The True History of Tom & Jerry:
or, Life in London

THE

TRUE HISTORY

OF

TOM & JERRY:

OR,

BILLY WATERS.

One notable effect of “Life in London,” particularly in its dramatised form must be recorded. It broke the heart of poor Billy Waters, the one-legged musical negro, who died in St. Giles’s workhouse, whispering with his ebbing breath, a mild anathema, which sounded very much like: “Cuss him, dam Tom—meē—Tom—meē Jerry!”

Poor Billy endeavoured, up to the period of his last illness, to obtain for a wife and two children what he termed, “An honest living by scraping de cat-gut!” by which he originally collected considerable sums of money at the West-end of the town, where his ribbon-decked cocked hat and feathers, with the grin on his countenance, and sudden turn and kick out of his wooden limb, and other antics and efforts to please, excited much mirth and attention, and were well rewarded from the pockets of John Bull.

THE
True History
OF
TOM AND JERRY;
OR,
The Day and Night Scenes,
OF
LIFE IN LONDON

From the START to the FINISH!
With a Key to the Persons and Places,
Together with a Vocabulary and Glossary
of the
Flash and Slang Terms,
occuring in the course of the work.


BY
CHARLES HINDLEY,
Editor of “The Old Book Collector’s Miscellany; or, a Collection of Readable Reprints
of Literary Rarities” “Works of John Taylor—the Water Poet,” “The Roxburghe
Ballads,” “The History of the Catnach Press,” “The Curiosities of
Street Literature,” “The Book of Ready Made Speeches,”
“Life and Times of James Catnach, late of the
Seven Dials, Ballad Monger,” “Tavern
Anecdotes and Sayings,” etc.


London:
CHARLES HINDLEY, 41, Booksellers’ Row, St. Clement Danes,
Strand, W.C.

[Pg i]

INTRODUCTION.

hat Pierce Egan’s Life in London, or Tom and Jerry, was a success, we have plenty of printed evidence and ‘hearsay’! to prove. And we also know—beyond the shadow of a doubt, that the news of its metropolitan fame went forth with almost telegraphic speed throughout the provinces:—From John o’Groat’s House to the Land’s End!—From Dan to Beersheba!—and back again! With Life in London, its language became the language of the day; drawing-rooms were turned into chaffing cribs, and rank and beauty learned to patter flash ad nauseam.

[Pg ii]The original work went through several editions in a very short time, and the plates, by the Brothers Cruikshank, were considered so full of amusement that they were transferred to a variety of articles without any loss of time. The Lady taking her gunpowder was enabled to amuse her visitors with the adventures of Tom and Jerry on her highly-finished tea-tray. The lovers of Irish Blackguard experienced a double zest in taking a pinch from a box, the lid of which exhibited the laughable phiz of the eccentric Bob Logic. The country folks were delighted with the handkerchief which displayed Tom getting the best of a Charley, and Dusty Bob and Black Sal “all happiness!” The Female of Quality felt interested with the lively scene of the light fantastic toe at Almack’s, when playing with her elegant fan; and the Connoisseur, with a smile of satisfaction on his countenance, contemplated his screen, on which were displayed the motley groups of high and low characters continually on the move in the metropolis.

Everybody talked of Tom and Jerry, and crowds rushed to the theatres where the uproarious adventures of these popular personages were represented in a dramatic form. Mr. W. T. Moncrieff’s adaptation brought out at the Adelphi Theatre, November 26th, 1821:—which, “by-the way,” was by far the best of the whole bunch!—ran uninterruptedly through two seasons. It then appeared in rapid succession at the Theatres all over England, Ireland, Scotland, and Wales; likewise in most of the United States of America, the West Indies, &c.

But although Life in London, or, Tom and Jerry did make our grandfathers so very—very! merry in the first quarter of the Nineteenth Century, we are constrained to admit; that[Pg iii] it is a terrible dull and tedious work to read through in the present day, and it is on that very account, that we here place before our readers, what we are pleased to term—The True History of Tom and Jerry; for the work has a history of its own, and to exemplify the fact, we have in the first place, made numerous selections from the original work, then given the principal scenes of Moncrieff’s dramatic version of the same, the two concluding chapters of Pierce Egan’s continuation of his Life in London which he entitles—The Finish to the Adventures of Tom, Jerry, and Logic, in their Pursuits through Life In and Out of London.[1] Together with a “Key to Persons and Places, and an Etymological and Critical Vocabulary and Glossary of Flash and Slang Terms[Pg iv] occurring in the course of this work,” as at once giving an epitome of the whole: and to our mind, sufficient to be known of Pierce Egan’s once popular work. To which we have added such historic facts and scraps of information that have come to hand during our researches in connection with the—Rise and Progress—Decline and Fall of the Book and its Story. The present generation will find in some of the scenes depicted in such glowing colours, many of the fashions, manners and customs, which prevailed in the reign of King George the Fourth, together with certain landmarks of the past, which no one need regret leaving far behind, and ought to give every encouragement to those who live under the rule of Queen Victoria to maintain a firm faith in the social progress of the age.

The first Chapter of Life in London, commences with what the author terms An Invocation, in which, after invoking!—“the pleasing, grateful, inspiring, nay, golden advantages resulting from the smiles of that supreme goddess of the gods, FAME!”—which he adds is the—“flattering unction” that all authors sigh to be anointed with. He then in very—“merry-go-round—here we go round”—sort of a way calls to his aid many of the past, and, also then, living authors, artists, publishers, and public characters of the day—“to enrich his judgment—guide his pen—inspire him with confidence—and in other ways assist him in the arduous task he has undertaken.” And thus he ‘invokes.’ Laurence Sterne—divine and humourist—(1713-68):—

[Pg ix]Pierce Egan—THE AUTHOR—Then more particularly appeals to the Brothers R. and G. Cruikshank and to ☞ HIMSELF!!! as BOXIANA, thus:—

[Pg xi]Early in the career of the publication of Life in London, there seems to have been some adverse criticisms by at least a section of the Press on the slang of the Author; and the somewhat highly coloured and spicey Plates of the Brothers Cruikshank, as in Chapter VI., page 84, Part III., there is the following apology, or, explanation printed as a foot-note thus:—

The Prospectus alluded to at page xi., was after the following form.

During the periodic publication of Life in London it was generally supposed that the character-parts! of Tom, Jerry and Logic, were portraits of particular individuals, and there was much speculation and ink-slinging in respect to “Who is Who?” In the House of Lords it was whispered that the gallant and daring Tom represented his Grace the Duke of Wellington; Jerry, his Grace the Duke of Buckingham; and Logic, no less a personage than the Lord Chancellor. In the House of Commons it was said that Tom was intended for that worthy legal bibliophile, Mr. Butterworth, the pious member for Coventry; that Mr. Martin of Galway, pleaded guilty to Jerry; and the acute and knowing Mr. Hume sat for the all-awake leary Logic. On the other hand it was positively asserted at the West-end that Tom type-ified the elegant and spirited Colonel Berkeley; that the unsophisticated hopeful sprig of rurality, Jerry, was drawn, ad vivum, from Mr. Pea-Green Hayne,[11] while Logic absolutely personated that notorious modern Greek scholar, the learned, larking, laconic, Parson Colton.[12]

[Pg xiv]In the City, per contra, it was currently reported on ’Change that Tom, from his love of fun, and knowledge of good living, was the locum tenens of that great and learned man, and most facetious Banking Baronet, Sir William—more succinctly and familiarly Billy—Curtis, of the “three R.’s” notoriety;[13]—that Jerry was the picture of Mr. Treble, X Sheriff Parkins; and that Logic was an outline of Mr. Alderman Wood. But, Mr. W. T. Moncrieff states that he can, however, safely assert that all these suppositions are totally unfounded, as the characters of Tom, Jerry and Logic, were autobiographical sketches of the artists to whom they severally originally owe their being. The talented, spirited George Cruikshank was himself, in all the better points, the Tom—of the Corinthian Order; he is so admirably delineated; his very clever brother Isaac Robert, then perhaps less experienced, condescended to pass for Jerry, and the downey Pierce Egan—“‘None but himself can be his parallel’[14]—was his own Logic—the Oxonian in green specs—gig-lamps!” Mr. Moncrieff continues—“they having tria juncta in uno produced the admirable foundation of this Piece.[15] May they speedily furnish the public with some more of their larks, sprees and rambles—the world will thank them for the gift.”

It is now a matter of history that the Brothers Cruikshank, first designed and engraved the Plates for the original Edition[Pg xv] of Life in London, and, then, Pierce Egan wrote the letter-press up to them from month to month to the completion of the work in July, 1821.

To this order of things there was, however, one exception, namely in December, 1820,—“’twas Christmas, merry Christmas time, when ‘Man being reasonable, must get drunk,’” and Pierce Egan, admitted that he got too much Daffy aboard the over night, and that on waking up late the next morning he found his pocket-book containing his Notes! i.e., “copy” absent without leave. He therefore published at page 275 as follows:—

[Pg xviii]In Chapter XIV. of the original Life in London, there is such a graphic description of Tom, Jerry and Logic—the Oxonian; making a “jolly Night of it” at the once famed Vauxhall Gardens: written in so truly a Piercy Egania!!! style that we are tempted to reproduce it in its entirety for the benefit of our readers, together with a few Notes of our own to follow.

——“I perceive,” said Tom, “on perusing the newspaper, Vauxhall Gardens are open, and therefore, Jerry, to-night we will pay them a visit.” “It is an extraordinary place, indeed,” replied Hawthorn, “if my Old Dad and Mam have not exaggerated its grandeur; but, as the old people have not been used to sights, it may account for their astonishment and rapture in speaking about them.” “I am not surprised at that,” answered Tom, smiling; “in my humble opinion, it has not its equal in the world. There is nothing like it in Paris. Pleasure holds her court at Vauxhall. In those gay regions, you are liable to jostle against the gods and goddesses—Bacchus you will find frequently at your elbow—Venus and the Graces passing and repassing, yet condescendingly smiling upon you—Momus surrounded by fun and laughter—Terpsichore attending upon your steps—and Apollo winding up the whole with the most pleasing harmony.” “No Lethe, then is necessary at Vauxhall, I suppose,” said Jerry, ironically, interrupting Tom. “Yes, my dear Coz,” answered the Corinthian. “It might be inferred that nearly, if not all the visitors, upon entering Vauxhall Gardens, had drank of the waters of Lethe, for everything else seems to be forgotten on joining this enchanting scene: however, I can speak for myself in this respect.” “Excellently well defined, Tom,” replied Logic. “To me, Vauxhall is the festival of Love and Harmony, and produces a most happy mixture of society. There is no precision about it, and every person can be accommodated, however substantial, or light and airy their palates. If eating, my dear Jerry, is the object in view, you will perceive tables laid out in every box, and the order is only wanted by the waiter instantly to gratify the appetite. If drinking, the punch is so prime, and immediately follows the call, that it will soon make you as lively as a harlequin. If inclined to waltz or to[Pg xix] reel, partners can be procured without the formality of a master of the ceremonies. If you are fond of singing, the notes of that ever-green, Mrs. Bland, never fail to touch the heart. If attached to music, the able performers in the orchestra, the Pandean minstrels, and regimental bands, in various parts of the gardens, prove quite a treat. If promenading is your forte, you will find illuminated walks of the most interesting and animated description. Numerous persons of the highest quality: myriads of lovely females, with gaiety beaming upon every countenance; and the pleasure of meeting with old friends and acquaintances, render the tout ensemble impressively elegant and fascinating. Even the connoisseur in paintings may find subjects at Vauxhall too rich to be passed over in haste. In short, there is such an endless variety of amusements, in rapid succession, from the song to the dance—from refreshment to the glass—from the cascade to the fireworks, that time positively flies in these Gardens. Reflection is not admitted; and the senses are all upon the alert. You may be as extravagant as you please, or you need not spend a single farthing, if economy is your object, and not be found fault with neither. If you like it so best,” continued the Oxonian, smiling, “you may be as gay as a dancing-master, and enter into all the fun and frolic by which you are surrounded; or you can be as decorous as a parson in his pulpit, and be nothing more than a common observer. But if enjoyment is your motto, you may make the most of an evening in these Gardens more than at any other place in the Metropolis. It is all free and easy—stay as long as you like, and depart when you think proper.” “Your description is so flattering,” replied Jerry, “that I do not care how soon the time arrives for us to start.” Logic proposed a “bit of a stroll,” in order to get rid of an hour or two, which was immediately accepted by Tom and Jerry. A turn or two in Bond Street—a stroll through Piccadilly—a “look in” at Tattersall’s—a ramble through Pall Mall—and a strut on the Corinthian Path, fully occupied the time of our heroes till the hour for dinner arrived, when a few glasses of Tom’s rich wines soon put them on the qui vive; Vauxhall was then the object in view, and the Trio started, bent upon enjoying all the pleasures which this place so amply affords to its visitors.

“It is really delightful,” exclaimed Jerry, on his entering the Gardens, during the first act of the concert; “I was, on my first visit, enraptured[Pg xx] with Sydney Gardens, at Bath; but, I must confess, that the brilliancy of this scene is so superior that it appears to me like a New World, and you have not, my friends, overrated it.”

Hawthorn, under the guidance of his pals, was not long in exploring the illuminated walks, the rotunda, and everything belonging to this fashionable place of resort. Our hero was in high spirits; Logic was also ripe for a spree; and the Corinthian so agreeable in disposition, that he made known to his two friends he was ready to accommodate them in any proposition they might feel inclined to make. Jerry expressed himself much pleased with the arrangement and performance of the concert; and he likewise observed, the music of the songs reflected considerable credit on the talents of the composer.[26] On passing through the rooms attached to the rotunda, in which the paintings of Hogarth and Hayman[27] are exhibited, and also the portraits of the late King and Queen, on their coming to the throne, Jerry, with a smile, retorted upon Logic, “that those paintings certainly could[Pg xxi] not be passed over in haste, if the proprietors of the Gardens thought catalogues were not necessary, it would, however, prove much more pleasing to the visitors if a few lines were painted under them, by way of explanation.” “I must agree with your remarks,” replied Logic; “no visitor ought to be suffered to remain in the dark on any subject amidst such a blaze of illumination. Never mind criticising any more about these pictures; let us retire to a nice little box, for I assure you my ogles have feasted enough, and I stand in need of much more substantial refreshment. Some burnt-wine, ham shavings,[28] chickens, sherry, and a lively drop of arrack-punch, my boys, will enable us to finish the evening like trumps.” “A good proposition,” cried Tom. “It is,” said Jerry; “and I second it.” The Trio immediately left the gay scene, for a short period, to partake of all the choice articles which the larder could produce to please their palates. The bottle was not suffered to stand still by our heroes, and the punch also moved off with great facility, till the lively military band invited them once more to[Pg xxii] join the merry dance, when Logic, full of fun and laughter, said, “he was now able to reel with any lady or gentleman in the Gardens.” “Yes,” replied Tom, laughing heartily, “I’ll back you on that score, Bob; but not to dance.” The elegant appearance and address of the Corinthian soon procured him lots of dashing partners: Jerry was not behind his Coz in that respect; and the agility both our heroes displayed on the “light fantastic toe” attracted numerous gazers. Logic, who was for “pushing along, keep moving,” as he termed it, was interrupted in his pursuit by a jack-o’-dandy hero, and who also quizzed the Oxonian with the appellation of “Old Barnacles.” Some sharp words passed in reply from Logic, when the dandy, who was rather snuffy, as well as impudent, put himself into a posture of defence, crying out, “Come on my fine fealow, I’ll soon spoil your daylights.” The Oxonian immediately gave the dandy so severe a blow on his head that he measured his length on the ground like a log of wood: and, on Logic perceiving the fallen dandy quite terrified, he assumed to be in a most violent rage, and addressing two of the sisterhood near him, with “My dears, if you do not hold my arms, I am so tremendous a fellow, I shall certainly do him a mischief.” This piece of bombast had the desired effect; and the dandy, amidst roars of laughter, endeavoured to get up and run away; but Logic held him, and said, “That was the way he took to correct fellows who addressed him improperly; and, to prevent mistakes in future, he advised him to remember Mr. Green Specs.” The Oxonian, anxious to keep up the fun, pretended, all of a sudden, to be in great agony, and, putting up his hand to his head, exclaimed, in a piteous tone, “I have got the worst of it after all; I have lost an eye.” “I hope not,” said a lady, a little advanced in years, who was an observer of the scene, apparently much grieved at his misfortune. “Never mind, my love,” replied Logic; “it is only a green one; I can get another,” showing his spectacles, with one of his glasses out. Bob now reeled off, receiving the applause of the spectators as a very funny fellow. On the conclusion of the dance, Tom and Jerry traversed the Gardens, and enjoyed themselves to the utmost extent in all the variety they afforded, till day-light had long given them the hint it was time to think of home. Logic, as upon former occasions, was not to be found; and the Corinthian and his Coz were compelled to leave Vauxhall without him.

[Pg xxiii] 

Under the Especial Patronage of HIS MAJESTY.

Royal Gardens, Vauxhall.—The Proprietors respectfully beg leave to acquaint the Public that these Gardens having been newly and fancifully decorated, are now open for the SEASON, every Monday, Wednesday, and Friday Evenings. TO-MORROW, June 11, Wednesday and Friday Evenings next, a Vaudeville, written by Mr. Moncrieffe, called ACTORS’ AL FRESCO; or, the Play in the Pleasure Grounds. With principally original Music composed by Messrs. T. Cooke, Blewitt, and Horn. Sir Udolph Honeysuckle, Mr. S. Bennett; Orlando Saville, Mr. Horn; Signor Patrick O’Diddle, Mr. Fitzwilliam; Jeremy Crambo, Mr. Woulds; Miss Frances Honeysuckle, Miss Graddon; Miss Penelope Honeysuckle, Miss Pearce; Sally Larkspur, Mrs. Fitzwilliam; Villagers, &c., &c.—The Vaudeville will begin at a quarter past eight.—Author and Stage Manager, Mr. Moncrieffe.

An Entirely NEW DIVERTISEMENT (composed by Mr. Ridgway), for which a numerous Corps de Ballet is engaged.

In the course of the Evening, Mr. BLACKMORE will perform his astonishing Feats on the Slack Rope.

The FIRE-WORKS, with the wonderful Ascent on the Rope, by BLACKMORE, will be exhibited with their usual splendour, by those celebrated Artists, SOUTHBY and D’ERNST.

The CONCERT, which has ever formed a prominent feature, will be performed as heretofore, in the original and much admired Orchestra, in the open Gardens; and will consist of entirely new Songs, Duets, Glees, &c., composed by Cooke, Blewitt, and Horn, and sung by Messrs. Woulds, Horn, Benson, Tinney, and Fitzwilliam, Miss Graddon, Mrs. Austin, and Mrs. Fitzwilliam.

The Military and Scotch Bands, under the direction of Mr. Hopkins will be in attendance.—Director and Leader of the Music, Mr. T. Cooke; Composers, Messrs. T. Cooke, Blewitt, and Horn.

The Scenery and Decorations by Messrs. Thorn, Cox, and Assistants. Mechanists, Messrs. Shaw, Lowe, &c.

A Spectacle of an extraordinary nature, on a scale of magnitude never yet attempted in any Country, is in preparation, and will speedily be announced.—Doors open at Seven.—Admission, 4s.

VAUXHALL.

Vauxhall Gardens—the gay and favourite spot of metropolitan amusement, and of fashionable resort in the summer season—commenced their attractions to the public on Monday. The weather was highly favourable. The entertainments of the evening commenced with a petit piece Actors’ Al Fresco; or, The Play in The Pleasure Grounds, by Mr. Moncrieffe. It was received favourably, though certainly not possessing such claims to public favour as one might expect from the popular author of Tom and Jerry, Don Giovanni, &c. The Concert consisted of entirely new songs, duets, glees, &c., composed by Horn, Cooke, and Blewitt; one of the songs—a comic one—the composition of Blewitt, possessed more merit, both as to the words and the music, than compositions for a temporary occasion, like the present, usually do. The space afforded to the public for a view of the fire-works was more limited than hitherto. This contracted allowance of accommodation, we understand, is attributable to arrangements which are making to celebrate the approaching anniversary of the Battle of Waterloo, on a scale of unequalled brilliancy and splendour. The boxes and several compartments in the gardens are painted in a pleasing light colour—a mixture of green and white—which imparts a freshness and rural appearance to the scene, far more agreeable to the eye than the gaudy tints which were adopted in the previous decorations.—Bell’s Life in London.

[Pg xxiv] 

GRAND CORONATION FETE!

UNDER THE SPECIAL PATRONAGE OF HIS MAJESTY.

Royal Gardens, Vauxhall.—The Proprietors respectfully acquaint the Public, that it is their intention to celebrate this Anniversary TO-MORROW, Monday, 21st July, 1828, in a style very superior indeed to any Gala it has ever been in their power of producing, as they are enabled to embrace all the distinguished characteristics of the Spanish Fete, in which the Royal, Noble, and distinguished Visitors were so highly delighted on the 8th instant. The ANNIVERSARY of the CORONATION of His MAJESTY may therefore be termed a Superb Repetition of the brilliant Illuminations, extensive and novel Decorations, &c., &c., of that night; and the Public are assured, that the most splendid preparations are in progress, to entertain, delight, and surprise the Visitors. The Gardens will be made one entire scene of light, by every avenue and walk exhibiting illuminated Ornaments, Mottoes, &c., &c., in variegated Lamps and Transparencies; and the following is a slight Programme of the Night’s Amusements:—

THE HYDROPYRIC EXHIBITION, which increases nightly in the favour of the Public, will be performed with all its numerous cascades of coloured fire and variegated water.

A NEW VAUDEVILLE, in the Rotunda Theatre. The Songs, Duets, &c., adapted to familiar Airs; previously to which Master Charles will perform a Solo on the Violin.

RAMO SAMEE, the wonderful Indian Juggler, will delight the Company with his surprising performances with Knives, Balls, Pyramids, &c., &c.

A SUPERB DISPLAY of FIRE-WORKS will take place immediately after the Concert. The Proprietors pride themselves much upon the universal approbation and delight afforded by the displays of Fire-Works at Vauxhall, and which can be witnessed at no other place of amusement in the kingdom; and they pledge themselves that the Fire-Works of this Evening shall be of the very first character. The Artist has directions (regardless of expense) to produce the most splendid display.

Under the especial Patronage of HIS MAJESTY.

Royal Gardens, Vauxhall.—TO-MORROW, June 29, Wednesday, July 1, Friday July 3, will be presented, in the Rotunda, an entirely New Vaudeville, called

A DAY UP THE RIVER,

With New Music, composed by Mr. T. Cooke and Mr. Blewitt. The characters by Messrs. T. Cooke, Weekes, G. Smith, Robinson, W. H. Williams; Miss P. Horton, and Miss Helme.[Pg xxv]

A CONCERT,

In the open Orchestra, in which several New songs will be introduced for the first time.

A New Pantomime (first time), called

THE YELLOW DWARF; or Harlequin Knight of the Lion.

Under the direction of Mons. Hullin.

Mr. Grey, having been honoured every Evening with the most unbounded applause, will continue to exhibit his unrivalled

FANTOCCINI.

The Amusements will terminate with a display of

FIRE-WORKS

Towards the close of which will be exhibited an HYDROPYRIC TEMPLE, from which will issue a Grand Discharge of Fire, interspersed with Waterfalls, Cascades, Jets d’Eaux, &c.

Admission for the Season and Nightly Cards may be had at 23, Ludgate-hill; 141, Fleet-street; 8, Charing-cross; 146, Oxford-street; and at the Gardens.

Books, descriptive of the Amusements and Songs of the Opera and Concert, to be had in the Gardens only.

The Gardens are opened every Monday, Wednesday, and Friday.

Parties desirous of Dining in the Gardens can be accommodated at or after Six o’clock.

Doors open at Seven.—Admission 4s.

Under the especial Patronage of HIS MAJESTY.

Royal Gardens, Vauxhall.—The Proprietors respectfully acquaint the Public, That these GARDENS WILL OPEN for the SEASON TO-MORROW, Monday, June 1, and will continue open during the Summer, every Monday, Wednesday and Friday; and they have the pleasure of announcing that they have succeeded in obtaining for a few Nights the powerful aid of Miss Fanny Ayton, Mesdames, Castelli and De Angioli, Signor Torri, Guiberlel, De Angiolli, and Pelegrini, to sing in

ITALIAN OPERA BUFFA.

These performers will have the honour of appearing on the first night, in Rossini’s celebrated Opera of Il Barbiere di Seviglia, which will be given in the Rotunda Theatre. The Musical Department under the direction of Mr. T. Cooke; Conductor Mr. Blewitt.

A CONCERT,

As heretofore, in the original Orchestra in the open Gardens, consisting of New Songs, Duets, &c., to be sung by Mr. W. H. Williams, Mr. Robinson, Mr. G. Smith, and Mr. Weekes (from the Theatre Royal, Drury Lane), Miss P. Horton (Pupil of Mr. Blewitt), and Miss Helme.

An entire new COMIC BALLET will be performed in the open Theatre, under the direction of Mons. Hullin, called

POLICHINEL VAMPIRE.

The Dancers principally from the Opera Theatre, assisted by numerous corps de ballet. Leader of the Ballet, Mr. R. Hughes.

The Scenery, with various paintings and many New Cosmoramas, dispersed about the Gardens, by Mr. Cocks and Assistants. The amusements will terminate with a display of

FIRE-WORKS.

Towards the close of which will be exhibited an HYDROPYRIC TEMPLE, from which will issue a Grand Discharge of Fire, interspersed with Waterfalls, Cascades, Jets d’Eaux, &c. The Fire-Works’ Artists are Mr. Southby and Mr. D’Ernst, whose inimitable displays have given such unmixed satisfaction for several successive Seasons.—The Military and Scotch Bands under the direction of Mr. Hopkins.

Admission for the Season and Nightly Cards may be had at 23, Ludgate-hill; 141, Fleet-street; 148, Oxford-street; and at the Gardens.

Books, descriptive of the Amusements and Songs of the Opera and Concerts, to be had in the Gardens only.

The Italian Opera will begin at Ten o’clock. Doors open at Seven.—Admission, 4s.

[Pg xxvi]

UNDER THE ESPECIAL PATRONAGE OF HIS MAJESTY.

Royal Gardens, Vauxhall.—OPEN EVERY MONDAY, WEDNESDAY, and FRIDAY.—TO-MORROW (Monday), 14th July, a variety Entertainment will be given, consisting of an entirely New Vaudeville, entitled SHE WOULD IF SHE COULD. Adapted to favourite and familiar Airs. Characters by Mr. T. Cooke, Mr. S. Bennett, Mr W. H. Williams, Miss Knight, Miss Helme, and Mrs. Younge, &c., &c., &c.—The New Pantomime, called HARLEQUIN IN THE BOTTLE.—A Concert in the open Orchestra. The Dioramic Pictures, Cosmoramas, and Spectre Grove. The unrivalled Performances of the celebrated CHING LAURO.—To conclude with the Grand Novelty of the HYDROPYRIC EXHIBITION, which is received with the most tumultuous marks of approbation, forming a display of Water and Fire-Works never before attempted in any country. The Military and Scotch Bands as usual.—Doors open at Seven.—Admission, 4s.—Books, with all the particulars of the Performance, in the Rotunda Theatre, Ballet, open Orchestra, &c., &c., to be had only in the Gardens.—Beware of spurious Pamphlets, pressed upon the Public at the entrance.

UNDER THE ESPECIAL PATRONAGE OF HIS MAJESTY.

Royal Gardens, Vauxhall.—For a FEW NIGHTS LONGER.—The Proprietors respectfully inform the Public, that in consequence of the decided favourable state of the Weather, the Gardens will be Open TO-MORROW, Wednesday and Friday, when the UNION GALA will be repeated with (if possible) increased splendour and effect. The whole of the Illuminations, Decorations, Mottoes, &c., which afforded so much delight last Evening, will be again exhibited, and a continual succession of Entertainments take place from the time the doors open, including the amusing LOTTERY PRESENTS.—Doors open at Seven. Admission, 4s.

Surrey Theatre.—Under the direction of Mr. Elliston, TO-MORROW, June 16, will be presented THE MILLER’S MAID. Giles, Mr. Rayner; Phoebe, Mrs. Fitzwilliam. With DIE NACHTIGAL UND DER RABE. And THE INCHCAPE BELL. Hans Hattock, Mr. Osbaldiston; Guy Ruthven, Mr. Rayner.—Tuesday, Inkle and Yarico. With Die Nachtigal und Der Rabe. And Giovanni in London.—Wednesday, 1st time at this Theatre, the extravaganza of Tom and Jerry; or, Life in London. After which Master Burns will appear (for the 1st time) in six characters in A Day after the Fair. With the Inchcape Bell.—Thursday, Tom and Jerry. With Die Nachtigal und Der Rabe. And The Inchcape Bell.—Friday, Tom and Jerry. With Die Nachtigal und Der Rabe. And The Inchcape Bell.—Saturday, Tom and Jerry With Die Nachtigal und Der Rabe. And Love’s Frailties.

