music and dance to link separate print scenes, and so attempt a bridge between the forms of art and drama. These two examples of the lively interplay operative between stage and print in the early and late decades heighten appreciation of the expectancies of cultural experiences of different audiences in the eighteenth century.

THE TUNES

The Harlot's Progress and The Rake's Progress are alike interesting for the parodic ballad opera pattern of setting new words to familiar tunes. Though neither work includes the music, some songs indicate familiar melodies such as "Let us take the road" from The Beggar's Opera. In The Harlot's Progress, the six "Airs" come from varied sources, with new lyrics by Theophilus Cibber. Of the approximately 24 unnumbered tunes and catches in The Rake's Progress, the most outstanding in connection with the print sequence is "Black Joke," Richard Leveridge's bawdy tune shown by Hogarth in the Rose Tavern print being sung by a pregnant woman (Pl. 5). In the stage piece, this song is part of a medley sung to Rakewell by the various professionals who compete for his money. The most important tunes are those from Poor Vulcan! the burletta by Charles Dibdin (February 1778), supporting my 1778-1780 date for The Rake's Progress manuscript.

The sources used to trace the musical airs include Claude Simpson's The British Broadside Ballad and Its Music (New Brunswick: Rutgers University Press, 1966); Minnie Sears' Song Index (and Supplement) (New York: Wilson Company, 1926 and 1934); Edythe N. Backus: Catalogue of Music Printed Before 1801 (San Marino, Cal.: The Huntington Library, 1949), and William Barclay Squire, "An Index of Tunes in the Ballad-Operas," The Musical Antiquary, II (October 1910), 1-17. [18] E. V. Roberts points out that "the lack of a ballad designation for a ballad-opera air usually means that the tune in question was composed specially for that ballad opera" and that, because most "unnamed tunes were unknown outside their ballad operas," they were "neither copied nor printed, and simply do not turn up in the collections." [19] The catches in The Rake's Progress are not traceable. The numbering for songs in The Rake's Progress is my own. Airs from both plays give us some idea of the rich musical treasure English stagewriters could draw upon for theatrical offerings in the eighteenth century. [20]

THE HARLOT'S PROGRESS

Air I: "What tho I am a Country Lass" is an eighteenth century ballad by Martin Parker printed in Orpheus Calendonius; or, A Collection of Scots Songs Set to Music by W[illiam] Thomson, II (London 1733), p. 85. Its first two lines are "Although I be but a Country Lass/Yet a lofty Mind I bear-a." It was used by Theophilus Cibber (as Air XII) in his 1732 one-act version of Charles Coffey's The Devil to Pay where the transformed cobbler's wife Nell sings: "Tho late I was a Cobler's Wife,/In cottage most obscure-a" (pp. 20-21). In The Harlot's Progress, this air, sung by Madame Decoy, is clearly appropriate for seducing Kitty-Moll into the world of bawds and prostitutes, with its theme of magical change and the conquest of innocence by vice.

Air II: "Brisk Tom and Jolly Kate" is Air IX of Lacy Ryan's The Cobler's Opera (London 1729), which has tunes by Leveridge, Purcell, and others. The lyrics in Ryan's piece allude to Bridewell: "Pray; Sir, did I not give to you a Passage free/When Hemp did threaten," (pp. 14-15).

Air III: "Maggy Lawther" is a tune used by Theophilus Cibber (Air IX) in Patie and Peggy ... A Scotch Ballad Opera (London 1730), p. 10.

Air IV: "Oh! what Pleasures will abound" is Air VII of Henry Fielding's The Lottery (London 1732). Johann Pepusch composed the music for this air in collaboration with Lewis Theobald for the pantomime opera Perseus and Andromeda (1730). Fielding's name for the tune was "In Perseus and Andromeda."

Air V: "Lads a Dunce." The music is preserved in British Library Add. MS. 29371, fol. 30a, no. 45, and printed in Fielding's The Grub-Street Opera as Air II (ed. Edgar V. Roberts, Lincoln: University of Nebraska Press, 1968), p. 92. Its composer is not known.

Air VI: "Maidens fresh as a Rose" appears as Air VI in Ebenezer Forrest's ballad opera Momus turn'd fabulist; or, Vulcan's Wedding, a work translated from the French of Fuzelier and Le Grand (London 1729), p. 12. It also could be the song in D'Urfey's Wit and Mirth: or, Pills to Purge Melancholy (1719), with a slightly different title, "Maiden fresh as a Rose," though the syllabic pattern does not seem to match: "Young buxome and full of jollity,/Take no Spouse among Beaux," (I, p. 57).

THE RAKE'S PROGRESS

Airs I-III are not traceable ("From Virue's sluggish Rules be free," "Mary's Dream" and "Alteration").

Air IV: "Duett" to the tune "An Old Woman Cloathed in Gray" is the familiar first tune of John Gay's The Beggar's Opera, ed. Edgar V. Roberts (Lincoln: University of Nebraska Press, 1969), pp. 94-95.

Air V: Van Butchel's song ("See Martin dus his goods display") is not in the songbooks. Prof. Roberts suggests the lyrics could fit the music of "Lillibullero," sometimes used for songs in dialect. Henry Purcell wrote or arranged this Irish burden which was used in 12 ballad operas, including Fielding's Don Quixote in England (1733). Simpson (p. 454) gives one example in dialect: "By Creist my dear Morish vat makes de sho'shad" (ca. 1689).

Air VI: "Shelah O'Sudds" (to the tune "The Siege of Troy") is not traceable.

Air VII: "Medley. Tune, 'Petition Poor Vulcan'" is from Charles Dibdin's burletta Poor Vulcan! (London 1778) which begins: "The humble prayer and petition/Of Vulcan, who his sad condition" (I, 1, p. 7).

Air VIII: "Tune. Hunting Chorus, 'Poor Vulcan'" is the "Chorus and Air" from Dibdin's Poor Vulcan! It begins: "Blacksmith: 'Strike, strike, ton, ton ton, ron'/Huntsman: 'Sound, Sound, tan, ran, ran, tan'" (I, ii, p. 10).

Air IX: "Tune: 'Finale 1st act Poor Vulcan!'" seems to be the song "Pike; 'Pooltroon! Damnation! Zounds, unhand me;/ Either you villain, eat that word,'" (Poor Vulcan! I, p. 23).

Air X: "Medley. Tune, 'Black Joke'" is Leveridge's song of 1730. See E. V. Roberts, ed. Henry Fielding, The Grub-Street Opera (p. 105) and Charles Wood's The Author's Farce (Lincoln: University of Nebraska Press, 1966), p. 116.

Air XI: "Welcome, Brother Debtor" appears in many eighteenth-century song collections, including Henry Roberts' Calliope; or, English Harmony, a collection of ... English and Scots tunes (London, 1739-1749), p. 315.

Airs XII, XIII and XIV are not traceable.