combre galuché, _laced hat_.] [21: Frusque, _coat_. Lisette, _waistcoat_.] [22: Tirants brodanchés, _embroidered stockings_.] [23: Footnote: Crompe, _run away_.] [24: Béquilles, _hanged_.] [25: Placarde de vergne, _public place_.] [26: Gambiller, _to dance_.] [27: Allumés, _stared at_. Largues, _women_.] [28: Trèpe, _crowd_.] [29: Charlots bons drilles, _jolly thieves_.] [30: Aboulant, _coming_.]

Stanza XIII, line 5. Cotton, the ordinary at Newgate.

_On the Prigging Lay_

H. T. R., the English translator of Vidocq's _Memoirs_ (4 vol., 1828-9), says of this and the following renderings from the French that they "with all their faults and all their errors, are to be added to the list of the translator's sins, who would apologise to the Muse did he but know which of the nine presides over Slang poetry." The original of "On the Prigging Lay" is as follows:--

Un jour à la Croix-Rouge Nous étions dix à douze (_She interrupted herself with_ "Comme à l'instant même.") Nous étions dix à douze Tous grinches de renom, [1] Nous attendions la sorgue [2] Voulant poisser des bogues [3] Pour faire du billon. [4] (_bis_)

Partage ou non partage Tout est à notre usage; N'épargnons le poitou [5] Poissons avec adresse [6] Messières et gonzesses [7] Sans faire de regout. [8] (_bis_)

Dessus le pont au change Certain argent-de-change Se criblait au charron, [9] J'engantai sa toquante [10] Ses attaches brillantes [11] Avec ses billemonts. [12] (_bis_)

Quand douze plombes crossent, [13] Ses pègres s'en retournant [14] Au tapis de Montron [15] Montron ouvre ta lourde, [16] Si tu veux que j'aboule, [17] Et piausse en ton bocsin. [18] (_bis_)

Montron drogue à sa larque, [19] Bonnis-moi donc girofle [20] Qui sont ces pègres-là? [21] Des grinchisseurs de bogues, [22] Esquinteurs de boutoques, [23] Les connobres tu pas? [24] (_bis_)

Et vite ma culbute; [25] Quand je vois mon affure [26] Je suis toujours paré [27] Du plus grand coeur du monde Je vais à la profonde [28] Pour vous donner du frais, (_bis_)

Mais déjà la patrarque, [29] Au clair de la moucharde, [30] Nous reluge de loin. [31] L'aventure est étrange, C'était l'argent-de-change, Que suivait les roussins. [32] (_bis_)

A des fois l'on rigole [33] Ou bien l'on pavillonne [34] Qu'on devrait lansquiner [35] Raille, griviers, et cognes [36] Nous ont pour la cigogne [37] Tretons marrons paumés. [38] (_bis_)

[1: Thieves] [2: Night] [3: Watches] [4: Money] [5: Let us be cautious] [6: Let us rob] [7: citizen and wife] [8: Awaken suspicion] [9: Cried "Thief."] [10: I took his watch.] [11: His diamond buckles] [12: His bank notes] [13: Twelve oclock strikes.] [14: The thieves] [15: At the cabinet] [16: Your door] [17: Give money] [18: Sleep at your house] [19: Asks his wife] [20: Says my love] [21: These thieves] [22: Watch stealers] [23: Burglers] [24: Do you not know them?] [25: Breeches] [26: Profit] [27: Ready] [28: Cellar] [29: Patrol] [30: The moon] [31: Look at us.] [32: Spies] [33: Laughs] [34: Jokes] [35: To weep] [36: Exempt, soldiers and gendarmes.] [37: Palace of justice] [38: Taken in the act]

_The Lag's Lament_

_See_ Note _ante_, "On the Prigging Lay", The
original runs as follows:--

Air: _L'Heureux Pilote_.

