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BALLAD IN : ITS , CONTRIBUTORS, AND INFLUENCE

Julie Bumpus

A Thesis

Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of

MASTER OF

August 7, 2010

Committee:

Vincent Corrigan, Advisor

Mary Natvig ii

ABSTRACT

Vincent Corrigan, Advisor

The opera a popular genre of in England that flourished roughly from 1728 (beginning with 's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of , which had slowly been infiltrating the life of Britain. The

Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a (building on a long-standing tradition of English ) with interspersed throughout. My thesis explores the ways in which ballad were constructed, what meanings the songs may have held for and audiences, and what influence the genre had in England and abroad.

The thesis begins with a general survey of the origins of , covering music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and of ballad opera.

The playwrights discussed are John Gay, , and . Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music. A general overview of ballad opera music is discussed, followed by a case study of Gay‟s . I have singled out Achilles because little has been written on it, and because Gay seems to have been particularly sensitive to the use of music in his plays. The thesis concludes with material on the decline of ballad opera and its influence.

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ACKNOWLEDGMENTS

I would first like to thank my advisor, Dr. Vincent Corrigan for his time, guidance, and encouragement throughout the writing process. His creativity and great knowledge have helped me become a better writer and a more thoughtful person.

I would also like to thank Dr. Mary Natvig for her thorough reading and editing of my draft. Her support and positivity contributed much to the completion of my thesis and degree requirements.

For her excellent resources on ballad operas, I would like to thank Rogers, who was kind and passionate about our shared research interests. Her work was an inspiration, and she was generous in suggesting source material.

Thank you to thank Alex Bragg, for being my “rock.” I would not be here were it not for his loyalty and .

Finally, I would like to thank my family and friends for their unwavering support.

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TABLE OF CONTENTS

Page

CHAPTER I: ORIGINS OF BALLAD OPERA.……………………………………………. 1

Introduction………………………………………………………………………….. 1

Theater during the Commonwealth………………………………………………….. 2

Restoration Theater and Theater Music from 1660-1728…………………………… 3

Italian Opera in England 1705-1728…………………………………………………. 5

The Beggar's Opera and its Successors…………..…………………………………. 9

CHAPTER II: PLAYWRIGHTS AND COMPOSERS……………………………………... 15

Playwrights…………………………………………………………………………... 15

John Gay …………………………………………………………………….. 16

Henry Fielding ………………………………………………………………. 18

Colley Cibber ………………………………………………………………... 20

Composers: Opera……………………………………………………………………. 21

Henry Purcell………………………………………………………………... 22

George Frideric Handel……………………………………………………... 24

Composers: Theater………………………………………………………………….. 25

Mr. Seedo…………………………………….……………………………… 25

Johann Christoph Pepusch………………………………...…………………. 27

CHAPTER III: BALLAD OPERA MUSIC…………………………………………………. 30

Ballad Opera Airs………… ………………………………………………………… 30

Case Study: Gay‟s Achilles (1733)…………………………………………………... 33

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CHAPTER IV: DECLINE AND INFLUENCE…………………………………………….. 46

Ballad Opera, Post-1737……………………………………………………………... 46

English Opera…………………………………………………………………………47

Singspiel……………………………………………………………………………… 49

Post Seventeenth-Century Influence…………………………………………………. 50

Conclusion…………………………………………………………………………… 52

BIBLIOGRAPHY…………………………………………………………………………… 54

Primary Sources……………………………………………………………………… 54

Secondary Sources…………………………………………………………………… 55

APPENDIX A: TABLE OF BALLAD OPERAS…………………………………………… 58

APPENDIX B: TABLE OF BALLAD OPERA AIRS……...………………………………. 65

APPENDIX C: SONGS IN GAY‟S ACHILLES…………………………………………….. 177

Transcriptions………………………………………………………………………... 178

Critical Notes………………………………………………………………………… 205

Abbreviations………………………………………………………………… 205

Songs………………………………………………………………………… 205

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LIST OF EXAMPLES/TABLES/FIGURES

Examples Page

1 Purcell‟s “Britons, Strike ,” and Fielding‟s contrafact ……………… 22-3

2 Air XII from Charles Coffey‟s The Boarding School………………………….. 27

3 Air VII from Henry Fielding‟s The Lottery……………………………………… 29

4 “O‟er Bogie,” from Caledonius………………………………………. 37

5 “Gillian of Croyden,” from Pills to Purge Melancholy………………………… 42

Figures

1 ‟s The Enraged Musician………………………………………. 8

Tables

1 Uses of “The Queene”…………………………………………………….. 41 1

CHAPTER I: ORIGINS OF BALLAD OPERA

Introduction

Ballad opera, a genre of English theater that flourished from 1728 to 1750 was, in its time, thought to be a wholly new genre, created by John Gay with The Beggar’s Opera. For my purposes, ballad opera refers to an English play,1 usually written in prose, with several songs interspersed throughout, set to popular or recognizable songs.2 Though Gay‟s work was unlike other stage of the time and spawned several imitators (over seventy in the span of nine years), ballad opera was a tradition that grew from existing circumstances of English theater. From the Cromwell years to 1728, music played an increasingly more important role in

English theatrical works; music was ubiquitous on the stage. It was not surprising then that the public latched onto ballad operas with such intensity for several years. In its heyday, ballad operas were performed at the major theaters in in any given week.

Opera also gained popularity in England during the eighteenth century, especially Italian opera. Some English people welcomed with open arms, but others derided it. The presence of Italian opera in England was another impetus for The Beggar’s Opera. In contrast to the florid of Italian opera, Gay gave audiences music that they could understand and music that many already knew. The songs of ballad operas were those that townsfolk sang up and down the streets of London, whereas the Italian and of opera seria were well known to an elite few. Gay satirized opera‟s purported excesses, and in doing so, established

1 These were sometimes full-length plays with three acts, but more often, they were one- . Some three- act ballad operas found more success when trimmed down to afterpieces, as with Colley Cibber‟s Damon and Phillida. See: Edmond McAdoo Gagey, Ballad Opera (Bronx, NY: B. Blom, 1965) 79-81. 2 Several ballad operas, however, included newly-composed songs, including The Beggar’s Opera. 2 ballad opera as a decidedly English construct, in opposition to Italian entertainments. Ballad opera also signaled the end of the public‟s taste in opera seria.

What followed The Beggar’s Opera was a production of similar entertainments, designed to capitalize on the first ballad opera‟s initial success. Ballad operas immediately following The Beggar’s Opera were similar in plot, title, and choices—some even using most of the same songs as Gay‟s work—to their forerunner. Unfortunately, no other ballad opera was able to match the success of The Beggar’s Opera, and the genre was for all intents and purposes dead by the middle of the century.

Theater during the Commonwealth

Ballad opera has its roots in English theater from the Restoration to 1728. Oliver

Cromwell's Puritan government had lasting effects on drama; he detested “vulgar” and

“immoral” plays, and as a result banned all spoken drama and closed the public theaters. Despite the fact that the Cromwell years (1642-1660) may be seen as a bleak time in the history of

English theater,3 the 1642 proclamation against stage-playing had a positive effect on music and its place in theaters. Although Cromwell banned spoken plays, he had a strong affection for music, and public were permitted, even sponsored, by the government. Music and had often been combined on stage previously, but during the Commonwealth, the two arts became linked together in an even tighter bond. This period produced the first attempts at

English opera. These works fused elements of plays, , dancing, song, and .

3 Both Susan Wiseman and Dale B. J. Randall challenge this notion, however. Both view the period as a highly diverse and innovative time for . See: Dale B. J. Randall, Fruit: English Drama, 1642-1660 (Lexington: University Press of Kentucky, 1995) and Susan Wiseman, Drama and Politics in the English Civil War (Cambridge: Cambridge University Press, 1998). 3

Restoration Theater and Theater Music from 1660-1728

Music continued to be integral to drama after Cromwell‟s reign. Every stage work from the Restoration to the beginning of the eighteenth century included music in some fashion. Both theaters granted licenses by Charles II employed regular musicians, and whether the play included or not, instrumentalists were on hand to provide at least instrumental suites while the audience members took their seats.4

Todd S. Gilman sums up the variety of theater music in the Restoration into three broad categories, which include: in plays, both comic and tragic; masques independent from plays; and semi-operas (music and spoken dialogue) or English operas (sung throughout).5

Within these categories, music could serve to propel the action forward, or was inserted for aesthetic reasons.6 Generally in comic plays, vocal music had little relation to the plot and was often sung by a character not involved with the storyline. In , however, music often depicted moods and situations and added to the drama. Plays also included incidental music, which usually consisted of nine pieces. Five were played before the action began on stage, and four were inserted between acts.7

Independent masques grew from Tudor and pre-Cromwell Stuart court entertainments and were originally short entertainments inserted in a or . They combined a

4 Todd S. Gilman, “London Theatre Music, 1660-1719,” in A Companion to English Drama, ed. Susan J. Owen (: Blackwell Publishers, 2001), 243. 5 Gilman, 245. Gilman separates semi-operas and English operas into different categories but makes little distinction between them. For my purposes, I have grouped them together. In some about Purcell, for example, the terms “semi-opera,” “English opera,” and “English semi-opera” are used interchangeably. 6 Curtis Price calls these two types “paradramatic” and “dramatic” music, respectively. See: Curtis Price, Music in the Restoration Theatre, Studies in Musicology (Ann Arbor: UMI Research Press, 1979), xvi. 7 Price gives a detailed explanation of act tunes, as they are called. See: Price, 52-53. 4 variety of spectacles such as music, speech, elaborate and sets, and . The music was usually sung by allegorical characters representing morals or by mythological figures. These morality figures were often symbolic of the monarchy; in the , the moral characters would triumph over debased characters, symbolizing the English royal house defeating its enemies. Many masques were political and served as a way to introduce the noble populace to contemporary issues.8 Masques were unique in the seventeenth century for likely being the first stage entertainment in which women could play a part.9 By the beginning of the eighteenth century, masques began to be performed as independent afterpieces in public theaters, rather than entertainments interspersed throughout a play or opera at court.

Semi-operas were conceived by three important collaborators: and manager Thomas

Betterton, , and . The intent of these three men was to write an English equivalent of French stage entertainments, such as the tragédie lyrique and . In essence, a semi-opera amounted to a play with four or five masques interspersed throughout. These entertainments were often adapted from plays, and generally involved mythological or historical characters. Many were adapted from Shakespeare.

Usually the most unrealistic characters sang (such as the witches in Davenant‟s adaptation of

Macbeth) but did not participate in dialogue. ‟s famous works such as and The Fairy Queen were semi-operas that included both dialogue and music.10 Semi-opera as a genre was effectively wiped out when the main , Drury Lane Theater and the Queen‟s

8 For more information on politics in Restoration masques, see: Andrew R. Walking, “Politics and the Restoration Masque: The Case of ” in Culture and society in the : Literature, Drama, History, ed. Gerald MacLean (Cambridge: Cambridge University Press, 1995), 52-69. Walking notes that these political messages were often obscured. Also see: M. Bevington and Peter Holbrook, The Politics of the Stuart Court Masque (Cambridge: Cambridge University Press, 1998). 9 Roger Fiske, English Theatre Music in the Eighteenth Century (London: , 1973), 4. 10 Earlier semi-opera writers (such as Locke and Shadwell) made attempts to integrate the music and drama closely, but later writers, such as Purcell, did not. See: Fiske, 6. 5

Theater, were ordered by the Lord Chamberlain to house separate entertainments, ending a long- standing rivalry between the two. Drury Lane was to house plays and only operas were to be shown at the Queen‟s theater. Because semi-operas were both plays and operas, the genre had no home at either venue.

English operas were modeled after and also included elements from masques. All-sung works were rare, and the two most well-known exceptions to this are

Purcell‟s Dido and Aeneas and ‟s . After Purcell‟s death in 1695, some composers attempted to continue the work of Purcell in establishing an English opera tradition, but many were unsuccessful.11 By the early eighteenth century, Italian opera had filtered its way into the country and gained a large following with the English public, destroying any hope of a great audience for all-sung English opera.12

Italian Opera in England 1705-1728

Beginning with Arsinoe in 1705, Italian operas, or operas in the Italian style, took the country by storm and were immensely popular among the wealthier classes. Arsinoe was written in the “Italian style,” sung in English, and was a surprising success, ushering in a decades-long fashion for all-sung opera in England. The craze began in earnest with the invitation of Italian singers to perform at theaters,13 and soon English and continental composers alike began to write opera seria for the London stage. Some operas were imported from Italy. Joeseph Addison notes the curiosity of these foreign entertainments in The Spectator, March 21, 1711:

11 The most prolific and well-known were John Eccles and Daniel Purcell (Henry Purcell‟s brother). English operas generally involved elaborate machines and mythological or historical plots. Eccles‟s music was quite popular. Several of his arias found their way into Thomas D‟Urfey‟s Pills to Purge Melancholy and became well known by the public. 12 The attempts made to counter Italian opera were generally in the form of the masque. See: Fiske, 56-61. 13 Singers Joanna Maria Lindelheim and Francesca Margherita de l‟Epine in 1703 were popular, for example. See: Eric Walter White, A History of English Opera (London: Faber and Faber, 1983), 137-140. 6

It is my Design in this Paper to deliver down to Posterity a faithful Account of the Italian Opera, and of the gradual Progress which it has made upon the English Stage: For there is no Question but our great Grand-children will be very curious to know the Reason why their Fore-fathers used to sit together like an Audience of Foriegners in their own Country, and to hear whole Plays acted before them in a Tongue which they did not understand.14

Addison goes on to note the equally confusing mix of English and Italian that arose after English of Italian operas ceased to be popular. The English/Italian hybrid operas were eventually replaced by operas sung entirely in Italian:

One would have thought it very difficult to have carry‟d on Dialogues after this Manner [in both English and Italian], without an Interpreter between the Persons that convers‟d together; but this was the State of the English Stage for about three years.

At length the Audience grew tir‟d of understanding Half the Opera, and therefore to ease themselves entirely of the Fatigue of Thinking, have so order‟d it at Present that the whole Opera is performed in an unknown Tongue.15

Handel‟s arrival in 1710 helped to further stimulate the growing taste for Italian opera. In 1711, he staged , his first opera in London, which ran for several months. For the next several years, Handel‟s influence and popularity grew, generating more support for Italian opera. In

1720, he garnered the support of the nobility with the establishment of the Royal Academy of

Music.16 Although quite popular throughout its years of existence, the finances of the Academy were soon depleted, and rivalries between the two leading of the company—which led to fights in the audience and on stage—led to the downfall of the Academy in 1728. In 1733, a rival company, called the , was established at Lincoln‟s Inn Fields to counter Handel, who had taken on the role of opera director at the King‟s Theatre. Italian opera remained popular in England for several years afterward, until the two rival companies ran

14 Addison, The Spectator 18, March 21, 1711, in The Spectator: A New Edition, ed. Henry Morley (London: Richard Clay and Sons, Ltd., 1891), 71. 15Addison, 73. 16 William Eben Schultz, Gay’s “Beggar’s Opera”: its Contents, History, and Influence (: Russell and Russell, 1923), 134. 7 themselves into bankruptcy, each trying to outdo the other with famous singers and elaborate stage effects.17

The taste for Italian opera, however, was not shared by everyone in London society;

Colley Cibber—eighteenth-century writer, theater manager, and actor—notes in his that

Italian opera did not translate well to the English language:

The Italian Opera began first to steal into England. . . in as rude a disguise and unlike itself as possible; in a lame, hobbling into our own Language, with false Quantities or Metre out of Measure to its original Notes, sung by our own unskillful Voices, with Graces mis apply‟d to almost every Sentiment, and with action lifeless and unmeaning through every Character.18

Italian opera, to writers like Cibber, Gay, and , was equated with the emotional, the extravagant, and the feminine.19 Too much music they felt, without a word of spoken dialogue, exerted too powerful an effect on the emotions and was not logical (masculine).20

Addison notes in The Spectator:

The Truth of it is, the finest Writers among the Modern express themselves in such a florid form of Words, and such tedious Circumlocutions, as are used by none but Pedants in our own country; and at the same time fill their Writings with such poor Imaginations and Conceits, as our Youths are ashamed of, before they have been Two Years at the University.21

Addison‟s own attempts to revive English opera as a rival to Italian opera, unfortunately, were unsuccessful.22 His foray into the world of opera was Rosamond, which was written by Addison and contained music by Thomas Clayton. Despite a potentially rousing subject—King Henry II‟s

17Schultz, 162-163. 18 Colley Cibber, An Apology For the Life of Colley Cibber, 1740, edited with an introduction by B.R.S. Fone (Ann Arbor: University of Michigan Press, 1968), 175. 19 The English animosity toward Italian opera has deep roots, and to some extent, has continued up to the twentieth century. Roger Fiske calls opera seria a “disease” whose “virulent germs” were transmitted to the country in the late seventeenth century. Fiske, 67. 20 The presence and fame of castrati in England was likely another reason that critics viewed Italian opera as not wholly masculine. 21 Addison, 26. 22 See: Fiske, 45-47. 8 mistress, Rosamond—audiences did not flock to see the work. Roger Fiske gives a possible reason why: “Reacting against the complexities of Italian , Addison went too far; in

Rosamond scarcely anything happens.”23

The distaste for opera seria was not limited to people in the theater world. Even visual artists, such as William Hogarth (1697-1764), poked fun at the perceived Italian pomposity. In

Hogarth‟s engraving, The Enraged Musician (1741, See Figure 1), an Italian attempts to practice a violin but is interrupted by a parade of beggars and ne'er-do-wells outside his window.

The pomp and effeminacy of the Italian is contrasted sharply with the realistic portrayal of peasants earning an “honest” living. Fittingly, the poster on the wall of the Italian's house is a playbill for The Beggar's Opera.

Figure 1: The Enraged Musician by William Hogarth24

23 Fiske, 46. 9

Gay‟s opinion of Italian opera was no kinder than Addison‟s. In a letter to he the public‟s inability to remember Homer, , and Caesar and sarcastically notes that: “Every body is grown now as a great judge of Musick.” As for the celebrity of the castrati, he says unhappily: “There‟s nobody allow‟d to say I sing but an Eunuch or an Italian Woman.”25

The of Italian opera found in ballad operas was a reason for the popularity of ballad operas, which shows the shared opinion between the public and writers like Gay and Addison.

The Beggar's Opera and its Successors

Gay essentially invented a new form of stage entertainment when he wrote The Beggar’s

Opera: the ballad opera. The term, however, seemed more flexible in the eighteenth century.26

Some writers labeled their works as ballad operas, and yet others, such as Gay with his Achilles, called their works operas, when they clearly were not.27 Other terms, such as “mock-opera,”

“farcical opera,” or “dramatic opera” were affixed to ballad operas.28 “English Operas” were distinguished from ballad operas by being sung throughout, and English comic operas (a genre that gained prominence around 1760) were similar but had spoken dialogue in place of recitative.29 It is clear that ballad operas in general can be distinguished from early comic operas due to the pre-composed melodies of the former and the newly-written melodies of the latter.

24 The Project Gutenberg EBook of The Works of William Hogarth: In a Series of Engravings, by John Trusler, http://www.gutenberg.org/files/22500/22500-h/22500-h.htm#Page_63 (accessed March 25, 2010). 25 Gay, to Jonathan Swift, London, 3 February 1722, in The Letters of John Gay, ed. C. F. Burgess (Oxford: Oxford University Press, 1966), 43. 26 W.H. Lawrence notes theatrical nomenclature of the eighteenth century was rarely consistent. W.H. Lawrence, “Early Irish Ballad Opera and ,” Musical Quarterly 8, no. 3 (July, 1922): 397-8. 27 Whether designating a ballad opera as an opera is one further act of satire or not is unclear. In the case of Achilles, satire in labeling the play an opera seems unlikely. The play is one of Gay‟s least satirically scathing and lacks the subtle barbs of The Beggar’s Opera, or the not-so-subtle barbs of Polly. 28 In general, if the work contained three acts, it would be labeled a “ballad opera,” and if it was one or two acts (an ), it was called a “ballad .” Gagey rightly notes that this term is spurious, for almost all ballad operas—whether they were one or three acts—were farcical. See Gagey, 101. 29 Fiske, 171. 10

Also of note is the complexity of music; ballad operas originally were written for ,30 and comic operas were written for trained singers.

The Beggar’s Opera is widely acknowledged today as the first ballad opera. Indeed it was acknowledged as such in Gay‟s time. Though The Beggar’s Opera is not wholly original— the use of highwaymen and robbers as characters existed earlier, as did borrowed melodies— many of Gay‟s contemporaries viewed it as such. Colley Cibber, for example, calls The Beggar’s

Opera a “new Species of Dramatick Poetry.”31 However, according to Vanessa Rogers, The

Beggar’s Opera may be related to the French comedies en . Gay may have encountered these on one of his trips to France (in 1717 and 1719), or in London, where several companies of French players performed between 1720 and 1728.32 Though ballad operas and comedies en vaudevilles share a similar form—prose with popular airs set to new texts interspersed throughout—the two differ in characters and content. The characters of the comedies en vaudevilles are often drawn from the commedia dell’arte tradition, and the plots are generally less realistic than those of many ballad operas, especially those that imitate The

Beggar’s Opera.

A direct precursor of The Beggar’s Opera was Thomas D‟Urfey‟s masque Wonders in the Sun, or The Kingdom of (1706). Like the comedies en vaudevilles, Wonders in the

Sun uses a variety of songs set to pre-composed melodies. Like some other English stage

30 Due to the great popularity of ballad opera, several famous English singers did perform in them: and , for example. It seems that ballad operas helped to shape their careers, as well. See Berta Joncus, “Handel at Drury Lane: Ballad Opera and the Production of Kitty Clive,” Journal of the Royal Musical Association 131, no. 2 (2006): 179-226. 31 Cibber, 134. Edmond MacAdoo Gagey, however, notes a great similarity between the first ballad opera and a popular stage and fair entertainment in France, the comedies en vaudevilles. By the late seventeenth century, a was understood to be a newly-written song set to a known . Eventually these vaudevilles were paired with prose to be performed on stage and at fairs. See: Gagey, Ballad Opera, 28-31. 32 Vanessa Rodgers has recently uncovered evidence that Gay probably knew of French entertainments. She also finds that Henry Fielding certainly knew of the comedies en vaudevilles performed at the Theatre de la fôire, as noted in an unpublished paper entitled “The Ballad Opera and „all conquering France‟: John Gay, Henry Fielding, and the Comédies en vaudevilles.” 11 entertainments of the early eighteenth century, including contemporaneous masques, Wonders in the Sun contains characters (, satyrs, gods and goddesses), characters representing morals, and even the ghost of .33 The plot is essentially a sequel to a novel by Bishop Godwin called The Man in the Moone from 1638. In both The Man in the Moone and

Wonders in the Sun the lead characters are a Spanish man, Gonzales, and his servant Diego. In the novel, Gonzales and Diego are sent to the moon by a team of birds called “ganzas,” and in the masque, the two are taken to the sun, which on stage is accomplished with a machine, a favorite of English operas and masques. The plot revolves around the notion that everything on the sun is the opposite of what it is on Earth. In the end, Gonzales and Diego, having seen a great deal of confusing and backward people and situations, go back to their machine and are flown back to Earth.

The contrafacts in Wonders in the Sun are not numerous, and generally, they are placed at the ends of acts. The characters do not step outside of the storyline to sing; usually singers are pastoral characters (as opposed to the more realistic Gonzales and Diego), and the songs are tied into the plot.34 Unlike ballad operas, the music of Wonders was published separately and not printed in the text, and according to Roger Fiske, only some of the songs are in the separately- published vocal score. D‟Urfey prefers the folk-song-like melodies that are found in ballad opera. In general, these are usually in binary form and have mostly stepwise melodies with a limited range of pitches.35 Like Gay, D‟Urfey borrowed tunes from himself and from other composers, such as Eccles and Lully. Though Gay may have been influenced by the contrafacts

33 Analysis of Wonders in the Sun taken from Thomas D‟Urfey, Wonders in the Sun, or the Kingdom of the Birds, The Augustan Reprint Society 104, introduction by William W. Appleton (1964). 34 The prologue is entirely sung by Greek gods—with Orpheus singing and playing his lyre—other musical numbers are entertainments designed for Gonzales and usually involve morality characters such as Faith and Virtue, for example. 35 Fiske, 42-43. 12 in Wonders in the Sun, there exists no direct evidence that he saw the production. The masque was a failure and only ran for six and in the end, it lost more money than it brought in.36

The Beggar’s Opera premiered at Lincoln‟s Inn Fields on January 29, 1728. It was an instant success and ran for sixty-two performances. In an age when stage entertainments were successful if they had twenty performances, The Beggar’s Opera was a hit, due in part to its innovative form and content.37 Characters in the English theater in the early eighteenth century were sometimes taken from Greek or Roman tales, or from the lives of the English royal family.38 English also used commedia dell’arte characters.39 Gay‟s subjects, on the other hand are thieves, prostitutes, and highwaymen, all drawn from London street life.40 The form of The Beggar’s Opera—essentially a play with sixty-nine popular songs interspersed throughout—was also new and refreshing to English audiences; never before had so many popular songs been inserted into a stage work. The audience was familiar with many of the melodies in The Beggar’s Opera; most of which are short, memorable and easy to sing along to, which also contributed to the popularity of the work.

The Beggar’s Opera was known by contemporaries to be a satire of Italian opera. The most obvious attack on opera is its form. The ballad opera is in three acts, like an opera, and

36 Fiske, 41. 37 William Eben Schutz sums up the impact on London society: “As the dramatic event of the season, the production of The Beggar’s Opera was felt in almost every phase of London life. Soon the papers were full of it; talked about it; the discussed it at the clubs; it was mentioned from the pulpit; the songs were sung in hundreds of homes, no doubt from the drawing-room to the kitchen; and social functions were never free from the chance to show correct taste in discoursing learnedly about the actors and the scenes they acted out.” Schutz, 15. 38 Roger Fiske notes that these portrayals of kings and queens were often overtly patriotic and romanticized. Fiske recounts Aaron Hill‟s opera, Hengist and Horsa, or the Origin of England (an opera never fully written or performed, and which survives in a synopsis), in which the current royal family makes a cameo; the family descends from the heavens at the end of the opera, surrounded by angels who shine a of light on the king. Fiske, 144. 39 One favorite character that appears in some ballad operas is Harlequin. 40 His interest in the lower rung of society did not begin with The Beggar’s Opera. His poem Trivia, or The Art of Walking the Streets of London (1716) paints a realistic portrait of London street life and even contains several lines about thieves and pickpockets, themes from The Beggar’s Opera. 13 unlike a play, which was usually five acts. Instead of recitative41 and lofty passages of dialogue, the characters speak of “low” subjects, such as gossip, in prose; and instead of mellifluous arias, the characters sing short, formulaic or popular tunes. Unlike Italian opera, the setting and characters are realistic. The beggar‟s introductory statements to the player at the outset of the ballad opera lists some of the aspects that he (John Gay) has inserted in the play to please the opera-going public:

I have introduced the Similes that are in all your celebrated Operas; The Swallow, the Moth, the Bee, the Ship, the Flower, &c. Besides, I have a Prison-Scene, which the Ladies always reckon charmingly pathetic. As to the Parts, I have observed such a nice Impartiality to our two Ladies that it is impossible for either of them to take Offence.

Schultz notes that the reference to the “two ladies” was a reference to a current dispute between two rival Italian singers, (1696-1778) and (1697-1781), over a leading part. At the end of The Beggar’s Opera, as the dastardly Macheath is to be hanged for his sins, the beggar and the player return. The player protests the hanging: “The Catastrophe is manifestly wrong, for an Opera must end happily.” Therefore, to comply with the “taste of the town,” (no matter how unrealistic and out of place it seems) the beggar orders a reprieve, and the ballad opera ends happily.

Not long after its premiere, The Beggar’s Opera was imitated by other playwrights and theater managers hoping to capitalize on Gay and ‟s huge successes. Famously, The

Beggar’s Opera was called the play that made Gay rich and Rich gay. Many of the immediate successors of the play are similar in form and character. The Quaker’s Opera, The Cobler’s

Opera, and Penelope, all from 1728 are some of the closest examples to their predecessor.42 All

41 Schutz likens some songs to recitative, especially the medley of songs Macheath sings while waiting in the gallows to be hanged. See: Schutz, 145. 42 After 1728, the plots and characters of ballad operas begin to branch off into sometimes widely different directions. 14 three take place in London, and The Quaker’s Opera is notable for specifically dealing with

Newgate and the surrounding area, as in The Beggar’s Opera. As The Beggar’s Opera is not really a story about beggars, so The Cobler’s Opera and The Quaker’s Opera are not stories about cobblers or Quakers. None of The Beggar’s Opera‟s imitators matched its success, however. Ballad opera stands out as being one of the few genres for the English stage that began with its greatest example of the genre, and increasingly went down in popularity as more were written.

15

CHAPTER II: PLAYWRIGHTS AND COMPOSERS

Playwrights

John Gay is one of the most famous writers of ballad operas, but several other well- known playwrights such as Henry Fielding and Charles Coffey wrote in the genre as well. Some ballad operas were written by university-educated men, some authors were part of the merchant class, and even a few were women.43 Many worked closely with one or two theaters. Often ballad operas were written to boost ticket sales, especially when the ballad operas were staged as afterpieces to plays.44 Writing a ballad opera was a risky venture, however; the success of The

Beggar’s Opera was never matched by any other ballad opera. From 1728 to 1737, nearly eighty ballad operas were written, and many passed before the public eye mostly unnoticed, never to be seen again. By the end of its short zenith, playhouses and publishers were wary of investing in an entertainment so ephemeral and not guaranteed to make a profit.45

Many playwrights of ballad opera, generally, are not considered by theater scholars to be the masters of their era (with the exception of some writers, such as Gay, ,

Fielding, and possibly Cibber), but for their works to be performed, they had to exhibit at least a

43 The author of The Country Couquet is listed as “a young lady, Anonymous,” and Don Sancho: or, the Student’s Whim was written by Elizabeth Boyd. Gagey calls these women “misguided.” See Gagey, 1. 44 In this way, theater managers could give the audience their money‟s worth for an evening of entertainment. Also, some theaters charged a discounted price for people to see just the afterpiece. The price reduction also was a likely contributor to the popularity of ballad operas. 45 L. J. Morissey treats the issue of publishing in more detail in “Henry Fielding and the Ballad Opera,” Eighteenth Century Studies 4, no. 4 (Summer 1971): 386-402. John Watts had a sizable collection of woodcuts for quick and easy printing. His collection of songs—which were later published as a six-volume set entitled The Musical —consisted chiefly of songs that were used over and over in ballad operas. Because of this, he essentially controlled the publishing of music and words. Of the thirty-seven ballad operas that survive with music, almost all of them were printed by Watts. The fate of a ballad opera‟s printing lay in the hands of Watts, and his personal tastes (which theaters and authors he liked) controlled his enterprise. 16 basic competency in writing prose.46 It was also necessary for the writer to have some basic knowledge of music. Many playwrights did not rely on theater musicians to choose which songs they would use; rather, many wrote the entire play before using the services of a musician.

Writers such as Gay in The Beggar’s Opera, for example, clearly had certain songs in mind when writing, and accordingly, wrote lyrics to fit well with the melodies he chose. Other writers seemed to write lyrics first, without an idea of what melodies would be used. The interaction between composer and playwright was not collaborative in the modern sense, since the two did not work closely to craft a fusion of song and words. Playwrights generally wrote the and lyrics beforehand, and musicians, after seeing the completed project, made necessary adjustments: adding lines, writing , fitting melodies to lyrics more clearly, and in some cases writing new songs to lyrics.47 Skilled playwrights had to have knowledge of what the original lyrics to their melodies were in order to use the double meaning of the song to satirical ends.

John Gay

Before John Gay (1685-1733) began his career as a writer, he was an apprentice to a dealer in textiles on London‟s Strand. Working on a London street, he saw people from all walks of life. The dialogue in The Beggar’s Opera, and the songs used in it, could have been picked up from his experiences as an apprentice.48 Working not far from Drury Lane and Haymarket, Gay was an apprentice during a great deal of turmoil in the theater world. In his twenties, Gay left his

46 However, one can find examples of ballad operas with dialogue written in verse, such as Penelope (1728) by and John Mottley. It is notable that the characters in Penelope speak dialogue in verse, because even though the setting is in a London alehouse, the story is a modern setting of part of The Odyssey. 47 L. J. Morissey, 388-389. 48 Calhoun Winton, John Gay and the London Theatre (Lexington, KY: The University Press of Kentucky, 1992), 1- 2. Winton notes further that Gay tried to distance himself from his rural and mercantile past once he became a writer, which may hint that the experience had a profound impact on him as a man. 17 apprenticeship and began with work for his friend, writer Aaron Hill, and it was during this time that Gay first began to write. In 1709, Hill became manager of Drury Lane, and after being evicted in 1710, became manager of Haymarket Theatre in 1711, and was instrumental in the production of Handel‟s first opera for London, Rinaldo. Hill provided the initial outline for the opera, based on 's Gerusalemme liberate, from which wrote the libretto. Working with Hill gave Gay a chance to see the theater (and opera) world from the inside.49

Gay‟s first poem was published in 1708, and, after Hill was fired from Haymarket in

1711, he continued writing poetry and plays. He eventually found good friends and mentors in

Alexander and Jonathan Swift. Pope‟s and Swift‟s satirical skill likely had a large role in shaping the satire of Gay.50 In 1715, he wrote The What D’Ye Call It, a “Tragi-Comi-Pastoral

Farce,” or a of tragedy. This burlesque included one of Gay‟s most famous songs,51

“‟Twas When the Seas Were Roaring,” which appears in some ballad operas. His next major publication was the poem Trivia: or the Art of Walking the Streets of London (1716), which contains some of the character types later found in The Beggar’s Opera.52

After the success of The Beggar's Opera, Gay hoped to continue his ballad opera career with a sequel, Polly. Polly is less well known for its content and more famous for the controversy it aroused when it was submitted to the Haymarket Theater. In 1729, the Lord Chamberlain banned the play due to Gay's "disaffected libels and seditious pamphlets."53 Fortunately for Gay, though his ballad opera sequel was not staged, it was printed in a quarto edition with the support

49 Winton, 7-8. 50 Gay‟s political affiliations were also affected by Pope and Swift. Gay's Toryism in turn affected the targets of his satire, such as England's first de facto prime minister, Robert Wapole. 51 The lyrics were written by Gay and the tune is attributed to Handel (HWV 228-19). 52 See above, note 39. 53 Preface to Polly. 18 of the Duchess of Queensbury, who had a great fondness for Gay's writing.54 The amount and quality of the music associated with the play make this publication one of the most complete examples of a ballad opera.

Henry Fielding

Henry Fielding‟s (1707-54) early career coincided with the first ballad operas in London.

He was born and raised in Somerset, and in his twenties, moved to London where he began to earn his living writing for the theater. His early theater works were in 1730; soon after that he wrote ballad operas, including: The Welsh Opera (1731, revised and expanded in

1733 as The Grub-Street Opera), The Lottery (1732), The Mock Doctor (1732), An Old Man

Taught Wisdom (1735), and Miss Lucy in Town (1742).55 Fielding is well known for being part of the reason for the Walpole‟s Licensing Act of 1737. His plays and ballad operas are often political, and usually the attacks on the royal family and are thinly veiled.

Fielding‟s The Opera is one example of his political satire. Its style and format are very similar to The Beggar’s Opera: it contains over sixty songs (some of which were popularized by The Beggar’s Opera),56 is divided into three acts, and is a political satire. The main family in the story, the Apshinkens, represents the royal family.57 In the first scene, the family is constantly at odds with each other. Throughout the ballad opera, Fielding paints Sir

Owen Apshinken (the of the family, representing King George II) as a good man who

54 Morrisey, 390. 55 In all, Fielding wrote eleven ballad operas. For more information see: Vanessa Rogers, “Writing Plays in the „Sing-song Way‟: Henry Fielding‟s Ballad Operas and Early Musical Theater in Eighteenth-Century London,” PhD diss., University of Southern California, 2007, 447-8. 56 Morissey notes that Fielding had a long habit of borrowing tunes that were made famous in his own, or others‟ ballad operas. Morissey, 388. 57 V. Roberts‟ edition of The Grub-Street Opera gives an analysis of characters and which members of the government they were thought to represent. See Henry Fielding, The Grub-Street Opera, 1731, ed. Edgar V. Roberts (Lincoln, NB: University of Nebraska Press, 1968). 19 shirks responsibility and Lady Apshinken (Queen Caroline) as controlling, nagging, and pretentious. Even the name of the family was an act of satire on Fielding‟s part: Apshinken derives from the name Shinking (spelled “shinkin”), which is the title character of a song by

Thomas D‟Urfey. The song was used in several ballad operas, including The Grub-Street Opera.

Its original lyrics shed light on the satire of the name Apshenkin:

Of noble Race was Shinking, The Line of Owen Tudor, Thum, thum, thum, thum, But her Renown is fled and gone, Since cruel Love pursu‟d her.58

Shinking of D‟Urfey‟s song is of the line of Owen Tudor, as was King George II and the Prince of Wales. Both Apshinkin father and his son are named Owen, thereby creating a further connection to D‟Urfey‟s song. By associating the royal family to the character of the song,

Fielding applies that the monarchy was once noble and renowned, but their notoriety had faded.59

In response to satire such as found in The Grub-Street Opera, Robert Walpole issued the infamous Licensing Act of 1737, which reduced the number of theaters to two (plus a theater for opera),60 and ordered the Lord Chamberlain to approve every work for the theater before it could be shown to the public.61 Due to this censorship, many writers of the era, including Fielding, turned from plays to novels, which changed the of literature irrevocably. Many authors who might have begun their careers writing for the stage, never even attempted to write plays at all.62

58 Thomas D‟Urfey, Pills to Purge Melancholy (New York: Library Publishers, Inc., 1959), 2:172. 59 Roberts, xxi. 60 In 1740, Goodman‟s Fields Theater was able to re-open, circumventing the law by staging concerts with a play (advertised as “free,” and therefore getting around the official law) inserted between. For several years until 1752, other playhouses successfully tried the model, when an act of Parliament shut down small theaters. See Frances M. Kavenik, British Drama, 1660-1779: A Critical History (New York: Twayne Publishers, 1995), 156. 61 Kavenik, 155. 62 This caused a boom in the number of novels written in England. 20

Colley Cibber

Colley Cibber (1671-1757) was heavily involved in the literary and dramatic world of eighteenth-century England; he was a playwright, an actor, a theater manager (Drury Lane), and poet laureate (1730). He was controversial among fellow writers—, notably, crowned him “king of the Dunces” in his four-volume version of —and popular with audiences. His autobiographical account of the theater remains one of the most important primary sources for theater historians.63 Cibber wrote several plays, and acted in just as many, but wrote only one ballad opera: Love in a Riddle (1729). It was later edited and transformed into an afterpiece, titled Damon and Phillida (1729). Cibber‟s ballad opera is generally less political than Gay or Fielding‟s, and is centered on sentimental themes. Love in a Riddle is a pastoral ballad opera, and the characters derive from Greek mythology. The work was ultimately unsuccessful. As Cibber recounts:

The Year following [the premiere of The Beggar’s Opera], I was so stupid, as to attempt something of the same Kind, upon a quite different Foundation, that of recommending Virtue, and Innocence, which I ignorantly thought might not have a less Pretence to Favour, than setting Greatness, and Authority, in a contemptible and the most vulgar Vice, and Wickedness, in an Light.64

After this embarrassment, Cibber shortened his piece, edited it, and staged it anonymously at the

Little Theatre in Haymarket. This version was more popular than its predecessor.65 Cibber and

Fielding represent two opposing sides of what many ballad operas were. For Fielding, ballad operas could be a means of political expression, were to be realistic in dialogue and

63 See Brian Glover, “Nobility, Visibility, and Publicity in Colley Cibber's „Apology,‟” Studies in , 1500-1900 42, no. 3, (Summer 2002): 523-539, for a modern approach to reading Cibber‟s Apology, with all its faults and triumphs. 64 Cibber, 134-135. 65 Cibber had long been associated with Drury Lane, and indeed, the unsuccessful of Love in a Riddle was performed there. It is possible that its lack of success was due to dissenters from a rival theater, such as Lincoln‟s Inn Fields. Fiske suggests that groups of “catcallers” were hired by John Rich. See Fiske, English Theatre Music, 105. Cibber suggests that the hecklers thought he had a role in the suppression of Gay‟s Polly. He claimed innocence, and there is no evidence to suggest his words are untrue. See Cibber, 136. 21 characterization, and were nearly always satirical. Cibber‟s ballad opera was fanciful, entertaining, and drew characters from myths, as in much theater from the early part of the century. Gay‟s ballad operas are somewhere between these two extremes: The Beggar’s Opera is more in line with Fielding, and Achilles is closer to Cibber.

Composers: Opera

Though the music of ballad operas is composed mostly of folk and popular melodies, some writers made use of existing art music, or melodies written by a composer associated with their theater. Since ballad operas were designed to satirize Italian opera, they made frequent use of melodies from opera. L. J. Morissey says, “If the ballad opera was laughing at the Italian opera off stage, it was not because English audiences did not like sophisticated art music. They seemed to require only that the music be a vehicle for the lyrics, and not the other way around.”66

In some ways, ballad opera was a vehicle for disseminating the music of composers to a wider public than the opera-going audience. Ballad operas were less expensive than operas, for opera had long been entertainment for the wealthier classes, and so, by hearing the music of Handel, for example, in a ballad opera, audience members could come to know his music without having to pay a great sum of money. Though the primary purpose of ballad operas was not to spread art music to the masses, contrafacts from composers such as Handel, Purcell, and Corelli inadvertently promoted these composers‟ works.

66 Morissey, “Hentry Fielding,” 388. 22

Henry Purcell

The music of Henry Purcell was used with relative frequency in ballad operas. In fact, no less than thirty-four ballad operas contain melodies from Purcell‟s works. Many Purcell melodies had made their way into the repertory before the creation of ballad opera; Roy

Lamson, Jr. notes that Purcell‟s melody to “If love‟s a sweet ” (from Act III of The Fairy

Queen [1692]) was set to thirty-five different broadsides.67 The same melody was used in five different ballad operas.68 As John Gay invented several ideas later imitated by many other ballad operas, his inclusion of Purcell‟s music in his first ballad opera (the play includes four melodies by Purcell) was imitated by later ballad operas. The three songs used most often were “Britons

Strike Home,” “We‟ve Cheated the Parson,” and “If Love‟s a Sweet Passion”; all three of which are used in The Beggar’s Opera.

“Britons Strike Home” provides an interesting example of the many ways that ballad opera writers used contrafacts for dramatic and comic effect. The song was first written by

Purcell as incidental music for Bonduca (1695) by John Fletcher. A comparison of lyrics will show how the song took on different meanings (See Example 1):

67 Roy Lamson, Jr., “Henry Purcell‟s Dramatic Songs and the English Broadside Ballad,” PMLA 53, no. 1 (March 1938) http://www.jstor.org/stable/458409 (accessed February 7, 2010). 68 These ballad operas are: Bays’s Opera, The Beggar’s Opera, The of the Court, The Sturdy Beggars, and The Bow-Street Opera. 23

Example 1: Purcell‟s “Britons, Strike Home,” and Fielding‟s contrafact lyrics

In its original form, “Britons, Strike Home” is a patriotic song to rally the British troops to war against the Romans. The melody of “Robin, come on,” from Fielding‟s The Grub-Street

Opera is identical to Purcell‟s, and upon hearing the melody in the ballad opera, audience members would immediately associate it with Purcell, Fletcher, and possibly a sense of nationalistic pride for Britain. Yet the song takes on other meanings in a ballad opera. It appears in a scene in which the characters William and Robin meet to fight for the love of Sweetissa, whom they both admire. The new lyrics are similar to the original, in that they concern fighting between two parties. The of Purcell‟s song, however, has changed to comedy. After the two men sing in The Grub-Street Opera, Robin‟s friend Thomas says, “You must fight to some other tune, or you will never fight at all,” which pokes fun at the , as well as hints at the inappropriateness of “Britons, Strike Home” in such a comical situation.

24

George Frideric Handel

Like Purcell, Handel was one of the most popular sources for ballad opera writers.

Handel‟s music (or music attributed to him) appears in over forty ballad operas.69 Also like

Purcell, his songs were used in a variety of situations, completely removed from the music‟s original context. Beginning with The Beggar’s Opera, ballad opera composers often drew the same melodies from Handel‟s output, forming a pool of Handel‟s music to draw upon. These are roughly separated into four categories: English songs, , marches, and Italian arias. The

English songs (HWV 228) include “Twas When the Seas Were Roaring,” from Gay‟s What D’Ye

Call It, as well as others such as “Strephon‟s Complaint of Love” and “Charming Cloris.” The minuets come from collections of instrumental music, such as “” (HWV 348 and

349). Only two marches are used in ballad operas: one from the to Rinaldo and the other, a march from Scipio. Lastly, his Italian arias are pulled from various sources, such as from

Poro and .70

Unlike Purcell, Handel lived throughout the ballad opera craze and his popularity with the English public may have encouraged the use of his music on the dramatic stage and in print, when ballad operas were printed with music. While his melodies may have not been immediately familiar to ballad opera goers, attribution of songs to Handel in printed ballad operas (sometimes by title, such as “March in Rinaldo,” and other times vaguely, as in “Handel‟s ,” found in several ballad operas) made his music more familiar to a broader audience. Berta Joncus notes that of all of the ballad operas that use Handel‟s music, The Beggar’s Opera is the only one that

69 For a detailed table of Handel‟s melodies and their various uses in ballad opera, see: Joncus, “Handel at Drury Lane,” 181-191. 70 These arias include “Son‟ confuse pastorella,” “Caro vien,” and a chorus from ; “No, non temere, o bella,” from Ottone; “O caro spene” from ; “Il tricerbo humiliato” from Rinaldo; “Dimmi ” from Scipio; “Si caro” from ; and “Seguaci di Cupido” from . See: Joncus, 181-191. 25 was not staged as an afterpiece. Therefore, Handel was not only well known in the upper circles of English society during his time there, but in the lower, as well. The only contact the lower classes had with Italian opera may have been through Handel‟s music in ballad operas, in ballad opera libretti sold in booksellers, or in song sheet form. Very few other Italian opera composers were included in the repertory of ballad opera melodies.71

Composers: Theater

Ballad opera playwrights also made use of newly-composed melodies, which were provided by composers who were sometimes associated with particular theaters. These songs often carried the name of the composer, for example: “set by Mr. Seedo.” We have little evidence today of the nature of the collaboration between composers and playwrights of ballad operas, but presumably the musicians who worked with playwrights were called upon to arrange songs for performance, to write bass lines, and to write overtures. Most of these bass lines and overtures do not survive, but many scholars assume that the songs were sung with some sort of , at the very least . Most theaters employed instrumentalists for the music in plays,72 and they would also have been available for ballad opera performances.

Mr. Seedo

Little evidence survives of “Mr. Seedo,”73 (ca. 1700- ca. 1754) as he is named in

Fielding‟s The Lottery.74 Seedo was a German composer, who moved to London in the early part

71 Joncus, 193. 72 See above, p. 3. 73 His name has also been spelled “Sidow” and “Sydow.” 74 A great deal of work has been done by Walter H. Rubsamen to trace the history of this elusive composer. I am indebted to his work. See Walter H. Rubsamen, “Mr. Seedo, Ballad Opera, and the ,” Miscelánea en 26 of the eighteenth century and began a career as an organist. He also married an Italian actress, singer, and dancer, Maria Manina Fletcher, who performed in several pantomimes, who served some time as a principal singer at Lincoln‟s Inn Fields, who retired from the stage in 1732.75

Seedo worked for a time at the New Theatre in Haymarket. Records are unclear as to his precise career in London, but by late 1731 he was composing music at Drury Lane. Gathering information from advertisements and listings in libretti, Walter H. Rubsamen has discovered that

Seedo wrote and arranged music for several different genres at the theater, including ballad opera, burlesque and . The ballad operas that include music from Seedo are all Drury

Lane productions, where he was likely the musical director for a time.76 Productions that include

Seedo‟s music, such as The Lottery, The Mock Doctor, and The Devil to Pay, were some of the more successful ballad operas of the time,77 and some of the songs from these ballad operas continued to be printed throughout the eighteenth century and into the nineteenth, indicating

Seedo‟s popularity.

