The Project Gutenberg EBook of The Merry-Thought: or the Glass-Window and Bog-House Miscellany, by Hurlo Thrumbo (pseudonym) This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Merry-Thought: or the Glass-Window and Bog-House Miscellany Parts 2, 3 and 4 Author: Hurlo Thrumbo (pseudonym) Commentator: Maximillian E. Novak Contributor: James Roberts Release Date: February 6, 2007 [EBook #20535] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE MERRY-THOUGHT *** Produced by Louise Hope, David Starner and the Online Distributed Proofreading Team at http://www.pgdp.net
The texts cited use a variety of long and short dashes, generally with no relationship to the number of letters omitted. For this e-text, short dashes are separated, while longer dashes are connected:
D---n Molley H——ns for her Pride.
GENERAL EDITOR
David Stuart Rodes, University of California, Los Angeles
EDITORS
Charles L. Batten, University of California, Los Angeles
George Robert Guffey, University of California, Los Angeles
Maximillian E. Novak, University of California, Los Angeles
Nancy M. Shea, William Andrews Clark Memorial Library
Thomas Wright, William Andrews Clark Memorial Library
ADVISORY EDITORS
Ralph Cohen, University of Virginia
William E. Conway, William Andrews Clark Memorial Library
Vinton A. Dearing, University of California, Los Angeles
Phillip Harth, University of Wisconsin, Madison
Louis A. Landa, Princeton University
Earl Miner, Princeton University
James Sutherland, University College, London
Norman J. W. Thrower, William Andrews Clark Memorial Library
Robert Vosper, William Andrews Clark Memorial Library
John M. Wallace, University of Chicago
PUBLICATIONS MANAGER
Nancy M. Shea, William Andrews Clark Memorial Library
CORRESPONDING SECRETARY
Beverly J. Onley, William Andrews Clark Memorial Library
EDITORIAL ASSISTANT
Frances Miriam Reed, University of California, Los Angeles
In an address to the American Society for Eighteenth Century Studies at the 1983 annual meeting, Roger Lonsdale suggested that our knowledge of eighteenth-century poetry has depended heavily on what our anthologies have decided to print. For the most part modern anthologies have, in turn, drawn on collections put together at the end of the eighteenth century and the beginning of the next, when the ideal for inclusion was essentially that of “polite taste.” The obscene, the feminine, and the political were by general cultural agreement usually omitted. Lonsdale is not the only scholar questioning the basis of the canon; indeed, revisionism is fast becoming one of the more ingenious--and useful--parlor games among academics. Modern readers are no longer so squeamish about obscenity nor so uncomfortable with the purely personal lyric as were the editors at the end of the eighteenth century. And we are hardly likely to find poetry written by women objectionable on that score alone. In short, the anthologies we depend upon are out of date.
Among the works that would never have been a source of poems for the canon, and one mentioned by Lonsdale, was the collection of verse published in four parts by J. Roberts beginning in 1731, The Merry-Thought: or, the Glass-Window and Bog-House Miscellany, commonly known simply as The Bog-House Miscellany. Its contemporary reputation may be described as infamous. James Bramston, in his The Man of Taste (1733), mentioned it as an example in poetry of the very opposite of “good Taste” (ARS 171 [1975], 7). Polite taste, of course, is meaningful only if it can define itself by what it excludes, and nothing could be in worse taste than a collection of pieces written on windows, carved in tables, or inscribed on the walls of Britain’s loos.
Just as the compilers of a modern work, The Good Loo Guide, were parodying a well-known guide book to British restaurants, so the unknown authors of The Merry-Thought had some notion, however discontinuous, of parodying the nation’s polite literature. Were not Pope and Swift famous for their distinguished miscellanies? What could iv be more amusing than a collection of poems that represented a different poetic ideal--a collection of verse with none of the pretensions to artistic merit claimed by the superstars of the poetic world--the spontaneous productions of nonpoets in moments of idleness or desperation. Apparently some of the inscribers in the bog-houses used excrement as a medium for--as well as a subject of--their inscriptions. The Merry-Thought, then, is not even the kind of art that Dryden attacked in MacFlecknoe and Pope in his Dunciad--the work of bad poets masquerading as geniuses.1 Rather, it is a primitive form of folk art produced as a more or less spontaneous act of play or passion, and achieving some small degree of respectability only when practiced by a respected poet and collected with his more serious verse.2 Like modern “serial” graffiti, it could function as a form of communication since the first inscriptions often provoked those who followed to make their own contributions.
Indeed, one of the more interesting aspects of graffiti is that in an impermanent form it testifies to the continuance over the centuries of certain human concerns. Recent studies of graffiti have often focused on particular modern conflicts between races or nations, on drug problems, and on specific political commentary.3 But such local matters aside, the content of modern graffiti is surprisingly like that of earlier periods: scatological observations, laments of lovers, accusations against women for their sexual promiscuity, the repetition of “trite” poems and sayings, and messages attributed to various men and women suggesting their sexual availability and proficiency. And if the political targets have changed over the years, many of the political attitudes have remained consistent. Graffiti is an irreverent form, with strong popular and anti-establishment elements. As actions common to all classes, eating, drinking, defecation, and fornication find their lowly record in graffiti-like form.
On the most basic level, a writer will observe that the excrement of the rich differs in no way from that of the poor. Thus one poem, taken supposedly from a “Person of Quality’s Boghouse,” has the following sentiment:
Good Lord! who could think,
That such fine Folks should stink?
(Pt. 2, p. 25)
There is nothing very polite about such observations, and no pretension to art. These verses belong strictly to folklore and the sociology of literature, but they suggest some continuing rumbles of discontent against the class system, the existence among the lower orders of some of the egalitarian attitudes that survived the passing of the Lollards and the Levellers. Who were the writers of these pieces? Were they indeed laborers? Or were they from the lower part of what was called the “middle orders”? Is there some evidence to be found in the very fact that they could write?
Graffiti may, indeed, tell us something about degrees of literacy. One wit remarked that whatever the ability to read or write may have been at the time, almost everyone seemed to have been literate when presented with a bog-house wall: “Since all who come to Bog-house write” (pt. 2, p. 26). The traditional connection between defecation and writing was another comparison apparent to the commentators. One wrote:
There’s Nothing foul that we commit,
But what we write, and what we sh - t.
(Pt. 2, p. 13)
And the lack of some paper or material to clean the rear end provoked the following sentiment in the form of a litany:
From costive Stools, and hide-bound Wit,
From Bawdy Rhymes, and Hole besh - - t.
From Walls besmear’d with stinking Ordure,
By Swine who nee’r provide Bumfodder
Libera Nos----
(Pt. 4, p. 7)
Other types of graffiti, however, vary from the very earnest expression of affection to the nonexcrementally satiric. One of the more unusual is a poem in praise of a faithful and loving wife:
I kiss’d her standing,
Kiss’d her lying,
Kiss’d her in Health,
And kiss’d her dying;
viAnd when she mounts the Skies,
I’ll kiss her flying.
(Pt. 3, p. 5)
Underneath this poem, The Merry-Thought records a favorable comment on the sentiment. Even more earnest is the complaint of a woman about her fate in love:
Since cruel Fate has robb’d me of the Youth,
For whom my Heart had hoarded all its Truth,
I’ll ne’er love more, dispairing e’er to find,
Such Constancy and Truth amongst Mankind.
Feb. 18, 1725.
(Pt. 2, p. 12)
We will never know why she was unable to marry the man she truly loved; but her bitterness may have been short-lived. Just after this inscription comes a cynical comment identifying the lady as a member of the Walker family. And the writer insists that like all women she was inconstant, since he kissed her the next night.
This cynical approach to love and women dominates The Merry-Thought. Part three, for instance, contains a poem that reads like a parody of Belinda awaking in the first canto of Pope’s Rape of the Lock. The author, identified as W. Overb‑‑ry, presents a realistic morning scene without either the charms and beauties that surround Pope’s Belinda or the viciousness and focus of Swift’s similar pictures (see pt. 3, p. 26).
Prevailingly, women are depicted as sexually insatiable, as in a piece written by a man who takes a month’s vacation from sex to recoup his strength (pt. 2, p. 12). And the related image of the female with a sexual organ capable of absorbing a man plays a variation on the vagina dentata theme (e.g., pt. 2, pp. 19, 24). A drawing of a man hanging himself for love raises a considerable debate on whether such a thing can indeed occur (pt. 2, pp. 17-18). In a more realistic vein, though equally cynical, is the poem on the woman who complained of her husband making her pregnant so often:
viiA poor Woman was ill in a dangerous Case,
She lay in, and was just as some other Folks was:
By the Lord, cries She then, if my Husband e’er come,
Once again with his Will for to tickle my Bum,
I’ll storm, and I’ll swear, and I’ll run staring wild;
And yet the next Night, the Man got her with Child.
S. M. 1708.
(Pt. 2, pp. 10-11)
S. M. is clearly unsympathetic to the plight of married women in an age with only the most primitive forms of birth control.4 The picture of her as a long-suffering person is undercut by the casual male assumption that giving birth was not really dangerous and that women make too much of the pain and difficulty. That women were often forced to go through thirteen or fourteen deliveries when little thought had yet been given to creating an antiseptic environment for childbirth is apparently of little concern to S. M., who finds in the apparent willingness of the woman to have sexual intercourse one more time sufficient reason for contempt.
In addition to giving glimpses into social attitudes, The Merry-Thought has a variety of inscriptions that show the way these writings functioned. Professor George Guffey, in his introduction to the first part of this work (ARS 216 [1982], iii-iv), remarks upon the proposal scene carried on in Moll Flanders between Moll and the admirer who will prove her third husband and her brother. Such scenes involving witty proposals and responses cut into the windows of taverns were real enough at the time. The exchange in part two of The Merry-Thought is not, however, half so satisfactory. The woman takes umbrage at her admirer’s suggestions that the glass on which he writes is “the Emblem” of her mind in being “brittle, slipp’ry, [and] pois’nous,” and writes in retort:
I must confess, kind Sir, that though this Glass,
Can’t prove me brittle, it proves you an Ass.
(Pt. 2, p. 27)
Though an easy cynicism about women’s availability and about the body’s insistently animal functions predominates, there is enough variety in The Merry-Thought to provide something of a picture of eighteenth-century society were any future anthropologist viii to come upon this volume as the sole remnant of that period. He would see a society engaged rather more in animal functions than in intellectual pursuits--a society rather more concerned with drinking, love, and defecation than the picture presented by the polite and intellectual literature of the time allowed. But he would also find in the satirical squibs on Corny, the Cambridge bookseller and printer, evidence of learning and university life (pt. 2, pp. 4-6) as well as a criticism of opera (pt. 2, pp. 14-16). He would see numerous young men longing for their mistresses to soften their hearts toward them, and cynical older men who had lost their illusions about love. But he could also come upon a straight piece of philosophy taken from the still fashionable Flask tavern in Hampstead (pt. 2, p. 24) or lowly bits of pious folk wisdom (pt. 2, p. 10). More often, however, he would uncover a society in which there was little of the generalized style that characterizes even the most personal formal poetry of the period. Many of the writers identify themselves and the names of the women they love or detest. In short, if these volumes do little else, they do provide a vivid glimpse into the personal life of the time, and to that extent an injection of some of these inscriptions into the anthologies of the period might help in providing a lively and piquant context for the serious artistic production of writers like Gay and Swift.