Travaillant d'ordinaire, La sorgue dans Pantin, [1] Dans mainte et mainte affaire Faisant très-bon choppin, [2] Ma gente cambriole, [3] Rendoublée de camelotte, [4] De la dalle au flaquet; [5] Je vivais sans disgrâce, Sans regout ni morace, [6] Sans taff et sans regret. [7]

J'ai fait par comblance [8] Giroude larguecapé, [9] Soiffant picton sans lance, [10] Pivois non maquillé, [11] Tirants, passe à la rousse, [12] Attachés de gratouse, [13] Combriot galuché. [14] Cheminant en bon drille, Un jour à la Courtille Je m'en étais enganté. [15]

En faisant nos gambades, Un grand messière franc, [16] Voulant faire parade, Serre un bogue d'orient. [17] Après la gambriade, [18] Le filant sur l'estrade, [19] D'esbrouf je l'estourbis, [20] J'enflaque sa limace, [21] Son bogue, ses frusques, ses passes, [22] Je m'en fus au fourallis. [23]

Par contretemps, ma largue, Voulant se piquer d'honneur, Craignant que je la nargue Moi que n' suis pas taffeur, [24] Pour gonfler ses valades Encasque dans un rade [25] Sert des sigues a foison [26] On la crible à la grive, [27] Je m' la donne et m' esquive, [28] Elle est pommée maron. [29]

Le quart d'oeil lui jabotte [30] Mange sur tes nonneurs, [31] Lui tire une carotte Lui montant la couleur. [32] L'on vient, on me ligotte, [33] Adieu, ma cambriole, Mon beau pieu, mes dardants [34] Je monte à la cigogne, [35] On me gerbe à la grotte, [36] Au tap et pour douze ans. [37]

Ma largue n' sera plus gironde, Je serais vioc aussi; [38] Faudra pour plaire au monde, Clinquant, frusque, maquis. [39] Tout passe dans la tigne, [40] Et quoiqu'on en juspine. [41] C'est un f-- flanchet, [42] Douze longes de tirade, [43] Pour un rigolade, [44] Pour un moment d'attrait.

[1: Evening in Paris.] [2: A good booty.] [3: Chamber.] [4: Full of goods.] [5: Money in the pocket.] [6: Without fear or uneasiness.] [7: Without care.] [8: An increase.] [9: A handsome mistress.] [10: Drinking wine without water.] [11: Unadulterated wine.] [12: Stockings.] [13: Lace.] [14: Laced hat.] [15: Clad] [16: Citizen] [17: A gold watch] [18: Dance] [19: Following him in the boulevard.] [20: I stun him.] [21: I take off his shirt.] [22: I steal his watch, clothes and shoes.] [23: The receiving house.] [24: Coward] [25: Enters a shop.] [26: Steals money.] [27: They call for the guard.] [28: I fly] [29: Taken in the fact.] [30: The commissary questions him.] [31: Denounces his accomplices.] [32: Tell a falsehood.] [33: They tie me.] [34: My fine bed, my loves.] [35: The dock.] [36: They condemn me to the galleys.] [37: To exposure.] [38: Old.] [39: Rouge.] [40: In this world.] [41: Whatever people say.] [42: Lot.] [43: Twelve years of fetters.] [44: Fool.]

Stanza II, line 2. _So gay, so nutty and so knowing_--See _Don Juan_, Canto XI, stanza ...

Stanza VI, line i. Sir Richard Birnie the chief magistrate at Bow St.