Seedo arranged and wrote music for six ballad operas: The Boarding School and The

Devil to Pay, by Charles Coffey; The Devil of a Duke, by Robert Drury; and The Lottery, The

Mock Doctor, and The Author’s Farce, by Henry Fielding. Seedo‟s songs show that he was adept at writing in the same dance style as is found in works such as John Playford‟s The Dancing

Homenaje a Monseñor Higinio Anglés, Vol. 2 (Barcelona: Consejo Superior de Investigaciones Cientificas, 1958- 1961), 775-809. 75 Roberts, 180. 76 This point is further illustrated by the dialogue for Henry Fielding‟s ballad opera, The Author’s Farce. In the play, Luckless, a poet, has written a play for a puppet play to be staged at Drury Lane. When he is ready to begin the play, he addresses the director: “Mr. Seedo, have you not provided a new overture on this occasion?” Seedo (who may have spoken from the orchestra pit) replies, “I have composed one.” See Henry Fielding, The Author’s Farce in Rubsamen‟s collection. 77 See below for details of the way that Seedo‟s music was spread to Germany, with the ballad opera-turned- singspiel, Charles Coffey‟s The Devil to Pay. 27

Master. One can see his style in the song “Air XII,” or “No more will I practice” (See Example

2):

Example 2: Air XII from Charles Coffey‟s The Boarding School

The song is a in 6/4 time with regular four-bar phrases, a common feature of English .78

Rubsamen has identified the consistent musical characteristics of Seedo‟s style in four tunes from Fielding‟s The Lottery: an opening motif that outlines the tonic , a binary form, and phrases that begin with an upbeat. Each of these characteristics is present in “No more will I practice,” as well. Though in themselves these characteristics are not particularly distinctive, they show Seedo‟s adeptness in writing memorable tunes in line with popular ballads and of the age.

78 Meredith Ellis Little. "Gigue (i)." In Grove Music Online. Oxford Music Online, http://0- www.oxfordmusiconline.com.maurice.bgsu.edu/subscriber/article/grove/music/11123 (accessed March 17, 2010). Rubsamen has shown that the jig was the preferred dance form in Seedo‟s works. See: Rubsamen, “Mr. Seedo,” 783-784. 28

Johann Christoph Pepusch

Another well-known composer and arranger of ballad operas was Johann Christoph

Pepusch (1667-1752). Like Seedo, Pepusch was originally from Germany and emigrated to

England in the early part of the eighteenth century. He began his career in London as an instrumentalist, first as a player and, in 1704, as a harpsichordist at Drury Lane Theater. In

1716, he was appointed musical director at Lincoln‟s Inn Fields, where he remained for several years. After 1729, Pepusch retired from the compositional world and concentrated heavily on ancient music.79 Pepusch was a founding member of the and a prominent teacher, composer and theorist.80

Pepusch provided music for two of Gay‟s ballad operas, The Beggar’s Opera and Polly.

For these two works, Pepusch wrote bass lines and overtures, and it is possible that the unidentified tunes in both works can be attributed to him. His contribution to these works is well documented but less so is the way in which his previously composed music (as in the case of

Purcell and Handel) was used several times over in other ballad operas. In 1730, after Pepusch had gained fame from his role in the production of Gay‟s ballad operas, Drury Lane Theater—his former place of employment—requested from him music for a pantomime titled Perseus and

Andromeda. Pepusch agreed and wrote a number of songs for the work. As in most pantomimes, much of the music consisted of dances, but Pepusch also wrote songs for minor characters to sing.81

One song from this pantomime that made its way into the ballad opera repertory was “O

What Pleasures Will Abound” (See Example 3). The song was used in several different ballad

79 His theoretical treatise, A Treatise on Harmony (1730), details the merits of solmization as a basis for harmony, based on his study of ancient music. 80 Malcolm Boyd, et al. "Pepusch, Johann Christoph." In Grove Music Online. Oxford Music Online, http://0- www.oxfordmusiconline.com.maurice.bgsu.edu/subscriber/article/grove/music/21274 (accessed February 11, 2010). 81 Fiske, 91. 29 operas, including Henry Fielding‟s The Lottery and Joseph Dorman‟s The Female , or

Modern Fine Lady.

Example 3: Air VII from Henry Fielding‟s The Lottery (1732)

The simplicity of this melody belies the competence of its composer. Indeed, its construction is as simple, if not more simple than many other ballad opera tunes. The song in The

Lottery is in AABB form. The A phrase consists of two nearly identical sub-phrases, and the B section has one phrase repeated three times, with a concluding fourth phrase. Its major key and its several successions of eighth notes are catchy; it would not be difficult for an audience member to hear this song and remember it the next day. Perhaps the essential simplicity of this melody is what made it so popular; the tune is found in six ballad operas and in several songbooks of the mid-to-late eighteenth century. Whatever the reason for its relatively widespread dissention, it shows that apart from his contributions to The Beggar’s Opera,

Pepusch could write a memorable melody for the English public.

30

CHAPTER III: BALLAD OPERA MUSIC

Ballad Opera Airs

The airs in ballad operas are drawn from a variety of sources: popular or folk songs, which are the most common sources for melodies; art music, such as pieces by Purcell or Handel

(see above, p. 19-23); or, rarely, newly composed melodies. Sometimes, a combination of these methods was employed. For example, the air “Cease Your Fanning,” from The Beggar’s Opera uses a melody in which the first half corresponds to a popular and the second half is newly composed by Gay or his collaborator, Pepusch.

Traditional songs can be found in a limited number of sources. Thomas D‟Urfey‟s six volumes of Pills to Purge Melancholy include several tunes, such as “Gossip Joan” and

.” Most of the Scottish tunes can be found in William Thompson‟s Orpheus

Caledonius; examples include “Bessy Bell,” and “The Lass of Patie‟s Mill.” One of the best collections of ballad opera songs is the six-volume The Musical Miscellany by John Watts. It seems that most writers did not borrow exactly from these collections, since many songs are slightly altered for their use on stage from the published versions. Whether the playwrights had gathered the tunes from these collections, or knew them by ear as popular songs, is unknown.82 It is clear, however, that ballad opera authors drew from a common pool of songs, established by successful ballad operas, such as The Beggar’s Opera. Few authors strayed far from the common pool of songs.83

82 As noted above (see footnote 44), Morissey suggests that Watts‟s collection was well known by most ballad opera writers, especially Henry Fielding. See: Morissey, “Henry Fielding,” 386-402. 83 Vanessa Rogers argues that Fielding and Gay both strayed far from tradition in their use of melodies from the Theatre de foire. See: Vanessa Rogers, “Writing Plays in the „Sing-song Way‟: Henry Fielding‟s Ballad Operas and Early Musical Theater in Eighteenth-Century London,” PhD diss., University of Southern California, 2007. 31

Some of the most commonly used tunes in my study are “Dame of Honour,” “Black Joak

[],” and “Bessy Bell.” These often-used songs illustrate the varied sources from which playwrights drew their music. “The Dame of Honour” was written by Thomas D‟Urfey for

Wonders in the Sun.84 It later circulated through broadsides. “Black Joke” was originally a bawdy song that circulated in the and was later used in several ballad operas, such as The

Beggar’s Wedding and The Lottery.85 “Bessy Bell” is an eighteenth-century Scotch song and can be found in Orpheus Caledonius.

Some writers of ballad operas try to establish a connection between their new lyrics and the lyrics of the original. As an example, I turn to the bawdy “Black Joke” again. In The

Generous Free-Mason, William Rufus Chetwood uses “Black Joke” for a song that describes the beauty of a woman. Though the crude narrative found in the original is missing, the intent

(description of a woman‟s physical features) is the same. Charles Coffey also uses the song (in his ballad opera, it is titled “Coal Black Joak”) in The Beggar’s Wedding to describe women, though his usage is again, more sentimental than the original. Often, the uses of “Black Joke” correspond to women when used in a ballad opera.

Some songs have no connection to their original sources. For example, though “Polwart on the Green” is a Scottish song found in Orpheus Caledonius, the ballad operas that include this song usually have little or no connection with anything Scottish. Some writers seem to have a keen awareness of the original text of their airs and exploit this for satiric effect (such as Gay in

The Beggar’s Opera, famously). Other ballad operas use songs on account of their popularity or melodic interest. After the success of The Beggar’s Opera, other writers hoped to cash in on its popularity by using some of the same melodies that Gay used.

84 For information on this opera, see above, pp. 10-12. 85 Lockwood, 681. 32

Several tunes carry vague titles, such as “French Tune,” “French Minuet,” or simply,

“Minuet.” These sources are much more difficult to trace than the popular songs in collections.

Some playwrights show a slight preference for borrowing melodies from non-English composers. John Gay, for example, uses a sarabande, gavotte, and two minuets from Corelli‟s concerti grossi and sonatas da camera in his Achilles.

When compared to Gay‟s other works, such as Trivia: or the Art of Walking the Streets of

London, or his two previous ballad operas, Achilles stands out as an anomaly. For one, its plot and characters are not local, but rather mythological. Rather than highlighting the similarities and dissimilarities among social strata of London, or satirizing government and royalty, Achilles is far removed from eighteenth-century life. Gay‟s prologue notes that in Achilles, he tackles a new subject matter and also lightly ridicules the many imitators of his first ballad opera:

I Wonder not our Author doubts Success, One in his Circumstance can do no less. The Dancer on the Rope that tries at all, In each unpractis‟d Caper risques a Fall: I own I dread his ticklish Situation, Critics detest Poetic Innovation. Had Ic‟rus been content with solid Ground, The giddy vent‟rous Youth had ne‟er been drown‟d. The Pegasus of old had Fire and Force, But your true Modern is a Carrier‟s Horse, Drawn by the foremost Bell, afraid to stray, Bard following Bard jogs on the beaten Way. Why is this Man so obstinate an Elf? Will he, alone, not imitate himself?

Gay goes on to say that, though his characters are mythological, he has brought them back down to earth by inserting them into a comedy and writing his dialogue in prose (“common Sense”), rather than verse.

Literary and theater scholars have become interested in Achilles in recent years. Some take the cross-dressing and struggle between male and female identities as a point of departure. 33

Yvonne Noble, for example, explores the way that sex and gender are portrayed in the ballad opera;86 she states that: “Gay selected this Achilles [as opposed to the Achilles from The Illiad] as his subject precisely because the figure could open up interesting question of gender- identity.”87 Dianne Dugaw has noted that Gay‟s portrayal of gender and sexuality in Achilles is ahead of its time, and can be read as a precursor to modern-day “camp.”88 Few scholars, however, have examined the musical, rather than textual, content closely. Tracing the history of some of the airs89 found in Achilles can highlight the variety of meanings that these melodies carried at the time.90 While one cannot say that the audience members knew the contexts for these songs, one can infer that John Gay certainly did, and that he used these songs for specific dramatic purposes.

Case Study: Gay’s Achilles (1733)

The story of Achilles‟ affairs on the island of Sycros can be found in the post-Homeric sources of Satius (), Ovid (), and Bion (Epithalamius of Achilles and

Deidamia). None of the sources, however, include all of the aspects of found in Gay‟s

Achilles. Atex (possibly a misprinted “Alex”) Burnet‟s pamphlet, Achilles Dissected, written at the time of the premiere of Achilles, thought that Statius was the source of Gay‟s work.91 Ovid‟s

86 See: Yvonne Noble, “Sex and Gender in Gay‟s Achilles,” in John Gay and the Scriblerians, edited by Peter Lewis and Nigel Wood (London: Vision Press, 1988), 184-213. 87 Noble, 185. Noble does not, however, eliminate the possibility that Gay‟s version of Achilles was selected because the story of Achilles in petticoats was known in England at the time. 88 Dianne Dugaw, “Sexuality, the Middling Sort, and the of „Camp‟: Achilles in Petticoats,” in “Deep Play”: John Gay and the Invention of Modernity (London: Associated University Presses, 2001), 216-241. 89 My study in this chapter will concern three selected songs, but all of the songs are transcribed in the appendix. See p.175-204. 90 For information on intertextuality in music, see: Leslie Klein, Intertextuality in Western Art Music (Bloomington: Indiana University Press, 2005). 91 Burnet‟s criticism is also interesting because it attributes the completion of the play to Gay‟s friends. He suggests that people such as Alexander Pope finished the ballad opera after Gay‟s death, because the play does not appear to be quite the same style as Gay‟s previous works. See: Achilles Dissected: Being a Compleat Key of the Political 34 poem was most widely available to the English public but does not include the love between

Achilles and , nor does it include Achilles‟s false name of Pyrrha. Some aspects missing from Ovid are to be found in Statius and Bion, but other aspects—such as the name

Pyrrha—suggest that Gay must have been familiar with a number of minor and lesser-known writers.92

Achilles premiered on February 11, 1733 at the new Theater. It was ultimately not as successful as its predecessor, The Beggar’s Opera, but ran for nineteen performances. The plot is derived from the story of Achilles and his mother‟s attempt to keep him from fighting in the . This story comes, not from the , but from the post-

Homeric tradition. , Achilles‟s mother wants to keep her son safe and plans to disguise him as a woman.93 This plan is carried out before the action on stage begins, since Achilles‟ first appears on stage in women‟s clothing. He protests this cross-dressing, for it besmirches his honor not only to dress as a woman, but also to avoid battle. Despite his protest, Thetis arranges for

Achilles to live in the palace of Lycomedes among his daughters, which sets the scene for comical interactions between the lone warrior/hero and a group of beautiful young women.

Achilles (under the name Lady Pyrrha) is immediately singled out among the girls for being too

Characters In that New Ballad Opera, Written by the late Mr. Gay. An Account of the Plan upon which it is founded. With Remarks upon the Whole . . . To which is added, The First Satire of the Second Book of Horace, Imitated in a Dialogue between Mr. Pope and the Ordinary of Newgate (London, 1733). Norman Ault, after tracing the letters and progress of Achilles, has not definitively concluded that Alexander Pope wrote the prologue, but does note that Burnet‟s attribution of the prologue to Pope could be true. Prologues were often written after plays were completed, and Achilles was finished (or nearly finished) by the time of Gay‟s death, as the ballad opera had been sent to the playhouse for production. He contends that the prologue does include some of Pope‟s favorite similes, but the possibility remains that Gay could have written the prologue with Pope in mind, as a tribute of sorts. See: Norman Ault, New Light on Pope: With Some Additions to His Poetry, Hitherto Unknown (London: Methuen and Co.: 1949), 215-221. 92See: Noble, 185-191, for details of what Gay may have gathered from various Greek sources. 93 This is similar to the plot of Deidamia, Händel‟s last London opera. The libretto was written by Paolo Antonio Rolli. The similarities between the plots of Achilles and Deidamia are many, but some differences exist. For example, instead of Achilles‟ mother shielding him from the war, in Deidamia, his father is the one keeping him from battle. Both Achilles and Deidamia may derive from the same textual sources. See: , Handel’s Operas1726-1741 (Rochester, NY: Boydell Press, 2006), 471-483. 35 sullen (a quality they dislike) and spirited (a quality they admire). Soon the audience learns that

King Lycomedes is in love with Lady Pyrrha.94 After unsuccessfully trying to woo Pyrrha through one of his ministers, Lycomedes approaches her himself but is violently rejected after forcing himself upon her (him).

Meanwhile, unbeknownst to King Lycomedes and Queen Theaspe (who spends most of the play unhappy and jealous of the attention that her husband lavishes upon Pyrrah), one of their daughters, Deidamia, has an affair with Achilles and becomes pregnant. She is upset with

Achilles, for he professes his love for her yet will not reveal himself as a man because it would impugn his honor. Achilles manages to maintain the ruse throughout most of the play, all the while fighting off the advances of lusty men and tolerating the mindless chatter of the women in the play. In the final act, Achilles is discovered by Ulysses and two other warriors who come to the castle disguised as merchants. They visit the daughters and Lady Pyrrha in order to show an assortment of wares, including one item in particular to entice Achilles to war: a beautifully crafted suit of armor. Achilles shows interest in the armor and by so doing, reveals himself as a man. Now that his identity is revealed, he goes to fight in the Trojan War to retain his honor. He marries Deidamia before he leaves. In the end, all mistaken identities are cleared up, all tempers are cooled, and the cast sings a finale.95

The ninth air in Achilles will serve as a point of departure for discussing the sources and allusions in the music. The song carries the title “O‟er Bogie,” the original name of the melody.

The text of “O‟er Bogie” was written by Allen Ramsay (who also wrote a ballad opera) and published in his Poems (1721), where it appears without music. Later, Ramsay‟s text was

94 Later the warrior Ajax also falls in love with „her‟, at which point Achilles finds life as a woman too taxing. 95 The finale ending is very common in ballad operas. Usually the cast gathers on stage to tie up any loose ends, and a dance is called for. The final song will often be the only ensemble air in the ballad opera and usually alternates choral phrases with solo material in the manner of the French rondeau or vaudeville. 36 included with music in Orpheus Caledonius in 1725 (See Example 4).96 The title comes from the chorus:

I‟ll o‟er Boggie, o‟er Scroggie, O‟er Boggie wi‟ her, Tho‟ a‟ my Kin had sworn and said, I will away wi‟ her.97

In Achilles, the song has the title “Observe the wanton Kitten‟s Play,” and is sung by one of Lycomedes‟s ministers, Diphilus, to warn the good king that „Lady Pyrrha‟ “hath something of the Coquette about her.”98

Observe the wanton Kitten‟s Play, Whene‟er a Mouse appears; You there the true Coquette survey In all her flirting Airs: Now pawing, Now clawing, Now in fond Embrace, Till „midst her Freaks, He from her breaks, Steals off, and bilks the Chase.

Thus, in the context of Achilles, the song espouses a theme found often in ballad operas: the unreliability and wantonness of women.99

The tune in Orpheus is nearly identical to that of Achilles:

96 Claude M. Simpson estimates that the broadside melody dates from the 1720s. Claude M. Simpson, The British Broadside Ballad and its Music (New Jersey: Rutgers University Press, 1966), 560-561. 97 Thompson, 105. 98 A transcription can be found in the appendix, p. 180. 99 A famous example of this trope is “‟Tis Woman that Seduces All Mankind,” from The Beggar’s Opera. 37

Example 4: “O‟er Bogie,” from Orpheus Caledonius

Interestingly, the two versions of the text contain opposite portrayals of women. The lyrics in

Orpheus are more sentimental:

I Will awa‟ with my Love, I will awa‟ wi‟ her, Tho‟a‟ my Kin had sworn and said, I will away‟ wi‟ her.

Let Rakes delyte to swear and drink, And Beaus admire fine Lace, But my chief Pleasure is to blink, On Betty’s bonny Face.

There a‟ the Beauties do combine, Of Colour, Treats, and Air; The that sparkles in her Een, Makes her a Jewel rare.100

100 Thompson, 105. Quoted are verses 1, 4, and 5. 38

Gay‟s text refers to a conniving, wanton kitten, toying with men. The woman in Ramsay‟s text, however, is a rare jewel with a “bonny face” and “shining life.” Perhaps Gay‟s knowledge of the song was based on Ramsay‟s version, and Gay changed its meaning—from sentimental love to a diatribe on the capriciousness of women—for satiric effect.

“O‟er Bogie” also takes on new meaning when examined in the contexts of other ballad operas in which it is found. The first author to use it was Ramsay himself in The Gentle

Shepherd (1730), which is an adaptation of his own earlier pastoral.101 The lyrics in The Gentle

Shepherd are very similar to his original poem. Sung by Jenny, a comedic character in the play, she confesses her love for her counterpart Roger and agrees to marry him:

Well I agree, ye‟re sure of me; Next to my father gae. Make him content to give consent, He‟ll hardly say you nay: For you have what he wad be at, And will commend you well, Since Parents auld think love grows cauld, Where Bairns want milk and meal. Shou‟d he deny, I care na by, He‟d contradict in vain. Tho‟ a‟ my kin had said and sworn, But thee I will have nane. Then never range, nor learn to change, Like these in high degree: And if ye prove faithful in love, You‟ll find nae fault in me.102

The subject matter is the same as that of the original song, and Ramsay keeps the rustic dialect and even one line from the original chorus: “Tho‟ a‟ my kind had said and sworn” (“Tho‟ a‟ my

Kin had sworn and said,” in his original). The central message of both of Ramsay‟s versions is

101 The pastoral, also titled The Gentle Shepherd, was once thought to have been the first ballad opera. In a sense, it is. It was written in 1725, three years before The Beggar’s Opera, and is a pastoral with four popular songs interspersed throughout. However, most scholars recognize Gay‟s work as the first because it established the form and content of almost every ballad opera thereafter. See: Fiske, 111. 102 Allen Ramsay, The Gentle Shepherd, 38. 39 that the lovers suggested in the song will be together despite any protest from family. Though

Gay‟s version seems to contradict this sentiment, there may be a correlation between the king‟s actions toward Achilles/Lady Pyrrha and the lovers in The Gentle Shepherd. Despite the protest of his trusted minister (“Tho‟ a‟ [Diphilus] had sword and said,” perhaps), the king still loves

Pyrrha. This other meaning of Achilles‟s “Air IX” may foreshadow, then, the king‟s later confrontation with Lady Pyrrha.

The other ballad opera containing “O‟er Bogie” is The Highland Fair (1731) by Joseph

Mitchell. Interestingly, the setting of Mitchell‟s ballad opera is in , and so the use of the song draws a connection to Orpheus Caledonius and the Scotch dialect in the original lyrics. The song is sung by Wily, a sergeant of an “Independent Company,” placed at a fair in Scotland to keep the peace. Wily sings happily, for he has just traded his wife and sister to Charles, the captain of the company, for money to buy alcohol and a snuffbox. His version of “O‟er Bogie” is not about love or the wiles of women, but virtue. He suggests that man should not concern himself with such matters:

Let medling Conscience call it Crime, Which Nature prompts us to, Love, mighty Love, must have his Time, And what he pleases do. The Frost's a Prodigy esteem'd, In Summer, or the Spring; Shou'd Winter Virtue then be deem'd, In Youth, a natural Thing?103

In light of the scene in Achilles, the character of Wily seems to correspond to Diphilus, or at least

Achilles‟s conception of him. To Achilles, Diphilus has no virtue or honor; if Diphilus was not one of the king‟s men, Achilles says, “the World. . . wou‟d call [Diphilus] a Pimp, a Pandar, a

Bawd.” The scene in which Achilles calls Diphilus these names occurs just after the appearance

103 Joseph Mitchell, The Highland Fair, 3. 40 of “O‟er Bogie,” so again, an association of the melody with its use in an earlier ballad opera may have hinted at events to come later in the act.

Claude M. Simpson has identified the earliest source for “Air XVII,”104 or “Fairy Elves,” in Playford‟s The Dancing Master, where it first appeared under the title “The Spanish Gipsy.”

Simpson speculates that this title may derive from a 1623 play called The Spanish Gipsie, in which a similar melody was sung by a group of gypsy characters. In the 1728 edition of The

Dancing Master, the melody appears under the title “Fairy Queen,” which comes from a broadside from approximately 1625. 105 This broadside appears in several different sources, a testament to its popularity. The lyrics are similar to the mythological themes of Achilles:106

Come, follow, follow me, You, fairy elves that be: Which circle on the greene, Come follow Mab your queene Hand in hand let‟s dance around For this place is fairy ground

When mortals are at rest, And snoring in their nest; Unheard, and unespy‟d, Through key-holes we do glide Over tables, stools, and shelves, We trip it with our fairy elves.

In Achilles the tune is sung by Artemona, a friend of Queen Theaspe. The queen, upon hearing that Pyrrha is to stay with them for some time, assumes the worst: that King Lycomedes is committing adultery and having an inappropriate relationship with their young visitor.

Artemona sings “O guard your from Care” in an attempt to soothe Theaspe‟s worries. She tells the queen that, by being jealous of Pyrrha, she is only tormenting herself. The Queen agrees

104 Transcription from Achilles is in the appendix, see p. 184. 105 Simpson, 674-675. 106 Lyrics from Percy‟s Reliques, 368 41 after the song by stating, “What a wretched, mean, contemptible Figure is a jealous Woman!

How have I expos‟d myself!”

There is little connection between the lyrics of “Fairy Queene” and Gay‟s Air XVII. The former has lyrics that describe the fantastic world of with childlike wonder. The latter is a warning from one woman to another to not lose oneself in jealousy. Gay‟s use of this melody could have been a commentary on the childishness of the jealousy of Queen Theaspe, or that her jealousy was as delusional as the fairy world, but this interpretation may assume too much.

Perhaps, like the previous example, Gay was thwarting possible expectations of the audience for satiric effect. If so, he is contrasting the childlike nature of fairies and fairy-tales with the not-so- childlike subjects of adultery and jealousy. Most likely, however, Gay was exploiting the mythological theme of the broadside to fit closely with his plot taken from Greek myth. One can see this use of the song in other mythological or pastoral ballad operas. The melody was used in five other ballad operas, three of which were before Achilles (See Table 1).

Title of ballad opera Air # and first line New context for “Fairy Queene” The Country- XVII. “That Wench is surely blest” Women who marry for gold Wedding (1729) instead of love are the most well-off Bays’s Opera XLV. “How swift we cleave the Sky” Dulceda pretends to be insane (1730) The Fashionable LXVII. “Come follow, follow me” A part of the grand finale; a Lady (1730) dance is called for The Decoy (1733) XXXVI. “Then Hand in Hand Let‟s Country girls join together in Join” peace and goodwill Court and Country XXXVII. “Come follow, follow me” On bribes (1743)

Table 1: Uses of “The Fairy Queene”

42

One can see that the subjects of each version are all different, and none have a strong connection to the original. The only connection between these ballad operas and Achilles is that all are pastoral or mythological ballad operas. Therefore, the authors of these works may have had the pastoral content of “Fairy Queene” in mind when deciding which melodies to use. Perhaps it was a way of reminding the audience that though the plots of these ballad operas are burlesques, the subject matter was classical and therefore less frivolous than it seemed.

The third tune of note is “Air XVIII,” originally titled “Moll Peatly.” The tune was a popular seventeenth-century dance that circulated under several different names, such as “Moll

Pately,” and “Mall Peatly.”107 It can be found in The Dancing Master from 1659 on and also appears in ’s Banquet, another guide to dancing by Playford. D‟Urfey expanded the melody for a ballad called “Gillian of Croyden,” which can be found in Pills to Purge

Melancholy. D‟Urfey‟s ballad was quite popular and circulated widely through song sheets. Its tune is similar to the version in Achilles:108

Example 5: “Gillian of Croyden,” from Pills to Purge Melancholy

107 Lockwood, 687. 108 See p. 184-5 for transcription. 43

It differs in meter and melody in the B section, but the character of the tune remains. D‟Urfey‟s lyrics tell the tale of a group of women drinking and remarking on current affairs:

1. One Holiday last Summer, From four to seven by Croyden Chimes; Three Lasses Toping Rummers, Were set a prating of . A Wife call‟d Bonney brown Nell. A Widow mine Hostess, Gillian of Croyden, Gillian of Croyden, Gillian, Young Gillian, Jolly Gillian of Croyden, Take off your Glass, cry‟d Gillian of Croyden, A Health to our Master Will; 2. Ah! Joan cry‟d the Maiden, This Peace will bring in Mill‟d Money store We now sha‟n‟t miss Trading; And Sweet-hearts will come on thick ye Whore. No more will they Fight and Kill, But with us good Liquor will Swill: These will be rare times, cry‟d Gillian of Croyden, Gillian Of Croyden, Gillian, young Gillian, Plump Gillian of Croyden; Take off your Glass, cry‟d Gillian of Croyden, A Bumper to Master Will.109

In Achilles, the song is sung by Queen Theaspe, just after Artemona cautions the queen not to be jealous of Lady Pyrrha. Theaspe is exasperated because she knows Lycomedes loves the girl. The queen asks Artemona whether or not Pyrrha is virtuous enough to withstand the advances of a king:

All Hearts are a little frail When Temptation is rightly apply‟d. What can Shame or Fear quail When we sooth both Ambition and Pride? All Women have Power in view; Then there‟s Pleasure to tempt her too. Such a sure Attack there‟s no defying, No denying; Since complying Gives her another‟s Due.

109 D‟Urfey, Pills II, 237. The ballad has seven additional verses. 44

In other words, the queen has little faith in the girl‟s ability to deny the king. The women in

“Gillian of Croyden” have little in common with Theaspe and Artemona, and yet the fact that the subject of both songs is chatter between two or more women may show Gay‟s knowledge of the original text. Perhaps Gay is associating the paranoid Theaspe and her catty friend with the

“lower” sort of women in D‟Urfey‟s poem to show the incivility in gossiping (as Theaspe and

Artemona are doing about Pyrrha and the king).

Five ballad operas use the tune. Three use its original title, “Moll Peatly” (or “Moll

Peakly,” as in Calista), while the other two use D‟Urfey‟s title. This illustrates how songs took on new meanings to new listeners as they were distributed in song sheets, or collections such as

Pills to Purge Melancholy. In Calista (1731), the song is a about betrayal between a count and countess, which does have some relation to the situation in Achilles.

Count de Ulto: When once an open hearted Creature, By the Wiles of Man is betray‟d, Does open lay the Scene of Nature, She‟s no longer call‟d a Maid: There‟s Inclination first, Countess de Ulto And periur‟d Man that durst Attempt to bring a Girl to Slavery, By his Knavery, That‟s his Bravery, Tho‟ sure to be accurst.

It is possible that Gay had knowledge of Calista because of its similar use of “Moll Peatly.” In both Gay‟s lyrics and those of the anonymous author of Calista, a girl is tempted by a man into an illicit affair. In both cases, the girl is “frail” or “open hearted,” and the man is the pursuer, attacking, or “bring[ing] a girl to slavery.” The affairs of men and women, a rather bawdy subject, seems to also be line with the bawdy, vulgar women in “Gillian of Croyden,” and both authors likely knew of D‟Urfey‟s lyrics to “Moll Peatly,” due to its popularity. 45

Harold Gene Moss maintains that one of the reasons ballad opera died out was because songs were used and reused so often in so many ballad operas. He says that what began as

“comic primness,” or unresolved in The Beggar’s Opera became transformed into deliberate irony once the songs were used in other ballad operas. Therefore, according to Moss, ballad opera went from being a form of high burlesque to one of low burlesque, therefore limiting the genre.110 While his example of “Sally in Our Alley” does lose its “comic primness” in transformation, I think that what subtleties the songs lost in their multiple uses, they gained in the number of meanings and interpretations they took on as they were used throughout the eighteenth century. The full meaning possibly heard by audience members or intended by ballad opera writers is vast and can hardly be limited to tracing the irony to be found in lyrics. If Moss is correct that writers of ballad operas were growing tired of using the same songs over and over, assuming their irony had been exhausted, it is possible that Gay used Achilles to try to break out of the mold established by his first ballad opera; for as well as popular tunes, Achilles includes several other melodies not in the ballad opera repertory (an unidentified French song and selections from the works of Corelli, for example). Whatever the case may be, it seems that Gay carefully selected the songs in Achilles, and the popular songs have at least some connection

(ironic or otherwise) to earlier sources.

110 See: Harold Gene Moss, “Popular Music and the Ballad Opera,” JAMS 26/3 (Autumn, 1973): 365-382. 46

CHAPTER IV: DECLINE AND INFLUENCE

Ballad Opera, Post-1737

In its heyday ballad opera invigorated interest in music for the stage. Previous to the first ballad operas, few musical stage works were written and performed.111 From 1728-1737, over eighty new musical stage works premiered. The Licensing Act was the death knell for ballad opera.112 After the Licensing Act, as more writers turned to novels, the genre began to die out, and by 1750, very few authors were still writing ballad operas; the genre was replaced by a new form of English comic opera. After 1750, few ballad operas were written, though some older ones (especially The Beggar’s Opera) were revised and re-staged.113

The interest in profit inherent in public entertainment was partly ballad opera‟s undoing.

The Beggar’s Opera was of such good quality and such a rousing success that few works could match it. Edmond Macadoo Gagey says, “From its very beginning the story of ballad opera is one of degeneration. In his first attempt Gay had brought the form to such a high perfection that it could not be improved upon.”114 The was not that no one was talented enough to match Gay, but that few were given sufficient time to do so. Immediately after The Beggar’s

Opera, a flood of new ballad operas were written and performed. New works were in high demand, and writers churned out ballad operas to meet this demand, which explains the poor

111 Vanessa Rogers, “Writing Songs,” 37. 112 Scholars have given many reasons for the decline of ballad opera. Some maintain that the public taste tired of hearing the same songs repeatedly (See Rogers, “Writing Songs,” 78-79). Roger Fiske notes that the decline in the use of continuo may have had a part in ballad opera‟s demise: “The ballad opera had always depended on continuo. . . . If continuo accompaniment was to be down-graded, it would seem that ballad operas had no future.” See: Fiske, 397. 113 Achilles was one such ballad opera. It was shortened and newly titled Achilles in Petticoats. The original music was scrapped and new songs and an overture were written by . It was ultimately unsuccessful with the public. See: Fiske, 399. 114 Gagey, 8. 47 quality of some works.115 Not only were seasoned writers producing at a rapid rate, but also theaters were hiring newcomers by the dozens. Some of these inexperienced young playwrights went on do great things for the theater (such as Henry Fielding) and others languished in obscurity. Because of the quick descent of ballad opera, theater managers and playwrights became more wary of the combination of play and song in general.116 Few could have thought that the genre would go on to influence a musical phenomenon at home and on the continent and that The Beggar’s Opera (or a derivative of it) would continue to be performed into the twenty- first century.

English Opera

Before the ballad opera craze ended some Englishmen were experimenting with opera, hoping to create a truly English rival to Italian opera. In the season of 1732, seven newly composed English operas were written, although none was very successful. Most of these were fully sung and in the style of Handel, save for one, The Opera of Operas, by Henry Fielding and

Thomas Arne, which is one of the first examples of a burlesque of opera. Burlesques of opera

(which consisted of newly-composed music) descended from the tradition of ballad opera in its

115 In the prologue to The Intriguing Courtiers, a “friend” of the author of writes of this phenomenon: When Congreve wrote, and Wycherly the sage; When Better ton in Buskins trod the Stage; A Play was deem‟d the Product of a Year: But now new Plays like Mushrooms do appear. They shoot out in one Night, but the next Day They spread, they rot, they wither, and decay. The half-begotten Brats can‟t bear the Light, Too little they appear, to weak for fight. 116 Fiske, 114. 48 burlesque forms, its “low” characters and situations and its local dialogues. Most were not political , unlike some ballad operas.117

The successor of ballad opera on the English stage was comic opera, a genre popular throughout the second half of the eighteenth century. Michael Winesanker summarizes their similarities simply:

The ballad opera and the comic opera embraced the same basic structure. Both consisted of familiar subjects drawn from everyday life; both had a number of infectious tunes strung on a thread of scintillating dialogue; both were often garnished with characteristic dances and choruses.118

Comic opera differs from ballad opera in its use of chiefly art music contrafacts. Also, comic operas generally were fully orchestrated and contained more newly-composed (instrumental and vocal) music.

It was in 1762 with Bickerstaff‟s Love in a Village that the English comic opera began to blossom, a tradition that liberally absorbed influences from ballad operas, Italian opera, and the French opera comique. Works such as these were pastiches; Love in a Village, for example, did contain borrowed songs, like ballad operas, but this new comic opera rarely used the traditional binary dance forms found in ballad operas.119 Unlike ballad operas, Love in a

Village was fully written and orchestrated; parts were provided for the full orchestra and introductions and postludes were included in the score. The musical arranger of Love in a Village was Thomas Arne, an early burlesque pioneer. He composed several of the forty-two songs and

117 Fiske quotes V.C. Clinton Baddeley as drawing a distinction between satire and burlesque by their target of ridicule. Satires are usually personal, violent attacks on people or situations. Burlesques are more light hearted and less personal. See Fiske, 145-146. 118 Michael Winesanker, “-Dramatic Criticism of English Opera, 1750-1800,” JAMS 2/2 (Summer 1949): 87- 96, http://www.jstor.org/stable/830073 (accessed March 1, 2010). 119 Fiske, 328. 49 many of the borrowed works were from his own earlier works. Other borrowed melodies come from Italian operas and instrumental art music, such as Geminiani‟s Concerto Grosso Op. 2/1.120

Singspiel

One of the greatest influences that ballad opera had on the continent was that of the singspiel. One of the most popular ballad operas in England was The Devil to Pay, by Charles

Coffey. It premiered as a three-act work in 1731 but was unsuccessful. When it was shortened to an afterpiece, it ran for many performances.121 The plot revolves around two married couples; one includes a brutish cobbler who beats his innocent wife, and the other is a noble gentleman and his shrew of a wife (who beats her husband and her servants). Through two chance encounters, the couples meet a necromancer, who is beaten and insulted by the cobbler and the noble wife, respectively. To exact his revenge, switches the places of both wives; the sweet cobbler‟s wife is transformed into the likeness of the noblewoman, and the noblewoman wakes up to find herself in the body and home of the cobbler‟s wife. Hilarity ensues when the identities are switched, but eventually, the sorcerer comes back to undo his spells and in the end the previously horrible characters of the cobbler and the noblewoman are transformed and they both vow to be kind to their respective spouses.

The influence of The Devil to Pay on the singspiel has been painstakingly traced by

Rubsamen, especially as regards Seedo.122 Seedo‟s contribution to Coffey‟s work was to write several original tunes and arrange the traditional melodies to fit the poetry. When Seedo ran up

120 Fiske, 329. 121 Roger Fiske notes that “by 1750 it had averaged twenty-five performances a year, and throughout the century it scarcely missed a season at one theatre or another.” By Fiske‟s account, the play was still in the English public eye up into the early nineteenth century. See: Fiske, 112. 122For information on Seedo see p. 25-27. Also see: Walter H. Rubsamen, “Walter H. Rubsamen, “Mr. Seedo, Ballad Opera, and the Singspiel,” Miscelánea en Homenaje a Monseñor Higinio Anglés, Vol. 2 (Barcelona: Consejo Superior de Investigaciones Cientificas, 1958-1961), 775-809. 50 debts in England and was forced to return to Germany, King Frederick William I of Prussia protected him and took an interest in his music.123 Caspar Wilhem von Borke, the Prussian ambassador to the English court was also a friend of Seedo, and in 1743 translated Coffey‟s The

Devil to Pay into German, titled Der Teufel ist los, oder Die verwandelten Weiber, and called a singspiel. The work—which interestingly retained music from the original—was quite successful and helped to in a demand for more comedic operas. Rubsamen has said that, in a time when the German stage was dominated by Italian opera or nonexistent, “von Borke‟s Singspiel represented a fresh start in the development of German comic opera.”124 The work was later revised and enjoyed a great success. This early singspiel served as a popular starting point in the genre that led to great works from composers such as Mozart and . This example also proves that the form and melodies of ballad opera were not simply phenomena suited only to English tastes. Continental Europeans, were also flocking to hear simple tunes and comic dialogue.

Post Seventeenth-Century Influence

Very few ballad operas had life on the stage after the eighteenth century. Gagey notes that some ballad operas were written in the 1790s, and were staged in the early part of the century, but many of them included original songs and none had quite the number of songs as their predecessors. Thomas Dibdin wrote a Scottish-inspired ballad opera in 1835 called The

Covanteers, which includes several old Scottish melodies. The setting of the play was historical—the time of King William III (1650-1702)—so the use of ballad tunes seems apt.125

123Rubsamen, 787-791. 124 Rubsamen, 792. 125 Gagey, 218-219. 51

The works of in the nineteenth century can be seen as an extension of the satiric and pastoral tradition set forth by ballad opera. In 1927, William Saunders noted that

English opera often tended to have a lighter character in general, in comparison to French Grand

Opera, or Italian opera seria:

The [ballad opera] form was in close harmony with the national psychology [of England] . . . In the average English character there is a fine open breeziness that is redolent of the sea. . . .What there is of national English opera to-day tends rather to the lighter forms as exemplified by the so-called Gilbert and Sullivan, and Edward German, types, than to the of the standard required by the best opera houses and companies in and America.126

The connection to Gilbert and Sullivan‟s works, however, is not to be overstated. Ballad operas and works such as share a comical satirical bent and a lightness of musical and dramatic character, but otherwise, the two forms are unrelated.127

In the early twentieth century, the English stage saw many revivals of works by

Shakespeare and Congreve, as well as popular ballad operas. Some of the revivals of ballad operas include Gay‟s Polly (1922, 1923), Ramsay‟s The Gentle Shepherd (1923), and Fielding‟s

The Unmask’d (1920).128 No ballad opera, however, has been performed more frequently than The Beggar’s Opera, which, after a slight lull, is still performed to this day.

After performances throughout the nineteenth century, the popularity of The Beggar’s

Opera began to wane at the early part of the twentieth. In 1920, however, it was revised by

Frederick Austin and staged at Hammersmith Theatre. The revision shortened some of the dialogue but without much attempt to modernize it. Austin also wrote new settings for some of

126 William Saunders, “National Opera, Comparatively Considered,” The Musical Quarterly 13/1 (January 1927): 72-84, http://www.jstor.org/stable/738557 (accessed March 1, 2010), 78. 127 The ballad opera may not have influenced the of Gilbert and Sullivan, but some scholars see a connection between the American musical and English ballad opera and burlesque. See: Eric Salzman, “Whither American Music Theater?” The Musical Quarterly 65/2 (April, 1979): 230-244, http://www.jstor.org/stable/741705 (accessed March 10, 2010). 128 Harold Child, “Revivals of English Dramatic Works, 1919-1925,” The Review of English Studies 2/6 (April 1926): 177-188, http://www.jstor.org/stable/508430 (accessed March 1, 2010). 52

Pepusch‟s music and added dances and other incidental music. The new Beggar’s Opera was immensely popular, as can be seen in a passage from The London Times (June 1920):

The beggars have come back to town, and taken up their abode at the Lyric Theatre, Hammersmith, where, to judge from the enthusiasm of their welcome on Saturday night, they should be able to disport themselves for as long as they will.129

Austin‟s success was the impetus for Bertold Brecht and ‟s , a loosely translated adaptation of The Beggar’s Opera. In it, the political satire is modernized and radicalized, and many characters and scenes are Marxist allegories, in line with Brecht‟s political leanings.130 Threepenny extends the story of Gay‟s work to a much broader audience; it has been translated into many languages and has been performed on Broadway numerous times, most recently in 2006. The Beggar’s Opera has also been adapted by other playwrights, such as

Vaclav Havel in Zebracka Opera (1970) and Alan Aychbourn in A Chorus of Disapproval

(1984). Havel‟s version is a thinly veiled criticism of Soviet power and the occupation of

Czechloslovakia. Aychbourn‟s is a commentary on the capitalist corruption of England under

Prime Minister Margaret Thatcher.131

Conclusion

It is through these later adaptations and continued performances of The Beggar’s Opera that ballad opera lives on. No other ballad opera has enjoyed the long life and success that the first ballad opera has, and as a result, scholars have been eager to dismiss ballad operas as

“sentimental lollipop[s]”132 and generally unworthy of musicological inquiry. A closer look at

129 Quoted in Schultz, 102. 130 For information on The Threepenny Opera, see: Stephen Hinton, Kurt Weill: “The Threepenny Opera” (Cambridge: Cambridge University Press, 1990). 131 Dugaw, 31-37. 132 Robert D. Hume. "Beggar‟s Opera, The." In The New Grove Dictionary of Opera, edited by . Grove Music Online. Oxford Music Online, http://0- 53 the songs of ballad operas, however, shows the variety of complex meanings that songs could have had for audience members and playwrights alike. For example, a ballad with an originally pastoral subject may take on new meanings in the context of a ballad opera set on the streets of

London. Alternately, a song in a opera may have decidedly crude undertones, if its source was raunchy. As the songs were reused in other ballad operas, the number of meaning expanded even further, for playwrights were not ignorant of each others‟ works.

Though repeated use of the same songs may have made the public grow weary of the genre, other factors, such as the Licensing Act of 1737, had an effect on its demise.

The brief popularity of ballad opera showed that England had an untapped market for musical entertainments. Because most ballad operas were afterpieces and were less expensive than full-length plays, more of the general public could attend. Theater managers gave the public what it wanted in an effort to earn a profit. From 1728 to 1737, ballad operas were ubiquitous on stage, linking music and drama together in the mind of the English public. Despite this union, could not be equal; text was supreme, and music was used as a spectacle to highlight and showcase the text. Christopher Hogwood has noted that The Beggar’s Opera killed

“the chances of serious English opera.”133 Yet, ballad operas were in line with English taste at the time, and no “serious” English opera may have had such success. In short, ballad operas, for the most part, reflected an English consciousness. To study ballad opera is to study a slice of

English society in the eighteenth century.

www.oxfordmusiconline.com.maurice.bgsu.edu/subscriber/article/grove/music/O002751 (accessed March 31, 2010). 133 Christopher Hogwood, Handel (New York: Thames and Hudson, 2007), 142. 54

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58

APPENDIX A: TABLE OF BALLAD OPERAS

This list of ballad operas pertains to those in my study. My focus was on ballad opera in

England, and therefore, American, Scottish, and Irish ballad operas are not included. All of my primary source material is from Rubsamen‟s 28-volume collection of ballad operas in facsimile.

Writer Title Publication Place Music? Date John Gay The Beggar‟s Opera 1728 Lincoln‟s Inn Yes Fields The Quaker‟s Opera 1728 Bartholomew Fair Yes

Thomas Cooke Penelope, a Dramatic Opera 1728 Haymarket Theatre Yes and John Mottley

John Gay Polly: An Opera 1729 Yes

Thomas Cooke Love and Revenge; or, the 1729 Haymarket Theatre No Vintner Outwitted: an Opera

Ebenezer Momus Turn‟d Fabulist: or, 1729 Lincoln‟s Inn Yes Forrest Vulcan‟s Wedding Fields

Colley Cibber Love in a Riddle; a Pastoral 1729 Drury Lane Yes

Lacy Ryan The Cobler‟s Opera 1729 Lincoln‟s Inn Yes Fields

Charles Johnson The Village Opera 1729 Drury Lane Yes

Charles Coffey Southwark Fair: or, the Sheep 1729 Haymarket Theatre No Shearing. An Opera

Essex Hawker The Wedding: a Tragi-Comi- 1729 Lincoln‟s Inn Yes Pastoral-Farcical Opera Fields

John Hippisley Flora; an Opera 1729 Lincoln‟s Inn Yes Fields Essex Hawker The Country-Wedding, and 1729 Drury Lane No Skimington: a Tragi-Comi- Pastoral-Farcical Opera 59

Fielding Grub-Street Opera 1729 Haymarket Theatre No

Charles Coffey The Female Parson: or, Beau 1730 Haymarket Theatre Yes in the Sudds. An Opera

Colonel Split- A New Opera 1730 No Tail Henry Fielding The Author‟s Farce 1730 Haymarket Theatre No

Gabriel Bays's Opera 1730 Drury Lane No Odingsells The Fashionable Lady 1730 Goodman‟s Fields yes

William Rufus The Lover‟s Opera 1730 Drury Lane Yes Chetwood Thomas Gataker The Jealous : or, the 1730 Goodman‟s Fields Yes Lucky Mistake. An Opera

Edward Philips The Chamber-Maid. A Ballad 1730 Drury Lane Yes Opera 1730 The Judgment of ; or, the 1731 Lincoln‟s Inn No Triumph of Beauty Fields

Edward Ward The Prisoners Opera 1731 No Charles Coffey The Devil to Pay; or, the 1731 Drury Lane Yes Wives Metamorphos‟d. An Opera William Rufus The Generous Freemason: or, 1731 Yes Chetwood the Constant Lady. With the Humours of Squire Noodle, and his Man Doodle. A Tragi- Comi,Farcical Ballad Opera

The Wanton Jesuit: or, 1731 Haymarket Theatre No Innocence Seduced. A New Ballad Opera Richard Brome The Jovial Crew. A Comic- 1731 Drury Lane No Opera Silvia; or, the Country Burial. 1731 Lincoln‟s Inn Yes An Opera Fields Calista. An Opera 1731 No Henry Fielding The Mock Doctor: or the 1732 Drury Lane Yes Dumb Lady Cur‟d The Footman, An Opera 1732 Goodman‟s Fields No

Robert Drury The Devil of a Duke: or, 1732 Drury Lane Yes Trapolin‟s Vagaries. A (Farcical Ballad) Opera. 60

Henry Fielding The Lottery 1732 Drury Lane Yes John Randall The Disappointment: a New 1732 Haymarket Theatre No Ballad Opera Edward Philips The Livery Rake, and 1732 Drury Lane Yes Country Lass. An Opera John Hippisley A sequel to the Opera of Flora 1732 Lincoln‟s Inn Yes Fields Vanelia: or, The Amours of 1732 A private company No the Great. An Opera near St. James‟s

The Humours of the Court: 1732 No Or, Modrn . A New Ballad Opera.