 [Pg xxvii]

Grand Masquerade, Argyll Rooms, first of the Season.—The brilliant éclat which has lately attended this peculiar and popular species of entertainment, urges as early re-commencement of such festive gaieties, and in compliance with the general wish, TO-MORROW, Monday, November 30, is appointed for the first GRAND FESTA DI BALLO. The Splendid Suite of Rooms will be newly Embellished, Decorated, and Brilliantly Illuminated.

LITOLF and ADAMS’ BAND, with the New Massaroni Quadrilles! arranged from the popular Music of “The Brigand,” now performing with great success at the Theatre Royal, Drury-lane, will be stationed in the Grand Ball Room, newly decorated as LE SALON DE MARS! The Emblematic Devices, Banners, Trophies, &c., &c., by the most Eminent Artists.

Numerous Professional Dancers, from the Italian Opera House, and Theatres Royal, are Expressly Engaged, to enliven the scene with a constant succession of French, English, Italian, Irish, German and Scotch, Dances, particularly The Gallopade! which will be introduced immediately after Supper.

The Court of Momus will be furnished with an Effective Band for Country Dances! and occasionally enlivened with the Eccentric Efforts of numerous Artists, expressly engaged for this SPLENDID CARNIVAL.

“All kinds of dresses splendid and fantastical;
Masks of all times and nations, Turks and Jews,
Mimes, Harlequins and Clowns, with feats gymnastical;
Greeks, Romans, Yankeedoodles and Hindoos.”—Lord Byron.

AN ELEGANT SUPPER will be provided under the superintendence of Mr. Phillips, of Steyne House, Brighton, and Oxford-street, London; and the Room will be opened at One o’Clock—to enliven which PROFESSIONAL GLEE SINGERS will be engaged, and at intervals a GRAND MILITARY BAND will perform some of the most favourite Overtures from La Muette de Portici, Siège de Corinth, Crociato in Egitto, &c., &c.

[Pg xxviii] 

Dans l’age heureux de la folie
En fêtes, dissipant nos jours.
Nous suivons la route embellie,
Par les Muses et les Amours.

Au refrein des Tambourins,
Au tic tac des Castignettes,
Au jug jug du jus divin,
Amis, chassons le chagrin

Lorsque le Champagne.
Fait eu s’echappant Pan! Pan!
Ce doux bruit me gagne
L’ame et le tympane.

Further particulars will be duly announced.—Masks, Dominoes, Character and Fancy Dresses, to be had at the Masquerade Warehouse, Opera Colonade, Haymarket.

Tickets of Admission, One Guinea each; for Supper Tickets, 7s. 6d. each; and Private Boxes to view the Masquerade without mixing in the Motley Group, Domino, and Character Tickets, apply to Mr. Charles Wright, next the King’s Theatre, Opera Colonade, Haymarket.

 [Pg xxix]

DUCROW’S BENEFIT.

Royal Amphitheatre (Astley’s).—Mr. DUCROW has the honour of announcing his BENEFIT REPRESENTATION TO-MORROW EVENING, Sept. 7. For the full detail of the Novelties prepared, it will be necessary to refer to the hand bills, but the three following are leading features totally new, and have never been performed, viz.:—BONAPARTE’S PASSAGE OF THE MOUNT ST. BERNARD, for the Stage; to commence at a Quarter-past Six; and Mr. Ducrow’s two new Scenes for the Circle, of St. George and the Dragon, with its splendid Pageant, in honour of the Champion’s brave and puissant deed. With “Make way for Liberty; or, the Flight of the Saracens.” In addition to these he will represent the Animated Venetian Statue; or, Living Models of Antiques; and will appear with Miss Woolford on the Double Tight Rope. The exercises of the German Rider, Herr Berg, and a variety of other Entertainments.—To conclude with the Grand Romantic Spectacle of THE CATARACT OF THE GANGES.—Tickets to be had and places secured at the Box Office, from Eleven till Four.

[Pg xxx]To give the present generation of playgoers an insight into the manners and customs of the so-called “good old days:” and in the “hot youth” of our great grandfathers—and mothers: when George the Fourth was King of England: the dramatic version of Tom and Jerry; or, Life in London, is occasionally revived at one or other of the Metropolitan Minor Theatres. In 1868 Mr. Joseph A. Cave produced with distinguished success Moncrieff’s Adelphi adaptation, carefully revised at the:—

VICTORIA THEATRE.

It was announced thus:—

TOM AND JERRY;
OR,
Life in London Fifty Years Ago!

Squire Hawthorn An Old English Gentleman, one of the olden time Mr. J. BRADSHAW

Jerry Hawthorn His Nephew, rather verdant, until brought out Mr. JAMES FAWN

Farmer Cornflower—Mr. MILLER

Sir Harry Blood—a Buck—Mr. FASHION

Bill Pointer—an awkward one—Mr. TERRIER

Claw—a Lawyer—Mr. J. BAKER

Tom, alias Corinthian Tom—a blood of the first water—Mr. J. H. FITZPATRICK

Regular a Tiger, who knows his business Miss HUNT

Servant—Mr. ALFREDS

 [Pg xxxi]

Life in the Country—the party—preparations for the Departure of Jerry.

“Horses sound, dogs healthy,     |     Earths stopped, and foxes plenty.”

A Country Gentleman’s Idea of London Life.

Tom sets them on the right road—the word pledged—he shall go—one gone already—who? why, the Village Lawyer—Where? under the Table.

A Country Lane! Life and Love in a Cottage!

Tom’s Sanctum in Corinthian Lodge.

Jerry gets an Introduction to Fast Life—Tom’s Advice and Lesson—How the Trio started for Enjoyment.

BURLINGTON ARCADE.

The Lovers in Ambush—the Note—Tom receives a chaffing from Logic.

A look in at Tattersall’s—Tom and Jerry’s judgment in purchasing a Prad—how Jemmy Green bought a horse and was taken home and in by it.

Tom and Jerry express their opinion strongly—the assignation—Tom’s appointment—Logic improves Jerry’s opinion of Town Education.

Bob, Tom and Logic in prime trim—the Treat—Put round the Lush—Dusty Bob and his Sarah.

Pas de Deux Messrs. R. H. KITCHEN & T. LAMB.

[Pg xxxii]

Tom and Jerry in a new phase—true admirers of English pluck—a Toast, “Long Life to Gallant Tom Crib.”

“Past Twelve o’clock and a Cloudy Night”—The Bucks revel—Mrs. Tartar in a fix—Help! Help! Help!

A Row—a rally, and a Rescue—how to box a Watchman—Tom and Jerry get the best of a Charley—Tom and Jerry in trouble after a spree.

INTERIOR OF ST. DUNSTAN’S WATCHHOUSE.

BACK SLUMS IN THE HOLY LAND.

Kate, Sue and Jane in new characters—Tom, Jerry and Logic up to their larks—the Thieves’ Supper (without cant)—the raid upon the Sanctuary—a terrific mill—Tom and Jerry in their glory—TABLEAU.

LEICESTER SQUARE.

Real Old Grimaldi Comic Scene.

Clown, Mr. R. H. KITCHEN Pantaloon, Mr. TOM LAMB

Here! Hollo! Now for Fun.

☞ Magnificently Illuminated for a Fete. ☜

The Recognition—all happy—the Lovers united—grand gallop—end of Tom and Jerry’s Life in London.

Brilliant Shower of Fire by Professor Wells.
GRAND DENOUEMENT!

[Pg xxxiii]In consequence of the great success of the revival of Tom and Jerry at the Victoria Theatre—where it ran nine weeks: Mr. Conquest, of the Grecian, and Mrs. Lane, of the Britannia Theatre, directly afterwards produced a version of the same. A year or two after that Mr. William Holland, of the Surrey Theatre, assisted by Mr. J. A. Cave, also staged it successfully.

In May, 1886, Mr. J. A. Cave re-produced the same at The Elephant and Castle Theatre, which was set forth thus:—

ELEPHANT & CASTLE THEATRE, S.E.
Grand Theatre.
LESSEE AND MANAGER  MR. J. A. CAVE.
Trains, Trams and Buses From all Parts Stop at the Doors.

TOM AND JERRY A BIG SUCCESS;
GRAND REVIVAL OF LIFE IN LONDON 100 YEARS AGO.

Cruikshank’s far-famed Pictures Realised.—Manners and Customs of the Period.—Old
Haunts of London. Life in the East. Life in the West.—Larks by Day.—Sprees by Night.
Betting Cribs.—Sparring Cribs.—All the Noted Characters in Costumes of the time.—The
most Novel, Picturesque, and Amusing Entertainment in London. See Daily Telegraph,
Globe, Morning Post, Sporting Life, Dispatch, Lloyds, &c.

Powerful Cast. All the Original Sensational Effects

Early Pass Doors open Nightly at 6.30.

SATURDAY, May 29th, 1886, and NIGHTLY at 7

TOM AND JERRY;
OR,
LIFE IN LONDON.

All the Original Music, Songs, Duets, Choruses, and Dances.
PRODUCED from the Original Adelphi Manuscript, BY MR. J. A. CAVE.

The Scenes of Old London, &c., By Mr. Hedley Churchward.

********
********

To conclude with, for the first time here, an Original Domestic Drama, of intense interest, entitled The

WREN BOYS;
Or, the Night Birds of Kerry.
Introducing the entire Company.

Stage Manager, Mr. George Skinner. Musical Director, Mr. Henri G. French.

Williams & Strahan, Printers, 74, New Cut, Lambeth.

 [Pg xxxiv]

Jesters
and
Painted Scenery.

Messrs. Hodson, Smart, West, Marks, Fairburn, Park, Skelt, and other publishers made a rich harvest out of the—“Price 1d. Plain and 2d. Coloured Characters of Tom and Jerry; or, Life in London,” together with miniature stages, and “Book of the Words” for the juvenile home-performing version of the drama.

How delightful the book, and the pictures!

—oh! the pictures are noble still!—was to the youths of England, and how eagerly all its promised feasts of pleasure were devoured by them, Thackeray has told us in his Roundabout Paper, “De Juventure” in the Cornhill Magazine for October, 1860.

A man is thirty years old before he has any settled thoughts of his Fortune: and if it is not completed before fifty; he falls a building in his old age, and dies by that time his House is in a condition to be painted and glazed.

 [Pg 1]

HISTORY

OF THE

LIFE IN LONDON;

OR, THE

DAY AND NIGHT SCENES

OF

Tom and Jerry.

In the early part of the year 1820, the British public were informed through the then existing usual advertising mediums that there was about to be published, in monthly parts,[Pg 2] “Pierce Egan’s Life in London; or, the Day and Night Scenes of Jerry Hawthorn, Esq.; and his elegant friend Corinthian Tom, accompanied by Bob Logic, the Oxonian, in their Rambles and Sprees through the Metropolis. Embellished with thirty-six Scenes from Real Life, designed and etched by I. R. and G. Cruikshank, and enriched with numerous original Designs on Wood by the same Artists.”

Some time previous to its appearance a great taste had exhibited itself amongst fashionable bloods for sporting works—books upon the chase, upon racing, upon boxing, and ‘sport’ generally. The demand soon brought an excellent supply, and “Boxiana,” in its own peculiar department, at once became a great favourite. Artists, too, arose, who devoted all their powers to hunting subjects, to racing favourites, and pugilistic encounters. Amongst these the names of Alkén, Dighton, Heath, Brooke, Rowlandson, &c., became very popular. One day it occurred to the editor of ‘Boxiana’ that if Londoners were so anxious for books about country and out-of-door sports, why should not Provincials and even Cockneys themselves be equally anxious to know something of “Life in London?” The editor of ‘Boxiana’ was Mr. Pierce Egan, who as the literary representative of sport and high life, had already been introduced to George IV., the character of the proposed work was mentioned to the King and his Gracious Majesty seems to have heartily approved of it, for he at once gave permission for it to be dedicated to himself. The services of Messrs. George and Robert Cruikshank were secured as illustrators.

And on the 15th July, the first number, price one shilling, was published by Messrs. Sherwood, Neely, and Jones, of Paternoster Row. This sample, or first instalment, of the entire[Pg 3] work was quite enough for society to judge by. It took both town and country by storm. It was found to be the exact thing in literature that the readers of those days wanted. Edition after edition was called for—and supplied, as fast as the illustrations could be got away from the small army of women and children who were colouring them. With the appearance of numbers two and three, the demand increased, and a revolution in our literature, in our drama, and even in our nomenclature began to develope itself. All the announcements from Paternoster Row were of books, great and small, depicting life in London; dramatists at once turned their attention to the same subject, and tailors, bootmakers, and hatters, recommended nothing but Corinthian shapes, and Tom and Jerry patterns.[29]

Immediately Messrs. Sherwood and Co. issued the first shilling number of Mr. Pierce Egan’s work, out came Jones and Co., of Finsbury Square, with the following in sixpenny numbers:—

REAL LIFE IN LONDON;

or, The Rambles and Adventures of Bob Tallyho, Esq., and his Cousin, the Hon. Tom Dashall, through the Metropolis. Exhibiting a Living Picture of Fashionable Characters, Manners, Amusements in High and Low Life, by an Amateur. Embellished and Illustrated with a Series of Coloured Prints, Designed and Engraved by Messrs. Heath, Alkén, Dighton, Rowlandson, &c.

As may be readily conceived, the stage soon claimed “Tom and Jerry.” The first drama founded upon the work was from the pen of Mr. Barrymore, and thus announced in the[Pg 4] bill:—“Royal Amphitheatre. Extraordinary Novelty and Eccentric Production. Monday, September 17, 1821, at half-past six o’clock precisely, will be presented, never acted, an entirely New, Whimsical, Local, Melo-Dramatic, Pantomimical Drama, with new scenery, dresses, and mechanical changes, founded on Pierce Egan’s popular work, which has lately engrossed the attention of all London, called ‘Life in London;’ or, Day and Night Scenes of Tom and Jerry, in their Rambles and Sprees through the Metropolis.” The piece prepared for stage representation by Mr. W. Barrymore.[30]

“Corinthian Tom, Mr. Gomersal; Jerry Hawthorn, Mr. Jones; and Bob Logic, Mr. Herring.”

The second dramatic version was written for the Olympic Theatre, by Charles Dibden, and thus set forth in the bill:—“Olympic Theatre. On Monday, November 12, 1821, and following evenings, will be presented a New Extravaganza of Fun, founded on Pierce Egan’s highly popular work, and interspersed with a variety of Airs and Graces, called “Life in London.”

“Tom (a Capital of the Corinthian Order) Mr. Baker.

“Jerry Hawthorn (out of Order, and more of the Composite than Corinthian, never intended for the Church, though fond of a Steeple-chase). Mr. Oxberry.

“Logic (a Chopping Boy, ‘full of wise saws and modern instances’)., by Mr. Vale.”

[Pg 5]

A
Description of the Metropolis

Written and Set to Music by
CORINTHIAN TOM.

London Town’s a dashing place—For ev’ry thing that’s going,
There’s fun and gig in every face—so natty and so knowing.
Where Novelty is all the rage—From high to low degree,
Such pretty lounges to engage—Only come and see!:—
What charming sights—On gala nights,
Masquerades—Grand parades,
Famed gas lights—Knowing fights,
Randall and Cribb—Know how to fib.
Tothill-fields—Pleasure yields.
[Pg 6]The Norwich bull—With antics full.
Plenty of news—All to amuse;
The Monkey “Jacco”—All the crack O!
Ambroghetti’s squall—Match girl’s bawl!
Put on the gloves—Playful as doves
Then show your forte—At the Fives’ Court;
Conjurors rare—At Bartlemy fair;
Polito’s beasts—See city feasts,
Lord Mayor’s day—Then the play,
Adelphi Theatre—Pretty feature!
Rotton Row—All the Go!
In the Bench—Keep your wench.
When next you roam—Mathew’s “At Home!”
Such prime joking—Lots of smoking;
Here all dash on—In the fashion.

Chorus—Dancing, singing, full of glee,
O London, London town for me!

From ev’ry part the natives run,
To view this spot of land;
All are delighted with the fun,
Astonish’d ’tis so grand!
To Vauxhall haste to see the blaze.
Such variegated lights;
The ladies’ charms are all the gaze—
No artificial sights!:—
Lovely Faces—Full of graces,
Heavenly charms—Create alarms!
Such glances—And dances.
To the sky—See Saqui fly—
In the blaze—All to amaze.
Cyprians fine—Kids full of wine,
Orchestre grand—Pandean band;
Charming singing—Pleasure bringing;
Great attraction—And satisfaction:
[Pg 7]Plenty of hoaxing—Strong coaxing;
Beautiful shapes—Beaux and apes,
Prone to quiz—Every phiz!
Dashing glasses—Queering lasses;
Flashy cits—Numerous wits;
Loud talking—Thousands walking:
Rare treating—Numbers eating;
Punch and wine—Every thing prime,
Grand Cascade—Once displayed;
Duke and groom—In one room;
Here all dash on—In the fashion!

Chorus—Dancing, singing, full of glee,
O London, London town for me!

And various fancies there display’d,
To please and cheer the mind;
They captivate both man and maid,
All polite and kind,
See fashion driving through each street,
With splendour and renown:
Pedestrians, too, with shining feet;
O, what a charming town!:—
Four-in-hand—Down the Strand!
Funny gigs—With knowing wigs;
Baxter’s hats—That queer the flats;
Flashy whips—With silver tips,
Leathern breech—Pretty stitch!
High-bred cattle—Tittle tattle,
Tattersall sell—Peep into “Hell!”
Full of play—And make a stay;
Hear Kean speak, Grimaldi squeak!
Courts of law—Full of jaw;
Brougham plead—Macauley read;
And Old Borum—At the Forum;
[Pg 8]To Opera prance—See Vestris dance,
At Free and Easy—Full and greasy;
Prime song and catch—The Trotting-match
London Cries—O rare hot pies!
Sadler’s Wells—In summer tells;
Quick approach—In Hackney-coach;
Take your Daffy—All be happy:
And then dash on—In the fashion.

Chorus—Dancing, singing, full of glee,
O London, London town for me!

Mr. W. T. Moncrieff—one of the most successful and prolific writers of the day—appeared as the third on the list of dramatists, and it was announced at the Adelphi Theatre in the following style:—“On Monday, Nov. 26th, 1821, will be presented for the first time, on a scale of unprecedented extent (having been many weeks in preparation, under the superintendence of several of the most celebrated Artists, both in the Ups and Downs of Life, who have all kindly come forward to assist the Proprietors in their endeavours to render this Piece a complete out-and-outer), an entirely new Classic, Comic, Operatic, Didactic, Aristophanic, Localic, Analytic, Panoramic, Camera-Obscura-ic, Extravaganza Burletta of Fun, Frolic, Fashion, and Flash, in three acts, called ‘Tom and Jerry; or, Life in London.’ Replete with Prime Chaunts, Rum Glees, and Kiddy Catches, founded on Pierce Egan’s well-known and highly popular work of the same name, by a celebrated extravagant erratic Author. The Music selected and modified by him, from the most eminent composers, ancient and modern, and every Air furnished with an attendant train of Graces. The costume and scenery superintended by Mr. I. R. Cruikshank, from the Drawings by himself and his brother, Mr. George Cruikshank, the celebrated Artists of the original work.”

[Pg 9]

TOM AND JERRY;
OR, LIFE IN LONDON.

AN OPERATIC EXTRAVAGANZA

BY W. T. MONCRIEFF.

Dramatis Personæ.

As performed at the Adelphi Theatre.

Many of the names in the above cast will be familiar to old playgoers, as most of the persons engaged in the performance became great favourites with the public, and remained on the British stage for the remaining part of their respective lives. Now:—

“All, all are gone, the old familiar faces.”

Tom and Jerry.

SCENE—Chaffing Crib in Corinthian House.—Table, Boxing Gloves, Chairs, Foils, &c., &c.

Enter TOM and JERRY, as just arrived.

Tom. Ya! hip! come along, Jerry; here we are safe arrived, my boy.[Pg 11] Welcome, my dear Jerry, to Corinthian Hall—to my snug chaffing crib—where, I hope, we shall have many a rare bit of gig together.

Jerry. Chaffing crib! I’m at fault, coz, can’t follow.

Tom. My prattling parlour—my head quarters, coz—where I unbend with my pals. You are now in London the bang-up spot of the world for fun, frolic, and out-and-out-ing. Here it shall be my care, Jerry, to introduce you to all sorts of life—from the flowers of society, the roses, pinks, and tulips, of one court, to the mechanical tag-rag and bobtail—vegetables—bunches of turnips—and strings of ing-ens, of another: for without a proper introduction, London, gay, bustling, various, as it is, would be no more than an immense wilderness.

Jerry. I suppose not. I’ll do as much for you another time.

Tom. We must make the best use of our time; I have seen a great deal of life myself; still I have a great deal yet to see. But let me give you a caution or two before we set out; never be too confident—rather at all times plead ignorance than show it; never disgrace the character of a friend, in that family where you are introduced as a friend; let the honour of the husband and the peace of the father be preserved inviolable; and never have the once friendly door be shut against you, either as a seducer—a hypocrite—or a scoundrel. But I say, my dear fellow, what do you call all this?—this toggery of yours will never fit—you must have a new rig-out.

Jerry. Eh! oh! I understand. You think the cut of my clothes rather too rustic—eh?

Tom. Exactly; dress is the order of the day. A man must have the look of a gentleman, if he has nothing else. We must assume a style if we have it not. This, what do you call it?—this cover-me-decently, was all very well at Hawthorn Hall, I dare say; but here, among the pinks in Rotten-row, the ladybirds in the Saloon, the angelics at Almack’s, the-top-of-the-tree heroes, the legs and levanters at Tattersall’s, nay, even among the millers at the Fives, it would be taken for nothing less than the index of a complete flat.

Jerry. I suppose not—what’s to be done?

Tom. I’ll tell you; before we start on our sprees and rambles, I’ll send for that kiddy-artist, Dicky Primefit, the dandy habit maker, of Regent-street. He shall rig you out in grand twig, in no time. Here, Regular! (Calls).

Reg. Here I am sir.

Tom. Send for Dicky Primefit, directly.

Reg. What! the sufferer, Sir?

Tom. Yes, that’s the fellow; tell him to bring his card of address with him.

Jerry. Sufferer! I’m at fault again, Tom; can’t follow.

Tom. The tailor, Jerry: we do make them suffer sometimes.

Reg. Yes, sir, the tailor bless me, how very uneducated; I thought every gentleman knew his tailor was the sufferer; I’m sure I know mine is, and to some tune too, I’ll chivey the rascal here directly, sir.

[Exit.

[Pg 12]Tom. You shall go into training for a swell at once.

Jerry. A swell! I’m at fault again.

Tom. A swell, my dear Jerry——

Log. (Speaks without). Just arrived, eh, very well. I’ll go up!

Tom. But stay; here comes my friend Bob Logic; he shall tell you what a swell is—his head contains all the learning—I beg his pardon—all the larks extant; he is a complete walking map of the metropolis—a perfect pocket dictionary of all the flash cant, and slang patter, either of St. James’s or St. Giles’s; only twig him. Welcome, my dear Bob; ten thousand welcomes.

Enter LOGIC.

Log. Thankye, my dear Tom—thankye. Seeing your natty gig and fast trotter at the door, as I passed, I couldn’t avoid popping in to welcome you[Pg 13] back to town. You’ve been sadly miss’d among the big ones since you’ve been away. Lots of chaffing about you at Daffy’s.

Tom. I suppose so. You couldn’t have popped in more opportunely! Allow me to introduce to you my companion and cousin, Jeremiah Hawthorn, Esquire, from Somersetshire; Jerry Hawthorn, Doctor Logic, commonly called Bob Logic—Doctor Logic, Jerry Hawthorn. Bob is the most finished man of all the pavé, Jerry, whether for drinking, roving, getting in a row or getting out of one.

Log. Oh, you flatter me! I yield the palm to you in those particulars. To be sure I always was a knowing one.

Tom. You were, Bob.

Log. (To Jerry). Your most obedient, sir; happy to see you. Where did you pick him up? (To Tom).

Tom. A slip from the chawbacons; rescued him from yokels. The business is this; bred up in Somersetshire. Jerry has never before crossed Claverton Downs. He is now come to see life, and rub off a little of the rust. In effecting this desirable consummation you can materially assist; under so skilful a professor of the flash as you, Bob—

Jerry. Flash! I’m at fault again, Tom.

Tom. Explain, Bob.

Log. Flash, my young friend, or slang as others call it, is the classical language of the Holy Land; in other words, St. Giles’s Greek.

Jerry. St. Giles’s Greek; that is a language, doctor, with which I am totally unacquainted, although I was brought up at a Grammar School.

Log. You are not particular in that respect; many great scholars, and better linguists than you, are quite as ignorant of it, it being studied more in the Hammer Schools than the Grammar Schools. Flash, my young friend, or slang, as others call it, is a species of cant in which the knowing ones conceal their roguery from the flats; and it is one of the advantages of seeing Life in London, that you may learn to talk to a rogue in his own language, and fight him with his own weapons.

Tom. I was telling him before you came in, Bob, that he must go in training for a swell, and he didn’t understand what I meant.

Jerry. Oh, yes, I did, Tom.

Tom. No, no, you didn’t; come, confess your ignorance.

Log. Not know what a swell meant?

Tom. No: he wasn’t up.

Jerry. Not up?

Log. That is, you were not down.

Jerry. Not down!

Tom. No; you’re green!

[Pg 14]Jerry. Green!

Log. Ah! not fly!

Tom. Yes, not awake!

Jerry. “Green! fly! awake!” D—me, but I’m at fault. I don’t understand one word you are saying.

Log. We know you don’t, and that’s what we’re telling you. Poor young man—very uninformed.

Tom. Quite ignorant, isn’t he, Bob?

Log. Melancholy to think of—quite lamentable.

Tom. You must go to school, again, Jerry.

Jerry. What! the Hammer School?

Log. Yes, take your degrees under the classical Captain Grose. A swell, my dear boy, or rather an empty swell, is an animal very plentiful in the fashionable world; which, like the frog in the fable, wishing to appear greater than it is, and vie with the substantial John Bulls of the Exchange, keeps puffing and puffing itself out, till it bursts in the attempt, and proves its appearance, like itself, a bubble.

Enter REGULAR.

Reg. The sufferer’s carriage is at the door, sir.

Tom. What, Dicky Primefit? trundle him in.

Reg. This way, Mr. Primefit.

Prime. (Without). Have the goodness, young man, to desire my footman to tell my coachman to turn the horses heads towards the Military Club House:—

Enter PRIMEFIT.

And take that pair of buckskins from under the seat, that I’m going to take home to the Duke of Dolittle.

Reg. Very well Mr. Thing-emy. Must stick it into him for a new pair of kickses, by-and-by.

[Exit.

Prime. Gentlemen, your most obedient. Mr. Corinthian, yours. What are your commands? was it your little bill you wanted? because if it is, I’ve got it all ready—’tis but a small account! (Unrolls long bill).

Tom. Eh! (Looking at it). Oh, d—n your bill!

Log. (After looking at it). Ah, d—n your bill! (Throws himself on sofa).

Jerry. (Walking round it). Yes, d—n your bill!—I’m up, down, and see—I’m fly!

Prime. Very well, gentlemen, with all my heart—dem the bill; I’ll take care of the receipt though; (aside.) as you don’t want to discharge your account, Mr. Corinthian, perhaps you wish to add to it; if so, I’ll take your orders with pleasure.

 [Pg 15]

Jerry in Training for a Swell.

Tom. You’ve nicked it; the fact is this, Dicky—you must turn missionary. Here is a young native from the country, just caught, whom you must civilise.

Prime. Oh! I understand. From the cut of the gentleman’s clothes, I presume he’s lately come from the Esquimaux Islands.

Tom. Ha! ha! very good Primefit; I say, Jerry—you see he’s down upon you.

Jerry. Yes, he’s up, he’s awake, he’s fly—Ha! ha!

Tom. Now Dicky, out with your rainbow.

Prime. Here are the patterns, gentlemen, the very last fashions, every one; you can choose for yourself; but this is the colour most in vogue—generally greens.

Jerry. Yes, I’m told you London tailors are particularly fond of greens—cabbage to wit. But I am not very particular; only let me have something of this cut. (Turning round and showing himself).

Tom. Oh, no, hang that cut; the colour may fit; but the cut never will.

Prime. By the by, if the gentleman’s in a hurry, I’ve a suit of clothes in my carriage, that I was about to take home to the Marquis of Squander, which I think will fit him exactly.