_"Nix My Doll, Pals, Fake Away"_

Ainsworth in his preface to _Rookwood_ makes the following remarks on this and the three following songs:--"As I have casually alluded to the flash song of Jerry Juniper, I may be allowed to make a few observations upon this branch of versification. It is somewhat curious with a dialect so racy, idiomatic, and plastic as our own cant, that its metrical capabilities should have been so little essayed. The French have numerous _chansons d'argot_, ranging from the time of Charles Bourdigné and Villon down to that of Vidocq and Victor Hugo, the last of whom has enlivened the horrors of his '_Dernier Jour d'un Condamne_" by a festive song of this class. The Spaniards possess a large collection of _Romances de Germania_, by various authors, amongst whom Quevedo holds a distinguished place. We on the contrary, have scarcely any slang songs of merit. This barreness is not attributable to the poverty of the soil, but to the want of due cultivation. Materials are at hand in abundance, but there have been few operators. Dekker, Beaumont and Fletcher, and Ben Jonson, have all dealt largely in this jargon, but not lyrically; and one of the earliest and best specimens of a canting-song occurs in Brome's '_Jovial Crew;_' and in the '_Adventures of Bamfylde Moore Carew_' there is a solitary ode addressed by the mendicant fraternity to their newly-elected monarch; but it has little humour, and can scarcely be called a genuine canting-song. This ode brings us down to our own time; to the effusions of the illustrious Pierce Egan; to Tom Moore's Flights of '_Fancy;_' to John Jackson's famous chant, '_On the High Toby Spice flash the Muzzle,_' cited by Lord Byron in a note to '_Don Juan;_' and to the glorious Irish ballad, worth them all put together, entitled '_The Night before Larry was stretched_.' This is attributed to the late Dean Burrowes, of Cork. [_See_ Note, p. 220 _Ed_.]. It is worthy of note, that almost all modern aspirants to the graces of the _Musa Pedestris_ are Irishmen. Of all rhymesters of the '_Road_,' however, Dean Burrowes is, as yet, most fully entitled to the laurel. Larry is quite 'the potato!'

"I venture to affirm that I have done something more than has been accomplished by my predecessors, or contemporaries, with the significant language under consideration. I have written _a purely flash song_; of which the great and peculiar merit consists in its being utterly incomprehensible to the uninformed understanding, while its meaning must be perfectly clear and perspicuous to the practised _patterer_ of _Romany_, or _Pedler's French_. I have, moreover, been the first to introduce and naturalize amongst us a measure which, though common enough in the Argotic minstrelsy of France, has been hitherto utterly unknown to our _pedestrian_ poetry." How mistaken Ainsworth was in his claim, thus ambiguously preferred, the present volume shows. Some years after the song alluded to, better known under the title of '_Nix my dolly, pals,--fake away!'_ sprang into extra-ordinary popularity, being set to music by Rodwell, and chanted by glorious Paul Bedford and clever little Mrs. Keeley.

_The Game Of High Toby_

and

_The Double Cross_

_See_ note to "Nix my Doll, Pals, etc.," _ante_.

_The House Breaker's Song_

G. W. M. Reynolds followed closely on the heels of Dickens when the latter scored his great success in _The Pickwick Papers_. He was a most voluminous scribbler, but none of his productions are of high literary merit.

_The Faking Boy To The Crap Is Gone_

_The Nutty Blowen_

_The Faker's New Toast_

and

_My Mother_

"Bon Gualtier" was the joint _nom-de-plume_ of W. E. Aytoun and Sir Theodore Martin. Between 1840 and 1844 they worked together in the production of _The Bon Gualtier Ballads_, which acquired such great popularity that thirteen large editions of them were called for between 1855 and 1877. They were also associated at this time in writing many prose magazine articles of a humorous character, as well as a series of translations of Goethe's ballads and minor poems, which, after appearing in _Blackwood's Magazine_, were some years afterwards (1858) collected and published in a volume. The four pieces above mentioned appeared as stated in _Tails Edinburgh Magazine_ under the title of "Flowers of Hemp, or the Newgate Garland," and are parodies of well-known songs.

_The High Pad's Frolic_

and

_The Dashy, Splashy.... Little Stringer_

Leman Rede (1802-47) an author of numerous successful dramatic pieces, and a contributor to the weekly and monthly journals of the day, chiefly to the _New Monthly_ and _Bentley's_. He was born in Hamburgh, his father a barrister.