The Intriguing Courtiers; or, 1732 No The Modish Gallants. A Comedy. (After the Manner of Shakespeare) The Restauration of King 1732 Walter Ashton Charles II No Henry Potter The Decoy: an Opera 1733 Goodman‟s Fields Yes

The Jew Decoy‟d; or, the 1733 No Progress of a Harlot. A New Ballad Opera Edward Philips The Mock Lawyer 1733 Covent Garden Yes

John Gay Achilles. An Opera 1733 Covent Garden Yes

John Kelly Timon in Love: or, the 1733 Drury Lane No Innocent Theft Theophilus The Harlot's Progress 1733 Drury Lane No Cibber Charles Coffey The Boarding School: or, the 1733 Drury Lane Yes Sham Captain Robert Drury The Mad Captain, an Opera 1733 Goodman‟s Fields No

Robert Drury The Fancy‟d Queen. An 1733 Covent Garden No Opera “by a company The Oxford Act, a New 1733 No of students at Ballad Opera Oxford” Edward Philips The Stage-Mutineers: or, a 1733 Covent Garden No Play-House to be Lett. A Tragi-Comi-Farcical Ballad Opera “by the author The Court Legacy. A New 1733 Eutopean Palace? No of the New Ballad Opera Atlantis” 61

The Court Medley: or, 1733 No Marriage by Proxy. A New Ballad Opera The Fox Uncas‟d: or, Robin‟s 1733 Privately acted No Art of Money Catching. A near St. James New Ballad Opera Mark Freeman The Downfall of Bribery: or, 1733 Taunton Inn No (pseudonym) The Honest Men of Taunton

Timothy Smoke The Commodity Excis‟d: or, 1733 No The Women in an Uproar. A New Ballad Opera The State Juggler: or, Sir 1733 No Politick Ribband. A New Excise Opera Rome Excis‟d, a New Tragi- 1733 No Comi Ballad Opera. Lord Blunder‟s Confession; 1733 Same author as No or, Guilt Makes a Coward. A Vanelia New Ballad Opera Sturdy Beggars. A New 1733 No Ballad Opera Henry Fielding Don Quixote in England 1734 Haymarket Theatre Yes

Cupid and Psyche: or 1734 Drury Lane No Colombine-Courtezan Henry Fielding The Intriguing Chambermaid 1734 Drury Lane Yes

The Whim: or, the Miser‟s 1734 Goodman‟s Fields Yes Retreat. A Farce. The Fortunate Prince: or, 1734 No Marriage at Last. A New Ballad Opera The Wedding: or, the Country 1734 No House-Wife. A Ballad Opera

John Kelly The Plot 1735 Drury Lane Yes Charles Coffey The Merry Cobler: or, the 1735 Drury Lane Yes Second Part of the Devil to Pay. A Farcical Opera

Henry Fielding An Old Man Taught Wisdom: 1735 Drury Lane Yes or, the Virgin Unmask‟d

R. Fabian Trick for Trick 1735 Drury Lane Yes Joseph Dorman The Female Rake: or, Modern 1736 Haymarket Theatre No Fine Lady. A Ballad Comedy

Mr. Pritchard The Fall of Phaeton 1736 Drury Lane No 62

Henry The Beggar's Pantomime; or, 1736 Lincoln's Inn No Woodward the Contending Columbines Fields The Lover his own Rival. A 1736 Goodman‟s Fields Yes Langford Ballad Opera Henry Ward The Happy Lovers: or, the 1736 Lincoln‟s Inn No Beau Metamorphos‟d. An Fields Opera The Royal Marriage, a Ballad 1736 Private company No Opera near St. James‟s The Honest Yorkshire-Man 1736 No Haymarket Theatre Robert Baker A of a New Ballad 1737 Lincoln‟s Inn No Opera Burlesqu‟d, Call‟d the Fields Mad House John Breval The Rape of Helen: a Mock 1737 Covent Garden No Opera Robert Drury The Rival Milliners: or, the 1737 Haymarket Theatre No Humors of Covent Garden. A Tragi-Comi-Operatic-Pastoral Farce

John Arthur The Lucky Discovery 1737 No Elizabeth Boyd Don Sancho: or, the Student‟s 1739 No Whim, a Ballad Opera of Two Acts, With Minerva‟s Triumph, a Masque

Joseph Peterson The Raree Show 1739 No The Shepherd's Opera 1739 No The Trepan 1739 No Edward Philips Britons, Strike Home 1739 No The Operator: a Ballad Opera 1740 No William Goodall The False Guardians 1740 No Outwitted: a Ballad Opera Daniel Bellamy The Rival Priests: or, the 1741 No Female Politician James Ayres Sancho at Court: or, the 1742 Drury Lane No Mock-Governor. An Opera- Comedy Joseph Yarrow Love at First Sight 1742 No J.W. The Deceit: or, the Old Fox 1743 No Out-Witted Court and Country; or, The 1743 No Changelings Henry Fielding Tumble-Down Dick, or 1744 Haymarket Theatre No Phaeton in the Suds James Wilder The Gentleman Gardiner; a 1751 Drury Lane No Ballad Opera “a young lady. The Country Coquet; or, Miss 1755 Drury Lane Yes Anonymous” in her breeches. A Ballad 63

Opera

George The Stage-Coach Opera 1759 Drury Lane No Farquhar Gasconado the Great: a Tragi- 1759 No Comi, Political, Whimsical Opera Mendez The Double Disappointment. 1760 Covent Garden No A Farce Charles Jenner Luncinda, a Dramatic 1760 Covent Garden No Entertainment Thomas Hall The Spanish Lady 1762 Love at First Sight: a Ballad 1763 Drury Lane No Farce The Coach Drivers 1766 No Colley Cibber Damon and Phillida: a Ballad 1769 Drury Lane Yes Opera J.W. The Country-Wedding; or, the 1769 Haymarket Theatre No Cocknies Bit. A Pastoral Ballad Farce The Reapers: or, the 1770 No Englishman out of Paris. An Opera James The Heroine of Love 1778 No Robertson An Opera Called Westmeon 1780 No Village; or the Rural Sports The Sailor‟s Opera: or a Trip 1785 Drury Lane No to Jamaica Thomas Rhodes The Sailor's Opera 1789 No The Gingerbread Nut; or, the 1790 No Termagant Tamed Leonard Critic upon Critic; a Dramatic 1792 Covent Garden No MacNally Medley The Bow-Street Opera Covent Garden No

Anthony Aston The Fool‟s Opera; or, the Oxford No Taste of the Age Richard Quarter-Day, An Interlude 1858 The Theatre, No Sickelmore Dover Thomas Odell The Patron: or, the Haymarket Theatre Yes Statesman‟s Opera James Worsdale A Cure for a Scold. A Balld Drury Lane No Farce 64

Henry Carey The Tragedy of Haymarket Theatre Yes (Benjamin : The Bounce) Most Tragical Tragedy, that ever Was Tragedized by any Company of Tragedians

Joan Plotwell The Ragged Uproar: or, the No (pseudonym) Oxford Roratory. A New Dramatic Satire Henry Fielding , a Farce Drury Lane No Henry Fielding The Welsh Opera: or, the Haymarket Theatre No Grey Mare the Better Horse

The Honest Electors; or The No Courtiers Sent Back with Their Bribes, A New Ballad Opera 65

APPENDIX B: TABLE OF BALLAD OPERA AIRS

Ballad Opera Writer Date First Line of text Song's original title 01. The sharpest of plagues A Cure for a Scold James Worsdale 1738 that Satan could find Lillybullero 02. A woman, tho' never so A Cure for a Scold James Worsdale 1738 ugly and old White Joke 03. 'Tis man alone so Did you not hear of a Jovial A Cure for a Scold James Worsdale 1738 subtle wife is sailor 04. That man may well A Cure for a Scold James Worsdale 1738 despair who tries Of all the simple things we do 05. Altho' so fondly men A Cure for a Scold James Worsdale 1738 profess Altho' I am a country lass 06. How vain's our scorn A Cure for a Scold James Worsdale 1738 and woman's pride Down in the north country 07. Altho' so fondly men A Cure for a Scold James Worsdale 1738 profess Wally, &c. A Cure for a Scold James Worsdale 1738 08. Wives will be insulted Red House A Cure for a Scold James Worsdale 1738 09. Whoe'er to a wife The Twitcher A Cure for a Scold James Worsdale 1738 10. Peg, be not so shy Joan, be not so coy 11. How sweetly glide the A Cure for a Scold James Worsdale 1738 hours away Bessy Bell 12. Of all the methods A Cure for a Scold James Worsdale 1738 most in vogue Oh London is a fine Town 13. Alas from ev'ry joy A Cure for a Scold James Worsdale 1738 debarr'd Waly, Waly 14. Were woman wife, A Cure for a Scold James Worsdale 1738 they would not wed Happy clown 15. The maiden like the A Cure for a Scold James Worsdale 1738 merchant sighs When bright Aurelia 16. Lawyers, and doctors, tho' fame has renown'd A Cure for a Scold James Worsdale 1738 them The Sheep-skins A Cure for a Scold James Worsdale 1738 17. How vain is all our art Polwart on the Green 18. Men are all such lordly A Cure for a Scold James Worsdale 1738 fools Bobbing Joan 19. The Tyger proves a A Cure for a Scold James Worsdale 1738 harmless brute To you Fair Ladies 20. If Lawyers and A Cure for a Scold James Worsdale 1738 Physicians And a Begging we will go 21. If Death, unkind to A Cure for a Scold James Worsdale 1738 Beauty Twas When the sea was roaring 22. Raptures Crown the A Cure for a Scold James Worsdale 1738 Marriage State Excuse me 23. Come, come, soft A Cure for a Scold James Worsdale 1738 nuptial Powers Chorus in Porus 01. Shou'd Venus's Son Why is your faithful Slave A Rehearsal Robert Baker 1737 (blind archer) dart disdain'd 66

02. From Boarding-School soon as young Sophy does Come hither, good people, both A Rehearsal Robert Baker 1737 come aged, &c. 03. At Pickett and A Rehearsal Robert Baker 1737 Quadrille Hark! Hark! The Cock, &c. A Rehearsal Robert Baker 1737 04. I've heard that in Love Spring's a-coming, &c. 05. Since girld become Oh! I'll have a husband, ay A Rehearsal Robert Baker 1737 women, when married marry! A Rehearsal Robert Baker 1737 06. My Dog, and I! Bobbing-Joan A Rehearsal Robert Baker 1737 07. Cease to frisk and play! Bird of May A Rehearsal Robert Baker 1737 08. Imperious Captian Huff Gossip-Joan 09. O what a Pain it is to A Rehearsal Robert Baker 1737 part! 10. O then be not, good sir, A Rehearsal Robert Baker 1737 thus severe Pierrot's Dance A Rehearsal Robert Baker 1737 11. A Cup and a Ball The Twitcher 12. France has wifely A Rehearsal Robert Baker 1737 provided (in cafes of need) Lumps of pudding 13. The in A Rehearsal Robert Baker 1737 Merry notes Ille prae Amore demens, &c. 14. The Jobb then's done, A Rehearsal Robert Baker 1737 and all's over South-Sea Ballad 15. He who spends his time A Rehearsal Robert Baker 1737 in treasure Who to Win 16. To your arms, boys, A Rehearsal Robert Baker 1737 march The March in Rinaldo 17. Here we languish in A Rehearsal Robert Baker 1737 disquiet Black Joak 18. What, tho' to servemy A Rehearsal Robert Baker 1737 father's ends Cobler's Wife A Rehearsal Robert Baker 1737 19. Now lunaticks no more Set by the author 20. With Pleasure A Rehearsal Robert Baker 1737 transported With pleasure transported A Sequel to the 01. In blooming Spring, the Opera of Flora John Hippisley 1732 toiling Bee No scornful Beauty A Sequel to the 02. Sol declining, Cynthia Opera of Flora John Hippisley 1732 shining A Sequel to the 03. The Doctors and Opera of Flora John Hippisley 1732 Lawyers in this are agreed Thomas and Harry A Sequel to the 04. I'm wedded, alas! To a Opera of Flora John Hippisley 1732 Creature I hate South-Sea Ballad 05. Kind Ladies, your A Sequel to the Blushes in vain are Opera of Flora John Hippisley 1732 conceal'd What Woman could do A Sequel to the Opera of Flora John Hippisley 1732 06. In vain is all delaying Chloe, why do you fight me? A Sequel to the 07. Remember, our Vicar Opera of Flora John Hippisley 1732 does daily teach As Dolly sat milking 67

A Sequel to the 08. The Shrovetide Cock, Opera of Flora John Hippisley 1732 knock'd down and bruis'd Inconstant Woman A Sequel to the 09. Good Zack is a Opera of Flora John Hippisley 1732 wonderful Cordial I vow! A Health to all those A Sequel to the 10. In Gallantry, that Opera of Flora John Hippisley 1732 reigning Vice How blest are Lovers! A Sequel to the 11. Damons was amorous, Opera of Flora John Hippisley 1732 brisk and strong Muirland Willy A Sequel to the 12. No lilly, Violet, or Opera of Flora John Hippisley 1732 Rose Blow ye Winds A Sequel to the 13. I have lost my Niece Opera of Flora John Hippisley 1732 and store of Gold 14. With pretty smart A Sequel to the Fellows our Kingdom Opera of Flora John Hippisley 1732 abounds Packington's Pound A Sequel to the 15. What lusty young Opera of Flora John Hippisley 1732 Babies by us will be got Bump her Belly 01. What's Life? No Curse A Clown in Flanders once there Achilles John Gay 1733 is more severe was 02. Why thus am I held at Achilles John Gay 1733 Defiance Gudgeon's Song 03. The Woman always in Did you ever hear of a galant Achilles John Gay 1733 Temptation Sailor 04. When a Woman sullen Achilles John Gay 1733 sits Si vous vous moquez de nous 05. Man's so touchy, a Achilles John Gay 1733 Word that's injurious A Minuet 06. Must then, alas, the To you, , and to no Achilles John Gay 1733 fondest Mother other 07. How your Patience had Achilles John Gay 1733 been try'd John went suiting unto Joan 08. Whene'er my Looks Achilles John Gay 1733 have spoke Desire Groom's Complaint 09. Observe the wanton Achilles John Gay 1733 Kitten's Play O'er Bogie 10. When a Woman's Achilles John Gay 1733 curious Dutch Skipper. First part 11. As you, Sir, are my Husband, no doubt you're Achilles John Gay 1733 prone Dutch Skipper. Second part 12. Then must I bear Achilles John Gay 1733 Strife Black Joke 13. O Love, plead my Achilles John Gay 1733 Pardon, nor plead it in vain Ye Shepherds and Nymphs 14. To what a Pitch is Man Achilles John Gay 1733 profuse The Goddesses 15. Reputations back'd and Achilles John Gay 1733 hew'd Joan's Placket 68

16. Though Woman's glib Tongue, when her Passions Achilles John Gay 1733 are fir'd We've cheated the Parson 17. O guard your Hours Achilles John Gay 1733 from Care Fairy Elves 18. All Hearts are a little Achilles John Gay 1733 frail Moll Peatly Achilles John Gay 1733 19. Let Jealousy no longer John Anderson my Jo 20. Such Homage to her Achilles John Gay 1733 Beauty Abroad as I was walking 21. Shou'd the Beast of the Achilles John Gay 1733 noblest Race Butter'd Pease 22. What, must I remain in Come open the Door sweet Achilles John Gay 1733 Anguish? Betty 23. If my Passion want Achilles John Gay 1733 explaining Altro Giorne in compagnia 24. How unhappy are the Achilles John Gay 1733 Great Trip to the Landry 25. When the fort on no As I walk'd along the Achilles John Gay 1733 Condition Fleetstreet

Achilles John Gay 1733 26. Why such Affectation? The Lady's New-Year's Gift 27. What hath not Achilles John Gay 1733 Courage by Force assail'd Puppet-Show Tune Achilles John Gay 1733 28. No more be coy Old King Cole

Achilles John Gay 1733 29. What give o'er! Dicky's Walk in Dr. Faustus 30. The Slips of a Achilles John Gay 1733 Busband, you Wives Puddings and Pyes 31. Ah! Shou'd you ever Achilles John Gay 1733 find her My Dilding, my Dalding 32. First let him for honour Achilles John Gay 1733 roam How happy are you and I 33. Think what Anguish Achilles John Gay 1733 tears my Quiet Fy gar rub her o'er with Straw 34. Know that Achilles John Gay 1733 Importunity's in vain Beggar's Opera. 35. How happy my Days, and how sweet was my Achilles John Gay 1733 Rest My time, O ye Muses 36. Your Dress, your Achilles John Gay 1733 Conversations I am come to your House 37. Ah, why is my Heart so Achilles John Gay 1733 tender! The Clarinette

38. What are the Jests that No sooner has Jonathan leap'd Achilles John Gay 1733 on Marriage you quote from the Boat 39. Soldier, think before Love's a Dream of mighty Achilles John Gay 1733 you marry Pleasure 69

40. What is all this idle Achilles John Gay 1733 chat? Maggy Lawther 41. Oh, then it seems you Achilles John Gay 1733 want a Wife! Lord Frog and Lady Mouse 42. What means all this Achilles John Gay 1733 roaming? Richmond Ball 43. In War we've nought Achilles John Gay 1733 but Death to fear 44. We may resolve to Minuet of Corelli in the ninth Achilles John Gay 1733 resist Temptation Concerto 45. Think of Dress in ev'ry Tom and Will were Shepherds Achilles John Gay 1733 Light twain 46. In Dress and Love by Achilles John Gay 1733 like Desires The Bob-tail Lass 47. Thy Fate then, O , My Dame hath a lame tame Achilles John Gay 1733 is decreed Crane 48. Beauty weeps--Ah, Achilles John Gay 1733 why that Languish? Geminiani's Minuet Achilles John Gay 1733 50. Why this Pain? Gavotte of Corelli 51. O, what a Conflict's in Achilles John Gay 1733 my Breast! The Scheme 52. Was ever a Lover so Achilles John Gay 1733 happily freed The Man that is Drunk 53. How short was my Calm! In a Moment 'tis There liv'd long ago in a Achilles John Gay 1733 past Country Place 54. Nature breaks forth at Achilles John Gay 1733 the Moment unguarded Minuet of Corelli 55. Thus when the Cat had Achilles John Gay 1733 once all Woman's Graces Saraband of Corelli An Old Man 01. Do you, papa, but find Taught Wisdom Henry Fielding 1735 a Coach Thomas I cannot An Old Man 02. When he in a Coach Taught Wisdom Henry Fielding 1735 can be carry'd Wally Honey An Old Man 03. In Women we Beauty Taught Wisdom Henry Fielding 1735 or Wit may admire Round, round the mill An Old Man 04. Ah be not angry good Taught Wisdom Henry Fielding 1735 Dear Sir Now ponder well An Old Man Taught Wisdom Henry Fielding 1735 05. Ah sir! I guess Buff-Coat An Old Man 06. The Jokers have said, Taught Wisdom Henry Fielding 1735 that Men of my Trade Bartholemew Fair An Old Man Taught Wisdom Henry Fielding 1735 07. When our Wives deny An Old Man 08. La! What swinging Taught Wisdom Henry Fielding 1735 Lyes some people will tell Bessy Bell An Old Man 09. O press me not, Sir, to Taught Wisdom Henry Fielding 1735 be Wife Tweed Side 70

An Old Man 10. When you are like Taught Wisdom Henry Fielding 1735 Bateman dead Lass of Patty's Mill An Old Man 11. What Virgin e'er wou'd Taught Wisdom Henry Fielding 1735 marry Polwarth on the Green An Old Man 12. I never yet long'd for a Taught Wisdom Henry Fielding 1735 think in my Life Still he's the Man An Old Man 13. Go marry what Have you heard of a Taught Wisdom Henry Fielding 1735 Blockhead you will, Miss frolicksome ditty An Old Man 14. I wou'd have you to Taught Wisdom Henry Fielding 1735 know, you nasty Thing We've cheated the Parson An Old Man Taught Wisdom Henry Fielding 1735 15. O all ye Powers above Ye Nymphs and Silvan Gods An Old Man Taught Wisdom Henry Fielding 1735 16. Dearest Charmer Dimi Caro An Old Man Taught Wisdom Henry Fielding 1735 17. Dearest Creature An Old Man 18. excuse me, Sir, zounds, Taught Wisdom Henry Fielding 1735 what d'ye mean Of all the simple things we do An Old Man 19. Did Mortal e'er see two Taught Wisdom Henry Fielding 1735 such Fools Molly Mog An Old Man 20. Oh dear Papa! Don‟t' Taught Wisdom Henry Fielding 1735 look so grim Bush of Boon 01. With Jargon, Rhime, Bays's Opera Odingsells 1730 and Noise To Arms Gabriel 02. Never trust the Bays's Opera Odingsells 1730 brainless Crowd Always easy, ever kind Gabriel 03. How vain the power of Bays's Opera Odingsells 1730 Musick's Charms Alexis shunn'd, &c Gabriel 04. Court-wits, and wou'd Bays's Opera Odingsells 1730 be Arch-Cits A Gabriel Bays's Opera Odingsells 1730 05. Pride inspires Disdain I'm to be let for Life Gabriel 06. Can I view a doating Bays's Opera Odingsells 1730 Ass I met a pretty Lass Gabriel Bays's Opera Odingsells 1730 07. If Apollo ings I'll be the Captain's Lady Gabriel 08. Tho' Moralists affright Bays's Opera Odingsells 1730 us Rigadoon Gabriel 09. How vain are the Bays's Opera Odingsells 1730 Arrows that Cupid boasts Jolly Roger Gabriel 10. Nurtur'd in a Muse's Bays's Opera Odingsells 1730 Lap Mad Tom Gabriel 11. Cease, Fair, to torment Bays's Opera Odingsells 1730 me From Gasperini Gabriel Bays's Opera Odingsells 1730 12. Blest, yet afraid Windsor Terrace Gabriel Bays's Opera Odingsells 1730 13. Stalls no more invite us High thee, bonny Jockey Gabriel 14. Wit and Musick, cease Bays's Opera Odingsells 1730 your vain Pretences 71

Gabriel 15. To turn to Enjoyment Bays's Opera Odingsells 1730 the Cares of Life Valentine's Day Gabriel Bays's Opera Odingsells 1730 16. Wisdom tho' cold Ye Ladies of London Gabriel 17. Why shou'd a Man and Bays's Opera Odingsells 1730 Wife Young Jemmy Gabriel 18. While whistling in my Bays's Opera Odingsells 1730 Stall The Nightengale Gabriel 19. That ever dull Husband Bays's Opera Odingsells 1730 shou'd preach up a Tale Lord Mohun's Ramble Gabriel 20. When e'er I charge my Bays's Opera Odingsells 1730 Foe Our Ordnance Gabriel Bays's Opera Odingsells 1730 21. Ye Spirits, who reign 22. When Clouds of deep Gabriel bright Phoebus Bays's Opera Odingsells 1730 suffuse If Love's a sweet Passion Gabriel Bays's Opera Odingsells 1730 23. When Juno smells out A lusty young Smith Gabriel 24. Fly hence, doom'd Bays's Opera Odingsells 1730 Pow'r Buffcoat Gabriel 25. Ye Sons of Phoebus, Bays's Opera Odingsells 1730 change your Notes Hunting Song in Apollo Gabriel 26. Nature refin'd in this Bays's Opera Odingsells 1730 Generation Jenny, come tye, &c. Gabriel Bays's Opera Odingsells 1730 27. Since Breath is a Puff Rigadoon Gabriel 28. No, I'm so 'fraid you Bays's Opera Odingsells 1730 shou'd but dissemble As I was walking Gabriel Bays's Opera Odingsells 1730 29. Hark, the Bass Christ-Church Bells Gabriel Bays's Opera Odingsells 1730 30. Beauty, Wit, and Claret Why do you kiss and tell? Gabriel 31. Who trusts quaint Bays's Opera Odingsells 1730 Urbanity One long Whitson Holiday Gabriel Bays's Opera Odingsells 1730 32. What a fine Parade Gabriel 33. Virtue, warming Love's Bays's Opera Odingsells 1730 embraces Gabriel Bays's Opera Odingsells 1730 34. Dry up thy Eyes Menuet Gabriel 35. Sound, Bagpipes, ever Bays's Opera Odingsells 1730 sound Joan's Placket Gabriel 36. By the Charms of my Bays's Opera Odingsells 1730 Persuasion If Claret be a Blessing Gabriel 37. Oh, can I bear this rack Bays's Opera Odingsells 1730 of Sense Sad Musidora Gabriel 38. Look, look from your Bays's Opera Odingsells 1730 Window, my Fair Look from your Window, &c. 72

Gabriel 39. Sure I hear the doleful Bays's Opera Odingsells 1730 Cry Woe is me! What mun Gabriel 40. Wou'd Fate for me a Bays's Opera Odingsells 1730 Cully mould Wou'd Fate to me Belinda give Gabriel 41. Hush, hush, not a Word Bays's Opera Odingsells 1730 be said And will he not come again? Gabriel 42. But wrapt in a golden Bays's Opera Odingsells 1730 Cloud Gabriel 43. So fast shall flow from Bays's Opera Odingsells 1730 my streaming Eyes Gabriel 44. How swift we cleave Bays's Opera Odingsells 1730 the Sky Come follow, follow me Gabriel 45. Science dead, Muses Bays's Opera Odingsells 1730 fled Bobbing Joan Gabriel Bays's Opera Odingsells 1730 46. Source of all Charms Gabriel 47. Gods and Daemons Boys and Girls come out to Bays's Opera Odingsells 1730 come to Play Play Gabriel 48. I quit my Starry Bays's Opera Odingsells 1730 Regions Come all ye Lads and Lasses Britons, Strike 01. While on Faronelli's Home Edward Phillips 1739 Tongue Britons, Strike 02. As the War is begun, Home Edward Phillips 1739 my brave Boys Britons, Strike 03. Come, the Mates of my Home Edward Phillips 1739 Fortune, be cheary Britons, Strike 04. Vain, O Don, is the Home Edward Phillips 1739 Endeavor Britons, Strike 05. Arm, you sons of Home Edward Phillips 1739 Britain, Arm Britons, Strike 06. Now learn from me, ye Home Edward Phillips 1739 wealthy Fair Britons, Strike 07. Come, come, my Lads, Home Edward Phillips 1739 away, away Britons, Strike 08. Come, my Lads, with Home Edward Phillips 1739 Souls befitting 01. This World is all a Twas when the Seas were Calista 1731 Bubble roaring 02. Was she a Coquet or Calista 1731 Prude The White Joak 03. Hard is the Case that Calista 1731 Men must mourn Katherine Ogie 04. For those fine Sports Calista 1731 and noble Gaums Logan Water 05. Mon ye're the Deel of a Calista 1731 Beau Bessy Bell and Mary Gray 06. A Beau to gain his Calista 1731 Intention Winchester Wedding 73

07. But he that would a Calista 1731 Lady gain Cloe's Charms 08. The Women are Creature past our Calista 1731 understanding Auld Rob Morris 09. Child, here's the Man, I wish my Love were in the Calista 1731 I'm resolute Muire 10. I'm something, yet tho' sought and Calista 1731 admir'd Provident Damsel 11. What Monster sell I Calista 1731 may become Mistake not Celia 12. Tho' pleasant at first Calista 1731 are amourous Kisses Past twelve o' Clock 13. Farewell dearest, fare Calista 1731 thee well Come my dearest come to bed 14. The Dev'l is not more Calista 1731 poor than I O're Bogie with my Love 15. How sweet a Debauch Calista 1731 is I'th' dark, Boys The Sailors Ballad 16. Of all the Joys on Earth Calista 1731 below Coal Black Joak 17. Blood I am a happy Give me a Lass with a Lump of Calista 1731 Dog Land 18. Sine those fene Calista 1731 sparkling Eyes must fail Mirland Willy 19. Thou charming, dear, Calista 1731 angelick form Thou little blind Deciever 20. Then first I arriv'd at Calista 1731 the Age of fifteen When young at the Bar Calista 1731 21. I like you Captain Bluff Gossip Joan 22. This Friendship is all a Calista 1731 Deceit An old Woman cloath'd in Grey 23. Of your failings you'd Calista 1731 When you Censure the Age 24. Now Faith and Calista 1731 Conscience both are fled Last Time I came over the Muir 25. Vain de Ulto do you Calista 1731 preach Vain Belinda are your Wiles 26. The Thoughts of losing Calista 1731 you, my Dear Bonny Broom Calista 1731 27. My dearest Paris The Beaux of Pleasure 28. When Man is depriv'd Calista 1731 of Pleasure Man in Imagination 29. True Friendship never Now Ponder well ye Parents Calista 1731 has been found dear 30. When I was in the Calista 1731 Northern Clime Bush aboon Traquer 74

31. Give Scepters and Crowns to the Children at Calista 1731 play Rare Doings at Bath 32. How vain and proud's a Calista 1731 Beau! Polworth on the Green 33. When Virtue does Calista 1731 surrender Of a noble Race was Shinkin 34. When Reason's Calista 1731 sacrific'd to Lust The doleful Ditty 35. I have his Betters in my Calista 1731 View Of all the Girls that are so smart 36. Dismal's the Sound of Calista 1731 grim Death's Alarms Lawson and Clark Calista 1731 37. A Lady fair Young Piloret 38. When once an open Calista 1731 hearted Creature Moll Peakly 39. Hot-headed she wedded, her Father to Calista 1731 please Lord Byron's Maggot 01. Nothing's hear there Leonard but dismal noise and Critic Upon Critic MacNally 1792 sorrow Dee'l take the wars Leonard Critic Upon Critic MacNally 1792 02. You'll sing, Sir A bumper of good liquor

Leonard 03. When Luna the silver When Phoebus the tops of the Critic Upon Critic MacNally 1792 ting'd clouds doth adorn hills doth adorn Leonard 04. See the motley crew Critic Upon Critic MacNally 1792 advance See the conquering hero comes Leonard 05. His belly lined with Critic Upon Critic MacNally 1792 capon The Pilgrim Leonard Critic Upon Critic MacNally 1792 06. While up and down Chaise-marine Leonard 07. Singing, roaring, and Critic Upon Critic MacNally 1792 gallanting Rakes of Mallow Leonard 08. The lawyers, dotors, Critic Upon Critic MacNally 1792 belles and beaus Daniel Cowper Leonard Critic Upon Critic MacNally 1792 09. Hark away! Hark away! Leonard 10. Those bright eyes so Critic Upon Critic MacNally 1792 soft complying The Rapture Leonard 11. Galleries are Here you see the court of Critic Upon Critic MacNally 1792 overflowing France-a Leonard Critic Upon Critic MacNally 1792 12. Each premier minister Come, let us prepare Leonard 13. The client who seeks My lodging is on the cold Critic Upon Critic MacNally 1792 for justice ground Leonard 14. O Screeble, I ever will Critic Upon Critic MacNally 1792 boo to thy sway Through the wood laddy 75

Leonard 15. Altho' you thought that Critic Upon Critic MacNally 1792 I was blind Irish Jigg 16. 'Tis the people's the Leonard strength of Old England's Critic Upon Critic MacNally 1792 throne Beef of Old England Leonard 17. Zounds, what's the Critic Upon Critic MacNally 1792 cause of this fun, Sir My name's Mr. Punch Leonard 18. O! What a horrid O! what a charming thing's a Critic Upon Critic MacNally 1792 thing's a riot battle Leonard 19. Each British soul Critic Upon Critic MacNally 1792 prepare for fight A Hunting we will go Cupid and Psyche; or, Colombine 01. Lovers no more shall courtezan 1734 languish Cupid and Psyche; or, Colombine 02. Suppliant, see, I kneel courtezan 1734 before thee Cupid and Psyche; or, Colombine 03. What Fate attends the courtezan 1734 Rose Cupid and Psyche; or, Colombine 04. Mortals! Hear the Will courtezan 1734 of Jove! Cupid and Psyche; or, Colombine 05. Who, to win a courtezan 1734 Woman's Favour Cupid and Psyche; or, Colombine 06. Away! Dost think a courtezan 1734 Woman's Wit Cupid and Psyche; or, Colombine 07. How happy's the courtezan 1734 Woman of Pleasure Cupid and Psyche; or, Colombine 08. O Love 'tis thy courtezan 1734 fallacious Arts Cupid and Psyche; or, Colombine 09. Come, come, my bave courtezan 1734 Boys, let us booze it away Cupid and Psyche; or, Colombine 10. Thus at the Portal of courtezan 1734 your Gate Cupid and Psyche; or, Colombine 11. Did ever Lover thus courtezan 1734 compel Cupid and Psyche; or, Colombine 12. Pleasure's the End courtezan 1734 which all Mortals persue Cupid and Psyche; or, Colombine 13. Tho' boasting Men may courtezan 1734 fondly deem Cupid and Psyche; 14. What hungry poor or, Colombine Wretch, with a Banquet in courtezan 1734 view 76

Cupid and Psyche; or, Colombine 15. Fill we then the courtezan 1734 sparkling Wine! Cupid and Psyche; or, Colombine 16. Hark! Hark, they strike courtezan 1734 the sounding String! Don Quixote in 01. Rogues there are of England Henry Fielding 1734 each nation Don Quixote in 02. Oh! Think not the Maid England Henry Fielding 1734 whom you scorn Tweed Side Don Quixote in 03. The Pain which tears England Henry Fielding 1734 my throbbing Breast Why will Florella Don Quixote in 04. Oh hasten my lover, England Henry Fielding 1734 dear Cupid Don Quixote in 05. When mighty rost Beef England Henry Fielding 1734 was the Englishman's The King's Old Courtier Don Quixote in 06. Happy the Animals England Henry Fielding 1734 who stray From Aberdeen to Edinburgh Don Quixote in 07. The Doctor is seed for England Henry Fielding 1734 dangerous Draught Mother, quoth Hodge Don Quixote in 08. The dusky Night rides England Henry Fielding 1734 down the Sky There was a jovial Beggar Don Quixote in 09. Like Gold to a Miser, England Henry Fielding 1734 the Wit of a Lass Lillibulero Don Quixote in 10. The more we see of England Henry Fielding 1734 Human-kind Black Joke Don Quixote in 11. Won'd Fortune the Have you heard of a frolicksom England Henry Fielding 1734 Truth to discover Ditty Don Quixote in 12. A Virgin once was England Henry Fielding 1734 Walking along Cold and Raw Don Quixote in England Henry Fielding 1734 13. Sweet's the little Maid Gimiani's Minuet Don Quixote in 14. Thus the Merchant, England Henry Fielding 1734 who with Pleasure Don Quixote in 15. All Mankind are mad, England Henry Fielding 1734 'tis plain Country Bumpkin 01. For Liberty the Soldier Don Sancho Elizabth Boyd 1739 fights 02. The General in a Don Sancho Elizabth Boyd 1739 lingering siege 03. Tim'rous Mortal fear Don Sancho Elizabth Boyd 1739 no Ill 04. He's gone to Don Sancho Elizabth Boyd 1739 consummate the Deed 05. Foolish Mortal why Don Sancho Elizabth Boyd 1739 thus blind 06. Erring Sage such Don Sancho Elizabth Boyd 1739 pompous Pride 07. So Bles'd are hail'd Don Sancho Elizabth Boyd 1739 above 77

08. Hail sage Minerva, Don Sancho Elizabth Boyd 1739 great Apollo hail 09. Palls thus deals Merits Don Sancho Elizabth Boyd 1739 Prize 10. See with Pride and Don Sancho Elizabth Boyd 1739 Pleasure see 11. See, oh see the rising Don Sancho Elizabth Boyd 1739 Bust 12. Happy Albion, grateful Don Sancho Elizabth Boyd 1739 Isle 01. When a Woman lies Eurydice Henry Fielding 1737 expiring Do not ask me charming Phillis 02. Riches, can you Ease Eurydice Henry Fielding 1737 restore 03. Farewel, ye Groves and Eurydice Henry Fielding 1737 Mountains 04. Oh Lud! I should be Eurydice Henry Fielding 1737 quite asham'd 05. That Marriage is a Eurydice Henry Fielding 1737 great Evil 06. If Men from Experience a Lesson could Eurydice Henry Fielding 1737 reap 07. Turn oh turn, Dear, do Turn, oh turn thee, dearest Eurydice Henry Fielding 1737 not fly me Creature Eurydice Henry Fielding 1737 08. Farewel, my Dear 09. If a Husband henceforth, who has buried Eurydice Henry Fielding 1737 his Wife 10. From Lessons like Eurydice Henry Fielding 1737 these 01. How wretched are we At Noon one sultry Summer's Flora John Hippisley 1729 Orphans made Day Flora John Hippisley 1729 02. The Men of Pleasure Ye Beaus of Pleasure 03. Custom prevailing so I, who once was Great, now Flora John Hippisley 1729 long 'mongst the Great Little am grown 04. Tho' my Uncle strives t' Flora John Hippisley 1729 immure me Man in imagination 05. When a Girl fifteen As I was walking thro' Flora John Hippisley 1729 Years does attain Hidepark 06. At past Twelve a Clock, and a fine Summers At past One a Clock, and a cold Flora John Hippisley 1729 Morning frosty Morning 07. The terrible Law, Flora John Hippisley 1729 When it fastens its Paw She got Money by th'Bargain 08. To guard my Hesperian We'll learn to be merry and Flora John Hippisley 1729 Tree wife 09. I never till now was My Father he left me a wealthy Flora John Hippisley 1729 conzarned in Strife Estate 78

The Lass with the Nut-brown Flora John Hippisley 1729 10. To forgive sure is great Hair 11. The Shepherdess with Flora John Hippisley 1729 Looks dismay'd The Logan Water is so deep Flora John Hippisley 1729 12. Oh my poop Boy To an Irish Tune I have left the World, as the Flora John Hippisley 1729 13. A Rogue that is hired World found me 14. I'll sing you a Ditty, Flora John Hippisley 1729 and warrant it true Rare Doings at Bath 15. Sure never was zeen Flora John Hippisley 1729 such a Rebel 16. Go vind the Vicar of Go vind the Vicar of Taunton- Flora John Hippisley 1729 Dean 17. In Taunton-Dean, I was Flora John Hippisley 1729 born and bred In Taunton-Dean 18. Now brave Boys, the Now comes on the glorious Flora John Hippisley 1729 Fight is done Year 19. Pray let'n come, Neighbors, for I be'nt Flora John Hippisley 1729 afeard Come Sound up your 20. O fly from this Place, Come open the Door sweet Flora John Hippisley 1729 dear Flora Betty 21. Thus Maidens bely Flora John Hippisley 1729 their Desires Ranting roaring Billy

Flora John Hippisley 1729 22. Stand; have a Care Stand, who comes there? 23. Sweet is the budding Twas on a Sun-shine Summer's Flora John Hippisley 1729 Spring of Love Day Flora John Hippisley 1729 24. Let me not discover Red House 25. Success this Day has Flora John Hippisley 1729 gain'd me Possession Gasconado the 01. The Man that is born a Great James Worsdale 1759 beggar, may taste Gasconado the Great James Worsdale 1759 02. Like casting a Die Gasconado the 03. Come, and listen to my Great James Worsdale 1759 Ditty Gasconado the 04. A King, that ambitious Great James Worsdale 1759 intending to fight Push about Gasconado the 05. With Projects wild and Great James Worsdale 1759 vain Gossip Joan Gasconado the 06. That the Heroes of Old Great James Worsdale 1759 fought for Glory and Fame Gasconado the 07. The new Art of War is Great James Worsdale 1759 to rob and to spoil Lullibulero Gasconado the 08. What, tho' your Fleets Great James Worsdale 1759 at Sea are beat What tho' I am a Country Lass Gasconado the 09. Haste thee, Love, and Great James Worsdale 1759 hither bring 79

Gasconado the 10. When Fear the Heart Great James Worsdale 1759 Possesses Twas when the Seas Gasconado the Great James Worsdale 1759 11. In a Case that is nice Who e'er to a Wife Gasconado the 12. O Dignity! So much Great James Worsdale 1759 respected Gasconado the 13. Give a Soldiers but Great James Worsdale 1759 Wine Gasconado the 13. What is Honour? But to Great James Worsdale 1759 share Gasconado the 14. Blow me, ye Winds, Great James Worsdale 1759 from Woman's Rage Gasconado the 15. To mention Prussia's Great James Worsdale 1759 Bravery Gasconado the Great James Worsdale 1759 16. Ye Britons, so Brave! Free-Mason's Song Gasconado the 17. What, tho' your Fleets Great James Worsdale 1759 at Sea are beat What tho' I am a Country Lass Lord Blunder's Confession; or, Guilt makes a 01. Since, in spite of Man's Coward 1733 Endeavour Let's be jolly, fill our Glasses Lord Blunder's Confession; or, Guilt makes a Coward 1733 02. Would ye be a fit Tool When young fit to toy, &c. Lord Blunder's Confession; or, Guilt makes a 03. If Beauty unrelenting Coward 1733 see See, see, my Seraphina comes Lord Blunder's Confession; or, Guilt makes a 04. Thou Dotard, only Coward 1733 warm with Vice Over the Hills and far away Lord Blunder's Confession; or, Guilt makes a Coward 1733 05. He who would prove Young Philoret Lord Blunder's Confession; or, Guilt makes a 06. When Blockheads are An Old Woman cloathed in Coward 1733 hoisted on high grey Lord Blunder's Confession; or, 07. As the Kine went to Guilt makes a Smithfield, for Slaughter Coward 1733 design'd Abbot of Canterbury Lord Blunder's Confession; or, Guilt makes a 08. A with Coward 1733 spangled Chivey-Chace Lord Blunder's Confession; or, 09. Mother Gurton, who Guilt makes a 1733 lives at the Mill Fie, let us all to the Wedding 80

Coward

Lord Blunder's Confession; or, Guilt makes a 10. Since Money's a Thing I'll marry a Lass with a Lump Coward 1733 that all must have of Land Lord Blunder's Confession; or, Guilt makes a 11. When Men vow and Coward 1733 protest When Chloe we ply Lord Blunder's Confession; or, Guilt makes a 12. Too constant is the Coward 1733 Man I hate The Broom of Cowden nows Lord Blunder's Confession; or, Guilt makes a 13. The Peacock we with Cold and raw the Winds did Coward 1733 Pleasure see blow Lord Blunder's Confession; or, Guilt makes a 14. Let Nobles of Taste, be Coward 1733 proud of their Parts Packington's Pound Lord Blunder's Confession; or, Guilt makes a 15. In Things perplex'd, I Coward 1733 may advise Bessy Bell and Mary Gray Lord Blunder's Confession; or, Guilt makes a 16. Love can the noblest When fair Aurelia tript the Coward 1733 Virtues raise Plain Lord Blunder's Confession; or, Guilt makes a 17. For Realms ever Coward 1733 cover'd with Night Grim King of the Ghosts Lord Blunder's Confession; or, Guilt makes a Coward 1733 18. If you in Freedom rove The Lass of Paty's Mill Lord Blunder's Confession; or, Guilt makes a 19. In Virtue or Vice Men Coward 1733 should always excel Which nobody can deny Lord Blunder's Confession; or, Guilt makes a 20. Who would himself Oh! Ponder well, ye Parents Coward 1733 with Crimes defile dear Lord Blunder's Confession; or, Guilt makes a 21. For Power, or Wealth, Coward 1733 let others To all ye Ladies now at Land 01. Give me, Heaven, the Love and Revenge Thomas Cooke 1729 Power to range Peggy grieves me 81

Would you pass all your Love and Revenge Thomas Cooke 1729 Moments in Health Trumpet Minuet 03. Thro' every purple Love and Revenge Thomas Cooke 1729 Vein Young Feston's Minuet 04. The God of Wealth is Young Damon once the happy Love and Revenge Thomas Cooke 1729 painted blind Swain Love and Revenge Thomas Cooke 1729 05. When Sharpers are bit Says Roger to Moll 06. Have ye seen Love and Revenge Thomas Cooke 1729 Westminster-hall Have ye seen Battledore Play 07. When in my Chariot Love and Revenge Thomas Cooke 1729 debonair Young Jemmy Love and Revenge Thomas Cooke 1729 08. So scarcely you meet The Twitcher 09. Lend the Knave a Love and Revenge Thomas Cooke 1729 watchful Eye In the Fields of Frost and Snow 10. What Pow'r can Love and Revenge Thomas Cooke 1729 Woman's Heart restrain 11. The Damsel who deals Love and Revenge Thomas Cooke 1729 in the Business of Love Abbot of Canterbury 12. Thro' Scenes of Battle Love and Revenge Thomas Cooke 1729 Love may command me Love leads to Battle 13. If a Woman's Heart you Love and Revenge Thomas Cooke 1729 would secure you Three Sheep-Skins Love and Revenge Thomas Cooke 1729 14. When to the Bed Princess Royal

Love and Revenge Thomas Cooke 1729 15. No more, my Treasure No more invade me. 1st Part 16. Oh God of Love, what Love and Revenge Thomas Cooke 1729 human Art The Play of Love 17. Thus his Foes in each Love and Revenge Thomas Cooke 1729 Shape Hey boys up go we 18. Oh never let Love and Revenge Thomas Cooke 1729 Conscience interfere Old Orpheus tickled, &c 19. I'll warrant you, Love and Revenge Thomas Cooke 1729 Spouse, I'll play my Part Same Tune 20. When Woman are wanted they'll not come Love and Revenge Thomas Cooke 1729 near us Red House Love and Revenge Thomas Cooke 1729 21. The youthful Pair Young Philoret

Love and Revenge Thomas Cooke 1729 22. Come hasten together Young when merry 23. All Dignities in Church Love and Revenge Thomas Cooke 1729 and State When bright Aurelia 24. What in Life is worth Whilst I gaze on Chloe Love and Revenge Thomas Cooke 1729 desiring trembling Love and Revenge Thomas Cooke 1729 25. If my Belov'd is dead One evening as I lay 26. Farewel to all Joy for a Love and Revenge Thomas Cooke 1729 while Tweed-side Love and Revenge Thomas Cooke 1729 27. When Maids alone The Jamaica 28. How hard thy Fate, Love and Revenge Thomas Cooke 1729 unhappy Maid Send back my long stray'd Eyes 82

29. If you would gain the Love and Revenge Thomas Cooke 1729 Wife, sir Health to Betty 30. Thou Plague of my Love and Revenge Thomas Cooke 1729 Life Joan stoop'd down Love and Revenge Thomas Cooke 1729 31. I am prepar'd March in Scipio 32. Sleep, Oh! Sleep, thou Love and Revenge Thomas Cooke 1729 kind Composer Piu benigna Love and Revenge Thomas Cooke 1729 33. Women in Joy or Woe The Mansel 34. The Sailor thus, of every wanton Wind the Love and Revenge Thomas Cooke 1729 Sport Bartholemew-Fair 35. But being out of Danger once, his Fears Love and Revenge Thomas Cooke 1729 subside Same Tune 36. Since Life is at best but Love and Revenge Thomas Cooke 1729 a Cheat Love and Revenge Thomas Cooke 1729 37. With Love can I part? Let the Soldiers rejoice 01. My conquer'd Heart I Love at First Sight Thomas King 1743 freely yield Go happy Flower 02. Since I the motley Garb Love at First Sight Thomas King 1743 put on Daniel Cooper 03. The Sun's gay Metal, Love at First Sight Thomas King 1743 shining Gold The new-flown Birds 04. The Knot once ty'd, too In all the Sex some Charms I Love at First Sight Thomas King 1743 oft we find find 05. Pow'rful Cupid, now Wanton Cupid, sooth my Love at First Sight Thomas King 1743 befriend me! Anguish 06. O hear me, , Love at First Sight Thomas King 1743 sweet Liberty At setting Day and rising Morn 07. Dear Sir, she'll ne'er fly Love at First Sight Thomas King 1743 me, nor rashly deny me Shanbuy 08. Say, Nymphs, whose Love at First Sight Thomas King 1743 gentle Bosoms prove The heavy Hours 09. The God of Love our Love at First Sight Thomas King 1743 Steps shall guide But now my former Days retire 01. How silly a Mortal's a Love at First Sight Joseph Yarrow 1742 Lover Valentine's Day in a Morning 02. Tho' Invention be wanting, if Money's your Love at First Sight Joseph Yarrow 1742 Friend Thomas, I cannot 03. By Impudence what Love at First Sight Joseph Yarrow 1742 mighty Things are obtain'd We'ave cheated the Parson 04. Dear Cupid, they Love at First Sight Joseph Yarrow 1742 Assistance lend Glide swiftly on 05. When hot Rays o'er a Love at First Sight Joseph Yarrow 1742 Flower extend Tweed Side 06. O Charmer, hear my Love at First Sight Joseph Yarrow 1742 Moan Lass of St. Osyth 07. Thus when the Sea is in Love at First Sight Joseph Yarrow 1742 an Agitation De'el take the Wars 83