The announced “publisher” of this olio was one Hurlothrumbo, a character drawn from the theatrical piece of that name by Samuel Johnson of Cheshire (1691-1773). Professor Guffey has proposed that James Roberts, for whom the four parts were printed, “was almost certainly the collector of the graffiti” and that the name of Hurlothrumbo was invoked in order to attract some of the attention that Samuel Johnson of Cheshire and his play were still receiving two years after the play’s first performance and publication.5 But Roberts would appear an unlikely candidate for the role of editor;6 I would suggest, rather, the possibility of a more direct and active connection with Samuel Johnson of Cheshire: that he was himself likely the compiler of the four parts of The Merry-Thought and that, whatever the individual versifiers may have intended, this infamous collection of graffiti--as collection--shares very closely with Johnson’s other work a spirit of wild variety, eccentric juxtaposition, and essential anarchism that is meant to lead, not ix to clever parody of polite literature, but to a new, almost apocalyptic vision of the sublime.
At the first level, Hurlothrumbo: Or, The Super-Natural (1729) itself appears to be quite simply a parody, in this case of opera in the form of a work mixing dialogue and song in a manner similar to but much wilder than Gay’s Beggar’s Opera. Johnson’s apparent takeoff on the heroics of opera managed to include in its attack a commentary upon the absurdity of contemporary tragedy as well as some specific references to those works that aimed at the sublime. Lines like “This World is all a Dream, an Outside, a Dunghill pav’d with Diamonds” (48) seem to call the very nature of metaphor into question, especially when juxtaposed with other delirious lines such as “Rapture is the Egg of Love, hatched by a radiant Eye” (14) or by songs such as that sung by the king on contemplating the effects of swallowing gunpowder and brandy together:
Then Lightning from the Nostrils flies.
Swift Thunder-bolts from Anus, and the Mouth will break,
With Sounds to pierce the Skies, and make the Earth to quake.
(P. 42)
Hurlothrumbo may be mostly nonsense, but from the standpoint of literary history, it is highly significant nonsense. It represented a revolt against all dramatic conventions and shared a number of qualities with graffiti, including the sense of spontaneity.
Had Johnson’s intention been something as relatively uncomplicated as literary parody he would have achieved some minor fame in a century which could boast any number of geniuses who had specialized in deriding the pretentiousness of the more established literary forms, particularly tragedy, the epic, and the pastoral. But Johnson of Cheshire lacked the aesthetic distance required of sustained irony and had a grander purpose in mind. His tradition was not that of the parodist but rather that of the visionary--the mystic whose tendency is to merge the high and the low, the sublime and the absurd, within a single work.7 He was not attacking the extravagant rants of the heroic play as Fielding was to do in his Tragedy of Tragedies (1731) or reflecting on opera and pastoral as Gay had done in The Beggar’s Opera (1728); rather he was trying, however unsuccessfully, to maintain his own work at the highest reaches of sublimity. He was like one of Pope’s “Flying Fishes,” who “now and then rise x upon their fins and fly out of the Profound; but their wings are soon dry, and they drop down to the bottom.”8
In his preface to The Blazing Comet; or the Beauties of the Poets (1732), Johnson of Cheshire noted that “the same thought that makes the Fool laugh, may make the wise Man sigh” (ix). Given such an equivocal approach to the ways in which the audience responded to his work, the poet could easily shrug off audience laughter to his most “Sublime” lines. He was always ready “to leap up in Extasy; and dip ... [his] Pen in the Sun” (iv). Parts of Hurlothrumbo, particularly the scene between Lady Flame and Wildfire (both of whom are described in the list of characters as “mad”) in which Wildfire threatens to cast off his clothes and “run about stark naked” (48), bear an odd resemblance to “The King’s Cameleopard” in Huckleberry Finn. But the disconnected verbal structure, along with the music and dancing, achieves a strange mixture that must have amused and, to a certain extent, bemused its audience.
Johnson called upon “Variety” as his most important artistic principle, and he developed his ideas on this subject in A Vision of Heaven (1738), a work which bears a striking resemblance to William Blake’s The Marriage of Heaven and Hell.9 Johnson argues that all surface appearances are merely a form of “Hieroglyphic” concealing a true vision of things (6). His narrator is capable of what Blake was to call “mental flight,” and there is a particularly vivid passage in which the stars are seen as throwing down “freezing Daggers” at the poor starving children in the streets and another in which we encounter an aged woman who wields a broom against spiders and against all the young women who threaten to come near the narrator (26).10 The mystic temperament is often capable of making connections between the spiritual and the excremental,11 between the sublime and the bathos of “Thunder-bolts from Anus.” Blake, we should recall, has poems depicting himself defecating.12
Whether Johnson actually collected The Merry-Thought or not, the reasons for the association of these volumes with his name should then be clear enough. While Fielding might appropriate the title “Scriblerus Secundus” by way of staking out a line of descent for his humor and satire, Hurlothrumbo was so thoroughly connected with Johnson and his play that I can see no reason why he should not be considered the likely editor of such a varied and eccentric collection of verse and prose as The Merry-Thought. That the “Variety” bears no xi resemblance to that of serious art, however, should be as obvious as the difference between a William Blake and a Samuel Johnson of Cheshire. As William Hogarth was to remark, “variety uncomposed, and without design is confusion and deformity.”13
Of course, miscellanies by their very nature are likely to be organized according to principles of variety. What makes The Merry-Thought different from those appealing to polite taste is the wide swings of emotion that prompt the writers of these poems and catch the compiler’s fancy. As we have seen, the verses themselves vary from the grossest comments on shit to the most passionate expressions of love. That the one is likely to appear on the walls of latrines and the other to be cut in glass by a diamond is part of what Johnson would have called the “Hieroglyphic” significance of this collection. In Johnson’s plays, there is the odd mixture of vulgarity and sublimity, the comic and the serious, the satirical and the nonsensical. If his dramas bear a resemblance to Jarry’s Ubu Roi, so The Merry-Thought resembles the kind of anthology that Jarry might have put together to illustrate the absurd anarchy of the human spirit. Johnson, on the other hand, regarded this seeming anarchy of human thoughts and feelings optimistically as an emblem of human spirituality.
University of California,
Los Angeles
xii1. On the other hand, the willingness of publishers to bring out such material would have suited well enough with Pope’s picture of their heroic games. See Alexander Pope, The Dunciad, ed. James Sutherland, Twickenham Edition, 2d ed., rev. (London: Methuen, 1953), 297-306, bk 2, lines 17-220.
2. See, for example, W. H. Auden’s “Academic Graffiti,” in Collected Poems, ed. Edward Mendelsohn (London: Faber and Faber, 1976), 510-18. Such a verse as the following is more clever than most graffiti, but like ordinary graffiti it remains essentially “unpoetic”: “Lord Byron / Once succumbed to a Siren. / His flesh was weak, / Hers Greek.”
3. See, for example, Elizabeth Wales and Barbara Brewer, “Graffiti in the 1970’s,” Journal of Social Psychology 99 (1976): 115-23.
4. For an account of the horrors associated with childbirth, see Lawrence Stone, The Family, Sex, and Marriage in England, 1500-1800 (New York: Harper and Row, 1977), 79-80.
5. See ARS 216, x, n. 12. Professor Guffey offers parallels between The Merry-Thought and Hurlothrumbo in “Graffiti, Hurlo Thrumbo, and the Other Samuel Johnson,” Forum: A Journal of the Humanities and Fine Arts 17 (1979): 35-47.
6. Michael Treadwell has demonstrated that the “trade publishers” of the eighteenth century, such as James Roberts, acted almost exclusively as binders and distributors of books and were therefore different in kind from the printers and booksellers, who were directly involved in the selection and production process. Roberts and the other “trade publishers” dealt almost exclusively in “works belonging to others,” and Treadwell singles out Roberts as the purest example. Despite putting his name to “literally thousands of works,” he never purchased any of the copyrights on works during his long career. See “London Trade Publishers, 1675-1750,” Library, 6th ser., 4 (1982): 99-134.
7. See Martin Pops, “The Metamorphosis of Shit,” Salmagundi 56 (1982): 27-61.
8. Alexander Pope, Peri Bathous, in Literary Criticism of Alexander Pope, ed. Bertrand A. Goldgar (Lincoln: University of Nebraska Press, 1965), 54.
9. Without suggesting that Blake may have known of Johnson’s work, I would nevertheless note the similarity of certain sections. Like Blake, Johnson mingled comedy and satire in his vision.
xiii10. Compare Blake’s “The Mental Traveler,” The Poetry and Prose of William Blake, ed. David Erdman and Harold Bloom (Garden City, N.Y.: Doubleday, 1970), 476-77.
11. See Pops, 31.
12. Blake, Poetry and Prose, 491.
13. The Analysis of Beauty, ed. Joseph Burke (Oxford: Clarendon Press, 1955), 35.
Part 2 (“The SECOND EDITION”) and Part 3 of The Merry-Thought are reproduced in photographic facsimile from the copies in the William Andrews Clark Memorial Library (Shelf Mark: *PR1195/H8H9/1731). They are bound together with Part 1 (“the Third Edition; with very Large Additions and Alterations”), which was published as ARS 216 in 1982. A typical type page (pt. 2. p. 7) measures 154 x 87 mm. Part 4 is reproduced from the copy in the Bodleian Library, Oxford (Shelf Mark: Douce T. 168[5]).
The Original Manuscripts written in Diamond by Persons of the first Rank and Figure in Great Britain; relating to Love, Matrimony, Drunkenness, Sobriety, Ranting, Scandal, Politicks, Gaming, and many other Subjects, Serious and Comical.
Faithfully Transcribed from the Drinking-Glasses and Windows in the several noted Taverns, Inns, and other Publick Places in this Nation. Amongst which are inserted several curious Pieces from both Universities.
Gameyorum, Wildum, Gorum,
Gameyorum a Gamy,
Flumarum a Flumarum,
A Rigdum Bollarum
A Rigdum, for a little Gamey.
Bethleham-Wall, Moor-Fields.
N. B. The Editor returns his hearty Thanks to those Gentlemen who have favoured him with their Letters, and intreats that they will be so good as to continue to communicate whatever they shall meet with of this Kind to the Publisher.
You will pardon the Editor that he does not put Things better in Order; but he is so engaged in reading the Letters sent him in from the two Universities, after the Publication of the First Part, that he believes the Preface is in the Middle of the Book; but I dare swear you’ll find it somewhere or other, and so read on.
Ye Cantabs mind when ye are sh--t--ng,
How nearly ’tis allied to Writing.
——To Writing, say you? ——pray how so?
An uncouth Simile, I trow.
2——Hold, pray —— Condemn it not untry’d;
Hear only how it is apply’d.
As learned Johnian wracks his Brain——
Thinks, ——hems, ——looks wise, ——then thinks again;——
When all this Preparation’s done,
The mighty Product is —— a Pun.
