Chapter II: Part 2

_Dance^{g} Mas^{r}_ Look! Look! Look! (Spoke.)
With my tun'd little Kit (Tune
Every fancy I hit
And merrily prance it _Black Joke_.)
And caper & Dance it
With Ease, Elegance & Grace

_Fenc.^{g} Mas^{r}_ Ha! ha!--there I had him
Carte & Fierce my Blade (Tune
La! La!--there I bled him--
Damme!--See, he's dead. _Stoney Batter_.)
Tol lol lol do

_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 _Tyburn Tree_)

_Bully._ You Reptile! Scoundrel! Death! Damnation! (Tune Say that again, & by my Soul Finale _Gard.^{n.}_ My Garden plan I here unroll 1^{st} act _Bully._ I'll crush to atoms--Damme, Sirrah! _Poor Volcan_) _French.^{n.}_ While the Horn shall sound Ta, ran, tan, (Hunting ta ra Chorus _Jockey_. And Whip & Spur wins you the Bowl.-- _Poor Vulcan_)

_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 5^{th}_

_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 6^{th}_

_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 7^{th}_

_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 8^{th}_

_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 Serv^{t.}_ &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 9^{th}_

_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."_

Och! Mr. Acrostic I hate your big notes,
In op'ning your Mouth, why you'd stop all our Thoats;
Wid Natty Men Milliners, Och! You'd be even,
And Starve all the Fair-Sex wid Men-Washer-Women.
But leave off such Nonsense 'tis better, my Joy,
Than let Shelah O'Sudds be widout her Employ;
We'll beat all your Beat'ems but give us fair-play
While wid Elbows & Fists we lather away.

_Chorus._ Sing Latherum, whack!--boderation, my Joy,
Let Shelah O'Sudds pray now have her employ
She'll beat all your Beat'ems but give her fair play
While wid Elbows & fists She Lather'd away.

(2.)

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.
So leave off &c

_Exeunt--beating him off._

* * * * *

_Scene 10^{th}_

_One O'Clock in The Morning._

Two or More _Chairmen_ playing at All-fours & Singing--

_Catch._--"Agree, Agree, if not d'ye see."

Piano & Forte, according to the distance of the Watchman who calls the Hour, & when the Watchmen Enter they cover their Lanthorn with a Coat-Flap, & resume the Game when Watchman is gone. During this time the _Gamblers_ who are in the next Scene, are to pass from P.S. to O.P. Sculkingly. _Rake_ passes,--Stops,--pulls out his purse, shakes it, and Shutting one Eye--Signifies he had it from his One Ey'd Wife. _Catch Continues_--"Agree Agree" &c--Scene Closes.

* * * * *

_Scene 11^{th}_

Discovers _Gamblers_ at play. _Rake_ Seated.

_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. Enter Watchmen--They continue playing & Singing--Scene Closes.

* * * * *

_Scene 12^{th}_

_Red Blinds waved Sometimes Quick Down then rais'd again._ Watchmens Rattles heard, all bustle & noise at a little Distance. Enter some _Loosers_ with _Characters of Suspicious look_--they produce Pistols to the Chagrin'd _Loosers_.--The _Loosers_ take the Pistols.--Tune--"Let us take the Road."--They go off. Enter _watchmen_ with Rattles. _Beadle_, _Mob_ with Fire Engine (_Covent Garden or Hadley._) Furniture carried across from the Gaming Room. Enter _Fire Men_.--Hose & Pipe conveyed across. Variety of _Characters_ alarmed by Fire. _A Boy_ carries a Feather-bed across--he falls down--Some _Characters_ fall on it. NB: Confusion kept up as long as Necessary.

* * * * *

_Scene 13^{th}_

_Rake_--is inhumanly dragg'd off by Bailiffs P.S.

_Wife_ follows in great Agitation.