08. Great God of Love! My Love at First Sight Joseph Yarrow 1742 Ardour cherish! Chloe be kind 09. Love is a pretty, pretty Love at First Sight Joseph Yarrow 1742 Thing A new Tune 10. Oh! Lying's such a Love at First Sight Joseph Yarrow 1742 Fashion grown London is a fine Town 11. If my Gayford prove Love at First Sight Joseph Yarrow 1742 true The Twitcher Love at First Sight Joseph Yarrow 1742 12. What can this charmig Young Philoret Love at First Sight Joseph Yarrow 1742 13. Young Fellows of late Ladies of London 14. How sweet the Charms Love at First Sight Joseph Yarrow 1742 of Love Ye Nymphs and Sylvan Gods 15. If you trust your Love at First Sight Joseph Yarrow 1742 Repose in a Woman molly Mog 16. A Boastwit in this Love at First Sight Joseph Yarrow 1742 World, Sir Of a noble race was Shinkin 17. Gallants thy may talk Love at First Sight Joseph Yarrow 1742 of London Town Black Joke 18. Since you, my Dear, Love at First Sight Joseph Yarrow 1742 are kind Twas within a Furlong 19. How merry a State Love at First Sight Joseph Yarrow 1742 does a Soldier possess Miller of Mansfield 20. Of Cunning never Love at First Sight Joseph Yarrow 1742 boast, Sir Do not ask me Charming 21. My Joys are now Love at First Sight Joseph Yarrow 1742 completed Sure Marriage is a fine Thing 01. Ye Nymphs and Love in a Riddle Colley Cibber 1729 Swains Love in a Riddle Colley Cibber 1729 02. He that wears a Heart 03. Let Wealth and Power Love in a Riddle Colley Cibber 1729 enslave the Great 04. Our Nymphs on the Love in a Riddle Colley Cibber 1729 Plains 05. Love's a Tempest, Life Love in a Riddle Colley Cibber 1729 the Ocean 06. While my Love was a Love in a Riddle Colley Cibber 1729 Secret, no Swain 07. I once believ'd, ere she Love in a Riddle Colley Cibber 1729 cou'd hate 08. Fly, when she charms Love in a Riddle Colley Cibber 1729 thee Love in a Riddle Colley Cibber 1729 09. No, no, my Heart! Love in a Riddle Colley Cibber 1729 10. No, no, my Heart! Love in a Riddle Colley Cibber 1729 11. Away, away, Despair! 12. A lovely Nymph, and Love in a Riddle Colley Cibber 1729 Swain 13. No, no, to pardon, were Love in a Riddle Colley Cibber 1729 but approving Love in a Riddle Colley Cibber 1729 14. Cupid! Intreat her 84

15. Thus the plaintive Love in a Riddle Colley Cibber 1729 Exile sighs Love in a Riddle Colley Cibber 1729 16. The Man, for Life Love in a Riddle Colley Cibber 1729 17. There's not a Swain 18. When Phillida milks Love in a Riddle Colley Cibber 1729 her Cow 19. What Woman could do, Love in a Riddle Colley Cibber 1729 I have try'd so be free 20. When I follow'd a Lass, Love in a Riddle Colley Cibber 1729 that was froward, and shy 21. Tell me, Philly, sell me Love in a Riddle Colley Cibber 1729 roundly 22. While you both pretend Love in a Riddle Colley Cibber 1729 a Passion Love in a Riddle Colley Cibber 1729 23. Away with Suspicion Love in a Riddle Colley Cibber 1729 24. While you pursue me 25. I'll range the World, Love in a Riddle Colley Cibber 1729 where Freedom reigns 26. No more, vain Virgins, Love in a Riddle Colley Cibber 1729 boast 27. Tho' you, perhaps, my Love in a Riddle Colley Cibber 1729 lovely Fair 28. Virgins, beware how Love in a Riddle Colley Cibber 1729 you fix on a lover Love in a Riddle Colley Cibber 1729 29. Cruel Creature 30. How, Inhumane Love in a Riddle Colley Cibber 1729 faithless Creature! Love in a Riddle Colley Cibber 1729 31. Must I despair? 32. How happy's the Man, Love in a Riddle Colley Cibber 1729 that like you Sir Love in a Riddle Colley Cibber 1729 33. O! Let her go! 34. Was ever, than mine, a Love in a Riddle Colley Cibber 1729 Fate more severe 35. While Groves alone Love in a Riddle Colley Cibber 1729 hear me complain 36. Tho' my Grief is severe, it relieves me, to Love in a Riddle Colley Cibber 1729 see 37. Cupid, help a Swain's Love in a Riddle Colley Cibber 1729 Despair 38. O gentle Orpheus! Love in a Riddle Colley Cibber 1729 Tune Harmonious (I) 39. No more, ye happy Love in a Riddle Colley Cibber 1729 Swains, upbraid 40. Lovely Turtle! Once Love in a Riddle Colley Cibber 1729 more Coo! 41. Why so cold, so coy, Love in a Riddle Colley Cibber 1729 my Fair? 85

42. Bright Gold may be too Love in a Riddle Colley Cibber 1729 dearly bought 43. My simple Heart is fled Love in a Riddle Colley Cibber 1729 away 44. Alas! I own, with Love in a Riddle Colley Cibber 1729 weeping Eye 45. Fly, fond Nymph, these Love in a Riddle Colley Cibber 1729 Rural Plains 46. In Pity, O! my Pain Love in a Riddle Colley Cibber 1729 relieve 47. Arcund the Plains, my Love in a Riddle Colley Cibber 1729 Heart has rov'd 48. A thousand Ways, to Love in a Riddle Colley Cibber 1729 wean my Heart 49. Behold, and see thy Love in a Riddle Colley Cibber 1729 wounded Lover 50. O what a Plague is Love in a Riddle Colley Cibber 1729 Love! 51. Ah! Poor Cimon! Dud Love in a Riddle Colley Cibber 1729 a cry? 52. Give over your Love, Love in a Riddle Colley Cibber 1729 you great Ladies Love in a Riddle Colley Cibber 1729 53. See! Behold and see! 54. To the Priest away, to Love in a Riddle Colley Cibber 1729 bind our Vows 55. Thus we to Virtue give Love in a Riddle Colley Cibber 1729 (xviii) 01. This life's like a game Through all the employments Lucinda Charles Jenner 1760 of all-fours of life 02. The tuneful lak on Lucinda Charles Jenner 1760 ether wings In infancy our hopes and fears 03. Blow, gentle winds, Blow, ye bleak winds, around Lucinda Charles Jenner 1760 around my head my head 04. Our har's got in, our The card invites, in crowds we Lucinda Charles Jenner 1760 labour's o'er fly 05. Ye parents, who breathe the cool ev'ning of Ye mortals, whom fancies and Lucinda Charles Jenner 1760 life troubles perplex Lucinda Charles Jenner 1760 06. I strove, but not in vain My heart was so free 07. The nightingal, who Lucinda Charles Jenner 1760 tunes Twas in the bloom of May 08. Ye young men and ye maidens, who know when Thus I stand, like a Turk, with Lucinda Charles Jenner 1760 you're well his doxies around 09. Would you wish o'er a Dear Chloe, come give me Lucinda Charles Jenner 1760 maid to prevail sweet kisses

10. Let misers starve over Leave, neighbours, your work, Lucinda Charles Jenner 1760 the wealth they possess and to sport, &c. 86

11. The most stately gay Lucinda Charles Jenner 1760 fabrics that art ever rais'd How can you, lovely Nancy &c 12. 'Tis now the noon of Twas on a summer's evening Lucinda Charles Jenner 1760 gloomy night clear 13. Burst clouds, and Lucinda Charles Jenner 1760 tempests roar Blow, blow, thou winter's wind 14. See, the god of day Lucinda Charles Jenner 1760 appearing Let not rage thy bosom fire 15. Far swifter than light Lucinda Charles Jenner 1760 my love flies 16. Maidens n'er should Lucinda Charles Jenner 1760 prove unkind Youth's the season made for joy 17. They that would Lucinda Charles Jenner 1760 contentment find Dearest , turn thine eyes 18. Here attend all ye Lucinda Charles Jenner 1760 swains Belleisle March Momus turn'd Ebeneezer 01. Of all Plagues and Fabulist Forrest 1729 Pleasures, common Of all Comforts I miscarry'd Momus turn'd Ebeneezer Fabulist Forrest 1729 02. Gay Folly's Glass Pierrot Tune Momus turn'd Ebeneezer 03. To stop an Arrow's Some say Woman are like the Fabulist Forrest 1729 swift Career Winds Momus turn'd Ebeneezer Fabulist Forrest 1729 04. Since my bearing Hay-Makers Dance, in Faustus Momus turn'd Ebeneezer 05. A Guardian whose Fabulist Forrest 1729 Ward is a Beauty Oh pity an Innocent Maiden Momus turn'd Ebeneezer 06. An Eel of a beautiful Fabulist Forrest 1729 hue Maidens as fresh as a Rose Momus turn'd Ebeneezer Fabulist Forrest 1729 07. A Guardian commands Hark, hark, the Cock crows Momus turn'd Ebeneezer 08. When Cupid wounds Fabulist Forrest 1729 the youthful Breast A Scotch Tune Momus turn'd Ebeneezer 09. Reynard, aiming at the Blowzabella, my Bouncing Fabulist Forrest 1729 subduing Doxy Momus turn'd Ebeneezer 10. To enjoy the of Fabulist Forrest 1729 Treasure Woman's Work is never done Momus turn'd Ebeneezer 11. An Old Baboon of Fabulist Forrest 1729 rueful Mien She wou'd not die a Maid Momus turn'd Ebeneezer 12. Tho' I boast no When the Kine had given a Fabulist Forrest 1729 blooming Graces Pail-full Momus turn'd Ebeneezer 13. A gallant Steed fell Fabulist Forrest 1729 deep in Love Under the Greenwood Tree Momus turn'd Ebeneezer 14. Shou'd my Hopes Fabulist Forrest 1729 succeed with Venus Slaves to London Momus turn'd Ebeneezer 15. Love, O Love! I feel Fabulist Forrest 1729 thy Dart See yonder where she lies Momus turn'd Ebeneezer 16. To sooth a jealous Fabulist Forrest 1729 Heart The bishop of Chester's jig Momus turn'd Ebeneezer 1729 17. I'll the Deity resume Joan's Placket 87

Fabulist Forrest Momus turn'd Ebeneezer Fabulist Forrest 1729 18. The Passion of Love Let Burgundy flow Momus turn'd Ebeneezer 19. Beauty is a fragrant Much I lov'd a charming Fabulist Forrest 1729 Flow'r Creature Momus turn'd Ebeneezer Fabulist Forrest 1729 20. In poignant Wit is seen In Kent, so fam'd of old Momus turn'd Ebeneezer 21. A Soldier wins a The Widows shall all have Fabulist Forrest 1729 Beauty Spouses 22. The Birds and the Momus turn'd Ebeneezer Beasts were convened to Fabulist Forrest 1729 meet Mother, quoth Hodge Momus turn'd Ebeneezer 23. A Lyon in Power was Fabulist Forrest 1729 cruel and proud The Country Farmer 24. A Nightingale, whose Momus turn'd Ebeneezer Melody did charm the Fabulist Forrest 1729 vocal In the merry Month of June Momus turn'd Ebeneezer 24. Soft Harmony Fabulist Forrest 1729 dispences Momus turn'd Ebeneezer Fabulist Forrest 1729 26. My Verse is sublime Says Roger to Will Momus turn'd Ebeneezer Fabulist Forrest 1729 27. Beauty ensnaring Momus turn'd Ebeneezer Fabulist Forrest 1729 28. Marriage is hateful Let other Beauties Momus turn'd Ebeneezer Fabulist Forrest 1729 29. A Husband lights a Fire On yonder high Mountain Momus turn'd Ebeneezer 30. How happy each Fabulist Forrest 1729 revolving Year Sometimes a Craggy Rock Momus turn'd Ebeneezer 31. Females form'd for Fabulist Forrest 1729 Loving The merry Milk-Maids Momus turn'd Ebeneezer 32. A Female Hound, by One Sunday at St. James's Fabulist Forrest 1729 many woo'd Prayers Momus turn'd Ebeneezer 33. A Prude does envy Fabulist Forrest 1729 Beauties The Highland Dance Momus turn'd Ebeneezer 34. A virtuous Wife Fabulist Forrest 1729 employs her Tongue Dance in Sorcerer Momus turn'd Ebeneezer 35. A Cock of a Fabulist Forrest 1729 gay Shall I be sick for Love Momus turn'd Ebeneezer Fabulist Forrest 1729 36. Maids Reason, I find Ye Nymphs, and ye Swains Momus turn'd Ebeneezer 37. At Athens, in the Fabulist Forrest 1729 Market place Cockamycari She Momus turn'd Ebeneezer 38. When Love reigns Fabulist Forrest 1729 supreme Shepherd Adonis Momus turn'd Ebeneezer 39. Thus I'll Charm my Whilst the Town's brimfull of Fabulist Forrest 1729 cruel Charmer Folly Momus turn'd Ebeneezer 40. Sea-born Venus, fix Fabulist Forrest 1729 your Choice Country Bumpkin Momus turn'd Ebeneezer Fabulist Forrest 1729 41. Love's sweet caresses Cymball Tune 88

Momus turn'd Ebeneezer 42. A Lady's ancient Lap- Fabulist Forrest 1729 Dog, in his decline of Life Parson upon Dorothy Thomas Cooke and John 01. Gently Dol, while I Penelope Mottley 1728 complain Gimmiani's Minuet Thomas Cooke and John Penelope Mottley 1728 02. He's tall and jolly Beaus of Pleasure Thomas Cooke and John 03. Forth from my Penelope Mottley 1728 Shopboard am I come Mad Tom Thomas Cooke and John 04. God prosper long our Penelope Mottley 1728 noble King The Children in ye Wood Thomas Cooke and John 05. At Highgate tho I have Penelope Mottley 1728 been sworn To all you Ladies Thomas Cooke and John 06. We there will laugh at Penelope Mottley 1728 those credulous Fools An Ape a Lyon a Fox & an Ass Thomas Cooke and John 07. O! pity the Heros of Penelope Mottley 1728 Six pence a Day The Medley Thomas Cooke and John 08. How idle the Notion of Penelope Mottley 1728 Birth and Blood Abbot of Canterbury Thomas Cooke and John 09. O! Mother, O! no Penelope Mottley 1728 longer complain Which no body can deny Thomas Cooke and John 10. Ye Winds be kind, and Penelope Mottley 1728 waft him to Me Bath Minuet Thomas Cooke and John 11. How great is the Penelope Mottley 1728 Anguish Transported with Pleasure Thomas Cooke and John Penelope Mottley 1728 12. The Day that shall cure The Twitcher Thomas Cooke and John 13. Thus having slid from Penelope Mottley 1728 th' azure Sky Jane stoop'd down Thomas Cooke and John Penelope Mottley 1728 14. My Sorrows are pass'd Hark ye Cock crow 01. The manners of Great Polly John Gay 1729 affect The disappointed Widow Polly John Gay 1729 02. What can wealth The Irish ground Polly John Gay 1729 03. That he weds a beauty Noel Hills 04. My conscience is of Polly John Gay 1729 courtly mold Sweetheart, think upon me 05. In pimps and Polly John Gay 1729 politicians Twas within a furlong 89

06. She who hath felt a real Polly John Gay 1729 pain Sortez de vox retraites 07. Farewell, farewell, all Polly John Gay 1729 hope of bliss! O Waly, Waly, up the bank 09. I will have my humours, I'll please all Polly John Gay 1729 senses Red House 10. When billows come Polly John Gay 1729 breaking on the strand Old Orpheus tickl'd 11. When a woman jealous Polly John Gay 1729 grows Christ Church bells 12. When kings by their Polly John Gay 1729 buffing Cheshire-rounds 13. The crow of daw thro' Polly John Gay 1729 all the year The bush a boon traquair 15. Maids like courtiers Polly John Gay 1729 must be woo'd Bobbing Joan 16. Can I or toil or bunger A Swain long tortur'd with Polly John Gay 1729 fear? Disdain Polly John Gay 1729 17. March in Scipio Brave boys, prepare Polly John Gay 1729 18. Better to doubt Jig-it-o'Foot 19. Abroad after misses Polly John Gay 1729 most husbands will roam Trumpet Minuet 20. Love now is nought but Polly John Gay 1729 art Polwart on the Green 21. As pilgrims thro' Polly John Gay 1729 devotion St. Martin's Lane Polly John Gay 1729 22. Why did you spare him La Villanella

Polly John Gay 1729 23. Sleep, O sleep Dead March in 24. Of all the sins that are Polly John Gay 1729 money-supplying Three Sheep-Skins Polly John Gay 1729 25. By woman won Rigadoon 26. Woman's like the Polly John Gay 1729 flatt'ring ocean Ton humeur eft Catherine 27. I hate those coward Polly John Gay 1729 tribes Ye Nymphs and Sylvan Gods 28. Cheer up my lads, let Polly John Gay 1729 us push on the fray Minuet 29. When I'm great, and Polly John Gay 1729 flush of treasure Mirleton 30. Shall I not be bold Sawny was tall and of noble Polly John Gay 1729 when honour calls? race 31. How many men have Polly John Gay 1729 found the skill Northern Nancy 32. Fine women are devils, Polly John Gay 1729 compleat in their way Amante fuggite cadente belta 33. Tho' different passions Since all the World's turn'd Polly John Gay 1729 rage by turns upside down 90

34. The world is always Polly John Gay 1729 jarring Hunt the Squirrel 35. In love and life the Young Damon once the lovliest Polly John Gay 1729 present use swain 36. We never blame the Polly John Gay 1729 forward swain Catharine Ogye 37. My heart is by love Polly John Gay 1729 forsaken Roger a Coverly Polly John Gay 1729 38. By halves no friend Bacchus m'a dit 39. If husbands fit Polly John Gay 1729 unsteady Health to Betty 40. The body of the brave Polly John Gay 1729 may be taken Cappe de bonne Esperance 41. For gold you sacrifice Polly John Gay 1729 your fame When bright Aurelia Polly John Gay 1729 42. When gold is in hand Peggy's Mill 44. Honour calls me from Polly John Gay 1729 thy arms Excuse me 45. Honour plays a Polly John Gay 1729 bubble's part Ruben 46. When ambition's ten Polly John Gay 1729 years toils Troy town 47. Despair leads to battle, Polly John Gay 1729 no courage so great We've cheated the Parson Polly John Gay 1729 48. Virtue's treasure T'amo tanto 49. The sportsmen keep hawks, and their quarry Polly John Gay 1729 they gain Down in a meadow 50. What man can on There was an old man and he Polly John Gay 1729 virtue or courage repose liv'd 51. Love with beauty is Polly John Gay 1729 flying la plus chamante 52. When horns, with Polly John Gay 1729 cheerful sound There was a Jovial Beggar 53. By bolder steps we win Polly John Gay 1729 the race To you Fair Ladies Polly John Gay 1729 54. When the tyger roams Prince Eugene's march 55. We the sword of justice Polly John Gay 1729 drawing The marlborough 56. Know then, war's my Polly John Gay 1729 pleasure Les rats 57. How faultless does the Polly John Gay 1729 nymph appear Mad Robin 58. As sits the sad turtle Polly John Gay 1729 alone on the spray Thro' the wood laddy Clasp'd in my deal Melinda's Polly John Gay 1729 59. Victory is ours arms 60. The soldiers, who by Polly John Gay 1729 trade must dare Parson upon Dorothy 91

61. The right or wrong's Polly John Gay 1729 decided The collier has a daughter 62. All crimes are judg'd Polly John Gay 1729 like fornication Mad Moll 63. All friendship is a Polly John Gay 1729 mutual debt Prince George 64. Can words the pain Polly John Gay 1729 express Blithe Jockey young and gay 65. The modest lilly, like Polly John Gay 1729 the maid In the fields in frost and snow 66. Whilst I gaze in fond Polly John Gay 1729 desiring Whilst I gaze on Chloe Polly John Gay 1729 67. The sex, we find The Jamaica 68. The stag, when chas'd Polly John Gay 1729 all the long day Tweed-Side 69. My heart forebodes Polly John Gay 1729 he's dead One Evening as I lay Polly John Gay 1729 70. Why that languish Buff-coat 71. Frail is ambition, how Polly John Gay 1729 weak the foundation An Italian Ballad Polly John Gay 1729 72. Justice long forbearing The temple 01. Farewel, my dearest Robin Hood 1730 Charmer Farewel, dear faithless Charmer 02. Come let's away Robin Hood 1730 together Country Bumpkin 03. Bear me, some gentle Robin Hood 1730 Power, to his Arms Cloe proves false A Painter once took great Robin Hood 1730 04. A farewel to Grandeur Delight 05. Cease, cease, my Boys, Robin Hood 1730 this ill-tim'd Noise Roger de Coverly 06. March on, brave Hearts, be bold, we'll set Robin Hood 1730 him free Scots Guards March 07. To Sport, away--no Away, away, we've crown'd the Robin Hood 1730 more Delay Day 08. If thou wilt spare my Hedges, my Corn, and my Robin Hood 1730 Cattle Sure Marriage is a fine Thing 10. I met with a Holy Robin Hood 1730 Sister Among the Pure ones all 12. To wander over Hill Robin Hood 1730 and Dale Sir Guy 13. Tho' we are stormy as Robin Hood 1730 the Wind To all you Ladies now at Land 14. I never saw a blooming Robin Hood 1730 Lass White Joak

Robin Hood 1730 15. My pretty The Bark in Tempest tost 92

Robin Hood 1730 16. I am thy gentle Wife Polwart on the Green 17. Ye Rulers of Fortune, What Beauties does Flora Robin Hood 1730 vouchsafe disclose 18. Now dear Fortune does Robin Hood 1730 smile Fanny Knap 19. While Joys increase, ad When forky Lightning flies Robin Hood 1730 Pleasures flow amain 01. A Traitor is an odious Rome Excis'd 1733 Name Bessy Bell 02. When Wealth we Rome Excis'd 1733 require Hark, hark, the Cock crows 03. If a Courtier you wou'd Rome Excis'd 1733 be, Sir Of a noble Race was Shinkin 04. When our Wings are once plum'd with Rome Excis'd 1733 Ambition, we soar I love thee, by Heaven 05. Oh! Farewell, ye happy Rome Excis'd 1733 Days Happy Groves 06. He tht is willing to Rome Excis'd 1733 thrive in this Age We cheated the Parson 07.Courtiers, when flatter'd Rome Excis'd 1733 to their Face Over the Hills and far away 08. Though proud he behaves, and so haughty Wherever I am, and whatever I Rome Excis'd 1733 appears do 09. Tho' Knaves for a Rome Excis'd 1733 while may succeed Thro' all Employments of Life 10. A Conscience that's Rome Excis'd 1733 guilty's a very bad Thing Which no-body can deny 11. Petticoat-Int'rest ne'er Cold and raw the Wind did Rome Excis'd 1733 did fail blow 12. When once the Work is Rome Excis'd 1733 ended Dutch Skipper 13. While Beauty's in Rome Excis'd 1733 Bloom How happy are we 14. He that to Woman does Rome Excis'd 1733 trust, will find Lads of Dunce

Rome Excis'd 1733 15. As soon as Day appears There was a Bonny Blade Rome Excis'd 1733 16. I tell you no Lie Ye Commons and Peers 17. If you would be a Rome Excis'd 1733 clever Man Moggy Lawder 18. Such Monsters sure Rome Excis'd 1733 Africk did never produce Abbot of Canterbury 01. My Courtiers may Sancho at Court James Ayres 1742 wander and stare The Drowth 02. Why do Kings and Sancho at Court James Ayres 1742 Princes jarr Give me a Bottle in my Hand 93

03. Oh Joy too great for Sancho at Court James Ayres 1742 mortal Sense Minuet in Demetrius 04. The passionate Lover, Sancho at Court James Ayres 1742 soon after possessing Country Farmer 05. No Example, or Place, There liv'd long ago in a Sancho at Court James Ayres 1742 to it's Rules can confine Country Place 06. On windy Nights, when Sancho at Court James Ayres 1742 driven Clouds Charming Petticoat 07. Gruels and Slops, the Sancho at Court James Ayres 1742 Doctors teach Bribery now is laid aside 08. The Lawyers, by common Experience we Sancho at Court James Ayres 1742 see Tantara Rogues all 09. Thus when the Miser Sancho at Court James Ayres 1742 Pump is dry In the Fields in Frost and Snow 10. The Nymph who urg'd Sancho at Court James Ayres 1742 by Chance or Choice In vain, dear Chloe 11. Unsettl'd Man, will go Sancho at Court James Ayres 1742 astray Air in Aminta 12. If a Wench would be Sancho at Court James Ayres 1742 warm Buff-Coat The Spark, tho' he that swears your Eyes are all Sancho at Court James Ayres 1742 fire Far away Wedding Sancho at Court James Ayres 1742 14. My Med'cine's no Slop In formal dull Schools 15. The Patriot thus, whilst Sancho at Court James Ayres 1742 Malice Hunt the Squirrel 16. Damon lov'd Caelia, Sancho at Court James Ayres 1742 sigh'd and swore 17. If sated with Joys, the Sancho at Court James Ayres 1742 lover While the Town 18. How curst's the Sancho at Court James Ayres 1742 Wench's Fate In the merry Month of May 19. Each Man that knows the World, if he be ask'd Sancho at Court James Ayres 1742 will say A Begging we will go 19. Too weak's the Beauty Sancho at Court James Ayres 1742 of the Face Bury Fair 01. The Man, by Foes Silvia George Lillo 1731 Surrounded Since all the World's in Strife 02. The Servant that Silvia George Lillo 1731 betrays his Trust Gami'orum 03. Sweet are the Joys of Silvia George Lillo 1731 Love Blithe Jockey young and gay 04. By our Weakness we Silvia George Lillo 1731 help the Deceit Tweed-Side 05. Wounded by the Silvia George Lillo 1731 Scornful Fair Charming is your face 06. Strange Tales some Silvia George Lillo 1731 lying Travellers tell There was a Jovial Beggar-Man 94

07. Neighbours all, behold Silvia George Lillo 1731 with sorrow Bell Chimes 08. Whom cruel Death Silvia George Lillo 1731 does sever; Hum, hum Oh, oh, I've lost my love 09. While you neglect the Silvia George Lillo 1731 Living John of Bow 10. The Gentlefolks of Silvia George Lillo 1731 London Hunt the Squirrel 11. Hey ho! The Man is Silvia George Lillo 1731 mad Hey ho! Who's above? 12. Darkness and Death no Oh that I was, and wish that I Silvia George Lillo 1731 Fear alarms were 13. The Fair and Young, Silvia George Lillo 1731 who sigh alone shall ring 14. A feeble Life, with Silvia George Lillo 1731 Pain began The State of Man 15. So unkind and so unwilling to receive me Silvia George Lillo 1731 again The 23rd of April 16. The Bark in Tempests Silvia George Lillo 1731 tost I live in the Town of Lyee 17. How happy is that Silvia George Lillo 1731 Woman's Life As I sat at my Spinning Wheel 18. My Master's pimp and Silvia George Lillo 1731 Favourite too The Oxfordshire Tragedy 19. Charming, lovely Woman, I am in love with Silvia George Lillo 1731 thee You Love and I Love 20. Young I am, and sore Silvia George Lillo 1731 afraid Young I am, and yet unskill'd Silvia George Lillo 1731 21. Faint denying Flocks are Sporting 22. O shou'd wanton Once I lov'd a Charming Silvia George Lillo 1731 Fancies move you Creature 23. yields no Silvia George Lillo 1731 Repose O the Charming Month of May 24. To love my Wife, to Silvia George Lillo 1731 lose my Wife Parson upon Dorothy 25. The sweet and blushing Silvia George Lillo 1731 Rose Polwart on the Green 26. When tempting Beauty Now, now comes on the Silvia George Lillo 1731 is the Prize glorious Year Silvia George Lillo 1731 27. Oh me! Unhappy Maid One Evening as I lay 28. For our poultry and flocks we oft break our Silvia George Lillo 1731 repose At Rome there is a terrible Rout 29. As wretched and mean Silvia George Lillo 1731 we despise Fond Echo 30. Harmless maids, of Young Philander wood' me Silvia George Lillo 1731 Men beware long 95

31. At Table thus my Silvia George Lillo 1731 Master feeds Great lord frog and lady mouse 32. Be gone, Sir, and fly Silvia George Lillo 1731 me Dear Pickaninny

33. When youthful May Mrs. Le Gard's Dance in Silvia George Lillo 1731 adorns the Year Perseus and 34. O fye! How could you Alas! What mean I, foolish Silvia George Lillo 1731 serve me so Maid? 35. The lovely blooming Musing, I late on Windsor Silvia George Lillo 1731 Creature Terra's fate Silvia George Lillo 1731 36. We women appear When Cloe we ply 37. Frail's the Bliss of Silvia George Lillo 1731 Woman Room, Room for a rover 38. The Powerful Law of Silvia George Lillo 1731 Nature On Yonder High Mountain 39. Free from confinement, Silvia George Lillo 1731 and strife A country Life is sweet Silvia George Lillo 1731 40. Reign, Silvia, Reign Draw, cupid, draw 41. Since you despise my Silvia George Lillo 1731 power Gillian of Croydoe 42. In vain you storm and Silvia George Lillo 1731 threaten high Heigh boys up go we 43. My Rage is past Silvia George Lillo 1731 conceiving Young Corydon and Phillis 44. Where can gentle Pity Silvia George Lillo 1731 meet Strephon, when you see me fly 45. She who, when she'd Silvia George Lillo 1731 please A wealthy merchant's Son 46. Still to sigh, to pine, Silvia George Lillo 1731 and languish Whilst I gaze on Chloe 47. When flattering Love, Silvia George Lillo 1731 and vain Despair Midsummer Wish 48. On some Rock, by Seas Silvia George Lillo 1731 surrounded How happy are young Lovers 49. You happy Maids, who One Night, when all the Village Silvia George Lillo 1731 never knew slept 50. A Maid, tho' beautiful Silvia George Lillo 1731 and chaste A Dame of Honour 51. Thou canst do Silvia George Lillo 1731 Housewife's Work Canst thou not weave Bonelace 52. O gracious Heaven, Silvia George Lillo 1731 lend a friendly Ray When Flora she had deck'd 53. He seiz'd the Lass, There was a Knight drunk with Silvia George Lillo 1731 trembling all o'er Wine 54. How kind was I us'd, Silvia George Lillo 1731 e'er this Lettice came here The Sun was just setting Silvia George Lillo 1731 55. Welcome endless Grief Hear me weep and wail 96

56. Cou'd you return her Send home my long-stray'd Silvia George Lillo 1731 true and chaste Eyes Silvia George Lillo 1731 57. So true, and so kind A Nymph of the Plain 58. Regard my Tears, Silvia George Lillo 1731 dispel my Fears Young Philoret and Celia met 59. Your heaviest Resentmen, ah! Let me, let Silvia George Lillo 1731 me bear I'm Ormond the Brave 60. With Pity, gracious Silvia George Lillo 1731 Heaven posses'd Minuet Ah how sweet's the cooling Silvia George Lillo 1731 61. Oh how sweet Breeze Silvia George Lillo 1731 62. Such virtue possessing Dutch Skipper Silvia George Lillo 1731 In vain, in vain I rove Sir John 01. When Venus deck'd Southwark Fair Charles Coffey 1729 with Heav'nly Charms Witches Song in 02. Strange Magick when Last Sunday at St. James's Southwark Fair Charles Coffey 1729 we see before Prayers 03. When a Woman's Whilst I gaze on Chloe Southwark Fair Charles Coffey 1729 Inclinations trembling Southwark Fair Charles Coffey 1729 04. Ne'er trouble your Pate Come Boys fill around 05. A Country Life is Southwark Fair Charles Coffey 1729 sweet The Country Wake 06. Farewel now all Southwark Fair Charles Coffey 1729 Country Pleasure Slaves to London Southwark Fair Charles Coffey 1729 07. Thy Reason is lost Ye Commons and Peers 08. Did you not once sweet Southwark Fair Charles Coffey 1729 Susan Vow Come, my dear Sue 09. Hang this way of Southwark Fair Charles Coffey 1729 Wooing Happy the Youthful Swain 11. Cupid shall lend his Southwark Fair Charles Coffey 1729 Wings of Love Geminiani's Minuet 12. Cisely, and Susan, and Southwark Fair Charles Coffey 1729 Madgy Sheep Shearing 01. If you, when invested Thro' all the Employments of Sturdy Beggars 1733 with Pow'r Life 02. If this then be the Case, Sturdy Beggars 1733 Sir Pinks and Lillies 03. In this degen'rate Age Sturdy Beggars 1733 there's nought The Hay-makers 04. When saw his Sturdy Beggars 1733 Father's Ghost Chevy Chase 05. Henceforward we'll not Give Ear to my frolicksome Sturdy Beggars 1733 keep a Pother Ditty 06. An Excise-Man's at Sturdy Beggars 1733 best When w'are Young fit to Toy 07. Since Opportunity we Sturdy Beggars 1733 have Cold and Raw, &c. 97

08. You've heard how the Free, and Accepted Free The old Woman sent to the Sturdy Beggars 1733 Mason Miller 09. The Man that is a The Sun had loos'd his weary Sturdy Beggars 1733 Statesman grown Teams 10. The World, as 'tis said, Sturdy Beggars 1733 is a Cheat, and that he The Abbot of Canterbury 11. If Love does give Pleasure, why shou'd it be Sturdy Beggars 1733 scant? If Love's a Sweet Passion, &c. 12. You promise well what Sturdy Beggars 1733 you can do A lovely L ass to a Fryar came Twas when the Sheep were, Sturdy Beggars 1733 Behold the Pulpiteer &c. 14. A Woman's at best, but Sturdy Beggars 1733 a consummate Evil 15. You may fancy, perhaps, that short Things Sturdy Beggars 1733 are the best 16. When Lovers in due Sturdy Beggars 1733 Season meet Moggy Lawder 17. Thou dear Support of Sturdy Beggars 1733 Life Daphine, my dainty Bitch 18. We ought to revolve in Sturdy Beggars 1733 our Mind Tweed Side Sturdy Beggars 1733 19. I am a Sturdy Beggar A Begging we will go 20. In France, in Flanders I Sturdy Beggars 1733 have been Catherine Ogie 21. What silly Creature's a Sturdy Beggars 1733 Husband Fie, let's awa to the Bridal 22. O, what have I been Twas when the Seas were Sturdy Beggars 1733 doing? roaring 23. How wretched, alas, is Sturdy Beggars 1733 my Case! I am a poor Shepherd undone 24. An injur'd People Sturdy Beggars 1733 surely Of a Noble Race was Shinkin 25. I rage and burn with Sturdy Beggars 1733 strong Desire Good Lord Frog 26. When once a Woman's Sturdy Beggars 1733 Passion When Sawney first did, &c. 27. Thus I seize my Sturdy Beggars 1733 Magick Wand 28. When sprightly Wit Sturdy Beggars 1733 and Beauty join See, see my Seraphina, &c. 29. Beauty's a Flow'r that Wou'd you have a Young Sturdy Beggars 1733 looks lively and gay Virgin 01. Whilst the Town's Whilst the Town's brim full of The Author's Farce Henry Fielding 1730 brimfull of Farce Folly 98

02. Joan, Joan, Joan has a The Author's Farce Henry Fielding 1730 Thundring Tongue 03. Joan, you are the The Author's Farce Henry Fielding 1730 Plague of my Life Bobbing Joan The Author's Farce Henry Fielding 1730 04. Claps universal Silvia, my Dearest Twas when the Seas were The Author's Farce Henry Fielding 1730 05. Oh! Pity all a Maiden roaring 06. To all you Husbands, The Author's Farce Henry Fielding 1730 and you Wives To you fair Ladies 07. Of all the Men in The Author's Farce Henry Fielding 1730 London Town Black Joke 08. Let the foolish Philosopher strive in his The Author's Farce Henry Fielding 1730 Cell Lillibolera 09. May all Maids from me Whilst I gaze on Chloe The Author's Farce Henry Fielding 1730 take Warning trembling The Author's Farce Henry Fielding 1730 10. I was told, in my Life Highland Laddy 11. Will my charming The Author's Farce Henry Fielding 1730 Creature Dusty Millar 12. Were I laid on The Author's Farce Henry Fielding 1730 Scotland's Coast Over the Hills and far away 13. All Men are Birds by The Author's Farce Henry Fielding 1730 Nature, Sir Moll Pately 14. The Stone that all The Author's Farce Henry Fielding 1730 things turns at will There was a Jovial Beggar 15. Come all who've heard The Author's Farce Henry Fielding 1730 my Cushion beat When I was a Dame of Honour 16. No Tricks shall save Hey Barnaby, take it for The Author's Farce Henry Fielding 1730 your Bacon Warning 17. Oh, spare to take his The Author's Farce Henry Fielding 1730 precious Life away Be kind and Love The Author's Farce Henry Fielding 1730 18. Barbarous cruel Man 19. In vain a Toughsand The Author's Farce Henry Fielding 1730 Heroes and Kings Under the Greenwood Tree 20. Can my Goddess then The Author's Farce Henry Fielding 1730 forget Hunt the Squirrel The Author's Farce Henry Fielding 1730 21. Oh Mr. Constable Fair Dorinda 22. Why, Madam, do you The Author's Farce Henry Fielding 1730 give such Words as these New-market The Author's Farce Henry Fielding 1730 23. Gentle Preacher Charming Betty 24. Let others fondly court The Author's Farce Henry Fielding 1730 a Throne Gently touch the warbling Lire 25. Alack how alter'd is my The Author's Farce Henry Fielding 1730 Fate! Oh Ponder well 26. Away each meek The Author's Farce Henry Fielding 1730 Pretender flies Wou'd you the charming The Author's Farce Henry Fielding 1730 Queen of Love 99

28. Does my dearest The Author's Farce Henry Fielding 1730 Harriot ask Butter'd Pease The Author's Farce Henry Fielding 1730 How Unhappy's the Fate Ye Commons and Peers 01. Through all the An old Woman cloathed in The Beggar's Opera John Gay 1728 Employments of Life Gray 02. 'Tis Woman that The Beggar's Opera John Gay 1728 Seduces all Mankind The bonny grey'ey'd Morn 03. If any Wreck Venus's The Beggar's Opera John Gay 1728 Girdle wear Cold and raw 04. If Love the Virgin's Why is your faithful Slave The Beggar's Opera John Gay 1728 heart invade disdain'd 05. A Maid is like the The Beggar's Opera John Gay 1728 golden Oar Of all the simple things we do

06. Virgins are like the fair What shall I do to show how The Beggar's Opera John Gay 1728 flower in its Lustre much I love her 07. Our Polly is a sad Slut! Nor heeds what we taught The Beggar's Opera John Gay 1728 her Oh London is a fine Town 08. Can Love be controul'd The Beggar's Opera John Gay 1728 by Advice Grim King of the Ghosts 09. O Polly, you might O Jenny, O Jenny, where hast The Beggar's Opera John Gay 1728 have toy'd and kist thou been 10. I, like a Ship in Stoms The Beggar's Opera John Gay 1728 was tost Thomas, I cannot 11. A Fox may steal your The Beggar's Opera John Gay 1728 Hens, Sir A soldier and a Sailor &c. 12. Oh, ponder well! Be Now ponder well, ye Parents The Beggar's Opera John Gay 1728 not severe dear 13. The Turtle thus with Le printemps rappelle aux The Beggar's Opera John Gay 1728 his plaintive crying armes The Beggar's Opera John Gay 1728 14. , say Pretty Parrot, say The Beggar's Opera John Gay 1728 15. My Heart was so free Pray, Fair One, be kind 16. Were I laid on The Beggar's Opera John Gay 1728 Greenland's Coast Over the Hills and far away 17. O what Pain it is to The Beggar's Opera John Gay 1728 part! Gin thou wert mine awn thing 18. The Miser thus a The Beggar's Opera John Gay 1728 Shilling sees O the Broom The Beggar's Opera John Gay 1728 19. Fill ev'ry glass Fill ev'ry glass

March in Rinaldo (with Drums The Beggar's Opera John Gay 1728 20. Let us take the Road and Trumpets) 21. If the Heart of a Man is Would you have a young The Beggar's Opera John Gay 1728 deprest with Cares Virgin 22. Youth's the Season The Beggar's Opera John Gay 1728 made for Joys Cotillon 23. Before the Barn door The Beggar's Opera John Gay 1728 crowing All in a misty Morning, &c. 100

24. The Gamesters and When once I lay with another The Beggar's Opera John Gay 1728 Lawyers are Jugglers alike Man's Wife 25. At the Tree I shall When first I laid Siege to my The Beggar's Opera John Gay 1728 suffer with pleasure Chloris 26. Man may escape from Courtiers, Courtiers think it no The Beggar's Opera John Gay 1728 Rope and Gun harm 27. Thus when a good The Beggar's Opera John Gay 1728 Huswife see a Rat A lovely Lass to a Friar came 28. How cruel are the The Beggar's Opera John Gay 1728 Traytors Twas when the Sea was roaring 29. at the The Sun had loos'd his weary The Beggar's Opera John Gay 1728 looking-glass Teams 30. When you censure the The Beggar's Opera John Gay 1728 Age How happy we are 31. Is then his Fate The Beggar's Opera John Gay 1728 decreed, Sir? Of a noble race was Shenkin 32. You'll think e'er many You'll think e'er many Days The Beggar's Opera John Gay 1728 Days ensne ensne 33. If you at an Office The Beggar's Opera John Gay 1728 folicit your Due London Ladies 34. Thus when the The Beggar's Opera John Gay 1728 Swallow, seeking Prey All in the Downs 35. How happy could I be Have you heard of a The Beggar's Opera John Gay 1728 with either frolicksome ditty The Beggar's Opera John Gay 1728 36. I'm bubbled Irish Trot The Beggar's Opera John Gay 1728 37. Cease your Fanning 38. Why how now, Madam The Beggar's Opera John Gay 1728 Flirt? Good-morrow, Gossip Joan 39. No Power on Earth can The Beggar's Opera John Gay 1728 e'er divide Irish Howl 40. I like the Fox shall The Beggar's Opera John Gay 1728 grieve The Lass of Patie's Mill 41. When young at the Bar The Beggar's Opera John Gay 1728 you first taught me to score If Love's a sweet Passion 42. My Love is all The Beggar's Opera John Gay 1728 Madness and Folly South-Sea Ballad 43. Thus Gamesters united The Beggar's Opera John Gay 1728 in Friendship are found Packington's Pound 44. The Modes of the Court so common are The Beggar's Opera John Gay 1728 grown Lillibullero 45. What gudgeons are we The Beggar's Opera John Gay 1728 Men Down in the north country 46. In the Days of my Youth I could bill like a The Beggar's Opera John Gay 1728 Dove, fa la la A Shepherd kept Sheep 47. I'm like a Skiff on the One Evening, having lost my The Beggar's Opera John Gay 1728 Ocean tost Way 101

48. When a Wife's in her I'll tell thee, because thou'rt my The Beggar's Opera John Gay 1728 Pout Son 49. A Curse attends that The Beggar's Opera John Gay 1728 Woman's Love O Bessy Bell 50. Among the Men, The Beggar's Opera John Gay 1728 Coquets we find would Fate to me Belinda give The Beggar's Opera John Gay 1728 51. Come, Sweet Lass Come, Sweet Lass 52. Hither, dear Husband, The last time I went o'er the The Beggar's Opera John Gay 1728 turn your Eyes Moor 53. Which way shall I tur The Beggar's Opera John Gay 1728 me? -- How can I decide? Tom Tinker's my true Love 54. When my Hero in The Beggar's Opera John Gay 1728 Court appears I am a poor Shepherd undone 55. When he holds up his The Beggar's Opera John Gay 1728 hand arraign'd for his Life Ianthe the lovely 56. Our selves, like the The Beggar's Opera John Gay 1728 Great, to secure a Retreat A Cobler there was &c. 57. The Charge is prepar'd; The Beggar's Opera John Gay 1728 the Lawyers are met Bonny Dundee 58. O cruel, cruel, cruel The Beggar's Opera John Gay 1728 Case! Happy Groves 59. Of all the Friends in The Beggar's Opera John Gay 1728 time of Grief Of all the Girls that are so smart 60. Since I must swing-I Scorn I scorn to or The Beggar's Opera John Gay 1728 whine Britons strike home 61. But now again my The Beggar's Opera John Gay 1728 Spirits sink Chevy Chase 62. But Valour The Beggar's Opera John Gay 1728 grows To old Sir Simon the King The Beggar's Opera John Gay 1728 63. If thus--A man can die Joy to great Caesar 64. So I drink off this Bumper-- And now I can There was an Old Woman liv'd The Beggar's Opera John Gay 1728 stand the Test &c 65. But can I leave my Did you ever hear of a gallant The Beggar's Opera John Gay 1728 pretty Hussies Sailor 66. Their Eyes, their Lips, Why are mine Eyes still The Beggar's Opera John Gay 1728 their Busses flowing 67. Since Laws were made The Beggar's Opera John Gay 1728 for ev'ry Degree Green Sleeves 68. Would I might be The Beggar's Opera John Gay 1728 hang'd All you that must take a Leap 69. Thus I stand like the Turk, with his Doxies The Beggar's Opera John Gay 1728 around Lumps of pudding The Beggar's Henry 01. Why how now, Madam Pantomime Woodward 1736 Squall Gossip Joan The Beggar's Henry 02. Now Pride, shew thy Pantomime Woodward 1736 Spirit This great World, &c. 102

The Beggar's Henry 03. Your Rage is all My Love is all Madness and Pantomime Woodward 1736 Madness, and Folly Folly The Beggar's Henry Pantomime Woodward 1736 04. My Dearest forbear Young Virgins love Pleasure The Beggar's Henry Pantomime Woodward 1736 05. Cease your Ranting Prithee Billy, &c. The Beggar's Henry 06. By Letter, I have Pantomime Woodward 1736 shewn the Town Moggy Lauder The Beggar's Henry 07. My passion is at last One Evening having lost my Pantomime Woodward 1736 appeas'd Way The Beggar's Henry 08. Shall I, who never Pantomime Woodward 1736 fail'd to please Thomas, I cannot The Beggar's Henry Pantomime Woodward 1736 09. O Dismal Abode Wou'd I might be hang'd The Beggar's Henry 10. My Fears have an End, Pantomime Woodward 1736 and my Troubles are over Lumps o' Pudding The Boarding- 01. No Liquor can such School Charles Coffey 1733 Joys dispense Seedo The Boarding- 02. How many pimps and School Charles Coffey 1733 powder'd Beaus Seedo The Boarding- 03. A Soldier of all the Then why shou'd we study for School Charles Coffey 1733 Degrees Riches The Boarding- 04. The Merchant that School Charles Coffey 1733 poughs the wide Ocean Wooly is gone to France The Boarding- 05. Now to deserve my School Charles Coffey 1733 bounty and Love Mother, says Hodge 06. When I want to use The Boarding- you, how dare you thus School Charles Coffey 1733 stay? Yorkshire Tale The Boarding- 07. She, she alone has ev'ry School Charles Coffey 1733 Charm Robin and Nanny The Boarding- 08. Make your Honours, School Charles Coffey 1733 Miss, toll, loll, loll Boarding School The Boarding- 09. You shall, for romping School Charles Coffey 1733 and stamping Yellow Stockings 10. You saucy Thing, how The Boarding- dare you thus dispute with School Charles Coffey 1733 me? Bartholemew Fair The Boarding- 11. While she is stripping School Charles Coffey 1733 to get a good whipping As I was Walking The Boarding- 12. No more will I practise, School Charles Coffey 1733 Do re mi fa Seedo The Boarding- 13. When to Husbands we School Charles Coffey 1733 incline Butter'd Pease 14. Since Law and The Boarding- are now in School Charles Coffey 1733 disgrace Abbot of Canterbury The Boarding- 15. Come, set the Glass School Charles Coffey 1733 round Come boys fill around 103

