 |
[1: pickpockets] [2: thieving game; thieves' rendezvous] [3: drinking gin; porter] [4: evening; sun] [5: pocket-books; watches; handkerchiefs; money] [6: plunder] [7: police] [8: run; before they see you] [9: well-dressed] [10: stolen his pocketbook and watch] [11: run] [12: thieves] [13: house] [14: plunder; coin] [15: give you a half-penny] [16: woman] [17: known; men; mistress] [18: safe to trust] [19: pickpockets; burglers] [20: of our band] [21: a cheery greeting] [22: police] [23: saw us going] [24: dandy] [25: robbed of the plunder] [26: police and magistrates] [27: transported]
THE LAG'S LAMENT [1829]
[By H. T. R. in Vidocq's Memoirs, Vol III. 169].
I
Happy the days when I vorked away, In my usual line in the prigging lay, [1] Making from this, and that, and t'other, A tidy living without any bother: When my little crib was stored with swag, [2] And my cly vas a veil-lined money bag, [3] Jolly vas I, for I feared no evil, Funked at naught, and pitched care to the devil.
II
I had, beside my blunt, my blowen, [4] 'So gay, so nutty and so knowing' [5] On the wery best of grub we lived, [6] And sixpence a quartern for gin I gived; My toggs was the sportingst blunt could buy, [7] And a slap-up out-and-outer was I. Vith my mot on my arm, and my tile on my head, [8] 'That ere's a gemman' every von said.
III
A-coming avay from Wauxhall von night, I cleared out a muzzy cove quite; [9] He'd been a strutting avay like a king, And on his digit he sported a ring, A di'mond sparkler, flash and knowing, Thinks I, I'll vatch the vay he's going, And fleece my gemman neat and clever, So, at least I'll try my best endeavour.
IV
A'ter, the singing and fire-vorks vas ended, I follows my gemman the vay he tended; In a dark corner I trips up his heels, Then for his tattler and reader I feels, [10] I pouches his blunt, and I draws his ring, [11] Prigged his buckles and every thing, And saying, "I thinks as you can't follow, man," I pikes me off to Ikey Soloman. [12]
V
Then it happened, d'ye see, that my mot, Yellow a-bit about the swag that I'd got, Thinking that I should jeer and laugh, Although I never tips no chaff [13] Tries her hand at the downy trick, And prigs in a shop, but precious quick "Stop thief!" was the cry, and she vas taken I cuts and runs and saves my bacon.
VI
"Then," says he, says Sir Richard Birnie, [14] "I adwise you to nose on your pals, and turn the [15] Snitch on the gang, that'll be the best vay [16] To save your scrag." Then, without delay, [17] He so prewailed on the treach'rous varmint That she was noodled by the Bow St. sarmint [18] Then the beaks they grabbed me, and to prison I vas dragged [19] And for fourteen years of my life I vas lagged. [20]
VII
My mot must now be growing old, And so am I if the truth be told; But the only vay to get on in the vorld, Is to go with the stream, and however ve're twirld, To bear all rubs; and ven ve suffer To hope for the smooth ven ve feels the rougher, Though very hard, I confess it appears, To be lagged, for a lark, for fourteen years.
[1: picking pockets] [2: plunder] [3: pocket] [4: money; mistress] [5: Notes] [6: food] [7: clothes; money] [8: hat] [9: drunken] [10: watch; pocketbook] [11: pockets his money] [12: ran off] [13: indulge in banter] [14: Notes] [15: inform] [16: betray] [17: neck] [18: persuaded] [19: police; arrested] [20: transported]
"NIX MY DOLL, PALS, FAKE AWAY" [Notes] [1834]
[By W. HARRISON AINSWORTH, being Jerry Juniper's chaunt in Rookwood.]
In a box of the stone jug I was born, [1] Of a hempen widow the kid forlorn, [2] Fake away! [3] And my father, as I've heard say, Was a merchant of capers gay, [4 ] Who cut his last fling with great applause. Nix my doll, pals, fake away! [5] To the time of hearty choke with caper sauce. [6] Fake away! The knucks in quod did my schoolmen play, [7] Fake away! And put me up to the time of day, [8] Until at last there was none so knowing, No such sneaksman or buzgloak going, [9] Fake away! Fogles and fawnies soon went their way, [10] Fake away! To the spout with the sneezers in grand array, [11] No dummy hunter had forks so fly, [12] No knuckler so deftly, could fake a cly, [13] Fake away! No slourd hoxter my snipes could stay, [14] Fake away! None knap a reader like me in the lay. [15] Soon then I mounted in swell street-high, Nix my doll, pals, fake away! Soon then I mounted in swell street-high. And sported my flashest toggery, [16] Fake away! Fainly resolved I would make my hay, Fake away! While Mercury's star shed a single ray; And ne'er was there seen such a dashing prig, With my strummel faked in the newest twig, [17] Fake away! With my fawnied famms and my onions gay, [18] Fake away! My thimble of ridge and my driz kemesa, [19] All my togs were so niblike and plash. [20] Readily the queer screens I then could smash. [21] Fake away! But my nuttiest blowen one fine day, [22] Fake away! To the beaks did her fancy-man betray, [23] And thus was I bowled at last, And into the jug for a lag was cast, Fake away! But I slipped my darbies one morn in May, [24] And gave to the dubsman a holiday, [25] And here I am, pals, merry and free, A regular rollicking romany. [26]
[1: cell; Newgate] [2: woman whose husband has been hanged; child] [3: work away!] [4: dancing master] [5: never mind, friends] [6: hanging] [7: thieves; prison] [8: taught me thieving] [9: shoplifter; pickpocket] [10: silk handkerchiefs; rings] [11: pawnbrokers; snuffboxes] [12: pocket-book; nimble fingers] [13: pickpocket; steal] [14: inside pocket buttoned up] [15: steal a pocketbook] [16: best made clothes] [17: hair dressed; fashion] [18: hands bejewelled; seals] [19: gold watch; lace-frilled shirt] [20: clothes; fashionable; fine] [21: forged notes; pass] [22: favorite girl] [23: magistrates; sweetheart] [24: handcuffs] [25: warder] [26: gypsy]
THE GAME OF HIGH TOBY [Notes] [1834]
[By W. HARRISON AINSWORTH in Rookwood].
I
Now Oliver puts his black night-cap on, [1] And every star its glim is hiding, [2] And forth to the heath is the scampsman gone, [3] His matchless cherry-black prancer riding; [4] Merrily over the Common, he flies, Fast and free as the rush of rocket, His crape-covered vizard drawn over his eyes, His tol by his side and his pops in his pocket. [5]
Chorus.
Then who can name So merry a game, As the game of all games—high-toby? [6]
II
The traveller hears him, away! away! Over the wide, wide heath he scurries; He heeds not the thunderbolt summons to stay, But ever the faster and faster he hurries,
But what daisy-cutter can match that black tit? [7] He is caught—he must 'stand and deliver'; Then out with the dummy, and off with the bit, [8] Oh! the game of high-toby for ever!
Chorus.
Then who can name So merry a game As the game of all games—high-toby?
