THE AUGUSTAN REPRINT SOCIETY
_THE_ HARLOT'S PROGRESS
THEOPHILUS CIBBER (_1733_)
_and_
_THE_ RAKE'S PROGRESS
(_MS., Ca. 1778-1780_)
_Introduction by_ MARY F. KLINGER
PUBLICATION NUMBER _181_ WILLIAM ANDREWS CLARK MEMORIAL LIBRARY UNIVERSITY OF CALIFORNIA, LOS ANGELES _1977_
GENERAL EDITORS William E. Conway, William Andrews Clark Memorial Library George Robert Guffey, University of California, Los Angeles Maximillian E. Novak, University of California, Los Angeles David Stuart Rodes, University of California, Los Angeles
ADVISORY EDITORS James L. Clifford, Columbia University Ralph Cohen, University of Virginia Vinton A. Dearing, University of California, Los Angeles Arthur Friedman, University of Chicago Louis A. Landa, Princeton University Earl Miner, Princeton University Samuel H. Monk, University of Minnesota Everett T. Moore, University of California, Los Angeles Lawrence Clark Powell, William Andrews Clark Memorial Library James Sutherland, University College, London H. T. Swedenberg, Jr., University of California, Los Angeles Robert Vosper, William Andrews Clark Memorial Library
CORRESPONDING SECRETARY Beverly J. Onley, William Andrews Clark Memorial Library
EDITORIAL ASSISTANT Frances M. Reed, University of California, Los Angeles
INTRODUCTION
The prints and engraved sequences of William Hogarth (1697-1764) inspired a wide range of dramatic entertainments throughout the eighteenth century. The types include comedy of manners (_The Clandestine Marriage_, 1766), burletta with _tableau vivant_ (_Ut Pictura Poesis!_ 1789), specialty act (_A Modern Midnight Conversation_, 1742), cantata (_The Roast Beef of Old England_, ca. 1759), ballad opera (_The Decoy_),[1] pantomime (_The Jew Decoy'd_ and _The Harlot's Progress_, 1733), and a morality ballad opera (_The Rake's Progress_, ca. 1778-1780). Two of these are reprinted here. Theophilus Cibber's "Grotesque Pantomime Entertainment" of Hogarth's six-scene series "A Harlot's Progress" (1732), entitled _THE HARLOT'S PROGRESS_; or The Ridotto Al'Fresco," was first published 31 March 1733 for its Drury Lane debut as an afterpiece.[2] Less familiar is the anonymous "Dramatised Version" of Hogarth's eight-print sequence "A Rake's Progress" (1735), British Library Add. MS. 25997, entitled The Rake's Progress.[3]
Table of contents (by pages)
- 1: The Harlot's Progress, The Rake's Progress
- 2: Including a little Harlequin Dog
- 3: And all dance off to the Ridotto al'Fresco
- 4: 2 shows Rakewell in a fashionable morning gown
- 5: Where professionals pay Court to Rakewell
- 6: Clearly Theophilus Cibber's comical
- 7: A Scotch Ballad Opera London 1730
- 8: Medley tunes 'Stoney Batter
- 9: 1733 as never being performed
- 10: Cibber joined the group in September 1739
- 11: The subscription was announced in late 1733
- 12: Persons in the Harlot's Progress
- 13: Persons in the Ridotto al' Fresco
- 14: Who turning about perceives Harlequin
- 15: And signify they'll go to the Ridotto al Fresco
- 16: Ye mortals who my Shrine adore
- 17: Clown then looking at Upholsterer at Work
- 18: Italian Singing c Clown introduces Van Butchel
- 19: Because I has such a taking Vay
- 20: Bailiff stops Rake and arrests him
- 21: Than let Shelah O'Sudds be widout her Employ
- 22: The Loosers take the Pistols
- 23: Rake takes a Pistol from his Pocket
- 24: Preface to The Creation 1720
- 25: Selections from The Observator 1681 1687
- 26: The Apprentice's Vade Mecum 1734