16. When Maids to the The Boarding- Joys of soft Love do School Charles Coffey 1733 incline Thus Fidlers and Archers The Boarding- 17. When the Teachers are School Charles Coffey 1733 all fast asleep Tho' you by Constraint The Boarding- 18. Flush'd with Joy I'll School Charles Coffey 1733 meet her Saw you not my Maggy The Boarding- School Charles Coffey 1733 19. Hey ho! Who's there? Hey ho! Who's above? The Boarding- 20. To gaze upon they School Charles Coffey 1733 blooming Charms Gin thou wert mine ane Thing The Boarding- 21. Farewel now, all School Charles Coffey 1733 childish Pleasure Slaves to London The Boarding- 22. To Pleasure and Glory School Charles Coffey 1733 I now bid Adieu Bonny Dundee 23. The World's like a The Boarding- Boarding-School, common School Charles Coffey 1733 to all Rare Doings at Bath 01. De'l take the Slut that The Cobler's Opera 1729 snatches Harry from me De'l take the Wars The Cobler's Opera Lacy Ryan 1729 02. O my lovely Peggy O the bonny Moggy 03. Transported with The Cobler's Opera Lacy Ryan 1729 Anger Transported with Pleasure 04. Like a Vessel that's The Cobler's Opera Lacy Ryan 1729 toss'd on the Seas And never be drunk again 05. I'll die but I'll my The Cobler's Opera Lacy Ryan 1729 Purpose gain On a Bank of Flowers 06. Thus when at Night the The Cobler's Opera Lacy Ryan 1729 startl'd Linnet sees Death and the Lady 07. But if no more than The Cobler's Opera Lacy Ryan 1729 Vengeance come To all the Ladies now at Land 08. And dare you thus my The Cobler's Opera Lacy Ryan 1729 Faith upbraid O the Charming Month of May 09. Pray, Sir, did I not give The Cobler's Opera Lacy Ryan 1729 you a Passage free Brisk Tom and jolly Kate 10. Now tell me, dear Jenny, and tell me the The Cobler's Opera Lacy Ryan 1729 Truth The Yorkshire Lady 11. How sweetly he talketh The Cobler's Opera Lacy Ryan 1729 and presseth my Hand! As down in a Meadow 12. Then why should Harry The Cobler's Opera Lacy Ryan 1729 slight me My Chloe why d'you slight me 13. Oh, Cupid, come to my The Cobler's Opera Lacy Ryan 1729 Relief Under the Green Wood Tree 14. Farewel, Jenny, oh The Cobler's Opera Lacy Ryan 1729 Farewel Farewel Chloe 15. And when the Cannons The Cobler's Opera Lacy Ryan 1729 loudly roar To Arms 104

16. Oh, how sweet's the In the pleasant Month of May, The Cobler's Opera Lacy Ryan 1729 Spring of Lov &c. 17. Lo, the sun, as its The Cobler's Opera Lacy Ryan 1729 sweetness he knew The Battle of 18. Hear me, ye Powers, The Cobler's Opera Lacy Ryan 1729 that rule the Main Hear me ye Nymphs 19. My Vertue it shall be To Morrow is St. Valentine's The Cobler's Opera Lacy Ryan 1729 my Pride Day 20. Ah, foolish Peg The Cobler's Opera Lacy Ryan 1729 Welfleet On Yonder High Mountain 21. Meibon a Merched, The Cobler's Opera Lacy Ryan 1729 dewch yn gheed 22. Then let our Foes with The Cobler's Opera Lacy Ryan 1729 Terror know 23. Oh, how it frets my The Cobler's Opera Lacy Ryan 1729 Soul to see The Clock had struck 24. The tender Thrush, that The Cobler's Opera Lacy Ryan 1729 has lost her Mate I'll strip the Garden 25. Here could my Eyes for The Cobler's Opera Lacy Ryan 1729 ever dwell The loving Landlady 26. Now all our Joys will We oft have drank the stinking The Cobler's Opera Lacy Ryan 1729 be compleat Water 27. 'Tis the Nature, and the The Cobler's Opera Lacy Ryan 1729 State My Wife she is dumb 28. What shall I do for to The Cobler's Opera Lacy Ryan 1729 hinder this Wedding? As I was walking 29. Now open thy Arms, The Cobler's Opera Lacy Ryan 1729 dear Harry Open the Door for sweet Betty 30. Now all your Fears are The Cobler's Opera Lacy Ryan 1729 flown Country Bumpkin The Commodity Excis'd; or, The Women in an Uproar Timothy Smoke 1733 01. We Fathers grown old The Commodity Excis'd; or, The Women in an 02. Venture not with Love Uproar Timothy Smoke 1733 to The Commodity Excis'd; or, The Women in an 03. A Cuckold, it is Uproar Timothy Smoke 1733 thought The Commodity Excis'd; or, The Women in an 04. Let's drink and revel Uproar Timothy Smoke 1733 whilst we may The Commodity Excis'd; or, The Women in an 05. To Shades and Groves Uproar Timothy Smoke 1733 art thou by Fate 105

The Commodity Excis'd; or, The Women in an 06. Such pleasing Looks in Uproar Timothy Smoke 1733 midst of Spring adorn The Commodity Excis'd; or, The Women in an 07. Sir having got a Uproar Timothy Smoke 1733 Cabal of his Friends The Commodity Excis'd; or, The Women in an 08. Love can our passions Uproar Timothy Smoke 1733 easily controul The Country An anonymous Coquet young lady 1755 01. How happy is he Buffcoat The Country An anonymous 02. O mighty Gold! Thou'rt Coquet young lady 1755 all divine White Joke The Country An anonymous Coquet young lady 1755 03. Thus happy as Jove We Politick Kings The Country An anonymous 04. Thus fond Prudes, with Chloe whilst I view thee Coquet young lady 1755 Envy smiling smiling The Country An anonymous 05. Ne'er was Fate like Coquet young lady 1755 mine, severe Desperate is the Case, The Country An anonymous 06. Leave Kindred and Leave Kindred and Friends, Coquet young lady 1755 Friends, sweet Nanny sweet Betty The Country An anonymous 07. Tho' Fortune has made Coquet young lady 1755 me a Country Clown Ye Shepherds and Nymphs The Country An anonymous 08. The faithful Leander, Coquet young lady 1755 when taking his Leave The Yellow-hair'd Lady The Country An anonymous 09. You ask me, if I love Coquet young lady 1755 you Don't ask me if I love you The Country An anonymous 10. Wou'd Venus proclaim Coquet young lady 1755 me the Monarch of Love My Fate has undone me The Country An anonymous 11. Happy is she who Coquet young lady 1755 knows no Pain Mary Scot The Country An anonymous 12. O, talk not of Love If you at an Office sollicit your Coquet young lady 1755 with that tragical Face! Due The Country An anonymous 14. The Tempting Bait of Coquet young lady 1755 Gold Polwart on the Green The Country An anonymous 15. So the Turtle, deep in Coquet young lady 1755 Sorrow Fye! Gar, rub her o'er wi' Stra'

The Country An anonymous 17. O blame not, Sir, that A young and beauteous Coquet young lady 1755 tender Love Shepherdess The Country- 01. Many Love-Fits I have Wedding Essex Hawker 1729 had Gently touch the warbling Lyre The Country- 02. Whilst the Town runs Whilst the Town's brim full of Wedding Essex Hawker 1729 all a Gadding Folly The Country- 03. No more let Sorrow Wedding Essex Hawker 1729 pain you Bury-Fair 106

The Country- Wedding Essex Hawker 1729 04. That same ready Rhino Transported with Pleasure The Country- 05. How curs'd is Woman's Wedding Essex Hawker 1729 greedy Mind A New Scotch Tune 06. I'll pluck up a Courage, The Country- 'were he with her to Wedding Essex Hawker 1729 Church shall go Bartholemew-Fair The Country- Wedding Essex Hawker 1729 07. Be ever merry Bath Medley The Country- 08. Wou'd up Holbourn I Oh how pleasant are young Wedding Essex Hawker 1729 were sailing Lovers The Country- 09. Is she less kind than Gang the World as it will I'll Wedding Essex Hawker 1729 fair ne'er leave thee The Country- 10. Tho' humble are my Wedding Essex Hawker 1729 Birth and State Send back my long-stray'd Eyes The Country- Wedding Essex Hawker 1729 11. Dear Margery Dear Pretty Maid The Country- 12. In vain, in vain is Wedding Essex Hawker 1729 Delaying Don't you rumple my Touzy The Country- From me to thee she turns her Wedding Essex Hawker 1729 13.Don't fly Eyes

The Country- 14. Ah must I for ever My Time, Oh ye Muses, was Wedding Essex Hawker 1729 from my true Lover part? happily spent The Country- Wedding Essex Hawker 1729 15. On this happy Day March in Floridante The Country- 16. When Marg'ry is Wedding Essex Hawker 1729 another's Wife My Nanny-O The Country- 17. That Wench is surely Wedding Essex Hawker 1729 blest Come follow, follow me The Country- 18. Begone, thou blustring Wedding Essex Hawker 1729 Varlet Peggy of Wandsworth The Country- 19. Oft' with Men of sturdy Wedding Essex Hawker 1729 Fashion Ghosts of ev'ry Occupation The Country- 20. Kisses, sweet as the Wedding Essex Hawker 1729 Bean-Blossom Fye Gar rub her o'er w'y Straw The Country- Wedding Essex Hawker 1729 21. Strip into your Buff March in Rinaldo The Country- Wedding Essex Hawker 1729 22. Good Wives, pray learn March in Scipio The Country- 23. See, see, how all the Wedding Essex Hawker 1729 Powers above As the Snow in Valleys lying 24. What dreadful Mischief The Country- this Rogue has been Wedding Essex Hawker 1729 brewing Chloe proves false The Country- Wedding Essex Hawker 1729 25. Porter Tamo tanto The Country- 01. How happy the Times Wedding J.W. 1749 were of old Set by Mr. Riley 107

02. O! cruel, cruel Fate, The Country- that does me my Love Wedding J.W. 1749 deny O cruel, cruel Fate The Country- 03. O! wha a Hardship sure Wedding J.W. 1749 is this A Batchelor's Cormorant The Country- 04. Ye gentle Winds that Wedding J.W. 1749 fan the Sea set by Mr. Riley The Country- 05. How alter'd and dismal Wedding J.W. 1749 each Scene does appear My Time O ye Muses 06. How bless'd is the The Country- Swain, who to love is Wedding J.W. 1749 inclin'd As Thomas and Harry 07. How joyful's the The Country- Nymph, and how happy Wedding J.W. 1749 the Swain As Caladon forth The Country- 08. O Father I thought on Wedding J.W. 1749 your Words Grim King of the Ghosts The Country- 09. Oh! Father cease your As cloe full of harmless Wedding J.W. 1749 Passion pray thoughts The Country- 10. To may-hill Wake I Wedding J.W. 1749 must confess A lovely Lass to a Fryer came The Country- 11. The Sailors that fail on Wedding J.W. 1749 the watery Day The Lass that wou'd know The Country- 12. O peggy I vow, you Wedding J.W. 1749 have wounded me now When the bright God of Day The Country- 13. All Joys attend this Wedding J.W. 1749 happy Pair Forgive me Chloe The Country- 14. Joy to the hap-py, hap- Wedding J.W. 1749 py Pair The Court Legacy 1733 01. I am a merry Scribbler 02. An Audience here we The Court Legacy 1733 have, 'tis true Black Joak

The Court Legacy 1733 03. O ever lovely Fair The Lass of Paties Mill, &c. 04. O believe me, I love Tho' cruel you seem to my The Court Legacy 1733 you most true Pain, &c. 05. Of all the Girls within The Court Legacy 1733 this Court Black Joak The Court Legacy 1733 06. What need we fear Here's to thee 07. A Curse attend that The Court Legacy 1733 silly Elf Bessy Bell, &c. 08. Never frown, be brisk The Court Legacy 1733 and jolly Let's be merry, fill your Glasses 09. He often has swore, The Court Legacy 1733 that his Love was sincere As down in a Meadow 10. Oh! 'Twill be a happy O what Pleasures will abound, The Court Legacy 1733 Day &c. 11. Virgins in Love are so The Court Legacy 1733 fond of the Bliss Mother, quoth Hodge, &c. 108

What a Pox wou'd you be at, The Court Legacy 1733 12. I'm the Fop of the Age &c. The Court Legacy 1733 13. The Maid is blest Pierrot Tune Part I 14. I'll sing a Song on The Court Legacy 1733 Ladies fair There was a jovial Beggar, &c. 15. As we are well treated, The Court Legacy 1733 why shou'd we complain London Ladies, &c. 16. Through all the Stages Have you not heard of a The Court Legacy 1733 of Life, Sir frolicksome Ditty, &c.

The Court Legacy 1733 17. As I am now free Pray, Fair One be kind, &c. 18. Attend ye Britons, and The Court Legacy 1733 give Ear All ye Ladies now at Land 19. Whoever looks their The Court Legacy 1733 Actions o'er Moggy Lawther 20. Since you the Cause of The Court Legacy 1733 it must know Peggy grieves me

The Court Legacy 1733 21. So I, unhappy Woman Twas when the Sea was roaring 22. Alas! How wretched The Sun had loos'd his weary The Court Legacy 1733 are they tall Teams 23. Think what Torments I The Court Legacy 1733 endure Gin thou wert mine awn Thing 24. Had I ten Thousand for The Court Legacy 1733 my Choice O the Broom, &c. 25. Be't Peace, or War, or The Court Legacy 1733 what it will Under the Green-Wood Tree 26. 'Twou'd be a Crime The Court Legacy 1733 prodigious Pinks and Lillies 27. When Maidens once in The Court Legacy 1733 Love are There was a Pretty Girl 28. In vain may other fair The Court Legacy 1733 Ones dart The Wheedler 29. Oh! Sure it is a sad Thing, that Justice I can't The Court Legacy 1733 have! Oh! London is a fine Town 30. Now I'll banish all my The Court Legacy 1733 Grief Cotillion 31. O may our Lives for Contented Country Farmer Part The Court Legacy 1733 ever prove last 32. Hear me, eternal The Court Legacy 1733 Powers above Why is your fathful Swain, &c. 33. Why, how now, Mr. The Court Legacy 1733 Pride! Gossip Joan The Court Medley, or Marriage by 01. Can true Love subsist, Proxy 1733 where Interest commands All you that delight in a, &c. The Court Medley, or Marriage by 02. Where weak coquetish See, see, my Seraphina comes, Proxy 1733 Girl pursues &c. 109

The Court Medley, or Marriage by 03. My wand'ring Heart Proxy 1733 shall resemble the Bee Charge is prepar'd, The The Court Medley, or Marriage by Proxy 1733 04. See here the gay Rover Behold the Gold-finches, &c. The Court Medley, or Marriage by 05. Each individual Part in Proxy 1733 me Irish Howl, The The Court Medley, or Marriage by 06. The Guls of Delos he Proxy 1733 may cheat To all you Ladies now at Land The Court Medley, or Marriage by 07. Can Princes form'd of Proxy 1733 noblest Clay Princess Royal The Court Medley, or Marriage by 08. Should Beauty's Queen Proxy 1733 rise from the Sea I'll range all round, &c. The Court Medley, or Marriage by 09. See here, my dear Proxy 1733 Lords See here my dear Boy, &c The Court Medley, or Marriage by 10. The pleasing Proxy 1733 Transports that I bear Sweet are the Charms, &c. The Court Medley, or Marriage by 11. How bless'd are Maids Of all the simple Things we do, Proxy 1733 who freely enjoy &c. The Court Medley, or Marriage by 12. In vain God Plutus are Proxy 1733 those Arts In vain Belinda, &c. The Court Medley, or Marriage by Proxy 1733 13. O the Pleasure O my Treasure, &c. The Court Medley, or Marriage by 14. Why is dear Liberty Proxy 1733 banish'd from Princes Virgins are like the fair Flower The Court Medley, or Marriage by 15. How happy would When first I laid Siege to my Proxy 1733 Delos have been Chloris The Court Medley, or Marriage by 16. 'Tis these broad Of all the Girls in our Town, Proxy 1733 Shoulders that sustain &c. The Court Medley, or Marriage by Proxy 1733 17. 'Tis we that command Here's to the my Boy The Court Medley, or Marriage by 18. Good sence it is a Proxy 1733 blessing If Claret be a Blessing The Court Medley, or Marriage by 19. To serve and be serv'd Proxy 1733 is a Pensioner's State A Shepherd kept Sheep, &c. The Court Medley, or Marriage by 20. 'Tis Money that Tis Woman that seduces all, Proxy 1733 seduces all Mankind &c. 110

The Court Medley, or Marriage by 21. In Love and in Proxy 1733 Politicks Master must rule A Cobler there was, &c. The Court Medley, or Marriage by 22. Here's to thee my Boy Come brave Boys let's fill our Proxy 1733 a Brimmer Glasses, &c. The Court Medley, or Marriage by 23. While the Sun shines Proxy 1733 let us make Hay Come Neighbours, &c. The Court Medley, or Marriage by 24. Whate'er you ask, my Proxy 1733 Dear, can I deny thee Conforza Scoza, &c. The Court Medley, or Marriage by 25. Great are the Plagues Proxy 1733 of Love What a Plague is love, &c. The Court Medley, or Marriage by 26. Can I cross the Whilst I gaze on Chloe Proxy 1733 dangerous Ocean trembling, &c. The Court Medley, or Marriage by 27. A Man might believe Proxy 1733 the Sea dry Land Since all the World, &c. The Court Medley, or Marriage by 28. 'Tis Gold alone Proxy 1733 amploys all his Care Modes of the Court The Court Medley, or Marriage by 29. Let us sail for Delos Where I laid on Greenland's Proxy 1733 Coast Coast The Court Medley, or Marriage by 30. The Prince in vain from Proxy 1733 Proxy hopes to know My Time, Oh ye Muses, &c. 01. Thou radient Sun The Deceit J.W. 1743 whose scorching Beams Thou rising Sun 02. O Mother I though on The Deceit J.W. 1743 your Words Grim King of the Ghosts 03. O Roger, O Roger As Dolly sate milking of her The Deceit J.W. 1743 come this Way Cow 04. To last May-Fair I must The Deceit J.W. 1743 confess What tho' I am a Country Lass 05. The Sailors that sail on The Deceit J.W. 1743 the watery Deep The Lass that wou'd know 06. May Joys between this The Deceit J.W. 1743 happy Pair 01. The Lasses that spin at The Decoy Henry T. Potter 1733 the Wheel The Virgin Queen 02. The Man who indulges The Decoy Henry T. Potter 1733 his Pleasure 03. Oh, what comfort do The Decoy Henry T. Potter 1733 we find In Perseus and Andromeda 04. Then let us Draw up a The Decoy Henry T. Potter 1733 Petition 05. The Merchant who The Decoy Henry T. Potter 1733 fails in his Trade Moll Peatly 111

06. Your Fate, my good The Decoy Henry T. Potter 1733 Girls, now draws near She wou'd not die a Maid 07. Then let us punish this The Decoy Henry T. Potter 1733 bilking Jade Altho' I am a Country Lass 08. When his Brain's on the The Decoy Henry T. Potter 1733 Rack The Decoy Henry T. Potter 1733 09. A Town Justice's Clerk 10. But since it was To the Tune of the Jovial The Decoy Henry T. Potter 1733 decreed Beggars 11. In Mornings bleak and The Decoy Henry T. Potter 1733 grey Ye Nymphs and Sylvan Groves 12. Then ne'er refuse a The Decoy Henry T. Potter 1733 good Offer Recruiting offer 13. Farewell to my The Decoy Henry T. Potter 1733 Kindred all When my Love the other Day 14. The Youths of this Age The Decoy Henry T. Potter 1733 all alike are grown May Fair 15. How easy 'tis to give The Decoy Henry T. Potter 1733 Advice 16. Sure love can ne'er be The Decoy Henry T. Potter 1733 bought too dear Butter'd Pease 17. No Nymph of the Plain with her Charmes can The Decoy Henry T. Potter 1733 compare As Jocky and Jenny 18. Then now's the Time to The Decoy Henry T. Potter 1733 bilk thy Lord To from Edinbro 19. When you meet a Jewel The Decoy Henry T. Potter 1733 that's good Dame of Honour 20. Young Lasses, whever The Decoy Henry T. Potter 1733 to Love you're inclin'd What Woman cou'd do 21. If Girls give you The Decoy Henry T. Potter 1733 Pleasure The Spring's a coming 22. My Lord, you are but a The Decoy Henry T. Potter 1733 bad Schemer To the French Tune Mirliton 23. A Lawyer his Fee but The Decoy Henry T. Potter 1733 abate Joan's Placket 24. Pray how oft have I The Decoy Henry T. Potter 1733 grieve'd to see 25. In thy Youthful Days, The Decoy Henry T. Potter 1733 O Frank The Decoy Henry T. Potter 1733 26. Oh! Turn not from me T'amo tanto 27. You there may learn a Trade, which will add to The Decoy Henry T. Potter 1733 your own There was a Pretty Girl

The Decoy Henry T. Potter 1733 28. Come, fill, fill away In Perseus and Andromeda 29. Was e'er such Fate as The Decoy Henry T. Potter 1733 we've had together? De'el take the Wars 112

30. What Fears perplex the The Decoy Henry T. Potter 1733 Gamester's heart The White Joke 31. Oh! Then let me haste The Decoy Henry T. Potter 1733 from this Place Tweed Side 32. If so, no Girl should The Decoy Henry T. Potter 1733 e'er dispair In vain dear Chloe 33. How lasting is the The Decoy Henry T. Potter 1733 Pleasure 34. You'll find it so with all The Decoy Henry T. Potter 1733 Mankind To a French Tune The Decoy Henry T. Potter 1733 35. How cursed is she As Love-sick Damon 36. Then Hand in Hand The Decoy Henry T. Potter 1733 let's join Come, follow, follow me 37. My Heart with The Decoy Henry T. Potter 1733 Transport now is full Moggy Lauder 38. Oh! Why are we thus The Decoy Henry T. Potter 1733 to be us'd? O the Broom 39. 'Tis Money that makes The Decoy Henry T. Potter 1733 us great Maggy's Tocher 40. To you, Sir Ralph, I The Decoy Henry T. Potter 1733 make my Court Under the Greenwood Tree 41. How Traps are laid to The Decoy Henry T. Potter 1733 ensnare! In the merry Month of June 42. Good Liquor always The Decoy Henry T. Potter 1733 chears me Soft Harmony dispenses 43. 'Tis manifest to all the The Decoy Henry T. Potter 1733 World On a Bank of Flowers

The Decoy Henry T. Potter 1733 44. How cou'd you betray Ye Nymphs and ye Swains 45. Sure we shall in Time When the Kine had given a The Decoy Henry T. Potter 1733 discover pailful 46. Great Men they will The Decoy Henry T. Potter 1733 condescend In the pleasant Month of May 47. Some Men are taken The Decoy Henry T. Potter 1733 likea Trout Cockamycari she 48. Farewel to Joy and The Decoy Henry T. Potter 1733 Pleasure A Swain of Love

The Decoy Henry T. Potter 1733 49. Must I then leave thee In Perseus and Andromeda 50. My Credit I now shall The Decoy Henry T. Potter 1733 retrieve 51. You cruel Powers! The Decoy Henry T. Potter 1733 That leave me here 52. My part I've Acted to The Decoy Henry T. Potter 1733 please you all Blowzabella The Devil of a 01. Do not ask me if I love Duke Robert Drury 1732 you Se Guacci The Devil of a 02. Will the Linnet fly the In the pleasant Month of May, Duke Robert Drury 1732 Snare &c. 113

The Devil of a 03. Will Resolution never Duke Robert Drury 1732 waver? Birth of Harlequin The Devil of a 04. Young Damsels were To the Hundreds of Drury I Duke Robert Drury 1732 formerly won write The Devil of a 05. Since the Business of a Duke Robert Drury 1732 State's too large In a Bank of Flowers The Devil of a 06. When once the fond Duke Robert Drury 1732 Maid Buff-Coat The Devil of a 07. How servile is the State Duke Robert Drury 1732 of Man Upbraid me not, capricious Fair The Devil of a 08. When fond Love's too Duke Robert Drury 1732 fatal Dart When my Love the other Day The Devil of a 09. Come, come, my pretty Duke Robert Drury 1732 dainty Queen Dainty Davy The Devil of a 10. His Fate the poor Duke Robert Drury 1732 pitiful Sinner Winchester Wedding The Devil of a 11. Since in ev'ry degree of Duke Robert Drury 1732 Men Gamiorum The Devil of a Duke Robert Drury 1732 12. Long gloomy Night Europa fair The Devil of a 13. The Vessel thus by Duke Robert Drury 1732 gentle Gales Dying Swan The Devil of a 14. With what vast unequal Love's a Dream of mighty Duke Robert Drury 1732 Measure Treasure The Devil of a 15. The Bird whom Fate Duke Robert Drury 1732 oppressing Bury Fair The Devil of a 16. None but Fools will Duke Robert Drury 1732 think of loving Come brave Boys lets charge The Devil of a 17. I wonder not that Duke Robert Drury 1732 Harms appear Why will Florella, whilst I gaze The Devil of a 18. Fly, Cupid, fly, and Duke Robert Drury 1732 give my Lover pain

The Devil of a 19. Whoe'er would escape The Old Wife she sent to the Duke Robert Drury 1732 from the Dangers of Evil Miller her Daughter The Devil of a 20. A Woman like the Duke Robert Drury 1732 liquid Tea Greenwood Tree The Devil of a 21. Poor Trapolin banish'd, Duke Robert Drury 1732 resolves not to go Yorkshire Tale 01. Dear Jobson, do not The Devil to Pay Charles Coffey 1731 from me go True Love shall never 02. About the great Hall The Devil to Pay Charles Coffey 1731 Table London Apprentice 03. He that has the best The Devil to Pay Charles Coffey 1731 Wife The Twitcher The Devil to Pay Charles Coffey 1731 04. Tis, I vow and swear Fie, nay, pr'ythee John 05. Of all the Plagues of The Devil to Pay Charles Coffey 1731 Human Life Under the Greenwood Tree 114

06. Tempestuous as the The Devil to Pay Charles Coffey 1731 Seas and Winds Twas when the Sun 07. Like Solon, for The Devil to Pay Charles Coffey 1731 Wisdom, how was I rever'd In the Highlands of Scotland The Devil to Pay Charles Coffey 1731 08. What sonorous Noise There was an old Man 09. No Liquor like Punch The Devil to Pay Charles Coffey 1731 gives Delight to the Soul Abbot of Canterbury 10. Come, jolly Bacchus, The Devil to Pay Charles Coffey 1731 God of Wine Charles of Sweeden 11. Pr'ythee be gone--no The Devil to Pay Charles Coffey 1731 more disturb me Chloe, be kind 12. Of the States in Life so The Devil to Pay Charles Coffey 1731 various Of all Comforts I miscarry'd 13. Tell me no more of The Devil to Pay Charles Coffey 1731 This, or That Contented Country Farmer 14. What tho' this Punch be The Devil to Pay Charles Coffey 1731 most prophane Troy Town 15. My swelling Heart now Send home my long-stray'd The Devil to Pay Charles Coffey 1731 leaps with Joy Eyes 16. My little Spirits now The Devil to Pay Charles Coffey 1731 appear The Spirit's song in Macbeth 17. Thus we'll drown all The Devil to Pay Charles Coffey 1731 melancholy Bacchus one Day gayly striding 18. The Man who wou'd We all to conquering Beauty The Devil to Pay Charles Coffey 1731 sum up in one bow

The Devil to Pay Charles Coffey 1731 19. When the Mind Celadon, when Spring came on The Devil to Pay Charles Coffey 1731 20. Lyes without Number Dear Pickaninny 21. When the dreadful The Devil to Pay Charles Coffey 1731 Thunder rolls Over the Hills and far away 22. The Charm on the Women is now wrought so The Devil to Pay Charles Coffey 1731 sure The Yorkshire Tale 23. Of all the Trades from The Devil to Pay Charles Coffey 1731 East to West Charming Sally The Devil to Pay Charles Coffey 1731 24. Let Matters of State Come, let us prepare 25. Sure all is Paradise The Devil to Pay Charles Coffey 1731 around When all was wrapt 26. All unwilling, pay The Devil to Pay Charles Coffey 1731 submission Whilst I gaze on Cloe trembling 27. Hounds and Horns o'er Whilst the Town agrees with The Devil to Pay Charles Coffey 1731 Plains resounding Polly The Devil to Pay Charles Coffey 1731 28. Like Felons, or Debtors Bath Medley 29. Fine Ladies with an The Devil to Pay Charles Coffey 1731 artful Grace When I was a Dame of Honour 30. O charming Cunning- Man! Thou hast been The Devil to Pay Charles Coffey 1731 wondrous kind Twas within a Furlong 115

31. Tho' late I was a The Devil to Pay Charles Coffey 1731 Cobler's Wife What tho' I am a Country Lass 32. Let the vain Spark If Love the Virgin's Heart The Devil to Pay Charles Coffey 1731 consume his Store invade 33. Was Woman e'er The Devil to Pay Charles Coffey 1731 abus'd like me Sawny was tall

The Devil to Pay Charles Coffey 1731 34. If you marry a Wife There was a Maid in the West 35. Tho' ravish'd from my The Devil to Pay Charles Coffey 1731 Husband's Arms The Budgeon it is a fine Trade 36. How truly compleat are The Devil to Pay Charles Coffey 1731 my Woes Grim King of the Ghosts 37. Tho' to opinion, I'll The Devil to Pay Charles Coffey 1731 never die a martyr Three Sheep Skins 38. Of all the Joys beneath The Devil to Pay Charles Coffey 1731 the Sun Four and twenty highwaymen 39. So the Wretch The Devil to Pay Charles Coffey 1731 o'erwhelm'd with Sorrow Take a Kiss or two 40. Come fill about the The Devil to Pay Charles Coffey 1731 sparkling Wine We've sail'd the Seas 41. Then come to they own The Devil to Pay Charles Coffey 1731 poor Hut again When Orpheus tickled his 42. May no remembrance The Devil to Pay Charles Coffey 1731 of past Time Hey Boys up go we The 01. Its Beauties part to When bright Aurelia trip'd the Disappointment John Randall 1732 Conquer all Plains The 02. To be freed from my Disappointment John Randall 1732 Marriage State By Mr. Warwell The 03. Haste, haste, haste, and Disappointment John Randall 1732 away When the bright God of Day The 04. A Pox on all Disappointment John Randall 1732 Misfortunes light O Ponder well The 05. Marriage surely is a Disappointment John Randall 1732 Curse By Mr. Warwell The 06. Were are mere outside Disappointment John Randall 1732 Pretenders By Mr. Warwell The 07. Happy you, that is Disappointment John Randall 1732 possessing Set by Mr. Warwell The 08. In Love's Disease, no Disappointment John Randall 1732 Blame we find I'll range all round The 09. Fairest creature can Charming Jenny, you mun love Disappointment John Randall 1732 you love me? me The Disappointment John Randall 1732 10. My Flesh it yet akes My Heart is so free The Disappointment John Randall 1732 11. How Charming she lies Thomas I cannot The 12. Oh Daughter, I Oh! Polly you might have Disappointment John Randall 1732 tremble! Thus to see Toy'd 116

The Double 01. Wherever I'm goin, and Disappointment 1740 all the Day long The Double 02. Petit Cupidon has Disappointment Moses Mendez 1740 caught me The Double 03. As pleasing as Shade to Disappointment Moses Mendez 1740 the way-faring Swain Why heaves my Fond Bosom The Double 04. Thus bless'd with the Behold the sweet Flowers Disappointment Moses Mendez 1740 Maiden I love around The Double 05. Your idle Threats, on Disappointment Moses Mendez 1740 one like me What beauteous Scenes The Double 06. In Waterford City, the Disappointment Moses Mendez 1740 Fairest of Ireland 01. No more let Grief The Fall of Phaeton Mr. Pritchard 1736 torment thee 02. All on the Maid The Fall of Phaeton Mr. Pritchard 1736 Reproaches make 03. Thus the fond Lark, The Fall of Phaeton Mr. Pritchard 1736 with Care opprest 04. Like a glad The Fall of Phaeton Mr. Pritchard 1736 Bridegroom view the Sun 05. Thus when the The Fall of Phaeton Mr. Pritchard 1736 Nightingale has found The False Guardians William 01. De'el take the Man that Outwitted Goodall 1740 is so fickle minded De'el take the Wars The False Guardians William 02. Men they are False, so Outwitted Goodall 1740 often deceive us The False Guardians William 03. A Man that's cloathed Outwitted Goodall 1740 in Scarlet A Soldier and a Sailor The False Guardians William 04. Grant me ye powerful Outwitted Goodall 1740 God of Love The False Guardians William 05. I'll take the Man my Outwitted Goodall 1740 Heart has chose Black Joke The False Guardians William 06. When Parents will sell Outwitted Goodall 1740 us for Lucre of Gold Yorkshire Ballad The False Guardians William 07. Thus we in Sweets of Outwitted Goodall 1740 Love Floramel The False Guardians William 08. 'Tis a Custom that ne'er Dear Chloe while thus beyond Outwitted Goodall 1740 will decay Measure The False 09. With Gentle'st Guardians William Thoughts my Soul's Outwitted Goodall 1740 inspir'd Golds superiority over Love The False Guardians William 10. Gold's a Cloud for Love's a gentle generous Outwitted Goodall 1740 Imperfections Passion 117

The False Guardians William 11. Why my little blind Outwitted Goodall 1740 Contriver Who to win a Woman's Favour The False Guardians William 12. Now the Battle must Outwitted Goodall 1740 begin Titt for Tatt The False Guardians William 13. O but behold! And Outwitted Goodall 1740 view him well Now ponder well The False Guardians William 14. Alas! Why need we Outwitted Goodall 1740 wonder Farewell ye Hills and Valleys The False Guardians William Outwitted Goodall 1740 15. Assist me now ye Fates Ye Nymphs and Sylvan Gods The False Guardians William 16. And now my dearest Outwitted Goodall 1740 Love Happy Dick The False Guardians William 17. O raptures too great to Outwitted Goodall 1740 express Tweed Side The False Guardians William 18. And we'll put round the We'll be merry in our old Outwitted Goodall 1740 Glass Boys Cloaths The False Guardians William 19. Thus Strength may be Outwitted Goodall 1740 disart'd Fanny Blooming Fair The False Guardians William 20. Forgive me Sir if I Outwitted Goodall 1740 deny Bush of Boon The False Guardians William 21. And now the Farce is Outwitted Goodall 1740 o'er Come hither pretty Dear 01. When Beauty does the The Fancy'd Queen Robert Drury 1733 Maiden Grace Two Pierots 02. In vain would a A Jolly young Grocer of The Fancy'd Queen Robert Drury 1733 Woman defie bold Love London Town 03. Will you, can you still When the Kine had giv'n a The Fancy'd Queen Robert Drury 1733 deny me? Pailful 04. Come in your glitterig The Fancy'd Queen Robert Drury 1733 State Roger de Coverly The Fancy'd Queen Robert Drury 1733 05. Fear flies Rigadoon 06. Miss Both Fair and The Fancy'd Queen Robert Drury 1733 Witty High thee Bonny Jockey 07. All in vain, caress the The Fancy'd Queen Robert Drury 1733 Man Celadon 08. Vainly Fate (exempt Flights of Cupids hover round The Fancy'd Queen Robert Drury 1733 from Pleasure) me 09. Now, prithee why The Fancy'd Queen Robert Drury 1733 d'you fly There was a pretty Lass 10. Observe the wanton The Fancy'd Queen Robert Drury 1733 Pigeon fly The bonny Highland Laidie 118

11. Politicks make Fools The Fancy'd Queen Robert Drury 1733 admire the Carpers Pan leave Piping 12. The Fates are a Parcel The Fancy'd Queen Robert Drury 1733 of steering Birth of Harlequin 13. A Girl with quick Wit The Fancy'd Queen Robert Drury 1733 and good Graces endowed Tantwivee 14. Why do you show your While wretched Fools sneak up The Fancy'd Queen Robert Drury 1733 self so Coy and down 15. Excuse my bold The Fancy'd Queen Robert Drury 1733 intrusion On yonder high Mountain 16. By Woman's Lures and On a Bank of Flowers in a The Fancy'd Queen Robert Drury 1733 tempting Wiles Summer's-day 17. Love is like the raging The Fancy'd Queen Robert Drury 1733 Ocean Bacchus one Day gaily striding 18. When once Love's The Fancy'd Queen Robert Drury 1733 powerful Force prevails Midsummer Wish 19. Be kind, and indulge The Fancy'd Queen Robert Drury 1733 your Dissembling no more A Man that is Drunk

20. When can possess a The Old Wife she sent to the The Fancy'd Queen Robert Drury 1733 pack of dull asses Miller her Daughter 21. Drawn to by the The Fancy'd Queen Robert Drury 1733 Loadstone of Beauty Winchester Wedding 22. Think not this insoent Joan and her maid to the The Fancy'd Queen Robert Drury 1733 Usage I'll bear Counter were sent 23. Stand off, and give my The Fancy'd Queen Robert Drury 1733 Passion vent White Joke

The Fancy'd Queen Robert Drury 1733 24. Hence Cares shall fly Yesterday in the Morning grey The Fashionable Lady, or 01. When Farce and when Harlequin's opera James Ralph 1730 Musick can eke out a Play A Cobler there was &c. The Fashionable Lady, or 02. The honest Tar, that Harlequin's opera James Ralph 1730 comes from far An old Woman poor and blind The Fashionable Lady, or 03. To shun the dreadful Harlequin's opera James Ralph 1730 Woes that wait When I was a Dame of honour The Fashionable Lady, or 04. The courtly Rake, the From thee to me she turns her Harlequin's opera James Ralph 1730 hoary Sage Eyes The Fashionable Lady, or 05. Arm, gentle Lordings! Now comes on the Glorious Harlequin's opera James Ralph 1730 Arm again. Year The Fashionable Lady, or 06. A thousand Rivals Harlequin's opera James Ralph 1730 round me strove. Alexis shunn'd, &c The Fashionable Lady, or 07. O Love, then Source of Harlequin's opera James Ralph 1730 flatt'ring Joy! Why will Florella when I gaze 119

The Fashionable Lady, or 08. With folded Hands and Harlequin's opera James Ralph 1730 watry Eye. Bury Fair The Fashionable Lady, or 09. Your Cupid, and your Harlequin's opera James Ralph 1730 Hymen now. The Morning Break The Fashionable Lady, or 10. Like her Pandora left Harlequin's opera James Ralph 1730 the Skies Peggy grieves me The Fashionable Lady, or 11. Gently, God of fond Harlequin's opera James Ralph 1730 Desire! Gently touch the warbling Lyre The Fashionable Lady, or 12. If there's a Man whose Harlequin's opera James Ralph 1730 Gothick Lungs Fie, pretty Doris The Fashionable Lady, or 13. While sweet, smooth, What need I to care how the Harlequin's opera James Ralph 1730 and clear World goes The Fashionable Lady, or 14. Dis be de fine English Harlequin's opera James Ralph 1730 Signior Harlequin O rarée Show, O bravée Show The Fashionable Lady, or Harlequin's opera James Ralph 1730 15. From Birth-night Show Buff-Coat The Fashionable Lady, or 16. When a Lady fair, like Harlequin's opera James Ralph 1730 you, Mem Mirleton The Fashionable Lady, or 17. The Maid in her Prime, Harlequin's opera James Ralph 1730 who frolicks with Time Ye Jacks of the Town The Fashionable Lady, or Harlequin's opera James Ralph 1730 18. At Pleasure, I'll range I'll rove and I'll range The Fashionable Lady, or 19. Set up with a pretty Harlequin's opera James Ralph 1730 Collection of Flies Dear Catholick Brother The Fashionable Lady, or 20. Take heed, fair Lady, Harlequin's opera James Ralph 1730 how you trust Willey was a wanton Wag The Fashionable Lady, or 21. If e'er, in Honour of the Harlequin's opera James Ralph 1730 Fair Bright Aurelia The Fashionable Lady, or 22. Athwart the Waves, in Harlequin's opera James Ralph 1730 martial Pride The Budgean it is a fine Trade The Fashionable Lady, or 23. When fond Passion While I fondly view my Harlequin's opera James Ralph 1730 thrills the Lover Charmer The Fashionable Lady, or 24. When Woman once Plus inconstant que l'Onde & le Harlequin's opera James Ralph 1730 takes in her Head to persue Nuage The Fashionable Lady, or Harlequin's opera James Ralph 1730 25. The little, wanton God O my cruel Tyrant Love 120

The Fashionable Lady, or 26. In this Anguish, cease Harlequin's opera James Ralph 1730 to languish The Lucky Hit The Fashionable Lady, or 27. See! See! Like Venus Harlequin's opera James Ralph 1730 she appears See, see, my Seraphina comes The Fashionable Lady, or Harlequin's opera James Ralph 1730 28. Foolish Lover Sleepy Body The Fashionable Lady, or 29. Oh! Take me, Charmer, Harlequin's opera James Ralph 1730 to thy Breast Would Fate to me Belinda give The Fashionable Lady, or Harlequin's opera James Ralph 1730 30. Idle Creature! Cease your Funning The Fashionable Lady, or 31. Cupid, let my Lovers Cupid, God of pleasing Harlequin's opera James Ralph 1730 languish Anguish The Fashionable Lady, or 32. The Man of Fashion, Harlequin's opera James Ralph 1730 proudly vain As fair Dorinda sitting was The Fashionable Lady, or 33. For Wit, the fawning Harlequin's opera James Ralph 1730 Coxcomb cries Hunt the Squirrel The Fashionable Lady, or 34. O dearest Lady! Let me O Jenny, O Jenny, where hast Harlequin's opera James Ralph 1730 but see thou been The Fashionable Lady, or 35. Come, sweet Content, Harlequin's opera James Ralph 1730 and soft Respose Canny Boatman The Fashionable Lady, or 36. Whate'er the Sages Harlequin's opera James Ralph 1730 taught of old Pretty Salley The Fashionable Lady, or 37. When first the fair Harlequin's opera James Ralph 1730 appears New Rigadoon The Fashionable Lady, or 38. Look round the Park, Harlequin's opera James Ralph 1730 the Court, the Change Twas on a sultry Summer's Day The Fashionable Lady, or 39. What, tho' I deck the Harlequin's opera James Ralph 1730 flatter'd Fair Stand by clear the Way The Fashionable Lady, or 40. The Lady with Harlequin's opera James Ralph 1730 Diamonds and Laces Winchester Wedding The Fashionable Lady, or 41. Come brave Boys, Harlequin's opera James Ralph 1730 forget the Ocean Let's be jovial, fill our Glasses The Fashionable Lady, or 42. You've heard, no Harlequin's opera James Ralph 1730 doubt, how all the Globe As I went over London Bridge The Fashionable Lady, or 43. Should the storm blow Harlequin's opera James Ralph 1730 high On a Bank of Flow'rs, &c. 121

The Fashionable Lady, or 44. Alas, alas! This Harlequin's opera James Ralph 1730 Mischief grieves me sore! Death and the Lady The Fashionable Lady, or 45. Come, ye Poets, small Harlequin's opera James Ralph 1730 and greater! Ghosts of e'ery Occupation The Fashionable Lady, or 46. Now let's lay our Heads Harlequin's opera James Ralph 1730 together Gillian of Croyden The Fashionable Lady, or 47. Spare, O spare the Sweet are the Charms of her I Harlequin's opera James Ralph 1730 Hum'rous Sage! love The Fashionable Lady, or 48. To Italy's enervate Harlequin's opera James Ralph 1730 Shore Over the Hills and far away The Fashionable Lady, or 49. If e'er you see a Villain Second Part of the Dutch Harlequin's opera James Ralph 1730 smile Skipper The Fashionable Lady, or 50. Old Time, that leads Harlequin's opera James Ralph 1730 the Seasons Red House The Fashionable Lady, or 51. Some say Women Some say Women are like the Harlequin's opera James Ralph 1730 change like Wind Sea The Fashionable Lady, or 52. Have you seen a lovely Whilst I gaze on Chloe Harlequin's opera James Ralph 1730 Creature trembling The Fashionable Lady, or 53. When Fashion wakes Harlequin's opera James Ralph 1730 the gloomy Spleen Vain Belinda The Fashionable Lady, or 54. Pert Tom, and modish Harlequin's opera James Ralph 1730 Sue Windsor Terras The Fashionable Lady, or 55. If thoughtless of Hell, Harlequin's opera James Ralph 1730 poor Prattle should see The Twitcher The Fashionable 56. Your old English Lady, or Courtiers were Men of Harlequin's opera James Ralph 1730 Renown The Queen's old Courtier The Fashionable Lady, or 57. Of all that racks the Harlequin's opera James Ralph 1730 Lover My Chloe, why d'ye slight me? The Fashionable Lady, or 58. Should e'er I whisper, Sweet if you love me come Harlequin's opera James Ralph 1730 come away away The Fashionable Lady, or 59.Were I to chuse my Harlequin's opera James Ralph 1730 fav'rite Charms Coal Black Joak The Fashionable Lady, or 60. When Anger fires the With tuneful Pipe and merry Harlequin's opera James Ralph 1730 Lover's Heart Glee The Fashionable Lady, or 61. The Wretch who Harlequin's opera James Ralph 1730 'scapes the Ocean Farewel, thou false Philander 122

The Fashionable Lady, or 62. If to your Arms, with Harlequin's opera James Ralph 1730 all her Charms Young Philoret The Fashionable Lady, or 63. Smooth o'er the green Harlequin's opera James Ralph 1730 Sea's Wave When Palatines came o'er The Fashionable Lady, or 64. The Pleasure of Love is Harlequin's opera James Ralph 1730 the Cause of its Pain Thro' the Wood, Laddie The Fashionable Lady, or Harlequin's opera James Ralph 1730 65. Fye, fye, think of Peace Fye now pr'ythee John The Fashionable Lady, or 66. While Dress and while Harlequin's opera James Ralph 1730 Play Let Burgundy flow The Fashionable Lady, or 67. Come follow, follow Harlequin's opera James Ralph 1730 me Come follow, follow me The Fashionable Lady, or 68. Had you, fair Lady, Harlequin's opera James Ralph 1730 deign'd to smile Butter'd Peas 01. Cupid, gentle God of The Female Parson Charles Coffey 1730 Love Vain Belinda 02. Love like the Trumpet Hark how the Trumpet sounds The Female Parson Charles Coffey 1730 still calls forth to Battle to battle 03. Why should some Once I lov'd a Charming The Female Parson Charles Coffey 1730 indulge their Passions Creature 04. I adore thee, charming The Female Parson Charles Coffey 1730 Creature Sweet's the little thing 05. Who can our Femal When first I saw my Nancie's The Female Parson Charles Coffey 1730 Arts withstand Face

The Female Parson Charles Coffey 1730 06. Happy the Virgin State Happy ye youthful Swain The Female Parson Charles Coffey 1730 07. Let other Maids in vain Fair Iris and her Swain 08. Plarakanarorka, let all The Female Parson Charles Coffey 1730 Men remember Plarakanarorka 09. As in a Storm at dead The Female Parson Charles Coffey 1730 of Night Geminiani's Minuet The Female Parson Charles Coffey 1730 10. Rise charming Creature O Caro Spene Once I lov'd a Lass with a The Female Parson Charles Coffey 1730 11. Prithee, why so coy rowling Eye 12. If you wou'd true The Female Parson Charles Coffey 1730 Courage show O the bonny Shoemaker 13. My Humour's frank The Female Parson Charles Coffey 1730 and free Sweet Nelly my Heart's Delight 14. Were Jove's imperial The Female Parson Charles Coffey 1730 Crown If Powers above cou'd mind 15. O, how fine is a eat O, how sweet's the Month of The Female Parson Charles Coffey 1730 Disguise May The Female Parson Charles Coffey 1730 16. O, Queen of Love The Groves the Plains 123

17. Thus with Love and The Female Parson Charles Coffey 1730 soft Delight Butter'd Pease 18. Whilst your Eyes so Whilst the Town's brim full of The Female Parson Charles Coffey 1730 full of Fire Folly 19. Thus laden I come to There was an old Man, he liv'd The Female Parson Charles Coffey 1730 charm thee, my Dear in a Wood 20. Thus we live and we The Female Parson Charles Coffey 1730 reign A Damsel I'm told 21. I fly now on Wings of The Female Parson Charles Coffey 1730 Desire Wooley is gone to France The Female Parson Charles Coffey 1730 22. Thus gay and airy Ye Beaus of Pleasure 23. Since Wedlock is a The Female Parson Charles Coffey 1730 State in Life Hendal's Hornpipe 24. Long have I been with The Female Parson Charles Coffey 1730 Grief opprest My Bony Jean 25. And now I am once The Female Parson Charles Coffey 1730 more set free Jockey has gotten a Wife 26. Celia's Eyes have lost The Female Parson Charles Coffey 1730 their Splendour Gavot in Otho 27. Now we have both The Clock has struck I can't tell The Female Parson Charles Coffey 1730 been in the wrong what 28. Thus like happy Turtles The Female Parson Charles Coffey 1730 cooing Do not ask me charming Phillis Joseph 01. 'Tis Gold that tempts The Female Rake Doorman 1738 the Statesman I had a pretty Lass Joseph 02. How vain are all such The Female Rake Doorman 1738 Coxcombs Arts In vain, dear Chloe Joseph 03. I good Queen Bess's The Female Rake Doorman 1738 golden Reign Dame of Honour Joseph 04. O fine Taste of London Oh! What Pleasures will The Female Rake Doorman 1738 Town! abound 05. When a Woman's been Joseph sporting, as Phillis has The Female Rake Doorman 1738 done Wou'd you have a young Virgin Joseph 06. 'Tis past the Fair One's The Female Rake Doorman 1738 Art Charms of Floramell Joseph 07. In vulgar Bess's ancient The Female Rake Doorman 1738 Days Under the Green Wood Tree Joseph 08. Some Years ago I The Female Rake Doorman 1738 learn'd to fence What tho' I am a Country Lass Joseph 09. Oh! Masquerades are The Female Rake Doorman 1738 odious Things Oh, London is a fine Town Joseph 10. Her Taste is strangely The Female Rake Doorman 1738 tainted Farewell, ye Hills and Vallies Joseph 11. Dear Phyllis, lovely The Female Rake Doorman 1738 Fair Round ear'd Cap Joseph 12. Tim, if you love me, Sweet, if you love me, come The Female Rake Doorman 1738 leave me now away The Female Rake Joseph 1738 13. Our Ladies of Taste Free-Masons Tune 124