III
Believe me, there is not a game, my brave boys, To compare with the game of high-toby; No rapture can equal the tobyman's joys, [9] To blue devils, blue plumbs give the go-by; [10] And what if, at length, boys, he come to the crap! [11] Even rack punch has some bitter in it, For the mare-with-three-legs, boys, I care not a rap, [12] 'Twill be over in less than a minute!
Chorus.
Then hip, hurrah! Fling care away! Hurrah for the game of high-toby!
[1: the moon] [2: light] [3: highwayman] [4: black horse] [5: sword; pistols] [6: high-way robbery] [7: fleet horse; horse] [8: pocketbook] [9: highwayman] [10: bullets] [11: gallows] [12: gallows]
THE DOUBLE CROSS [Notes] [1834]
[By W. HARRISON AINSWORTH, in Rookwood]
I
Though all of us have heard of crost fights, And certain gains, by certain lost fights; I rather fancies that its news, How in a mill, both men should lose; [1] For vere the odds are thus made even, It plays the dickens with the steven: [2] Besides, against all rule they're sinning, Vere neither has no chance of vinning. Ri, tol, lol, etc.
II
Two milling coves, each vide awake, Vere backed to fight for heavy stake; But in the mean time, so it vos, Both kids agreed to play a cross; Bold came each buffer to the scratch, [3] To make it look a tightish match; They peeled in style, and bets were making, [4] 'Tvos six to four, but few were taking. Ri, tol, lol, etc.
III
Quite cautiously the mill began, For neither knew the other's plan: Each cull completely in the dark, [5] Of vot might be his neighbour's mark; Resolved his fibbing not to mind, [6] Nor yet to pay him back in kind; So on each other kept they tout, And sparred a bit, and dodged about. Ri, tol, lol, etc.
IV
Vith mawleys raised, Tom bent his back, [7] As if to place a heavy thwack; Vile Jem, with neat left handed stopper, Straight threatened Tommy with a topper; 'Tis all my eye! no claret flows, [8] No facers sound—no smashing blows, Five minutes pass, yet not a hit, How can it end, pals ?—vait a bit. Ri, tol, lol, etc.
V.
Each cove vos teared with double duty, To please his backers, yet play booty, [9] Ven, luckily for Jem, a teller Vos planted right upon his smeller [10] Down dropped he, stunned; ven time was called Seconds in vain the seconds bawled; The mill is o'er, the crosser crost, The losers von, the vinners lost.
[1: fight] [2: money] [3: man] [4: stripped] [5: fellow] [6: Notes] [7: hands] [8: blood] [9: deceive them] [10: nose]
THE THIEVES' CHAUNT [Notes] [1836]
(By W. H. SMITH in The Individual)
I
There is a nook in the boozing ken, [1] Where many a mug I fog, [2] And the smoke curls gently, while cousin Ben Keeps filling the pots again and again, If the coves have stump'd their hog. [3]
II
The liquors around are diamond bright, And the diddle is best of all; [4] But I never in liquors took delight, For liquors I think is all a bite, [5] So for heavy wet I call. [6]
III
The heavy wet in a pewter quart, As brown as a badger's hue, More than Bristol milk or gin, [7] Brandy or rum, I tipple in, With my darling blowen, Sue. [8]
IV
Oh! grunting peck in its eating [9] Is a richly soft and savoury thing; A Norfolk capon is jolly grub [10] When you wash it down with strength of bub: [11] But dearer to me Sue's kisses far, Than grunting peck or other grub are, And I never funks the lambskin men, [12] When I sits with her in the boozing ken.
V
Her duds are bob—she's a kinchin crack, [13] And I hopes as how she'll never back; For she never lushes dog's-soup or lap, [14] But she loves my cousin the bluffer's tap. [15] She's wide-awake, and her prating cheat, [16 ] For humming a cove was never beat; [17] But because she lately nimm'd some tin, [18] They have sent her to lodge at the King's Head Inn. [19]
[1: public house] [2: pipe; smoke] [3: paid a shilling ] [4: gin] [5: humbug] [6: porter] [7: sherry] [8: mistress] [9: pork] [10: red-herring] [11: lots of beer] [12: judges] [13: clothes; neat; fine young woman] [14: drinks water or tea] [15: inn-keeper] [16: tongue] [17: fooling a man] [18: stole; money] [19: Newgate; Notes]
THE HOUSE BREAKER'S SONG [Notes] [c. 1838]
[By G. W. M. REYNOLDS in Pickwick Abroad].
I
I ne'er was a nose, for the reg'lars came [1] Whenever a pannie was done:— [2] Oh! who would chirp to dishonour his name, And betrays his pals in a nibsome game [3] To the traps?—Not I for one! [4] Let nobs in the fur trade hold their jaw, [5] And let the jug be free:— [6] Let Davy's dust and a well-faked claw [7] For fancy coves be the only law, [8] And a double-tongued squib to keep in awe [9] The chaps that flout at me!
II
From morn till night we'll booze a ken, [10] And we'll pass the bingo round; [11] At dusk we'll make our lucky, and then, [12] With our nags so fresh, and our merry men, We'll scour the lonely ground. And if the swell resist our "Stand!" We'll squib without a joke; [13] For I'm snigger'd if we will be trepanned [14] By the blarneying jaw of a knowing hand, And thus be lagged to a foreign land, Or die by an artichoke. [15]
III
But should the traps be on the sly, For a change we'll have a crack; [16] The richest cribs shall our wants supply— [17] Or we'll knap a fogle with fingers fly, [18] When the swell one turns his back. [19] The flimsies we can smash as well, [20] Or a ticker deftly prig:— [21] But if ever a pal in limbo fell, [22] He'd sooner be scragg'd at once than tell; [23] Though the hum-box patterer talked of hell, [24] And the beak wore his nattiest wig. [25]
[1: police spy; share of the booty] [2: house was burgled] [3: gentlemanly] [4: police-officers] [5: Old Bailey pleaders] [6: prison] [7: gunpowder, hand dextrous at thieving] [8: thieves] [9: double-barrelled gun] [10: drink freely] [11: brandy] [12: depart] [13: fire] [14: transported] [15: hanging [hearty choke]] [16: burglary] [17: houses] [18: steal; handkerchief] [19: skilful] [20: pass false notes] [21: watch] [22: prison] [24: parson] [25: magistrate; handsomest]
"THE FAKING BOY TO THE CRAP IS GONE" [Notes] [1841]
[By BON GAULTIER in Tait's Edinburgh Magazine].
I
The faking boy to the crap is gone, [1] At the nubbing-cheat you'll find him; [2] The hempen cord they have girded on, And his elbows pinned behind him. "Smash my glim," cries the reg'lar card, [3] "Though the girl you love betrays you, Don't split, but die both game and hard, And grateful pals shall praise you."
II
The bolt it fell,—a jerk, a strain! The sheriff's fled asunder; The faking-boy ne'er spoke again, For they pulled his legs from under. And there he dangles on the tree, That sort of love and bravery! Oh, that such men should victims be Of law, and law's vile knavery.
[1: pickpocket; gallows] [2: gallows] [3: blast my eyes!]
THE NUTTY BLOWEN [Notes] [1841]
[By BON GAULTIER in Taits Edinburgh Magazine].