Some of the best parts ever played by Liston, John Reeve, Charles Mathews, Keeley, and G. Wild were written by him.

_The Bould Yeoman_

_The Bridle-Cull and his little Pop-Gun_

_Jack Flashman_

_Miss Dolly Trull_

and

_The By-Blow Of The Jug_

_See_ Note to "Sonnets for The Fancy" p. 225. Captain Macheath was one of Egan's latest, and by no means one of his best, productions. It is now very scarce.

_The Cadger's Ball_

John Labern, a once popular, but now forgotten music-hall artiste, and song-writer, issued several collections of the songs of the day. It is from one of these that "The Cadger's Ball" is taken.

_"Dear Bill, This Stone-Jug"_

The state of affairs described in this poem is now happily a thing of the past. Newgate, as a prison, has almost ceased to be. Only when the Courts are sitting do its functions commence, and then there is constant coming and going between the old city gaol and the real London prison of to-day, Holloway Castle.

_The Leary Man_

_The Vulgar Tongue_, by Ducarge Anglicus, is, as a glossary, of no account whatever; the only thing not pilfered from Brandon's _Poverty, Mendicity, and Crime_ being this song. Where that came from deponent knoweth not.

_A Hundred Stretches Hence_

_The Rogue's Lexicon_, mainly reprinted from Grose's _Dictionary of the Vulgar Tongue_, is of permanent interest and value to the philologist and student for the many curious survivals of, and strange shades of meaning occurring in, slang words and colloquilisms after transplantation to the States. G. W. Matsell was for a time the chief of the New York police.

_The Chickaleary Cove_

Vance, a music-hall singer and composer in the sixties, made his first great hit in _Jolly Dogs; or Slap-bang! here we are again_. This was followed by _The Chickaleary Cove_: a classic in its way.

_'Arry at a Political Picnic_

The 'Arry Ballads' are too fresh in public memory to need extensive quotation. The example given is a fair sample of the series; which, taken as a whole, very cleverly "hit off" the idiosyncrasies and foibles of the London larrikin.

Stanza VIII, line 4. _Walker_ = Be off!

_"Rum Coves that Relieve us"_

Heinrich Baumann, the author of _Londonism en_, an English-German glossary of cant and slang, to which "Rum Coves that Relieve us" forms the preface.

_Villon's Good Night_

_Villon's Straight Tip_

and

_Culture in the Slums_

William Ernest Henley, poet, critic, dramatist, and editor was born at Gloucester in 1849, and educated at the same city. In his early years (says _Men of the Time_) he suffered much from ill-health, and the first section of his _Book of Verses_ (1888: 4th ed. 1893), _In Hospital: Rhymes and Rhythms_, was a record of experiences in the Old Infirmary, Edinburgh, in 1873-5. In 1875 he began writing for the London magazines, and in 1877 was one of the founders as well as the editor of _London_. In this journal much of his early verse appeared. He was afterwards appointed editor of _The Magazine of Art_, and in 1889 of _The Scots_, afterwards _The National Observer_. To these journals, as well as to _The Athenaeum_ and _Saturday Review_ he has contributed many critical articles, a selection of which was published in 1890 under the title of _Views and Reviews_. In collaboration with Robert Louis Stevenson he has published a volume of plays, one of which, _Beau Austin_, was produced at the Haymarket Theatre in 1892. His second volume of verses--_The Song of the Sword_--marks a new departure in style. He has edited a fine collection of verses, _Lyra Heroica_, and, with Mr. Charles Whibley, an anthology of English prose. In 1893 Mr. Henley received the honour of an L.L.D. degree of St. Andrew's university. At the present time he is also editing _The New Review_, a series of _Tudor Translations_, a new _Byron_, a new _Burns_, and collaborating with Mr. J. S. Farmer in _Slang and its Analogues_; an historical dictionary of slang.

