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    The Harlot's Progress, The Rake's Progress (MS., CA. 1778-1780)
    The Harlot's Progress, The Rake's Progress (MS., CA. 1778-1780)
    The Harlot's Progress, The Rake's Progress (MS., CA. 1778-1780)
    Ebook87 pages54 minutes

    The Harlot's Progress, The Rake's Progress (MS., CA. 1778-1780)

    By Theophilus Cibber and Mary F. Klinger

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 27, 2013
    The Harlot's Progress, The Rake's Progress (MS., CA. 1778-1780)

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      Book preview

      The Harlot's Progress, The Rake's Progress (MS., CA. 1778-1780) - Theophilus Cibber

      The Project Gutenberg EBook of The Harlot's Progress, The Rake's Progress, by

      Theophilus Cibber and Anonymous and Mary F. Klinger

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: The Harlot's Progress, The Rake's Progress

      (MS., CA. 1778-1780)

      Author: Theophilus Cibber

      Anonymous

      Mary F. Klinger

      Release Date: January 24, 2012 [EBook #38659]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK HARLOT'S PROGRESS, RAKE'S PROGRESS ***

      Produced by Chris Curnow, Joseph Cooper, Ernest Schaal and

      the Online Distributed Proofreading Team at

      http://www.pgdp.net

      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]

      Of critical interest in looking at the engravings along with the dramas they inspired is the evidence provided of significant visual-verbal reciprocities in the period. In particular, it shows one aspect of the interrelationship operative between (1) creation of the prints, with the artist often relying perceptibly on dramatic literature and theatrical sets, [4]

      and (2) inspiration from print to theater, as playwrights generated new stage pieces based on the graphic works. 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.

      In A Harlot's Progress (1732) Hogarth's six prints recount a few years in the young life of M. Hackabout from her innocent arrival in London (from Yorkshire) through debauchery, prostitution, and theft to death from venereal disease at the age of 23. Hogarth's engraved sequence shows about 12 characters, including Moll's child and supernumerary harlots at her funeral. The stage piece by Colley Cibber's son entitled The Harlot's Progress consists solely of stage directions and verses set to six Airs. It has 27 characters, including a little Harlequin Dog. The harlot's new name, Kitty, probably refers to the actress (Mrs. Raftor, later Kitty Clive) who initially played this role. The music for the songs seems to be lost, though many tunes can be identified. [7]

      Furthermore, Roger Fiske reports that later in 1733 this work was offered at Bartholomew Fair with a band that included oboes, bassoons, horns, trumpets, drums and strings. Though traditionally The Harlot's Progress has been treated

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