I
She wore a rouge like roses, the night when first we met, Her lovely mug was smiling o'er mugs of heavy wet; [1] Her red lips had the fullness, her voice the husky tone, That told her drink was of a kind where water is unknown. I saw her but a moment, yet methinks I see her now, With the bloom of borrowed flowers upon her cheek and brow.
II
A pair of iron darbies, when next we met, she wore, [2] The expression of her features was more thoughtful than before; And, standing by her side, was he who strove with might and main To soothe her leaving that dear land she ne'er might see again. I saw her but a moment, yet methinks I see her now, As she dropped the judge a curtsey, and he made her a bow.
III
And once again I see that brow no idle rouge is there, The dubsman's ruthless hand has cropped her once luxurious hair; [3] She teases hemp in solitude, and there is no one near, To press her hand within his own, and call for ginger-beer. I saw her but a moment, yet methinks I see her now, With the card and heckle in her hand, a-teasing of that tow.
[1: face; porter] [2: handcuffs] [3: gaoler's]
THE FAKER'S NEW TOAST [Notes] [1841]
[By BON GAULTIER ("Nimming Ned") in Tait's Edinburgh Magazine]
I
Come, all ye jolly covies, vot faking do admire, [1] And pledge them British authors who to our line aspire; Who, if they were not gemmen born, like us had kicked at trade, And every one had turned him out a genuine fancy blade, [2] And a trump.
II
'Tis them's the boys as knows the vorld, 'tis them as knows mankind, And vould have picked his pocket too, if Fortune (vot is blind) Had not to spite their genius, stuck them in a false position, Vere they can only write about, not execute their mission, Like a trump.
III
If they goes on as they're begun, things soon will come about, And ve shall be the upper class, and turn the others out; Their laws ve'll execute ourselves, and raise their hevelation, That's tit for tat, for they'd make that the only recreation Of a trump.
IV
But ketch us! only vait a bit, and ve shall be their betters; For vitch our varmest thanks is due unto the men of letters, Who, good 'uns all, have showed us up in our own proper light, And proved ve prigs for glory, and all becos it's right [3] In a trump.
V
'Tis ve as sets the fashion: Jack Sheppard is the go [4] And every word of 'Nix my dolls' the finest ladies know; And ven a man his vortin'd make, vy, vot d'ye think's his vay? He does vot ve vere used to do—he goes to Botany Bay Like a trump.
VI
Then fill your glasses, dolly palls, vy should they be neglected, As does their best to helewate the line as ve's selected? To them as makes the Crackman's life, the subject of their story, [5] To Ainsworth, and to Bullvig, and to Reynolds be the glory, [6] Jolly trumps.
[1: fellows; stealing] [2: pickpocket] [3: steal] [4: fashion] [5: burglar's] [6: Notes]
MY MOTHER [Notes] [1841]
[By BON GAULTIER in Tait's Edinburgh Magazine].
I
Who, when a baby, lank and thin, I called for pap and made a din, Lulled me with draughts of British gin?— My mother.
II
When I've been out upon the spree, And not come home till two or three, Who was it then would wallop me?— My mother.
III
Who, when she met a heavy swell, [1] Would ease him of his wipe so well, [2] And kiss me not to go and tell ?— My mother.
IV
Who took me from my infant play, And taught me how to fake away. And put me up to the time of day?— [3] My mother.
V
Who'd watch me sleeping in my chair, And slily to my fob repair, [4] And leave me not a mopus there?— [5] My mother.
VI
Who, as beneath her care I grew, Taught my young mind a thing or two, Especially the flats to do?— [6] My mother.
VII
I'm blessed if ever I did see, So regular a trump as she: I own my virtues all to thee,— My mother.
VIII
So hand, my pals, the drink about, My story and my glass are out, A bumper, boys, and with me shout— My mother.
[1: well-dressed man] [2: handkerchief] [3: made me cunning] [4: pocket] [5: penny] [6: stupid ones]
THE HIGH-PADS FROLIC [Notes] [1841]
[By LEMAN REDE, being Kit's and Adelgitha's Duet in Sixteen String Jack].
Ade. Crissy odsbuds, I'll on with my duds, [1] And over the water we'll flare; Kit. Coaches and prads, lasses and lads, [2] And fiddlers will be there. Ade. There beauty blushes bright, Kit. The punch is hot and strong, Both.And there we'll whisk it, frisk it, whisk it, Skip it, and trip it along!
II
Ade. There's Charley Rattan, and natty Jack Rann, And giant-like Giles McGhee; There's Sidle so slim, and flare-away Tim, And all of them doat on me. Kit. Hadelgitha—platonically, Christopher! Ade. But Charley, and Jack, and Tim, In vain may exert their wit. For still I'll dance it, prance it, dance it, Flaring away with Kit!
II
Kit. There's frollicking Kate, and rollicking Bet, And slammerkin Sall so tall, And leary-eyed Poll, and blue-eyed Moll— Blow me, I love them all! Christopher—platonically, Hadelgitha! But Winny, not Jenny, nor Sue, Shall wean this heart from thee— So thus I'll trip it, lip it, trip it, Trip it with Hadelgitha!
IV
Kit. The morning may dawn as sure as you're born, Ade. Will find us dancing alone Kit. I'll get a hack, be off in a crack, [3] Ade. An elegant Darby and Joan! How'll the vulgarians stare As they see you sportingly! Both.For none can splash it, dash it, splash it, Crissy Addy little you and I.
[1: clothes] [2: horses] [3: instant]
THE DASHY, SPLASHY.... LITTLE STRINGER [Notes] [1841]
[By LEMAN REDE, being Kit's Song in Sixteen-String Jack].
I
A cloudy night, and pretty hard it blow'd, The dashy, splashy, leary little stringer, [1] Mounted his roan, and took the road— Phililoo!
"My Lord Cashall's on the road to-night, Down with the lads, make my lord alight— Ran dan row de dow, on we go!" Chorus.—Ran, dan, etc.
II
"You horrid wretch," said my Lord to Rann— The dashy, splashy, leary little stringer— "How dare you rob a gentleman?" Phililoo!
Says Jack, says he, with his knowing phiz, [2] "I ain't very pertic'lar who it is! Ran dan row de dow, on we go!" Chorus.—Ran, dan, etc.
III
Ve collar'd the blunt, started off for town, [3] With the dashy, splashy, leary little stringer, Horses knock'd up, men knock'd down— Phililoo!
A lady's carriage we next espied, I collar'd the blunt, Jack jumped inside, Ran dan row de dow, on we go! Chorus.—Ran, dan, etc.
IV
Jack took off his hat, with a jaunty air— The dashy, splashy, leary little stringer— And he kiss'd the lips of the lady fair— Phililoo!
She sigh'd a sigh, and her looks said plain, I don't care much if I'm robb'd again! Ran dan row de dow, on we go! Chorus.—Ran, dan, etc.
[1: spirited horse] [2: wink] [3: money]
THE BOULD YEOMAN [Notes] [1842]
[By PIERCE EGAN in Captain Macheath].