_Enter Ballad-Singer_

A Ballad Entitled & Call'd--"The Rake's Progress"--

_Ballad. Tune "The Race-Horse."_

See the Massy Chests Open'd, with Riches replete,
Plate, Jewels, & Rent-Rolls an ample Estate;
Bonds, Mortgages, Leases long buried are found,
Lawyers Servants & Tradesmen Attending around:
While with heart quite 'Elated, cheeks glowing with health,
Discarding his love, gazing pleas'd at his wealth,
Resolv'd each dull thought in gay pleasure to drown,
The Libertine Rakewell--first starts on the Town.

(2.)

His Levee attended by Bully & Sot
(Plighted vows to his fair Rustic Charmer forgot)
Poets, Dancers, Musicians, his Mansion Resort;
Boxers--Jockies, & Huntsmen, his patronage Court.
And now, in a Brothel, mid nymphs void of Fame,
Whom depravity's Render'd long Callous to Shame
He squanders his Fortune to infamy meet
And the Libertine Rakewell's the Dupe of Deceit.

(3.)

Now poverty Steals on her victim apace
And the gripe of Stern Law calls up dread in his Face,
'Till resolv'd to retrieve by his wants basely led [?]
He for Riches consents to deformity wed;
Then hurries to gaming to drive away thought,
Where Soon's dissipated the Wealth that she brought
For by Sharpers Surrounded--Each planning his Fall
The Libertine Rakewell's depriv'd of his all.

(4.)

And now in each feature we penury trace,
No longer health in his once blooming face,
Reproach in a Prison's dread gloom must he bear,
While discord & want drive the wretch to despair;
'Till of life fully Sated, pale, meagre, oppress'd,
By Friendship forsaken, All hell in his breast;
By Suicides aid from the world he retires
And the Libertine Rakewell unpitied Expires. (_Exit_)

* * * * *

_Scene 14^{th}_

_Chymist_--Discover'd. _Tune "Welcome, Brother Debtor."_ Enter _Goaler_ O.P. Introducing _Rake_ & _Old Wife_ He Sits P.S. Enter _Men & Women Prisoners-OP._--_All Sing_.

Welcome, Welcome, Brother Debtor
To this poor but merry place;
Where No Bailiff--Dun--or Setter,
Dares to shew his frightful face.
But, kind Sir, as you're a Stranger
Down your Garnish you must pay,
Or your Coat will be in Danger
You must either Strip or pay.

_Rake_ Strips his Coat off & turns out his Breeches Pockets;--At this Period _Financer_ drops his paper; it is picked up by another _Prisoner_, who holds it so to Read that the audience may Read also. "Scheme to Pay the National Debt."--

During the above Business--They all Sing--

Ne'er repine at your Confinement
For your Children or your Wife
Wisdom lies in true Resignment,
Thro' the various Scenes of life;
Every Island is a prison
Strongly guarded by the Sea
Kings & Princes for that Reason
Prisoners are as well as we.

Tune continues; but is Slower & Slower, till render'd as Dismal as possible. _Rake_ takes a Pistol from his Pocket, which only the Audience observe--he in great agitation of Mind goes off, & the Report of a Pistol is heard--at which they all stand aghast.--Pause awhile.--

_Enter Virtue._

_Recitative._

Thus does the baneful influence of Vice
Onward to sure destruction man Entice;
In time be warn'd--Hope liberty to see
Benevolence & Pity'll set you free.

_Chorus of Prisoners._

This let the Captive's Supplication be,
May Virtue & Benevolence soon set us free,
May we taste smiling liberty & tread her happy plain
Where Virtue & Benevolence in Concord reign.

_Recitative. Virtue._

Then Vice discard & follow Virtue's train
View her Retreat & join her Sacred Strain.

_Scene Changes._

_Scene 15^{th}_

Cloud Descends: _Liberty_ seated in the Center, with her Attributes; on her left hand a Vacant Seat which Virtue ascends, on her Right hand Benevolence, over whose head is a _Medalion_ of _The King_--over that of _Virtue_ one of the _Queen_.