"_Villon's Straight Tip_: Stanza I, line I. _Screeve_ = provide (or work with) begging-letters. Line 2. _Fake the broads_ = pack the cards. _Fig a nag_ = play the coper with an old horse and a fig of ginger. Line 3. _Knap a yack_ = steal a watch. Line 4. _Pitch a snide_ = pass a false coin. _Smash a rag_ = change a false note. Line 5. _Duff_ = sell sham smugglings. _Nose and lag_ = collect evidence for the police. Line 6. _Get the straight_ = get the office, and back a winner. Line 7. _Multy_ (expletive) = "bloody". Line 8. _Booze and the blowens cop the lot: cf_. "'Tis all to taverns and to lasses." (A. Lang).

Stanza II, line 1. _Fiddle_ = swindle. _Fence_ = deal in stolen goods. _Mace_ = welsh. _Mack_ = pimp. Line 2. _Moskeneer_ = to pawn for more than the pledge is worth. _Flash the drag_ = wear women's clothes for an improper purpose. Line 3. _Dead-lurk a crib_ = house-break in church time. _Do a crack_--burgle with violence. Line 4. _Pad with a slang_ = tramp with a show. Line 5. _Mump and gag_ = beg and talk. Line 6. _Tats_ = dice. _Spot_, (at billiards). Line 7. _Stag_ = shilling.

Stanza III, line 2. _Flash your flag_ = sport your apron. Line 4. _Mug_ = make faces. Line 5. _Nix_ = nothing. Line 6. _Graft_ = trade. Line 7. _Goblins_ = sovereigns. _Stravag_ = go astray.

The Moral. Liner. /i>Up the spout and Charley Wag_ = expressions of dispersal. Line 2. _Wipes_ = handkerchiefs. _Tickers_ = watches. Line 3. _Squeezer_ = halter. _Scrag_ = neck.

_"Tottie"_

_A Plank-Bed Ballad_

and

_The Rondeau of the Knock_

G. R. Sims ("Dagonet") needs little introduction to present-day readers. Born in London in 1847, he was educated at Harwell College, and afterwards at Bonn. He joined the staff of _Fun_ on the death of Tom Hood the younger in 1874, and _The Weekly Despatch_ the same year. Since 1877 he has been a contributor to _The Referee_ under the pseudonym of "Dagonet". A voluminous miscellaneous writer, dramatist, poet, and novelist, M. Sims shows yet no diminution of his versatility and power.

_Wot Cher!_

_Our Little Nipper_

and

_The Coster's Serenade_

Albert Chevalier, a "coster poet", music-hall artist, and musician of French extraction was born in Hammersmith. He is a careful, competent actor of minor parts, and sings his own little ditties extremely well.

APPENDIX

THERE are still one or two "waifs and strays" to be mentioned:--

I.

In _Don Juan_, canto XI, stanzas xvii--xix, Byron thus describes one of his _dramatis personæ_.

Poor Tom was once a kiddy upon town, A thorough varmint and a real swell... Full flash, all fancy, until fairly diddled, His pockets first, and then his body riddled.

* * * * *

He from the world had cut off a great man
Who in his time had made heroic bustle.
Who in a row like Tom could lead the van,
Booze in the ken, or in the spellken hustle?
Who queer a flat? Who (spite of Bow Street's ban)
On the high-toby-splice so flash the muzzle?
Who on a lark, with Black-eyed Sal (his blowing)
So prime, so swell, so nutty, and so knowing?

In a note Byron says, "The advance of science and of language has rendered it unnecessary to translate the above good and true English, spoken in its original purity by the select mobility and their patrons. The following is the stanza of a song which was very popular, at least in my early days:--"

("If there be any German so ignorant as to require a traduction, I refer him to my old friend and corporeal pastor and master John Jackson, Esq., Professor of Pugilism.")