I
A chant I'll tip to you about a High-pad pal so down, [1] With his pops, and high-bred prad which brought to him renown; [2] On the road he cut a dash, to him 'twas delight! And if culls would not surrender, he shewed the kiddies fight! [3] With his pops so bright and airy, And his prad just like a fairy, He went out to nab the gold! [4] Derry down, down, derry down,
II
He met a bould yeoman, and bid him for to stand; "If I do, I'm damn'd!" said he, "although you cut it grand. I'm an old English farmer, and do not me provoke I've a cudgel, look ye here, it's a prime tough bit of oak! And I'll give you some gravy, [5] Of that I'll take my davy, [6] If you try to prig my gold [7] Derry down."
III
Then the High-toby gloque drew his cutlass so fine; Says he to the farmer, "you or I for the shine!" And to it they went both, like two Grecians of old, Cutting, slashing, up and down, and all for the gold! 'Twas cut for cut while it did last, Thrashing, licking, hard and fast, Hard milling for the gold. [8] Derry down.
IV
The High-pad quickly cut the farmer's towel in twain— [9] Pulled out his barking-iron to send daylight through his brain; [10] But said he I will not down you, if you will but disburse Your rowdy with me, yeoman—I'm content to whack your purse! [11] Down with the dust, and save your life, [12] Your consent will end our strife, Ain't your life worth more than gold? Derry down.
V
Hand up the pewter, farmer, you shall have a share [13] A kindness, for a toby gloque, you must say is rare; That's right—tip up the kelter, it will make my bones amends, [14] And wherever we may meet, farmer, we'll be the best of friends! So mount your trotter and away, [15] And if you ever come this way, Take better care of your gold! Derry down.
VI
Now listen to me, lads, and always you'll do well, Empty every clie of duke, commoner, or swell; [16] But if you stop a game cove, who has little else than pluck, [17] Do not clean him out, and you'll never want for luck. [18] So High-pads drink my toast, Let honour be our boast, And never pluck a poor cull of his gold. Derry down.
THE BRIDLE-CULL AND HIS LITTLE POP-GUN [Notes] [1842]
[By PIERCE EGAN in Captain Macheath].
I
My brave brother troopers, slap-up in the abode, Come listen unto me while I chant about "the Road"; Oh prick up your list'ners if you are fond of fun [1] A bridle-cull's the hero, and his little pop-gun. [2] Fal, de, rol! lal! lal! la!
II
One morning early he went, this rollicking blade, [3] To pick the blunt up, and he met a nice young maid; [4] "I'll not rob you," said he, "and so you needn't bunk: [5] But she lammas'd off in style, of his pop-gun afunk [6] Fal, de, rol! lal! lal! la!"
III
Then up came a stage-coach, and thus the gloque did say, [7] I'm sorry for to stop you, but you must hear my lay; "Come, stand and deliver! if not, sure as the sun, Your journey I will stop with my little pop-gun." Fal, de, rol! lol! lol!
IV
"Tis by these little lays a High-padsman he thrives, [8] "Oh take all our rhino, but pray spare our lives!" [9] Cry the passengers who anxious all are for to run, Frightened nigh to death by his little pop-gun." Fol, de, rol.
Then, my blades, when you're bush'd, and must have the swag, [10] Walk into tattlers, shiners, and never fear the lag; [11] Then patter to all spicey, and tip 'em lots of fun, [12] And blunt you'll never want while you've got a pop-gun. [13] Fol, de, rol! la!
[1: ears] [2: highwayman] [3: fellow] [4: money] [5: run away] [6: went off; afraid] [7: highwayman] [8: highwayman] [9: money] [10: companions; out of luck; plunder] [11: watches; money; transportation] [12: talk; civilly; give] [13: money]
JACK FLASHMAN [Notes] [1842]
[By PIERCE EGAN in Captain Macheath].
I
Jack Flashman was a prig so bold, Who sighed for nothen but the gold; For sounding, frisking any clie, [1] Jack was the lad, and never shy. Fol, de, rol.
II
Jack long was on the town, a teazer; [2] A spicy blade for wedge or sneezer; [3] Could turn his fives to anything [4] Nap a reader, or filch a ring. [5] Fol, de, rol.
III
Jack was all game, and never slack, [6] In the darky tried the crack; [7] Frisk'd the lobby and the swag; "I'm fly to every move," his brag. [8] Fol, de, rol.
IV
But Jack, at last, got too knowen— Was made a flat by his blowen! [9] She peached, so got him into trouble. [10] And then, tipp'd poor Jack the double! [11] Fol, de, rol.
V
Jack left the jug right mer-ri-ly, [12] And vent and black'd his doxy's eye! [13] Saying—look, marm, when next you split, I'll finish you with a rummy hit! Fol, de, rol.
VI
My blades, before my chaunt I end, [14] Here the rag-sauce of a friend; [15] Ne'er trust to any fancy jade, For all their chaff is only trade! Fol, de, rol.
VII
Let all their gammon be resisted; Vithout you vishes to get twisted! [16] And never nose upon yourself— [17] You then are sure to keep your pelf. Fol, de, riddle.
[1: robbing; pocket] [2: clever fellow] [3: silver plate; snuffbox] [4: hands] [5: pocket-book; steal a ring] [6: bold] [7: evening; burglary] [8: aware of] [9: betrayed by his mistress] [10: gave information] [11: deserted] [12: prison] [13: sweetheart] [14: men] [15: advice] [16: hung] [17: talk about]
MISS DOLLY TRULL [Notes] [1842]
[By PIERCE EGAN in Captain Macheath].
I
Of all the mots in this here jug, [1] There's none like saucy Dolly; And but to view her dimber mug [2] Is e'er excuse for folly. She runs such precious cranky rigs With pinching wedge and lockets [3] Yet she's the toast of all the prigs Though stealing hearts and pockets.
II
Just twig Miss Dolly at a hop— [4] She tries to come the graces! [5] To gain her end she will not stop And all the swells she chases. She ogles, nods, and patters flash [6] To ev'ry flatty cully [7] Until she frisks him, at a splash [8] Of rhino, wedge, and tully. [9]
[1: women; prison] [2: pretty face] [3: stealing plate] [4: see; dance] [5: act] [6: talks slang] [7: susceptible fellow] [8: robs; entirely] [9: money]
THE BY-BLOW OF THE JUG [Notes] [1842]
[By PIERCE EGAN in Captain Macheath].
I
In Newgate jail the jolly kid was born— [1] Infamy he suck'd without any scorn! His mammy his father did not know, But that's no odds—Jack was a by-blow! Foddy, loddy, high O.
II
Scarcely had Jack got on his young pins, [2] When his mammy put him up to some very bad sins, And she taught him soon to swear and lie, And to have a finger in every pie. Foddy, loddy, high O.
III
His mammy was downy to every rig,— [3] Before he could read she made him a prig; [4] Very soon she larn'd Jack to make a speak And he toddled out on the morning sneak [5] Foddy, loddy, high O.
IV
Jack had a sharp-looking eye to ogle, [6] And soon he began to nap the fogle! [7] And ever anxious to get his whack— When scarcely ripe, he went on the crack. [8] Foddy, loddy, high O.
V
"Now, my chick," says she, "you must take the road 'Tis richer than the finest abode, For watches, purses, and lots of the gold— A scampsman, you know, must always be bold." [9] Foddy, loddy, high O.
VI
His mother then did give Jack some advice, To her son a thief, who was not o'er nice; Says she—"Fight your way, Jack, and stand the brunt, You're of no use, my child, without the blunt, [10] Foddy, loddy, high O."