[Pg 16]Tom. Eh, the Marquis of Squander—just Jerry’s diameter; why that will be the very thing. Let it be laid on the table directly.

Prime. Young man, bring that there bundle, into this here room. (Regular brings on bundle). You will find these perfectly comme il faut, I can assure you.

Tom. Come, Jerry, cast your skin—peel—slip into the swell case at once, my boy—are you up?

Jerry. Peel! oh, I know—I’m down, Tom, I’m fly.

Tom. Come, Dicky, put him all right—screw him into them.

Prime. You may rely upon me, Mr. Corinthian.

(Jerry is fitted with Coat and Waistcoat; meantime, Tom and Regular box with gloves.—When Jerry is dressed he struts along the front of the stage).

Jerry. A tight fit, not much hunting room,—no matter,—there, Tom I’m all fly.

Tom. I knew Dicky would finish him, There’s not a better snyder in England, taking Nugee, Dollman, the Baron, and Rowlands into the bargain against him. That will do—now then Dicky, mizzle!—be scarce!—broom.

Prime. Wouldn’t intrude a moment, gentlemen, good morning—order my carriage, there, John—I’ll just take an ice, and then for the Duke.

[Exit.

Jerry. The Duke and an ice—cursed cool—if these are the London tailors, what must be their customers?

Log. It’s the blunt that does it—blunt makes the man, Jerry.

Jerry. Blunt! I’m at fault again.

Tom. Explain, Bob——

Log. Blunt, my dear boy, is—in short what is it not? It’s every thing now o’days—to be able to flash the screens—sport the rhino—show the needful—post the pony—nap the rent—stump the pewter—tip the brads—and down with the dust, is to be at once good, great, handsome, accomplished, and everything that’s desirable—money, money, is your universal God,—only get into Tip Street, Jerry.

Tom. Well, come let’s make a start of it—where shall we go? No matter. I commit him to your care, Bob—use him well, remember he is not out of pupil’s straits, and musn’t be blown up at point nonplus yet.

Jerry. Why on London points I confess I am miserably ignorant. But for anything in the country, now—such as leaping a five-barred gate, jumping a ditch, trotting my pony against anything alive, wrestling, cudgelling, or kissing in the ring, depend on it, Tom, you’ll find me—fly.

Log. He’s a fine-spirited youth, and will soon make a tie of it with us—we’ll start first to the show shop of the metropolis, Hyde Park!—promenade it down the grand strut, take a ride with the pinks in Rotten Row, where dukes and dealers in queer—heavy plodders and operators—noblemen, and yokels—barber’s clerks, costard-mongers—swell coves, and rainbows, all[Pg 17] jostle one another; then we’ll have a stroll through Burlington Arcade, peep in at Tattersal’s, and finish as fancy leads us.

Tom. Bravo! Hyde Park! Burlington Arcade! nothing can be better.

Log. No; Arcades are all the go now.

SONG.
Air.—“Carnival of Venice.”
Bazaars have long since had their day,
Are common grown and low;
And now, at powerful Fashion’s sway,
Arcades are all the go.
Then let’s to Piccadilly haste,
And wander through the shade;
And half an hour of pleasure taste,
In Burlington Arcade.

Tom. Now, my dear Jerry, to introduce you to another scene of Life in London;—you have taken a ride among the pinks in Rotten Row, have dipped into the Westminster pit, sported your blunt with the flue-fakers and gay tyke boys on the phenomenon monkey[31]—seen that gamest of all buffers, Rumpty-tum, with the rats; and now you can make assignation with some of our dashing straw-chippers and nob-thatchers in Burlington Arcade:—This is the very walk of Cupid and here——

[Jane slips the letter into his hand and runs off.

Tom. I say, you messenger of Cupid—hey, why zounds, she’s bolted!

Log. You’ll give chase, Tom?

Tom. To be sure I will, Bob.

Jerry. I see her, clearing the corner of yonder street—I’m not at fault now.

Tom. Tip us the view hallo! then, Jerry.

Jerry. Yoicks! yoicks!

Exeunt Omnes.

 [Pg 18]

SCENE.—Tattersall’s.—Grooms, Jockeys, I’s Yorkshire-Coves, Blacklegs.

Cope. Well, Master Gull’em, do you think we shall get the flat-catcher off to-day?

Gul. As sure as your name is Simon Cope, only wait till the flats come—have you given his pedigree to Tattersall?

Cope. Yes; and he’s promised to put him up first.

Gul. Mind, you’re the seller,—I’m the bidder—hallo! here’s three swells coming this way—that one in the middle, looks like a flat, we must try it on upon him.

Cope. Hush! don’t let’s appear to know one another.

Enter TOM, JERRY, and LOGIC.

Tom. Confound the little gipsy, she has fairly given us the slip, by Jupiter—however, the assignation must be attended to.—Almack’s! smacks well. You are now at Tattersall’s, Jerry, a very worthy fellow, who made his fortune by a horse called Highflyer. In remembrance of whom the following epitaph was written:—

[Pg 19] Here Lieth
The perfect and beautiful symmetry
Of the much-lamented
HIGHFLYER;
By whom, and his wonderful offspring,
The celebrated Tattersall acquired a noble fortune,
But he was not ashamed to acknowledge it.
In gratitude to this famous
Stallion
He called an elegant mansion he built
Highflyer Hall.

Jerry. Hum! and if one may judge from the splendour and extent of his premises, he seems to be no small highflyer himself.

Tom. You are right, Jerry—I shall here buy a bit of cavalry—that is a prad, on your judgment.

Jerry. You’ll not find me at fault here, depend on’t.

Tom. What you’re up, eh?

Jerry. Yes, quite fly, depend on’t.

Gul. I beg pardon, gemmen—want to buy a prad? here’s one a gentleman wants to sell—you can’t have a better, Sir; here, you Bob, bring him out. There’s action for you—there’s one to tip ’em the go-bye at a mill,—there’s earth-stoppers—quiet to drive, quiet in harness, trots fifteen miles in less than an hour. Warranted sound—he would be cheap at a hundred, and I shouldn’t wonder if he was to go for thirty.

Jerry. Ah, thirty-pence—two-and-six-pence,—I wouldn’t have him at a gift.

Log. He may be a good one to go—but he’s a rum one to look at—one of my Lord Cagmag’s sort, he always drives two puffers, a stumbler, and a blinker.

Gul. (To Cope). These chaps are awake; it wont suit.

Cope. Never mind, we shall meet a flat presently.

Tat. (Who has now mounted the rostrum). Now, gentlemen, we’ll proceed to business. The first article I have to offer to your notice is that prime[Pg 20] Yorkshire stallion Bite—he was got by Blackleg out of Greenhorn—what shall I say, gentlemen, for this beautiful and most serviceable animal?—he is rising five, next grass—warranted sound—perfect in all his paces.

Tom. Nine pence.

Tat. Oh, Sir! (To Jerry). What do you say, Sir?

Jerry. Why, if you’ll put his other eye in, I’ll give you three halfpence a pound for him.

Log. Let’s be off, Tom—Come, Jerry.

[Exit Tom, Jerry, and Logic.

Tat. Come, gentlemen, will nobody be a bidder?

Enter JEMMY GREEN.

Green. Yes, I’ll bid—I’ll bid. Mr. Green from the City. I wants an ’orse, and I like the looks of that ’ere hanimal amazingly, and I’m no bad judge, I tell you that.

Gul. Here’s a customer, by jingo. It’s booked. Mr. Green’s the purchaser. (Aside). That’s a famous horse, that there, Sir—I mean to have him at any price.

Green. I don’t know that, Mister.

Gul. I must clench it at once—fifteen pounds for that ’ere horse.

Green. Twenty pounds, Mr. Hauctioneer.

Cope. Beg pardon, Sir, but you can’t have a better horse, and he’s cheap at fifty.

Green. I am wery much obliged to you for your adwice—but I happens to know what an ’orse is—I’m not a hass! I’ll have him, but I shan’t go further nor forty.

[Pg 21]Gul. Five and twenty pounds.

Green. Thirty.

Tat. Thirty pounds; any advance upon thirty pounds?

Green. Yes, five more.

Tat. Thankye, Sir; thirty-five.

Gul. Thirty-six, my regular.

Green. Thirty-seven, my regular.

Gul. Thirty-nine.

Green. Thirty-nine, for me too.

Tat. It’s against you, Mr. Green.

Green. Against me is it? vy I bid as much as him.—Vell, forty!

Tat. For forty pounds, have you all done at forty? last time at forty—forty—going for forty! going—going—gone! Mr. Green, he’s yours.

Green. I’ve bought him!

Tat. You have indeed, Sir!

Green. Here’s your money, Sir—Mr. Green, from Tooley Street—you’ll find two twenties! and I’m wery much obliged to you for your serwility.

Cope. You don’t want a civil honest lad to lead him home for your honour, do you, Sir?

Green. No thank’ye, I’m not going to trust an hanimal like that with nobody but myself. Can nobody have the goodness to lend me a bit of rope, to get him along vith?

Cope. No we’ve got you in a line, and that’s quite enough. (Aside) You bought him too cheap, to have rope with him, Sir; but here’s a hay-band, that will do perhaps.

Green. An ay-band—oh, ah; an ay-band will do very well,—do you think I can get him as far as Tooley Street, vith this?

Cope. Oh, yes, Sir, he’s as quiet as a lamb, and a famous hunter.

Green. An unter! I’ve taken ’em all in; I’ve bought an unter!

Cope. Ah, and nothing but a good one neither—such a one to clear a gate.

Green. Vot? clear a gate! vy, then, I sha’n’t have to pay no turnpikes!—How pleased they’ll be in Tooley Street, when I tell’s my pa I’ve bought an unter!

Gul. We’ll get something more out of him yet. (Aside to Cope). So you think you have bought that ’ere horse, do you Mister?—Now, I say, I’ve bought him. (To Green)

Green. You bought him? that’s a good un! but I’m not to be taken in in this here manner!—if you bought him, I paid for him, that’s all I know.

Gul. I say I bought him, and the horse is mine.

Green. I say as how you are a wery unpurlite gentleman.

[Pg 22]

Cope. Oh gentlemen, I’m sorry to see you quarrel.—(To Gull’em)—Let me speak to the gentleman, and I’ll convince him.—(To Green)—Sir, if you’ll give me one pound note, I’ll swear you bought him, and that the horse is yours.

Green. Sir, I’m wery much obliged to you, you’re werry purlite; and as I don’t mind a von pound note, and vishes to ’ave that ’ere hanimal all to myself, vy, there’s the money.

Cope. I’ve done him. (To Gull’em). Oh, the horse belongs to this gentleman,—I saw him pay for it.

Green. To be sure he did.

Gul. Oh, if you paid for him you certainly bought him.

Green. Certainly; I’m glad it’s all settled: I think as how I may as vell ride him home. Vill you please to assist me to mount?—(Gull’m puts him with his face to the horse’s tail).

Green. Holloa! vy the horse’s head’s behind. Turn him round, if you please, young man. Come no tricks.—(They turn the horse round).—Vy the horse’s head is behind yet.—(Green jumps off his back).—I see you are going it, but I’m not to be had—I’m a knowing von! I shall lead him home myself.—Good morning, gentleman, I thank you for all your serwilities.

 [Pg 23]

Jarvey! Here am I, ye’r honour.

SCENE.—Hyde Park Corner.

Enter TOM, JERRY, and LOGIC.

Tom. Ha! ha! ha! was there ever such a flat as that Mr. Green?—we can buy no prad to-day, Jerry; we must go when some gentlemen’s stud is selling; and while the dealers are running down the cattle, we can get a prime good one for a song. But now for Almack’s—the highest Life in London! and see what game Cupid has sprung up for us in that quarter.

Jerry. I long to be there,—let’s hasten to dress at once.

Log. Aye; call a rattler.

Jerry. A rattler! I’m at fault again.

Log. A rattler is a rumbler, otherwise a jarvey! better known perhaps by the name of a hack; handy enough in wet weather, or a hurry.

Jerry. A hack! If it is the thing we rattled over the stones in to-day, it might more properly be called a bone-setter.

Tom. Or bone-breaker—But if you dislike going in a hack, we’ll get you a mab.

Jerry. A mab! I’m at fault again—never shall get properly broken in.

Tom. A mab is a jingling jarvey!—a cabriolet Jerry—but we must mind our flash doesn’t peep out at Almack’s. ’Tis classic ground there; the rallying spot of all the rank, wealth, and beauty in the metropolis; the very atmosphere of it is—

 [Pg 24]

The Bang-up of the Big Wigs.

Jerry. Rather different to that of Rum-ti-tum and the rats. I should imagine.

Tom. A shade or two!—we must be on our P’s and Q’s there—forget the Phenomenon and the Fancy. If you find me tripping, Jerry, whisper Lethe to bury it in oblivion; and, if necessary, I’ll do the same kind office for you.

Jerry. Ten thousand thanks!

Log. Come along, then. Now, Jerry, chivey!

Jerry. Chivey?

Log. Mizzle?

Jerry. Mizzle?

Log. Tip you rags a gallop!

Jerry. Tip my rags a gallop?

Log. Walk your trotters!

Jerry. Walk my trotters?

Log. Bolt!

Jerry. Bolt? oh, aye! I’m fly now. You mean go.—Exeunt Omnes

 [Pg 25]

Almack’s in the West.

SCENE.—Almack’s brilliantly illuminated—Duchess of Diamonds, Countess Conversatione, Princess Pulmante, Lady Eastend, Baron Rufus, Sir Tilbury Unit, and Company discovered.

Enter KATE, SUE, JANE, and TRIFLE.

Sue. I do not see them yet.

Kate. I can depend upon Corinthian; and I think you may upon your lover. In the meantime, let us have a minuet to dissipate our ennui.

Enter GREEN, in ball dress.

Green. Aye, aye, a minivit to dissipate our ong vee, by all means.

[Pg 26]Sue. As I live, Trifle, here is that Mr. Green, to whom you introduced us.

Trifle. Aye, aye, from the City. We find these City folks—these Greens—excessively useful in money matters, pan hanour. How are you my dear fa-el-low.

Sue. Your servant, Mr. Green.

Green. Ladies, your most dewoted. Mr. Trifle, your humble—Oh, this is the master of the ceremonies, and those are the two that’s to dance the gavotte. Yes, that’s Willis—permitty moy. (Takes Kate and Sue’s arms).

Kate. Eh, bless me, Mr. Green, what is the matter? Why, you seem quite out of spirits; I hope nothing has happened to Mrs. Green or any of the little Greens.

Green. Oh, no, nothing; but you labour under a mistake quite entirely; there is no Mrs. Green—I am not an ’appy man yet! There are no little Greens, neither—no young sprouts, I assure you. No, I’m out of spirits because I have been dished and doodled out of forty pounds to-day; I have been taken in by the purchase of an ’orse at Tattersall’s—It was a very fine looking hanimal but before I got him home, the cursed creature went upon three legs—Dragg’d the other behind him, like a pendulum.

Kate. My dear Mr. Green, will you join in a dance?

Green. Oh, dear no—I couldn’t think of such a thing—I never danced but once, and then I was so excruciated with termidity that I tipped up my partner, lost one of my shoes, and diskivered an ole in my stocking.

Kate. Oh, horrid, how could you support the shock? But here is a lady who is absolutely pining for the honour of your hand.

Green. Vell, if she’ll instruct me when I’m out, I don’t mind making one in a quod-reel.

Sue. That’s well said—hey, here they are, now, my dear Trifle.

Enter TOM, JERRY, and LOGIC, full dressed.

Tom. At length, my dear Jerry, we are at Almack’s, though egad I began to think we should be too late.

Jerry. This indeed is a splendid view of Life in London.

Tom. It is; the tip-top! set off to the best advantage, by the best dresses, finished by the best behaviour. (Trifle quizzes through glass up stage).

Log. Yes, witness that puppy, staring us out of countenance with his quizzing glass yonder—why don’t he wear green specs, as I do, if his ogles are queer.

Tom. LETHE! LETHE! my dear Bob—you forget where you are.

Jerry. The half-and-half coves are somewhat different from the swaddies, and gay tykeboys, at the dog pit—Eh, Tom?

Tom. Lethe! Lethe; my dear Jerry—mum!

Trifle. My dear fa-el-low, you really must excuse my interrupting you—but[Pg 27] what can you possibly have been preaching to your friend from the country so long—here are three lovely girls waiting to be introduced to you—relations of mine, the Honourable Miss Trifles—we must make up a quadrille.

Tom. Three girls, Jerry!—Do you hear that?

Jerry. I’m up——

Trifle. I’m not equal to the fatigue of an introduction myself,—but my friend Green from the City here, will oblige me by taking the trouble off my hands.

Green. Vith the greatest of pleasure—the Honourable Miss Trifle—Mr. Corinthian.—The Honourable Miss S. Trifle.—Mr. Hawthorn.—the Honourable Miss J. Trifle—Doctor Logic.

Ceremony of introduction takes place.

Jerry. What divinities! but I say, Tom, this girl is as like my Sue, as—yet it can’t be.

Tom. And this one is as like my Kate as one pea is like another—I could have betted every rap—six quid to four——

Jerry. Lethe, Tom,—Lethe,—L-E-T-H-E. (Spelling it).

Tom. The retort courteous—I own it.

Green. Excuse my hinterfering, my dear fellows, but ve’re just going to make up a quod-reel, and vant you to join us.

Tom. Ah! ah! a quadrille by all means—you’ll dance, Jerry?

Jerry. I know nothing about quadrilles, Tom—but the deuce is in it if I can’t cut as good a figure as this Mister Jemmy Green, so I don’t care if I do kick up my heels a bit.

Green. Aye, a dance, a dance.

After dance, Jerry advances with Sue.

Jerry. Sweet girl! may I be permitted to hope that the partnership of this evening may lead to one for life?

Sue. Ah! Sir, a dance affords you gallant gentlemen worlds of latitude for flattery and deceit.

Jerry. Nay, I am sincere, by heaven!

Sue. Come, Sir, they are about to waltz, and if you wouldn’t have my head as giddy as you seem to think my heart is, you will conduct me to a seat.

Jerry. With rapture! This is, indeed, Life in London.

 [Pg 28]

SCENE.—Tom Cribb’s parlour.—Swell coves, Millers, &c., drinking and blowing their clouds; Tom, Jerry, Green, and Logic among them.—Cribb in the chair.—Chorus (Omnes).

Air.—“Oh, who has not heard of a Jolly Young Waterman.”

Oh, who has not heard of our gallant black diamond,
Who once down at Hungerford us’d for to ply?
His mawleys he us’d with such skill and dexterity,
Winning each mill, and making each miller fly!
He fibb’d so neat—he stopped so steadily;
He hit so straight—he floored so readily.
In every game ’twas the Cribb won it fair;
He’s Champion of England, and now fills the chair.

Cribb. Thank’ye, gentleman, thank’ye—but as I see by our sporting oracle, “The Dispatch,” there’s a mill on foot—I’ll give you, “May the best man win.”

(All drink). May the best man win.

Green. May the best man vin.

Log. With all my heart; but, zounds! we’ve almost buzz’d the bowl. Let’s have another, and dy’e hear, Tom, serve it up in your prize cup; Jerry hasn’t seen it, and we mustn’t omit that.

Cribb. With all my heart, Doctor; but you must stand a bottle to see the cup.

 [Pg 29]

Log. Yes, yes, I’ll stand a bottle to christen the cup.

Jerry. Aye, aye; I’ll stand a bottle, Tom.

Tom. Ditto for me.

Green. Yes, and I’ll stand a bottle of ditto, too.

Jerry. This may, indeed, be called the very Temple of the Fancy.

Log. Yes, and here are some of the finest fancy sketches in the kingdom.

Tom. Well, Jerry, after our last night’s divertisement at Almack’s, the set-to I gave you this morning at the great Commissary-General Jackson’s rooms cannot be better followed up than by a turn in the sporting parlour of honest Tom Cribb.

Cribb. Thank’ye, Mr. Corinthian; I’ll always do my best to satisfy you in any way.

Tom. There is one way, Tom, in which you would very soon satisfy us.

Jerry. Yes, and I’m thinking not a little to our dis-satisfaction. I am of opinion that every gentleman should practice the art of self defence, if it were only to protect him from the insults of vulgar ignorance; though I by no means set myself up as a champion for boxing.

Log. No, for if you did we’ve a champion here who would set you down. We’ll drink his health, and may he ever prove as successful as when he floor’d the Black Miller at Thistleton Gap. (All drink).

Tom. Tom, your health. (Cribb rises). Silence for Tom’s speech—doff your castor, Tom—that’s the time of day.

Cribb. Gentlemen, my humble duty to you. Here’s all your healths, and your families. Bless your soul, I can claim no merit for what I’ve done; fighting came naturally like, and thinking others might be as fond of it as myself, why, I always gave them a bellyfull.

Tom. Bravo, Tom, an excellent speech—Cicero never spoke better.

Log. No, nor anything like it.

Tom. Oh, here comes the cup. Look out, Jerry.

 [Pg 30]

Cribb’s Parlour.[32]

Enter WAITER, with the Champion’s Cup.

Come, Tom—I pledge you. (Cribb drinks; the Cup is passed).

Jerry. Well, this is the pleasantest way of cupping a man I ever heard of—but come, Bob, give us a song.

[Pg 31]Log. With all my heart, only let me sluice my whistle first.

SONG.—Logic. Air.—“Such a beauty I did grow.”
Oh, when I was a little boy,
Some thirty years ago;
I prov’d such an anointed one,
They made me quite a show.
Chorus.—Such a knowing one I did grow.

At tea I stole the sugar,
And I slyly pinched the girls;
I roasted mammy’s parrot,
Shod the cat in walnut shells.
Such a knowing, &c.

At school I play’d the truant,
And would robbing orchards go;
I burned my master’s cane and rod,
And tore the fools’-cap, too.
Such a knowing, &c.

As I learnt nought but mischief there,
To College I was sent,
Where I learn’d to game and swear,
On fun and frolic bent.
Such a knowing, &c.

In town I mill’d the Charlies,
Aim’d at all within the ring;
Became one of the fancy,
And was up to everything.
Such a knowing, &c.

Jerry. Bravo!—but, zounds! Tom, Tom! what are you musing so profoundedly about?

Tom. I was thinking about the women, Jerry; those enchanting girls we danced with a Almack’s—could they be the incognitas that challenged us thither? There is some secret charm about those girls that hasn’t allowed me to rest all night.

Jerry. Well, and do you know, Tom, to tell you the truth, I haven’t been a whit better than yourself. But, I say, only see how confoundedly the dustman’s getting hold of Logic,—we’ll funk him. (Tom and Jerry smoke Logic).

Log. Oh, hang your cigars, I don’t like it; let’s have no funking.

Tom. Well, come, come, rouse up; don’t be crusty, Bob—let’s start on some spree; no doubt we shall spring a lark somewhere. (Rattles heard).

There’s one! go it, Jerry!—Come, Green.

Log. Aye, come, Jerry, there’s the Charlies’ fiddles going.

Jerry. Charlie’s fiddles!—I’m not fly, Doctor.

Log. Rattles, Jerry, rattles! you’re fly now, I see. Come along, Tom! Go it, Jerry! Exit.

 [Pg 32]

Night Scene.—Tom and Jerry upsetting the Charlies.

SCENE.—The City side of Temple Bar, by Moonlight. Watchbox—Watchmen crying the hour at different parts of the stage.

Enter drunken BUCK.

Buck. Steady! steady!—now where shall I go?—I think I’ll go strait home. (Reels). No, I won’t! I’ll go where I think proper—I’ll go out again—I’ll go—where I like.

(Exit.)

Enter GAS-LIGHT MAN, who lights the Lamp.

(Exit)

The City Watchman.

Enter O’BOOZLE.—CHAUNT.

 [Pg 34]

Re-enter BUCK.

Buck. Past two did you say, Watchey? didn’t think it had been half so late—I think it’s time for me to go home to bed.

O’Booz. Why, yes, I thinks as how it is, Sir—you’ve been taking a little too much refreshment—steady! steady! hold up, Sir,

(Pretends to assist him, and picks his pocket of his handkerchief).

Buck. Good night, old Clockey. (Reels off).

O’Booz. Good night, Sir—take care nobody robs your honour. Why, the gentleman’s left his vipe behind him, and I musn’t go off my beat to give it him: how unfortinate—I’ll call him back! Sir, Sir. (Whispers). Bless my soul how wery deaf that ere gentlemen is!—well I must take care of it for him till he calls again!—I don’t know what would become of these here young chaps if it wasn’t for such old coveys as we are—Oh, here comes that cursed Gas!

Re-enter GAS.

Gas. Well, Watchey, and what have you to say about the gas? Eh?

O’Booz. Why, that you have been the ruin of our calling—that’s all!

Gas. Pooh! pooh! nonsense! I only throw a light upon the abuses of it. (Pushes by O’Boozle).

O’Booz. Hollo! you had better mind what you are at with your Jacob, or I shall just— (Sounds rattle).

Gas. Come, come, silence your coffee-mill.

O’Booz. What I’ve got to say is this—yes, the matter of the business is this here:—Since you sprung up, my beat a’nt worth having—I havn’t had a broken head for these ten days past, and there’s no such thing as picking up a couple of sweethearts now—why there isn’t a dark corner in the whole parish.

[Pg 35]Gas. No more there should be. Folks have been kept a little too long in the dark.

O’Booz. Have they.

Gas. But good night, for I suppose as how you won’t stand a drop o’ nothin’, old Bacon-face?

O’Booz. No, I suppose I von’t stand a drop of nothing! young Calf’s-head? (Exit Gas singing, “I’m saucy Jack” &c).

O’Booz. I think I’ve given him his change. Well I don’t see the use of kicking my heels about here,—people’s clocks can tell them the time, just as well as I can, I’m sure! and a great deal better, if they knew all! so I shall go into my box, after I’ve called the half-hour, and have a regular snooze. It looks damned cloudy too.

CHAUNT.

(Goes into box and falls asleep).

 [Pg 36]

Tom, Jerry, and Logic in a Row.

Enter KATE and SUE disguised as two young bucks.

Kate. Well, here we are, just before them—and now to cure them of their love and rambling it must be our plan to involve them in all the scrapes we can, we shall never have a better opportunity.

Sue. No, ’tis now the very witching hour of night, as Shakspere says.

SONG.—Kate.
Air.—“Ackee oh! Ackee oh!”

When the moon o’er Temple Bar
Glimmers slow, and gaslights glow;
And locked in sleep, grave big wigs are
Snoring sound asleep.

We for pleasure gaily run,
Full of frolic, full of fun;
Whisking oh! frisking oh!
To pick up a beau.

[Pg 37]Sue. Stand aside, my dear Kate, I see occasion for our being active here! If I may trust my eyes, yonder comes a lovely girl—I must have some sport with her.

Enter MRS. TARTAR.

Mrs. T. There, I’ve shut up the shop, and as it’s Mr. Tartar’s turn to sit as constable of the night, I’ll just take him the street-door key, and then he can let himself in when he pleases—I hope the dear man won’t be long.

Kate. Never mind, ma’am, if he should be—anything in my power——

Mrs. T. Keep your distance, sir—I’ll call the watch.

Sue. Nay, but my dear madam, when beauty like yours is neglected, it is the duty of every man. (Kisses her).

Mrs. T. Don’t take liberties, sir.

Kate. I wouldn’t take liberties for the world. (Kisses her).

Mrs. T. Eh, I shall be ruin’d, I’ll call out—here, watch! watch! (Rattles heard).

Enter TOM, JERRY, and LOGIC, with Umbrella.

Jerry. Ay, ay, ay, put down the rain napper, Doctor, the shower is over now. What’s the matter?

Mrs. T. I’m in the greatest distress imaginable.

Tom. Holloa, what’s the row?—a woman in distress! Where’s the man would refuse his assistance?

Kate. Who are you, sir?

Sue. Yes, who are you, sir?

Tom. What, show fight! I’m your man; (To Kate).

Jerry. And I’m your man, my little one. (To Sue).

Log. (To Mrs. T.) And I’m your man, ma’am.

Mrs. T. Watch! watch! (Rattles are heard).

Enter TEDDY M’LUSH, an Irish Watchman.

M’L. Ulloa, here! What the devil have you got a fire?

Tom. What do you ask for your beaver, Charley?

Mrs. T. Why, my goodness, watchman, you are quite drunk.

M’L. Eh, drunk are you,—then I’ll take care of you.

Mrs. T. But I want to give charge of these two gentlemen, who have behaved in the most extravagant manner—almost kissed me to death.

M’L. Oh, you want to charge these gentlemen in an extravagant manner, for almost kissing them to death, do you?—but I’ll soon put a stop to it.

Kate. That’s right, watchman.

[Pg 38]Tom. Zounds! fellows, do you think we’re to be bullied in this fashion?

M’L. Oh, you’re bullies dressed in the fashion, are you?—I’ll soon take charge of ye. (Springs rattle—it is answered without, R. and L).