Doorman Joseph 14. How wretched is the The Female Rake Doorman 1738 Maiden's Fate Jack Lattin Joseph 15. Indeed Mrs. Phillis, if The Female Rake Doorman 1738 e'er you're his Bride The Yorkshire Lady Joseph 16. By Bacchus and Venus The Female Rake Doorman 1738 let this Day be Lumps of Pudding 01. Since all the World's The Fool's Opera Anthony Astin 1731 turn'd upside down Joan's Placket 02. The greatest Pleasure The Fool's Opera Anthony Astin 1731 sure on Earth Shepherd to Play 03. When I was a The Fool's Opera Anthony Astin 1731 Chambermaid Maiden Fair 04. What tho' my Mamma Hark how the Thundering The Fool's Opera Anthony Astin 1731 gave Advice Cannons The Fool's Opera Anthony Astin 1731 05. At whose Suit Foot Guards March 06. The Muds of the Town We'll be Merry in our old The Fool's Opera Anthony Astin 1731 are common Cloaths 07. I'm toss'd like a Dog in The Fool's Opera Anthony Astin 1731 Blankets between As down in a Meadow The Fool's Opera Anthony Astin 1731 08. A Curse on Love's Itch Bath Medley 09. This way, Oh Poet! York Minuet, or Sawney and The Fool's Opera Anthony Astin 1731 Turn your Pen Jack 10. The Devil take 'em The Fool's Opera Anthony Astin 1731 both The Kirk would let me The Fool's Opera Anthony Astin 1731 11. The Ballies are come Roger o' Coverly 12. O cruel! I The Fool's Opera Anthony Astin 1731 suffer Disgrace On the Banks of a River The Fool's Opera Anthony Astin 1731 13. Gi' me Money Di mi Caro 14. My Pocket now the The Fool's Opera Anthony Astin 1731 stronger grows Top-Mast touch the Skies The Fool's Opera Anthony Astin 1731 15. Lovely Lucy Tresusis's Clown The Fool's Opera Anthony Astin 1731 16. What no Love Token New Reformation 17. Thus I stand expecting The Fool's Opera Anthony Astin 1731 here From Whitehall 01. How cruel's she who The Footman 1732 rails at a Man Soldier Laddie 02. O that I was young The Footman 1732 again Moggy Lauder 03. The Soldier disbanded The Footman 1732 the Streets for to beg Mother quoth Hodge, &c. 04. At the Dice-Box's Rattle the soft Female The Footman 1732 Breast A Cobler there was, &c. The Footman 1732 05. Complying, Denying Lads of Dunce 06. Sweet Sukey's my Sweet Nelly's my Heart's The Footman 1732 Heart's delight delight 08. When Lovers flocking The Footman 1732 round I find One April Morn 125

09. A Beau is like the The old Woman she went into The Footman 1732 spinning Worm the Barn 10. What delicate Speeches The Footman 1732 expressing Do not ask my charming Phillis 11. If by chance a fine The Footman 1732 Lady sits near The Footman 1732 12. Honesty failing Room for Cuckolds 13. Sukey's my dearest, my The Footman 1732 beautiful Phillis 14. Thus for ever die, my The Footman 1732 Deary Come my Dear, and let us dally 15. O London is a Place The Footman 1732 bonny--O! Dumbarton's Drums The Footman 1732 16. When we'd be flirting Jenny come tie 17. O where shall I fly Tho' I behold in those The Footman 1732 when Virtue's flown wand'ring Eyes 18. See the abandon'd Fair- The Footman 1732 one trying Love is a Dream 19. Hapless is the tender The Footman 1732 Maiden As the Snow in Valleys lying 20. 'Tis Gold is the cause The Footman 1732 of all our Woes On a Bank of Flowers 21. I try'd not to love, but I Ye Shepherds that adorn the The Footman 1732 try' d all in vain gay Plain Dear pretty Maid, don't fly me The Footman 1732 22. See, she flies as a Fawn so 23. With Fawning and The Footman 1732 Lyes The Footman 1732 24. If a Lover Flocks are sporting 25. Girls think they're safe The Footman 1732 while their Virgin Heart A lovely Lass to a Friar came 26. O! What Bliss the Bacchus one day gravely The Footman 1732 Swain confounds striding The Footman 1732 27. Who so dull to do less When Cloe we ply 28. As turns the Fame with The Footman 1732 ev'ry Wind 29. Let the vain Courtier The Footman 1732 pursue his Grace Hark how the Trumpet sounds The Footman 1732 30. When Jenny's Air Come take your Drink 31. The Goddess Fortune The Footman 1732 turns about The bonny Scot 32. The vain Coquet with The Footman 1732 Ribbands dress'd Dainty Davy 33. How much shou'd we Twas within a Furlong of The Footman 1732 pity the young artless Maid Edinborough Town 34. While plotting Statesmen form dull The Footman 1732 Schemes of Come Neighbors now 126

35. Come let us be merry, He that will not merry, merry The Footman 1732 merry all be The Footman 1732 36. No more let Debate A curse on all Cares 37. Tho' Fate frowns still, The Footman 1732 kind Bacchus This great World is a Trouble 38. The worst of all Fools The Footman 1732 is a Fop Ranting Roaring Billy The Footman 1732 39. Smooth and beguiling Sweet's a little 40. Hence vain Woman, or Some say Women are like the The Footman 1732 cease your Note Sea 41. Inconstant Truth, The Footman 1732 behold a Maid Denoyer's Minuet 42. Villain away to the The Footman 1732 Rose Maidens as fresh as a Rose 43. If in Heart or Brain The Footman 1732 Sedition Against Keepers we petition The Footman 1732 44. The Rich and Great Sally 45. The Beaux to the Ladies their Passions Come hither good People, both The Footman 1732 pretend aged and young 46. Says the Beau when he The Footman 1732 has just won the Main of Castlemain The Footman 1732 47. How Vain the Lass is Ye Beaus of Pleasure 48. When the gay Confidant with her The Footman 1732 Eloquence part Lilliburlero 49. Young Soldiers in The Footman 1732 Peace void of Fear The new yellow-hair'd Laddy 50. Pure as the Virgin The Footman 1732 Snow appears 51. My Honesty I never Send home my long-stray'd The Footman 1732 sold Eyes 52. Now I've try'd thy Whilst I fondly view the The Footman 1732 Frowns, O Fortune! Charmer 53. Farewell to my dearest, The Footman 1732 and farewell to my Jane Lochaber 54. The Gold-Finch thus The Footman 1732 beside the Spring Why will, Florella, when I gaze 55. When Jealousy invades The Footman 1732 the Heart The Deceiver The Footman 1732 56. What Dangers in Love! Tweed-Side 57. Tho' sweeter than The Footman 1732 Roses his Kiss Colin's Complaint 58. If the Cheats of Knaves The Footman 1732 and Villains Merleton 59. There were four Ladies The Footman 1732 at Quadrille Cold and Raw The Footman 1732 60. Good Mother, I find Young Cupid I find 127

61. Nature to Pity has The Footman 1732 inclin'd Sweet are the Charms her I love 62. The wounded Linnet The Footman 1732 thus away Wou'd Fate to me Belinda give 63. Riches hence, deluding Cupid, God of Pleasing The Footman 1732 Treasure Anguish The Footman 1732 64. Th' Embroider'd Beau Excuse me The Footman 1732 65. The Soldier's fighting 66. Tho' distinction is made 'tween us and the The Footman 1732 Great The Widow The Footman 1732 67. Fortune smiling Masquerade Minuet 68. Tho' the World, 'tis The Footman 1732 agreed Bath Medley 01. A Man that will wed at The Fox Uncas'd 1733 the Age of Threescore Packington's Pound

The Fox Uncas'd 1733 02. Can a Midwife do less O, how happy are we, &c. 03. How charming is a The Fox Uncas'd 1733 Virgin before she is enjoy'd There was a pretty Maid, &c. 04. When brimful of Love, The Fox Uncas'd 1733 mighty Jove had essay'd I love thee, by Heaven, &c. 05. Good Sir, what is't you The Fox Uncas'd 1733 mean to do? O fy, what mean I foolish Main 06. Your Scruples give The Fox Uncas'd 1733 over Ye Beaux of Pleasure 07. We know that Priests The Fox Uncas'd 1733 and Friars Pinks and Lillies 08. Then God of Love The Fox Uncas'd 1733 befriend me Of a noble Race was Shinkin 09. I value not all India's Give Ear to my frolicksome The Fox Uncas'd 1733 Treasure Dirry 10. We claim Tythe of most Things now under the Take a young Virgin of fifteen The Fox Uncas'd 1733 Sun Years 11. A Nunnery is but a The Fox Uncas'd 1733 Snare Moggy Lawder 12. Oh! How fruitless is The Fox Uncas'd 1733 my Love! Happy Groves 13. When Lovers first draw The Fox Uncas'd 1733 near us When Sawney first did woe me 14. If this be the Fruit of The Fox Uncas'd 1733 the Thing we call Love The Abbot of Canterbury The Fox Uncas'd 1733 15. O sweet Bliss! Come sweet Lass, &c. 16. Tis no hard matter to The Fox Uncas'd 1733 guess what The Disappointment 17. Who can see the The Fox Uncas'd 1733 charming Fair Charming is your Shape, &c. 18. O Father, you now O Jenny, O Jenny, where hast The Fox Uncas'd 1733 have miss'd your Aim thou been 128

19. Like Courtiers discarded the silly Priest The Fox Uncas'd 1733 looks We cheated the Parson, &c. 20. When Marlbro' did The Fox Uncas'd 1733 command us A Soldier and a Sailor, &c. 21. No Woman sure under The Fox Uncas'd 1733 the Sun I am a poor Shepherd undone 22. Let's banish all Care The Fox Uncas'd 1733 and Sorrow Trip to the Jubilee The Generous Free- William Rufus 01. If the dear, and faithful Mason Chetwood 1731 Lover As the Snow in Valleys lying The Grub-Street Opera Henry Fielding 1731 01. What a wretched Life A lusty young Smith The Grub-Street 02. If Love gets into a Opera Henry Fielding 1731 Soldier's Heart Lads of Dance 02. Your Weapon, good The Generous Free- William Rufus Sir, to your Scabbard's Mason Chetwood 1731 confin'd Come hither, good People The Grub-Street 03. How curst the puny Bid the Drawer fetch clean Opera Henry Fielding 1731 Lover Glasses The Generous Free- William Rufus 03. I'd mark the Goods Mason Chetwood 1731 with Hand and Seal White Joak The Generous Free- William Rufus 04. If e'er my Fair proves Mason Chetwood 1731 false to me Around the Plains The Grub-Street 04. Think, mighty Sir, Opera Henry Fielding 1731 think e'er you are undone March in Scipio The Generous Free- William Rufus 05. Cease thy Fears, and Mason Chetwood 1731 sigh no more Muirland Willy The Grub-Street 05. The worn out Rake at Opera Henry Fielding 1731 Pleasure Rails Tho' I cannot The Grub-Street 06. I've heard a Noncon One Evening having lost my Opera Henry Fielding 1731 Parson preach Way The Generous Free- William Rufus 06. 'Tis this o'ercomes all Now comes on the glorious Mason Chetwood 1731 Griefs and Cares Year The Generous Free- William Rufus 07. Oh Doodle! What sad You'll think ere many Days Mason Chetwood 1731 Rogues were these! ensue The Grub-Street 07. The gaudy Sun Opera Henry Fielding 1731 adorning Dutch Skipper The Grub-Street 08. In long Pig-Tails, and Opera Henry Fielding 1731 shining Lace Bessy Bell The Generous Free- William Rufus 08. There was a young Mason Chetwood 1731 Man and a Maid There wa three Lads The Generous Free- William Rufus 09. Tho' Dangers allarm Mason Chetwood 1731 me Compos'd by Mr. Henry Carey The Grub-Street 09. Why should not I love Why shou'd not I Love my Opera Henry Fielding 1731 Robin Love The Generous Free- William Rufus 10. Oh stretch your Legs Mason Chetwood 1731 abroad, my Dear O ponder well, be not severe The Grub-Street Opera Henry Fielding 1731 10. Oh! My Sweetissa Masquerade Minuet 129

The Generous Free- William Rufus 11. Of all the Girls in our Mason Chetwood 1731 Town Black Joak The Grub-Street 11. When mutual Passion Opera Henry Fielding 1731 both hath possest Young Damon once The Generous Free- William Rufus 12. Oh come to my Arms, Mason Chetwood 1731 my charming Fair! Compos'd by Mr. Henry Carey The Grub-Street 12. Would you have Love Opera Henry Fielding 1731 in Words display'd All in the Downs The Grub-Street 13. How odd a thing is Opera Henry Fielding 1731 Love Ye Nymphs and Sylvan Gods 13. When you court a The Generous Free- William Rufus young Virgin of sixteen Wou'd you court a young Mason Chetwood 1731 Years Virgin The Generous Free- William Rufus 14. Great Amurath all Mason Chetwood 1731 Hearts obey Set by Mr. Charke The Grub-Street 14. Ye virgins who would Opera Henry Fielding 1731 marry Red-House The Generous Free- William Rufus 15. I'll hang up these Mason Chetwood 1731 Rogues, I vow and swear Sir Thomas, I cannot The Grub-Street 15. The more we know of Opera Henry Fielding 1731 human Kind Black-Joak The Generous Free- William Rufus 16. If Tears o'er our Fate Mason Chetwood 1731 cou'd prevail Fond Echo The Grub-Street Opera Henry Fielding 1731 16. The Dog his Bit Tipling John The Grub-Street 17. Indeed my Dear with Opera Henry Fielding 1731 Sigh and Tear Hedge-Lane The Generous Free- William Rufus Mason Chetwood 1731 17. I've choice of Pills As Tipling John The Generous Free- William Rufus 18. A Man tho' hated much Mason Chetwood 1731 at first Logan Water 18. Sure nought so The Grub-Street disast'rous can Woman Opera Henry Fielding 1731 befal Lord Biron's Maggot The Grub-Street 19. A Woman's Ware, like Opera Henry Fielding 1731 China Do not ask me The Generous Free- William Rufus Mason Chetwood 1731 19. Sure Marriage is a Dish A Tenant of my own The Generous Free- William Rufus 20. If my Deary longs to Mason Chetwood 1731 swing Excuse me The Grub-Street 20. What Woman her Opera Henry Fielding 1731 Virtue will keep Twede Side The Generous Free- William Rufus 21. When once the Lease is Mason Chetwood 1731 drown, my Love Of all the simple things we do The Generous Free- William Rufus Mason Chetwood 1731 22. Now our Fears are over Hunt the Squirrel The Generous Free- William Rufus 23. Be still, you Monsters Mason Chetwood 1731 of the Deep Set by Mr. J. Sheeles 130

The Generous Free- William Rufus 24. Neptune from all ills Mason Chetwood 1731 shall guard you Set by Mr. J. Sheeles The Grub-Street 24. To wanton Pleasures, Opera Henry Fielding 1731 roving Charms Greenwood Tree The Generous Free- William Rufus 25. By Masons Art Mason Chetwood 1731 th'aspiring dome Set by Mr. Hen. Carey The Grub-Street Opera Henry Fielding 1731 25. Dearest Charmer Dimi Caro The Grub-Street 26. How can I trust your Opera Henry Fielding 1731 Words precise Canny Boatman The Grub-Street 27. Since you so base and Opera Henry Fielding 1731 faithless be I'll range around The Grub-Street 28. Women in vain Love's Opera Henry Fielding 1731 powerful Torrent Cloe is false The Grub-Street 29. Come on, come on, Opera Henry Fielding 1731 come on Britons strike Home The Grub-Street 30. Oh! Fie upon't, Robin-- Opera Henry Fielding 1731 Oh! Fie upon't Will Mother quoth Hedge The Grub-Street 31. A wise Man others Opera Henry Fielding 1731 faults conceals Dame of Honour The Grub-Street 32. Here stands honest Bob Opera Henry Fielding 1731 who ne'er in his life We've cheated the Parson The Grub-Street Opera Henry Fielding 1731 33. Whem Master thinks fit Hark, the Cock's crowing The Grub-Street 34. Good Madam Cook the Opera Henry Fielding 1731 greasy Of a noble Race was Shenkin The Grub-Street 35. Great Courtiers Opera Henry Fielding 1731 Plalaces contain Pierot's Tune The Grub-Street 36. Virtue within a Opera Henry Fielding 1731 Woman's Heart Country Garden The Grub-Street 37. What the Devil mean Opera Henry Fielding 1731 you thus Dainty Davy The Grub-Street 38. A Woman must her Opera Henry Fielding 1731 Honour save Valentine's Day The Grub-Street 39. The Whore of Fame is Opera Henry Fielding 1731 Jealous My Cloe, why do you slight me The Grub-Street Opera Henry Fielding 1731 43. The Soldier for Fame Free-Masons Tune The Grub-Street 44. Of all bad sorts of Opera Henry Fielding 1731 Wives Tenant of my own The Grub-Street 46. Oh! Doctor, Oh! Where Opera Henry Fielding 1731 hast thou been? Oh! Jenny, Oh! Jenny The Grub-Street 47. Oh! Doctor, I long, as Opera Henry Fielding 1731 Misers for Pelf The Grub-Street 48. Some confounded Opera Henry Fielding 1731 Planet Reigning To them Robin The Grub-Street 50. Nice Honour by a Opera Henry Fielding 1731 private man Dame of Honour 131

The Grub-Street 51. When Guilt within the Opera Henry Fielding 1731 Boston lies Why will Florella The Grub-Street 52. Oh for Goodness sake Opera Henry Fielding 1731 forbear Hunt the Squirrel The Grub-Street 53. What vast Delights Opera Henry Fielding 1731 must Virgins prove The Play of Love The Grub-Street 54. Smile, smile Sweetissa, Opera Henry Fielding 1731 smile Si Cari The Grub-Street 55. Little Master, pretty Opera Henry Fielding 1731 Master Sleepy Body The Grub-Street 58. The idle Beau of Opera Henry Fielding 1731 Pleasure The Grub-Street Opera Henry Fielding 1731 59. In Spiritual Court Buff-Coat The Grub-Street 61. I once, as your Butler, Opera Henry Fielding 1731 did cheat you My Name is old Hewson The Grub-Street Opera Henry Fielding 1731 63. If I too high aspire Patty's Mill The Grub-Street Opera Henry Fielding 1731 65. Thus Couples united Little Jack Horner 01. Oh! My heart is all on The Happy Lovers Henry Ward 1736 fire O cursed Power of Gold 02. Women are like the The Happy Lovers Henry Ward 1736 Wind Cold and Raw 03. I shall be so transported The Happy Lovers Henry Ward 1736 with Joy The bonny grey ey'd Morn 04. O cruel, must I than be The Happy Lovers Henry Ward 1736 betray'd Tweed Side 05. Constant's the Man I The Happy Lovers Henry Ward 1736 know that you love The Wheel of Life The Happy Lovers Henry Ward 1736 06. O Constant, in vain The bright God of Day 07. Come, come away, my The Happy Lovers Henry Ward 1736 Dear Pretty Polly say 08. Oh! How happy I shall The Happy Lovers Henry Ward 1736 be White Joke The Happy Lovers Henry Ward 1736 09. A marry'd Man's life My Heart was so free 10. How foolish is this The Happy Lovers Henry Ward 1736 Man Winchester Wedding 11. Now the charming The Happy Lovers Henry Ward 1736 Maid is mine Contented Country Farmer 12. Come, my Dearest, I The Happy Lovers Henry Ward 1736 pray be kind molly Mog 13. Now we agreed, Tol, The Happy Lovers Henry Ward 1736 lol, lol Joan, I do love thee 14. Come, now you are The Happy Lovers Henry Ward 1736 agreed, go wed Country Bumpkin The Harlot's Theophilus 01. Let Country Damsels Progress Cibber 1733 plainly nic What tho' I am a Country Lass The Harlot's Theophilus 02. Brisk Wine and Progress Cibber 1733 Women are Brisk Tom and Jolly Kate 132

The Harlot's Theophilus 03. Pimping is a Science, Progress Cibber 1733 Sir Maggy Lawther The Harlot's Theophilus 04. Who wou'd not a Progress Cibber 1733 Mistress be Oh! what Pleasures will abound The Harlot's Theophilus Progress Cibber 1733 05. Thus finely set out Lad's a Dunce The Harlot's Theophilus Progress Cibber 1733 06. Farewell, good Mr. Jew Maidens as fresh as a Rose The Honest Electors 1733 01. I believe the Excise Come let us prepare The Honest 02. For Trade your voices Electors 1733 now display To Arms, to Arms, to Arms The Honest 03. How fatal is Power I wonder that Billey should Electors 1733 where trusted with these prove The Honest 04. I envy not the Proud of Electors 1733 their Wealth Country Farmer The Honest 05. Here's a Health if you Electors 1733 please Here's to thee, my Boy The Honest 07. Religion's a politick Electors 1733 Law Diogenes surly and proud The Honest 08. For Parties and factions Electors 1733 we lay all aside O what Pleasure will abound The Honest 09. If you'd take my Electors 1733 Advice I'll face ev'ry Danger, &c. The Honest 10. Oh! Curse the Day I Glide swiftly on those silver Electors 1733 miss'd my Aim Streams The Honest 11. Have not I Troops and Electors 1733 Gold at Command? Mother quoth Hodge, &c. The Honest Electors 1733 12. Then Gold fly about A Damsel I'm told The Honest 13. Sad Mysidora, all in Electors 1733 Woe Believe my Sighs, my Tears The Honest 14. For Females aft have Electors 1733 not the Power Cease to perswade or say, &c. The Honest 15. Dear Strephon, prevent Electors 1733 my own Blushes Bacchus one Day gaily striding The Honest 16. Good Madam, when Electors 1733 Ladies are willing At Winchester there was, &c. The Honest 17. Now ponder well, Electors 1733 Freeholders dear At Winchester there was, &c. The Honest Electors 1733 18. Thus Fortunes's Wheel Now ponder well, &c The Honest 19. My Friendso serv'd Electors 1733 then I'm abus'd O London is a fine Town The Honest Electors 1733 20. And if they complain Fine Ladies with an artful &c. 21. Your Gold I'll assure The Honest you shall ne'er blind my Electors 1733 Eyes Artifice all 133

The Honest 22. The Time draws near Electors 1733 we plainly see The Honest 23. Their Joy was just, it is Believe my Sighs, my Tears, Electors 1733 confest my Dear, &c. 24. Her pills, though The Honest gilded, withal would not Electors 1733 pass My time, O ye Muses

The Honest 25. Ye Courtiers who sell Ye fair injur'd Nymphs and ye Electors 1733 us, and bribes do receive Beau's who deride 'em The Honest Electors 1733 26. In Oliver's Days Maidens beware ye The Honest 27. And Somebody else Electors 1733 before he's aware Which nobody can deny The Honest Electors 1733 28. Tho' now on high O the Pleasure The Honest 29. Ye madcaps of The world is a Lottery what Electors 1733 England man can doubt The Honest 01. Gentle Cupid! Seek my Yorkshire-Man Henry Carey 1736 Lover By Signot Porpora The Honest 02. Shall I stand and Yorkshire-Man Henry Carey 1736 tamely see In vain dear Chloe The Honest 03. Why should Woman so Hark! Away, 'tis the merry Yorkshire-Man Henry Carey 1736 much be controul'd? ton'd Horn The Honest Yorkshire-Man Henry Carey 1736 04. My charming Arabell The Charms of Florimel The Honest Yorkshire-Man Henry Carey 1736 05. Whoe'er to a Wife When the bright God of Day The Honest Yorkshire-Man Henry Carey 1736 06. That Man who for Life When the bright God of Day The Honest 07. O London is a dainty Yorkshire-Man Henry Carey 1736 Place London is a fine Town The Honest 08. Come hither, my Yorkshire-Man Henry Carey 1736 Country Squire Set by Carey The Honest 09. In vain you mention Yorkshire-Man Henry Carey 1736 Pleasure Set by Carey The Honest 10. Love's a gentle Yorkshire-Man Henry Carey 1736 generous Passion Set by Carey 11. Why how now, Sir The Honest Clown, dost set up for a Yorkshire-Man Henry Carey 1736 Wit? Gilly-Flow'r, gentle Rosemary The Honest Yorkshire-Man Henry Carey 1736 12. I am in Truth Set by Carey The Honest 13. That Man who best can Yorkshire-Man Henry Carey 1736 Danger dare Set by Carey The Honest 14. The Man that ventures I had a pretty Lass a Tenant of Yorkshire-Man Henry Carey 1736 fairest my own The Honest Yorkshire-Man Henry Carey 1736 15. O Bartledom Fair Bartholemew-Fair 134

The Honest 16. Thou only Darling I Yorkshire-Man Henry Carey 1736 admire Set by Carey The Honest 17. Let Prudes and Coquets Yorkshire-Man Henry Carey 1736 their Intentions conceal The Nymph that undoes me The Honest 18. How transporting is the Yorkshire-Man Henry Carey 1736 Pleasure "by Mr. Handel" The Honest 19. There was a certain Yorkshire-Man Henry Carey 1736 Usurer A Beggar got a Beadle The Honest 20. Now Fortune is past it's Yorkshire-Man Henry Carey 1736 severest Set by Carey The Honest Come learn by this ye Yorkshire-Man Henry Carey 1736 Bachelors Set by Carey The Humours of 01. Wou'd you the fair One the Court 1732 gain A begging we will go The Humours of 02. Wou'd you reclaim a the Court 1732 Rover Farewel my lovely Charmer The Humours of 03. The seize on the Bliss To the Hundreds of Drury I the Court 1732 whilst you may write The Humours of 04. How blest is a Husband the Court 1732 when well paid to rove How blest is a Soldier The Humours of 05. A Pox on all Politick Through all the employments the Court 1732 Fools of life The Humours of 06. Welcome Adonis to my the Court 1732 Arms Gently touch the warbling Lyre

The Humours of How happy are we, who from the Court 1732 07. If all were to pay thinking are free The Humours of 08. I am to my Sorrow a the Court 1732 marry'd Maid Slow-Men of London The Humours of 09. When e'er a Princely the Court 1732 Lover wooes A lovely lass to a Fryar came The Humours of 10. Farewel to all Sorrow the Court 1732 and Care Colin's Complaint The Humours of 11. Come, my Modish, let's the Court 1732 be jolly Since the Town is full of Folly Now you have had your Will of The Humours of 12. As Marriage was at me, pray what are you the the Court 1732 first design'd better The Humours of 13. Since Damon does my the Court 1732 Love disdain Vain Belinda The Humours of 14. Joy shall now engross the Court 1732 my Mind Let Ambition fire thy Mind The Humours of 15. Since my good Man is With tuneful Pipe and merry the Court 1732 from me fled Glee The Humours of 16. How wretched the Case the Court 1732 is, how dismal the Strife The Yorkshire Parson The Humours of 17. Now that the Leap is Twas when the Seas were the Court 1732 taken roaring 135

The Humours of 18. The coyest She that the Court 1732 trips the Plain Bessy Bell The Humours of 19. When Curtain's drawn At Noon one sultry Summer's the Court 1732 and Bride in Bed Day The Humours of 20. That I love Vanessa, the Court 1732 why should you repent? If Love's a sweet Passion The Humours of 21. I could forgive the the Court 1732 Villain Of noble Race was Shinkin The Humours of 22. Deluding Man, hi Ends the Court 1732 obtain'd See, see, my Seraphina comes The Humours of 23. How perplexed am I the Court 1732 between Mother and Wife! Lawson and Clark The Humours of 24. I am a pretty sprightly the Court 1732 Mouse Good Lord Frog The Intriguing 01. When a Virgin in Love Chambermaid Henry Fielding 1734 with a brisk jolly Lad Soldier Laddy The Intriguing 02. What need be trust Chambermaid Henry Fielding 1734 your Words precise Bush of Boon The Intriguing Chambermaid Henry Fielding 1734 03. Let bold Ambition lie Fanny Blooming Fair The Intriguing Chambermaid Henry Fielding 1734 04. When a Lover like you Hark, hark, the Cock crows The Intriguing 05. See John and his Chambermaid Henry Fielding 1734 Master as togther they pass As down in a Meadow The Intriguing 06. When Modesty sues for Chambermaid Henry Fielding 1734 a Favour The Intriguing 07. Let Misers with Sorry Chambermaid Henry Fielding 1734 To-day Excuse me The Intriguing Chambermaid Henry Fielding 1734 08. Virgins wary Spring's a coming The Intriguing 09. Come, , lets Chambermaid Henry Fielding 1734 be gay Polworth on the Green The Intriguing 10. Were all Women's Chambermaid Henry Fielding 1734 Secrets known Pierot's Dance The Intriguing 11. Thus when the Chambermaid Henry Fielding 1734 Tempest high The Lass of Patie's Mill The Intriguing 12. My tender Heart me Chambermaid Henry Fielding 1734 long beguil'd The Intriguing 01. Love is a Warfare, and Take a young Virgin of fifteen Courtiers 1732 has its Campaigns Years The Intriguing 02. O what have I been Twas when the Seas was Courtiers 1732 doing roaring The Intriguing 03. Nature pleads strong Courtiers 1732 within my Breast Vain Bellinda The Intriguing Courtiers 1732 04. When Lovers do agree The Lass of Patie's Mill The Intriguing 05. Sure injured Virtue Courtiers 1732 may demand Bessy Bell 136

The Intriguing 06. He that does a Rebel Courtiers 1732 Prove Let Ambition fire the Mind The Intriguing 07. The Day I rue, when Courtiers 1732 first I laid The Irish Howl The Intriguing 08. Happy are Lovers Courtiers 1732 when wedded Winchester Wedding The Intriguing 09. The Men will oft Courtiers 1732 importune A Soldier and a Sailor Thomas The Jealous Clown Gataker 1730 01. How Happy is he Come my brave Hearts Thomas 02. That Lover is happy in The Jealous Clown Gataker 1730 Thought The Jealous Clown Thomas 03. How awful Beauty No scornful Beauty e'er shall The Jealous Clown Gataker 1730 does invade boast Thomas 04. Tho' intrest is e'ery The Jealous Clown Gataker 1730 one's Suit If Phyllis denies me Relief Thomas 05. Wounds! How my The Jealous Clown Gataker 1730 Back does ach Three Sheep-skins Thomas 06. Base Man to think so The Jealous Clown Gataker 1730 ill of me Gillion of Groydon Thomas The Jealous Clown Gataker 1730 07. If what I have said Country Farmer Thomas 08. How happy are The Jealous Clown Gataker 1730 Children when free Tweed Side Thomas 09. Your Love Intrigue I The Jealous Clown Gataker 1730 am no Stranger to Wheel of Life Thomas 10. What lovely Charms do The Jealous Clown Gataker 1730 I behold The Play of Love Thomas 11. Oh! How anxious is my The Jealous Clown Gataker 1730 Mind Let Ambition fire thy Mind Thomas 12. I-Cod an happens to The Jealous Clown Gataker 1730 come Mad Moll Thomas 13. No more shall anxious The Jealous Clown Gataker 1730 Care posses The Midsummer Wish 01. Through folly fops all The Jew Decoy'd 1733 things miscall An old Woman cloathed in grey The Jew Decoy'd 1733 02. Love is alone Young Philloret 03. What though it be true Cold and raw the wind did The Jew Decoy'd 1733 I grow something auld blow To London fair town I am The Jew Decoy'd 1733 come for a place 05. My waggon before, and The Jew Decoy'd 1733 I in the rear Bonny Dundee 06. As I gid down by yon The Jew Decoy'd 1733 brook-side Bessy Bell and Mary Gray 07. Ye swains whose The Jew Decoy'd 1733 hearts from love are free The bonny bush aboon Traquair The Jew Decoy'd 1733 08. Of tender inclinations Man in imagination 137

09. Beauty was form'd to What shall I do to show how The Jew Decoy'd 1733 give joy in possessing much I love her The Jew Decoy'd 1733 10. In soft blissful ease The lass of Paty's mill 11. In Autumn, when the The Jew Decoy'd 1733 clouds are moist with rain The bonny grey-ey'd morn 12. The trickster who deals The Jew Decoy'd 1733 still in law Old Sir Simon the king 13. Since the laws come from power, then grant it The Jew Decoy'd 1733 we must The Abbot of Canterbury The Jew Decoy'd 1733 14. It's needless to flout Ye commons and Peers 15. Ye ladies of Drury The Jew Decoy'd 1733 attend Ye ladies of Drury attend 16. Dame Fortune with The Jew Decoy'd 1733 unsteady hand To all the Ladies now at Land 17. Gather your rosebuds Gather your rosebuds whilst The Jew Decoy'd 1733 whilst you may you may 18. In these blest days, The Jew Decoy'd 1733 through stronger wit Dame of Honour 01. To-day let us never be Ev'ry Man take his Glass in his The Jovial Crew Richard Brome 1731 Slaves Hand, &c. The Jovial Crew Richard Brome 1731 02. In Nottinghamshire Arthur a Bland 03. And he that will not The Jovial Crew Richard Brome 1731 merry, merry be Three of Kent 04. Tho' all are The Jovial Crew Richard Brome 1731 discontented grown Dame of Honour 05. We'll glad our Hearts Round, and round, the Mill The Jovial Crew Richard Brome 1731 with the best of our Cheer goes round 06. I am so sick of love, I In the pleasant Month of May, The Jovial Crew Richard Brome 1731 cannot hide it &c. 07. See how the Lambs are The Jovial Crew Richard Brome 1731 sporting Masquerade Minuet 08. How sweet is the The Jovial Crew Richard Brome 1731 Evening Air Ye Nymphs and Silvian Gods The Jovial Crew Richard Brome 1731 09. She was not coy Gilderoy 10. At Night, by Moon- There lives a Lass upon the The Jovial Crew Richard Brome 1731 light, on the Plain Green 11. The Mind of a Woman The Jovial Crew Richard Brome 1731 can never be known Jolly Roger Twangdillo, &c. 12. What tho' she lov'd this The Baily's Daughter of The Jovial Crew Richard Brome 1731 young Man well Islington 13. How few, like you, Fye! Gar rub her o'er with The Jovial Crew Richard Brome 1731 wou'd dare advise Straw 14. We beg, but in a higher The Jovial Crew Richard Brome 1731 Strain Still I turn'd my Wheel about 15. Abroad we must wander to hear the Birds The Jovial Crew Richard Brome 1731 sing Yellow hair'd Laddie 138

16. To you, dear Father, To you, fair Ladies, now at The Jovial Crew Richard Brome 1731 and our Home Land The Jovial Crew Richard Brome 1731 17. Let Pleasure go round Let Burgundy flow 18. There was an old The Jovial Crew Richard Brome 1731 Fellow at Waltham-Cross Taunton Dean 19. I once was a Poet, at My Name is Old Hewson the The Jovial Crew Richard Brome 1731 London Cobler 20. What, tho' these The Jovial Crew Richard Brome 1731 Guineas bright, Sir All in a misty Morning, &c. 21. Tho' Women, 'tis true, The Jovial Crew Richard Brome 1731 are but tender Winchester Wedding 22. Did our sighing Lovers The Jovial Crew Richard Brome 1731 know Charming is your shape and air 23. Woe betide each tender The Jovial Crew Richard Brome 1731 Fair Young Philander lov'd me long 24. As almost, and The Jovial Crew Richard Brome 1731 more fair you appear I love thee, by Heav'n The Jovial Crew Richard Brome 1731 25. Dear noble 'Squire Ye Beaux of Pleasure 26. No Woman her Envy The Jovial Crew Richard Brome 1731 can smother Peggy of Wandsworth 27. O! may your Mistress The Jovial Crew Richard Brome 1731 ne'er deny Wale', wale' up yon Bank, &c. 28. Come hither pretty Maid, with a black rolling There was a pretty Lass, and a The Jovial Crew Richard Brome 1731 Eye Tenant, &c. 29. Can nothing, Sir, move The Jovial Crew Richard Brome 1731 you, our Sorrows to mend As down in a Meadow 30. Fair Maidens, O! The Jovial Crew Richard Brome 1731 beware One Evening as I lay 31. Wou'd you hurt a When the Kine had given a The Jovial Crew Richard Brome 1731 tender Creature Pailful 32. The tuneful Lark, who The Jovial Crew Richard Brome 1731 from her Nest The poor Shepherd 33. Oh! Turn your Eyes on The Jovial Crew Richard Brome 1731 me, and view my Distress I'll tell you a Story, &c. 34. Oh, hear my Story, Did you not hear of a Spanish The Jovial Crew Richard Brome 1731 gentle Lady Lady, &c. 35. I like a Gentleman did The Jovial Crew Richard Brome 1731 live Now ponder well, &c. 36. My Daddy is gone to The Jovial Crew Richard Brome 1731 his grave My Daddy's a Delver, &c 37. Is there on Earth a The Jovial Crew Richard Brome 1731 Pleasure Come from the Groves 38. How cruel is that The Jovial Crew Richard Brome 1731 Parent's Care Peggy, I must love thee 39. One Evening on the The Jovial Crew Richard Brome 1731 Grass One Sunday after Mass 40. Jealousy, like Canker- The Jovial Crew Richard Brome 1731 worm Some say Women, &c. 139

41. Tho' Ladies look gay, The Jovial Crew Richard Brome 1731 when of Beauty they boast How vile are the Sordid, &c. 42. That all Men are Beggars, you plainly may The Jovial Crew Richard Brome 1731 see Which no body can deny 43. Sure, by that Smile my The Jovial Crew Richard Brome 1731 Pains are over French Tune 44. The greatest Skill in The Jovial Crew Richard Brome 1731 Life There was a Bonny Blade 45. There was a Maid, and There was an Old Woman liv'd The Jovial Crew Richard Brome 1731 she went to the Mill &c 46. We'll laugh at the My wife's a Whore and a The Jovial Crew Richard Brome 1731 Whore and the Cully Drunkard 47. To Knight, to Squire, The Jovial Crew Richard Brome 1731 and to the Genteels here You gallant Ladies all 48. Old Sack, and old Songs, and a merry old The Jovial Crew Richard Brome 1731 Crew We've cheated the Parson

The Jovial Crew Richard Brome 1731 49. Still obey your Fancy Room, Room for a rover 50. Now then, tell him The Jovial Crew Richard Brome 1731 fairly The Impertinent 51. Alas! Sir, I have prov'd The Jovial Crew Richard Brome 1731 your Clown I often for my Jenny strove 52. What Haste you were The Jovial Crew Richard Brome 1731 in to be doing Like gentle Turtles cooing, &c 53. To all a Parent's Doubts The Jovial Crew Richard Brome 1731 and Fears Under the Greenwood Tree The Judgment of 01. Heigh ho! What's to Paris 1731 do? Heigh ho! Who's above The Judgment of 02. Gadzookers! It makes Paris 1731 me sad Joan's Placket is The Judgment of 03. Tho' cruelly now you Paris 1731 deny Mad Moll The Judgment of 04. Oh! How smooth are Paris 1731 you Men Maiden, fresh as a Rose The Judgment of 05. How vainly did I strive Paris 1731 to shew A lovely Lass to a Friar came The Judgment of 06. As, when the Sun make With tuneful Pipe and merry Paris 1731 bright the Day Glee The Judgment of 07. The West-wind blows, To-morrow is St. Valentine's Paris 1731 the Birds do sing Day The Judgment of 08. If Love his Arrows When bright Aurelia trip'd the Paris 1731 shoot so fast Plains The Judgment of 09. Tell me, good my Paris 1731 Fellows I had a little Cock The Judgment of 10. O gentle Youth, give Paris 1731 over Ah! Lovely Nymph, give over The Judgment of An old Woman cloathed in Paris 1731 11. If I may a Secret unfold Grey 140

The Judgment of 12. If heav'nly Dames can Paris 1731 rage Polworth on the Green The Judgment of 13. The Wretch must Paris 1731 remain Says Roger to The Judgment of 14. Some have from Arts Courtiers Courtiers, think it no Paris 1731 immortal grown Harm The Judgment of 15. Shepherd, attend what Paris 1731 Pleasures pursue you Iris, beware when Strephon The Judgment of 16. Accept that Pledge of Paris 1731 Duty An Advocate of Beauty The Judgment of 17. Go, perish, dull ignoble A Lass there lives upon the Paris 1731 Swain Green The Judgment of 18. Fond Shepherd, what Paris 1731 Care clouds thy Brow? Tho' cruel you seem to my Pain The Judgment of 19. Let Juno fret, and Paris 1731 Pallas frown Sweet are the Charms The Livery Rake Edward Phillips 1733 01. Well, I protest and vow There was a jolly Blade 02. Young Lover, if ought The Livery Rake Edward Phillips 1733 you mean to do Wou'd you have a young Virgin 03. What Rogues are The Livery Rake Edward Phillips 1733 modern Footmen grown Corn Riggs 04. A Maidenhead's like The Livery Rake Edward Phillips 1733 the Philosopher's Stone Lillibullero 05. Alas! When this The Livery Rake Edward Phillips 1733 weedling Man There was an a Swain full fair 06. The Prude, with Virtue The Livery Rake Edward Phillips 1733 laden The Collier had a Daughter 07. For a soldier, or Poet The Livery Rake Edward Phillips 1733 consumedly poor Jolly Roger Twangdillo 08. He fondly kiss'd my How helpless are we Orphans The Livery Rake Edward Phillips 1733 Lips and Eyes made 09. Thou'rt a Miracle of The Livery Rake Edward Phillips 1733 Nature White Joak 10. Don't you teize me; let The Livery Rake Edward Phillips 1733 me go Sweet, if you love me 11. I languish for , fly from the Place, fair The Livery Rake Edward Phillips 1733 Blessing Flora 12. When Woman once The Livery Rake Edward Phillips 1733 gets a Man in her Head What Woman cou'd do 13. A jolly Tinker thro' the The Livery Rake Edward Phillips 1733 Street 14. The Italian Nymphs The Livery Rake Edward Phillips 1733 ans Swains I had a pretty Girl 15. Banish from they The Livery Rake Edward Phillips 1733 tender Breast 16. Come, be free, my The Livery Rake Edward Phillips 1733 lovely Lasses 17. Now you've set me The Livery Rake Edward Phillips 1733 agaog, I shall ne'er be as A Shepherd kept Sheep 141

Rest

18. Then take thy dear Spouse; thou needs must Now the good Man's from The Livery Rake Edward Phillips 1733 believe home The Lottery Henry Fielding 1732 01. A Lottery is a Taxation Set by Seedo 02. Here are the best The Lottery Henry Fielding 1732 Horses Free-Masons Tune 03. The Soldier, in a hard The Lottery Henry Fielding 1732 Campaign Black Joke 04. Women in vain Love's Chloe is false but still she is The Lottery Henry Fielding 1732 powerful Torrent charming 05. How hapless is the The Lottery Henry Fielding 1732 Virgin's Fate Seedo 06. Farewel, he Hills and The Lottery Henry Fielding 1732 Valleys Seedo 07. Oh what Pleasure will The Lottery Henry Fielding 1732 abound In perseus and Andromeda 08. When Love is lodg'd The Lottery Henry Fielding 1732 within the Heart Seedo 09. Alas! My Lord, you're The Lottery Henry Fielding 1732 too sever Seedo The Lottery Henry Fielding 1732 10. I've often heard Seedo 11. Nice Honour, by a The Lottery Henry Fielding 1732 private Man Dame of Honour 12. Come confounded The Lottery Henry Fielding 1732 Planet reigning Son Confus 13. Dear Sir, be not in such The Lottery Henry Fielding 1732 a Passion Seedo 14. Ah think, my Lord! The Lottery Henry Fielding 1732 How I shou'd grieve 15. Whom do not Debts The Lottery Henry Fielding 1732 inthral Hunt the Squirrel 16. When the Candidate The Lottery Henry Fielding 1732 offers his Purse Seedo 17. Heav'n fear'd when first The Lottery Henry Fielding 1732 it Woman made Seedo 18. Smile, smile, my The Lottery Henry Fielding 1732 Chloe, smile Si Caro 19. That the World is a Lottery, what can Man The Lottery Henry Fielding 1732 doubt The Lottery 20. Oh how charming Life (revised) Henry Fielding 1732 will be White Joak The Lottery 21. The Lottery is just (revised) Henry Fielding 1732 beginning South-Sea Ballad The Lottery 23. Number One Hundred Now Ponder well, ye Parents (revised) Henry Fielding 1732 Thirty two! dear 142

The Lottery 24. Number Six Thousand (revised) Henry Fielding 1732 eighty two Dutch Skipper. Second part The Lottery 25. Now, my dear Chloe, (revised) Henry Fielding 1732 behold a true Lover Virgins beware The Lottery (revised) Henry Fielding 1732 26. Since you whom I lov'd Seedo The Lover his Own Abraham 01. As Operas Now are so Second Part of the Dutch Rival Langford 1736 much in the Mode Skipper The Lover his Own Abraham 02. The Statesman sitting Rival Langford 1736 at the Helm Dame of Honour The Lover his Own Abraham 03. Of all the Diseases in Rival Langford 1736 Life Winchester Wedding The Lover his Own Abraham 04. If you wed a young Would you have a young Rival Langford 1736 Virgin of Sixteen Years Virgin The Lover his Own Abraham 05. Mankind are become a Rival Langford 1736 degenerate Crew Lillibullero The Lover his Own Abraham 06. When an ignorant Rival Langford 1736 Lover is slighted Man in Imagination The Lover his Own Abraham 07. Like me the tender Rival Langford 1736 Dove laments Set by Mr. Stanley The Lover his Own Abraham 08. The Priests, like the Rival Langford 1736 Lawyers, are all of a Gang Abbot of Canterbury The Lover his Own Abraham 09. Parents will be ever Rival Langford 1736 chiding Millers Dance in Cephalus The Lover his Own Abraham 10. Thus for ever will you Rival Langford 1736 treat me Of all Comforts I miscarry'd The Lover his Own Abraham 11. The Power of Gorl Rival Langford 1736 does all others surpass Sir Thomas, I cannot The Lover his Own Abraham Rival Langford 1736 12. When I was a Child Buffcoat The Lover his Own Abraham 13. Attir'd in rich Brocades Rival Langford 1736 most gay With a Stand-by, clear the Way The Lover his Own Abraham Rival Langford 1736 14. Did all Couples agree Free Mason's Tune The Lover his Own Abraham 15. We Maids for Rival Langford 1736 Husbands fit, Sir A Tenant of my own The Lover his Own Abraham 16. No greater Plague in Rival Langford 1736 Life There was a Bonny Blade The Lover his Own Abraham 17. We Women wou'd be Rival Langford 1736 forc'd to Bliss She got Money by the Bargain The Lover his Own Abraham 18. Our Fears are now Rival Langford 1736 ended, our Troubles all o'er Lumps of Pudding William Rufus 01. Our Children for The Lover's Opera Chetwood 1730 Blessings were meant Diogenes surly and proud William Rufus 02. Youth and Age will The Lover's Opera Chetwood 1730 never Red House William Rufus 03. This gives Females Wit The Lover's Opera Chetwood 1730 and Charms Mad Robin 143