VII
"Then keep it up, Jack, with rare lots of fun. A short life, perhaps, but a merry one; Your highway dodges may then live in fame, Cheat miss-Fortune, and be sure to die game." Foddy, loddy, high O.
VIII
"In spite of bad luck, don't be a grumbler; If you are finished off from a tumbler! [11] But to the end of your life, cut a shine, You're not the first man got into a line." Foddy, loddy, high O.
[1: child] [2: feet] [3: accomplished;] [4: thief] [5: round for theft] [6: leer] [7: steal; handkerchief] [8: housebreaking] [9: highwayman] [10: money] [11: cart; Notes]
THE CADGER'S BALL [Notes] [1852]
[From JOHN LABERN'S Popular Comic Song Book. Tune—Joe Buggins.].
I
Oh, what a spicy flare-up, tear-up, Festival Terpsickory, Was guv'd by the genteel cadgers In the famous Rookery. As soon as it got vind, however, Old St Giles's vos to fall— They all declar'd, so help their never, They'd vind up vith a stunnin' ball! Tol, lol lol, etc.
II
Jack Flipflap took the affair in hand, sirs— Who understood the thing complete— He'd often danced afore the public, On the boards, about the streets. Old Mother Swankey, she consented To lend her lodging-house for nix— [1] Say's she, 'The crib comes down to-morrow, So, go it, just like beans and bricks.' [2] Tol, lol lol, etc.
III
The night arrived for trotter-shaking— [3] To Mother Swankey's snoozing-crib; [4] Each downy cadger was seen taking His bit of muslin, or his rib. [5] Twelve candles vos stuck into turnips, Suspended from the ceiling queer— Bunn's blaze of triumph was all pickles To this wegetable shandileer. Tol, lol lol, etc.
IV
Ragged Jack, wot chalks 'Starvation !' Look'd quite fat and swellish there— While Dick, wot 'dumbs it' round the nation, Had all the jaw among the fair. Limping Ned wot brought his duchess, At home had left his wooden pegs— And Jim, wot cadges it on crutches, Vos the nimblest covey on his legs. Tol, lol lol, etc.
V
The next arrival was old Joe Burn, Wot does the fits to Natur chuff— And Fogg, And Fogg, wot's blind each day in Ho'born, Saw'd his way there clear enough, Mr. Sinniwating Sparrow, In corduroys span new and nice, Druv up in his pine-apple barrow, Which he used to sell a win a slice. [6] Tol, lol lol, etc.
VI
The ball was open'd by fat Mary, Togg'd out in book muslin pure, [7] And Saucy Sam, surnamed 'The Lary,' Who did the 'Minuit-on-a-squre.' While Spifflicating Charley Coker, And Jane of the Hatchet-face divine, Just did the Rowdydowdy Poker, And out of Greasy took the shine. [8] Tol, lol lol, etc.
VII
The Sillywarious next was done in Tip-top style just as it should, By Muster and Missus Mudfog, stunning, Whose hair curled like a bunch of wood. The folks grinn'd all about their faces, 'Cos Mudfog—prince of flashy bucks— Had on a pair of pillow Cases, Transmogrified slap into ducks! Tol, lol lol, etc.
VIII
The celebrated Pass de Sandwich To join in no one could refuse— Six bushels on 'em came in, and wich Wanish'd in about two two's. The Gatter Waltz next followed arter— [9] They lapp'd it down, right manful-ly, [10] Until Joe Guffin and his darter, Was in a state of Fourpen-ny! Tol, lol lol, etc.
IX
Next came the Pass de Fascination Betwixt Peg Price and Dumby Dick— But Peg had sich a corporation, He dropp'd her like a red hot brick. The company was so enraptur'd, They buckets of vall flowers threw— But one chap flung a bunch of turnips, Which nearly split Dick's nut in two. Tol, lol lol, etc.
X
The dose now set to gallopading, And stamp'd with all their might and main— They thump'd the floor so precious hard-in, It split the ancient crib in twain, [11] Some pitch'd in the road, bent double— Some was smash'd with bricks—done brown— So the cadgers saved 'The Crown' the trouble Of sending coves to pull it down. Tol, lol lol, etc.
[1: nothing] [2: merrily] [3: walking] [4: lodging-house] [5: sweetheart; wife] [6: penny] [7: dressed] [8: Grisi?] [9: beer] [10: drunk] [11: house]
"DEAR BILL, THIS STONE-JUG" [Notes] [1857]
[From Punch, 31 Jan., p. 49. Being an Epistle from Toby Cracksman, in Newgate, to Bill Sykes].
I
Dear Bill, this stone-jug at which flats dare to rail, [1] (From which till the next Central sittings I hail), Is still the same snug, free-and-easy old hole, Where Macheath met his blowens, and Wild floor'd his bowl [2] In a ward with one's pals, not locked up in a cell, [3] To an old hand like me it's a family hotel. [4]
II
In the dayrooms the cuffins we queers at our ease, [5] And at Darkmans we run the rig just as we please, [6] There's your peck and your lush, hot and reg'lar each day. [7] All the same if you work, all the same if you play But the lark's when a goney up with us they shut [8] As ain't up to our lurks, our flash patter, and smut; [9]
III
But soon in his eye nothing green would remain, He knows what's o'clock when he comes out again. And the next time he's quodded so downy and snug, [10] He may thank us for making him fly to the jug. [11] But here comes a cuffin—who cuts short my tale, It's agin rules is screevin' to pals out o' gaol. [12]
[The following postscript seems to have been added when the Warder had passed.]
IV
For them coves in Guildhall, and that blessed Lord Mayor, Prigs on their four bones should chop whiners I swear: [13] That long over Newgit their Worships may rule, As the high-toby, mob, crack and screeve model school: [14] For if Guv'ment wos here, not the Alderman's Bench, Newgit soon 'ud be bad as 'the Pent,' or 'the Tench'. [15]
[1: prison] [2: mistresses] [3: friends] [4: Notes] [5: warders, bamboozle] [6: night] [7: meat and drink] [8: greenhorn] [9: tricks; talking slang; obscenity] [10: imprisoned] [11: up to prison ways] [12: writing] [13: on knees should pray] [14: highwayman; swell-mobsmen; burglars, forgers] [15: Notes]
THE LEARY MAN [Notes] [1857]
[From The Vulgar Tongue, by DUCANGE ANGLICUS].
I
Of ups and downs I've felt the shocks Since days of bats and shuttlecocks, And allcumpaine and Albert-rocks, When I the world began; And for these games I often sigh Both marmoney and Spanish-fly, And flying kites, too, in the sky, For which I've often ran.
II
But by what I've seen, and where I've been, I've always found it so, That if you wish to learn to live Too much you cannot know. For you must now be wide-awake, If a living you would make, So I'll advise what course to take To be a Leary Man.
II
Go first to costermongery, To every fakement get a-fly, [1] And pick up all their slangery, But let this be your plan; Put up with no Kieboshery, [2] But look well after poshery, [3] And cut teetotal sloshery, [4] And get drunk when you can.
IV
And when you go to spree about, Let it always be your pride To have a white tile on your nob [5 ] And bull-dog by your side Your fogle you must flashly tie [6] Each word must patter flashery, [7] And hit cove's head to smashery, To be a Leary Man.