So some with direful strange Grimaces,
Within this Dome distort their Faces;
Strain, ——squeeze, ——yet loth for to depart,
Again they strain—for what? a Fart.
Hence Cantabs take this moral Trite,
’Gainst Nature, if ye think or sh--te;
Use all the Labour, all the Art,
’Twill ne’er exceed a Pun, or Fart.
Coquets will always merry prove;
But Prudes are those give down their love;
And love and move, and move to love.
A Prude for my Money, by G--d.
3 B2I.
Thou pretty little fluttering Thing,
That mak’st this gaudy Shew;
Thou senseless Mimick of a Man,
Thou Being, call’d a Beau.
II.
Like me thou art an empty Form,
Like me alone, thou’rt made;
Like me delusive seem’st a Man,
But only art a Shade.
Is Molly Fr—— immortal? ——No.
She is; and I will prove her so.
She’s fifteen now, and was, I know,
Fifteen, full fifteen Years ago.
The Fates from Heaven late came Post;
And thus address’d this Cambridge Toast.
4Say happy Maid that can detain
Old hoary Time in fetter’d Chain,
What wouldst thou have to set him free,
And give thy captive Liberty?
Miss Molly call’d Mamma aside,
—— Whisper’d awhile, then thus reply’d;
Upon my Life, all I would have
From Victor is to be a Slave;
I’ll soon untie this Captive’s Hands;
—— Tie me but fast in Hymen’s Bands.
At Home Miss Molly’s scarce fifteen.
Mamma says she’s no more;
But if the Parish-Book says true,
Miss Molly’s thirty four.
Poor Miss Molly!
Ye longing Sophs, say it who can,
That Corny’s not a learned Man.
He knows well each Edition, Sir,
Of Aldus, and of Elzevir;
Of Beza he profoundly reasons,
And talks jocose of Harry Stephens.
Though (says a Wag) all this I grant,
Yet Corny sure must Learning want.
5How so? ——It’s plain, (if that we may
B’lieve what Men of themselves do say,)
For Corny’s openly* confess’d.
He’s but a Blockhead at the best.
* Corny, in Printing a Latin Book, censur’d by the University, was forced to plead Ignoramus to save his Bacon.
Within this learn’d Receptacle of Arts,
Corny, if ask’d, on each can shew his Parts;
Alike a Newton, or a Ratcliffe prove;
A Coke in Law——an Etheridge in Love.—
Reason profound——in Hist’ry state each Fact,
Teach† London how to think, or Walpole how to act.
O say from whence should all this Learning come.——
From whence?——from each dead Sage around the Room.
If Corny thence his Fund of Learning draws,
How great his Skill in Politicks or Laws? ——
How deeply read? —— how vast his learned Store? ——
—— When —— past the Title, all his Learning’s o’er.
† Bishop.
6Is Corny’s Learning much; my Friends;
Since where it does begin, —— it ends?
As glass obdurate no Impression takes,
But what the radiant piercing Diamond makes;
Just so my Heart all other Pow’rs defies,
But those of fair Venilla’s brilliant Eyes.
Brunetta, I grant you, can give her Swain Death;
But ’tis not with her Eyes, but with her--ill Breath.
Come hither, Barristers of Dress,
That once your Lips may meet Success:
From Rufus’ filthy Hall withdraw;
Here only ye can live by Law.
What fly from her Eyes, and the Place whither I
Must soon be convey’d to, unless she comply,
Is the Name of the Beauty for whom I could die.
N. B. Darts and Shafts fly from her Eyes, and if one dies, one must be bury’d.
7What opens a Door, and a Word of Offence,
Tell the Name of a Nymph of Wit, Beauty, and Sense.
For dear Venilla in my Arms,
I’d scorn all other female Charms;
Ten thousand Beauties she can spare,
And still be Fairest of the Fair.
Like Mars I’ll fight, like Antony I’ll love,
I’ll drink like Bacchus, and I’ll whore like Jove.
This Dance foretells that Couple’s Life,
Who mean to dance as Man and Wife;
As here, they’ll first with Vigour set,
Give Hands, and turn whene’er they meet;
But soon will quit their former Track,
Cast off and end in Back to Back.
8’Tis hard! ’tis wonderous hard!
That the Life of a Man
Should be but a Span,
And that of a Woman a Yard!
Here Time is bought and sold: ’Tis plain, my Friend,
My Clocks and Watches shew what I intend;
For you I Time correct,
My Time I spend;
By Time I live,
But not one Inch will lend,
Except you pay the ready down or send:
I trust no Time,
Unless the Times do mend.
The Wretched pray to make more Haste,
The Happy say we fly too fast;
Therefore impossible to know,
Whether I go too fast or slow.
Arra, now what signifies the making the two great Lights?
The Sun to light the Day, and the Moons to light the Nights:
9 CFor the Sun in the Day-Time there is no Occasion,
Because I can see very well after my Persuasion:
But for the Moons, they are very good in a dark Night,
Because when we cannot see they give us a Light.
Rail at your Father, rail at your Mother,
Rail at your Sister, rail at your Brother,
Rail on, my Boys, and rail at one another.
Rail as you say, and you’ll be all railed in.
In vain poor sable Son of Woe,
Thou seek’st a tender Ear;
In vain thy Tears with Anguish flow,
For Mercy dwells not here:
From Cannibals thou fly’st in vain,
Lawyers less Quarter give;
The first won’t eat you till you’re slain,
The last will do’t alive.
I am a Dog ——
In true Fidelity
I am a Sun ——
In faithful Constancy:
10I am a Stote, ——
To please a lustful Lass;
I am a Hog, ——
And you may kiss my A——se.
But if my Celia comes within my Ken;
Then I shall be again like other Men.
My Wife says, Whither do you go?
And I return, my dear, I do not know;
Then d——n your Blood, says she, to use me thus;
And then I call her catterwauling Puss.
A Ramp of very noted Name,
I need not say, for all Men know her Fame,
Lascivious, as the human Race could be,
She could not see a Man, but fell in Extasy.
I die to live,
I live to die,
And hope to live eternally.
A poor Woman was ill in a dangerous Case,
She lay in, and was just as some other Folks was:
By the Lord, cries She then, if my Husband e’er come,
Once again with his Will for to tickle my Bum,
11 C2I’ll storm, and I’ll swear, and I’ll run staring wild;
And yet the next Night, the Man got her with Child.
What care I for Mistress May’ress;
She’s little as the Queen of Fairies:
Her little Body like my Thumb,
Is thicker far than other some;
Her Conscience yet would stretch so wide;
Either on this, or t’other Side,
That none could tell when they did ride.
Swim for thy Life, dear Boy, for I can feel neither Bottom nor Sides.
I become all Things to all Men, to gain some, or I must have starved.
Molly the gay, the black, the friskey,
Would kiss like any wanton Gipsey;
Nor was her Mouth alone the Case,
A Man of Worth might kiss her A——se.
12I’ve now a Coach and Six before me,
Each female court’sies to adore me:
But from my dearest I can’t part,
Without returning her my Heart:
Tell her I am gone a Month or longer,
While she may gain more Love, and I grow stronger.
I’ll drink like Bacchus, and I’ll fight like Mars,
The Kind I’ll love, the Cross may kiss my A--se.
Since cruel Fate has robb’d me of the Youth,
For whom my Heart had hoarded all its Truth,
I’ll ne’er love more, dispairing e’er to find,
Such Constancy and Truth amongst Mankind.
I kiss’d her the next Night, and she’s one of the Walkers Family.
O mortal Man that’s made of Clay,
Is here to-Morrow, and is gone to Day.
13There’s Nothing foul that we commit,
But what we write, and what we sh--t.
Wer’t not for Whims, Candles, and Carrots
Young Fellows Things might ride in Chariots.
Heaven for all those Helps to Nature,
Or else poor P—— could get no Quarter.
We shall B in better Q,
When U have I, and I have U.
Old Orpheus tickled his Harp so well,
That he tickled Eurydice out of Hell,
With a Twing come Twang, and a Twing come Twang; but,
Some say Euridice was a Scold
Therefore the Devil of her took hold,
With a Twing come Twang, &c.
14If my Wife had been e’er in the Devil’s Hands,
You know it would loose all other Bands,
And I should been pleased with House and Lands.
From a Paper found in the Street at Twelve at Night, 1708. near Covent-Garden. Argument concerning a Greek Opera that was to have been set on Foot, when People liked to see and hear Operas first in Italian.
As Languages are introduced among us Christian People daily that we do not understand, by Way of Italian Opera, &c. why may we not entertain the Publick with a little Greek, as natural as Pigs squeak.—
And for Latin, ’tis no more dificile,
Than for a Blackbird ’tis to whistle.
I love dearly to quote my Authors.
I have been with both the Play-Houses, and one says d——n it, it won’t do; and t’other says, Z——ds it will not take; then says I to myself, I’ll have a Greek Opera, by G‑‑d; and with this Resolution I set about it, and made a Specimen, and 15 so went with it in a Chair to the Opera-House, to give it the better Grace. But that would not do neither; for one did not understand Greek; nor t’other did not understand Greek; and Italian was all in Vogue: And I did not understand that; and so we could make no Bargain, and I returned Home.
Z——ds, thinks I, if I don’t understand their barbarous Language, must I let them have any Thing of my ancient Language? No, Messieurs! I’ll let my Opera remain in its Infancy, and you shall curse yourselves before you have it compleat; but that you shall know what Fools you have been, I’ll stick a Needle through my Nose, that you may look sharp; and then you will say, why did not US take it, for in the first Scene I saw all the Audience laugh. But to the Point, i.e. the second Preamble or Argument,
Scene is the City of Athens, and an old Woman lives in a hollow Tree, where she sells Gin and Gingerbread to the Grenadiers; her Name is Gammer Hocus. Then there comes a Goddess, who sells Butter and Eggs at Athens Market, upon her Uncle’s bald Mare; and as the Mare is a stumbling Jade, so she falls down before Hocus’s Tree, and hurts her Rump, and then we begin.
N. B. When the Goddess Cinderaxan falls down before Gammer Hocus’s Door, or Tree, she begins in Ricitativo——Greek Fashion.
16O! mega mar, hocus the baldmare has cantedme ontoss;
* Phillàdram sukami, some Spirit offerme to suckon.
Dear Hokey behasty, forbum sufferssore by a Thumpon’t;
No baldmare my Gammon shall contuseagain by one moretoss.
* Fill.
English’d thus for the Benefit of the Ladies, though ’tis much the same in the Greek.
O my Gammer Hocus, the bald Mare has canted me one Toss;
Fill a Dram, sick am I, some Spirit offer me to suck on.
Dear Hokey be hasty, for Bum suffers sore by a Thump on’t.
No bald Mare my Gammon shall contuse again by one more Toss.
Then out comes Gammer Hocus, when the Goddess had called for a Dram in the second Line, and sings with an Air, seeing her Goddessship as dirty as the Devil.
Cinderaxan’s sablehew’d Aspect,——
Fulloffun, though the Doxey can seemcoy.
And here we leave off. Is not the Devil in the People, that they will not encourage a good Thing, when they have it before them.