_Aerial Chorus._

Tho' Beauty & wealth may Unite,
To dispell from each Bosom dull care
'Tis in vain to expect true delight,
Unless Virtue's a Resident there.

_Recitative. Virtue._

By Heav'n approv'd--by Liberty caress'd,
The Truly Virtuous are the truly bless'd.

_Full Chorus._

This let the Captives &c--

Finis

* * * * *

WILLIAM ANDREWS CLARK
MEMORIAL LIBRARY
_UNIVERSITY OF CALIFORNIA, LOS ANGELES_

The Augustan Reprint Society
PUBLICATIONS IN PRINT

=The Augustan Reprint Society=
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=1948-1950=

16. Henry Nevil Payne, _The Fatal Jealousie_ (1673).

18. "Of Genius," in _The Occasional Paper_, Vol. III. No. 10 (1719), and
Aaron Hill, _Preface to The Creation_ (1720).

19. Susanna Centlivre, _The Busie Body_ (1709).

22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two
_Rambler_ papers (1750).

23. John Dryden, _His Majesties Declaration Defended_ (1681).

=1951-1953=

26. Charles Macklin, _The Man of the World_ (1792).

31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and
_The Eton College Manuscript_.

41. Bernard Mandeville, _A Letter to Dion_ (1732).

=1964-1965=

110. John Tutchin, _Selected Poems_ (1685-1700).

111. _Political Justice_ (1736).

113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698).

=1965-1967=

115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_
(1705, 1706, 1720, 1722).

116. Charles Macklin, _The Covent Garden Theatre_ (1752).

117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680).

120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_
(1740).

124. _The Female Wits_ (1704).

=1968-1969=

133. John Courtenay, _A Poetical Review of the Literary and Moral
Character of the Late Samuel Johnson_ (1786).

136. Thomas Sheridan, _A Discourse Being Introductory to His Course of
Lectures on Elocution and the English Language_ (1759).

137. Arthur Murphy, _The Englishman from Paris_ (1756).

=1969-1970=

138. [Catherine Trotter] _Olinda's Adventures_ (1718).

139. John Ogilvie, _An Essay on the Lyric Poetry of the Ancients_
(1762).

140. _A Learned Dissertation on Dumpling_ (1726) and _Pudding and
Dumpling Burnt to Pot or a Compleat Key to the Dissertation on
Dumpling_ (1727).

141. Sir Roger L'Estrange, Selections from _The Observator_ (1681-1687).

142. Anthony Collins, _A Discourse Concerning Ridicule and Irony In
Writing_ (1729).

143. _A Letter From a Clergyman to His Friend, with an Account of the
Travels of Captain Lemuel Gulliver_ (1726).

144. _The Art of Architecture, A Poem_ (1742).

=1970-1971=

145-146. Thomas Shelton. _A Tutor to Tachygraphy, or Short-writing_
(1642) and _Tachygraphy_ (1647).

147-148. _Deformities of Dr. Samuel Johnson_ (1782).

149. _Poeta de Tristibus: or the Poet's Complaint_ (1682).

150. Gerard Langbaine, _Momus Triumphans: or the Plagiaries of the
English Stage_ (1687).

=1971-1972=

151-152. Evan Lloyd, _The Methodist. A Poem_ (1766).

153. _Are These Things So?_ (1740), and _The Great Man's Answer to Are
These Things So?_ (1740).

154. Arbuthnotiana: _The Story of the St. Alb-ns Ghost_ (1712), and _A
Catalogue of Dr. Arbuthnot's Library_ (1779).

155-156. A Selection of Emblems from Herman Hugo's _Pia Desideria_
(1624), with English Adaptations by Francis Quarles and Edmund
Arwaker.

=1972-1973=

157. William Mountfort. _The Life and Death of Doctor Faustus_ (1697).

158. Colley Cibber, _A Letter from Mr. Cibber to Mr. Pope_ (1742).

159. [Catherine Clive] _The Case of Mrs. Clive_ (1744).