V
To Covent Garden or Billingsgate You of a morn must not be late, But your donkey drive at a slashing rate, And first be if you can. From short pipe you must your bacca blow And if your donkey will not go, To lick him you must not be slow But well his hide must tan.
VI
The fakement conn'd by knowing rooks Must be well known to you, And if you come to fibbery, You must mug one or two. Then go to St Giles's rookery, [8] And live up some strange nookery, Of no use domestic cookery, To be a Leary Man.
VII
Then go to pigeon fancery And know each breed by quiz of eye, Bald-heads from skin-'ems by their fly, Go wrong you never can. All fighting coves too you must know Ben Caunt as well as Bendigo, And to each mill be sure to go, And be one of the van.
VIII
Things that are found before they're lost, Be always first to find. Restore dogs for a pound or two You'll do a thing that's kind, And you must sport a blue billy, Or a yellow wipe tied loosily [9] Round your scrag for bloaks to see [10] That you're a Leary Man
IX
At knock-'em-downs and tiddlywink, To be a sharp you must not shrink, But be a brick and sport your chink [11] To win must be your plan. And set-toos and Cock-fighting Are things you must take delight in, And always try to be right in And every kidment scan.
X
And bullying and chaffing too, To you should be well known, Your nob be used to bruisery, [12] And hard as any stone. Put the kiebosh on the dibbery, Know a Joey from a tibbery, And now and then have a black eye, To be a Leary Man.
XI
To fairs and races go must you, And get in rows and fights a few, And stopping out all night it's true Must often be your plan. And as through the world you budgery, Get well awake to fudgery, And rub off every grudgery, And do the best you can.
XII
But mummery and slummery You must keep in your mind, For every day, mind what I say, Fresh fakements you will find. But stick to this while you can crawl. To stand 'till you're obliged to fall, And when you're wide awake to all You'll be a Leary Man.
[1: dodge; learn] [2: nonsense] [3: money] [4: drink] [5: hat; head] [6: necktie] [7: talk slang] [8: Notes] [9: handkerchief] [10: neck; men] [11: good fellow; money] [12: head; pugilism]
"A HUNDRED STRETCHES HENCE" [Notes] [1859]
[From The Vocabulum: or Rogues Lexicon, by G. W. MATSELL, New York].
I
Oh! where will be the culls of the bing [1] A hundred stretches hence? [2] The bene morts who sweetly sing, [3] A hundred stretches hence? The autum-cacklers, autum-coves, [4] The jolly blade who wildly roves; [5] And where the buffer, bruiser, blowen, [6] And all the cops, and beaks so knowin, [7] A hundred stretches hence?
II
And where the swag so bleakly pinched [8] A hundred stretches hence? The thimbles, slangs, and danglers filched, [9] A hundred stretches hence? The chips, the fawneys, chatty-feeders, [10] The bugs, the boungs, and well-filled readers; [11] And where the fence, and snoozing ken, [12] With all the prigs and lushing men, [13] A hundred stretches hence?
III
Played out they lay, it will be said A hundred stretches hence; With shovels they were put to bed [14] A hundred stretches since! Some rubbed to wit had napped a winder, [15] And some were scragged and took a blinder, [16] Planted the swag and lost to sight, [17] We'll bid them one and all good-night, A hundred stretches hence.
[1: publicans] [2: years] [3: pretty women] [4: married women and men] [5: boon companion] [6: smuggler; pugilist; whore] [7: police; magistrate] [8: plunder cleverly stolen] [9: watches; chains; seals; stolen] [10: money; rings; spoons] [11: breast-pins; purses; pocket-book] [12: receiver of stolen goods; brothel] [13: thieves; drunkards] [14: buried] [15: taken to gaol; had cheated a life sentence] [16: hanged; drowned oneself] [17: got rid of the plunder]
THE CHICKALEARY COVE [Notes] [c. 1864]
I
I'm a 'Chickaleary bloke' with my one, two, three, [1] Whitechapel was the village I was born in, For to get me on the hop, or on my tibby drop, [2] You must wake up very early in the morning. I have a rorty gal, also a knowing pal, [3] And merrily together we jog on, I doesn't care a flatch, as long as I've a tach, [4] Some pannum for my chest, and a tog on. [5] I'm a Chickaleary bloke with my one, two, three, Whitechapel was the village I born in, For to get me on the hop, or on my tibby drop, You must wake up very early in the morning.
II
Now kool my downy kicksies—the style for me, [6] Built on a plan werry naughty, The stock around my squeeze a guiver colour see, [7] And the vestat with the bins so rorty, [8] My tailor serves you well, from a perger to a swell, [9] At Groves's you're safe to make a sure pitch, [10] For ready yenom down, there ain't a shop in town, [11] Can lick Groves in The Cut as well as Shoreditch. [12] I'm a Chickaleary bloke, etc.
III
Off to Paris I shall go, to show a thing or two To the dipping blokes what hangs about the caffes, [13] How to do a cross-fam, for a super, or a slang, [14] And to bustle them grand'armes I'd give the office: Now my pals I'm going to slope, see you soon again, I hope, My young woman is awaiting, so be quick; Now join in a chyike, the jolly we all like, [15] I'm off with a party to the Vic. I'm a Chickaleary bloke, etc.
[1: Whitechapel swell] [2: got the better of me] [3: flashly dressed; clever] [4: halfpenny; hat] [5: eatables; coat] [6: look; trousers flashy cut] [7: neck; flash] [8: vest; pockets] [9: teetotaller] [10: place] [11: money] [12: beat] [13: pickpockets] [14: watch; chain] [15: salute; shout]
BLOOMING AESTHETIC [1882]
[From The Rag, 30 Sept.].
He
I
A dealer-in-coke young man, A wallop-his-moke young man, A slosher-of-pals, A spooning-with-gals, [1] An ought-to-be-blowed young man.
II
A tell-a-good-whopper young man, [2] A slogging-a-copper young man, [3] A pay-on-the-nod, [4] An always-in-quod, [5] A sure-to-be-scragged young man. [6]
III
A Sunday-flash-togs young man, [7] A pocket-of-hogs young man, [8] A save-all-his-rhino, [9] A cut-a-big-shine, oh, Will soon-have-a-pub young man
She
I
A powder-and-paint young girl, Not-quite-a-saint young girl, An always-get-tight, [10] A stay-out-all-night, Have-a-kid-in-the-end young girl. [11]
II
Make-a-bloke-a-choke young girl, Love-a-gin-soak young girl, [12] On-the-kerb-come-a-cropper, Run-in-by-a-copper, [13] "Fined-forty-bob "—young girl.
III
A tallow-faced-straight young girl, A never-out-late young girl, A Salvation-mummery, Smoleless-and-glummery, Kid-by-a-captain young girl.
[1: making love] [2: lie] [3: assaulting the police] [4: take unlimited credit] [5: in prison] [6: hung] [7: clothes] [8: silver] [9: money] [10: drunk] [11: child] [12: drunken bout] [13: policeman]
'ARRY AT A POLITICAL PICNIC [By T Milliken in Punch, 11 Oct.]
DEAR CHARLIE.