17 DCommodious for a Haven made,
Under a rising Bank,
Nature has fix’d a Place of Trade,
To Men of any Rank.
Riddle my ree, &c.
And read the four first Letters, and you’ll see.
18
The Occasion of this dangling Story, was from a Lady who hated him, and set him about it.
Go hang thyself, quoth cruel She,
Go hang thyself I say.
The Man obey’d her presently,
And made himself away.
The Criticks do not make out whether he walk’d off, or went off, neither does the Figure determine which.
Hang me, if I will hang for any Woman,
For most of them alike are very common;
I’d sooner trudge as I have done before,
Than hang upon a d——d confounded Whore.
No Matter if the Man is longer than the Gallows,
He smokes and drinks his Glass like honest Fellows.
Nanny Sach——l is all my Toast;
She’s all I wish for, and is all my Boast.
Help me, ye Pow’rs, to sing my Sylvia’s Praise;
Nor P--pe nor Sw--ft can do it now a-days.
But you, nor I, or them, can ever boast,
There ever was in Europe such a Toast;
All we can say, is, Lucy rules the Roast.
19 D2A d---d confounded Bitch,
Ugly and cunning as a Witch.
Her Bill shall be preferr’d by Law;
The House we wish we’d never saw.
One Pound five and ten Pence;
Grant her Repentance;
We’ll never come here again;
And let her alone remain.
I do not complain of my Phillis,
Because I know what her proud Will is;
For I know how she’ll rant,
And I know what I want;
G--d d---n her old Aunt;
I stand here, and wait for her, That still is.
Dolly, with Beauty and Art,
Has so hemm’d in my Heart,
That I cannot resist the Charm.
In Revenge I will stitch
Up the Hole near her Breach,
With a Needle as long as my Arm.
20What the Devil should we meddle
With diddle daddle, fiddle faddle;
We shall lose the Girls that please;
Go to Bed, and take your Ease.
I know they’ll ease you both, for I have been aboard of them.
I shall tell best at the next Meeting:
The Proof of the Pudding is in the eating.
Use me friendly, use me kind;
I’ll be the kindest of my Sex;
I’ll love, be constant, and you’ll find,
I’ll be your own in Middlesex.
Take care you keep her Country to yourself.
21I watch and pray for dearest Nancy,
Because I always love her Fancy;
But then there comes,
Like Bailiff Bums,
The Watch with Lights we can see;
And then she’ll pray,
And I must pay,
And retreat as clean as a Tansey.
For Money one may whore,
And I’ll say no more.——
I am a young Thing, just come from my Mammy.
Then you want to be kiss’d, G--d d---n ye.
If Virtue rules the Minds of Women,
They’ll never let you touch their Linnen;
But if they are not Virtue Proof,
Then you may kiss them oft enough.
22Molley came up to Town precise,
Demure, yet fire in her Eyes;
So did she look confounded civil;
With Grace and Beauty like a Devil;
But soon her Eyes drew in some Hearts,
And some Things else like Cupid’s Darts,
Which gave her Pains, and many Smarts.
Thou Puppy, ——
The Fire of her Eyes occasioned the Flame of her Heart,
And drew the Fire to her lower Part.
After a tedious Journey, and my Supper,
And dam——d uneasy with my Crupper,
Jenney came up to warm my Bed,
A pretty Girl; but I was dead,
Or else I’d had her Maidenhead.
Who’s been here,
The Devil I fear;
For he’s left the Bottles clear.
’Twas so; for nothing so like the Devil as an empty Bottle.
23If a Man should breathe backwards, and happens to stink,
You may say, if you will, it is natural Instinct.
You may quibble upon the Word Instinct, if you will; but I think ’tis better out than in, considering the Case.
Grant us good lusty Men, ye gracious Pow’rs!
Or else stop up those craving Things of ours!
Good Bread and Meat, strong Beer withal,
Will make a T d more lasting;
Therefore I think he is a Fool,
That goes out in a Morning fasting.
We suppose he wants to eternize his Memory by eating a Breakfast.
24When I lay with my bouncing Nell,
I gave her an Inch, and she took an Ell:
But I think in this Case it was damnable hard,
When I gave her an Inch, she’d want more than a Yard.
Nothing so certain as the Uncertainties of this Life, says one of the Greek Philosophers.
What Difference between Kings T---ds and mine?
One may be costive, one be full of Slime;
Yet equally will any Hog that feeds,
Produce good Pork by feeding on our Needs.
You nasty Dog, you may eat your Pork yourself.
Tell me why, ye gen’rous Swains?
Tell me, ye Nymphs upon the Plains?
Why does Sylvia leave the Green?
Has she done any Thing obscene?
They all reply’d, Your Sylvia’s gone;
For she will do’t with ev’ry one.
She that thinks upon her Honour,
Needs no other Guard upon her.
25 EShe that has a Man upon her,
Never thinks upon her Honour.
You who instead of Fodder, Fingers use,
Pray lick ’em clean, and don’t this Wall abuse.
These House-of-Office Poets, by the L---d,
Instead of Laurel, should be crown’d with T---d.
Host! wou’d you paint your Crosses to the Life,
Pull down your Sign, and then hang up your Wife.
The Breast of ev’ry British Fair,
Like this bright, brittle, slippery Glass,
A Diamond makes Impression there,
Though on the Finger of an Ass.
Good Lord! who could think,
That such fine Folks should stink?
26Love is like Blindman’s Buff, where we pursue,
We know not what we catch, we know not who;
And when we grasp our Wish, what Prize is won?
Our Eyes are open’d, and the Play is done.
Good grave Papa, you hope in vain,
By blotting this to mend her;
She who writes Love upon the Pane,
Will soon leap out at Window.
Well sung of Yore, a Bard of Wit,
That some Folks read, but all Folks sh---t;
But now the Case is alter’d quite,
Since all who come to Boghouse write.
Because they cannot eat, some Authors write;
And some, it seems, because they cannot sh--te.
The stubborn Glass no Character receives,
Except the Stamp the piercing Brilliant gives.
A female Heart thus no Impression takes,
But what the Lover tipp’d with Diamond makes.
27Dear Pat, ’tis vain to patch or paint,
Since still a fragrant Breath you want;
For though well furnish’d, yet all Folks
Despise a Room whose Chimney smokes.
Parody of four Lines of Dryden.
Glass with a Diamond does our Wit betray;
Who can write sure on that smooth slippery Way?
Pleas’d with our scribling we cut swiftly on,
And see the Nonsense, which we cannot shun.
Both mine and Women’s Fate you’ll judge from hence ill,
That we are pierc’d by ev’ry Coxcomb’s Pencil.
This Glass, my Fair’s the Emblem of your Mind,
Which brittle, slipp’ry, pois’nous oft we find.
I must confess, kind Sir, that though this Glass,
Can’t prove me brittle, it proves you an Ass.
28O ye Powers above!
Who of Mortals take Care,
Make Women less cruel,
More fond, or less fair.
Was Helen half so fair, so form’d for Joy,
Well fought the Trojan, and well burnt was Troy.
The Original Manuscripts written in Diamond by Persons of the first Rank and Figure in Great Britain; relating to Love, Matrimony, Drunkenness, Sobriety, Ranting, Scandal, Politicks, Gaming, and many other Subjects, Serious and Comical.
Faithfully Transcribed from the Drinking-Glasses and Windows in the several noted Taverns, Inns, and other Publick Places in this Nation. Amongst which are intermixed the Lucubrations of the polite Part of the World, written upon Walls in Bog-houses, &c.
Gameyorum, Wildum, Gorum,
Gameyorum a Gamy,
Flumarum a Flumarum,
A Rigdum Bollarum
A Rigdum, for a little Gamey.
Bethlehem-Wall, Moor-Fields.
This is purposely to acknowledge the Obligations I owe to several Gentlemen, who have shewn their Esteem of the Merry Thought, in the large Collections they have communicated before the Holidays: For who knows, but many of their Pieces might have been lost, by the Effects of Wine, Punch, and strong Beer, in the Christmas Time; or by a Game at Ramps, or Blind-Man’s-Buff; or unlucky Boys; or the sticking the Windows with Holley and Ivy: All these Hazards did we run of having many curious Pieces destroy’d, and bury’d in Oblivion. And then again, the Cleaning the Windows against the Holidays might have endanger’d the Loss of many of these brittle Leaves of Wit and Learning. But now, we may sing Old Rose, since a large Cargoe is already arriv’d safe at the Press. In order for a third Part, I have myself taken Care to visit most of the Glasiers in Town where I just came Time enough to save some few Scraps of Wit; and have bribed a great Number of Football-Players, not to use that Diversion near some particular Places about this Great City, where many curious Epigrams, Sonnets, and Whims, are at present uncopy’d; and if they should escape a few Days longer, will make a fourth Volume, with the kind Assistance of those Correspondents who have sent me promissory Notes for the Delivery of certain Parcels of such Wit, on or about the Twenty-fifth of this Instant January. I remain, Gentlemen, after hoping you are in good Health, as I am at this present Writing, and wishing you all many happy Years,
Mr. BOG,
The following Miscellanea Curiosa you may either insert in your third Part, or use them for your latter Part; which you please.
W——s lay at the Angel in Marlborough Town,
And an Angel lay with him all Night:
He tipp’d her an Angel before she lay down,
Which you know was but decent and right.
But an Angel of Darkness she prov’d to be sure;
For scarce twenty Angels would pay for his Cure.
The Puddings are so good in Sandy-Lane,
That if I chance to go that Way again,
I’ll not be satisfy’d, unless I’ve twain,
The one stuck thick with Plumbs, the other plain.
2Upon the Ground he spread his Cloak;
The Nymph she was not shy, Sir;
And there they fairly did the Joke,
Whilst through this Crack peep’d I, Sir.
Mr. Pimp, had I known your Worship was there,
Which I no more dreamt of, than sleeping,
When once I’d dispatch’d my Affair with the Fair,
By G——d, you’d paid dear for your Peeping.
The Drawer, Tom, has scarce forgot,
Since I was here last Easter;
I broke his Head with the Pewter Pot,
And gave him not a Teaster.
But why, d’ye think, I serv’d him so?
What Flesh alive could bear it?
I’d call’d a dozen Times, I trow,
Yet the Dog would bring no Claret.
This Discipline was not in vain,
For h’as his Manners mended;
I’ve been here twenty Times since then,
And always well attended.
3 B2How says the Proverb, can it e’er be thought,
What’s bred i’th’ Bone can out o’the Flesh be brought:
Her Mother kiss’d with every one, and Moll does plainly shew her;
For Molly kind is kiss’d by none, but only all that know her.
As dear N——y B——k look’d into the Street,
From this Window where now I am musing,
I poop’d her behind, but no Body see’t,
And she prov’d ne’er the worse for my using.
Ungrateful Wretch, thou’rt scarcely fit to live,
Much less such Favours worthy to receive.
A greater Curse than leading Apes in Hell,
The Fool deserves, that dares to kiss and tell.
Dear Madam, pray dont let your Anger abound,
For Faith what you’ve wrote has no Charm in’t;
You often have try’d me, and know I am sound,
Then prithee now where was the Harm in’t?