160. [Thomas Tryon] _A Discourse ... of Phrensie, Madness or
Distraction_ from _A Treatise of Dreams and Visions_ [1689].

161. Robert Blair, _The Grave. A Poem_ (1743).

162. [Bernard Mandeville] _A Modest Defence of Publick Stews_ (1724).

=1973-1974=

163. [William Rider] _An Historical and Critical Account of the Lives
and Writings of the Living Authors of Great Britain_ (1762).

164. Thomas Edwards, _The Sonnets of Thomas Edwards_ (1765, 1780).

165. Hildebrand Jacob, _Of the Sister Arts: An Essay_ (1734).

166. _Poems on the Reign of William III_ [1690, 1696, 1699, 1702].

167. Kane O'Hara, _Midas: An English Burletta_ (1766).

168. [Daniel Defoe] _A Short Narrative History of the Life and Actions
of His Grace John, D. of Marlborough_ (1711).

=1974-1975=

169-170. Samuel Richardson, _The Apprentice's Vade-Mecum_ (1734).

171. James Bramston, _The Man of Taste_ (1733).

172-173. Walter Charleton, _The Ephesian Matron_ (1668).

174. Bernard Mandeville, _The Mischiefs That Ought Justly to be
Apprehended From a Whig-Government_ (1714).

174X. John Melton, _Astrologaster_ (1620).

=1975-1976=

175. _Pamela Censured_ (1741).

176. William Gilpin, _Dialogue upon the Gardens ... at Stowe_ (1748).

177. James Bramston, _Art of Politicks_ (1729).

178. James Miller, _Harlequin-Horace or the Art of Modern Poetry_
(1731).

179. [James Boswell] _View of the Edinburgh Theatre during the Summer
Season, 1759_ (1760).

180. Satires on Women: Robert Gould, _Love Given O're_ (1682); Sarah
Fige, _The Female Advocate_ (1686); and Richard Ames, _The Folly of
Love_ (1691).

Publications of the first eighteen years of the society (numbers 1-108) are available in paperbound units of six issues at $16.00 per unit, from Kraus Reprint Company, Route 100, Millwood, New York 10546.

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Transcriber's Notes

Passages in italics were indicated by _underscores_.

Passages in bold were indicated by =equal signs=.

Small caps were replaced with ALL CAPS.

Throughout the document, the oe ligature was replaced with "oe".

Throughout the document, the superscripted letters are preceeded by a carot and are enclosed by curly brackets. Thus, the word "y^{e}" represents a word where the "y" is normal and the "e" is superscripted; and the word "1^{st}" represents a word where the "1" is normal and the "st" is superscripted. In the ordinal numbers (e.g., 1^{st}) the supercripted numbers where underlined by dotted lines. These dotted lines also appeared under some other (but not all) of the superscripted letters.

Throughout the dialogues, there were words used to mimic accents of the speakers. Those words were retained as-is.

Errors in punctuations and inconsistent hyphenation were not corrected unless otherwise noted. For instance, sometimes there were spaces after slashes ("/") and sometimes there were no spaces after slashes. Sometimes there were mismatched quotation marks, where it was less than clear where the missing quotation marks should go.

Some words appear to be misspelled, but they were not corrected since this book is so old (1733) and spellings have changed over the centuries.

The acute accent for Settee was changed to Settee throughout the text.

On the second page 1 "& and End" was replaced with "& an End".

On the second page 5 (yes, there are two pages 5), "rake" was replaced with "Rake".

On the second page 5 the word "Clown" was italizied to make it it consistent with other instances of the word.

On the second Page 6 "PS and OP" were replaced with "P.S. and O.P."

On the second page 8 a period was added after "coming from Church".

On the second page 11, "SCENE 12" was replaced with "Scene 12".

On the second page 12, the word "Mansion", which was crossed out in the book was deleted.