I
'Ow are yer, my ribstone? Seems scrumtious to write the old name. I 'ave quite lost the ran of you lately. Bin playing some dark little game? [1] I'm keeping mine hup as per usual, fust in the pick of the fun, For wherever there's larks on the tappy there's 'Arry as sure as a gun.
II
The latest new lay's Demonstrations. You've heard on 'em, Charlie, no doubt, For they're at 'em all over the shop. I 'ave 'ad a rare bustle about. All my Saturday arfs are devoted to Politics. Fancy, old chump, Me doing the sawdusty reglar, and follering swells on the stump! [2]
III
But, bless yer, my bloater, it isn't all chin-music, votes, and 'Ear! 'ear!' [3] Or they wouldn't catch me on the ready, or nail me for ninepence. No fear! Percessions I've got a bit tired of, hoof-padding and scrouging's dry rot, [4] But Political Picnics mean sugar to them as is fly to wot's wot.
IV
Went to one on 'em yesterday, Charlie; a reglar old up and down lark. The Pallis free gratis, mixed up with a old country fair in a park, And Rosherville Gardens chucked in, with a dash of the Bean Feast will do, To give you some little idear of our day with Sir Jinks Bottleblue.
V
Make much of us, Charlie? Lor bless you, we might ha' bin blooming Chinese A-doing the rounds at the 'Ealthries. 'Twas regular go as you please. Lawn-tennis, quoits, cricket, and dancing for them as must be on the shove,
But I preferred pecking and prowling, and spotting the mugs making love.
VI
Don't ketch me a-slinging my legs about arter a beast of a ball At ninety degrees in the shade or so, Charlie, old chap, not at all. Athletics 'aint 'ardly my form, and a cutaway coat and tight bags Are the species of togs for yours truly, and lick your loose 'flannels' to rags.
VII
So I let them as liked do a swelter; I sorntered about on the snap. Rum game this yer Politics, Charlie, seems arf talkee-talkee and trap. Jest fancy old Bluebottle letting the 'multitood' pic-nic and lark, And make Battersea Park of his pleasure-grounds, Bathelmy Fair of his park!
VIII
'To show his true love for the People!' sezs one vote-of-thanking tall-talker, And wosn't it rude of a bloke as wos munching a bun to cry 'Walker!' I'm Tory right down to my boots, at a price, and I bellered "'Ear, ear!' But they don't cop yours truly with chaff none the more, my dear Charlie, no fear!"
IX
Old Bottleblue tipped me his flipper, and 'oped I'd 'refreshed,' and all that. [10] 'Wy rather,' sez I, 'wot do you think ?' at which he stared into his 'at, And went a bit red in the gills. Must ha' thought me a muggins, old man, [11] To ask sech a question of 'Arry—as though grabbing short was his plan.
X
I went the rounds proper, I tell yer; 'twas like the free run of a Bar, And Politics wants lots o' wetting. Don't ketch me perched up on a car, Or 'olding a flag-pole no more. No, percessions, dear boy, ain't my fad, But Political Picnics with fireworks, and plenty of swiz ain't 'arf bad.
XI
The palaver was sawdust and treacle. Old Bottleblue buzzed for a bit, And a sniffy young Wiscount in barnacles landed wot 'e thought a 'it; Said old Gladstone wos like Simpson's weapon, a bit of a hass and all jor, When a noisy young Rad in a wideawake wanted to give him what for! [12]
XII
Yah! boo! Turn 'im hout!' sings yours truly, a-thinkin' the fun was at 'and, But, bless yer! 'twas only a sputter. I can't say the meeting looked grand. Five thousand they reckoned us, Charlie, but if so I guess the odd three Were a-spooning about in the halley's, or lappin' up buns and Bohea.
XIII
The band and the 'opping wos prime though, and 'Arry in course wos all there. I 'ad several turns with a snappy young party with stror coloured 'air. Her name she hinfonned me wos Polly, and wen in my 'appiest style, I sez, 'Polly is nicer than Politics!' didn't she colour and smile?
XIV
We got back jest in time for the Fireworks, a proper flare-up, and no kid, Which finished that day's Demonstration, an' must 'ave cost many a quid. Wot fireworks and park-feeds do Demonstrate, Charlie, I'm blest if I see, And I'm blowed if I care a brass button, so long as I get a cheap spree.
XV
The patter's all bow-wow, of course, but it goes with the buns and the beer. If it pleases the Big-wigs to spout, wy it don't cost bus nothink to cheer. Though they ain't got the 'ang of it, Charlie, the toffs ain't—no go and no spice! Why, I'd back Barney Crump at our Singsong to lick 'em two times out o' twice!
XVI
Still I'm all for the Lords and their lot, Charlie. Rads are my 'error, you know. Change R into C and you've got 'em, and 'Arry 'ates anythink low. So if Demonstrations means skylarks, and lotion as much as you'll carry, These 'busts of spontanyous opinion' may reckon all round upon 'Arry.
[1: sight] [2: nonsense] [3: talking] [4: walking] [5: eating; fools] [6: trousers] [7: prowl] [8: Notes] [9: catch] [10: shook hands] [11: face; fool] [12: something to talk about]
"RUM COVES THAT RELIEVE US" [1887]
[By HEINRICH BAUMANN in Londonismen].
I
Rum coves that relieve us [1] Of clunkers and pieces, [2] Is gin'rally lagged, [3] Or wuss luck gets scragg'd. [4]
II
Are smashers and divers [5] And noble contrivers Not sold to the beaks [6] By the coppers an' sneaks? [7]
III
Yet moochin' arch-screevers, [8] Concoctin' deceivers, Chaps as reap like their own What by tothers were sown;
IV
Piratical fakers [9] Of bosh by the acres, These muck-worms of trash Cut, oh, a great dash.
V
But, there, it don't matter Since, to cut it still fatter, By 'ook and by crook Ve've got up this book.
VI
Tell ye 'ow? Vy in rum kens, [10] In flash cribs and slum dens, [11] I' the alleys and courts, 'Mong the doocedest sorts;
VII
When jawin' with Jillie Or Mag and 'er Billie, Ve shoved down in black Their illigant clack. [12]
VIII
So from hartful young dodgers, From vaxy old codgers, [13] From the blowens ve got [14] Soon to know vot is vot.
IX
Now then there is yer sumptuous Tuck-in of most scrumptious, And dainty mag-pie! [15] Will ye jes' come and try?
[1: thieves] [2: money] [3: imprisoned] [4: hung] [5: counterfeiters; pickpockets] [6: magistrates] [7: police; informers] [8: prowling; begging letter writers] [9: writers of "blood and thunder"] [10: queer places] [11: thieves' resorts] [12: talk] [13: men] [14: prostitutes] [15: speech]
VILLON'S GOOD-NIGHT [1887]
[By WILLIAM ERNEST HENLEY].
I
You bible-sharps that thump on tubs, [1] You lurkers on the Abram-sham, [2] You sponges miking round the pubs, [3] You flymy titters fond of flam, [4] You judes that clobber for the stramm, [5] You ponces good at talking tall, With fawneys on your dexter famm— [6] A mot's good-night to one and all! [7]
II
Likewise you molls that flash your bubs [8] For swells to spot and stand you sam, [9] You bleeding bonnets, pugs, and subs, You swatchel-coves that pitch and slam. [10] You magsmen bold that work the cram, [11] You flats and joskins great and small, Gay grass-widows and lawful-jam— [12] A mot's good-night to one and all!