You did me a favour, I did you one too,
And, if I’m not mistaken, a greater;
I’ll swear I can’t love the Sport better than you,
So pray say no more of the Matter.
4Reader,
Within this Place two Ways I’ve been delighted;
For here I’ve s——, and likewise here have sh——d.
They both are healthful, Nature’s Ease require ’em
And though you grin, I fancy you desire ’em.
What Beast alive, could bear to s——
In such a filthy Hole as this is;
The nauseous Stink, might, one would think,
Disturb his Taste for amorous Kisses.
This was wrote by some Beau, the Fop you may know,
His squeamish Exception would make one believe it;
Though the Smell where we sh——t, is not grateful a Bit,
Yet I ne’er knew a C——y that favour’d of Civet.
Knowledge, thou Darling of the Soul,
Be thou my Help-Mate o’er a flowing Bowl;
Then will my Time slide easily along,
And ev’ry gen’rous Mortal grace our Song.
5D——n your Knowledge, says Captain Blunt, swear, drink, and smoke, and you’re an honest Fellow.
Peggy came in with a smiling Face,
And every Feature had its Grace:
Her Cheeks were blooming, as I’d wish to see;
Her something else above her Knee,
Fill’d all my Mind with Extasy;
And so we went to’t.
I kiss’d her standing,
Kiss’d her lying,
Kiss’d her in Health,
And kiss’d her dying;
And when she mounts the Skies,
I’ll kiss her flying.
Well said, my Boy.
Debauch’d by Henry Rig,
Who gave me a Jigg,
But not one Grigg:
Howe’er he ran his Rigg.
6But if ever I touch a Man again,
Unless in Matrimonial Chain,
I’ll rather suffer craving Pain,
I think; ——
—— Or take it once again.
For t’has set me a longing.
Give me the Lass who has a Taste of Love;
She I will kiss luxuriously, by Jove;
But when I meet a Woman’s cold Embrace,
She baulks my Love; and she may kiss my A--se.
Bright is my Silvia, when she’s drest;
When naked, cloath’d with wond’rous Charms:
Her Mein has oft my Heart opprest;
Her Nakedness I have possest;
And by the last I am distrest,
By the Embraces of her Arms.
What can we Mortals say of Love?
Why? ’Tis the Pleasure of the Gods above:
But then, if Cl-ps proceed from Love,
How hot are all the Gods and Goddesses above!
A fine Reward, for Love for Love!
Avoid the Thunder-Cl‑ps, and After-Cl‑ps, says Jove.
7O Death! thou pleasing End of human Woe!
Thou Cure of Life, thou best of Things below!
May’st thou for ever shun the Coward Slave,
And thy soft Slumbers only ease the Brave!
My Good or Ill in her alone is found,
And in that Thought all other Cares are drown’d.
Have you not in a Chimney seen
A sullen Faggot, wet and green,
How coyly it receives the Heat,
And at both Ends doth fume and sweat;
So fares it with the harmless Maid
When first upon her Back she’s laid.
But the kind experienc’d Dame
Cracks and rejoices in the Flame.
Shadrack, Mashac, and Abednego:
If Shadrac had a Fever and Ague,
Then read in English,
Shadrack may shake, and a bed may go.
8What Lacing,
What Dressing,
What Moulding,
What Scolding,
What Painting,
What Fainting,
What Loving,
What Shoving,
What Cooing,
What Wooing,
What Crosses,
What Tosses,
What Actions,
What Fractions,
Before the Day was done.
My Dear, like a Candle,
Lights every one’s Handle,
Yet loses no Bit of her own:
She will piss, and she’ll kiss
Until every one hiss,
And she better had stay’d at Home.
As she lost nothing by it, she may still remain a Light to the World.
A Toast is like a Sot,
Or what is most
Comparable —— a Sot,
—— Is like a Toast;
9 CFor When their Substance
In the Liquor sink,
Both properly are said
To be in Drink.
Calami hujus Etatis
Sunt hujus Etatis calamitates.
At the Foot of a Bed where a Woman lay dying,
A Parcel of Gossips in Council were sat;
And instead of good Prayers, condoling and crying,
A Thing was the Subject of all the Debate.
One wish’d for a thick one, and swore ’twas the best,
Altho’ ’twere as short to the full as her Snout;
But a small One procur’d the Applause of the rest,
Provided in Length the Defect were made out.
Hold, quoth the sick Sister, you are all in the Wrong,
So I’ll in a Case of this Weight to decide,
Heav’n send me at once both the Thick and the Long;
So closing her pious Petition, she dy’d.
Bone and Skin,
Two Millers thin,
Would grind this Town and Places near it:
10But be it known
To Skin and Bone,
That Flesh and Blood won’t bear it.
If Death doth come as soon as Breath departs;
Then he must often die, who often farts:
And if to die be but to lose one’s Breath;
Then Death’s a Fart, and so a Fart for Death.
Heer is good Liker
Ov awl Quinds toby sould,
And sevile Yewzitch.
The Learned have examin’d the above Inscription: Some took it for Gibberish; others for Welch; and some for one of the Eastern Languages; but a Gentlewoman of extraordinary Knowledge in this cramp Way of Writing, tells us, it must be read thus, in English:
Here is good Liquor
Of all Kinds to be sold,
And civil Usage.
And so we believe it was meant; for it is allow’d by all, that some few of the fair Sex can explain bad Sense and bad Spelling, even better than most of the Heads of the Universities.
11 C2Anger may glance into the Breast of wise Men:
But it rests in the Bosom of Fools.
True Friendship multiplies our Joys;
It mends our Griefs, and makes them light as Toys.
All that we know of what is done above,
Is, that the Blessed sing, and that they love.
Amasser en Saison,
Dispenser par Raison,
Et vous aurez une bonne Maison.
The Cook, confound her, boil’d no Roots;
The Hostler never clean’d my Boots;
The Tapster too, would hardly stir;
The Drawer was a lazy Cur;
The Chamberlain had made no Bed;
The Host had Maggots in his Head:
But Millicent, who kept the Bar,
Was worse than all the rest by far;
She was as many others are.
12I kiss’d her till she had her Fill,
I thought it Love, and with her Will.
But then —— —— ——
She made a da——n’d confounded Bill.
See the Bill Gentlemen.
Thrice was I reckon’d for my Meat;
Thrice was I reckon’d for Miss Milly’s treat;
Thrice was I reckon’d for my dirty Boots;
Thrice was I reckon’d for not having Roots;
Thrice was I reckon’d by the lazy Fellows;
And thrice I swore, I wish’d them at the Gallows;
And if I come here any more,
Then call me a Son of a Whore.
O Quelle Grand Traison!
Les Couillions que je porte
Lors que leur Maître est en prison
Ces Gallans d’ausant a la porte.
N. B. This is not render’d into English, but ’tis Ingratitude enough for two Servants, that have been well entertained a long while by their Master, should dance about a Prison Door, while their Master is in it.
Come hither, dearest, sweetest Turtle-Dove;
You are my Goddess.—You alone I love.
13At Night, whene’er I close my Eyes to Rest,
I dream of laying in your snow-white Breast.
But oft oppress’d with Grief and pensive Care,
I to enjoy such Happiness despair.
O wretched me! Celestial Pow’rs above!
O mighty Jove! what must I die for Love!
If you’re inclin’d to cure the Wound you gave,
Come quick, relieve, and save me from the Grave.
Unhappy Youth, pray trouble not your Mind,
By mighty Jove, I swear I will be kind.
I swear by Venus, and the Pow’rs above;
By Cupid’s Darts, and all the Joys of Love,
To thee my Youth, my Swain, I’ll ever constant prove.
Privies are now Receptacles of Wit,
And every Fool that hither comes to sh——t,
Affects to write what other Fools have writ.
Hail charming Maid! hail my enchanting Fair,
Thy Beauty’s such, what Mortal can forbear?
Have Pity on a Youth’s despairing Cries,
Compassion shew, or else your Lover dies.
O that I but one good Enjoyment had!
Grant it me soon, or else I shall go mad.
14Alas! poor Youth, if you go mad for Love,
Seek your Relief from mighty Jove above.
No Cure I have, my Body’s chaste and pure;
A wandering Youth I never can endure.
I have had a Cl-p,
By a sad Mishap;
But the Doctor has cur’d it,
And I’ve endur’d it.
The B-ch that gave it me,
She is gone over Sea.
G-d d-n her A-se,
That fir’d my T-se.
I love dear Betty, and Betty loves me;
And it shall not be long before marry’d we be.
If you must make a Rhime upon your Lass,
I’ll make another——Rhimer kiss my A-se.
D-n their Doublets, and confound their Breeches,
There’s none besh-t the Wall but Sons of B-ches.
15May the French P--x, and the D--vil take ’em all,
That besh-t their Fingers, and wipe them on the Wall.
This is a Place that’s very fitting,
To p--ss, and f--rt, to smoke, and sh--t in.
A good Wife is like a Turtle that bills and cooes, and turns up her T——l to her Husband.
In Spring the Fields, in Autumn Hills, I love;
At Morn the Plains, at Noon the shady Grove;
But Delia always, forc’d from Delia’s Sight,
Nor Fields, nor Hills, nor Plains, nor Groves delight.
Love in Fashion, is Copulation.
The Brave and Wise would never hug
The chearful Bottle and the Jug,
Were not good Liquor in its Season,
An useful Spur to human Reason.
16There’s Nothing sure can vex a Woman more
Than to hear the Feats of Love, and be Threescore.
Le Mond est plein de fous, & qui n’en veut point voir,
Doit demeurer tout seul, & casser son meroir.
The World is full of Fools and Asses,
To see them not—— retire and break your Glasses.
With such violent Rage,
Sir John did engage
With the Damsel which he laid his Leg on,
That his Squire, who stood near,
Swore it look’d like the Spear
Of St. George in the Mouth of the Dragon.
Guard well your Credit, for ’tis quickly gone:
’Tis gain’d by many Actions, lost by one.
When Mr. H—— was chosen Mayor,
We thought our Peace stood very fair,
And hollow’d when he took the Chair.
But see how Mortals may prove civil,
They change their State from Good to Evil:
Set a Beggar on Horseback, he’ll ride to the Devil.
And so it prov’d.
17 DSir —— was chosen our Recorder,
Hoping he’d put our Wrongs in Order:
But, in Truth, the young Gentleman prov’d such a Rake,
That he kiss’d all our Wives, and made all our Heads ake.
Puns have two evil Ends:
Sometimes they gain us Foes,
Sometimes they make us lose
our Friends.
What care I, to acknowledge my Lord was my Father?
To inherit his Fortune and Weakness together;
If a Porter had got me with Health, I’d much rather.
To spoil the Cornish Ore,
Names the Nymph that I adore.
What in a Steeple bears a Sound?
What in the Horn-Book first is found;
And eat the Meal of glorious Noon;
Give me, Great Jove, this Lady soon,
18Whose Name the first three Lines explain:
Her Love’s my Life, my Death is her Disdain.
The Pride of Quaker John
Names the Nymph I dote upon.