Tom. A surprise! I’ll make sure of this fellow, at all events. Now, Jerry, I’ll show you how to box a Charley.

Log. Stop, my boys, secure your tattlers. (They put up their watches).

Tom. Now, go it, Jerry,—can you play at cricket?

Jerry. Yes, Tom.

Tom. Then catch—here’s the gentleman’s toothpicker, and here’s his glim. (Throw stick and lanthorn to Jerry).

Tom upsets O’Boozle’s box.—enter Watchmen.—General row—Rattles—Logic fights M’Lush.—Kate, Mrs. Turtar and Sue, run off.—Green enters with a bloody nose and two watchmen; he runs off.—Jerry fights with three watchmen.—Tom fights with three watchmen, floors them.

CHORUS. (Omnes).
Air.—From the Spectacle of “Don Juan.”

Watch! watch! watch! Lord how they’re bawling!
Catch! catch! catch! That’s if you can.
Scratch! scratch! scratch! Pulling and hauling—
Wretch! wretch! wretch! You are the man.
Patch! patch! patch! Lots of heads breaking!
Fetch! fetch! fetch! The constable, John.
Match! match! match! Match them for raking.
Watch! watch! watch! My watch is gone.

Mill renewed.—The Women get away as before.—Tom and Jerry perform prodigies of valour, but are at length overpowered by numbers, and borne off.—Green enters alarmed, flies on all sides for safety, but is at length caught up by a watchman in his arms, and carried off.—Scene closes on two watchmen cuffing one another by mistake.

 [Pg 39]

Tom and Jerry in Trouble after a Spree.

SCENE.—Interior of St. Dunstan’s Watch-house.—Mr. Tartar, Constable of the Night, discovered at table; pen, ink, &c.—Watchman in attendance. Noise heard without.—Cries of “Charge! charge!”

Mr. T. Holloa! a charge! I must get into my big chair, pull off my night-cap, cock my wig, and look official. (Watchman opens the door, and is knocked down by rush).

Enter TOM, JERRY, LOGIC, WATCHMEN, KATE, JANE, SUE, MRS. TARTAR, O’BOOZLE, and M’LUSH, very uproariously. MRS. TARTAR makes signs to MR. TARTAR.

Omnes. Mr. Constable! Mr. Constable—Please your worship, this man!—this woman!

Mr. T. Silence! silence!—Eh, the devil! Sally Tartar, my wife!—and winking at me not to take any notice.

[Pg 40]Omnes. Please your worship—I—I——

Mr. T. Silence! silence! Watchman, do you speak first.

Mrs. T. (aside to Tom). Be quiet—I’ll soon turn the tables.

M’L. Plaise your honour, I have brought before your worship a most notorious substitute and common street talker, who, for her foul doings, has been cooped up in the Poultry Compter, as often as there are years in a week.—I caught her charging these honest gentlemen, (pointing to Tom and Jerry) in a most impositious manner, and when I civilly axed her, how she could think of getting drunk, and acting so, she called her bullies here. (Pointing to Kate and Sue).

Kate. Zounds, fellow, you don’t mean us?

Sue. Why, you rascal, I’ll twist your neck for you.

M’L. Yes; they, your worship, who half murdered me first, and then buried poor little Teddy O’Boozle in his box, that he mightn’t prevent them murdering t’other half of me; och, they’re terrible desperadoes!

Kate. Here’s a scoundrel for you!

Mr. T. Silence! we’ll soon get to the bottom of all this.

Kate. Zounds, sirrah, we gave the charge ourselves. (To M’Lush).

M’L. Och, murder!

Kate. Those were the assailants. (Pointing to Tom, Jerry, and Logic).

Mr. T. This is a very intricate affair.

M’L. Sure, won’t I be after telling you my own story:—as I was going my rounds quietly enough, up comes these young sparks, and gave me such a maulagaran, that they knock’d me into the middle of next week—besides tipping me this here black eye—only see how red it is!

Mr. T. I’ll soon set all to rights,—first let me hear what you have to say to all this, woman: these are very serious allegations. (To Mrs. Tartar).

Tom. Aye, aye, let the woman speak.

O’Booz. Oh, the woman will speak fast enough.

Mrs. T. Hold your tongue fellow.—Please your worship, it’s all false from beginning to end—it’s he that’s drunk! nay, you may perceive he’s so drunk he cannot even give a charge—doesn’t know one person from the other, and can scarcely stand.

M’L. Plaise your honour it’s only the ague, I have it every Saturday night regularly, what I’ve said is all true, so help me Bob,—sure, she’s not a woman to put whiskey in a jug, and throw stones at it.

Mr. T. Why, you impudent vagabond you’re drunk now—instead of giving charge of her, the good lady ought to have given charge of you,—what business had you off your beat, and in such a situation?

Tom and Jerry. Aye, what business had you off your beat, old Charley?

M’L. They bate me off my beat.

[Pg 41]Mrs. T. I give charge of him, your worship.

Mr. T. And I take it—off with him to the black hole.

Tom. Aye, aye, take him up the spout.

Mr. T. My dear wife! (Embraces Mrs. Tartar). My dear Sally Tartar.

M’L. His wife! Och, by the powers, then I’ve caught a Tartar.

Mr. T. Take him away.

M’L. Och, sure I’m the boy that cares for nobody—so there’s my coat, there’s my hat, there’s my rattle and lanthorn,—and to the devil I pitch the whole of you. (He is carried off).

Kate. They musn’t get off so easily. (Aside).

Tom. A fortunate turn-up for us, faith.

Mr. T. Gentlemen, you are at liberty.

O’Booz. Stay, your honour, I’ve got a charge. This here chap (pointing to Tom) with the Roosian head of hair—he comes up to me like a warment—

Tom. Why, you impudent—(Knocks O’Boozle down—a row ensues).

Mr. T. Silence! silence!—be quiet all of you, can’t you?

Kate. Mr. Constable, I have a charge—(to O’Boozle). Watchman, there’s a crown—what I say, swear to. (Aside).

O’Booz. I’ll swear to anything, your honour.

Log. What the devil’s in the wind now?

Kate. I charge those gentlemen with assaulting this young woman—(pointing to Jane)—the watchman saw the whole transaction.

O’Booz. I’ll swear it, your worship.

Tom. Why, zounds, fellow, I never saw the girl!

Sue. (To Jerry). Come, sir, you can’t say you never saw her.

Jerry. Why I have a recollection of seeing her somewhere, though I am at fault as to the place, at present.

Kate. It’s a clear case.

O’Booz. I’ll swear to it, your worship!

ROUND. (Omnes).
Air.—“’Twas you, Sir.”
’Twas you, Sir, ’twas you, Sir;
Your worship, it is true, Sir,
’Twas you that pull’d the girl about,
’Twas you, Sir, you.
[Pg 42]
Untrue, Sir, untrue, Sir,
It was the man in blue, Sir,
’Twas he that pulled the girl about,
’Tis true, Sir, true.

No, no, Sir, no, no, Sir,
How can you tell lies so, Sir?
I did not pull the girl about,
But I know who.

Mr. T. Gentlemen, here are four witnesses against you; and ’tis my painful duty to commit you, unless you can find good bail.

Tom. We’ll give you leg bail.

Kate. Aye, find good bail, and mind that it is good. There’s our card—come, watchman—Come, Sir Jeremy.

Sue. Good-night—Sorry to leave you in such bad company—but beauty calls; we must obey.

Tom. Aye, aye, your mamma waits for you.

Log. Go and get a pennyworth of elycampane.

Jerry. There’s a pair of men-milliners—I say; go home and sleep under the counter.

(Exeunt Sue, Kate, and watchmen).

 [Pg 43]

Tom and Jerry among the “Swell Broad Coves.”

SCENE.—Interior of a fashionable Hell at the West-end of the Town; a large looking-glass in the flat.

Enter GROOM PORTER and MARKERS.

G. Porter. Come, lads, bustle about; play will soon begin—some of the Pigeons are here already, the Greeks will not be long following.

Enter KATE, SUE, TRIFLE, and GREEN, the latter with a large patch on his nose.

Kate. Assist us in this, my dear Trifle, and we ask no more.—The card we left at the Watchhouse will soon bring our sparks to demand satisfaction,—you and Green must act the parts of conciliators, and propose to end the affair in a game of cards; the insight you have given Green and us into all the arcana of play, will enable us, with the aid of the servant, to fleece them to admiration; thus we may pursue our plan, and cure them of this first of vices of Life in London, gaming! and save their fortune from those who may play for a less disinterested stake.

[Pg 44]Trifle. I’faith you ought to be very much obliged to me, girls, pan hanour, for letting Green into the secret,—it cost me fiteen cool thousands, demme! but I’ll assist you.—Green, my dear fa-e-llow, take your post near the glass while they’re playing; and, by the number of fingers you hold up, we shall easily know how many honours they have, and every other particular.

Green. Vith the greatest of pleasure.—I suppose I may hold up my thumb as well as my fingers, may’nt I—because they may have five honours? you know!

Sue. Oh, certainly, Mr. Green—Ah, man, vain glorious man, how easily art thou duped?

Trifle. They come, you must mind your eye, pan hanour, Green.

Green. Oh, you shall find me quite avake—I’m glad I got avay and vas’nt taken to the vatchouse; I was forc’d to give half-a-crown though.

Enter TOM, JERRY, and LOGIC.

Tom. Where is this Sir Jeremy Brag? Oh, here you are, Sir—well met.

Trifle. Ah, my dear Tom, how are you?

Green. My dear Corinthian, how do you do? I’m glad they didn’t put you in the black ’ole.

Tom. Excuse me a moment, Green, I have an affair with this gentleman that will not admit of a moment’s delay.

Trifle. What, my friend, Brag,—honest Sir Jeremy? You musn’t hurt him, he’s a cursed good fellow.—It must be some mistake.

Green. Yes, it must be some mistake.

Kate. Entirely a mistake, I assure you—I’m extremely sorry, if that will give you any satisfaction.

Tom. Oh, if you apologize, I’m satisfied; otherwise nothing would have done, but Chalk Farm! pistols! half-past six! pooh!

Log. That’s the time of day my flower.

Green. Vell, I’m glad it’s settled without bloodshed—Chalk Farm! pistols! half-past six, and pooh!

Jerry. (to Green). Sorry to see your nose in mourning, Green—here, Waiter, take my hat. (Gives waiter the Charley’s old beaver to take care of, who brushes it up ironically, and takes it off).

Green. What say you to burying all differences in a friendly game of vhist? Trifle and I vill cut out.

Trifle. Yes; it’s too great an exertion for me to play, pan han-our—I’m only scarcely endurable to the fatigue of looking on, r-e-a-l-y.

Tom. A rubber at whist? I have no objection,

Jerry. Nor I—you’ll not find me at fault here, coz—no one is better skilled in the mystery of the odd trick, than I am, I flatter myself.

[Pg 45]Trifle. (To Tom). Well you and your country friend can pair with Sir Jeremy and the Captain, and this worthy vegetable, Green, and I will see fair play, pan hanour.

(Kate, Sue, Tom and Jerry sit down to cards; Trifle and Green stand behind them, overlooking Tom’s and Jerry’s hand).

Log. (Drinking and looking on). They’ll be done, as sure as my name is Logic.—Upon that suit some of the best judges in London have been had.—Inviting a man to a swell dinner, and making him pay five guineas a mouthful for it afterwards, is no new feature of Life in London—Go it, ye flats—“Thus for men the women fair,” (singing). Why, there’s that fellow giving the office to his pal now: well it’s no business of mine. Go it my pippins—what, Tom, have you got the uneasiness?—“What is beauty but a bait.” (Sings again).

Tom. (Rising and throwing down cards). Oh, if you can’t play better than that, Jerry, we’d better do nothing at all!

Log. (Singing). “Oft repented when too late.”

Jerry. Who can play while the Doctor’s singing?

Log. I knew how it would be—did you hear anything knock, Tom?

Jerry. (Walks about, and, by mistake, takes Logic’s hat). Damn the cards!

Sue. (To Jerry). Come, sir, never be downhearted, bad luck now, better another time.

Jerry. Indeed! I’m not going to try, though.

Kate. Very sorry, Mr. Corinthian—shall be happy to give you your revenge some other evening!

Log. Well, Tom, are you clean’d out?

Tom. Clean’d out! both sides; look here—pockets to let!—here have been two playing four; and we have stood the nonsense in prime style.

Log. Well, don’t grumble—every one must pay for his learning—and you wouldn’t bilk the schoolmaster, would you? But come, I’m getting merry; so if you wish for a bit of good truth, come with me, and let’s have a dive among the Cadgers in the Back Slums, in the Holy Land.

Jerry. Back Slums—Holy Land!—I’m at fault again.

Log. Why, among the beggars in Dyot Street, St. Giles’s.

Tom. Beggars! ah, we shall be very good figures for the part. (Turning out his pockets).

Log. We must masquerade it there.

Kate. (To Sue, aside). And so must we—come, Trifle,

[Exeunt Omnes.

 [Pg 46]

Billy Waters, Soldier Suke, Ragged Dick, Little Jemmy.

SCENE—Back Slums in the Holy Land.

MR. JENKINS, SOLDIER SUKE, DINGY BET, LITTLE JEMMY, CREEPING JACK, RAGGED DICK, and other well-known Characters discovered.

SONG.—Mr. Jenkins.
Air.—“It was one Frosty Morning.”

Cadgers make holiday,
Hey, for the maunder’s joys,
Let pious ones fast and pray,
They save us the trouble, my boys.
[Pg 47]
On the best peck and booze we’ll live,
’Tis fit we their blunt should spend;
For what to us they give,
Tenfold to the saints they lend.
Rumpti bumpti bay, &c.

With our doxies, great as a Turk,
We taste all life can give;
For who but a slave would work,
When he like a prince might live?
Then lustily call away,
Cadgers keep up the ball,
Never mind what’s to pay,
The public pays for all.
Rumpti, bumpti bay, &c.

(Omnes Chorus the burthen of the Song—dancing grotesquely).

Omnes. Ha! ha! ha! (Billy heard without). Eh! stand aside—here comes Billy Waters.

Enter BILLY WATERS, dancing.

Billy. Ah; how do you do, my darley? How you do, Massa Jenkins?—I drink with you. (Drinks deep: Jenkins takes the pot away).—And you Massa Jack, I drink wid you, too. (To Creeping Jack).—Your helt,—your good helt, ladies! (Jack takes pot away).

Jack. I say, Billy, you’re biting your name in it.

Billy. Yes, me likes to bite my name in such goot stuff as that.

Mr. J. Gemman, let’s purceed to business—I’ve got to inform you o’ summat.

Jack. Vat’s that ’ere?

Mr. J. Vy, that ’ere, is this ’ere—I begs to obsarve that the time is come when you may all consider yourselves independent gemmen; for if business should fail, you can at any time retire on a pension now.

Jack. As how?

Mr. J. As how? Vy, this as how. The Mende-city Society, I believe they call themselves, have kindly purwided a fund for us gemmen; so, if anybody offers you less nor a mag, or a duece, vy, you may say with the poet, “Who vou’d his farthings bear? ven he himself might his quivetus make vith a bare Bodkin.”

Omnes. Bravo!

Billy. Dat dam goot—me like dat!—that Bodkin has dam goot point!

Mr. J. It was but t’other day they took’d me up; slapp’d a pick-ax into[Pg 48] one of my mauleys, and shov’d a shovel into t’other, and told me to vork—says I, gemmen, I cant’t vork, cause vy, I’m too veak—so they guv’d me two bob, and I bolted!

Beggar. You did quite right; vell, vile I can get fifteen bob a day by gammoning a maim, the devil may vork for me. If any lady or gemmen is inclined for a dance, I’ll nash my arm-props in a minute. (Throws down his crutches).

Billy. An I play you de tune in de key of de X, Y, Z.

Jack. We haven’t had a better job a long vile nor the shabby genteel lay. That, and the civil rig, told in a pretty penny—Come, here’s the ould toast, “Success to Cadging.”

Omnes. (Drinking). Success to Cadging.

Mr. J. Does any gemman understand these here Tread Mills that have got such a footing?

Jack. Silence! Gemmen:—I’m a-going to make a hobservation: Mr. Jenkins means them there Mills as makes you vork vether there’s any vork or no—I can only say this here, gemmens, if them there mills are encouraged, it von’t be vorth no body’s vile to exercise vone’s calling—because, vy, von may as vell go and vork for one’s living at once—but the subject von’t bear not no thinking on.

Omnes. Not by no means. (General groans).

Billy. Oh, curse a de tread mill, me no like a de “here we go up, up, up,” and “down you go down, down, down,” an if you no work, a great lump of wood come and knock you down so—(Striking Beggar on head, with fiddle, who falls down).

Beggar. Oh! he has split my Jemmy!

Billy. (Picking him up). Poor fellow, him werry sorry, so dere no harm done. Gemman of de Noah Ark Society, as Little Jemmy here is no starter, I move he be put in de chair a-top o’ de table.

Omnes. Bravo! Jemmy in the chair. (Jemmy is put on the table).

Mr. J. Silence for the cheer.

Jemmy. Gemman, I shall return thanks—here’s all your jolly good healths, and success to flat catching.

Omnes. Bravo! bravo!

SONG.—Mr. Jenkins, and barking chorus of Beggars.
AIR.—Bow, Wow, Wow.
That all men are beggars, ’tis very plain to see,
Tho’ some they are of lowly, and some they are of high degree;
Your ministers of state will say, they never will allow
That kings from subjects beg, but that you know is all bow wow.
Bow wow, wow! fol lol, &c.
[Pg 49]
Then let us cadgers be, and take in all the flats we can,
Experience we know full well, my boys, it is that makes the man;
And for experience all should pay, that Billy will allow,
And as for conscience that of old we know is all bow wow.
Bow, wow, wow! fol lol, &c.

Enter KATE, SUE, JANE, TRIFLE, and GREEN, disguised as Beggars.

Sue. I do not see them here yet.

Kate. They’ll not be long, depend on’t,—have I sufficiently disfigured my charms?

Sue. Yes, they cannot surely recognise us in these disguises?

Trifle. Dear me, a very dreadful perfume, pan hanour—essence of mendicity—I’m sorry I came.

Mr. J. (To Green). Halloa, my little ’un?

Green. Eh! come you a done now; you a done vith you.

Mr. J. Sluice your dominos—vill you?—

Green. Vot! I never plays at dominoes—It’s too wulgar.

Mr. J. Vy, then vash your ivories?

Green. I’ve got no hiveries to vash.

Mr. J. Drink, vill you? don’t you understand Hinglish?

Green. Eh! drink—quite a gemman, I declare.—(While Green drinks Jenkins dances, expectantly).

Ragged Jack. I say, Jenkins has larned to dance since he’s been on the Mill—vy Jenkins you’ll dance your calves into your shoes if you don’t mind.

Mr. J. (To Green, looking at pot). Vy, I say, you’ve been eating red herrings for dinner, my young un!

Green. I vas dry, and that’s the fact on’t.

Billy. (Offering bottle to Sue). I say, Misses, you drink, eh! my Buckra Beaudly?

Jemmy. Gemman, have you ordered the peck and booze for the evening?

Sold. Suke. Aye, aye, I’ve taken care of that—shoulder of veal and garnish—Turkey and appendleges—Parmesan—Filberds—Port and Madery.

Billy. Dat dam goot, me like a de Madery—Landlord, here you give this bag of broken wittals, vot I had give me to-day, to some genteel dog vot pass your door: and you make haste wid de supper, you curse devil you!

 [Pg 50]

Beggar’s Opera. Tom, Jerry, and Logic, among the Cadgers in the Holy Land.

Enter TOM, JERRY, and LOGIC—disguised as Beggars, with Placards on their backs—TOM’S “Burnt Out—lost my little all.”—JERRY’S “Deaf and Dumb.”—LOGIC’S “Thirteen Children.” &c.

Sue. Here they are—I know them in spite of their rags.

Tom. This, my dear Jerry, is a rich page in the book of life, which will save you many a pound, by exposing the imposition of street mendicity.—It almost staggers belief that hypocrisy is so successful, and that the fine feeling of the heart should become so blunted, as to laugh at the humanity of those who step forward to relieve them.

Log. ’Tis the blunt that does it—but stow magging, Tom, or we shall get blown.

Jerry. Tom, here’s a group of blackbeetles—do you see those lovely mendicants?

Tom. Beauty in rags—I do—Cupid imploring charity, I’ll relieve him, for I’ll be after that match-girl directly.

Jerry. And I’ll chant a few words to that beautiful ballad-singer.

Log. And I’ll take pity on that charming beggar.

[Pg 51] Song of the Cadgers in the Holy Land.

Come, let us dance and sing,
While fam’d St. Giles’ bells shall ring,
Black Billy scrapes the fiddle strings,
Little Jemmy fills the Chair.
Frisk away, let’s be gay,
This is Cadger’s holiday;
While knaves are thinking, we are drinking,
Bring in more gin and beer.
Come, let us dance and sing, &c.

Here’s Dough-boy Bet, and Silver Sall,
Lushy Bob, and Yankee Moll,
And Suke, as black as any pall,
The pinks of the Holy Land.
Now, merry, merry, let us be,
There’s none more happier sure than we,
For what we get we spend it free,
As all must understand!
Come, let us dance, &c.

Now he that would merry be,
Let him drink and sing as we,
In palaces you shall not see,
Such happiness as here.
Then booze about, our cash an’t out,
Here’s sixpence in a dirty clout;
Come landlord bring us in more stout,
Our pension-time draws near.
Come, let us dance, &c.

Enter LANDLORD with supper.

Land. Now, your honours, here’s the rum peck, here’s the supper.

Billy. Eh, de supper! de supper! come along, (After striking Creeping Jack on fingers with knife). You damn nasty dog! what for you put your dirty fingers in de gravy? you call that gentlemans? you want your finger in de pie, now you got him there!

Jack. I only wish’d to taste the stuffining.

Billy. And now you taste de carver knife instead! (takes candle, and looks at supper). Vy, what him call dis?

Land. Why, the turkey and the pie, to be sure.

Billy. De turkey and de pie! I tink you said de turkey and de pie,—what! de turkey without de sassinger! him shock—him wouldn’t give pin for turkey without dem—me like a de Alderman in chain.

Land. I’m very sorry, Mr. Waters, but—

Billy. You sorry! I’m sorry for my supper, you damn dog.

[Pg 52]Mr. J. (To Landlord). Vhat! sarve up a turkey without sassiges,—you’re a nice man I don’t think.

Jack. (To Landlord). I tell you vhat, young man, vhen you talk to gemmen, larn to take off your hat.

Jemmy. Vy there’s no lemon to the weal, nor hoyster sasse to the rump stakes.—It’s shocking, infamous neglect, that’s vot it is.

Mr. J. (To Landlord). Vy, who do you suppose would eat rump stakes without ayesters? I’ve a great mind to smash your countenance for you!—You ought to have your head punched you ought!

Jemmy. Here’s no filberds to the Port, nor devils to the Madery, nather.

Land. Egad, I think there’s devils enough to it. (Aside). Gentlemen, the deficiencies shall be supplied directly. (He is hunted off).

Mr. J. Hit him; he’s got no friends.

Jemmy. We must go to some hother tavern, if we’re neglected in this here manner.

Mr. J. You may do as you please, gemmen, but for my part, I shall certainly use some other hotel.

Billy. You perfectly right, Massa Jenkins, we must use some other hot-hell.

Jerry. (To Sue, she having attracted his attention). And so you sell ballads, eh?

Sue. Yes, Sir, three a penny; but if you like to take twelve, I’ll make you an allowance.

Jerry. Oh, I’ll have the allowance by all means.

Sue. (Singing).

“Relieve my woes, my wants distressing;
And Heaven reward you with its blessing.”

Jerry. Enchanting vagrant! come here, and let me bargain with you. (Takes Sue aside).

Tom. (To Kate, bringing her down, C.—in like manner). And so you make matches, do you?

Kate. Yes!—as you’ll find out by and by. (Aside).

Tom. But ’ant these brimstone dealings contagious? you little flower of—hum-um-um—— (Takes her up in a corner).

Log. (To Jane, bringing her down R.—) You’ve moved me so, that I could bestow every mag I’ve got, you beautiful beggar, I could.

(Knocking without).

Enter LANDLORD, running, L,——Previously to which, Kate and Sue have, unobserved, given beggars money, and entered into communication with them pointing aside to Tom, Jerry and Logic.

Billy. Vat de matter, vat broke, eh? (To Landlord).

[Pg 53]Land. Gentlemen vagabonds; the traps are abroad, and half a thousand beadle and beaksmen are now about the door.

Billy. De beak! oh curse a de beak!

Jemmy. Gemmen! gemmen! (Knocking on table to command attention).

Jack. Silence for the chair!

Jemmy. Put out the lights, put out the lights, every one shift for himself. Here, Bob, carry me up the ladder, good luck to you do, Bob.

Billy. Landlord! landlord, you dog! which door de beak come in at.

Land. At the front.

Billy. Vy, den carry me out at de back door, you Dick.

[He and Jemmy are carried out.—Lights are put out—General consternation.

FINALE.—Tom, Jerry, Logic, Sue, Kate, Jane, Mr. Jenkins, Creeping Jack, and Beggars.

Air.—“Zitti, Zitti—Piano, Piano!”

Mr. Jenkins.
Up the ladder, softly creeping,
Let us gently steal away,
Traps without their watch are keeping,
There we’ll let the rascals stay.

Creeping Jack.
Traps without, their watch are keeping,
Tread softly; no delay;
Up the ladder slily creeping
Through the back door and away.

Tom, Jerry, Logic, Kate, Sue, and Jane.
To my arms, love, softly creeping,
To bliss we’ll steal away;
Suspense ’tis idle keeping,
Seize pleasure while you may.

Where are you? where are you?
To my arms, love, softly creeping,
To bliss we’ll steal away,
Softly, softly; lightly, lightly; away; away! away!

Kate, Sue, and Jane, as Tom, Jerry, and Logic advance, attracted by their voices, adroitly substitute Dingy Bet, Soldier Suke, and another, in the places of themselves.—Drop falls on Tom, Jerry, and Logic, carrying their beggarly bargains off in great exultation.—Kate, Sue, and Jane enjoying the joke in the background.

 [Pg 54]

Jerry Learning to Spar.

SCENE.—Jackson’s Rooms, in Bond Street.—Tom, Jerry, and Logic discovered.

Life in London with us is a round of delight;
It is larking all day, sprees and rambles all night;
Tom, Jerry, and Logic have ever the best
Of the coves in the East, and the swells in the West;
Such pals in a turn-up, so bang up and merry,
As Jerry, Tom, Logic—Tom, Logic, and Jerry,
Ne’er was seen, since the world first by Noah was undone,
So here’s Logic’s, Jerry’s, and Tom’s Life in London!

Tom. We are, indeed, a regular trio; every part well harmonised.

Log. Ay, all sharps! not a flat or a natural among us.

Jerry. I don’t think we were so very sharp last night, though, when we suffered ourselves to be made such apes of in Noah’s Ark.

Tom. You are right, Jerry, we are all at fault here; instead of clasping in my arms my pretty timber merchant—judge my horror, when on approaching a parish lamp, I found myself hugging that duchess of the dust-hole—Dingy Bet.

[Pg 55]Log. I was served quite as badly—instead of my seraphic street solicitor, I found myself carrying on the war with Soldier Suke.

Tom. Worse and worse, who did you make yourself agreeable to, eh, Jerry?

Jerry. I beg you won’t mention it!

Tom. Let’s think no more on’t; the tables were fairly turned upon us, and we mustn’t grumble—we have now stepp’d into Jackson’s rooms to decide the bet with Logic as to our weight; and as he has won it, let’s be going—but stop, before we go, what say you to a bout with the foils?

Jerry. No go, Tom,—I’m fly—it’s a bad spec; I am not going to expose my ignorance of fencing here—but as far as a bout at single-sticks goes—why I have no objection.

Tom. Bob will accommodate; won’t you, Bob? come, Doctor, you must have a turn—one small taste.

Log. No go! no, no, Mr. Somerset, you’re a downy one at that sport—it won’t fit.

Tom. Positively you shall, Bob—come the least taste.

Log. Well, well! I won’t baulk your fancy, as you seem bent upon sport—but mind, only one bout.

Jerry. No; one will be sufficient. (They place themselves in position).

Tom. Holloa, Jerry, don’t swallow him.

Log. Use me gently, I’m but a green at this.

Tom. Now, then, come up to the scratch. (They play; Jerry makes a hit; Logic parries).

Tom. Well stopp’d—uncommon well, Bob.

Log. Do you think so; but, I say, none of your chaffing.

Tom. Now, really—

Jerry. Yes, yes, he’s up.

Log. Hum, I don’t think it was so much amiss myself.