William Rufus 04. Tho Couples are fond The Lover's Opera Chetwood 1730 when first they are wed Mother, quoth Hodge William Rufus The Lover's Opera Chetwood 1730 05. Poor Marriage of late Buff-Coat William Rufus 06. If we feel a tender When the Kine had giv'n a The Lover's Opera Chetwood 1730 Passion Pailful William Rufus 08. Tis Hope that Sweetens The Lover's Opera Chetwood 1730 Want and Woe From Aberdeen to Edinburgh William Rufus 09. The cheering Sun shall The Lover's Opera Chetwood 1730 cease his shining Dee'l take the wars William Rufus 10. If e'er I prove false to Sweet Nelly, my Heart's The Lover's Opera Chetwood 1730 thee Delight William Rufus 11. Will you be gone, tol, The Lover's Opera Chetwood 1730 tol, tol Make your Honours, Miss William Rufus 13. Thus frighted Sailors To you fair Ladies now on The Lover's Opera Chetwood 1730 view the Skies Land William Rufus 15. Love like a Torrent The Lover's Opera Chetwood 1730 flows Ye Nymphs and Silvan Gods William Rufus 16. Friendship, when the The Lover's Opera Chetwood 1730 Mind's abounding As the Snow in Valleys lying 18. When for did Love of William Rufus Gold within the Mind is The Lover's Opera Chetwood 1730 born Twas within a Furlong William Rufus 21. Can she prove so false Tell me, tell me, charming The Lover's Opera Chetwood 1730 a Creature Creature William Rufus 24. Since she is false as The Lover's Opera Chetwood 1730 fair Jovial Beggar William Rufus 27. The State of old The Lover's Opera Chetwood 1730 Virgins is surely hard We've cheated the Parson William Rufus 28. When our Daughters The Lover's Opera Chetwood 1730 Husbands want In the Fields in Frost and Snow William Rufus 31. In vain to guard my The Lover's Opera Chetwood 1730 Breast I try \Bush o' Boon William Rufus The Lover's Opera Chetwood 1730 32. Since Love is my Foe Since Celia's my Foe William Rufus The Lover's Opera Chetwood 1730 35. Wou'd that gentle Dove Quakers Wedding William Rufus The Lover's Opera Chetwood 1730 37. I'm of de Nation \Ye Beaux of Pleasure William Rufus The Lover's Opera Chetwood 1730 38. If you should see As Tipling John William Rufus 39. Such wretched poor The Lover's Opera Chetwood 1730 Elves Hark, hark, the Cock crows William Rufus 42. Behold, fair Maid, thy The Lover's Opera Chetwood 1730 roving Swain Katherine Ogie William Rufus The Lover's Opera Chetwood 1730 Among your Sect we see Among the Pure ones all William Rufus Our gloomy Woes are now The Lover's Opera Chetwood 1730 no more Come, brave Boys 144

William Rufus So Trouts when tickled The Lover's Opera Chetwood 1730 seem well pleas'd Dainty Davy William Rufus The Bird entrap'd, within Oft on the Troubled Ocean's The Lover's Opera Chetwood 1730 her Cage Face William Rufus Wealth o'ercomes all Now comes on the Glorious The Lover's Opera Chetwood 1730 Griefs and Cares Year William Rufus When Beauty out Courage The Lover's Opera Chetwood 1730 will try Compos'd by Mr. Charke William Rufus The Lover's Opera Chetwood 1730 When Lovers wou'd wed In our Country The Lucky 01. A surly sottish peevish Discovery John Arthur 1737 Booby Tit for Tat 02. Our Shopkeeper's The Lucky Wives are so polish'd of Discovery John Arthur 1737 late Lillibullero The Lucky 03. How wretched is that Discovery John Arthur 1737 Woman made Mad Robin The Lucky 04. Ye Virgins take Heed Discovery John Arthur 1737 of false Men Tweed Side The Lucky Discovery John Arthur 1737 05. I beg you Noble Squire Twas within a furlong The Lucky 06. Woman, Nature's Discovery John Arthur 1737 greatest Beauty Who to gain a Woman's Favour 07. For Gold, and not The Lucky Freedom, these Generals Discovery John Arthur 1737 fight London Ladies The Lucky 08. The Lover, who poorly Discovery John Arthur 1737 goes Ye Nymphs and Sylvan The Lucky 09. Come, come, my pretty Discovery John Arthur 1737 chucky Dear Dainty David The Lucky 10. The Bee, that has no Discovery John Arthur 1737 Sting, Sir The Lucky 11. Dear Charmer, but Discovery John Arthur 1737 forgive There was a Bonny Blade 01. The Boon Companion The Mad Captain Robert Drury 1733 and the Bottle Winchester Wedding 02. Let Heroes bravely The Mad Captain Robert Drury 1733 think on War Catherine Ogie 03. When a Soldier woes, The Mad Captain Robert Drury 1733 Sir Highland Laddy 04. The Soldiers ever in And the Widows shall all have The Mad Captain Robert Drury 1733 Danger Spouses 05. The Sheep full of Love Now the Good Man's from The Mad Captain Robert Drury 1733 in the Pasture will bleat home 06. 'Tis now or we never An Old Woman cloathed in The Mad Captain Robert Drury 1733 can bend Grey 07. Be kind nor longer The Mad Captain Robert Drury 1733 wrack my Heart Bush aboon Traquair 145

08. Shew Mercy unto a The Mad Captain Robert Drury 1733 Poor Maid Colin's Complaint 09. To harbour hope of Joy Royal and Fair great Willy's The Mad Captain Robert Drury 1733 is bu ensnaring dear blessing 10. If once the fond The Mad Captain Robert Drury 1733 Maiden can find Oh Love, if a God thou wilt be The Mad Captain Robert Drury 1733 11. The Lady of Quall Dear Jack if you mean 12. Don't encourage this The Mad Captain Robert Drury 1733 Malancholy Blowsabella 13. Fruitless you indulge The Mad Captain Robert Drury 1733 Desire Phillis as her wine she sipt in 14. Hence with tedious dull The Mad Captain Robert Drury 1733 repining Bacchus one Day 15. Thou'lt make thy Old The Mad Captain Robert Drury 1733 Dad 16. A young Man when married is just like a If you love me be free in The Mad Captain Robert Drury 1733 Sparrow, Sir expressing it 17. The Man who roves is The Mad Captain Robert Drury 1733 full of Glee My father was born before me 18. Where, where, no The Mad Captain Robert Drury 1733 Money is to be had Dainty Davie 19. Hark how the Trumpet Hark how the Trumpet sounds The Mad Captain Robert Drury 1733 sounds to Battle to battle 20. A Soldier's the best and The Mad Captain Robert Drury 1733 the bravest Man Jolly Roger 21. Pert, powder'd The Mad Captain Robert Drury 1733 Coxcombs, brisk and gay Jockey was a dawdey Lad 22. The Girl that can her The Mad Captain Robert Drury 1733 Husband chuse Under the Greenwood Tree 23. The Turtle bemoaning The Mad Captain Robert Drury 1733 its Fate Tweed Side 24. Wrought up in Pleasure The Mad Captain Robert Drury 1733 I fly to my Charmer How blest are the Shepherds 25. The youthful Virgin, like the Rose or Violet Farewell my bonny, witty, The Mad Captain Robert Drury 1733 blooming pretty Highland Mogey 26. But kind Words and The Mad Captain Robert Drury 1733 Kisses Wellcome from Vigo 27. No longer thus delay The Mad Captain Robert Drury 1733 our Happiness Tho' Jockey sued me long 28. Girls be sure, make The Mad Captain Robert Drury 1733 Man secure Excuse me 29. Turn, turn thee fair The Mad Captain Robert Drury 1733 Maid Let Mary live long 30. Let the Courtiers prove Wolves and devour the The Mad Captain Robert Drury 1733 World Let daring Adventures 146

31. Have done with your Oh I'll have a Husband, Aye The Mad Captain Robert Drury 1733 impudent Folly marry 32. From poor and petty The Sun had loos'd his weary The Mad Captain Robert Drury 1733 Actions free Teams 33. Dear Captain take Pity, The Mad Captain Robert Drury 1733 don't let my Dear go Lord Biron's Maggot 34. Though Wars approach, we will the The Mad Captain Robert Drury 1733 Dangers face 35. Grant Mars, grant us The Mad Captain Robert Drury 1733 thy Fires? Caro Vien 01. Clasp'd in they Arms, The Merry Cobler Charles Coffey 1735 my dear Treasure My Wife's a wanton Withing 02. Come, push the Jug The Merry Cobler Charles Coffey 1735 round Quoth Roger to Will

The Merry Cobler Charles Coffey 1735 03. He that governs a Wife There was a Maid in the West 04. Here's Nick the poor The Merry Cobler Charles Coffey 1735 Tinker Which no Body can deny The Merry Cobler Charles Coffey 1735 05. How curst is his Life Captain Mac Gun 06. How happy is my The Merry Cobler Charles Coffey 1735 Lady's Life Spinning-Wheel 07. Let Ladies boast of The Merry Cobler Charles Coffey 1735 Jewels Bonny Kate of Windsor The Merry Cobler Charles Coffey 1735 08. O the Blessing My Maid Mary 09. Poor Wives, like me, The Merry Cobler Charles Coffey 1735 must thus submit Corn Rigs are bonny 10. Quick I'll return again The Merry Cobler Charles Coffey 1735 to my Love Mother says Hodge 11. She that plays away her The Merry Cobler Charles Coffey 1735 Treasure Take a Kiss or two 12. Since all is o'er, let's The Merry Cobler Charles Coffey 1735 think no more Charming Sally 13. Since now we're The Merry Cobler Charles Coffey 1735 Friends, I advise thee, Nell We've cheated the Parson The Merry Cobler Charles Coffey 1735 14. Smile, Fortune, smile Draw, Cupid, draw 15. Were I entranc'd but in The Merry Cobler Charles Coffey 1735 they Arms Bonny Nanny O 16. When Slaves like you The Merry Cobler Charles Coffey 1735 forget t'obey Bonny Boatman 17. Whilst Minister rifle Twas down in the North The Merry Cobler Charles Coffey 1735 the State Country 01. When a Lady, like me, The Mock Doctor Henry Fielding 1732 condescends to agree Bessy Bell The Mock Doctor, 02. Go thrash your own 2nd ed. Henry Fielding 1732 Rib, Sir, at Home Winchester Wedding 03. 'Tis true, my good Dear, I am Bone of your The Mock Doctor Henry Fielding 1732 Bone Seedo 147

The Mock Doctor, 04. In ancient Days I've 2nd ed. Henry Fielding 1732 heard, with Horns Oh London is a fine Town The Mock Doctor Henry Fielding 1732 05. In formal dull Schools Seedo 06. A Woman's Ware, like The Mock Doctor Henry Fielding 1732 China Pinks and Lilies The Mock Doctor, 07. O cursed Power of 2nd ed. Henry Fielding 1732 Gold Set by Mr. Seedo 08. The Soldier, who The Mock Doctor Henry Fielding 1732 bravely goes Ye Nymphs and Sylvan Gods 09. Alas! How unhappy is The Mock Doctor Henry Fielding 1732 that Woman's Fate As down in a Meadow The Mock Doctor, 10. A Fig for the dainty 2nd ed. Henry Fielding 1732 civil Spouse Thomas I cannot The Mock Doctor, 11. Thus, lovely Patient, 2nd ed. Henry Fielding 1732 Charlotte sees Set by Mr. Seedo The Mock Doctor, 12. If you hope by your 2nd ed. Henry Fielding 1732 Skill Set by Mr. Seedo 13. When tender young The Mock Doctor, virgins look pale and 2nd ed. Henry Fielding 1732 complain We've cheated the Parson 01. Tho' with kisses you The Mock Lawyer Edward Philips 1733 fail When the bright God of Day 02. In Tow'r of brass papa My Days have been so The Mock Lawyer Edward Philips 1733 did close wonderous Free 03. By custom thro' ev'ry The Mock Lawyer Edward Philips 1733 vocaiton Molly Mog of the Rose 04. Who observes but the The Mock Lawyer Edward Philips 1733 Law may easily find Packington's Pound 05. If a Brother oth' Law The Mock Lawyer Edward Philips 1733 shou'd unhappily Speed A Cobler there was &c. 06. Who Truth in Woman The Mock Lawyer Edward Philips 1733 Traces Farewell ye Hills and Vallies 07. When with Love's soft The Mock Lawyer Edward Philips 1733 flames I burn Excuse me 08. Bid me no more my The Mock Lawyer Edward Philips 1733 heart to change Midsummer Wish 09. How bless'd was the nymph and how happy the The Mock Lawyer Edward Philips 1733 Swain Yellow hair'd Laddie 10. 'Tis Interest the The Mock Lawyer Edward Philips 1733 Governs all Mankind Tis woman that seduces, &c. 11. Past doubt that Doctor's The Mock Lawyer Edward Philips 1733 skill is A soldier and a Sailor &c. 12. Talk, my fair, no more While I gaze on Chloe The Mock Lawyer Edward Philips 1733 of honour trembling 13. Who a coquet to gain Young Damon once the The Mock Lawyer Edward Philips 1733 would strive happiest Swain 14. True in the practice of The Mock Lawyer Edward Philips 1733 law it is found O Mother, Roger 148

15. Absent the Dam the The Mock Lawyer Edward Philips 1733 Fawn with fear Gemiani's Minuet 16. The Deer Once The Mock Lawyer Edward Philips 1733 wounded, in vain Tweed-Side 17. There is nothing but The Mock Lawyer Edward Philips 1733 feeling in fashion Lottery is a Taxation 18. Ah! Wound no more, The Mock Lawyer Edward Philips 1733 blind God of Love Dying Swan 19. The Lover 'fore the Once I lov'd a Charming The Mock Lawyer Edward Philips 1733 knot is ty'd, Sir Creature 20. See the tender, weeping The Mock Lawyer Edward Philips 1733 Maid Gently touch the warbling Lyre 21. Cupid when true love Happy Hours, all Hours The Mock Lawyer Edward Philips 1733 exciting excelling 22. Let none the Law- The Mock Lawyer Edward Philips 1733 Rules, or its Maxims abuse When good Man's from Home students at 01. Succeeding Ages shall The Oxford Act Oxford 1733 tell Diogenes surly and proud students at 02. For I have also borne a Damon, You are lost in The Oxford Act Oxford 1733 Part Thought students at 03. When Piety in us they The Oxford Act Oxford 1733 view students at 04. Still let us keep the The Oxford Act Oxford 1733 useful Vizor on students at 05. O wretched, wretched, The Oxford Act Oxford 1733 wretched self! Happy Groves students at 06. But can these sad The Oxford Act Oxford 1733 Thoughts give me Ease? Despairing beside a clear Steam students at 07. Tho' I, alas! Prepar'd a The Oxford Act Oxford 1733 Snare Oh, Jenny! Oh, Jenny! students at 08. In vain, alas! I now The Oxford Act Oxford 1733 repent The Irish Howl students at 09. In vain does wretched I'll range all round the shady The Oxford Act Oxford 1733 Man condemn Bow'r students at 10. No more then let us The Oxford Act Oxford 1733 take such Pains Gently touch the warbling Lyre students at 11. Who now shall count The Oxford Act Oxford 1733 us wise? The Lass of Paty's Mill students at 12. Come listen, dear The Oxford Act Oxford 1733 Brother, come listen to me A Cobler there was students at 13. Of all the Youths that The Oxford Act Oxford 1733 are so gay Of all the Girls in our Town students at 14. The choicest Soils oft- Sweet are the Charms of her I The Oxford Act Oxford 1733 times produce love students at 15. The Bee from ev'ry The Oxford Act Oxford 1733 Flow'r In the merry Month of June students at The Oxford Act Oxford 1733 16. O! could I but produce Shall I be sick for Love? 149

students at 17. But, oh! I fear 'tis all in The Oxford Act Oxford 1733 vain The Miser thus students at 18. O! how charming is the The Oxford Act Oxford 1733 Sight My Wife Joan students at 19. From hence let silly The Oxford Act Oxford 1733 Damsels know I wish my Love was in students at 20. And may all Youths by The Oxford Act Oxford 1733 me forewarned By Mason's Art students at 21. Who would think that The Oxford Act Oxford 1733 Men so wise Cotillon students at 22. But if considerate Forty The Oxford Act Oxford 1733 cannot see The Woman that seduces students at 23. Why should unwary The Oxford Act Oxford 1733 Men complain students at 24. Was ever Man like to All you that delight in a jocular The Oxford Act Oxford 1733 be punish'd before Song students at 25. Shall Actions then so The Oxford Act Oxford 1733 well intended The White Joke students at 26. Learned Vice-Chan The Oxford Act Oxford 1733 you ne'er shall find Would Fate to me Belinda give 27. How the blest are the students at Hungry, how happy to The Oxford Act Oxford 1733 meet Ianthe the lovely students at The Oxford Act Oxford 1733 28. We'll trip it to London I'll court ev'ry Danger students at 29. For tho' of Fortune- The Oxford Act Oxford 1733 Tellers you boast Thomas, I cannot students at 30. Come. Let's booze Come, brave Boys, let us be The Oxford Act Oxford 1733 while we are able merry students at 31. Why all these The Oxford Act Oxford 1733 Pretences Genteel in Personage students at The Oxford Act Oxford 1733 32. Then let us all agree Come, Neighbors, since students at 33. As the sturdy Oak The Oxford Act Oxford 1733 derides At the Snow Vallies students at 34. Since we're all thus got The Oxford Act Oxford 1733 in Debt Oh, what Pain it is to part students at 35. In vain whilst we're The Oxford Act Oxford 1733 thirsty Young Virgins love Pleasure students at 36. 'Tis bright Bacchus The Oxford Act Oxford 1733 alone A begging we will go 01. As Virtue from hance The Patron Thomas Odell 1729 was banisht long since The Country Farmer 02. Oh! Leave him, Jove, The Patron Thomas Odell 1729 to Vengeful Love Hey Boys, up go we 03. How constant they The Patron Thomas Odell 1729 come, and still believe The Ordnance on board 150

04. Why, Charmer, why Shou'd you refuse the The Patron Thomas Odell 1729 courted bliss Why Soldiers, why 06. Your Statesmen Brave and Wife All little Arts The Patron Thomas Odell 1729 despise Ye Nymphs and Sylvian Gods 07. Shall the Thieves watch all Night, and the The Patron Thomas Odell 1729 Bailiff's all Day The Old-Man's Wish 08. Marriage is a mutual Blessing Where a mutual Love's a Dream of mighty The Patron Thomas Odell 1729 Faith is seen Treasure 09. Pimping is the Trade The Patron Thomas Odell 1729 best thrives We Dragoons lead merry Lives Go build me a House in the The Patron Thomas Odell 1729 10. Let Sots that can serve Moor 11. Let State Chitts want Come, be jolly, fill your The Patron Thomas Odell 1729 Resolution Glasses 12. That Pimp's in a To see the Troopers all come The Patron Thomas Odell 1729 piteous condition home 13. Ne'er scents so sweet The Patron Thomas Odell 1729 the budding Rose Of all the simple things we do 14. What tho' Wilely Whilst the Town's brim-full of The Patron Thomas Odell 1729 Politicians Men be Folly 15. I can hate him, yet The Patron Thomas Odell 1729 forbear him Of all the Comforts I miscarry'd 16. See, like the Sun they The Patron Thomas Odell 1729 Spouse appears See, see, my Seraphina comes 17. My Lord, because he The Patron Thomas Odell 1729 likd my Wife Gamiorum 18. Most Courtiers will promise a Place to provide The Old Wife she sent to the The Patron Thomas Odell 1729 you Miller her Daughter 19. Lay aside your Anger, The Patron Thomas Odell 1729 let's be Friends Lay aside the reap-hook Je scai you come not here The Plot John Kelly 1735 for Wealt 02. Physick's a deep and The Plot John Kelly 1735 spacious lake Joan's Placket 03. Have you not known an The Plot John Kelly 1735 idle lad Chevy Chace 05. Sure never vermin yet The Plot John Kelly 1735 broke in Bessy Bell, &c. The Plot John Kelly 1735 06. So tinkers, we are told The Merry Songster

The Plot John Kelly 1735 07. They'll tremble ad sigh When the bright God of Day How happy the Man that like The Plot John Kelly 1735 08. This honour is alluring you, Sir 151

09. Vy should de English The Plot John Kelly 1735 grumble 10. Have you not seen a The Plot John Kelly 1735 dusky day O rare Show 11. As rivlets fertilize the The Plot John Kelly 1735 plain The Rummer The crocodile infests the The Plot John Kelly 1735 Nile O'er the Hills, &c. The Prisoner's 01. Pray pity the poor Opera Edward Ward 1731 Prisoners in for debt The Prisoner's 02. In these strong Opera Edward Ward 1731 dominions here The Prisoner's 03. Welcome, welcome, Opera Edward Ward 1731 Brother Debtor The Prisoner's 04. Trade's awry, and so Opera Edward Ward 1731 am I Excuse me The Prisoner's 05. At Fourteen I could Opera Edward Ward 1731 span my Waist The Prisoner's 06. Young Ladies beware, Opera Edward Ward 1731 if you're buxom and free The Prisoner's 07. Pray pity the poor Opera Edward Ward 1731 Prisoners The Prisoner's 08. Charity so cold is Opera Edward Ward 1731 grown The Prisoner's 09. Bread given for the Opera Edward Ward 1731 Jayl The Prisoner's 10. A Starving Life all Day Opera Edward Ward 1731 we lead Thomas, I cannot The Prisoner's 11. Since Poverty's no Opera Edward Ward 1731 Crime Bonny Grey-ey'd Morn The Prisoner's 12. Come, come, come, my Opera Edward Ward 1731 jolly Fellows Let's be jovial, fill our Glasses The Prisoner's Opera Edward Ward 1731 13. Soddy Burton's Ale Dusty Miller

The Prisoner's 14. Cloaks, Sutes, or Coats, The Humours of Rag-Fair and Opera Edward Ward 1731 Sir, will you buy? Monmouth-Street The Prisoner's 15. Your Servant, sweet Opera Edward Ward 1731 Madam 01. Adorn'd with the The Prude Elizabeth Ryves beauties of May Tweedside 02. Wild with surprize, The Prude Elizabeth Ryves with fear opprest The Bullfinch 03. May you with When first I saw thee graceful The Prude Elizabeth Ryves Friendship's healing balm move The Prude Elizabeth Ryves 04. Ha, Dominick! I fear 05. But when the rich The Prude Elizabeth Ryves treasure is mine Old Sir Symon the King 06. Come, gentle Zephyr, The Prude Elizabeth Ryves lend thy aid The 152

07. Wou'd Fortune my wealth and my honours The Prude Elizabeth Ryves return Handasyd's March 08. The gentle Nymph The Prude Elizabeth Ryves whose passions move The Padlock

The Prude Elizabeth Ryves 09. Tho' old and deform'd Push about the brisk bowl 10. There unsuspected I'll The Prude Elizabeth Ryves receive thee Ally Croker 11. I flew to the scenes The Prude Elizabeth Ryves where gay pleasures allure Fair Hebe

12. But love, like ambition, The fool that is wealthy is sure The Prude Elizabeth Ryves unbounded, disdains of a Bride 13. Nor you, nor my The Prude Elizabeth Ryves brother Shawnbree 14. Oh Cupid! No longer, The Prude Elizabeth Ryves my passion despising Rural Felicity 15. As Jenny turns the Once more I'll tune my vocal The Prude Elizabeth Ryves newmown hay shell 16. Some friendly pow'r The Prude Elizabeth Ryves her anger sooth! 17. Oh, Roger, cease to The Prude Elizabeth Ryves teaze me The heavy-hours 18. Farewell, sweet illusions! Gay shadows, The Prude Elizabeth Ryves adieu! 19. Like blighted rose- The Prude Elizabeth Ryves buds, doom'd to fade 20. That form where youth The last time I came o'er the The Prude Elizabeth Ryves ad beauty reign moor 21. Was Britain's regal The Prude Elizabeth Ryves mine 22. Oh, if the youth shou'd The Prude Elizabeth Ryves worthy prove Daniel Cooper 23. She who religion and The Prude Elizabeth Ryves virtue abuses Batchelor Bluff 24. Since Jenny slights my The Prude Elizabeth Ryves passion Alas! Too soon, dear creature 25. Oh Roger, wou'dst thou The Prude Elizabeth Ryves win a lass Bessy Bell and Mary Gray 26. The lawless libertine Drink to me only with thine The Prude Elizabeth Ryves may rove eyes 27. No tyrant custom awes The Lass of Patie's Mill 28. If tears can persuade, The Prude Elizabeth Ryves or if sorrow can move Farewell to Lochaber 29. Was ever such a saucy The Prude Elizabeth Ryves jade! Green grows the rushes 153

30. Shou'd the busy tongue The Prude Elizabeth Ryves of Envy Jolly mortals, fill your glasses 31. Cease, too lovely The Prude Elizabeth Ryves youth, to charm me!

The Prude Elizabeth Ryves 32. See how I languish! Lady Coventry's Minuet 33. Let sordid int'rest lead No more shall meads be deck'd The Prude Elizabeth Ryves the bride with flowers 34. If a lover you wou'd The Prude Elizabeth Ryves obtain Rogue's March 35. May pleasures unbounded our union The last part of "If love's a The Prude Elizabeth Ryves attend! sweet passion" 01. How wear ae the vile The Quaker's Opera Thomas Walker 1728 Arts of Men Sweet are the Charms 02. We, like Superiors, The Quaker's Opera Thomas Walker 1728 sure shou'd know Katherine Ogie The Quaker's Opera Thomas Walker 1728 03. O hear me not, Lad Here's to thee, my Boy 04. If thou canst like a The Quaker's Opera Thomas Walker 1728 Friend Phillada flouts me 05. I am sure you wrong The Quaker's Opera Thomas Walker 1728 me Enfeld-Common 06. Give me a Knife, a The Quaker's Opera Thomas Walker 1728 Draught of Gin, or Flames Windsor Terras

The Quaker's Opera Thomas Walker 1728 07. Farewell, dearest Molly O Lovely, Charming Woman 08. And when we come The Quaker's Opera Thomas Walker 1728 unto the Whit 09. Poor Thieves are scorn'd the Universe The Quaker's Opera Thomas Walker 1728 around March in Scipio The Quaker's Opera Thomas Walker 1728 10. To plunder a Lawyer Jovial Beggar 11. My Johnny ne'er cou'd The Quaker's Opera Thomas Walker 1728 take Delight Moggy Lawther 12. If the Traytor be falsly Vile, and treat my love- The Quaker's Opera Thomas Walker 1728 sick Heart Bartholomew Fair 13. My Johnny still will To-morrow is St. Valentine's The Quaker's Opera Thomas Walker 1728 faithful be Day 14. You must not think, Friend, to go on with your The Quaker's Opera Thomas Walker 1728 Show Yorkshire Ballad 15. As Thieving John went The Quaker's Opera Thomas Walker 1728 gayly on Tipling John 16. Cou'd you think to take The Quaker's Opera Thomas Walker 1728 me Peggy in Devotion 17. Arrah Fait, he has The Quaker's Opera Thomas Walker 1728 taken my Money away Dear Catholick Brother 154

18. Farewel, ev'ry vicious The Quaker's Opera Thomas Walker 1728 Pleasure Ghosts of every Occupation 19. Look, look kindly on The Quaker's Opera Thomas Walker 1728 me, my Dear Look from your Window 20. O Johnny, thou hast The Quaker's Opera Thomas Walker 1728 done me wrong 21. O Goodman Roger, The Quaker's Opera Thomas Walker 1728 hold your Tongue Country Garden 22. Of all the gay The Quaker's Opera Thomas Walker 1728 Enjoyments Of all the World's Enjoyments 23. My dearest Johnny, The Quaker's Opera Thomas Walker 1728 ease my Pain Bonny Bush 24. A little Love will not The Quaker's Opera Thomas Walker 1728 hurt one At Winchester was 24. Farewel, oh my lovely The Quaker's Opera Thomas Walker 1728 Molly Spanish Lady 25. Let us rejoyce, Revenge and Justice The Quaker's Opera Thomas Walker 1728 assume their Seat Britons strike home 01. In Bagley Wood, in a The Ragged Uproar Joan Plotwell 1754 dark Night Sir Watkins of Wales 02. If e'er Teague parts Now ponder well, ye Parents The Ragged Uproar Joan Plotwell 1754 with his Booty dear 03. To oblige, good Sir, for The Ragged Uproar Joan Plotwell 1754 an Oath I shan't stand London Ladies 04. For Joy! For Joy! For To the Witches Tune in The Ragged Uproar Joan Plotwell 1754 Joy we sing Mackbeth 05. My Fortune is surely When first I laid Siege to my The Ragged Uproar Joan Plotwell 1754 surprizing Chloris 06. I ne'er will forsake you When first I laid Siege to my The Ragged Uproar Joan Plotwell 1754 for Riches Chloris 07. Let 'em rail at my first Part of the South-Sea The Ragged Uproar Joan Plotwell 1754 scheme e'er so badly Ballad 08. How dare the saucy The Ragged Uproar Joan Plotwell 1754 Town! Good-morrow, Gossip Joan 09. I've often heard it Have you not heard of a The Ragged Uproar Joan Plotwell 1754 reported frolicksom Ditty 01. Each God in his The Rape of Helen John Breval 1737 different Station 02. All the Money our Squire brought with him to The Rape of Helen John Breval 1737 Town Jolly Roger Twangdillo The Rape of Helen John Breval 1737 03. To engage a pretty foe 04. See, Ladies, I beg you, The Rape of Helen John Breval 1737 my exquisite Things Aston's Strollers 05. None but you home- The Rape of Helen John Breval 1737 spun Lasses

The Rape of Helen John Breval 1737 06. As cold as the Ice Ye Whiggs of the Town 155

07. Which Way can she The Rape of Helen John Breval 1737 chuse

08. At Argos I took 'em, The Old Wife she sent to the The Rape of Helen John Breval 1737 drawn in by their Prattle Miller her Daughter The Rape of Helen John Breval 1737 09. Thus often I've seen 10. Where you see a slim The Rape of Helen John Breval 1737 Youth 11. Don't pursue one of my The Rape of Helen John Breval 1737 low Station What greater Joy and Pleasure The Rape of Helen John Breval 1737 12. Contrivance and Wit The Rape of Helen John Breval 1737 13. Lovely Creature 14. Tho' your Charms, fair The Rape of Helen John Breval 1737 One, somewhat decay'd are 15. Throughout my The Rape of Helen John Breval 1737 Domains 16. Tho' from Jove your When first I made Love to my The Rape of Helen John Breval 1737 exalted Descent is Cloris 17. How hard is the Fate of My Lodging it is in the cold The Rape of Helen John Breval 1737 Woman Ground 18. Ah! Venus, thy Votary The Rape of Helen John Breval 1737 aid Fond Eccho 19. Should the Boy neglect The Rape of Helen John Breval 1737 his Duty Do not ask me charming Phillis 20. Tho' Laws have made The Rape of Helen John Breval 1737 Bribery penal 21. When we were jolly Argonauts how we did The Rape of Helen John Breval 1737 fight away! There was a Jovial Beggar 22. Of Husbands this The Rape of Helen John Breval 1737 Gaming's the Curse Old Sir Simon the King 23. The Country-Lass, who In good Queen Bess's Golden The Rape of Helen John Breval 1737 void of Guile Days 24. Streams that run to the Doctor Pepush's Minuet in The Rape of Helen John Breval 1737 Ocean Orestes 01. Direct me, Gods! To The Raree Show Joseph Peterson 1739 set her free Grant me, ye Powers The Raree Show Joseph Peterson 1739 02. Genteel in Personage 03. Tantwivee, twivee, The Raree Show Joseph Peterson 1739 twivee 04. I love a Lass, that does The Raree Show Joseph Peterson 1739 surpass I am in Truth 05. Hear me, ye Powers! The Raree Show Joseph Peterson 1739 And set me free Wou'd Fate to me Belinda give 06. Poor Corinna, don't The Raree Show Joseph Peterson 1739 despair Vain Belinda 07. Now to prove your The Raree Show Joseph Peterson 1739 Constancy Gently touch the warbling Lyre The Raree Show Joseph Peterson 1739 08. My Corry, my Joy Bright God of Day 156

09. My Master's turn'd The Raree Show Joseph Peterson 1739 Wencher, so why may not I Dear Catholick Brother 10. With all the Wings of With tuneful Pipe and merry The Raree Show Joseph Peterson 1739 swift Desire Glee 11. Dear Betty, why so coy, I love you more than The Raree Show Joseph Peterson 1739 Life The Man that ventures 12. Pray Squire, give o're, The Raree Show Joseph Peterson 1739 and ask me no more The State of old Virgins 13. 'Tis thus the tuneful The Raree Show Joseph Peterson 1739 feather'd Kind Sweet are the Charms 14. Take not a Woman's The Raree Show Joseph Peterson 1739 Anger ill 15. Corinna, so charming! The Raree Show Joseph Peterson 1739 A Beauty so brght Sing Tantarara 01. And, O, the time The Reapers M. Favart 1770 passes, passes Oh my kitten, &c 02. When first the dawn The Reapers M. Favart 1770 o'erstreaks the skies The heavy hours, &c 03. To your work, my The Reapers M. Favart 1770 brave boys, to your work The ambition, &c 04. Happy they! Who blest How happy could I be with The Reapers M. Favart 1770 with ease either, &c 05. My dogs I take out by The Reapers M. Favart 1770 the dozen Christ Church bells 06. Hola--hola--hola my The Reapers M. Favart 1770 boys Vien que lexamine, &c 07. The humble Maid, in The Reapers M. Favart 1770 cottage bred La Pastorella, &c 08. O, how various are the Pious Selinda, &c. or the first The Reapers M. Favart 1770 charms of August 09. Gold hath monny a The Reapers M. Favart 1770 maiden deciev'd Cold and raw The Reapers M. Favart 1770 10. Why the pine Jack Latin 11. What joy there's in The Reapers M. Favart 1770 reaping A begging we will go 12. The maid who lends, a The Reapers M. Favart 1770 willing ear The Miser thus a shilling views 13. Say, O say! What The Reapers M. Favart 1770 makes this bosom Quanto mai 14. Come, sweet sleep! The Reapers M. Favart 1770 The lab'rour's blessing in Demetrius The Reapers M. Favart 1770 15. How nice 'twas to find The early horn 16. Rise, southern breeze, The Reapers M. Favart 1770 and speed thy way Go, gentle gales 17. I once, thoughtless, like The Reapers M. Favart 1770 thee When the bright God of Day 18. Peace--sweet peace! The Reapers M. Favart 1770 With dowy pinion Minuet in the fifth of Stanley 157

The Restauration of 01. Forth from my pleasant King Charles II Walter Ashton 1732 Bower of Bills The dying Swan The Restauration of Userer, in the old House Dr. King Charles II Walter Ashton 1732 02. Rife, rife, rife Faustus The Restauration of I come, I come, in the Tragedy King Charles II Walter Ashton 1732 03. I come, I come, I come of Macbeth The Restauration of King Charles II Walter Ashton 1732 04. I wear a Sword The Bell-Harp The Restauration of King Charles II Walter Ashton 1732 05. Ye Gods above inspire Grano's Trumpet Tune The Restauration of 06. If Kinds on Earth Waft me some soft, some King Charles II Walter Ashton 1732 Vicegerents are cooling Breeze The Restauration of 07. Fire and Sword assist When severest Woes King Charles II Walter Ashton 1732 my Fury! impending The Restauration of 08. Where art thou Charlie, King Charles II Walter Ashton 1732 bonny'd La? A Scots Tune The Restauration of 09. Sleep, hush thy Cares, Awake, awake thou drowsy King Charles II Walter Ashton 1732 the Gods befriend thee Sleeper The Restauration of 10. If a Cavalier comes King Charles II Walter Ashton 1732 down to be chose Buff-Coat has no Fellow The Restauration of 11. A Health to the King, King Charles II Walter Ashton 1732 his Life Health to the King The Restauration of 12. Wer't not my Right I'd King Charles II Walter Ashton 1732 not implore Sweet are the Charms

The Restauration of 13. Remember the Nofamy's old Man's Tune, in King Charles II Walter Ashton 1732 Cov'nant the Rape of 14. If the Laws of this The Restauration of Land were well put in King Charles II Walter Ashton 1732 force Yorkshire Ballad The Restauration of 15. Ah! Silent Night! Thou King Charles II Walter Ashton 1732 Fiend of Grief! Dutchess of Ormond's Ditty The Restauration of King Charles II Walter Ashton 1732 16. Carlos, my Treasure! O the sweet Blessing The Restauration of King Charles II Walter Ashton 1732 17. Farewel, Carlos The parting Tune in Perseus The Restauration of 18. O spare my dread King Charles II Walter Ashton 1732 Father Be calm, you dread Parents The Restauration of 19. Let Repentance now be King Charles II Walter Ashton 1732 slighted Ghosts of ev'ry Occupation The Restauration of 20. Oh! When shall I find King Charles II Walter Ashton 1732 out out my Dear? Fond Echo The Restauration of 21. Fly, fly, you lazy, lazy King Charles II Walter Ashton 1732 Hours Blow on the Winds The Restauration of 22. How happy a Subject's How Happy a Sailor's Life King Charles II Walter Ashton 1732 Life Passes passes The Restauration of 23. All Hail! To thee First Strain of Joy to Great King Charles II Walter Ashton 1732 Genius Caesar 158

01. Joys attend the Maried The Rival Milliners Robert Drury 1737 life Trip to the Laundry 02. Tho' Mankind in The Rival Milliners Robert Drury 1737 different Shapes Charles of Sweden 04. Too foolish Heart, too The Rival Milliners Robert Drury 1737 soon you prove Mary Scott 05. By those Blushes, so modest, becoming your The Rival Milliners Robert Drury 1737 Face Lover's Litany 06. Could my fond The Rival Milliners Robert Drury 1737 Endeavors move you? Jockey loves his Moggy dearly 07. The Lass, who would over her Husband bear The Rival Milliners Robert Drury 1737 Rule Soldier Laddie 08. Don‟t, my Dearest, be The Rival Milliners Robert Drury 1737 so cruel Blowsabella The Rival Milliners Robert Drury 1737 09. Nature paints a Scene Geminiani's Minuet 10. Take me, try me, for The Lads and Lasses, Dr. The Rival Milliners Robert Drury 1737 sincerely Faustus 11. Yet, yet your cruel The Sun had loos'd his weary The Rival Milliners Robert Drury 1737 Orders stay Teams 12. A Spark and a Dram I love thee by Heaven, I cannot The Rival Milliners Robert Drury 1737 cure every Ill say more 13. What when they've The Rival Milliners Robert Drury 1737 been left alone New Pierot 14. If I the pert Hussey The Rival Milliners Robert Drury 1737 with Pleadwell should find The Sun was Just Setting 15. We'll run our own Fun, and we'll bilk all the The Rival Milliners Robert Drury 1737 Whores The Man that is Drunk 16. The Youthful Virgin, like the Rose or Violet The Rival Milliners Robert Drury 1737 blooming Farewell, my bonny, witty 17. Oh! How my Heart is a The Rival Milliners Robert Drury 1737 leaping and skipping King's-Arms 18. Shall Molly with brisk The Rival Milliners Robert Drury 1737 Gallants roam Sally in our Alley 19. Shall Mistress at this The Rival Milliners Robert Drury 1737 Rate go on Thomas I cannot 20. In Love and Law we The Rival Milliners Robert Drury 1737 strive in vain Blest as th' Immortal Gods is he 21. Before I'll quit my The Rival Milliners Robert Drury 1737 Molly Lynco found Damon lying The Rival Milliners Robert Drury 1737 22. Love invades me My Maid Mary 23. What greater Proof can Woe's my Heart that we should The Rival Milliners Robert Drury 1737 Mortal give sunder 24. My Spleen is rais'd, my The Rival Milliners Robert Drury 1737 Nature Dutch Skipper 25. The Stage turn'd to The Rival Milliners Robert Drury 1737 Farce by the Wits is You Mad Caps of England 159

decry'd

01. How tedious the The Rival Priests Daniel Bellamy 1741 loitering Minutes roll on How Happy a State 02. Blest with Aquilina's The Rival Priests Daniel Bellamy 1741 Love Busy, Curious, thirsty Fly

The Rival Priests Daniel Bellamy 1741 03. When decrepid old Age He that hath the best Wife 04. When you, my Fair, The Rival Priests Daniel Bellamy 1741 require When Fanny blooming fair 05. Ah! Turn, my dear Nacky, and see your poor The Rival Priests Daniel Bellamy 1741 Slave Roger's Courtship 06. When Women are fractious, and will not The Rival Priests Daniel Bellamy 1741 comply Yorkshire Tale 07. How hard's the When Love's once lodg'd The Rival Priests Daniel Bellamy 1741 Cloyster'd Virgin's Fate within the Heart 08. Cupid, when once our The Rival Priests Daniel Bellamy 1741 Breasts he possesses Cloe is false 09. In vain wou'd Duty The Rival Priests Daniel Bellamy 1741 strive to part In vain, Dear Cloe The Rival Priests Daniel Bellamy 1741 10. What Joys alarm The Early Horn 11. Revenge, thou Dear Goddesses, I yield to they The Rival Priests Daniel Bellamy 1741 Power The Lady's Lamentation 12. Never trust a Maid's The Rival Priests Daniel Bellamy 1741 Denial When the Kine 13. Grant me, ye Powers, The Rival Priests Daniel Bellamy 1741 but him I love Grant me, ye Powers 14. Gentle Fortune rising The Rival Priests Daniel Bellamy 1741 Graces 15. The Ships that has long The Rival Priests Daniel Bellamy 1741 on the Ocean been tost The Royal 09. Of all the Girls that Marriage 1736 shine so bright Of all the Girls that are so smart The Royal 01. Tho' War Europa's Marriage 1736 Songs alarm'd The Royal 02. O how substantial are Marriage 1736 the Joys The Royal 03. What Joys attend Marriage 1736 Britannia's Heir The Royal 04. What tho' I am a Drury Marriage 1736 Whore The Royal Marriage 1736 05. Since Fortune's a Jilt The Royal 06. Shall every British Marriage 1736 Subject boast 160

The Royal 07. Although that I am a Marriage 1736 Devonshire Man The Royal 08. In pompous Marriage 1736 Consultation met The Royal 10. O what vast extensive Marriage 1736 Bliss The Royal 11. What would uneasy Marriage 1736 Britain have The Royal 12. Come, Venus, Proteus, Marriage 1736 Cupid too The Royal 13. So look'd the fai Marriage 1736 Aegyptian Queen 14. When Ladies their The Royal Interest through Pleasure Marriage 1736 pursue The Royal Marriage 1736 15. Great God of Light The Royal 16. What is the brilliant Marriage 1736 Shew of Courts The Royal 17. Egregarious Knight, Marriage 1736 enticing fair The Royal Marriage 1736 18. Can those Charms The Royal 19. Where I softer than the Marriage 1736 Rose The Royal 20. The grand Marriage 1736 Epithalamium 01. The Seaman, poor, The Sailor's Opera Thomas Rhodes 1784 forlorn The Lass of Peaty's Mill 02. I once was as young, The Sailor's Opera Thomas Rhodes 1784 and as thoughtless as you 03. Something to blame the The Sailor's Opera Thomas Rhodes 1784 Snarler finds Grammarchee 04. How blest is he who The Sailor's Opera Thomas Rhodes 1784 daily toils How oft, Louisa, hast thou said 05. Tho' to write well does The Sailor's Opera Thomas Rhodes 1784 merit praise Ah! Sure a Pair was never seen 06. They need not fear The Sailor's Opera Thomas Rhodes 1784 their Enemies Ye Scamps, ye Pads, ye Divers! 07. There's an Art, Sir, in The Sailor's Opera Thomas Rhodes 1784 melting of Brimstone 08. The blust'ring Bravo of The Sailor's Opera Thomas Rhodes 1784 meanness made up 09. Now showy Grandeur, The Sailor's Opera Thomas Rhodes 1784 Gold, and Power Rule Britannia 10. Since Death's demand The Sailor's Opera Thomas Rhodes 1784 we, soon or late 11. Come, let us rejoice, The Sailor's Opera Thomas Rhodes 1784 since the Chace is so near 161

12. The sanguine Shark The Sailor's Opera Thomas Rhodes 1784 and the Jilt An old Woman clothed in grey 13. Hark the Captain calls, The Sailor's Opera Thomas Rhodes 1784 "Stand by!" 14. In the Summer of Youth, or the Winter of The Sailor's Opera Thomas Rhodes 1784 Age 15. Let Lovers pine, and The Sailor's Opera Thomas Rhodes 1784 life destroy Women, Love, and Wine The Sailor's Opera Thomas Rhodes 1784 16. The Man that is Drunk When Bibo thought fit 17. 'Tis not long since old England you thought to The Sailor's Opera Thomas Rhodes 1784 bring low Hearts of Oak 18. Good Lord, how -eater bellow'd & O the Roast Beef of Old The Sailor's Opera Thomas Rhodes 1784 roar'd England 19. How Angelick Woman The Sailor's Opera Thomas Rhodes 1784 our Care can destroy 20. True Delight and purest The Sailor's Opera Thomas Rhodes 1784 Pleasure Lovely Nymph 21. Comrades I have lost The Sailor's Opera Thomas Rhodes 1784 the Cask Shepherd I have lost my Love 22. Such Caitiffs as those, The Sailor's Opera Thomas Rhodes 1784 let us sprun from us far Once when I'd been My fond Shepherds of late were The Sailor's Opera Thomas Rhodes 1784 drinking too deep so blest The Sailor's Opera 1745 14. How happy is a Lover A Swain in Love 01. When Wine and When Love and Youth cannot The Sailor's Opera 1745 Beauty both combine make Way 02. Come my lads, let's be The Sailor's Opera 1745 gay Charles of Swedeland 03. Farewell old England's I'll range all round the shady The Sailor's Opera 1745 Shady Bowers Bow'r The Sailor's Opera 1745 04. Dame Nature unto me Lass of Patties Mill 05. Grant me ye Gods but The Sailor's Opera 1745 this Desire Near some smooth Stream 06. Unhappy Youth for to The Sailor's Opera 1745 adore Did ever Swain a Nymph 07. Thou dear and The Sailor's Opera 1745 charming Boy 08. For while they both The Sailor's Opera 1745 come together How happy 09. The Youth for whom I Young Damon once the happy The Sailor's Opera 1745 feel some Smart Swain 10. A Youth sincere with The Sailor's Opera 1745 modest Air Rough and Hardy 11. How hard is the Lot of The Sailor's Opera 1745 all Girls we find How hard is 162

12. Since 'tis our hard Case The Sailor's Opera 1745 we daily do find 13. Since Love is the Motive that makes you The Sailor's Opera 1745 pursue At the Brow 15. Oh! How happy I could The Sailor's Opera 1745 be Oh! What Pleasures 16. He that takes him a The Sailor's Opera 1745 Wife He that has the best Wife 17. Old England now I bid The Sailor's Opera 1745 adieu To you fair Ladies 18. Oh! When first The Sailor's Opera 1745 Prudentia I saw Can Love be controul'd 19. The Sorrow of my The Sailor's Opera 1745 Heart is flown Thomas, I cannot 20. My swelling Heart with Send home my long-stray'd The Sailor's Opera 1745 Rage does glow Eyes 21. Whe Grief it does The Sailor's Opera 1745 oppress the Heart Of all the Girls 22. Come, listen to me The Sailor's Opera 1745 Mate At St. Osyth 23. Tho' the Wind blows The Sailor's Opera 1745 high On a Bank of Flowers 24. Come let's be merry, The Sailor's Opera 1745 drink Sack and Sherry Come let's be merry 25. Come Shipmates, now The Sailor's Opera 1745 let us be gay Come Neighbours now 26. For Frost with Frost, The Sailor's Opera 1745 and Snow with Snow Fair and Soft, and Gay The Shepherds 01. My bleating Sheep, my How wretched are we Orphans Opera 1739 tender Kids made 02. Dear charming The Shepherds Dorothea, the Idol of my Opera 1739 Soul Rigadoon The Shepherds 03. What deal Delights With tuneful Pipe and merry Opera 1739 posses'd my Soul Glee The Shepherds 04. Curst be all Woman- Opera 1739 kind! Sung in Broad Yorkshire The Shepherds 05. From Gaylove's Wiles Opera 1739 and Charms Lass of Patties Mill The Shepherds Opera 1739 06. A Virgin's happy State Alas, poor Shepherd undone The Shepherds 07. How happy's the Opera 1739 Shepherd I'll face e'ry Danger The Shepherds 08. Tis thus we Shepherd Opera 1739 live What Gudgeons are we Men The Shepherds Opera 1739 09. What a Fool is he The Shepherds 10. No mer I'll think of Opera 1739 Woman kind Peggy grieves me 163

The Shepherds Without Affectation, gay Opera 1739 11. All Joy to my Charmer Youthfull, and witty 01. Cheer ev'ry Morn, with Early one Morn a jolly brisk The Spanish Lady Thomas Hull 1765 loud Huzzas Tar 02. A Triumph, that never The Spanish Lady Thomas Hull 1765 can fade Tweed Side 03. With scorn I view that The Spanish Lady Thomas Hull 1765 Insect-Race