What e’er a Woman wishes most,
And that which marry’d People boast,
Speaks the dear Charmer, who’s my Toast.
The Place were Rabbits are confin’d,
The Place where Strangers are refresh’d;
And what best pleas’d my Mother’s Mind,
Tells you the Charmer of my Breast.
What a Weaver will toss about all the Day long,
And a Value, whose Praise can’t be nam’d in my Song,
Tells the Name of my Charmer who’s witty and young.
Tell me her Name, whose Looks serene
Shew her a Goddess, or a Queen;
Who, if in turbulent Disguise,
Will make you shudder at her Eyes:
For her, all others I despise.
19 D2Her Name has pierc’d my Heart,
And so we’ll never part;
With her I ne’er can feel a Smart.
Death and Marriage are by Destiny,
And both these Things become a Maiden’s Fee.
Whether they die between a Pair of Sheets,
Or live to marry, they will lose their Wits;
So is it destin’d by the Gods above,
They’ll live and die by what they love.
What signifies your chattering, dearest Nancy,
And swearing d-n your Blood, to please your Fancy;
For if your Scruples find that one won’t do,
Z——ds, cock, and prime, and then take two.
Various Religions, several Tenets hold;
Yet all one God acknowledge, which is Gold.
A Fox was drawn in for Cakes and Ale,
And by a fly Stratagem lost his Tail.
20’Tis no Matter, says Reynard, by Dint of Persuasion,
I’ll make all my Brethren believe ’tis the Fashion,
Though at the same Time, he was in a d——d Passion.
——Although they all come in,
There’s none can laugh, but those that win.
New Fashions are Gins that I mortally hate;
I’ll keep my old Fashion, and keep my Estate.
No coaxing, no wheedling, good Mr. Fox.
Getting is a Chance; but keeping is a Virtue.
Whene’er a Man has gain’d his Ends,
He is encompass’d by his Friends;
But when that Man has lost his All,
And wants his Friends, he’as none at all.
In gay Prosperity we see,
That ev’ry one will bend the Knee,
And treat you with their Flattery;
But in a contrary State,
When Gaiety’s destroy’d by Fate,
The Man they lov’d before,
———————— They hate.
The nicest Maid, with the whitest Rump,
May sit and sh——te, and hear it plump.
21For what did Venus love Adonis,
But for the Gristle, where no Bone is?
The greatest Monarch, when a fighting,
Looks not so great as I, when sh——ting.
Such Places as these,
Were made for the Ease
Of every Fellow in common;
But a Person who writes
On the Wall as he sh——tes,
Has a Pleasure far greater than Woman.
For he’s eas’d in his Body, and pleas’d in his Mind,
When he leaves both a T——d and some Verses behind.
You are eas’d in your Body, and pleas’d in your Mind,
That you leave both a T——d and some Verses behind;
But to me, which is worst, I can’t tell, on my Word,
The reading your Verses, or smelling your T——d.
22Whilst holy Prayers to Heaven were made,
One soon was heard, and answer’d too,
Save us from sudden Death, was said,
And strait from Church Sir H—— withdrew.
There’s none but the Vicious, or the Base,
That false Reports can trouble or disgrace:
The virtuous Man must ever stand secure
’Gainst all the Lies which Falsehood can procure:
For a sound Mind or Conscience gives a Peace,
Which to Eternity can never cease.
D——n your conscientious Rascals; there’s so few of them in this Age, that a Man appears singular who is govern’d thereby.
How shall the Man e’er turn to dust
Who daily wets his Clay.
In Dust he may fly
As Fools gallop by,
And no body can say Nay.
23Buxom Joan got on a bald Mare;
she rid ramping on to The Fair, with a Whip and Spur.
Such jogging, such flogging,
Such splashing, such dashing,
was ne’er seen there.
Jolly Tom, cry’d out as she Come,
thou Monkey Face, 24 Punkey Face,
lousey Face, Frouzey Face,
hold thy Hand, Make a Stand, thou’lt be down.
No Sooner Tom. spoke, but Down comes Joan,
with her Head and Bum up and down,
So that her A——se was shown.
Bald Mare ran galloping all the Way home.
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Galloping Song (redrawn)
When Phillis wore her brightest Face,
All Men rejoic’d in every Grace:
Her Patch, her Mein, her Forward Chin,
Cry’d, Gentlemen, Pray who’ll come in:
But now her Wrinkles are come on her,
All Men who ever were upon her,
Cry out, a Fart upon her Honour.
J. Jackson currit plenum sed
Et læsit meum magnum ad.
J. Jackson run full-butt,
And hurt my Great Toe.
Within this Place
Lives Minerva and Grace,
An Angel hangs out at the Door;
If you rise in the Night,
And call for a Light,
Then presently down comes a Wh——.
Her Step delivers those her Eyes enslave,
She looks to conquer, but she treads to save.
26When first she wakes, a Sigh or two she fetches,
Then rubs her Eyes,——and Arms and Legs she stretches!
Oh! for a Husband, out she gently cries,
If he were here,——he would not let me rise;
But I must up, for Fear my Love should stay,
And we should be too late at the new Play.
Here, Jenny, reach my Slippers, bring the Pot;
Then out she jumps, and down she gives a Squat,
I think I need not tell you what to do,
And then she lets a merry Crack or two.
Two pitiful Dukes at our Race did appear;
One bespoke him a Girl, the other new Geer,
And both went away without paying I hear,
For the Cheat lov’d his Money, and so did the Peer.
You Rogue, Taylor shan’t catch me, while your Legs they are cross’d.
Don’t cry, my dear Girl, since you have got more than you lost.
The Original Manuscripts written in Diamond by Persons of the first Rank and Figure in Great Britain; relating to Love, Matrimony, Drunkenness, Sobriety, Ranting, Scandal, Politicks, Gaming, and many other Subjects, Serious and Comical.
Faithfully Transcribed from the Drinking-Glasses and Windows in the several noted Taverns, Inns, and other Publick Places in this Nation.
Gameyorum, Wildum, Gorum,
Gameyorum a Gamy,
Flumarum a Flumarum,
A Rigdum Bollarum
A Rigdum, for a little Gamey.
Bethleham-Wall, Moor-Fields.
N. B. There being a great Number of these Pieces of Wit and Humour at most Places of publick Resort in this Kingdom, it is hoped that all, who are pleased with, or willing to promote this Design, will be so good as to collect and send them to the Publisher hereof. The Editor does not care how merry they are, provided they are not obscene.
Mr. Bog,
Where Wit and Learning (as at present in this our Isle) so much abound, great Marvel it is to me, That so worthy a Compiler of other Men’s Labours as yourself, should be put to the little mean Shifts of copying from such Cacascriptores, who have from Hudibras, Tom Brown, and others of the like Rank, their little Bits and Scraps, basely purloined, whereby you run a Risque of being deem’d yourself a Plagiary: Nor is it less unbecoming the Dignity and Fidelity of your Undertaking, to supply the Want of Application and Diligence, by filling up your lifeless Pages with Musical Punctations, as vile and unrelishing as ever echo’d from your own natural Bagpipe. Therefore, that you may the better be enabled these Indecencies equally to avoid, I send you the following Collectanea Nasutula: If you honour them, I shall honour your next Performance; if not, Non cuicunque datum est habere nasum.
Oh! may our Senate, learn’d and great,
(In order to perpetuate
The tuneful Strains and witty Flights,
Of him that Studies while he sh--ts)
Decree all Landlords, thro’ the Nation,
Shall lay (on Pain of Flagellation)
In some meet Corner of their Dark Hole
A cuspidated Piece of Charcoal;
Or, where the Walls are cas’d with Wainscot,
A Piece of Chalk with equal Pains cut;
That those who labour at both Ends,
To ease themselves, and serve their Friends,
May not, reluctant, go from Sh--t,
And leave no Relict of their Wit,
For want of necessary Tools
To impart the Proles of their Stools:
Then Cibber’s Odes, and Tindal’s Sense,
Caleb and Henley’s Eloquence,
Woolston, and all such learned Sophi’s,
Would be cut down in House-of-Office:
Oxford and Cambridge too would join
Their Puns, to make the Boghouse shine
Each learn’d Society would try all
(From lowest Club, to that call’d Royal,)
To furnish something might improve
Religion, Politicks, or Love:
Grand Keyber, Gormogons, Free Masons,
And Heydeger, with all his gay Sons,
Would find to suit, with Lectures there,
Their Intellectuals to a Hair:
Bodens might pick up Wit from thence, and lay
The Drama of another Modish Play.
5So wise a Law would doubtless tend
To prove our Senate, Learning’s Friend;
Whilst Trade, and such like fond Chimeras,
Might wait more fit and leisure Æra’s.
The Wedding-Night past, says Sir John to his Mate,
Faith Madam I’m bit (tho’ I find it too late)
By your d---n’d little Mouth, or else I’m a Whore’s Son,
For the Cross underneath’s quite out of Proportion.
Good Sir John, says my Lady, then under the Rose,
I’m as bad bit as you, by your plaguy long Nose:
You have not by half so much as I wanted,
I’ve more than you want, yet y’are not contented.
Good Folks, sh--t and write, and mend honest Bog’s Trade,
For when you sh--t Rhymes, you help him to Bread:
He’el feed on a Jest, that is broke with your Wind,
And fatten on what you here leave behind.
Were this Place to be view’d by a Herald of Note,
He would find a new Charge for the next new-bought Coat,
Which Guillim ne’er thought of, nor one of the Herd,
Viz. a Wall erect Argent, Gutte de T——d.
And as a Reward, for improving the Art,
He should bear on a Fess (if he paints it) a F---t.
6A Pox on your writing, I thought you were sh----g,
My great Gut has giv’n me such Twitches:
Had you scribled much more, I’m a Son of a Whore,
If I should not have don’t in my Breeches.
I’m witty, I’ll Write,
I’m valiant, I’ll Fight,
And take all that’s said in my own Sense:
In Liquor I’m sunk,
And confoundedly drunk,
So there is the Source of this Nonsense.
A Wretch, whom Fortune has been pleas’d to rowl
From the Tip-top of her enchanted Bowl,
Sate musing on his Fate, but could not guess,
Nor give a Reason for her Fickleness:
Such Thoughts as these would ne’er his Brain perplex,
Did he but once reflect upon her Sex:
For how could he expect, or hope to see,
In Woman either Truth or Constancy.
Come hither, Heralds, view this Coat,
’Twill bear Examination,
’Tis ancient, and derives its Note
From the first Pair’s Creation.
7The Field is Luna, Mars a Pale,
Within an Orle of Saturn;
Charg’d with two Pellets at the Tail:
Pray take it for a Pattern.
I don’t see your Luna, nor Saturn, nor Mars,
But I see her —— plain, and I see his bare A--se.
Could fairest dear Eliza know how much I love,
My Story might, at least, her gen’rous Pity move;
Her Pity’s all my Hope, nor durst I more implore,
With that I still might live, and still her Charms adore.
Poor Wretch, alas! I pity Thee with all my heart,
Since that, it seems, alone will cure thy Love-sick Smart:
For he that has not Courage further to implore,
May surely have our Pity, but deserves no more.