Jerry. Now, Doctor, take care of your bread-basket—eyes right, look to your napper.

Tom. Ay, ay, be leary, Bob, take care of your ribs—mind your pipkin—be down on your pimple. (They play a second bout; Jerry breaks Logic’s head).

Tom. I say, Bob, did you hear anything knock?

Log. Yes; and nobody at home.

Jerry. Doctor! I touch’d your knowledge box there, I think.

Log. Touch’d it, zounds! you’ve broken it, Jerry, but it must have been cracked before, or I should never have entered the lists with you. Brown-paper and vinegar for one.

[Exit.

 [Pg 56]

Scene in a Gin Shop.

Scene.—interior of a london gin shop.

Tom and Jerry taking Blue Ruin, after the Spell is broken up.

Tom is sluicing the ivories of some of the unfortunate heroines with blue ruin, whom the breaking up of the Spell has turned-up without any luck, in order to send them to their pannies full of spirits. Jerry is in Tip Street on this occasion, and the Mollishers are all nutty upon him; putting it about, one to another, that he is a well breeched Swell. Fat Bet is pretending to Tom, that she had a great objection to every sort of ruin, no matter how coloured, since she had once been queered upon that suit. Swipy Bill, a translator of Soles, who has been out for a day’s fuddle, for fear his money should become too troublesome to him, has just called in at the Gin Spinner’s to get rid of his last duce, by way of a finish, and to have another drop of blue ruin. This last glass would have floored him, had it not been for the large butt of liquor which he staggered against. Hiccoughing, he swears “he’ll stand by Old Tom while he has a sole left to support such a good fellow.”

 [Pg 57]

GIN, GIN, SWEET, SWEET GIN!

Air.—Home, Sweet Home.

alk through London town, in Alley, Lane or Street,
Eight to ten of all the folks you overtake or meet,
List to what they talk about, you’ll find amid the din,
The end of every conversation is a drop of Gin.
Gin, Gin, sweet, sweet Gin,
There’s no drops like Gin.

hen the world was young, as we read in classic page,
The shepherds drank the purling stream, and pass’d the golden age;
For purling streams or golden age folks now don’t care a pin,
So that they can raise the brass to keep this age of Gin.
Gin, Gin, Hodge’s Gin, &c.

hen the weather’s cold and bleak—in rain and frost and snow,
The Gin, the Gin they fly to, to warm them with its glow.
In summer time, to cool their heat, we see them all flock in
And joy or sorrow, heat or cold, all seek relief in Gin.
Gin, Gin, Seager and Evans’s Gin, &c.

 [Pg 58]

Battle of—A GIN COURT!

ir Richard Burnie sad, declares that never in his time,
Was seen so much depravity, want, misery and crime;
And all the brawls—the roitings—the day and nightly din,
Are caused by what he never tasted! filthy! horrid Gin!
Gin, Gin, Booth’s Cordial Gin, &c.

n India, when a Husband dies—the Widow ne’er can smile,
She’s burnt alive, a sacrifice, upon her husband’s pile;
In London many Wives and Widows deem it not a sin,
To sacrifice and burn themselves alive with fire of Gin.
Gin, Gin, Sir Robert Burnett’s Gin, &c.

ecrepit age with furrow’d face, and one foot in the grave,
Hobbles on his crutches, and for a drop does crave;
Infants, e’er they plainly talk, perk up each little chin
And cry, oh mammy, daddy, baby ’ont a d’op o’ din.
Gin, Gin, Currie’s strong Gin, &c.

 [Pg 59]

Gin Lane.

n former times we’d Goblins, Fairies, Witches, Ghosts and Sprites,
Who ruled the people’s minds by day, and play’d sad pranks o’ nights;
But now the tales of Ghosts and such the people can’t take in
They won’t believe in Spirits, yet put all their faith in Gin.
Gin, Gin, Gaitskell’s Cordial Gin, &c.

n the Reign of old Queen Bess good eating did prevail,
Her Majesty and all the Court would breakfast on strong ale;
But now through every Court, the folk the fashion to be in,
Would ail all day, unless ’fore breakfast they could take some Gin.
Gin, Gin, renovating Gin, &c.

ld women used to cheer their hearts and found it did agree,
By sometimes taking with a friend a cup too much of tea;
But now they’re much more spirited—for tea don’t care a pin,
And only use their tea pots for a cup too much of Gin.
Gin, Gin, tongue-relaxing Gin, &c.

 [Pg 60]

Gin and Bitters.

ighters take a “a shove in the mouth,” though it is their bane,
Jack Ketch often has a “drop”—Scavengers a “drain”;
Pris’ners “half a yard of tape” to get in merry pin
And Actors oft get “mellow” with a “mellow dram” of Gin.
Gin, Gin, Tragic, Comic Gin, &c.

hompson’s shop on Holborn Hill is crowded like a fair,
All the taps continually running out are there;
Swing swang go the doors, while some pop out and some pop in,
Foreigners must surely think that John Bull lives on Gin.
Gin, Gin, dear seductive gin, &c.

his World was once deluged by water, drowning Son & Sire,
But when it is destroy’d again, we read ’twill be by fire;
And this must be the awful time, so prevalent is sin,
As all the wicked world do burn their insides out with Gin.
Gin, Gin, life-inspiring Gin, &c.

 [Pg 61]

Tom and Jerry Catching Kate and Sue on the Sly Having their Fortunes told.

SCENE.—Interior of Fortune Teller’s Garret.

Enter JANE, KATE, SUE, TRIFLE, GREEN, and LANDLORD.

GLEE.—Omnes.
Air.—“Who has seen the Miller’s Wife.”
Jane, Kate, Sue, Trifle, and Green.
Have you the Fortune Teller seen?
I, I for hours have waiting been;
A shilling o’er her palm I’ll pass
If she’ll but look in Fortune’s glass.
Have you, &c.

Land. Oh, here she comes at last.

[Pg 62]Enter FORTUNE TELLER.

Land. Now mother, stir your stumps; here are two ladies waiting for you, and half a score more below.

F. Teller. Aye, aye! I turn hundreds away.

Green. Vhat an orrid hooman!

F. Teller. You must leave the room, gentlemen, (To Green and Trifle), my charms never hold good in the presence of a third person.

Sue. You hear, Mr. Green, her charms never hold good in the presence of a third person.

Green. I should vondor if they did—Her charms! Lord—I can take an int; I’m to go—wery vell, I shall absconce—Vat an ugly old vitch!

Trifle. (To Girls). We shall meet again at Logic’s, so I’ll leave you with the particularly frightful old hag, pan hanour—demme!

[Exeunt Green, Trifle, and Landlord.

F. Teller. (Sitting at Table). Now then, young women. I’ll tell you—I’ll tell you—but you must let me shuffle the cards first! (Produces cards) For its all done by shuffling! now then, cut them, Miss. (Sue cuts cards).

Kate. Let us sit down while we stay—rather short of furniture; but never mind, we must make shift.

(Turns down chair lengthways to sit; she sits on one side, Sue on the other—Sue is nearly let down by Kate suddenly rising).

F. Teller. (Looking over cards). Hey day! what have we here? You’ll be married soon.

Sue. I hope so, with all my heart!

F. Teller. There’s a fair man been paying some attention to you, lately—Hum! a cradle—three!—nine!—fourteen!—have a large family.

Sue. Fourteen! mercy on me!

Kate. Enough to make one faint!

F. Teller. There’s nothing more that I see at present.

Sue. Nor there hadn’t need been; if I’m to have fourteen children, I think I’ve heard quite enough.

F. Teller. (To Kate). Now, Miss, I’ll tell you your fortune; how many husbands, and how many children, and all about it—all about it.

Kate. But I don’t want to hear “all about it.” (Imitating her). I only want a peep into your magic mirror, and see who I’m to marry.

F. Teller. You should have told me that before, I always charge more for that, but I suppose I must throw it you in! Now, then, stand there; and be very still!——

[Pg 63](Music.—Fortune teller places Kate and Sue in position at off end of the stage—then advances to cabinet—waves her crutch; pulls curtain aside, and discovers a large glass—Landlord passes rapidly behind).

There! I told you I’d show him to you!

Kate. Wonderful! why that’s the man that opened the door to us! (Aside to Sue).

F. Teller. Now, Miss, I’ll show you your sweetheart!

(Music and ceremony as before:—Landlord repasses contrary way).

Kate. Ha, ha, ha! that’s the same man again! We’re both to marry the same husband!

Sue. Amazingly agreeable!

Kate. The old impostor!—Well, now you’ve told us our fortune; can’t you tell your own? (To Fortune Teller).

F. Teller. No, no—I have no power over my own stars.

Kate. Then I’ll tell it for you—In half an hour, unless you make good use of your time, you’ll have a visit from Union Hall.

F. Teller. O, dear me! It’s lucky I’ve a handy cockloft, and a safe way over the houses—I’ll be off directly, I’ll be off directly! (Throws down crutch, cloak, &c., and exits hastily).

Kate. “I’ll be off directly, off directly.” (Imitating Fortune Teller). Ha, ha, ha!—She left all her things behind her!—We can now set up in business for ourselves.

Enter JANE hastily, L.

Jane. Oh, my dear girls, as I was keeping watch below, I saw Tom and Jerry coming down the street, and making for this very house—depend on’t they have traced you here.

Kate. What’s to be done?—Tom and Jerry!

Sue. Jerry and Tom coming here! (Running about in confusion.—Knocking at door).

Jane. Don’t keep running about there, as if you were out of your senses, but listen to me—get behind that glass and leave me to manage; I’ll play the Fortune Teller, now!—Help me on with the things—there! there! that will do; now then, away with you!

(They hide behind Cabinet, after disguising Jane).

Tom. (As entering). Come, Jerry, here they—Eh!—not here!—well, we won’t have our walk for nothing—Let’s quiz the old one a bit. I say, Mother Mummery, can you tell our fortunes for us?

Jane. (As old woman). Oh, yes; but you must cross my hand first.

Tom. She wants the tippery—there—(Gives money). There, that’s the figure, Jerry.

[Pg 64]Jane. (Looks at Jerry). Now, Sir!

Jerry. Oh! must I fork out, too. (Gives money)

Jane. (Looking at their palms). Dear me!—dear me!

Tom. You said that before, you know.

Jane. You’ve been sad rakes—sad rakes indeed!

Tom. (Imitating her). Have we, indeed?

Jerry. Why, you witch of Endor!

Tom. What! can the devil speak?—but come, I’ll find you out at once. I conjure you by that which you profess, how’er you come to know it. Answer me, though you untie the winds! unveil your magic mirror, and show us the images of the women we are to marry. Come up with your little machine. Whew! appear—appear!—they won’t come!

Jane. I must have a little more money first!

Tom. Why, you old cormorant! more blunt, eh? there— (Gives money).

Jane. There, then!

(Draws Curtain; Kate and Sue appear behind it in their own dresses; Jane slips away).

Tom. Well, Jerry, what do you see?

Jerry. (Going up to glass). Susan Rosebud!—astonishing.——

Tom. Susan Rosebud! Oh, my dear Jerry, your ogles must be queer! (Goes up; sees Kate). My Kate! by all that’s miraculous! Where is the juggling hag? (Looking for Jane). Why, she’s mizzled! Holloa, Mother Damnable! Oh, there’s some mystery in the infernal mirror, which thus I solve!

Jerry. What are you about, Tom?

Tom. I’m going to mill the glaze—I’ll——

(Is about to break the glass, when Kate and Sue appear as the Miss Trifles).

Tom. The Miss Trifles! by all that’s——

JANE, KATE, and SUE come forward.

Kate. Ha, ha! fairly caught, upon my word. (Retires up the stage, then says aside to Jane and Sue). Now girls it is time we should bring our plans to a conclusion. Logic’s imprudent ramblings have involved him in difficulties which, unless timely met, must terminate in ruin. I have bought up most of his debts; and in the midst of the gaiety of this evening, it is my intention to have him arrested and conveyed to prison. I have sent the officer my card of invitation, that he may be sure to gain admittance. This will open the eyes of the thoughtless trio, and enable us to put the money we took in trust at the gambling-house to its proper use; so let’s away, and about it straight.

[They run off.]

 [Pg 65]

SCENE.—Mr. Mace’s Crib. “All Max” in the East.[33]

“Oh! for a glass of Max.”—Byron’s Don Juan.

A plague on those malty cove fellows,
Who’d have us in spirits relax;
Drink, they say, and you’ll ne’er burn the bellows,
Half-water instead of all max;
A glass of good max, had they twigg’d it,
Would have made them, like us, lads of wax;
For Sal swigg’d, and Dick swigg’d,
And Bob swigg’d, and Nick swigg’d.
And I’ve swigg’d, and we’ve all of us swigg’d it,
And, by Jingo, there’s nothing like max.
All-Max!
By Jingo, there’s nothing like max!

Here the tag-rag and bob-tail squad who do not care how the blunt comes or how it goes. Togs or no togs! but nevertheless, who must live at any price, and see a “bit of life,” let the world jog on how it will; yet who can drop a tear upon a sorrowful event—laugh heartily at fun—shake with cold—perspire with heat—and go to roost much sounder upon a dust-hill than many of the swells can snooze upon their feather dabs; likewise in comparing notes, feel happy in the presumption that there are hundreds worse off in society than themselves.

[Pg 66]Enter SAILORS, DUSTY BOB, AFRICAN SAL, MAHOGANY MARY, MRS. and MISS LILLYWHITE, ROSIN, &c., &c., with gin measures, drinking—Mr. Mace in attendance.

Bob. Now, landlord, ’arter that ’ere drap of max, suppose ve have a drain o’ heavy vet, just by vay of cooling our chaffers—mine’s as dry as a chip—and, I say, do you hear, let’s have a twopenny burster, half a quarten of bees’ vax, a ha’p’orth o’ ingens, and a dollop o’ salt along vith it, vill you?

Mace. Here, Waiter! a burster and bees’vax—ingens and salt here. (Calling as he fetches the porter from the side wing). Now, then, here you are, Muster Grimmuzzle. (Holding out his right hand for the money, and keeping the porter away with the other).

Bob. That’s your sort; give us hold on it. (Takes Mace’s empty hand). Vy, vhere?

Mace. (Keeping the porter back). Vy, here.

Bob. Oh, you are afeard of the blunt, are you?

Mace. No, it ain’t that; only I’m no schollard—so I always takes the blunt with von hand, and gives the pot vith t’other. It saves chalk and prewents mistakes, you know.

Bob. Now then for the stumpy. (Searching about in his pockets for the money). My tanners are like young colts; I’m obliged to hunt ’em into a corner, afore I can get hold on ’em—there! hand us over three browns out o’ that ’ere tizzy; and tip us the heavy. (Landlord receives money and delivers porter). Vy don’t you fill the pot? Likes to have a head on the pot.

Mace. How can you have a head on the pot, vhen the chill’s off?

Bob. Vell, then let me have the next vith the chill on, vill you? (Bob drinks).

Sal. You leave some for me, Massa Bob. (Drinks and empties the pot).

Bob. Vy, Sarah, you seems fond on it—likes to see the end, eh?

(Bob sits down on one stool and pulls another to the front of him on which he arranges the bread, cheese, onions, &c., then tearing open the loaf discovers a live mouse which he holds up by the tail, and walking up to Mr. Mace, says:—I say guv’nor I didn’t axe ye for a hanimated sandvitch did I?

Mace. Oh! you is allus so werry partic’lar some times you is. But I say ladies and gemmen, I hopes for the harmony of the evening, you’ll not be back’ards in handing out your mags and duces to the teazer of the catgut here.

Bob. Aye, aye!—lend us a tanner on the bell, vill you?

Mace. Lend you a tanner on the bell?—It’s vhat I don’t like, Muster Bob; highly improper—you know I’ve a wery great objection to anything of the kind; however, for vonce, I suppose I must; though it ’aint right—but talking o’ that, I begs leave to hint, that I trusts heavy vet von’t be the order of the evening!:—

[Pg 67]Tom. (Without).—No, no, damn up stairs, we’ll go in here.

Mace. Zounds, I hope no traps isn’t abroad, and that there ’aint any beaksmen out on the nose!

Sal. (Looking out). Law, lovee, no, it’s only some gemmen out on the spree—I dare say dat dey’ll stand a drop o’ summat all round.

Enter TOM, JERRY, and LOGIC.

Tom. Now, my dear Jerry, here we are amongst the unsophisticated sons and daughters of nature, at All Max in the East. Let the West boast of their highfliers as they will, you’ll find there are still some choice creatures of Society left here.

Log. What, my lily! here take a drop of mother’s milk. (Gives black child gin out of a measure he has received from Landlord). Landlord, let every one have a glass of what they like best, at our cost.

Mace. Regular trumps! I can charge vhat I likes here. (Aside). Now, Muster Bob, vhat’ll you take?

Bob. Oh, ax my Sal.

Mace. Now, Marm Sal, give it a name!

Sal. Vy, bring me de kwarten of de Fuller’s earth.

Tom. Come, it shall be a night of revelry, my pippins—Song—Dance—everything in the world!

Mace. Aye! a jig, a jig!—Remove the stand-stills—sit down, gemmen. Ve shall be as merry as mudlarks, and as gay as sand-boys soon—It’s a poor heart vhat never rejoices. Come, Muster Grimmuzzle, vhat say you to a minnyvit vith your ould lady in mourning, here.

Bob. Vith all my heart; I am never backward at any thing of that ’ere sort; am I Sal?

Sal. Dat you not, Massa Bob.—Massa Fiddler, you ought to be shame; your fiddle drunk, and no play at all.

Log. I’ll gin him a little, my Snow-ball; then he’ll rasp away like a young one; won’t you, my old one? (Gives Fiddler gin and snuff).

Bob. ‘Snowball,’—come, let’s have none o’your sinnywations, Mister Barnacles; she’s none the vurser, though she is a little blackish or so!

Log. Here, Landlord, more Blue Ruin, my boy!

Tom. Ceremonies are not in use here, so there’s no occasion for the master of them, Come, start off, my rum ones! the double shuffle.

Jerry. Aye, aye! come it strong my regulars.

 [Pg 68]

COMIC PAS DEUX—Dusty Bob and Black Sal.

Accompanied by Rosin, on his cracked Cremona, and Jerry on a pair of Tongs, to the Air—“Jack’s alive.” In the course of the Pas Deux, Sal, by way of a variation, and in the fulness of her spirits, keeps twirling about: at the same time going round the Stage—Bob runs after her, with his hat in his hand, crying “Sarah! vy, Sarah, ’aint you well?” &c.—The black child seeing this, and thinking there is something the matter with its mother, also squalls violently; stretching its arms towards her: at length, Sal, becoming tired of her vagaries, sets to Bob, who exclaims, “Oh! it’s all right!” and the dance concludes.

Jerry. That would do honour to any crib; there’s nothing like pairing off according to fancy. You’re quite fly to the trotter shaking department, I see, my rum one!

Tom. To be sure he is a regular gravel digger; come, Sal, my lily. (Gives Sal gin).

Bob. Vy, Sarah, vere’s your manners; vy don’t you kurchy to the gemman?

Sal. Me do dat de second time. (Receives another glass). Your good helts, gemmen all. (Drinks).

Tom. Here, Dusty, my prince, now then, sluice your bolt. (Gives Bob gin).

Bob. Vell, your honours, here’s your luck. (Bolts gin). That’s a regular kwortern, I knows by my mouth.

Tom. There’s a swallow, Jerry, this fellow is a perfect mop.

Jerry. Now, Doctor, we must think of starting—Eh!—zounds! what’s the matter with you? (To Logic).

Log. I’ve left off drinking in a great measure.

(Merry and singing). “There’s a difference between,” &c., &c.

[Pg 69]Jerry. Tom, see how snugly Captain Lushington’s getting abroad of Logic. Come, my boy.

Tom. Remember your appointment with the ladies.

Log. I do like this fiddle, I will have this fiddle. (Pulling Fiddler along).

Tom. Eh, zounds, Doctor, you’re going to smug the fiddler, and prig the pewter. (Taking gin measure away from him). Now then, what’s to pay, landlord?

Mace. All out, vill be fourteen bob and a kick, your honour.

Tom. Well, there’s a flimsy for you; serve the change out in max to the coves and covesses. (Gives money).

Mace. Thank your honour—and good luck to you.

Tom. Now then, Doctor, this way, my boy; come, come along.

Log. (Singing). “A Queen she cannot swagger.” I will have this fiddle—“nor get drunk like a beggar.”—More max here—“Nor be half so merry as I.”

[Logic becoming obstreperous, they partly force him off, and exeunt with him.]

Mace. Regular out-and-outers those ’ere! quite gemmen—I’ve stuck it into ’em a bit! (Aside).

Bob. Aye, ay, ve knows it! vith the chill off!—you’re an out-and-out Stringer, you are!

Mace. So I don’t mind standing a trifle of summat all round, just by way of drinking their healths; and vhen ve’ve had the liquor, ve’ll kick up a reel, and all go to our dabs.

Bob. Ay ay! but before that, mind you get us a bit of grub for me and my Sal—about a pound and a half of rump steak—

Sal. No, two pound Massa Bob, for her rather peckish.

Bob. Very vell, two pound, vith a pickled cowcumber, and a pen’orth o’ ketchup, to make some gravy of; and stick it up to the bell!—d’ye hear?

Mace. You’ll melt that ’ere bell if you don’t mind, Muster Bob; this is vhat I don’t like—vhy don’t you always take care and bring plenty of money in your pockets?—You know I’m wery particular in things of this here kind!—though I don’t mind obliging you——

Bob. Ay, ay, vith the chill off, I knows!—but it’s all right—must have the bell in the morning, you know, even if I spout the togs for it.

Mace. Now then, strike up, my beauty!

Bob. Aye, aye, pull it out, my pink!

[Comic Characteristic Reel by all the Characters; who, under the influence of All Max, at last reel off.]

 [Pg 70]

Poor Logic in the Fleet Prison.

SCENE.—Interior of Whistling Shop; Master and Mistress of Whistling Shop—Racket players—Poor Tradesman, Smuggler, and Debtors discovered.

CHORUS.—(Omnes).
All in the fleet we’re safely moor’d,
But while we’ve trusty pals on board,
Law may to
The devil go;
Then, brother Debtors, sport and play.

Let tempests whistle as they will,
Our Whistling Shops will drown them still;
A yard of tape
Will prove the Cape.
And drive each thought of care away,
Tol de rol.

Enter TURNKEY and LOGIC.

Turn. Here’s Doctor Logic come to pay you a visit, gentlemen—You’ll get good accommodation here, Sir; and find some regular trumps among ’em.

Log. Thank’ye.——

Turnkey. Is that all?—Only thank’ye?

[Pg 71]Log. Oh, want some tippery! (Gives money). There! (Exit Turnkey)—Brothers, your most obedient. Some of my friends, thinking my learning was not complete, have sent me to your College to finish my education; not that I owe anything!—

Omnes. Oh, no!—we none of us owe anything!—Oh! dear no.

Log. I’m only here on suspicion of debt.

Omnes. That’s the case with all of us!—we’re all of us only here on suspicion!

Log. You’ll not find me a bad chum—but ready to hunt down any game you can start. Landlady, serve them with a glass of tape, all round; and I’ll stand Sammy—

Omnes. A regular trump! (Landlady serves them all with liquor, out of a bladder, as directed; Logic pays).

Smug. Well, while I can blow my cloud, and get a drop on the sly, I sets the Excise at defiance. What’s a little smuggling?

Poor T. (Aside). Could I have conveyed the value of that liquor to my wife and children, it might have saved them another day from starvation!

Log. (Overhearing). What! hard up!—wife and children starving!—that sha’n’t be while Bob Logic has a quid left.—Here, my honest fellow, go fill their bellies and make them happy. (Gives money).

Poor T. May heaven bless you, Sir—you know not half the good you have done!

[Exit poor T.]

Log. No: but I know one thing enough, and that is, the value of money—a prison is the only place to learn that in; and if ever I get out again——

Enter TOM and JERRY.

Log. Ah, Tom and Jerry! my boys! this is kind indeed!

Tom. Never desert an old pal in limbo, Bob; but when you get safe out of the river tick, take my advice, look into not over your affairs; if young men would but deign to consider this, would but, in the flowery wilds of pleasure, cast one glance at the guiding star of prudence—their pockets would be more full, and the prisons of the law more empty.

Log. Never doubt me, Tom—but welcome to ‘Freshwater Bay,’ to my new settlement on board the Never-Wag man of war;—homeward station—forced to be on good terms with others, if I am not with myself——

Jerry. Still as lively as ever, eh, Doctor?

Log. And so will you be when the haberdasher has served you with a good yard of tape.

Jerry. ‘Haberdasher! Tape!’ I’m at fault again.

Logic. The haberdasher is the whistler, otherwise the spirit-merchant Jerry—and tape the commodity he deals in—It’s a contrabrand article here—white is Max, and red is Cognac.

[Pg 72]Jerry. Then give me a yard and a half of red, if you please. (Landlady gives Jerry liquor).

Enter TURNKEY, with a letter.

Turn. Here’s a stiffener for you, Doctor!——

Log. A letter for me!——

Turn. It ’aint paid for.

Log. More tip, eh! (Pays him). This fellow’s a regular leech! you never use any chalk here?

Turn. Can’t afford it; besides it ain’t in our way, and then it makes such a mess over the walls.

Log. (Opening the letter). Aye, aye, that will do, go along—(Exit Turnkey) What’s this?—Five hundred pounds!—(Takes out note).—Wheugh!—Let me read—“Sir Jeremy Brag and the Captain, present compliments to Doctor Logic, request his acceptance of the enclosed, to free him from his present difficulties; it is the same sum his friends threw away on an odd trick the other evening.—If Mr. Logic and his friends will look in at the Venetian Carnival, this evening, they will be joined by the Captain, Sir Jeremy, the Miss Trifles, and the Mendicants from the Holy Land; when, if properly solicited, the Masqueraders may unmask.” Prodigious!—I’m at fault here. I’ll away at once; drop the debt and costs in the hatchway, and be off to the Carnival.

Tom. We’ll go with you, Doctor.

[Exeunt Tom, Jerry, and Logic.

Smug. Why, they’ve hoisted sails, lads—well, success to them—oh the changes of life!

CHORUS.—(Omnes).
Air.—“Here we go up, up, up.”
Some there are up, up, up,
And some there are down, down, down,
But whether above or below,
Let us always take care of the crown.

They that are out may grin,
While those that are in may fret,
Yet poverty ne’er was a sin,
And we’re sure they can’t hang us for debt.
Fol, lol.

[Exeunt.

 [Pg 73]

SCENE.—Leicester Square.—Characters dressed in Masquerade, cross the stage, as if going to the Carnival—Dominoes lead the way.

Enter OLD MAID and POODLE followed by CLOWN—CLOWN steals POODLE, and pops his own head in POODLE’S place—OLD MAID enraged, pummels CLOWN’S pate till she breaks her fan—CLOWN carries her off squalling R. They are followed by grotesgue DWARF, in chintz gown and cap, with big head; preceded by servants with candles, who also exit.

Enter LILLIPUTIAN HARLEQUIN, COLUMBINE, and CLOWN; L. Characteristic PAS de TRIOS, to the “NATIONAL WALTZ;” little COLUMBINE coquetting between HARLEQUIN and CLOWN—after they are off. O. P. various MASKS enter severally—business ad libitum.

SCENE.—Venetian Carnival brilliantly illuminated—various characters on—Music, Dancing, Tumbling, and masquerade business ad libitum, till enter Jerry (as Sportsman) and Sue as Domino.

Sue. (Coming down). What game would you start here, Mr. Sportsman?

Jerry. None, my pretty Domino—I only hunt in Somersetshire; that’s my manor.

Sue. Manners makes the man, certainly; but you’re making game of me.

Jerry. I speak truth, by heaven!—Oh, Susan, lovely Susan, never can I forget thee, dear.

Sue. Indeed! then Susan takes you at your word. (Unmasks).

Jerry. Susan Rosebud!—Astonishment! then the Captain—Miss Trifle, and the pretty ballad singer!——

Susan. Were one and the same person, your humble servant!—I followed to preserve and reclaim you; I have done so, and I am happy—but your cousin comes, stand aside.

[They retire.

 [Pg 74]

Enter TOM, as Don Giovanni, with KATE as Domino.

Tom. (Advancing with Kate). Could I find one of your sex that would be faithful, I would never rove again.

Kate. Are you sincere?—

Tom. By heaven!—I am!

Kate. Then behold the reward of your sincerity, the constancy of your faithful Kate. (Unmasks).

Tom. Kate! oh, my dear Kate!

Enter LOGIC, as Doctor Pangloss, with JANE in Domino.

Log. (Advancing with Jane). I am an L.L.D. and A.S.S.

Jane. (Unmasks). You are indeed an A-S-S, not to have found me out before.