On the high toby splice flash the muzzle
In spite of each gallows old scout;
If you at the spellken can't hustle
You'll be hobbled in making a clout.
Then your blowing will wax gallows haughty,
When she hears of your scaly mistake
She'll surely turn snitch for the forty--
That her Jack may be regular weight.

John Jackson, to whom is attributed the slang song of which the foregoing stanza is a fragment was the son of a London builder. He was born in London on 28 Sept. 1769, and though he fought but thrice, was champion of England from 1795 to 1803, when he retired, and was succeeded by Belcher. After leaving the prize-ring, Jackson established a school at No. 13 Bond Street, where he gave instructions in the art of self-defence, and was largely patronised by the nobility of the day. At the coronation of George IV he was employed, with eighteen other prize-fighters dressed as pages, to guard the entrance to Westminster Abbey and Hall. He seems, according to the inscription on a mezzotint engraving by C. Turner, to have subsequently been landlord of the Sun and Punchbowl, Holborn, and of the Cock at Button. He died on 7 Oct. 1845 at No. 4 Lower Grosvenor Street West, London, in his seventy-seventh year, and was buried in Brompton Cemetery, where a colossal monument was erected by subscription to his memory. Byron, who was one of his pupils, had a great regard for him, and often walked and drove with him in public. It is related that, while the poet was at Cambridge, his tutor remonstrated with him on being seen in company so much beneath his rank, and that he replied that "Jackson's manners were infinitely superior to those of the fellows of the college whom I meet at 'the high table'" (J. W. Clark, Cambridge, 1890, p. 140). He twice alludes to his 'old friend and corporeal pastor and master' in his notes to his poems (Byron, _Poetical Works_, 1885-6, ii. 144, vi. 427), as well as in his 'Hints from Horace' (ib. i. 503):

And men unpractised in exchanging knocks Must go to Jackson ere they dare to box.

Moore, who accompanied Jackson to a prize-fight in December 1818, notes in his diary that Jackson's house was 'a very neat establishment for a boxer', and that the respect paid to him everywhere was 'highly comical' (_Memoirs_, ii. 233). A portrait of Jackson, from an original painting then in the possession of Sir Henry Smythe, bart., will be found in the first volume of Miles's 'Pugilistica' (opp. p. 89). There are two mezzotint engravings by C. Turner.

II.

IN Boucicault's _Janet Pride_ (revival by Charles Warner at the Adelphi Theatre, London in the early eighties) was sung the following (here given from memory):

The Convict's Song.

THE FAREWELL.
Farewell to old England the beautiful!
Farewell to my old pals as well!
Farewell to the famous Old Ba-i-ly
(_Whistle_).
Where I used for to cut sich a swell,
Ri-chooral, ri-chooral, Oh!!!

THE [WERDHICK?]
These seving long years I've been serving,
And seving I've got for to stay,
All for bashin' a bloke down our a-alley,
(_Whistle_).
And a' takin' his huxters away!

THE COMPLAINT.
There's the Captain, wot is our Commanduer,
There's the Bosun and all the ship's crew,
There's the married as well as the single 'uns,
(_Whistle_).
Knows wot we pore convicks goes through.

THE [SUFFERING?]
It ain't' cos they don't give us grub enough,
It ain't' cos they don't give us clo'es:
It's a-cos all we light-fingred gentery
(_Whistle_).
Goes about with a log on our toes.

THE PRAYER.
Oh, had I the wings of a turtle-dove,
Across the broad ocean I'd fly,
Right into the arms of my Policy love
(_Whistle_).
And on her soft bosum I'd lie!

THE MORRELL.
Now, all you young wi-counts and duchesses,
Take warning by wot I've to say,
And mind all your own wot you touches is,
(_Whistle_).
Or you'll jine us in Botinny Bay!
Oh!!!
Ri-chooral, ri-chooral, ri-addiday,
Ri-chooral, ri-chooral, iday.