From costive Stools, and hide-bound Wit,
From Bawdy Rhymes, and Hole besh--t.
From Walls besmear’d with stinking Ordure,
By Swine who nee’r provide Bumfodder
Libera Nos ——
This City is a World that’s full of Streets,
And Death’s the Market-Place where Mankind meets;
8If Life were Merchandize, that Men could buy,
The Rich would only live, the Poor must die.
Sitting on yon Bank of Grass,
With a blooming buxom Lass;
Warm with Love, and with the Day,
We to cool us went to play.
Soon the am’rous Fever fled,
But left a worse Fire in its Stead.
Alas! that Love should cause such Ills!
As doom to Diet-Drink and Pills.
I sing the Praises of a Fart.
That I may do’t by Rules of Art.
I will invoke no Deity,
But Butter’d-Pease and Furmity;
And think their Help sufficient
To sit and furnish my Intent:
For sure I must not use high Strains,
For fear it bluster out in Grains.
When Virgil’s Gnat, and Ovid’s Flea,
And Homer’s Frogs strive for the Day;
There is no Reason in my Mind,
That a brave Fart should come behind:
Since that you may it parallel,
With any Thing that doth excel.
Musick is but a Fart that’s sent
From the Guts of an Instrument:
The Scholar farts; but when he gains
Learning with cracking of his Brains;
And having spent much Pain and Oil,
Thomas and Dun to reconcile,
For to learn the abstracting Art,
What does he get by’t? Not a Fart.
9 BThe Soldier makes his Foes to run
With but the Farting of a Gun;
That’s if he make the Bullet whistle,
Else ’tis no better than a Fizzle:
And if withal the Winds do stir-up
Rain, ’tis but a Fart in Syrrup.
They are but Farts, the Words we say,
Words are but Wind, and so are they.
Applause is but a Fart, the crude
Blast of the fickle Multitude.
The Boats that lie the Thames about,
Be but Farts several Docks let out.
Some of our Projects were, I think,
But politick Farts, Foh! how they stink!
As soon as born, they by-and-by,
Fart-like, but only breathe, and die.
Farts are as good as Land, for both
We hold in Tail, and let them both:
Only the Difference here is, that
Farts are let at a lower Rate.
I’ll say no more, for this is right,
That for my Guts I cannot write;
Though I should study all my Days,
Rhimes that are worth the Thing I praise:
What I have said, take in good Part,
If not, I do not care a Fart.
St. George to save a Maid, a Dragon slew,
A gallant Action, grant the Thing be true.
Yet some say there’s no Dragons.——Nay, tis said,
There’s no St. George——Pray Heav’n there be a Maid.
10The Novelty this Crowd invites,
’Tis strange, and therefore it delights;
For Folks Things eagerly pursue,
Not that they’re good, but that they’re new.
Pleasure must vary, or must cease,
We tire of Bliss, grow sick of Ease.
And if the Year we’re doom’d to Play,
To Work would be a Holiday.
When great Eliza saw at Redgrave-Hall,
The Apartments few, and those indeed but small,
Thus to its Lord, bespoke the gracious Queen;
Methinks for you, this Mansion is too mean.
For me, my Liege, quoth he, of old ’twas meet,
But you have made me for my House—too great.
At last I’ve found a Haven where,
I’ll ride secure from Hope or Fear.
Thy Game is, Fortune, o’er with me,
And thou to others now may’st flee
To cheat them with Inconstancy.
Fair and foolish, little and loud,
Long and lazy, black and proud;
Fat and merry, lean and sad,
Pale and peevish, red and bad.
11 B2To a Red Man read thy Read;
To a Brown Man break thy Bread;
At a Pale Man draw thy Knife;
From a Black Man keep thy Wife.
Our Bodies are like Shoes, which oft we cast,
Physick the Cobler is, and Death the Last.
Here, in their last Bed,
The loving Alice rests with her Love Ned.
Viator siste! ecce miraculum!
Vir & Uxor, hic non litigant.
Behold a Bed, where, without Strife,
There rests a Man, and eke his Wife.
One ask’d a Madman, if a Wife he had,
A Wife! quoth he.——No!——I’m not quite so mad.
12Pandora’s Treasure.
Tobacco, that outlandish Weed,
It dries the Brain, and spoils the Seed;
It dulls the Spirit, it dims the Sight,
It robs a Woman of her Right.
Beneath this Stone there lies a cursed Sinner,
Doom’d to be roasted for the Devil’s Dinner.
When the Devil was sick, the Devil a Monk would be,
When the Devil was well, the Devil a Monk was he.
Cowards fear to die, but Courage stout,
Rather than live in Snuff, will put it out.
If ’tis to marry when the Knot is ty’d,
Why then they marry, who at Tyburn ride.
13And if that Knot, ’till Death, is loos’d by none,
Why then to marry, and be hang’d’s all one.
Sing High Ding a Ding,
And Ho Ding a Ding,
I’m finely brought to Bed;
My Lord has stole that troublesome Thing,
That Folks call a Maidenhead.
Then sing High Ding a Ding,
And Ho Ding a Ding,
You’re finely brought to Bed;
For something you’ve got for that troublesome Thing,
A Cl—p for a Maidenhead.
Two D---s, and a Doctor, ’tis said, wrote this Piece,
Who were modest as Whores, and witty as Geese.
They penn’d it, it seems, to shew their great Parts,
Their Skill in Burlesque, and their Knowledge in Arts
But what say the Town——that ’t has fully desected,
That Fools they are all——which had long been suspected.
14Cornutus call’d his Wife both Whore and Slut,
Quoth she, you’ll never leave your Brawling—but—
But, what? quoth he: Quoth she, the Post or Door;
For you have Horns to But, if I’m a Whore.
The End of all, and in the End
The Praise of all depends:
A Pudding merits double Praise,
Because it hath two Ends.
A Pudding hath two Ends; You lye, my Brother,
For it begins at one, and ends at t’other.
Wedding and Hanging, both the Fates dispatch.
Yet Hanging seems to me the better Match.
Lavinia brought to Bed, her Husband looks
To know the Bantling’s Fortune in his Books.
Wiser he’d been, had he look’d backward rather,
And seen for certain, who had been its Father.
15Dung, when scatter’d o’er the Plain,
Causes noble Crops of Grain:
Dung in Gardens too we want,
To cherish ev’ry springing Plant.
Corn and Plants since Dung affords,
We eat as well as sh—— our T——ds.
The Doctor more than Illness we should fear;
Sickness precedes, and Death attends his Coach,
Agues to Fevers rise, if he appear,
And Fevers grow to Plagues at his Approach.
What gives the pleasant Mead its Grace,
What spreads at Spring Earth’s smiling Face,
What jolly Hunters chuse to wear,
Gives Name to her whose Chains I bear.
That of the pretty feather’d Race,
Which most doth courtly Tables grace,
And o’er the Mountains bends it Flight,
Or lurks in Fields with Harvest bright;
For whose Destruction Men with Care,
The noblest Canine Breed prepare,
Bestows a Name on that fair Maid
Whose Eyes to Love my Heart betray’d.
16The Irish have a certain Root,
Our Parsnip’s very like unto’t,
Which eats with Butter wond’rous well,
And like Potatoes makes a Meal.
Now from this Root there comes a Name,
Which own’d is by the beauteous Dame,
Who sways the Heart of him who rules
A mighty Herd of Knaves and Fools.
The Court of Love’s assembled here,
’Tis Venus Queen of Beauty’s Sphere,
In all her Charms she stands confest,
And rules supreme the noblest Breast.
Ye Shepherds would ye learn the Name
Of her who spreads so vast a Flame,
Know that ’tis hid from the Prophane;
And that your strictest Search is Vain.
What strange Vicissitudes we see
In Pleasure, as in Realms take Place
For nothing here can constant be,
Where springing Joys the old efface.
The Theatre, of Yore the Field
Of Conquests, gain’d by blooming Maids,
Now must to modern Operas yield,
As they, to courtly Masquerades.
Nor better fares those sweet Retreats
Which they in sultry Summer chose:
Since Scarb’rough, Paradise of Sweets!
On ruined Bath and Tunbridge rose.
17 DDick, on two Words, thought to maintain him ever:
The first was Stand, and next to Stand, Deliver.
But Dick’s in Newgate, and he fears shall never,
Be blest again with that sweet Word Deliver.
My Chloe is an Angel bright,
But Chloe’s common——so is Light.
And who with Phœbus Fault shall find,
Because his Beams to all are kind.
Nanny Meadowes has undone me,
From myself her Charms have won me.
With Love’s blazing Flames I die,
Whither, whither shall I fly!
Prithee, Coxcomb, without Whining,
Say thou hast a mind to Sinning
With a Guinea, do but ask her,
Love you’ll find——is no hard Task, Sir.
Twelve Minutes, and one tedious Hour
Mills kept me once in Pain,
But if I had it my Power,
He ne’er should preach again.
18Charming Molly,
Cease your Folly,
Learn to ease me,
No more teaze me.
Love’s but Reason
When in Season:
Nay, ’tis Duty,
Youth and Beauty
To improve
In happy Love.
Therefore, Molly,
Cease your Folly,
And instead of being coy,
Give, O give your Lover Joy!
Rhiming Billy,
Soft and silly,
Are the verses,
Muse rehearses,
When with straining
You’re obtaining
Her Assistance
’Gainst Resistance,
Made by Mistress
To your Distress.
Therefore early
Quit them fairly,
If you’d be rid of Woe,
Prithee, Prithee, Coxcomb, do.
19 D2A Clown, who had lost his Mare,
To his Neighbour, a Wit, did repair,
And begg’d him with him to go
To the famous Doctor Foreknow,
A Conjurer powerful and strong,
Who would tell who had done the Wrong.
So when to the Door they came,
The Wit, he besh--t the same:
Then knocking — the Doctor appears,
And in Midst of his Passion he swears,
If he knew but the nasty Dog
Who had sh--t at his Gate like a Rogue,
He’d do to him Lord knows what.
Quoth the Wit — why know you not that?
Then, Neighbour, e’en save your Pence,
For his Learning is all a Pretence:
If he knows not who sh-t——of course,
He nothing can know of your Horse.
And no Light can his Figures afford,
Whose Conjuring’s not worth a T——
So as wise our two Clowns came Home,
As any who on such Errands roam.
My Maidenhead sold for a Guinea,
A lac’d Head with the Money I bought;
In which I look’d so bonny,
The Heart of a Gamester I caught:
A while he was fond, and brought Gold to my Box,
But at last he robb’d me, and left me the P——
20When you balance Accounts, it sure may be said,
You at a bad Market sold your Maidenhead.
When dull and melancholy,
I rove to charming Dolly,
Whose Sweetness doth so charm me,
And wanton Tricks so warm me,
That quite dissolv’d in Love,
No Trouble then I prove,
But am as truly blest
Upon her panting Breast,
As if to me she brought
All for which Cæsar fought:
For I, like Anthony,
With Beauty would be free,
Altho’ again’t shou’d cost
The Price of Empire lost.