Log. What! my Jenny!——

Jerry. Don’t be astonished, Bob—I’ll explain all:—Tom and I are going to make two matches; you must make the third—form a bunch of matches—exchange one imprisonment for another, her arms, you dog!—’aint you up?—

Log. I’m fly—Oxford has no fellowship like this! (Embracing Jane).

Tom. (Coming down with Kate). You are right, Bob, it has not.—Well, we have been amused by Life in London, now let us endeavour to profit by it;—let our experience teach us to avoid its quicksands, and make the most of its sunshine;—and in that anticipation let us hope our kind friends will pardon Tom, Jerry, and Logic all their sprees and rambles.

 [Pg 75]

Jerry Going Back to the Country.

The White Horse Cellar, Piccadilly:—

Was now the parting scene, and the hand of the clock pointed very near to the time for the departure of the coach. The bustle of this place prevented the Trio from much conversation; but the separation of such staunch pals was a trying moment to the feelings of poor Jerry: and though he was above blubbering like a Johnny Raw, yet his Heart was rather touched, and his ogles underwent some queer sensations, which he endeavoured to suppress, when Coachy asked “if all was right” and began to smack his whip.

The hearty grasps of the hand, and the good-byes were over between Hawthorn and his pals, and Tom and Logic were only waiting to see the coach start, when Jerry, with much eagerness of expression, as if he had forgotten to mention the circumstance previously, said, “my dear Coz”—but the coach was now fast rattling over the stones, and the last broken sentence which the ear of the Corinthian caught was, “Mention me in the kindest manner to the lovely Sue; tell her I am only gone into training, and in the course of a few weeks I shall most certainly return to London to enjoy a few more sprees (which I have so unexpectedly been deprived of), and also to have with her the pleasure of another game at romps.”

The End.

[Pg 76]

The Adelphi version of Tom and Jerry, or Life in London, was performed ninety-three nights in succession; and its golden career only stopped by the termination of the season. At the end of which, Little Bob Keeley, who had made a great hit as Jemmy Green—a character imported into the piece by Mr. W. T. Moncrieff—went with Walbourn, the great Dusty Bob, and Cooper, who played to the life, Little Jemmy, the cripple, to Sadler’s Wells Theatre, were Pierce Egan’s own version was produced April 8th, 1822. Keeley was threatened by the Adelphi lessees—Messrs. Rodwell and Jones—with an action for breach of engagement, but the action was never brought. In the season of 1822-3 at the Adelphi, John Reeve—‘Glorious John!’ became Jerry Hawthorn, Mr. Brown took the part of Jemmy Green, and several other changes in the original cast were effected. At Christmas, 1822, Tom and Jerry was compressed so as to admit of the production of a pantomime called Beauty and the Beast, or, Harlequin and the Magic Rose. When the managers announced that:—

When the long run of Tom and Jerry ended at the Adelphi, a spectacular extravaganza of the same kind was produced with the title of “Green in France,” but it did not catch the fancy of the town like its predecessors.[34]

[Pg 77]In 1825, Mr. Moncrieff published his dramatic version of Tom and Jerry; or, Life in London—which he dedicated to:—

[Pg 78]Mr. Moncrieff in his Dedication—To His Royal Highness: and in his Preface that follows throws so much true light and shade on public opinion—pro et con—of the period, that we deem it not only desirable but instructive to the present generation to publish the same in extenso.

The Dustman.

[Pg 82]

Pierce Egan on Mr. Walbourn’s “Dusty Bob.”

Mr. Walbourn’s theatrical fame was made by, and, strange to say, expired with the character of Dusty Bob. Pierce Egan, in his “Life of an Actor,”—which he dedicated to Edmund Kean—classes his performance of this part, as giving him a title in the niche of fame beside John Kemble, Mrs. Siddons, and all the great actors contained in his “Catalogues of Parts Acted”—which can never be forgotten by those who witnessed them. Here is the note, and will be found at page twelve of the work:—“The personification of Dusty Bob, by the above actor, has been unanimously decided by the public to be one of the greatest triumphs of the histrionic art ever exhibited on any stage. The first tragedian of the day,[35] with the utmost liberality, gave it as his opinion, that, during the whole course of his theatrical life, he had never seen any performance equal to it. Also, a comic actor of the greatest celebrity[36] exclaimed, ‘Good heaven! is it possible? Do my eyes deceive me? Most certainly it is a real dustman they have got upon the stage. I am very sorry the profession has descended so low as to be compelled to resort to the streets to procure a person of that description to sustain the character.’ He left the body of the theatre in utter disgust—nor was it until introduced to Mr. Walbourn in person, behind the scenes, that he would believe it was an actor. Further praise than this is superfluous.”

[Pg 83]Mr. Walbourn as “Dusty Bob,” was drawn and engraved by George Cruikshank, and sold, with other character-portraits, at the Adelphi Theatre. During the long run of the piece, he exchanged one species of hops for another, as he gave up his business as a private and stage dancing-master, and took the “Maidenhead” public-house at Battle Bridge. The house, previous to his taking it was doing only a small trade; but, when he became the landlord, and put out a spick-span new and a “not so dusty” sign of himself as “Dusty Bob,” painted in oil by George Cruikshank, it drew together many of the “Dusty” fraternity—and their doxies. After that, “Dusty Bob,” together with “Black Sal,” became to be bye words, as, near to the house, was Smith’s dust-yard, at which hundreds were employed, male and female. But:—

“A heap of dust alone remains of thee;
’Tis all thou art, and all the proud shall be!”

 [Pg 84]

The Literary Dustman.

My dawning genus fust did peep,
Near Battle Bridge ’tis plain, sirs—
You recollect the cinder heap,
Vot stood in Gray’s Inn Lane, sirs?[37]
’Twas there I studied pic—turesque,
Vhile I my bread vos yarning,
And there, inhailing the fresh breeze,
I sifted out my larnin’!
They calls me Adam Bell, ’tis clear,
(As Adam vos the furst man),
And by a co—in—side—ance queer,
Vy, I’m the fust of dustmen!—
A Literary Dustman!

The “Old Pub.” of sixty years ago is now The Victoria Tavern, Great Northern Railway. Maiden Lane is York Road, and Battle Bridge is known as King’s Cross, from a statue of George IV.—a most execrable performance—taken down in 1842.

Great sculptors all conwarse wi’ me,
And call my taste diwine, sirs—
King George’s statty at King’s Cross
Vas built from my design, sirs.
The Literary Dustman.

Besides the authors already mentioned. Tom Dibden, Farrell, and Douglas Jerrold, each produced dramas upon the popular theme; and during the seasons of 1821-2, “Life in London” was performed with great éclat, at ten theatres in and around the[Pg 85] metropolis, to overflowing houses. But Pierce Egan at length became tired of the successes of the playwrights in using his book, and resolved to try his own hand at a dramatic version—or, as he termed it, “to take a leaf or two out of his own book”—and the Author’s Piece was “got up” and performed for the first time at Sadler’s Wells, under the respectable management of Mr. Egerton, on Monday, April 8, 1822, with most decided success.

It was thus announced by Mrs. Egerton, in the address written for the occasion by T. Greenwood, Esq.

“To-night, my friends, this modern taste to meet,
We show you Jerry at his country seat;
Then up to town transport the rustic beau,
And show him ‘Life in London,’ HIGH and LOW.”

SADLER’S WELLS THEATRE.

Under the Direction of Mr. Egerton, of the Theatre Royal, Covent Garden, Sole Proprietor.

The Brilliant Success, and increasing Attraction of Pierce Egan’s “Tom and Jerry”: not exceeded by any performance ever yet produced; and the celebrated Pony Races, exciting an interest equal to the Race Course itself: being nightly performed to crowded Audiences, amidst Roars of Laughter and Shouts of applause, will be repeated Every Evening, at half-past six o’clock precisely:—

The new Pedestrian, Equestrian, and Operatic Extravaganza: in Three Acts—of Gaiety, Frisk, Lark, and Patter, called

[Pg 86]TOM AND JERRY.

Put into Shape, exclusively for this Theatre, by Pierce Egan.

Who trusts it will not be deemed unfair that he should take a Leaf or Two out of his own Book, several other persons having made free with the Work. The Piece now prepared for representation is not entitled to the appellation of Tragedy, Comedy, Opera, Play, Farce, Ballet, or Melodrama, yet partaking of the Qualities of all, and possessing scenes High and Low in abundance, from the “Sky Parlour” to the “Diamond Vault.” Out and Out, Rambles and Sprees, East and West, and Lots of Characters, Up and Down. A variety of Swells but no Dons: Corinthians and Costard-mongers of many Hues and Colours: Flats and Sharps without a Note—Pinks and Tulips, but no Flowers, yet always in the Hot Houses: and Hells without Devils, only having Black Legs: Muslin and Hopsacks, according as the creatures wear them: the whole forming a “Bit of Good Truth,” en passant, in a Review of Life in London, developed by a precious Trio, in the Persons of a Top-of-The-Tree-Hero Up and Dressed in all suits: seconded by a slap-bang countryman, that neither hedge nor ditch baulk his pursuits; and in unison with a prime piece of Logic without Premises, yet always so much at Home, that Locke and Bacon were muffs to him: also representing the Noble, Respectable, Mechanical, and Tag Rag and Bob-tail part of Society, which constitute the Corinthian Capital, and the Base of the Pillar.

The Overture, with the New and Selected Music, by Mr. Nicholson. The Scenes from Drawings taken on the spot, by Mr. Greenwood, assisted by Mr. Milldenhall and others.[Pg 87] The Sporting Subjects, by Mr. George Cruikshank, from designs by himself and Brother, Mr. I. R. Cruikshank. The Quadrilles and Country Dances, by Mr. Kirby. The Machinery, Platforms, and Race Course, by Mr. Copping. Dresses by Mr. Townley and Mrs. Balding.

To Start from the Winning Post on the Stage; Run three times Round the Course.

Separate Matches, and afterwards for the Grand Sweepstakes.

PONY RACES.

Passing Into and Round the Pit.

☞ The eagerness of several Ladies and Gentlemen to Promenade the Course during the Race, having at times produced a temporary delay and inconvenience, they are respectfully intreated to observe the directions of the Clerk of the Course, who will attend with Mrs. Dusty Bob (African Sal) in their Carriage from Maiden Lane, Battle Bridge, for the purpose of preserving order.

 [Pg 88]

The Corinthian’s Diary.

A Celebrated Comic Song, written by
T. GREENWOOD, Esq.
And Sung by Mr. Vale, at Sadler’s Wells Theatre, in the Character of Bob Logic.

SUNDAY, got floor’d, in groggy plight,
MONDAY, quite stale, took anti-bilious,
Pester’d by nausea, nerves not quite right,
And noisy duns quite supercilious:
A dish of Mocha, ’chovy toast,
Remov’d the spasms—increased attrition,
So started, when I’d skimm’d the Post,
To Tattersall’s, in high condition.

TUESDAY, got clean’d at Rouge et Noir,
And, done quite brown, was forc’d to toddle;
So then I vow’d to play no more,
Lest, like a lame duck, I should waddle.
[Pg 89]
WEDNESDAY, reflected; curs’d each star,
Swore never more a card to handle:
Went to the Fives Court, saw them spar,
And patronis’d Cribb, Neat, and Randall.

THURSDAY, bowl’d down to Ascot Heath,
To sport my blunt upon the races:
Rode my own mare almost to death,
For I had won three steeplechases:
Clean’d out again, I came away
Quite undismay’d, though out of feather,
At night I bolted to the play,
To drown ill-luck and care together.

Met with a spree, two glorious frays,
So went to work—I hate long parleys;
Kick’d up a row, then starr’d the glaze,
And mill’d, in style, a brace of Charley’s:
Morris’d away to Almack’s Rooms,
Danc’d a quadrille, alert and showy,
Call’d at the Finish, mops and brooms,
And tumbled to bed as drunk as Chloe.

FRIDAY, I went to see dear Nancy,
But found a Covey there before me,
Was forc’d to bolt, I’d lost my chance,
But Kate, I knew, would still adore me:
So off I set, stay’d SATURDAY,
My comforts took, then home departed;
Book’d for next week, with spirits gay,
I for a fresh game, on SUNDAY started.

 [Pg 90]

SADLER’S WELLS.

PIERCE EGAN,
The Author

of

TOM & JERRY;

or,
Life in London.

Most respectfully informs the Public, and his numerous Friends in the
Sporting World, that:

(Before “all the Gold is taken off the Gingerbread,” being contented
with a Small Slice of it,) his

BENEFIT
is fixed for
Wednesday

The 25th September, 1822.

When a Variety Entertainment, will be performed, in which
THE AUTHOR
Will make his First and only Appearance on this Stage, in a
PRINCIPAL CHARACTER.

LIFE IN A SPREE.

A Spree’s the thing, with potent port made merry,
“Go it Bob Logic,” “Keep it up,” cries Jerry.

[Pg 91]The Upper Story all abroad—Mr. Lushington at Work; and when the Wine is in, the Wit is out—Ripe for any thing—How to make a Stop—Watch go—And getting the best of the Timekeepers—Must make a noise in the World:—

No way but this left to obtain renown,
Kick up a Row, and knock the Charlie’s down!

LIFE IN THE EAST.

All-Max ...... A bit of good Truth!

Tickets not necessary—Any Port in a Storm—Never a Jack without a Jill—All happiness: no questions asked: and one half the world don’t know how the other half lives—(or dies!)—No matter! Plenty of Taste—Patter without ceremony—And not particular to a shade about Lingo. Spoting a toe without a shoe, and no enquiry after the Snob’s Bill—Reeling without steps—Flooring instead of Waltzing, and nothing the matter. Country or colour no objection—Ladies in mourning not prohibited—Black Sall don’t blush for her appearance—And Dusty Bob not uneasy about his toggery—All the same One Hundred Years hence!—Philosophy.

⁂ To prevent the trouble and fatigue of ascending the numerous Steps to the Author’s Sky Parlour, (in Days of Yore, denominated a Garret, as well as Tumbling over lots of Kids,) Tickets to be had of Messrs. Sherwood, Neely, and Jones, Paternoster Row; Office of the Weekly Dispatch, Wine Office Court, Fleet Street; at all the Sporting Houses; and Places for the Boxes can be taken of Mr. Parker, at the Box Offices, Sadler’s Wells, from 10 till 4.

Full Particulars will be duly Announced.

Boxes 4s.  Pit 2s.  Gallery 1s.

Glendinning, Printer, 25, Hatton Garden, London.

 [Pg 92]

Brighton, of course, in common with all other large provincial towns had its version of “Life in London.” The theatre was then under the management of Mr. Samuel—or, as he was commonly known, Jerry Sneak Russell, from the inimitable manner in which he personated that character in Foote’s farce of “The Mayor of Garrat.” We have a copy of the play-bill before us, and as we think the manager’s remarks and the selection of criticisms are in their way curious, we here append them, including the cast of characters:

THEATRE ROYAL, BRIGHTON.
LAST NIGHT BUT ONE.
TOM AND JERRY.

In announcing the successful piece of “Tom and Jerry” for this evening, the manager feels great satisfaction in being able to quote in its favour the following observations from the critiques in the London and other newspapers. “The scenery, dresses, &c., are good throughout, and much credit is due to the manager for the style in which it is got up. It is with pleasure we remark that this piece has been most judiciously freed from the impurities of dialogue, which rendered it improper to meet the delicate ear of the gentler sex. We therefore venture, without subjecting ourselves to reproach, to recommend our readers to see ‘Life in London,’ to witness an exposure of many impositions practised in real life, and be made ‘fly’ (the plain English of au fait) to the multum in parvo phrases which are now introduced into passing conversations.”

“Brighton.—The theatre at this place has just produced its ‘Tom and Jerry’ with great success, and, we may say, deservedly—every objectionable point that might be thought to infringe on decorum having been most ingeniously suppressed,[Pg 93] without any diminution of the whim and fire of its varied and entertaining scenes. This regard to propriety argues much discretion, and seems to meet the approbation of the beau monde resorting hither, for the theatre is graced with abundance of fashion and beauty.”

“The ‘Tom and Jerry’ of the Brighton Theatre has good scenery, good acting, and, what in such a piece is perhaps still better, good and chaste dialogue to recommend it; it has been cleansed of its impurities without injuring its life and spirit. As thus represented, it cannot raise a blush on the cheek of the most fastidious female.”

On Wednesday Evening, September 12, 1822, will be reproduced the highly popular and amusing Burletta of

TOM AND JERRY.

Country Lasses, Ladies at Almack’s in the West, &c., &c.; Prospectus of Scenery, &c., &c., as before.

To conclude with the Romantic Melo-drama of

VALENTINE AND ORSON.

Creasy, Printer, Gazette Office, Brighton.

The notoriety which Tom and Jerry obtained in England, became the topic of conversation amongst our Gallic neighbours—nay, it crept so much into favour with the gay folks of Paris, Life in London was speedily translated into French, under the title of “The Diorama; or, Picturesque Rambles in London—containing the most faithful Notices of the Character, Manners, and Customs of the English Nation, in the various classes of Society. By M. S——.” The translation had a most extensive circulation in France.

The reception of Tom and Jerry was equally flattering—notwithstanding the great prejudices that had previously existed against it—in Dublin. Mr. Wrench, from the Adelphi Theatre, was specially engaged to play the part of Corinthian Tom. The first seven nights produced £1300; and the house, on Mr. Wrench’s benefit night, held £345.

[Pg 95]The great success of “Life in London,” in its dramatic form in the Irish capital lead up to the publication of:—

“Real Life in Ireland; or, the Day and Night Scenes, Rovings, Rambles, and Sprees, Bulls, Blunders, Bodderation, and Blarney of Brian Born, Esq., and his elegant friend Sir Shawn O’Dogherty. 1829. Coloured plates.”

In which the pictorial style of the Brothers Cruikshank was imitated from an Hibernian point of view and colouring.

At both the Theatres in Edinburgh, Tom and Jerry attracted crowded audiences, according to the Editor of the Edinburgh Dramatic Review, who states thus:—

“At length the public of Edinburgh had opportunity of judging of the merits of the above celebrated Extravaganza. From the general tendency of the remarks which appeared in the newspapers, we were led to suppose that this piece consisted of indecency and gross vulgarity. From what we heard reported as to the numerous indelicacies which this sketch of Fun, Frolic, Fashion, and Flash contained, we were afraid that its success with our sober citizens would have been precarious; but, we are happy to say, that the applause which was bestowed on it by the unprecedentedly numerous assemblage on Saturday evening, January 25, 1823, which crowded the Caledonian Theatre, is a sufficient answer to the chimerical doubts which were industriously circulated against its propriety. There is nothing, as we before remarked, associated with disgust or offence. There is neither one word, action, or situation, in the whole course of the piece, that can possibly raise a blush, or offend the most fastidious moralist!”

[Pg 96]The Burletta of Tom and Jerry had been repeated so often all over the kingdom, and particularly in the metropolis, that the performers, notwithstanding the great applause they nightly received in the above piece, absolutely became tired and worn-out with the repetition of their characters, when the following piece of satire, written by T. Greenwood, Esq., was published, entitled, “The Tears of Pierce Egan, Esq., for the Death of ‘Life in London’; or, The Funeral of Tom and Jerry. Dedicated to Robert and George Cruikshank, Esqs. Price Two Shillings, with an engraving by George Cruikshank.”

“Beat out of the Pit, and thrown over the Ropes,
Tom and Jerry resign’d their last breath,
With them, too, expired the Manager’s hopes,
Who are left to deplore their sad death!

“Odd and various reports of the cause are about,
But the real one was this I opine:
They were run to a standstill, and, therefore, no doubt,
That the cause was a rapid decline.

“When death showed his Nob, out of Time they were beat,
And neither would come to the scratch;
They hung down their heads and gave up the last heat,
Not prepared with the Spectre to match.

“All wept at the Funeral! the Fancy and all—
Some new, but a great many mended:
And Egan, while Cruikshank and Bob held the pall,
As Chief Mourner in person attended!!!
[Pg 97]
“Their Sprees and their Rambles no more shall amuse,
Farewell to all nocturnal parleys:
The Town felt regret, as the bell tolled the news,
And no one rejoiced—but the Charleys!

“A monument, too, their kind Patrons will raise,
Inscribed on—‘Here lies TOM and JERRY,
Who, departing the Stage, to their immortal praise,
ONE THOUSAND NIGHTS made the Town merry!!!’

“May their souls rest in peace, since they’ve chosen to flit,
Like other great heroes departed;
May no mischief arise from their sudden exit,
Nor Pierce Egan die—broken-hearted!”

In reference to the above, Pierce Egan states that Jemmy Catnach, the renowned Ballad-monger of the Seven Dials, in less than twelves hours after the publication, produced a pirated edition for street sale, for two-pence.

Mr. Pierce Egan, in his “Finish,” states that he reckoned no less than sixty-five separate publications, which he enumerates in extenso, all derived from his own work, and adds, with his usual amount of large and small Capitals and italics—“We have been pirated, COPIED, traduced; but, unfortunately, not ENRICHED by our indefatigable exertions; therefore NOTORIETY must satisfy us, instead of the smiles of FORTUNE. Our efforts have given rise to numerous productions in the market of literature, yet we can assert, with a degree of confidence hitherto unshaken, that none of our Imitators have dared to think for themselves during the long period of seven years, neither have[Pg 98] they shown any originality upon the subject of ‘Life in London’; but who have left it—disinterested souls!—to the Author and Artist to put a CLIMAX to the adventures of Tom, Jerry, and Logic.” The last remark is in reference to the publication of “Pierce Egan’s Finish to the Adventures of Tom, Jerry, and Logic, in their Pursuits through Life in and Out of London. With numerous coloured illustrations by Robert Cruikshank. London: George Virtue & Co., Ivy Lane, Paternoster Row.” Seven years after the date of “The Life in London.” In common with almost all other sequels, or “continuations” it was not successful—the fact being that Pierce Egan, and the subject of his work were alike literally and financially “used up!”

Old Jemmy Catnach, true to his line of life, soon joined what Pierce Egan designates as the “Mob of Literary Pirates” who irritate the poor author almost to madness, blast his prospects, impose on the unwary by their imitations, and render his cash account all but nugatory, and, just as he may be congratulating himself on the success of his genius, receiving the smiles of Fame, and a trifling sweetener from Threadneedle Street, as a reward for his exertions, he may be attacked by Sappers and Miners—those pickers and stealers who do not absolutely come under the denomination of pickpockets, yet thieves to all intents and purposes, and, certainly, robbers of the most unprincipled description—a set of vampires—living upon “the brains” of other persons, and who dare not to think for themselves.

Catnach brought out a broadside, or “whole-sheet,” for street-sale, entitled:—

 [Pg 99]

Larger Image

Text of Image

[Pg 100]The “broadside,” which Pierce Egan calls—“Another wicked piracy, by Catnach,” consists of twelve woodcuts,—of which we have given facsimiles in our pages—it will be seen that they are reduced and very roughly executed copies of the original plates by the Brothers Cruikshank, but in reverse. Therefore the swaggering Notice to Pirates which Jemmy Catnach published reads funny enough. The letter-press matter consists of flash songs, and a poetical epitome of the plot and design of the original work of “Life in London.” And taking it as it stands, and from where it emanated, rather a creditable performance, particularly when we take into consideration—as duly announced by the street-patterer, that it was—“Just printed and pub—lish—ed, all for the low charge of “Twopence.”

On the rarity of this Catnachian and piratical edition of “Life in London” it is superfluous to enlarge, and it is easy to account for this circumstance, if we reflect that the broadside form of publication is by no means calculated for preservation; hundreds of similar pieces printed at the “Catnach Press” and at other offices publishing for street-sale must have perished. The more generally acceptable a broadside or street-ballad became, and was handed about for perusal, the more it was exposed to the danger of destruction. No copy of Catnach’s version is preserved in the British Museum, therefore, and for reason above stated, it must be considered as a great “Literary Curiosity.”[38]

 [Pg 101]

Old Stage Waggon.

As we have before observed, “Life in London” was dedicated by permission to George IV., and it is a circumstance in itself which looks singular enough in this Victorian age, that royalty should have condescended to have had such a work dedicated to it. One paragraph, which we are about to quote, strikes us as being a very peculiar and free-and-easy style for an author to address himself to a King of England. It is as follows:—

“Indeed, the whole chapter of ‘Life in London’ has been so repeatedly perused by your Majesty in such a variety of shapes—from the elegant A, the refined B, the polite C, the lively D, the eloquent E, the honest F, the stately G, the[Pg 102] peep-o’-day H, the tasteful I, the manly J, the good K, the noble L, the stylish M, the brave N, the liberal O, the proud P, the long-headed Q, the animated R, the witty S, the flash T, the knowing U, the honourable V, the consummate W, the funny X, the musical Y, and the poetical Z,—that it would only be a waste of your Majesty’s valuable time to expatiate further upon this subject.”

One notable effect of “Life in London,” particularly in its dramatised form, must be recorded. It broke the heart of poor Billy Waters, the one-legged musical negro, who died in St. Giles’s workhouse, on Friday, March 21, 1823, whispering with his ebbing breath, a mild anathema, which sounded very much like: “Cuss him, dam Tom—meē—Tom—meē Jerry!”

Poor Billy endeavoured, up to the period of his last illness, to obtain for a wife and two children what he termed, “An honest living by scraping de cat-gut!” by which he originally collected considerable sums of money at the West-end of the town, where his ribbon-decked cocked hat and feathers, with the grin on his countenance, and sudden turn and kick out of his wooden limb, and other antics and efforts to please, excited much mirth and attention, and were well rewarded from the pockets of John Bull. The burden of Billy’s ditty “from morn to dewy eve,” and from January to December, was:—

Polly will you marry me—Polly don’t you cry,
Polly will you marry me—Polly don’t you cry:—
Cry—cry—cry!

 [Pg 103]

BILLY WATERS.

Mr. W. T. Moncrieff, the dramatist, is responsible for the following biographical notice of this old London Street Character:—“Of this meritorious and lamented individual, we had with great trouble collected from various sources, an ample and interesting Biography. But unfortunately for posterity, in the same classic regions where he lost his life, we also lost his life; and, to tell the truth under the influence of the same[Pg 104] seductive fluid too—Daffy!—we can therefore only present our reader with a few brief notices from memory.”

Billy Waters, was born in the powerful African kingdom of Tongocongotaboo, where he was a native Prince, and bore the name of Pokikokiquanko; from this place he was at an early age, to the universal regret of his loving subjects, kidnapped, by ‘an auld Quaker,’ who bought him from his treacherous attendants, for two axes, a frying-pan and a bag of nails. This black piece of business made him a slave, in the French settlement, at Demarara, from whence however he speedly took French leave, and entered, we believe, the British navy as a cook par excellence on board the Ganymede sloop of war, under the command of Sir John Purvis, where, during a fierce engagement, he lost a leg, some say gallantly fighting the enemies of old England, though others insinuate it was through falling down the cockpit ladder, in his great hurry to hide himself. His own version was that he fell from the top-sail yard to the quarter deck during a storm, we cannot pretend to decide which was the fact, it however occasioned his being sent to England, as unfit for service. Arriving in London, he betook himself to that wild mode of life, which best suited his origin; the trammels of civilized society, had no charm for him; he scorned the mechanical rules of man, and picked up his living wherever he could find it. Born a Prince, and bearing a native princeliness in his appearance it is not to be wondered at that his associates should speedly elect him to the regal dignity of their tribe.

In the year 1812 Billy was solemnly inauguared ex cathedra into the sovereignty of mendicityship—King of the Beggars—at the cellar of St. Patrick in St Giles’, a rank he supported with great satisfaction and majesty, till the luckless period when a[Pg 105] rival Billy (Bodkin), by being placed at the head of the mendicity society, virtually became King of the Beggars in his own right. This—as he conceived it, cruel usurpation by Bodkin, pricked Billy just a leetle too hard. From that moment he drooped as a blighted lily, and like another black hero he exclaimed—‘Othello’s occupation’s gone.’ The fickle British public refused to be as liberal as they had been, which he attributed to the production of “Tom and Jerry” with whom he was made to partake of:—

However, by a combination of events, Billy became very poor, and was obliged, prior to his going into the workhouse, to part[Pg 106] with his old friend, the fiddle.—“Him lend him ole fiddle to him uncle at de pop shop,” and the wooden pin (leg) which had so often supported Billy, would have shared the same fate, but its extensive service had rendered it worthless though it had twice saved poor Billy from the penalties of the Treadmill. At length, in the full belief that his spirit was about to flee to meet his coloured ancestors in the realms of bliss and a free hunting ground, he duly made his will, in which he bequeathed to W. Bodkin, Esq,—Billy Bodkin, the Hon. Sec. to the Mendicity Society: a bodkin that had so often pierced Billy to the heart—his wooden leg, earnestly desiring he might receive it in his latter end.