04. Not caught by the How can you lovely Nancy thus The Spanish Lady Thomas Hull 1765 liking alone of an Eye cruelly slight 05. I've heard, when down The Spanish Lady Thomas Hull 1765 the Maiden's Cheek 06. Ah me, what Pains The Spanish Lady Thomas Hull 1765 invest the Heart 07. To thee, bright Queen The Spanish Lady Thomas Hull 1765 of Love Polwart on the Green after The Spanish Lady Thomas Hull 1778 08. Great is the Treasure after 10. If I had Riches at my The Spanish Lady Thomas Hull 1779 Will after 11. Hence, coy Reserve! The Spanish Lady Thomas Hull 1780 No more I'll bear after 12. Ah, Sister, where's thy The Spanish Lady Thomas Hull 1781 Lover 13. Ah, see, with what The Spanish Lady Thomas Hull 1765 Torture my Bosom is torn Thro' the Wood Laddie 14. Forbear your Plaining Hear me ye Nymphs and e'ery The Spanish Lady Thomas Hull 1765 and Distress Swain 15. Yet think what Perils The Shepherd with Looks The Spanish Lady Thomas Hull 1765 may arise dismay'd 16. Attend gentle Lady, nor Farewell to Lochaber and The Spanish Lady Thomas Hull 1765 deem me unkind farewell my Joan 17. All Hands, breave The Spanish Lady Thomas Hull 1765 Boys, for England, ho! Dumbarton's Drums 18. Behold, my Lads, a The Spanish Lady Thomas Hull 1765 rising Gale Nancy Dawson 19. In my Friendship, Gallant Sailor oft you've told The Spanish Lady Thomas Hull 1765 hapless Lady me 20. The constant Mind The Spanish Lady Thomas Hull 1765 with Pride o'erflow Come Rosalind O come and see 21. When o'er the wide Deep, the spread Canvas I The Spanish Lady Thomas Hull 1765 view Ellen a Roon The Stage-Coach George 01. A Trifling song you Opera Farquhar 1741 shall hear Song on a Trifle The Stage-Coach George 02. Every Man that would Every Man take a Glass in his Opera Farquhar 1741 stand on his Guard Hand 164

The Stage-Coach George Opera Farquhar 1741 03. Oh, have a Care, Sir On Enfield Common The Stage-Coach George 04. How tedious do the Opera Farquhar 1741 Moments pass Muirland Willy The Stage-Coach George 05. There's ne'er a Opera Farquhar 1741 Coachman drive a Coach Dame of Honour The Stage-Coach George 06. You'll find in ev'ry Opera Farquhar 1741 Nation Tho' Claret be a Blessing The Stage-Coach George 07. If we lose the fair Tell me, tell me, dearest Opera Farquhar 1741 Occasion Creature The Stage-Coach George Opera Farquhar 1741 08. Think not to affright From the Italian The Stage-Coach George 09. When a Lady is fir'd by Opera Farquhar 1741 a Hero brave Last Part of the Dutch Skipper The Stage-Coach George 10. This Jade will score Opera Farquhar 1741 herself to Hell O ponder well The Stage-Coach George 11. The Great may fancy as Opera Farquhar 1741 they well Daniel Cooper The Stage-Coach George 12. Since Bribes are Opera Farquhar 1741 Fashions of each Day The Scotch Tune The Stage-Coach George 13. In City, Town, and There was three Lads in Opera Farquhar 1741 Country too London Town The Stage-Coach George 14. Authority Hard-head An old Woman cloathed in Opera Farquhar 1741 here calls Grey The Stage-Coach George 15. How wretched were Opera Farquhar 1741 Dolly's Condition To Chloe the Kind and Easy The Stage-Coach George 16. He needs no Evidensh, Opera Farquhar 1741 dear Joy Under the Green Wood Tree The Stage-Coach George 17. Thrice happy we by Opera Farquhar 1741 Love and Hymn joyn'd The Stage-Coach George 18. Let's sing of Stage- Opera Farquhar 1741 Coaches The Stage- 01. Small Courtiers, like Mutineers Edward Phillips 1733 small Gamesters see Mad Robin The Stage- 02. Learned Lawyers we Mutineers Edward Phillips 1733 find Peggy's Mill The Stage- 03. Tho' Politicks are but Mutineers Edward Phillips 1733 ill laid The Play of Love 04. An Amour is first The Stage- sought by a Fellow of Mutineers Edward Phillips 1733 Spirit State and Ambition 05. The amorous Spark The Stage- talks of Flames, Darts, and There liv'd long ago in a Mutineers Edward Phillips 1733 Fires Country Place The Stage- 06. A Prude, my Dear's a Alexis shun'd his Fellow Mutineers Edward Phillips 1733 formal Elf Swains The Stage- 07. He who is by Female Mutineers Edward Phillips 1733 Beauty won O'er the Hills and far away The Stage- 08. Let not Honour's Title Mutineers Edward Phillips 1733 move Little Syren of the Stage 165

The Stage- Mutineers Edward Phillips 1733 09. To Arms! To Arms! March in Scipio The Stage- 10. At his Levee view my Mutineers Edward Phillips 1733 Lord In the Fields in Frost and Snow The Stage- 11. The Man who in Point Mutineers Edward Phillips 1733 of his Honour is nice Lillabullero The Stage- 12. No Bliss in Love's Mutineers Edward Phillips 1733 sincere Fanny Blooming Fair The Stage- 13. While we thus o'er our Make me a World, ye Power's Mutineers Edward Phillips 1733 Bowl agree divine The Stage- Mutineers Edward Phillips 1733 14. Fickle Fortune Tamo Tanto The Stage- 15. Men will often feign Mutineers Edward Phillips 1733 the Lover Mirleton The Stage- 16. How well may Life be Mutineers Edward Phillips 1733 term'd a Play Begging we will go The State Juggler; or, Sir Politick Ribband 1733 01. If Money can effect it Pinks and Lillies The State Juggler; or, Sir Politick 02. What Magick in Gold Ribband 1733 to we find? Tweed Side The State Juggler; or, Sir Politick 03. We find, by Give Ear to my frolicksome Ribband 1733 Experience, a Woman Ditty The State Juggler; or, Sir Politick 04. Jilted I am, and now I Now ponder well, ye Parents Ribband 1733 dread dear The State Juggler; or, Sir Politick 05. A Man of Merit, and of Ribband 1733 Worth Moggy Lawder The State Juggler; or, Sir Politick 06. O Madam, consider O Jenny, jenny, where hast thou Ribband 1733 when we meet been The State Juggler; or, Sir Politick Ribband 1733 07. If Ambition be a Sin Let Ambition fire thy Mind The State Juggler; or, Sir Politick 08. Tho' Men their Ribband 1733 Wisdom boast The Lass of Patie's Mill The State Juggler; or, Sir Politick 09. Let 'em write, let 'em Ribband 1733 write Is she gone, is she gone The State Juggler; or, Sir Politick Ribband 1733 10.If politicks you study A Soldier and a Sailor The State Juggler; or, Sir Politick 11. When a proud Ribband 1733 Scoundrel, rich in Land The Disappointment The State Juggler; or, Sir Politick 12. From Cupid I borrow's Ribband 1733 his Wings An old Woman cloathed, &c. 166

The State Juggler; or, Sir Politick 13. I have a pretty, pretty, Ribband 1733 Bun Good Lord Frog The State Juggler; or, Sir Politick 14. When I was a buxom Ribband 1733 young Maiden Winchester Wedding The State Juggler; or, Sir Politick 15. Philosophers may Ribband 1733 Morals teach Under the Greenwood Tree The State Juggler; or, Sir Politick 16. Thus when for Empire Now you have had your Will, Ribband 1733 and for Rule &c. The State Juggler; or, Sir Politick 17. If you expect to thrive Ribband 1733 amain With tuneful pipe, &c. The State Juggler; or, Sir Politick 18. To you dear Mistress of Ribband 1733 my soul To all ye Ladies now at Land The State Juggler; or, Sir Politick 19. When Men are to To the Hundreds of Drury I Ribband 1733 Passion inclin'd write The State Juggler; or, Sir Politick Ribband 1733 20. How wretched is Life How happy are we The State Juggler; or, Sir Politick 21. My lightsome Heart is Send home my long-stray'd Ribband 1733 fill'd with Joy Eyes The Tragedy of Chrononhotontholo 01. See Venus does attend gos Henry Carey 1734 thee My Dilding my Dolding The Tragedy of Chrononhotontholo 02. Take this Wand gos Henry Carey 1734 in Hand Dance o'er the Lady Lee The Tragedy of Chrononhotontholo 03. Are you a Widow or gos Henry Carey 1734 are you a Wife Gilly Flower Gentle Rosemary The Tragedy of Chrononhotontholo 04. Marriage may become gos Henry Carey 1734 a Curse Swedes March 01. Deprest with Grief, and The Trepan 1739 anxious Care Sweet are the Charms 02. Go, foolish Girl! Thou The Trepan 1739 art surely bit Over the Hills and far away 03. Those eyes declare On the Banks of Pinks and The Trepan 1739 their Power Lillies 04. From false, deluding, The Trepan 1739 flattering Tongues 05. Why should this The Trepan 1739 treacherous Woman The Trepan 1739 06. Chast as Genteel in Person 07. How different is that The Trepan 1739 Sorrow 167

08. A crafty, cozenting, I'm like a Ship on the Ocean The Trepan 1739 treacherous Bawd tost 09. With Shame I confess a The Trepan 1739 Passion most vile Lumps of Pudding Charles 01. Love and Reason are The Village Opera Johnson 1729 always a Jarring Diogenes surly and proud Charles 02. When I the blooming The Village Opera Johnson 1729 Maid draw nigh Cloe be wife Charles 03. My Dolly was the The Village Opera Johnson 1729 Snow-drop fair The Logan Water Charles 04. You complain of your Grand Lewis, let thy Pride by The Village Opera Johnson 1729 Roses and Lillies abated Charles 05. Wou'd you set in your The Village Opera Johnson 1729 Soil Such Command o'er my Fate Charles 06. Oh, how Love has rent Young Philander woo'd me The Village Opera Johnson 1729 my Heart! long Charles The Village Opera Johnson 1729 07. Whenever your Game Ye Commons and Peers Charles 08. On the rising Dawn of The Village Opera Johnson 1729 Light The Play of Love Charles 09. Hope, thou Nurse of The Village Opera Johnson 1729 young Desire Sawny was tall Charles 10. A buxom young The Village Opera Johnson 1729 Daughter Almanza Charles The Village Opera Johnson 1729 11. At twelve of the Night Jack's Health Charles 12. The trembling Pulse The Village Opera Johnson 1729 discovers Polwart on the Green Charles 13. Oh! Tell us, Cupid, The Village Opera Johnson 1729 Heav'nly Boy Sweet are the Charms her I love Charles 14. Take again this Ivory Near the famous Town of The Village Opera Johnson 1729 Knife Reading Charles 15. Take thy Comb-case, The Village Opera Johnson 1729 take thy Ferres When the Kine had given Charles 16. See the Six-pence that Near the famous Town of The Village Opera Johnson 1729 we broke Reading Charles The Village Opera Johnson 1729 17. I milk your Cows In our Country Charles An Old Woman Lame and The Village Opera Johnson 1729 18. I am Paul Pillage Blind 19. Of all Servants here's Charles Choice, pretty Maids, jolly The Village Opera Johnson 1729 Boys The Abbot of Canterbury Charles 20. Wou'd you be the Man The Village Opera Johnson 1729 in Fashion Pinks and Lillies 21. See the cringing Charles Coxcombs come, The Village Opera Johnson 1729 1,2,3,4,5,6 Christ-Church Bells Charles 22. Our Parent thus in The Village Opera Johnson 1729 Paradise Young Jemmy was a Lad 168

Charles 23. Thus at the cheerful Young Damon, once the The Village Opera Johnson 1729 Dawn of Day happiest Swain Charles 24. Shou'd I shine, as you The Village Opera Johnson 1729 say When the bright God of Day Charles 25. In a Misty Morning the The Village Opera Johnson 1729 Shepherd gaze Bonny Jean Charles The Village Opera Johnson 1729 26. Wanton Boy Charles 27. Your Years, dear Sir, The Village Opera Johnson 1729 compute Oh Nymph of Race Divine Charles The Village Opera Johnson 1729 28. Cupid is a wanton Boy Flocks are sporting 29. All the Women who Charles saw him were fond of the The Village Opera Johnson 1729 Squire To Horse, to Newmarket 30. Now the Bloom of Charles Spring breathes its The Village Opera Johnson 1729 Sweetness around Twas withing a Furlong Charles 31. The Merchant o'er The Village Opera Johnson 1729 Arabia's Sand The Sun was sunk beneath Charles 32. An ever-green Beauty The Village Opera Johnson 1729 the Country does crown Dear Catholick Brother Charles 33. Oh Fye! Sir, all my The Village Opera Johnson 1729 Blushes rise I mun smug up on Tuesday 34. My Father fain wou'd Charles wed me to a Country The Village Opera Johnson 1729 Squire A French Tune Charles 35. Thus have I seen the The Village Opera Johnson 1729 Peacock spread He's Lord of all the Clan 37. Hither turn thee, hither Charles turn thee, tither turn thee, The Village Opera Johnson 1729 gentle Maid Charles Wully and Georgy now beath The Village Opera Johnson 1729 38. From Spray to Spray are gean 39. A Wench, when in Charles Love, is the strangest The Village Opera Johnson 1729 Thing Pudding and Pies Charles 40. Then, when my The Village Opera Johnson 1729 bleeding Heart shall break Margaret's Ghost Charles 41. Thou foolish Bumpkin, The Village Opera Johnson 1729 tell me now Muirland Willy Charles 42. A Faggot, Though, of The Village Opera Johnson 1729 pointed Thorn Charles 43. The Peach looks fresh, The Village Opera Johnson 1729 with Velvet Skin See, see, my Seraphina Charles 44. , with The Village Opera Johnson 1729 constant dropping wears An Irish Tune Charles 45. You may Love, and The Village Opera Johnson 1729 you may Rail Under the Greenwood Tree 169

Charles 46. Softer than the Breath The Village Opera Johnson 1729 of May Minuet by Mr. Fairbank Charles 47. Let Ralph in Beer his Near Woodstock Town in The Village Opera Johnson 1729 Pleasure take Oxfordshire Charles 48. Love like the Thief The Village Opera Johnson 1729 is unseen when he enters How blest are Shepherds Charles The Village Opera Johnson 1729 49. The Rising Sun dispels Blithe Jockey, young and gay Charles 50. Deluded by her Mat's The Village Opera Johnson 1729 dear Voice Monsr. Denoyer's Minuet Charles 51. Thro' Gardens roves All in the Downs, by Mr. The Village Opera Johnson 1729 the busie Bee Leveridge Charles 52. Thus we behold the The Village Opera Johnson 1729 wat'ry Bow As Cloris full of harmless Charles 53. The Sultan's Command The Village Opera Johnson 1729 is Death Make ready, fair Lady, to-night Charles 54. Oh, my Heart! My The Village Opera Johnson 1729 doating Heart The Jewel in the Tower Charles The Village Opera Johnson 1729 55. If nought but the Cure Tune to the Free-Masons Song 56. Our Girls, like our Charles Geese, shou'd be watch'd The Village Opera Johnson 1729 from the Vermin The Rummer Charles 57. How hard is the Fate of The Village Opera Johnson 1729 the Maiden that's wed Farewel, my Calista Charles 58. Thy Shape, thy Face, The Village Opera Johnson 1729 thy clumsy Mein Hark, the thun'dring Cannons 59. In the Name of the Charles Graces, and Venus, and The Village Opera Johnson 1729 Joy Cavililly Man Charles 60. Let Joys after Joys in a The Village Opera Johnson 1729 circular Flow If I live to grow Old Charles The Village Opera Johnson 1729 61. The World's a Deceit Hark, the Cock crow'd Charles 62. Ha! How sweet's the The Village Opera Johnson 1729 Bliss French Minuet Charles 63. Tho' dear your Joy's to The Village Opera Johnson 1729 me, as mine With tuneful pipe Charles 64. When Roses and The Village Opera Johnson 1729 Daisies are springing A Sheep-Shearing Ballad 01. A Jesuit is a clever The Wanton Jesuit 1731 Man A lovely Lass to a Friar came 02. How happy am I in my The Wanton Jesuit 1731 Choice! Tweed Side 03. O take the Woman in The Wanton Jesuit 1731 the Mind Moggy Lawder 04. O Ladies, what is't you The Wanton Jesuit 1731 mean to do? O Jenny, Jenny where hast The Wanton Jesuit 1731 05. In vain is all your Grief The Lass of Patie's Mill 170

06. How wretched a The Wanton Jesuit 1731 Woman am I! I am a poor Shepherd undone 07. I plainly percieve 'tis a Would you have a young The Wanton Jesuit 1731 Folly to grieve Virgin 08. Into the Air, can Flesh The Wanton Jesuit 1731 and Blood O Bessy Bell 09. I got to her Garden by The Wanton Jesuit 1731 Stealth Jockey hath gotten a Wife 10. The Cock, that in the The Wanton Jesuit 1731 Morning crows Black Joke

The Wanton Jesuit 1731 11. Let her go, let her go Is she gone, is she gone 12. What should we do The Wanton Jesuit 1731 with a Woman At Winchester there was 13. The Maid that would The Wanton Jesuit 1731 not be undone Irish Howl

14. A Virgin that chuses a The old Woman sent to the The Wanton Jesuit 1731 Priest to direct her Miller her Daughter 15. Not Bolts and Bars, or At Noon one sultry Summer's The Wanton Jesuit 1731 strongest Walls Day 16. Thus oft to the Fields An old Woman cloathed in The Wanton Jesuit 1731 does repair Grey 17. May Justice reach the The Wanton Jesuit 1731 Villain Of a noble race was Shinkin 18. I fled from the Rape I The Wanton Jesuit 1731 committed Give Ear to a frolicksome Ditty 19. Here close confined The Wanton Jesuit 1731 within my Cell As cold as Death in Depth of 20. How many, brought to Twas when the Seas was The Wanton Jesuit 1731 Ruin roaring The Wanton Jesuit 1731 21. Instructions we give Ye Commons and Peers 22. A Nun, that is a Biggot The Sun had loos'd his weary The Wanton Jesuit 1731 grown Teams 23. How can my Fate be so The Wanton Jesuit 1731 severe Now ponder well 24. A Man that has got The Wanton Jesuit 1731 Wealth, Sir A soldier and a Sailor &c. The Wanton Jesuit 1731 25. Since I a Victim fall The Lass of Patie's Mill The Wedding: or the Country House- 01. Tho' Titles may gild, Wife 1734 &c. My Time, O ye Muses, &c. The Wedding: or the Country House- 02. Like the Sun breaking Wife 1734 forth from a Cloud old Sir Simon the King, &c. The Wedding: or the Country House- 03. Tho', in Right of your Wife 1734 Age Ye Commons and Peers, &c. The Wedding: or 04. Love oft is compar'd to An old Woman clothd in Grey, the Country House- 1734 a Flame &c. 171

Wife

The Wedding: or the Country House- Wife 1734 05. How sweet is the Tone Young Philoret, &c. The Wedding: or the Country House- Of a Royal Race was Shinkin, Wife 1734 06. If Custom's insufficient &c. The Wedding: or the Country House- 07. If Wealth and Power O Bessy Bell and Mary Grey, Wife 1734 can make you bles'd &c. The Wedding: or the Country House- Wife 1734 08. Tho' of all human Ills The Lass, of Pattie's Mill, &c. The Wedding: or the Country House- 09. Vex'd with this plaguy Wife 1734 Housewife A begging we will go, &c. The Wedding: or the Country House- 10. O'er me doth Peggy The Lass who trips in Country Wife 1734 sway Town The Wedding: or the Country House- 11. Come, Maidens fair, Wife 1734 let's laugh Gossip Joan, &c. The Wedding: or the Country House- Wife 1734 12. Like Culprit dejected Lumps of Pudding, &c. The Wedding: or the Country House- 13. At first, when the fair Wife 1734 One is kind Come, let us all to the Wedding The Wedding: or the Country House- 14. Tho' giddy Fops of Wife 1734 Youth still boast When fair Aurelia, &c. The Wedding: or the Country House- 15. By Love and by Despairing beside a clear Wife 1734 Fortune betray'd Stream The Wedding: or the Country House- 16. How brightly adorn'd Wife 1734 on the Stage If Phillis denies me Relief, &c. The Wedding: or the Country House- Wife 1734 17. Transcendency in Spirit Man in Imagination, &c. The Wedding: or the Country House- 18. 'Tis not the Bloom of See, see, my Seraphina comes, Wife 1734 Beauty bright &c. The Wedding: or the Country House- 19. Tho' Folks, from their Wife 1734 titles The Abbot of Canterbury, &c. The Wedding: or the Country House- Wife 1734 20. In Folks who are poor Which no Body can deny, &c. The Wedding: or the Country House- 21. Since Life we cannot Of all the foolish Things we do, Wife 1734 lengthen a Span &c. 172

The Wedding: or the Country House- 22. Court Vices in a Mob I Wife 1734 hate Dame of Honour, &c. The Wedding: or the Country House- 23. As Folks, whom Liquor Wife 1734 did beguile Chevy Chase, &c. The Wedding: or the Country House- 24. If Farmers, who Wife 1734 Poultry maintain Diogenes surly and proud, &c. The Wedding: or the Country House- 25. If noble Parts, with Wife 1734 Beauty bright Sally in our Alley, &c. The Wedding: or the Country House- Wife 1734 26. The being so nice The Irish Trot, &c. The Wedding: or the Country House- 27. When Nature has Wife 1734 stricken a Woman, &c. Cold and raw, &c. The Wedding: or the Country House- 28. The Lottery of Do not ask me, charming Wife 1734 marriage Phillis, &c. The Wedding: or the Country House- 29. Were it not for the At Winchester there was a Wife 1734 Wedding To-day Wedding The Wedding: or the Country House- 30. On this Day of Joy and Wife 1734 Pleasure Let's be jolly, &c. The Welsh Opera Henry Fielding 1731 01. What a wretched Life A lusty young Smith 02. If Love gets into a The Welsh Opera Henry Fielding 1731 Soldier's Heart Lads of Dance 03. Think mighty Sir-- The Welsh Opera Henry Fielding 1731 think e're you are undone March in Scipio 04. The worn out Rake at The Welsh Opera Henry Fielding 1731 Pleasure Rails Tho' I cannot 05. I've heard a Noncon One Evening having lost my The Welsh Opera Henry Fielding 1731 Parson preach Way 06. The gaudy Sun The Welsh Opera Henry Fielding 1731 adorning Dutch Skipper 07. In long Pig-Tales, and The Welsh Opera Henry Fielding 1731 shining Lace Bessy Bell The Welsh Opera Henry Fielding 1731 08. Oh! My Sweetissa Masquerade Minuet 09. When mutual Passion Young Damon once the The Welsh Opera Henry Fielding 1731 hath posses'd happiest Swain 10. Would you have my The Welsh Opera Henry Fielding 1731 love in Words display'd All in the Downs 11. How odd a thing is The Welsh Opera Henry Fielding 1731 Love Ye Nymphs and Silvan Gods 12. Ye virgins who would The Welsh Opera Henry Fielding 1731 marry Red-House 13. The more we know of The Welsh Opera Henry Fielding 1731 Human-Kind Black-Joke The Welsh Opera Henry Fielding 1731 14. The Dog his Bitt Tipling John 173

The Welsh Opera Henry Fielding 1731 15. Indeed my Dear Hedge Lane 16. Sure naught so disast'rous can Woman The Welsh Opera Henry Fielding 1731 befal Lord Biron's Maggot 17. A Woman's Ware like The Welsh Opera Henry Fielding 1731 China Do not ask me charming Phillis 18. What Woman her The Welsh Opera Henry Fielding 1731 virtue will keep Twede Side 19. Come on, come on, The Welsh Opera Henry Fielding 1731 come on Britons strike Home 20. Oh! Fie upon't, Robin-- The Welsh Opera Henry Fielding 1731 Oh! Fie upon't Will Mother, quoth Hodge 21. A wise Man others The Welsh Opera Henry Fielding 1731 Faults Conceals Dame of Honour 22. Here stands honest Bob The Welsh Opera Henry Fielding 1731 who ne'er in his life We've cheated the Parson

The Welsh Opera Henry Fielding 1731 23. When Masters think fit Hark, hark, the Cock crows 24. Virtue within a The Welsh Opera Henry Fielding 1731 Woman's Heart Country Garden 25. What the Devil mean The Welsh Opera Henry Fielding 1731 you thus Dainty Davy 26. In vain the Parson The Welsh Opera Henry Fielding 1731 Preaches A Soldier and a Sailor 27. Come to Church my The Welsh Opera Henry Fielding 1731 Lads and Lasses Country Bumpkin 28. Oh think not the Maid The Welsh Opera Henry Fielding 1731 whom you scorn Fond Echo The Welsh Opera Henry Fielding 1731 29. If I too high aspire Patty's Mill 30. With Joy my Soul's The Welsh Opera Henry Fielding 1731 o'erflowing Caro Vien The Welsh Opera Henry Fielding 1731 31. Thus Couples united Little Jack Horner Florent Carton 01. Sage Lovers, with The Whim Dancourt 1734 imploring Air Black Joke Florent Carton 02. The Courtier asks a The Whim Dancourt 1734 Place Fanny Blooming Fair 03. The Love of such Florent Carton Wretches I scorn and The Whim Dancourt 1734 despise Yorkshire Tale Florent Carton 04. When Love subdues The Whim Dancourt 1734 the Virgin's Heart Logan Water Florent Carton 05. A Swain, undone by The Whim Dancourt 1734 am'rous Woe Sweet are the Charms Florent Carton 06. The Morning Lark thus The Whim Dancourt 1734 mounts the Sky John Anderson my Jo Florent Carton 07. Me be of une Tribe De The Whim Dancourt 1734 Grand Maggy Lawther Florent Carton 08. See, see, the full and Hark how the thund'ring The Whim Dancourt 1734 flowing Bottle Cannons 174

Florent Carton 09. The Rosy Morn The Whim Dancourt 1734 unbarr'd her Gate Talk not so much to me of Love Florent Carton 10. Morbleau, those Eyes The Whim Dancourt 1734 so bright A Swain of Love despairing Florent Carton 11. The Lover, at first, with The Whim Dancourt 1734 eager Haste Cold and Raw Florent Carton The Lass with the Nut-brown The Whim Dancourt 1734 12. What Bliss to the Lover Hair Florent Carton 13. Love alone can Fancy The Whim Dancourt 1734 raise Butter'd Pease 01. Men, born of Earth like Timon in Love John Kelly 1733 other Brutes 02. 'Tis not the Human Timon in Love John Kelly 1733 Shape alone 03. Love's a fond deluding Timon in Love John Kelly 1733 Passion 04. What's the Source of Timon in Love John Kelly 1733 each new Passion? 05. Men think their Timon in Love John Kelly 1733 Courage only try'd 06. What is the Lion's Rage Timon in Love John Kelly 1733 to theirs 07. If bounteous Nature Timon in Love John Kelly 1733 e'er had means 08. Once Brutes and Gods Timon in Love John Kelly 1733 had only Right 09. Hold is a mistress all Timon in Love John Kelly 1733 pursue 10. When Woman was at Timon in Love John Kelly 1733 first design'd 11. If One that was so late Timon in Love John Kelly 1733 a Brute 12. Beauty gilds the Timon in Love John Kelly 1733 blushing Morn 13. Cast your Eye thro' Timon in Love John Kelly 1733 ev'ry Nation! 14. From the Age of Fifteen most Women 'tis Timon in Love John Kelly 1733 true 15. When Age or Ugliness Timon in Love John Kelly 1733 puts on 16. Life resembles April Timon in Love John Kelly 1733 Weather 17. Happy Pair, be blest Timon in Love John Kelly 1733 together! Trick for Trick R. Fabian 1735 01. What tho' she b fair Ye Commons and Peers 02. Thy Charms in each Trick for Trick R. Fabian 1735 bright Feature Cease, cruel tyrannizing 175

03. O Love, if thy Arrows As Jockey and Jenny together Trick for Trick R. Fabian 1735 have wounded my Heart were laid 04. How pleasing's the Quoth Jockey to Jenny, can'st Trick for Trick R. Fabian 1735 Prelude of Pain love 05. Perplext in the dark Trick for Trick R. Fabian 1735 Glooms of Woe Fond Echo 06. O how pleasing 'tis to Trick for Trick R. Fabian 1735 languish Trip to the Landry 07. While I the Charms Believe my Sighs and Tears, Trick for Trick R. Fabian 1735 that round thee play my Dear 08. When Delia view'd the When Delia on the Plain Trick for Trick R. Fabian 1735 noble Swain appears 09. Some Demon, sure, to Trick for Trick R. Fabian 1735 my Disgrace Chevy Chace Trick for Trick R. Fabian 1735 10. Love's gentle Reign Mio Caro Ben Tumble-Down Dick, or Phaeton in 01. O Mother, this Story Gilliflower gentle Rosemary. the Suds Henry Fielding 1736 will never go down Set by Mr. Seedo. Tumble-Down Dick, or Phaeton in 02. Great Courtiers Palaces the Suds Henry Fielding 1736 contain Pierrot Tune Tumble-Down Dick, or Phaeton in 03. O Gin, at length, is the Suds Henry Fielding 1736 putting down O London is a fine Town Tumble-Down Dick, or Phaeton in 04. Thus when the the Suds Henry Fielding 1736 wretched Owl is found Tumble-Down Dick, or Phaeton in 05. You wonder, perhaps, Abbot of Canterbury. Set by the Suds Henry Fielding 1736 at the Tricks of the Stage Mr. Seedo. 01. The Lass who trips in Vanelia James Miller 1732 Country-Town Bessy Bell 02. If Mankind of our Sex Vanelia James Miller 1732 would judge right Of all the foolish Things we do 03. If you in this Age Cold and raw the Wind did Vanelia James Miller 1732 would rise high blow 04. In vain to escape us Vanelia James Miller 1732 inclin'd An old Woman clothed in grey 05. As Eagles stoop from Vanelia James Miller 1732 soaring Man in Imagination 06. Seduced by all- Vanelia James Miller 1732 powerful Love Bonny Broom 07. As the Bark, when it Vanelia James Miller 1732 parts from the Shore Despairing beside a clear Steam 08. 'Tis poor Rogues only Vanelia James Miller 1732 bang, Love Of noble Race was Shinkin 09. My Master's thus fond Vanelia James Miller 1732 of a Whore Winchester Wedding Vanelia James Miller 1732 10. When first I began When young fit to toy 176

11. The Sun was now setting, the Evening was Wherever I am, and whatever I Vanelia James Miller 1732 red do 12. In Play and in Politicks Through all the employments Vanelia James Miller 1732 too of life I am so sick of Love, I cannot Vanelia James Miller 1732 13. A tender constant Heart hide it 14. The Passion of Love is Vanelia James Miller 1732 a Name Tweed Side 15. My Hair will I powder, Vanelia James Miller 1732 and dress up my Head Bonny Dundee 16. The Wretch in a Fever Grim King of the Ghosts, make Vanelia James Miller 1732 who fries haste 17. What tho' I own a Vanelia James Miller 1732 constant Flame See! See! My Seraphina comes 18. How vain is the Notion, how idle the Vanelia James Miller 1732 Thought Abbot of Canterbury 19. Ambition changeth Vanelia James Miller 1732 Mankind in a trice The bonny grey'ey'd Morn 20. If you then, my Dearest, but make me your Vanelia James Miller 1732 Wife Which no body can deny 21. As Neighbours all we Vanelia James Miller 1732 are Gossip Joan

177

APPENDIX C: SONGS IN JOHN GAY‟S ACHILLES

The following are transcriptions of all the songs in Achilles. Comments on the individual songs are given in the critical notes. The source of my editing is Walter H. Rubsamen‟s 28- volume collection of ballad operas in facsimile.134 Rubsamen created the facsimile of Achilles from a copy in the British Museum (992.k). The music is printed with the title of the original source above the melody and the new text is printed below.

None of the songs are printed with bass lines or figures, though some cry out for basses, especially the ensemble pieces. Basso continuo would need to be added for performance. Bass lines have been added where known (from Orpheus Caledonius and the works of Corelli), and both the figured basses in Corelli‟s works, and the unfigured ones of Orpheus Cal. have been realized. Precise changes are indicated in the critical notes.

Underlaying the text to these melodies is not a trivial task. As the melodies seem to be written with the text of the original sources in mind, Gay‟s lyrics do not always fit well with the printed music. This disagreement between the music and new text has led to changes in rhythm, phrasing, and repeated notes. Some editorial decisions were based on aesthetics. In Air 34, for example, Achilles‟ and Deidamia‟s lines have been set to overlap, which contrasts the rhythmic patter of Achilles‟s lines with Deidamia‟s stately quarter note rhythm. Of course, more than one solution is often possible to each unique problem.

134 Walter H. Rubsamen, ed., Classical Subjects II: Pastoral and Comedy, vol. 8 of The Ballad Opera: A Collection of 171 Original Texts of Musical Plays; Printed in Photofacsimiles. In 28 volumes (New York: Garland Pub, 1974).

178

Transcriptions

Air I. A Clown in Flanders once there was.

Air II. Gudgeon’s Song

Air III. Did you ever hear of a galant Sailor.

179

Air IV. Si vous vous moquez de nous.

Air V. A Minuet.

180

Air VI. To you, my Dear, and to no other.

Air VII. John went suiting unto Joan.

Air VIII. Groom‟s Complaint.

181

Air IX. O‟er Bogie.

Air X. Dutch Skipper. First Part

182

Air XI. Dutch Skipper. Second Part

Air XII. Black Joke.

183

Air XIII. Ye Shepherds and Nymphs.

184

Air XIV. The Goddesses.

Air XV. Joan’s Placket.

185

Air XVI. We‟ve cheated the Parson

Air XVII. Fairy Elves.

Air XVIII. Moll Peatly

186

Air XIX. John Anderson my Jo

Air XX. Abroad as I was walking

187

Air XXI. Butter‟d Pease

Air XXII. Come open the Door sweet Betty

Air XXIII. Altro Giorne in compagnia

188

Air XXIV. Trip to the Landry

Air XXV. As I walk‟d along Fleetstreet.

Air XXVI. The Lady‟s New-Year Gift

189

Air XXVII. Puppet-Show Trumpet Tune

Air XXVIII. Old King Cole.

Air XXIX. Dicky‟s Walk in Dr. Faustus

190

Air XXX. Puddings and Pyes

Air XXXI. My Dilding, my Dalding

Air XXXII. How happy are you and I

191

Air XXXIII. Fy gar rub her o'er with Straw

192

Air XXXIV. Beggar‟s Opera. Hornpipe

Air XXXV. My time, O ye Muses

193

Air XXXVI. I am come to your House

Air XXXVII. The Clarinette

194

Air XXXVIII. No sooner had Jonathan leap‟d from the Boat

Air XXXIX. Love‟s a Dream of mighty Pleasure

Air XL. Maggy Lawther

Air XLI. Lord Frog and Lady Mouse

195

Air XLII. Richmond Ball

196

Air XLIII.

Air XLIV. Minuet of Corelli in the Ninth Concerto

197

Air XLV. Tom and Will were Shepherds twain

Air XLVI. The Bob-tail Lass

198

Air XLVII. My Dame hath a lame tame Crane

Air XLVIII. Geminiani‟s Minuet

199

Air XLVII-b. My Dame hath a lame tame Crane

200

Air XLIX. Gavotte of Corelli

201

Air L. The Scheme

202

Air LI. The Man that is drunk, &c.

203

Air LII. There liv‟d long ago in a Country Place

Air LIII. Minuet of Corelli

204

Air LIV. Saraband of Corelli

205

Critical Notes

Abbreviations

Primary Sources:

PPM- D‟urfey, Pills to Purge Melancholy.

OC- Thomson, Orpheus Caledonius.

Secondary Sources:

BBB- Simpson, The British Broadside Ballad and its Music.

HFP- Lockwood, Thomas, ed. Henry Fielding: Plays.

PMO- Chappell, Popular music of Olden Times.

Songs

I. Original text: What‟s Life? No Curse is more severe: 2 Contrafact: A Clown in Flanders once there was Comments: C in m.7 should be sharp, slurs added in mm. 3-7.

II. Original text: Why thus am I held as Defiance?: 3 Contrafact: Gudgeon’s Song Comments: Slurs added to m. 2.

III. Original text: The Woman always in Temptation: 4 Contrafact: Did you ever hear of a galant Sailor: BBB, 339; PPM, V, 80-82 Comments: Slur added in m. 11. The version in PPM is titled “The Unconstant Woman.” It is in a different key, and the B section differs melodically.

IV. Original text: When a Woman sullen sits: 6 Contrafact: Si vous vous moquez de nous

V Original text: Man‟s so touchy, a Word that‟s injurious: 7 Contrafact: A Minuet

VI. Original text: Must then, alas the fondest Mother: 8 Contrafact: To you, my Dear, and to no other Comments: Slur added in m. 7.

206

VII. Original text: How your Patience had been try‟d: 10 Contrafact: John went suiting unto Joan Comments: Slurs added in mm. 2, 4, 6-8.

VIII. Original text: Whene‟er my Looks have spoke Desire: 11 Contrafact: Groom‟s Complaint

IX. Original text: Observe the wanton Kitten‟s Play: 12 Contrafact: O‟er Bogie; OC, 104 r.v, 105; BBB, 560-561 Comments: Bass line is from OC, figures and realization by author. In OC, the sixteenth note group on beat two of mm. 4 and 8 begins with an F, instead of a G, as in Achilles. Also, the third beat of the same measures in OC is an A ornamented with a B-flat appoggiatura. In Achilles, the third beat of mm. 4 and 8 is written as a C eighth note, followed by an A quarter note, which does not fit in measure 4, so the quarter note A was changed to an eighth note.

X. Original text: When a Woman‟s censorious: 14 Contrafact: Dutch Skipper. First Part. Comments: First note of m. 1 changed from a half note to two quarter notes. Beat three of m. 4 changed from a dotted quarter note to a single quarter note followed by an eighth note. Beat four of m. 7 deleted. Slurs added in mm. 9, 13, and 15.

XI. Original text: As you, Sir, are my Husband, no doubt you're prone: 15 Contrafact: Dutch Skipper. Second Part.

XII. Original text: Then must I bear eternal Strife: 16 Contrafact: Black Joke; HFP, 680-681 Comments: First beat of m. 2 and m. 8 changed from dotted quarter note to a quarter note and an eighth note; first beat of m. 4 and m. 9 changed from a quarter note to two eighth notes; slur added in m. 16; second beat of m. 17 changed from a quarter note to two eighth notes; first beat of m. 18, 20, and 21 changed from a quarter note to two eighth notes.

XIII. Original text: O Love, plead my Pardon, nor plead it in vain: 17 Contrafact: Ye Shepherds and Nymphs Comments: Slurs added in mm. 3 and 7.

XIV. Original text: To what a Pitch is Man profuse: 18 Contrafact: The Goddesses; BBB, 352; PMO, 457-458 Comments: The version in PMO (titled “I would I were in my Own Country”) is in a different key, and the B section of the tune differs from the version in Achilles.

XV. Original text: Reputations hack'd and hew'd: 18 Contrafact: Joan's Placket: PMO, 518-519; BBB, 388-390 207

Comments: Slurs added in mm. 1, 2, 4-8, 11, 13, and 14. The rhythm and key differ from the version in PMO. The version in PMO is also in 6/8, rather than 6/4.

XVI. Original text: Though Woman's glib Tongue, when her Passions are fir'd: 20 Contrafact: We've cheated the Parson: PMO, 583; BBB, 289-290 Comments: First beat of m. 2 and 4 changed from a half note to two quarter notes; both half notes in m. 5 changed to two quarter notes. In order to fit the text, it was necessary to add music, as the source included no repeats. Measures 9-12 are added, and are repeated material from the B section. The rhythm and key differ from the version in PMO. The version in PMO is also in 6/8, rather than 6/4.

XVII. Original text: O guard your Hours from Care: 22 Contrafact: Fairy Elves: BBB, 675-677 Comments: Gay does not provide enough lyrics for the printed melody. Perhaps the textless mm. (13-16) were to be played by an instrument.

XVIII. Original text: All Hearts are a little frail: 23 Contrafact: Moll Peatly: PMO, 289-290; BBB, 481-482; HFP, 687; PPM, II, 46 Comments: Slurs added in mm. 10 and 17. The tune in PPM, called “Gillian of Croyden” is in a different meter (3/4) and differs from Achilles slightly in the B section.

XIX. Original text: Let Jealousy no longer: 24 Contrafact: John Anderson my Jo: BBB, 394-395 Comments: Several slurs added, in all mm. but 8 and 16.

XX. Original text: Such Homage to her Beauty: 25 Contrafact: Abroad as I was walking Comments: Slurs added in mm. 3, 7, and 17.

XXI. Original text: Shou'd the Beast of the noblest Race: 26 Contrafact: Butter'd Pease: HFP, 671-672 Comments: Second beats of mm.1, 3, 5, 9, 11, 13 changed from a half note to two quarter notes; slurs added in mm. 7, 10, 11, 14, 15.

XXII. Original text: What, must I remain in Anguish?: 28 Contrafact: Come open the Door sweet Betty: BBB, 124-125 Comments: Slurs added in mm. 9, 11.

XXIII. Original text: If my Passions want explaining: 30 Contrafact: Altro Giorno in compagnia Comments: Slurs added in mm. 4, 7, 9-12, 14.

XXIV. Original text: How unhappy are the Great: 31 Contrafact: Trip to the Landry 208

Comments: Slurs added in mm. 3, 7, 12-15.

XXV. Original text: When the Fort on no Condition: 31 Contrafact: As I walk'd along Fleetstreet

XXVI. Original text: Why such Affectation?: 32 Contrafact: The Lady's New-Year's Gift Comments: Slur added in m. 7.

XXVII. Original text: What Heart hath not Courage by Force assail'd: 33 Contrafact: Puppet-Show Trumpet Tune Comments: Slur added in m. 7.

XXVIII. Original text: No more be coy: 34 Contrafact: Old King Cole Comments: Slurs added in mm.5-7, 13, and 14.

XXIX. Original text: What give o'er!: 36 Contrafact: Dicky's Walk in Dr. Faustus Comments: Slurs added in mm. 2-5, and 8.

XXX. Original text: The Slips of a Husband, you Wives: 37 Contrafact: Puddings and Pyes Comments: Beat six in mm. 6 and 9 changed from a quarter note to two eighth notes. Slurs added in mm. 2 and 5. Slurs added in mm. 7 and 15.

XXXI. Original text: Ah! shou'd you ever find her: 38 Contrafact: My Dilding, my Dalding Comments: Slurs added in mm. 4 and 8. Entire song repeated, despite lack of repeats in source.

XXXII. Original text: First let him for Honour roam: 40 Contrafact: How happy are you and I Comments: First beat of m. 1 changed from a quarter note to two eighth notes.

XXXIII. Original text: Think what Anguish tears my Quiet: 41 Contrafact: Fy gar rub her o'er with Straw: OC, 60 r.v. and 61; Comments:. Slurs added in mm.1, 2, 4, 6, and 8-16. Bass line from OC. Figures and realization by author. The version in Achilles is very similar to that of OC, except for a few differences. In mm. 2 and 7 of OC and Achilles, the fourth beat has been changed from an F quarter note (ornamented with a G appoggiatura) to two eighth notes (G to F). The rhythm in OC differs slightly in mm. 3 and 10. The first note in Achilles corresponds to no text, unlike in OC. Also, the anacrusis to the B section (m. 8 to m. 9) in OC is an E-flat, instead of natural, as in Achilles. 209

XXXIV. Original text: Know that Importunity's in vain: 42 Contrafact: Beggar's Opera. Hornpipe. Comments: Slurs added in mm. 2, 4, 6, and 8. Text set so that the end of Deidamia‟s phrases (lower staff) overlaps with Achilles‟s (upper). This song has previously been inserted into The Beggar’s Opera for “the dance of prisoners in chains,” the music of which Gay does not provide in The Beggar’s Opera. The prisoners‟ dance is the only point in the opera that a hornpipe would have been appropriate.

XXXV. Original text: How happy my Days, and how sweet was my Rest: 43 Contrafact: My time, O ye Muses Comments: Slurs added in mm. 20 and 23.

XXXVI. Original text: Your Dress, your Conversations: 44 Contrafact: I am come to your House

XXXVII. Original text: Ah, why is my Heart so tender!: 45 Contrafact: The Clarinette Comments: Slurs added in mm. 1, 15, and 13.

XXXVIII. Original text: What are the Jests that on Marriage you quote?: 47 Contrafact: No sooner had Jonathan leap'd from the Boat Comments: Sharp sign added to F in m. 5. Slurs added in m. 7.

XXXIX. Original text: Soldier, think before you marry: 48 Contrafact: Love's a Dream of mighty Pleasure Comments: Slurs added in mm. 1-3, 4-7, 13-14.

XL. Original text: What is all this idle Chat?: 50 Contrafact: Maggy Lawther Comments: Fourth beat in mm. 1, 2, 4, and 6 changed from a dotted eighth note and a sixteenth note to a quarter note. Slurs added in mm. 2, 4, and 6.

XLI. Original text: Oh, then it seems you want a Wife!: 51 Contrafact: Lord Frog and Lady Mouse; PPM, 14-16 Comments: Dotted quarter note in beat two of m. 3 changed to a quarter note and an eighth note. Slurs added in mm. 1, 3, 4, 7, 10, and 12-15. The version in PPM`,“Great Lord Frog to Lady Mouse” is in 3/4, a different key, and differs melodically.

XLII. Original text: What means all this Ranting?: 52 Contrafact: Richmond Ball: BBB, 494; PPM II, 218-219. 210

Comments: Slurs added in mm. 2, 6, 10, and 14. The tune in Pills is in the same key as in Achilles, but is more decorated in Pills.

XLIII. Original text: In War we've nought but Death to fear: 54 Contrafact: Untitled

XLIV. Original text: We may resolve to resist Temptation: 56 Contrafact: Minuet of Corelli in the Ninth Concerto Comments: Bass line and figures from A. Corelli, Op. 6, no. 9. Realizations by author. Slurs added in mm. 1, 3, 7, 9-11, and 15.

XLV. Original text: Think of Dress in ev'ry Light: 57 Contrafact: Tom and Will were Shepherds twain Comments: Slurs added in mm. 2, 3, 5, 6, 8, 9, 13, and 14. Beat two of m. 4 changed from a quarter note to two eighth notes.

XLVI. Original text: In Dress and Love by like Desires: 59 Contrafact: The Bob-tail Lass Comments: Slurs added in mm. 1, 3, 10, and 12.

XLVII-a. Original text: Thy Fate then, O Troy, is decreed: 61 Contrafact: My Dame hath a lame tame Crane

XLVIII. Original text: Beauty weeps. Ah, why that Languish?: 62 Contrafact: Geminiani's Minuet Comments: Music in mm. 16-23 has no corresponding text, and the last line “Hence fame and…” was repeated twice, as a final .

XLVII-b. Original text: Thy Fate then, O Troy, is decreed: 62 Contrafact: My Dame hath a lame tame Crane Comments: This repetition of air XLVII is not notated, but indicated in stage directions. The directions also indicate that it is sung as a catch in four parts the second time.

XLIX. Original text: Why this Pain?: 63 Contrafact: Gavotte of Corelli Comments: Bass line and figures from A. Corelli, op. 4, no. 5. Realizations by author. Slurs added in mm. 5, 7, 13, and 15.

L. Original text: O, what a Conflict‟s in my Breast: 64 Contrafact: The Scheme Comments: In the source, this song is printed upside-down.

LI. Original text: Was ever a Lover so happily freed: 66 211

Contrafact: The Man that is drunk, &c. Comments: Slurs added in mm. 4, 8, and 16.

LII. Original text: How short was my Calm! In a moment „tis past: 67 Contrafact: There liv‟d long ago in a Country Place Comments: Slurs added in mm. 2-4, 8, and 9.

LIII. Original text: Nature breaks forth at the Moment unguarded: 68 Contrafact: Minuet of Corelli Comments: Slurs added in mm. 1, 3, 5, 7, 10, and 11-14. Bass line and figures from A. Corelli, Op. 6, no. 10, realizations by author.

LIV. Original text: Thus when the Cat had once all Woman‟s Graces: 68 Contrafact: Saraband of Corelli Comments: Bass line and figures from A. Corelli, Op. 2, no. 5, realizations by author.