You sure were full of Folly,
When in the Praise of Dolly,
You wrote your am’rous Ditty,
Which sure deserves her Pity,
Since plainly it doth prove,
Your Brain is crack’d with Love;
Who else would talk of giving
An Empire for a ——
When Twenty will down
Each for a Silver Crown,
And thank you when they’ve done
21If it be true each Promise is a Debt,
Then Celia hardly will her Freedom get;
Yet she, to satisfy her Debts, desires
To yield her Body as the Law requires.
Who speaks to please in ev’ry Way,
And not himself offend,
He may begin to work to Day,
But Heaven knows when he’ll end.
Dogs on their Masters fawn and leap,
And wag their Tails apace,
So tho’ a Flatterer wants a Tail,
His Tongue supplies its Place.
He that loves a Glass without a G,
Leave out L, and that is he.
To go to Law
I have no Maw,
Altho’ my Suit be sure,
For I may lack
Cloaths to my Back,
E’er I that Suit procure.
22Marriage in Days of old has liken’d been
Unto a publick Feast, or Revel Rout,
Where those who are without would fain get in,
And those who are within would fain get out.
Why are Doll’s Teeth so white, and Susan’s black?
The Reason soon is known.
Doll buys her Teeth which she doth lack,
But Susan wears her own.A
So early Con began the wanton Trade,
She scarce remembers when she was a Maid.
Oft with an Oath has Cog the Gamester said,
That no Disease should make him keep his Bed,
Urg’d for a Reason, I have heard him tell it,
To keep my Word——in Troth I mean to sell it.
The Poor have little, Beggars none,
The Rich too much, enough, not one.
23This glittering Diamond, and this worthless Glass,
Celia, display thy Virtue and thy Face;
Bright as the Brilliant while thy Beauty shows
Ev’n Glass itself’s less brittle than thy Vows.
If a Man lets a Fart in fair Italy,
From Lovers he never is after free;
For why —— amongst those Dons, ’tis said,
’Tis a certain Sign of a Male Maidenhead.
When with Phillis toying,
Eager for enjoying,
What Muse can say
How sweet our Play,
What Numbers tell
The Joys we feel?
Happy Lovers only know
Bliss unmix’d with any Woe.
The Ambitious when rais’d to the Summit of Power,
In the Midst of their Joy fear that Fortune may lower;
The Miser, who Thousands has heap’d in his Chest,
In the Midst of Riches is never at rest.
And the Heroe, whose Bosom his Glory still warms,
In the Midst of his Conquests fears the Change of his Arms.
24But the Lover, whose Fondness his Hours doth employ,
In the Midst of her Charms knows no End of his Joy.
Then quit Hopes of rising,
And Riches despising,
Leave the Camp and the Court
For Love’s pleasing Sport;
By Experience you’ll know,
Love’s Pleasure’s still flow,
Un-embitter’d with Care, and untinctur’d with Woe.
From meaner Pleasure I retire,
Yet real Happiness pursue;
Friendship and Love my Breast inspire,
And I have met them both in you,
Whatever in my Wish had Place,
In thee, my lovely Fair, I find;
All that’s beauteous in thy Face,
And all that’s virtuous in thy Mind.
Wou’d you know the true Road that to Pleasure doth lead,
Then this Way, ye Swains, your Footsteps must tread.
And then for the Piece which this Pleasure doth cost,
Why, ’tis only a Guinea, you can’t think it lost.
Since Supper and Lodging, and Mistress and all,
Nay, and Maid, if you like her, are ready at Call.
25 EA Thief a Parson stopp’d on the Highway,
And having bid him stand, next bid him pay.
The Parson drew his sword, for well he durst,
And quickly put his Foe unto the Worst.
Sir, (quoth the Thief) I by your Habit see,
You are a Churchman, and Debate should flee,
You know ’tis written in the sacred Word,
Jesus to Peter said, Put up thy Sword:
True, (quoth the Parson) but withal then hear,
St. Peter first had cut off Malchus’s Ear.
Lex prohibet Pueros, prohibet Lupanaria Sixtus;
Ergo quid agendum? Sit tibi amica manus.
Love is, as some Physicians say,
A Fever bred by too high Feeding:
To cure it then the speediest Way,
Would be by Purging, and by Bleeding.
Mcccmixixx.
—— —— —— firmissima vina,
—— —— —— reponite mensis,
—— —— —— & pocula porgite dextris.
26Six Pennyworth of Whiting,
A Hole to let Light in,
Will make it fit to sh--te in.
By what’s above, I welly ween,
The Fool wants Light to sh-t him clean.
Tim Kirby, Peter Harrod, and Will Hall,
Are three fit Pieces for a Bog-House Wall.
But Old Nick has got them all.
Si desit stramen, cum digito terge Feramen.
If you cannot get some Grass,
With your Finger wipe your A--se
27 E2Such wretched Latin, and such wretched Verse,
Are proper Stremina to clean my A--se.
Lov. What is bright Celia like, Dear Poet, say?
Poet. Why Celia, Sir, is like a Summer’s Day.
Lov. Who to a Day could liken such a Woman?
Poet. Is she not very fair, and very common?
Who scribbles on the Wall when he’s at sh--,
May sure be said to have a Flux of Wit.
Like Claret-Drinkers Stools, a Blockhead’s Brain;
Hardly conceives what it brings forth with Pain.
Such is my Case——who, while I’m thus inditing,
Prove the Analogy ’twixt it and Sh———.
28The Mistress by her Window’s represented,
For why, ’tis brittle Ware, and painted.
A fitter Match there never could have been,
Since here the Flesh is wedded to the Skin.
Chloe is fair as Fields in Autumn seen,
Her Temper gentle as the purling Stream:
That’s true; but then with those the rest conspire,
Lighter she is than Air, and hot as Fire.
Love, ’tis said, his Arrows shooting,
Wounds is ever distributing;
But before I felt, I knew not,
That in Poison dipp’d they flew hot.
To Jenny I owe
That this Secret I know,
For her I felt Smart
At first in my Heart;
Which quickly she cur’d: But alack and alas!
I now feel a Throbbing in a much lower Place.
To Jenny I went; but, alas! it was in vain:
Though she gave me the Wound, she can’t cure me again.
29Beneath this Place there lies an ancient Maid,
Whose secret Parts no Man did e’er invade;
Scarce her own Finger she’d permit to touch
That Virgin Part, altho’ it itched much.
And in her last expiring dying Groans,
Desir’d no Tomb, if it was built with Stones.
Love is the sweetest softest Passion,
That can warm the human Soul;
’Tis a gentle Inclination
Which doth ev’ry Care controul:
Thro’ our Bosom Love diffusing,
Tender Thoughts is ever choosing;
Softest Words its Flame expressing,
Towards the Dame our Heart possessing.
Love still gentle makes and easy,
Soft in ev’ry Thing we do;
Bent on all Things that may please ye,
Men are Angels when they Woo.
A Beauty like her’s whose Charms I now sing,
Ne’er sparkled in vain in the Box or the Ring;
No Youth of Distinction who gaz’d on her Eyes,
E’er retir’d, but he left her his Heart as her Prize.
Vain are all their Endeavours, for still the coy Maid,
At the Mention of Marriage, look’d strangely afraid,
Nor e’er thought of yeilding——until not long since
Eluding dull Ties——she was join’d to a P——
1. THE MERRY-THOUGHT: Or, The Glass-Window and Bog-House Miscellany. Containing such Pieces of Wit and Humour as have been writ with Diamonds, &c. by Persons of the First Quality in Great Britain, on Glass-Windows, Drinking-Glasses, Bog-Houses, &c. at the most publick Places of Resort in this Kingdom. In four Parts. Price 6 d. each.
2. Round about Our Coal-Fire: Or, Christmas Entertainments. Treating of Mirth and Jollity, Eating, Drinking, Kissing, &c. Of Hobgoblins, Raw-Heads and Bloody-Bones, Tom-Pokers, Bull-Beggars, Witches, Wizards, Conjurers, and such like horrible Bodies. Adorn’d with many diverting Cuts. Price 6 d.
3. A View of the BEAU MONDE: Or, Memoirs of the Celebrated COQUETILLA. In which is interspersed the Amours of several Persons of Quality and Distinction. To which is added, The Masque of Life: A Ballad. Price 1 s.
4. Love-Alamode: Or, The Amours of Florella and Phillis. Being the Memoirs of two Celebrated Ladies under those Names: In which the whole Circle of Modern Gallantry is display’d. Price 1 s.
25. The BEAU’s MISCELLANY. Being a Curious Collection of amorous Tales, diverting Songs, and entertaining Poems: particularly, The Curious Maid; The Peeper; The Leaky Vessel; The Bauble; The Longitude; The Parson and his Maid; The Hoop-Petticoat; The Tickler; The Maiden’s and Batchelor’s Dreams; cum multis aliis.
If these merry Tales don’t ev’ry Humour fit,
Let Fops, like me, ne’er nibble more at Wit.
In two Parts. The Second Edition. Price stich’d 2 s. neatly bound 2 s. 6 d.
6. A PROPOSAL humbly offered to the Parliament, for the more effectual preventing the farther Growth of Popery. By Dean Sw‑‑ft. To which is added, Two Poems, Helter-Skelter, on the Hue and Cry after the Country Attornies, on their Riding the Circuit; and, The Place of the Damn’d. The Second Edition. Price 6 d.
7. The Behaviour of the Clergy, as well as their Traditions destructive of Religion. Or, A Succinct History of Priestcraft throughout all Ages. To which is added, Parson Bow‑‑n’s Confession: A Poem. The Third Edition. Price 1 s.
8. WAR WITH PRIESTCRAFT, Or, The Freethinker’s Iliad. A Burlesque Poem. In Three Canto’s. With Notes explaining the Sentiments, &c. of them and their Followers. Price 1 s.
9. The HONEY-SUCKLE: A Curious Collection of POEMS. Consisting chiefly of Originals; and interspersed with Translations from the best Greek and Latin Poets. To which is added, The DUEL: A Poem. The Second Edition. Price 1 s.
310. The whole Case and Proceedings in relation to BRIDGET READING, an Heiress, and Daniel Kimberley and others. To which is added, The Trial of the said Kimberley; with his last dying Words, and an Original Letter sent by him to Mr. READING a few Days before his Execution. Price 1 s.
11. A View of the TOWN: Or, Memoirs of LONDON. In which the Humours, Follies, Vices, &c. of that Great Metropolis, are merrily display’d. Interspersed with several new and witty Songs.
My Book a Salesman’s Shop you’ll find,
Where civilly I’ll treat ye,
To a Fool’s Coat of any Kind,
You’r welcome if it fit ye.
The Second Edition. Price 1 s.
12. A Sketch of the Miseries of POVERTY. Dedicated to the Honourable Sir Griffith Boynton Bart.
Happy the Man, who void of Care and Strife,
In silken or in leathern Purse retains
A splendid Shilling.
Phillips.
13. A T——d is as good for a Sow, as a Pancake: Or, The Story of a COCK and a BULL. Calculated for the Improvement of the Modern Wits. Written by Myself Esq; Professor of Dulness and Bombast. Price 6 d.
From Nothing comes Nothing, and there remains Nothing.
From a Copy-Book in the Blue-Coat Hospital.
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