In life he had been accustomed to wear a military cocked hat, a judge’s full-bottomed cauliflower wig, and a naval officer’s jacket and trousers, symbolical of his being the head and arbiter of the naval, military, and judicial departments in his eleemosynary kingdom, these he bequeathed in the following manner: His wig he left to the Court of Chancery, in the vague hope that they might obtain with it a little of his decision in equity, and promptness in justice. His military hat he left to the Heads of the Horse Guards, and his naval jacket and trousers to the old washerwomen that manage the Greenwich Hospital. The Deal Fiddle, on which he had been used to scrape his native WOOD notes wild, we are happy to state, was taken out of lavender, and is now in the possession of the Tyburn Ketch and Glee Club—the duplicate having been bequeathed to them for that purpose.

In conclusion we have only to state, that Billy was an accomplished cadger, a skilful musician, and adroit dancer—doing more on one leg than many others on two, and possessed abilities[Pg 107] that as an actor would have rendered him a shining ornament to the stage—“to hold, as t’were, the mirror up to nature; to show virtue her own feature, scorn her own black image!”

Billy was considered of sufficient public importance, when in the flesh, to be moulded and well baked by a Potter, who taking up and moistening a lump of clay, said, “Be ware!” and then turned Billy out in one of his happiest moods and positions, with a broad grin on his black mug—a perfect image, suitable for a chimney or sideboard ornament; which found a ready sale at the time of its manufacture, but has now become very rare in perfect condition, and, much coveted by collectors to add to their Class, or Section of “English Characters.” Specimens of this style of ware are exhibited in the Bethnal Green Museum, London. Henry Willett, Esq. of Brighton, also exhibits his fine collection of the same class of ware at the Brighton Free Public Library.

 [Pg 108]

LINES ON BILLY WATERS.

By W. Reeves, June, 1823.

Peace to the manes of Black Billy Waters,
Well-known throughout the Town!
The reason that he left these quarters—
Is plain—He was by Death done brown.

His life was one continu’d round
Of pleasure and of glee;
His fiddle caus’d the hearts to bound
Of children as big as me.

Mags came thick, this made him merry;
Fortune changes in a crack—
Folks they went t’see Tom and Jerry,
And on Billy turn’d their back.

Justice, at length, seiz’d on poor Bill,
Who quickly took his peg off;
So they didn’t send him to the Mill,
’Cause, why? he’d got a leg off.

His day was o’er, he soon found out
Poverty with rapid stride
Follow’d him, and clamor’s shout
Meant poor Billy to deride.

In vain he fiddl’d, danc’d and sung,
Until he was out of breath;
Starving he was, his bow unstrung,
Till he danc’d—The Dance of Death.

 [Pg 109]

Little Jemmy.

The real name of this notorious street-character was Andrew Whiston. He was a born cripple, and in every respect a most miserable object of charity. Moncrieff imported him into his Adelphi version of “Tom and Jerry; or, Life in London,” as “Little Jemmy,” and there figures in the Scene: Back Slums in the Holy Land: in company with Mr. Jenkins, Soldier Suke, Dingy Bet, Creeping Jack, Billy Waters, Ragged Dick, and other well-known characters.—Vide page 46.

For many years Andrew, alias “Little Jemmy,” had been in the habit of propelling himself about the streets of London in a little truck, or box on wheels, assisted by the aid of two small crutches. He always wore a white apron to conceal the deformity of his legs, which were curved, and had the appearance of thin planks, having no calves.

[Pg 110]To avoid the penalties attached to begging and vagrancy he usually carried a few quill pens stuck in his coat and apron; declaring it to be the only trade to which he had been brought up, whence he was called The Penmaker! He has been heard to acknowledge he derived as much in his perambulations through the streets as amounted to £2 per week. It was his custom every morning to cross over Blackfriars Bridge for the purpose of gathering alms. He always prided himself as leader of the “Cadgers,” in the metropolis, and was one of the most dissipated of the class to which he belonged; never returning to the hovel, in which he took up his abode, in the Borough, except in a state of intoxication. In his fits of inebriety, when at a distance from home, and incapable of proceeding, he was generally picked up by some of the numerous coalheavers, residing in the same quarter of the town, and carried to his dwelling on their shoulders; this, from his diminutive stature, was no very difficult task to perform.

On the night of his death, which occurred Monday, April 3, 1826, he had been drinking spirits, and porter, during the day, and was as usual carried home by two men; for which they were to receive a pot of beer. On setting down their burden, the unfortunate man—who had been conveyed with his head downwards, was discovered to be in a dying state. Surgical assistance was immediately procured, but poor “Little Jemmy,” was quite dead ere it arrived. Information of his death was given at 11 o’clock to the night constable of St. Saviour’s Parish, who proceeded to the house, the inmates of which refused to give up the body, on the ground that their late lodger died in their debt a month’s rent. Another strong reason for their refusal in delivering up the corpse, was a report that prevailed[Pg 111] in the neighbourhood, that the surgeons of both the hospitals in the Borough had offered no less a sum than £100 for the body after death, for the purpose of dissection, in consequence of its extraordinary formation. The constable, however, claimed the body of the deceased, as none of his relations were on the spot, and conveyed it away to the watch-house, clearly perceiving that if it was left behind, the inmates would dispose of it to the highest bidder.

On Friday, April 7, an inquest was held at the Rose and Ball public-house, Bankside, Southwark, before R. Carter, Esq. Upon the return of the jury after viewing the body, all of whom expressed their astonishment at the decrepitude and peculiar formation of the singular little man. The surgeon in attendance having described the death to have occurred in consequence of apoplexy. The jury brought in a verdict in accordance with the medical evidence that the deceased died of “Apoplexy.”

The day after the inquest sat on the body it was conveyed to St. Saviour’s Burial ground, and interred in a grave dug 14 feet in depth from the surface, over which were placed three other coffins, in order to secure it against the resurrection-men, who were anxious to have the corpse to dispose of.

Subsequently to the death of Billy Waters, the notorious black mendicant fiddler—March, 1823; “Little Jemmy” acquired the soubriquet of The King of the Beggars.

[Pg 112]

The Tread-Mill at Brixton.

In the year 1817, Mr.—afterwards Sir William—Cubitt, of Ipswich, erected a Tread-Mill at Brixton Gaol—and soon afterwards in other large prisons, as a species of preventive punishment, which excited much attention and terror to evil doers, and proved eminently useful in decreasing the number of commitments; the strict discipline had a most salutary effect upon the prisoners not easily to be forgotten. Yet, the inventor’s name gave rise to many jokes on the subject among such of the prisoners who could laugh at their own crimes, who said that they were now punished by the cubit!

In nearly all the new and fa—vour—ite comic songs of the[Pg 113] day allusion was made to the Treadmill of Brixton as—The Everlasting Stairs!—The Stepping Mill!—The New Dancing Academy! &c. A street-ballad on the subject was issued from the “Catnach Press” and had a most unprecedented sale, keeping the pressmen and boys working for weeks:—

“And we’re all treading, tread, tread, treading,
And we’re all treading, at fam’d Brixton Mill.”

The following punning ditty was very popular at the period:—

Going to the Mill!

 [Pg 115]

THE WARNING.

Supposed to have been sung by a Cadger to his Companions on his Return from “The New Dancing Academy,” Brixton.

Tune.—“Bow wow, &c.”

In the Adelphi version of “Tom & Jerry,” there is as follow:—

Black Slums in the Holy Land.

Mr. J. Does any gemmen understand these here Tread Mills, that have lately got such a footing?

Jack. Silence! Gemmen: I’m a-going to make a hobservation, Mr. Jenkins means them there Mills as makes you vork vether there’s any vork or no—I can only say this here, gemmen, if them there Mills are encouraged, it von’t be vorth no body’s vile to exercise vone’s calling—because, vy, von may as vell go and vork for vone’s living at once—but the subject von’t bear not no thinking on.

Omnes. Not by no means. (General groans).

Billy Waters. Oh, curse a de Tread Mill, me no like a de “here we go up, up, up,” and “down you go down, down, down,”—an’ if you no work, a great big lump of wood come and knock you down so—(Strikes beggar on head with his fiddle, who falls down). Poor fellow, him werry sorry.

[Pg 117]

Tom and Jerry; or, Life in London.

Tune.—“Picture of a Playhouse.”
Of Life in London, Tom, Jerry, and Logic I sing,
’Tis a subject (I hope it will please)
Men and boys in my ears long time they did ding,
So I determined to risk a good squeeze—
To the Strand then I toddled—the mob it was great—
My watch I found gone—pockets undone:
I fretted, at first, and rail’d against fate,
For I paid well to see “Life in London.”

Spoken.-“La, vel now, if I a’n’t all of a perspiration,—positively, I’m in a melting mood;” this was uttered by a tallow chandler’s fat wife. Her hubby, Mr. Wicks, cries out “What the devil are you talking about melting?—for my part, I hate mention of business when I’m out on pleasure.” “Come, don’t be dipping in my pocket, if you please, Sir.” “Vat, vat is de matter?” “Wat! who’s talking of wats?” “Vy, my dear Mr. Vicks, I think this man’s making a reticule of me.” “By the powers! it is a very fortunate circumstance he be making a reticule for you, Ma’am, for that there young man, in the drab great coat, has just cut yours from the chain, and put it in his pocket.” “Mind what you’re arter, mind your pockets.” “Where are you pushing to?” “Where am I pushing to? I’m pushing

To see Tom and Jerry,
The lads who delight in
A bottle of Sherry
And watch to be fighting,
For that’s the time o’ day.
In the course of the piece is the parlour of Cribb,
There they chaunted their songs full of glee;
In the chair sits blythe Tom, he’s the real boy to fib,
And he’s also the boy for a spree.
The street-row comes next, and is kept up so well,
That I laugh’d and never wish’d the fun done,
[Pg 118]Those who play Charlies, I’m sure they can tell
What a street-row is in fam’d London.

Spoken.—“La! now, is this not a delightful picture of life! how do you like it, my dear?” “Oh Mamma, I likes it very well, only one thing is, I’m sorry I didn’t bring some hapennies out of my money-box, to give the poor beggar-people.” “Dear little innocent!” “Was you innocent when you was little, Mamma?” “Yes, my love.” “But, are you innocent now, Mamma?” “Why, yes—that is to say—as most women of my age are, my dear.” “Well. Mr. O’Quiz, how do you like the piece?” “Faith, now, the piece is very well, only one thing.” “And what may that be, pray?” “Why, I’m not inclined to make any objection at all, at all: but, by my soul! this is the first time I ever saw or heard of Life in St. Giles’s, without an Irishman being concerned in it.” “Hollo! what is all this hubbubboo?” “Why, it’s the half price, pushing in

To see Tom and Jerry, &c.

High life and low life are correctly pourtrayed
At Almack’s, I mean both the East and the West.
The actor’s look life, they so well are arrayed,
But the Back Slums to my mind is surely the best.
Logic a party invites to give them a treat,
The bailiff comes in and Bob’s undone;
He by Nab’em is press’d and ta’en to the Fleet,
Which brings to a close Life in London.

Spoken.—The piece being over, there’s a grand rush to the doors: then, hey for the pleasures of a soaking wet night. “Well, positively, ’pon honor, if it does’nt rain; its enough to make any one cross when one’s going out to a ball.” “Want a coach your honor?” “Yes, drive me to St. Paul’s.” “What, in the name of St. Patrick, can he want at the cross and ball of St. Paul’s at this time of night?” “Oh! bless my soul! I think I’ve broken my leg.” “Coach to Cripplegate.” “I say, look at that Cove diving at that Gent’s pocket.” “I hope you’ll excuse me, but I’ve got a cold, therefore want my hankerchief; but, as you’re so fond of diving, I’ll accommodate you—the Thames is near, and you shall have a dam’d good ducking.” “All right, Coachee.” “Watch! Watch!” “Hark! the Pianos going.” “Watch! Watch!” “What’s the row?” “Oh! only some fancy Lads, who, having seen the Charlies well mill’d inside, have already commenced milling them outside, and the word with them is

We’re like Tom and Jerry, &c.

 [Pg 119]

The following ballad is from the “Catnach Press:”—

PIERCE EGAN; OR, LIFE IN LONDON.
Written by a Corinthian, and sung in Prime Twig by an Out-and-Outer.

J. Catnach, Printer, 2, Monmouth Court, 7 Dials.

 [Pg 121]

THE LAST CHARLEY.

“Pity the sorrows of a poor old man.”

Country Orders punctually attended to.
Every description of Printing on the most reasonable terms,
Children’s Books, Battledores, Pictures, &c.

 [Pg 124]

THE SPREES OF
TOM, JERRY AND LOGIC;

A New Song, of Flash, Fashion, Frolic, and Fun.

LONDON:
Printed by J. CATNACH, 2 Monmouth Court, 7 Dials.
Battledores, Lotteries, and Primers sold cheap.
Travellers and Shopkeepers supplied with Sheet Hymns. Patter and Slips.
Songs as Cheap and Good as any Shop in London. Where an
Immense number of songs are always ready.
☞ Cards, &c., Printed cheap.

 [Pg 126]

I’M A CONSTABLE IN MY OWN RIGHT.

LONDON:
Printed by GOLD and WALTON, Wardour Street, Oxford Street,
For T. Hudson, Kean’s Head, Russell Court, Drury Lane,
1828.

 [Pg 129]

When again shall we Three meet,
Amongst the Swells in Regent Street?
Come soon, my boy—come with glee,
For lots of Fun—another Spree!

With respect to the publication of Life in London; or, the Day and Night Scenes of Tom and Jerry. The proverbial everybody seems for the nonce to have been pleased with the work. The thirty-six scenes from Real Life, designed and etched by the Brothers Cruikshank had much to do with its success, and everybody seems to have made a great deal of money out of the circumstance—save and except the author, Pierce Egan, for he very loudly and frequently, and also “cry-baby-like,” declared inter alia, that he received—“more of the kicks than the halfpence” by reason of the Pirates and Thieves being ever on the alert to prig his thoughts and ideas, and that the whole crew of them united to grab all the “lively things!” out of his head, and so render the “cash account” at his bankers all but nugatory. Then—“came the cry of immorality, so loudly raised by the Actor’s old rivals the Religious Tract Society, the Methodists, and other sectarian parties.” Yet, in spite of all that could be said or sung in the matter Pierce wrote that—“he was too game to be made a dummy of: therefore he was determined to take the leap, and have another “shy-up,” and go “double or quits,” with that supreme goddess of the gods FAME!!! and try his luck once more in the field of literature and announced the publication of his new work The Finish thus:—

[Pg 130] The AUTHOR to the READERS of
LIFE
IN and OUT of LONDON.

After the lapse of Seven Years the Author has once more seized hold of the feather, and the Artist his pencil, with an earnest endeavour to follow the advice of our immortal bard, or rather adopt him as a model, “nothing to extenuate, or set down aught in malice!” and:—

To hold as ’twere
The Mirror up to Nature; to show Virtue her own feature,
Vice her own image, and the very age
And body of the Time, its form and pressure.

Then thus it is—the “glorious uncertainty” of pleasing every class of society respecting a knowledge of Life in London being essential towards the improvement of the junior branches of mankind; and although contrary to the established and sapient rules of the College of Physicians, and the practice pursued by our learned friends in Westminster Hall, we are, nevertheless, anxious to give advice without a fee, in order to prove that, in all cases, whether connected with youth or more mature age, Prevention is much better than Cure; indeed, so anxious are we to set ourselves right with the public, as to our future intentions respecting this work, and that we may see our way clearly, and tread on the firmest ground, we feel inclined to adopt the latin proverb so often quoted by Bob Logic to the unsuspecting Jerry, on his first arrival in the metropolis:—

Incidit in Scyllam qui vult vitare Charybdim.

The necessity is absolute; or, rather, an apology is required for the introduction of the Author and Artist to the notice of reader, previous to the second appearance of those heroes—Corinthian Tom, Logic and Jerry, on the great theatre of the world! pour quoi? to vindicate the characters of the Author and Artist from unmerited aspersion of having attempted, by the joint efforts of real tales, original anecdotes, and animated sketches, to demoralize the rising generation; and likewise to refute the charge of having turned the heads of older folks towards the commission of acts of folly and intemperance enough! To our task——“Hark forward’s the word, see the game is in view!” and our exertions will be vigorously directed to establish, if possible. “Tâche sans tâche.” Our principal aim being to realize, to the utmost extent, the attractive motto:—

Pro Bono Publico!
Proceed, my boy, nor heed their further call,
Vain his attempts who strives to please you all!

 [Pg 131]

THE
FINISH TO THE ADVENTURES
OF
TOM, JERRY, AND LOGIC,
In their Pursuits through
Life In and Out of London,
BY PIERCE EGAN.

With numerous Coloured Illustrations by
Robert Cruikshank.



London:
George Virtue and Co.,
Ivy Lane,
Paternoster Row.

[Pg 132]The Finish to Life in London is embellished with thirty six illustrations by Robert Cruikshank, and contains XV. Chapters of letter-press matter. Tom, Jerry and Logic are again brought on the scene, and several additional characters are introduced into the work, notably Sir John Blubber, Knt., a second Falstaff, without stuffing, a most facetious, jolly, good-natured soul, one of that class of persons deemed independent, and his property enabled him to “care for nobody.” The adventures of the personnæ in their pursuits of Life in and Out of London are fully described, and the “Finish!” of Logic, the Oxonian, and Corinthian Tom narrated as follow.

CHAPTER XIV.

********

“I hope Logic will be able to accompany us in our visit to Lord Liberal’s Gallery,” said Tom, when he was interrupted by the footman putting the following letter into his hand—“Aye,” observed Tom to Jerry, “here is a note from Bob; let us hear what he has to offer upon the subject:—”

“There’s something behind this letter that I do not like,” said Tom; “Bob is very ill, you may rely upon it, or else he would not be so pressing for us to visit him.” “Yes, I am afraid it is too true,” replied Jerry; “but let us hope he is not so bad, neither, as you perceive, he is joking about my late affair.” “Joke with you!” echoed Tom, “I expect Logic will die with a joke in his mouth, he is so fond of punning? But we will lose no time, as I am anxious to ascertain the true cause of his illness.”

Upon the arrival of our heroes at the apartments of Logic, they found him sitting at a table, in his arm chair, with pens[Pg 134] and ink before him: his countenance most woefully changed for the worse. Indeed, Tom and Jerry were quite shocked with his altered appearance in so short a time. He endeavoured to smile upon them, as usual; but it savoured more of the “ghastly!” than that sort of enlivening humour which so generally imparted animation to his cheerful face. “I am very glad to see you, my boys,” said he, “before I start on my long journey, which I have been preparing for these last five or six days.” “I was not aware you had any such intention,” answered Tom; “but may I ask, where are you going?”

“To that bourne from whence no traveller returns!”

replied Logic, accompanied by a most penetrating look at the Corinthian. “Dr. Finish’em has given me my quietus, like an honest fellow. On feeling my pulse, he observed—“Your hour-glass is almost run out! Tempus fugit! Therefore, what you have to do, let it be done quickly, or else it will not be done at all!” Old Bolus, too, was rather funny with me on the occasion; “I know,” said he, “your Will was always good to serve everybody; therefore, Mr. Logic, have a good WILL now towards your friends.” I took Pill and Potions advice, and the few hours allotted to me I have made the best use of that I possibly could; and here is my WILL for your approbation.” The tear started down Tom’s cheek, and Jerry was much affected by the unexpected circumstance. “I sincerely hope it is not so bad as you apprehend,” said Tom. “Yes, my dear friends,” replied Logic, “it is all over with me. I have suffered severely from an inflammation in my bowels; but the pain has subsided, and that is the sign of approaching death.[Pg 135] You will perceive, on looking over my TESTAMENT,[39] that I have not adhered to any of the technical terms of lawyers, being well aware that the distribution of my property will never puzzle the pericranium of the Lord Chancellor, or occasion a row among the learned brethren, to obtain a brief upon the subject; and if I have not made myself perfectly intelligible, I hope you will now point out any errors that may appear to you, in order to avoid disputes hereafter. It is true, I have no blunt to leave you, my boys, but several notes, which I hope, will always bear an interest, and prove as valuable to you in the hour of need—as cash! You will, my dear Tom, as my last request, read it aloud, for the approbation of my friend Jerry.”

THE LAST WORDS AND TESTAMENT OF ROBERT LOGIC.

Being wide awake—my UPPER STORY in perfect repair—and down to what I am about—I have seized hold of the feather, with a firm hand, to render myself intelligible, and also to communicate the objects I have in view; I give and bequeath unto my friend, Jerry Hawthorn, Esq., my tile, my castor, my topper, my upper-crust, my pimple coverer, otherwise MY HAT, which, I hope, will never be the means of changing the appearance of “an old friend with a new face.” To my out and out friend and companion, Corinthian Tom, I give my spread, my summer-cabbage, my water-plant, but more generally understood as my Umbrella; who, I feel assured will never let it[Pg 136] be made use of as a shelter for duplicity, ingratitude, or hum-buggery of any sort! Also, to Jerry Hawthorn, Esq., I resign my fam-snatchers, i.e., my Gloves, under the consideration, if ever he should part with them, that they are only to be worn by those persons, who have “a hand to give, and a heart that forgives!” Likewise to Jerry Hawthorn, Esq., I bequeath my four-eyes, my barnacles, my green-specs, but amongst opticians, denominated Spectacles. It is my sincere wish, that nothing green will be ever seen appertaining to them, except their colour; I also hope they will not, upon any occasion whatever magnify Trifles into difficulties: but enable the wearer to see his way through Life as clear as crystal! I press upon Jerry Hawthorn, Esq., his acceptance of my fogle, my wipe, my clout, my sneezer, politely termed a Silk Handkerchief. This article has often been used to wipe off a tear of pity, and always forthcoming at a tale of distress; may it ever be at hand on such Christian-like occasions! To Philip Timothy Splinter, Esq., I bequeath my upper tog, my Benjaman, my wrapper, generally called a Top Coat, with the advice, that however it may be mended and mended again, he will never let it be turned against unavoidable misfortune, and charity. My ticker, my tatler, my thimble, otherwise my Watch, I bequeath to Jerry Hawthorn, Esq., as an emblematical gift to keep Time upon all occasions—to remember its inestimable value, and also to recollect that he will, some day or another, be wound-up for the last time. My two Seals I give conjointly to my most valued and dear friends, Corinthian Tom and Jerry Hawthorn, Esqrs., in order, if possible, that the bonds of friendship may be more firmly sealed between them, to the end of their lives. To Miss Mary Rosebud, I give and bequeath[Pg 137] my Diamond Ring, as a representative of her excellent brilliant qualities, and also as a golden fence, to secure her virtue, reputation, and dignity. To my worthy friend, Sir John Blubber, Knt. I give and bequeath my padders, my stampers, my buckets, otherwise my Boots, whose knowledge of mankind, united with kindness towards the failings of others, teaches him to tread lightly o’er the ashes of the dead! To prevent mistakes respecting my Bit, I have not a bit to leave; it having been with me, for some time past—Pockets to Let, unfurnished; Sic transit gloria mundi! But nevertheless, I trust I have always proved amicus humani generis! My Books having been long booked for their value, and afforded me consolation and support in the hour of need—I, therefore, leave as I found it, for other folks to bustle in, that Great Volume—the World! which upon all occasions, was my sheet-anchor! assisted by the following good old maxims, as my guide:—

Tempus edax rerum.—Time that devours all things.
Vincit veritas.—Truth conquors.
Principiis obsta.—Resist the first beginnings.
Vitiis nemo sine nascitur.—No man without his faults.
Spes mea in Deo.—My hope is in God.
Spero meliora.—I hope for better things.
Robert Logic.

Tom and Jerry were both considerably affected at the kindness displayed towards them by the Oxonian; and had it been at any other time, the singularity of the above Testament would have produced much laughter between them; at all events, it convinced them that Logic still preserved his character for ORIGINALITY. Three proper witnesses, disinterested persons,[Pg 138] belonging to the house, were instantly called in to sign it, when the Testament, in the eye of the law, became a valid document. “My dear Jerry,” said Logic, “as we must soon part, I had intended to offer a few remarks for your consideration; but, finding that my strength will not second my intentions, I shall be very concise on the matter: you must perceive that the comical part of my career is at an end, and you are well aware that I always was a merry fellow; but, as Mercutio says, I shall be found a grave man to-morrow. Endeavour, then, “To do unto all men, as you would they should do unto you,” and you will not be a great way off the right path to happiness. I feel myself very faint; my breath getting short; and having settled everything to my satisfaction, have the kindness to assist me into bed, that I may die like a Christian—contented, and in peace with all mankind! Tom, give me your hand; Jerry, yours likewise—I grasp them both with sincerity!” Then looking them full in the face; with a placid smile on his countenance, his last words were—“God bless you!” His lip fell; his eyes lost their brilliancy; and the once-merry, lively, facetious, friendly Logic, was now numbered with the dead!

[Pg 139]For several days, our heroes were absorbed in grief, at the sudden loss of their much-admired and valued friend; and Corinthian House, for a long time after the decease of the Oxonian, was dull in the extreme. The funeral of Logic, under the direction of Tom, was of the most splendid description; and a handsome monument was also erected by his order, bearing the following inscription:—

This Tablet
Was erected in remembrance of
ROBERT LOGIC, Esq.,
Who was viewed throughout the circle of his acquaintances as
A MAN,
In every sense of the word,
Valuable as Gold!
Mirth and Good Humour were always at his elbows; but
DULL CARE
Was never allowed a seat in his presence.
He played the first fiddle in all companies, and was never out
of tune:
Bob was a wit of the first quality;
But his Satire was general, and levelled against the follies
of mankind:
Personality and Scandal he disclaimed:
His exertions were always directed to make others happy.
As a Choice Spirit, he was unequalled;
And as a Sincere Friend, never excelled; but in his character of a
MAN OF THE WORLD,
[Pg 140]Bob Logic was a Mirror to all his Companions.
Mankind had been his study; and he had perused the Great
Book of Life
With superior advantages; and his Commentaries on
Men and Manners
Displayed not only an enlarged mind; but his Opinions were
gentlemanly and liberal.
His intimate knowledge of Vice had preserved him from
being Vicious.
By which source he was able to discriminate with effect; and
Virtue appeared more beautiful in his eyes.
Truth was his polar star; and Integrity his sheet anchor.
Adversity could not reduce his noble mind,
And Prosperity was not suffered to play tricks with his feelings;
HE WAS A MAN UNDER ALL CIRCUMSTANCES!
Flattery he despised; while Candour obtained his respect;
and the corner stone of his character was—Sincerity.
He was charitable, but not ostentatious, and a well-wisher to
all the world.
His Friends,
TOM AND JERRY,
Lamenting his severe loss in society, trust, that upon the
AWFUL, DAY OF RECKONING,
The Great Auditor of Accounts will find his Balance Sheet
correct, (errors excepted):
And as the whole tenour of Bob Logic’s life had been A Volume
of Pleasure they sincerely hope it will be
Well Bound at the last!

 [Pg 141]

CHAPTER XV.

The sudden death of Logic made quite a chasm in the movements of Tom and Jerry; indeed he had been the principal caterer for their amusements, and our heroes were not only in grief for his loss, but reduced completely to a stand-still without him. It is true; Jerry had previously made up his mind to quit London, but the sudden demise of the Oxonian positively hurried him out of town. The Metropolis had lost its attractions upon the feelings of Jerry, and he flattered himself that the neighbourhood of Hawthorn Hall, the sports of the field, and the fascinating company of Miss Rosebud, would, in a great measure, afford relief to his mind, and ultimately[Pg 142] restore him to cheerfulness. The parents of Jerry were overjoyed in beholding their darling son once more safe under their roof, and the Corinthian also received the most friendly congratulations on his arrival at Hawthorn Hall. The sombre appearance of our heroes, who were in deep mourning for the Oxonian, operated as a great drawback to the festivities which under different circumstances, had been intended to celebrate their reception; indeed, at every step they took, the loss of Logic was sincerely regretted by all those persons who had ranked him as one of their best acquaintances, during his last appearance at Hawthorn Hall. “To me, the loss of Logic is incalculable,” said Jerry, to his father; “he was not only able to advise, but his manner of doing it was so persuasive, that it was impossible not to benefit by his experience; more especially at my time of life, when such experience was by far more valuable to my mind, than any knowledge I might have obtained of men and manners, through my own exertions!”

Our hero lost no time in visiting Rosebud Cottage. On his entrance he was welcomed by the father of our heroine with no common sort of ardour; but, on his being ushered into the presence of Mary Rosebud, he felt confused, nay, ashamed; her looks, although accompanied with a smile, nevertheless told him that he had been neglectful towards her, during his residence in London, and she gently chided him for his want of attention. “I am afraid, Sir,” said she, “it has been with you like most professed lovers, ‘out of sight, out of mind.’” Jerry could not reply; his excuses were lame and impotent; indeed, he was aware that he was in fault, and, therefore, sensibly threw himself upon the mercy of the Court, and sued in the most persuasive manner for pardon. The good nature of Mary, aided[Pg 143] by a little of something else—perhaps, love—could not resist the application; and she generously admitted that some allowance might be made for him, when surrounded by the attractions of London. “Generous girl!” exclaimed Jerry, “the remainder of my life shall be devoted to your happiness.”

Jerry being now perfectly established in the good opinion of Miss Rosebud, became doubly attentive in his visits; when the minutes, the hours, the days, nay, the weeks almost appeared to fly, so fascinated was Jerry with the company and attractions of our charming heroine. In truth, the time of Jerry was completely occupied with hunting, dinners, card-parties, assemblies, &c., accompanied by Tom; and his life appeared so happy, that he congratulated himself on his return to the seat of his father, also upon the hair-breadth escapes he had met with, during his Day and Night Scenes in London.

********

********

During a walk one fine evening, and Hawthorn Church appearing in view, Jerry was determined to make the best use of the opportunity which offered itself, by soliciting Mary Rosebud to name the day that was to complete his happiness. “I have always promised my father,” replied Mary, with the utmost frankness, “that he should name the wedding-day; therefore, gain his consent, and you will have no complaint to make against my decision.” “I will be your father upon that joyful occasion,” said the Corinthian, “if you will permit me, my dear Miss Rosebud, as I am very anxious to bestow on my friend Jerry one of the greatest treasures in this life,—a most amiable companion and virtuous wife.” Miss Rosebud blushed at the remark, but nevertheless felt pleased with the compliment paid[Pg 144] by the Corinthian; and the subject was dropped until they arrived at Rosebud Cottage. The father of our heroine, on being made acquainted with the wishes of the young folks, observed, “I am quite content; and I sincerely hope they will prove one of the happiest couples alive. Therefore, let the settlements be drawn immediately, the licence procured without delay, the dresses made offhand, our friends invited in good time, and Old Jollyboy requested to hold himself in readiness. Now, having settled this marriage business to my mind, let us have a jolly evening together, before we part; and to-morrow, Jerry, what do you say to a day’s hunting? And your cousin, Tom, I have no doubt, will make one of the party.” “It will afford me great pleasure,” replied the Corinthian; “and we will be in time to start with you.” The evening was spent in great jollity.—“The single married, and the married happy,” were toasted over and over again by the party, until Jerry became as lively as a lark, Old Rosebud roaring out the view halloo! The Corinthian quite merry and facetious, and Old Jollyboy rather above par, hiccoughing, every now and then, with an attempt to pun, that he was “fond of (a) good living!”

Our heroes were ready at the appointed time to take the field with Old Rosebud; the latter fox-hunter was in high glee with the excellence of the day’s sport, Jerry equally delighted, and Tom had just declared he had not been so pleased for a long time; but, unfortunately for him, in his bold endeavour to clear some high palings, his horse fell with him, and he was thrown some distance. On being raised from the ground, it was discovered that his neck was dislocated, and he expired instantly. Upon Jerry’s ascertaining the fate of the[Pg 145] Corinthian, his feelings were so completely overcome, that he fell down in a fit quite senseless.

To describe the wretched state of mind which Jerry suffered for several days, at the unexpected accident and melancholy death of his dearest friend in the world would have baffled the poet’s skill and the painter’s talents to pourtray—the shock was so sudden, and the loss to our hero so great, that it was impossible to have been otherwise; just at the moment when happiness appeared to be within his grasp, and he was also slowly recovering from the serious effects which the death of Logic had also made upon his feelings, to have met with such an immense blow—the death of Corinthian Tom—shattered his nerves all to pieces, and anything in the shape of consolation appeared to him officious, troublesome, and unavailing! Ultimately, by the soothing attention of Miss Rosebud, the friendly interference of the old fox hunter, her father, the unremitting kindness of his parents, and the cheering, good advice of Old Jollyboy, by degrees he was restored to a state of convalescence.

From “Gay to grave,” was now the reversed scene for the contemplation of our hero, and the old proverb verified to an awful extent, “that many things happen between the cup and the lip;” the marriage rites were now suspended to make way for the performance of the burial service. The remains of the Corinthian were conveyed to town with the utmost solemnity, and interred in the family vault, with all those obsequies due to his rank; and although Jerry remained extremely ill, and scarcely able to stand upon his legs, yet he was determined, at all hazards, to pay the last respect to his most valued friend and relative, Corinthian Tom, by his appearance at the funeral in the character of chief mourner. Jerry did not quit the Metropolis[Pg 146] until he had settled every thing to his satisfaction respecting the interment of the Corinthian. Upon the return of Jerry to Hawthorn Hall, several days elapsed before anything like pleasure occupied his mind; he positively refused to quit the house, and he also shunned the society of his acquaintances. “It requires no common fortitude,” observed Jerry, to Old Jollyboy, “to bear up against the loss of two such invaluable friends as Tom and Logic, snatched, as it were, in an instant from me, when I stood most in need of their assistance, and to whom I am principally indebted for the knowledge of mankind which I now possess. In Logic, I have lost a model of experience, a fund of talent, and a heart overflowing with the milk of human kindness. By the death of Tom, I shall heavily miss that urbanity, discernment and liberality, which highly distinguishes the polished, and thorough-bred gentleman. I am now left to decide for myself; but, nevertheless, I hope I shall sincerely profit by their example. Appearances, I am perfectly aware might be against both of their characters with the fastidious part of society, yet hypocrisy, cant, humbug, or dissimulation, never disgraced their conduct: a love of honour shone conspicuously throughout their actions, and, by an acknowledgment of their own errors, displayed a noble generosity towards the faults of others. They taught me not to spend time in regretting any mistakes that I had made, but to exert myself upon every occasion to repair them. This maxim shall be my guide through life—I will not repine, but struggle with fortitude against unavoidable calamities, and endeavour to make myself happy under all circumstances of my existences.”

Jerry immediately gave orders for a very handsome stone to[Pg 147] be placed in the most conspicuous situation near to the spot where Corinthian Tom lost his life, with the following inscription engraved upon it:—

Near to this Spot of Earth,
Lost his Life by a Fall from his Horse while Hunting,
CORINTHIAN TOM,
One of the highest-bred creatures in the Universe, and who got
over the ground like nothing else but
A GOOD ONE:
In the walks of fashion, he was a Corinthian;
Amongst the Bloods, a bon vivant;
On the Turf a real Sportsman; in the Chase, an Out and Outer;
And in his deportment to every person
A PERFECT GENTLEMAN!
If he could not put in a positive claim to the title of
The Rose and Pillar of the State.
No man in the world ever possessed the Suaviter in Modo
and Fortiter, in re
In a more eminent degree than
Corinthian Tom.

This Remembrance has been erected by his Relative and
sincere Friend
JERRY HAWTHORN, Esq.,
Under the hope, that when he hears the Last View Halloo!
His Pedigree may be found sound; his Race complete, by
Winning the Happy Stakes; and nothing against him
Noted down in the
Steward’s Book.

[Pg 148]“I admit your loss has been great, and I also admire the tenour of your argument,” observed Mr. Rosebud, “but, nevertheless, ‘grieving’s a folly;’ there is a time for every thing, as my friend Old Jollyboy would have observed, therefore, Jerry, having done every thing becoming the character of a sincere friend, I think you ought now to turn to a more pleasant view of the picture, and once more give your acquaintances the benefit of your company.” “Good!” exclaimed Old Jollyboy; “for some time past, I have been holding myself in readiness to receive a summons to perform a certain ceremony, without Squire Hawthorn has given up the marriage altogether. All in good time perhaps!”

The trifling hint was quite sufficient, and Jerry, lest his conduct should be thought cold or neglectful, presented himself, in the course of the morning, “for better or for worse,” to Miss Rosebud, at the Cottage, anxiously soliciting her to name the wedding day. The disposition of Mary Rosebud was of the most ingenious nature, and her attachment to our hero too great to keep him long in suspense. “Perhaps, Sir,” said Mary, “I ought to say ‘No!’—and insist upon more time, to enable me to form a correct opinion of your conduct, whether you have duly considered the serious and important charge of martrimony, and the confinement also attendant on such a state; and, likewise, freely consenting, as it is termed, to surrender a part of your liberty, before I say ‘Yes.’ But I prefer being frank on the present occasion; and, relying on your honour, generosity, and true love, I am content, whenever my father shall think proper to name the day.” “Generous, amiable girl,” replied Jerry, “I have well considered the subject, in every point of view; but I will make no professions: yet my endeavours[Pg 149] throughout my life, shall be to strengthen, what the Poet has so beautifully described, the

“Perpetual fountain of domestic sweets.”

The day was immediately fixed for the nuptials by Mr. Rosebud; the marriage ceremony was performed by Old Jollyboy, and when Miss Rosebud answered “I will!” the old Curate was so full of joy, that the word “Good!” had almost escaped his lips. The estates of the Rosebuds and the Hawthorns were united, and Mary and Jerry made the happiest of the happy. The wedding-day was devoted to pleasure. “It shall be kept in the old style,” said Jerry’s father; “every body, shall be welcome; we will have a dance upon the green; all the lads and lasses in the village shall be invited to celebrate the wedding; we will broach a tub of ‘humming bub!!’ and nothing shall be wanting to promote mirth and harmony.” “Good!” said Old Jollyboy, over his pipe; but, long before the approach of night, the “gaily circulating glass” had been pushed about by Old Hawthorn to all the company—that, suffice to observe; as we have too much respect for the cloth to tell tales, the fine old Curate required the assistance of “Amen,” the clerk, to make Jollyboy “all right” at the Curacy.

The honey-moon was, of course, a raptuous one; after which Jerry might be viewed as a “settled being.” Time rolled over pleasantly with him and his bride; and the sports of the field, if possible, he enjoyed with greater zest than heretofore. His fire-side was a pattern of domestic comfort, although a sigh would now and then escape his lips, whenever the thoughts of Tom and Logic came over his mind. In every other respect, Jerry was a picture of contentment; determined to profit by[Pg 150] his experience, and to turn to a good account, for the benefit of himself and his family, the many hair-breadth escapes and dangerous adventures he had met with in his Day and Night Scenes in Life in London. He was the delight of all the companies he visited in the neighbourhood of Hawthorn Hall; his general conduct was the praise of the surrounding gentry, and he was admitted, by all parties, to sustain the character of a perfect Country Gentleman. We now take our leave of Jerry, “all happiness,” with his amiable wife, a fine estate, a capital stud of horses, and a crack pack of hounds, to promote—

LIFE IN THE COUNTRY.

The End.

[Pg 151]

 [Pg 152]

[Pg 153]

KEY TO PERSONS AND PLACES, &c.

A.

A.B.C.—Any easy matter, the A.B.C. of the affair, i.e., the whole of the particulars can be comprehended as soon, or as easy as you can say A.B.C.:—Then comes answer like A.B.C. book.—Shakespeare.

Above Board.—In open sight, all fair and square, dealing without artifice or trick.

Above Par.—Tolerably drunk—also to be possessed of money beyond one’s actual expenses—plenty of the needful—lots of blunt!—able to post-the-pony—lay down the rag!—chink the ochre! &c., in case of laying a wager or making an investment.

Ace of Spades.—A widow.

Adelphi.—Greek for brothers: several streets on the south side of the Strand, London, erected about 1768 by the brothers, John, Robert, James, and William Adam, after whom the streets are named.

Adelphi Theatre.—Formerly called the Sans Pareil, opened under the management of Mr. and Miss Scott, 27 Nov., 1806. Messrs. Rodwell and Jones purchased the property and opened on Monday, Oct. 18, 1819, and issued the first playbill bearing the name of “Adelphi Theatre.” Messrs. Mathews and Yates became managers, Sept. 29, 1828—Mr. Charles Mathews—Mathews at Home—died the 28th of June, 1835. The theatre was then let for the remainder of the season to Messrs. Ephraim Bond and[Pg 154] Company, and announced to be “under the management of Mrs. Nisbett.” After that Mr. Yates had the sole management. In 1840 Messrs. Yates and Gladstone were the proprietors. Mr. Benjamin Webster became lessee, and Madame Celeste directress, 1844. The theatre was re-built and opened, with improved arrangements 27 Dec., 1858, as The New Adelphi. In 1870 it was announced that while Mr. Ben. Webster was sole proprietor, Mr. Webster and Mr. F. B. Chatterton were joint managers. After several changes Messrs. A. and S. Gatti became sole proprietors and managers.

Air and Exercise.—Or, Shoving the tumbler. Being whipped at the cart’s tail.

Alderman.—A turkey, Alderman in chains, a roast turkey well-stuffed and garnished with pork sausages; the latter emblematical of the gold chain worn by that civic dignitary.

Ale Draper.—The alehouse-keeper; a rum cull, a squirt quester. Ale spinner, a brewer or publican.

Alive.—Active, smart, to be ever on the alert. Alive to the subject; the game, the fact, or to any circumstance. Tom’s alive to his own interest, let him alone for that; he’s wide-a-wake!

All Hands to the Pump.—All force concentrated to one spot.

All-Max in the East.—Open to all influenced by none—was held at the Coach and Horses public-house, Nightingale-lane, East Smithfield, and was frequented by most of the Wapping elegantes. Blue Ruin and reels were generally the order—rather the disorder of the evening.

All Out.—The whole of the reckoning. “How stands the great account t’wixt me and vengeance!”

Almack’s.—Aristocratic exclusiveness. A ball given by the highest nobility. Almack’s means properly a suite of assembly rooms in King Street, St. James’s, London, built in 1765 by a Scotchman named Macall, who inverted his name to obviate all prejudice and hide his origin. Balls, presided over by a committee of ladies of the highest rank, used to be given in these rooms; and to be admitted to them was as great a distinction as to be introduced at Court. The rooms are now called Willis’s from the present proprietor.

If once to Almack’s you belong,
Like Monarch’s, you can do no wrong;
But banished thence on Wednesday night,
By Jove, you can do nothing right.

Alone.—A knowing one may be trusted “Alone” by reason of his experience in worldly matters.

Angelics.—Young ladies. N.B. Unmarried!

Annointed.—Knowing, ripe for mischief, full of courage and energy for any desperate exploit.

Apartments to Let.—It is said that the “widow’s cap,” denotes that there are Apartments to Let! Also of an empty-headed or shallow-cove.

[Pg 155]Argument.—The best of the. Any man with a pair of leather lungs has the best of an argument at a tavern, unless there be an other present who can lay heavy sums which are quite uncoverable that his opinion or assertion is correct. A stable-keeper being beaten in argument by one of the leather-lunged breed, produced a large roll of bank-notes and a handful of sovereigns, smacking them down on the table exclaiming, “There you —— look at that; if I am a fool my money’s none. That beats you!”

Arm Pits.—To work under the arm pits, is to practise only such depredations as will amount on conviction to transportation. By following this course and system, a thief avoids the halter, or neck-squeezer! which certainly is applied above the arm pits.

Arm Props.—Crutches.—Go it ye cripples crutches are cheap.

Astley’s Amphitheatre.—Was built and opened by Philip Astley, 1773.

Astronomer.—A star-gazer. A horse that carries his head high-up in the air.

At Fault.—At a loss; not knowing in what direction to proceed, like dogs who have lost scent of a hare or fox. This sporting phrase is often used, figuratively to signify that a man has been defeated in his pursuits, and does not know how to extricate himself from difficulty.

At Home.—To Provincials, this phrase may operate rather as a sort of paradox—as houses and persons, in general are robbed not “at home” but when the parties are abroad.

Awake.—Knowing; acquainted with, aware of, or knowing what is going on. Awake to the move, aware of the proceedings; Stow the books, the culls are awake, Hide the cards, the persons know what we intend to do. This word is used on many occasions, and in most situations of life, being expressive of attention.

B.

Babes in the Wood.—Persons confined in the stocks or pillory, said also of dice.

Babes of Grace.—Puritanical, sanctified-looking persons; also drunken psalm-smiting cobblers.

Back-slums.—Beggars’ meeting places; Dyot Street, St. Giles’; Kent Street, in the Borough, &c. The expression applies to all Metropolitan receptacles of mendicants, prostitutes, thieves, and rogues of every degree to get a night’s lodging. Back Slummers, dirty, common, low, and vagrant people who reside in the Back-slums.

Bag the Swag.—Pocket, or put into a bag, the plunder, or hide the stolen property.

Baked.—Done up, exhausted, tired out, “When I got to the top of the hill I was regularly—Baked!”—Soft-baked in also employed to persons who lack worldly wisdom.

[Pg 156]Baker, Charles.—Comedian, died November 26, 1844.

Bang-up.—Quite right, the thing! the go! done complete, in handsome style, quite fashionable, at the top of the mode.

Bank.—A snug and secure place to deposit plunder; Bank the rag, to take care of money.

Barbers’ Clerks.—Shopmen, and poor ill-paid and half-starved apprentices, or conceited ignorant shop-boys.

Barking Irons.—Pistols, from the explosions being supposed to resemble the barking of a dog.

Baron Nab’em.—Otherwise Nicholas Borrowbody. The individual bearing this name who devotes his attentions to Logic, in his moments of retirement, is Mr. James Soares, more familiarly termed Jemmy Soares; well-known in the sporting world, particularly among the friends and supporters of the Ring, and long the President of the Daffy Club, a society held at Belcher’s, the Castle Tavern, Holborn. Events have occurred to prevent his occupying so prominent a place, as formerly, in the list of milling amateurs: but his open heartedness, his native humour, his liberal temper, and convivial disposition, will long be remembered with pleasure, by the numerous pals, who were wont to surround him.

Barrymore, W.—Comedian, died in America, November 24, 1846.

Baxter’s Hats.—A celebrated Topper-maker to the Fancy. Formerly in high repute with the amateurs, in respect to giving the knowledge-box an important look!

Beaks.—Justices, from their former cormorantish qualities—“Your vulture hath a devil of a beak!” But things are different. The Magistrates of the present day, that is the Metropolitan ones, are, with some few exceptions an honour to the Bench. Beaksmen, constables, or police officers.

Beat.—A watchman’s walk, the district in which he is licensed to beat at will all Her Majesty’s peaceable and loving subjects.

Beaver.—A hat; probably from generally possessing very little beaver. My last beaver turned out to be all silk, as Jack Bannister said, “The loss was felt”:—I cleft his beaver with a downright blow.—Shakespeare.

Beeswax.—Cheese, generally Gloucester, from the similarity between them—“Lets have a twopenny burster, half a quartern o’ beesvax, an ha’p’oth o’ ingens, and a dollop o’ salt along vith it, vill you?”—Dusty Bob.

Beggars.—Our street beggars have existed from time immemorial; their profession had become, in some measure, sanctioned by long tolerance. They were a merry, ingenious, persevering, and almost innoxious race. They are associated with our earliest recollections; like Springlove in Brome’s healthful and truly old English opera, “The Jovial Crew!” we at certain seasons feel almost a yearning to join them. Their wild free life, their careless revelry, present charms to us in retrospection, to which we are not wholly proof!—we think upon the “Beggar’s Bush” of those twin stars Beaumont and Fletcher. Classic recollections bring Belisarius with his “Date[Pg 157] Obolum” to our mind. Bamfylde Moore Carew; Sir Simon Montford, The Blind Beggar of Bethnal Green; King Cophueta, who loved the Beggar Maid, the valiant beggar who beat the redoubted Robin Hood to a standstill are among the most favourite heroes of our childhood. The race whose cause we are attempting to advocate, had at least the claim of destitution on our attention; as Lubin Log has it, our bounty was at all events “hobtional.” But what shall we say of the wealthy and the great, who have become beggars upon the public purse for the purpose of putting these their now persecuted rivals down? They have no claim, no excuse—away with them—shame on such monopoly!

Beggar’s Opera.—There were two public-houses in Church Lane, St. Giles’s; chiefly supported by beggars, one, called the Beggar’s Opera, which was the Rose and Crown, and the other the Robin Hood—at both of which Noah Ark Societies—that is “Motley-Crew Societies”—were held. The number that frequented these houses at various times, was computed to be from two to three hundred, and the receipts at a moderate calculation could not be less than from three to five shillings a day each person, frequently more.

Bellamy, William.—Bass Singer, died January 3, 1843, aged 74.

Belch.—All sorts of malt liquor, beer and porter being apt to cause uncomfortable eructations:—The bitterness of it I now belch forth from my heart.—Shakespeare.

Belcher.—A large red neckerchief spotted with yellow and black, and first worn by Jem Belcher the famous pugilist, 1781-1811. “The Kiddy flashes his Belcher.” Tom Belcher’s colour was yellow, with white and black spots.

Bell’s Life in London.—And Sporting Chronicle, a rich Repository of Fashion, Wit, and Humour, and the interesting Incidents of Real Life:—Was founded March 3, 1822, by Mr. John Bell, one of the most spirited publishers of his time, and the printer and proprietor of “Bell’s Edition of Plays,”—“Bell’s Edition of the Poets,”—“Bell’s Weekly Messenger,” &c., &c. Mr. Vincent Dowling, was first installed Editor August, 1824. On Sunday, November 4, 1827, it was publicly announced that—“Pierce Egan’s Life in London and Sporting Guide” is this day incorporated with “Bell’s Life in London.” All communications for the Editor, therefore, are requested to be transmitted, in future, to the Office, No. 169, Strand.... Let it not be forgotten, that “Bell’s Life in London,” is the largest, and best, and the cheapest, Sporting Journal in the Kingdom. “Compare and Judge.” ☞ “The Price is but Sevenpence.”—“Mr. Vincent Dowling, the Editor, was well known in the Sporting World and in him the Fancy found a sincere friend. He is a most excellent companion; cheerful, witty, and satirical at all times, but, in the latter display of his talents, the feather appears more than the razor—he tickles his adversaries, rather than wounds their feelings”—Pierce Egan.—A service of plate value 100 gs. was presented to Mr. Vincent Dowling, at the Castle Tavern, Holborn, July 18, 1833.

Beef.—To cry Beef is to give the alarm.—“A mot in the regency below, bolted out into the hairy and cried beef on us; just as ve had sacked the swag;[Pg 158] so Tim Snooks who vos vide awake in the rum pad in front; giv’d as the office to scarper! and ve cut like blazes! Squinting Bill piked through the glaze, and vos out of sight in less than no time, and I got over the balcony, and slides down the vater shoot, and makes good my hexit, but leaving all the tools and the swag behind in the old coveys snoozing-ken.”

Beer and Britannia.—What two ideas are more inseparable than Beer and Britannia? What event more awfully important to an English colony than the erection of its first brewhouse!:—

Beer! Boys, Beer! all over town and country,
Beer! Boys, Beer! with pewter pot in hand;
Beer! Boys, Beer! for all who don’t mind labour,
Beer! Boys, Beer! who a gallon’s going to stand.

Big ones.—Men of consequence: such as Tom Cribb,—The Duke of Wellington,—John Jackson,—The Lord Chancellor,—John Gully,—The Chancellor of the Exchequer,—Tom Spring,—The Master of the Rolls, &c.

Big Wigs.—Judges, &c.,:—“The wisdom’s in the wig.” If you doubt it, play the part of Paul Pry for half-an-hour in any of the Courts of Law, or ask the Vice-Chancellor. You’ll soon be convinced.

Bilk the Schoolmaster.—Not to stand your regulars, i.e., not to pay for being let into the secret.

Billing and Cooing.—Courting; the two sexes humbugging one another—faking the sweetner, kissing, &c.:—What billing again?—Shakespeare.

Bill of Sale.—A widow’s weeds.

Billy.—The cant term for a silk pocket handkerchief.

Billy Buzman.—A class of pickpockets who confine their attention exclusively to silk pocket handkerchiefs. In thieving as in other professions and arts of life in this highly civilized age, “Division of Labour,” as political economists term it, is particularly attended to in the London School of gonnofs, not only for the sake of convenience, but from the well-known principle that “Practice makes perfect.” Accordingly, it would be considered as untradesman-like for a Billy Buzman to go out of his own line of business, as for an ironmonger to sell treacle, or a silk mercer to deal in or sell neat’s foot oil.

Bird-cage.—Small country watch-houses, or gaols. Come, let’s away to prison; we two alone will sing like birds i’ the cage:—Shakespeare.

Birds of Prey.—Lawyers.—The first thing we do, let’s kill all the lawyers.—Jack Cade.

Bit.—Taken in, one half the world bite the other. Also money of any kind or quantity. Queer-bit, bad money. Rum-bit, good money. “He grabbed the Cull’s-bit.” He seized the man’s money.

Bit of Cavalry.—A horse.—An two men ride a horse, one must ride behind.

Bit of good Truth.—The plain facts.—Facts are stubborn things.

Bit of Muslin.—A sweetheart.—Love me little, love me long.

Biting one’s name in it.—Taking a good draught out of a pot of heavy wet.

[Pg 159]Black Beetles.—The Lower orders—the rabble (Canaille).

Black Diamonds.—Coals. Black diamonds Lords, owners of coal mines. Black diamond merchant, a coal merchant. Black diamond polisher, a coalheaver.

Black Miller.—The—The brave and somewhat ill used Molineux. The Black pugilist who was twice beaten by Tom Cribb, 1810-11.

Black Sharks.—Attorneys and Lawyers.—Arcades ambo!

Black Strap.—Port wine. “What will you lay it is a lie!”

Blade.—A man: who may be a brother blade as a butcher, a knowing blade, if a sharp fellow, wide awake and cunning.

Blinker.—A one-eyed horse.

Bloods, Bucks, and Choice Spirits.—Tria juncta in uno—A riotous disorderly set of young men who imagine that their noise, bluster, warwhoop, and impertinence impress those who come in contact with them with the opinion that they are men of spirit and fashion. The nocturnal exploits of the true high-mettled, and fast-going Blood: consists of throwing a waiter out of a tavern window lumpus! pinking a sedan-chairman, or a jarvey, who is so uncivil as to demand his fare, milling and boxing-up the charlies, kicking-up rows at Ranelagh and Vauxhall, driving stage coaches, getting up prize fights, breaking shop windows with penny pieces thrown from a Hackney coach, bilking a turnpike-man, and at other times painting-out in a very opposite colour his “List of Tolls payable,” Funking a cobbler, smoking cigars at divans and club-houses, fleecing each other in the Hells around Jermyn Street, drinking champagne at Charley Wright’s in the Haymarket, claret and brandy at Offley’s, and “early pearl” and dogsnose at the Coal Hole, wearing large whiskers, and false noses and moustachios, exchanging blackguard baninage with women of the town in and about Covent Garden, the Haymarket, and Piccadilly—“Dem’ee that’s yer sort!—Keep it up—keep it up!”

Blown.—Exposed, informed against.

Blow a Cloud.—Smoke a pipe. Cock a Broseley.

Blue Blazes.—Spirituous liquors in general, Gin in particular.

Blue Ruin.—Gin, called blue from its tint, and ruin from its effects. In the words of Otway most gin drinkers are “in love and pleased with ruin!”

Blunt.—Cash, or money of any value, or in any quantity. Lots of blunt, plenty of money—“Thou dear delightful evil.”

Bob, or Bobstick.—A shilling.

Bobbish.—Smart, active, clever.

Bodkin.—William Bodkin, Esq., or as he was familiarly termed Billy Bodkin, was originally a painstaking Broker and Auctioneer at Islington, he was the first Hon. Sec. to the Mendicity Society, which office it was said he found more lucrative. So neglected knocking down, for the sake of taking-up, giving the vagrants their quietus “With a bare Bodkin.”—For further particulars about this sharp Bodkin see Billy Waters.

[Pg 160]Bolt.—Throat, Sluice your bolt—Drink.

Bone-setter.—A hackney-coach, also a hard trotting horse.

Booked.—The time fixed when a thief is ripe for the gallows, or when any one is likely to die from some mortal disease. “He’s booked for a ride in a Government omnibus, i.e., prison van.” “You are booked for a ride to Gravesend.” Secured, bespoke, in for it, dished!

Booze.—Liquor, “To drink.” “Rum booze,” good drink.

Boozey.—Drunk. Man being reasonable must get drunk.—Byron.

Boozing-ken.—An alehouse, or tavern.

Bosh.—A fiddle. To fake a bosh, to play the fiddle; Boshmen, fiddlers, or musicians in general.

Bought.—I have bought that and no mistake, i.e., paid too much for it. Bought and sold: taken in and done for.—It would make a man as mad as a buck, to be so bought and sold.—Shakespeare.

Bouncing Chit.—A bottle, from the explosion in drawing the cork.

Boxed.—Locked up.—Cabin’d, cribb’d, and confined.

Boxing a Charley.—Upsetting a watchman in his box.

Box of Dominoes or Ivories.—The mouth, containing the teeth.

Box of Minutes.—A watch.—Watches you know, were made to go.

Brads.—Half-pence, also money in general.—Shell out the brads Jack.