III
For you, you coppers, narks, and dubs, [13] Who pinched me when upon the snam, [14] And gave me mumps and mulligrubs [15] With skilly and swill that made me clam, [16] At you I merely lift my gam— [17] I drink your health against the wall! [18] That is the sort of man I am, A mot's good-night to one and all!
The Farewell.
Paste 'em, and larrup 'em, and lamm! Give Kennedy, and make 'em crawl! [19] I do not care one bloody damn, A mot's good-night to one and all.
[1: false clericos] [2: beggar feigning sickness] [3: cadgers; loafing] [4: saucy girls; non-sense] [5: women dress; game] [6: rings; right hand] [7: harlot] [8: prostitutes; expose paps] [9: see; pay for] [10: Punch-and-judy-man] [11: pattering tradesman] [12: wife] [13: police; informers; warders] [14: arrested; stealing] [15: "the blues"] [16: refuse food] [17: leg] [18: urinate] [19: thrash them and make them stir]
VILLON'S STRAIGHT TIP TO ALL CROSS COVES [Notes] [1887]
[By WILLIAM ERNEST HENLEY].
'Tout aux tavernes et aux filles'
I
Suppose you screeve, or go cheap-jack? [1] Or fake the broads? or fig a nag? Or thimble-rig? or knap a yack? Or pitch a snide? or smash a rag? Suppose you duff? or nose and lag? Or get the straight, and land your pot? How do you melt the multy swag? Booze and the blowens cop the lot.
II
Fiddle, or fence, or mace, or mack; Or moskeneer, or flash the drag; Dead-lurk a crib, or do a crack; Pad with a slang, or chuck a fag; Bonnet, or tout, or mump and gag; Rattle the tats, or mark the spot You cannot bank a single stag: Booze and the blowens cop the lot.
III
Suppose you try a different tack, And on the square you flash your flag? At penny-a-lining make your whack, Or with the mummers mug and gag? For nix, for nix the dibbs you bag At any graft, no matter what! Your merry goblins soon stravag: Booze and the blowens cop the lor.
The Moral.
It's up-the-spout and Charley-Wag With wipes and tickers and what not! Until the squeezer nips your scrag, Booze and the blowens cop the lot.
[1: See Notes for translation]
CULTURE IN THE SLUMS [1887]
[By WILLIAM ERNEST HENLEY: "Inscribed to an intense poet"].
I. Rondeau.
I
"O crikey, Bill!" she ses to me, she ses. "Look sharp," ses she, "with them there sossiges. Yea! sharp with them there bags of mysteree! [1] For lo!" she ses, "for lo! old pal," ses she, [2] "I'm blooming peckish, neither more nor less." [3]
II
Was it not prime—I leave you all to guess How prime! to have a jude in love's distress [4] Come spooning round, and murmuring balmilee, [5] "O crikey, Bill!"
III
For in such rorty wise doth Love express [6] His blooming views, and asks for your address, And makes it right, and does the gay and free. I kissed her—I did so! And her and me Was pals. And if that ain't good business. O crikey, Bill!
II. Villanelle.
I
Now ain't they utterly too—too? [7] (She ses, my Missus mine, ses she), Them flymy little bits of Blue. [8]
II
Joe, just you kool 'em—nice and skew [9] Upon our old meogginee, Now ain't they utterly too-too?
III
They're better than a pot'n a screw, They're equal to a Sunday spree, Them flymy little bits of Blue!
IV
Suppose I put 'em up the flue, [10] And booze the profits, Joe? Not me. [11] Now ain't they utterly too-too ?
V
I do the 'Igh Art fake, I do. Joe, I'm consummate; and I see Them flymy little bits of Blue.
VI
Which, Joe, is why I ses to you— AEsthetic-like, and limp, and free— Now ain't they utterly too-too, Them flymy little bits of Blue?
III. Ballade.
I
I often does a quiet read At Booty Shelley's poetry; [12] I thinks that Swinburne at a screed Is really almost too-too fly; At Signor Vagna's harmony [13] I likes a merry little flutter; I've had at Pater many a shy; In fact, my form's the Bloomin' Utter.
II
My mark's a tidy little feed, And 'Enery Irving's gallery, To see old 'Amlick do a bleed, And Ellen Terry on the die, Or Franky's ghostes at hi-spy, And parties carried on a shutter [14] Them vulgar Coupeaus is my eye! In fact, my form's the Bloomin' Utter.
III
The Grosvenor's nuts—it is, indeed! I goes for 'Olman 'Unt like pie. It's equal to a friendly lead [15] To see B. Jones's judes go by. Stanhope he makes me fit to cry, Whistler he makes me melt like butter, Strudwick he makes me flash my cly— [16] In fact, my form's the Bloomin' Utter.
Envoy.
I'm on for any Art that's 'Igh! I talks as quite as I can splutter; I keeps a Dado on the sly; In fact, my form's the Blooming Utter!
[1: sausages] [2: friend] [3: very hungry] [4: girl] [5: fondling; softly] [6: thus expressively] [7: nice] [8: i.e. china] [9: look at] [10: pawn] [11: drink] [12: Botticelli(?)] [13: Wagner(?)] [14: The Corsican Brothers(?)] [15: Notes] [16: spend money]
"TOTTIE" [1887]
[By "DAGONET" (G. R. SIMS) in Referee, 7 Nov.].
I
As she walked along the street With her little 'plates of meat,' [1] And the summer sunshine falling On her golden 'Barnet Fair,' [2] Bright as angels from the skies Were her dark blue 'mutton pies.' [3] In my 'East and West' Dan Cupid [4] Shot a shaft and left it there.
II
She'd a Grecian 'I suppose,' [5] And of 'Hampstead Heath' two rows, [6] In her 'Sunny South' that glistened [7] Like two pretty strings of pearls; Down upon my 'bread and cheese' [8] Did I drop and murmur, 'Please Be my "storm and strife," dear Tottie, [9] O, you darlingest of girls!'
III
Then a bow-wow by her side, [10] Who till then had stood and tried A 'Jenny Lee' to banish, [11] Which was on his 'Jonah's whale,' [12] Gave a hydrophobia bark, (She cried, 'What a Noah's Ark!') [13] And right through my 'rank and riches' [14] Did my 'cribbage pegs' assail. [15]
IV
Ere her bull-dog I could stop She had called a 'ginger pop,' [16] Who said, 'What the "Henry Meville" [17] Do you think you're doing there?' And I heard as off I slunk, 'Why, the fellow's "Jumbo's trunk!" [18] And the 'Walter Joyce' was Tottie's [19] With the golden 'Barnet Fair.' [20]
[1: feet] [2: hair] [3: eyes] [4: breast] [5: nose] [6: teeth] [7: mouth] [8: knees] [9: wife] [10: dog] [11: flee] [12: tail] [13: lark] [14: breeches] [15: legs] [16: slop = policeman] [17: devil] [18: drunk] [19: voice] [20: hair]
A PLANK BED BALLAD [1888]
[By "DAGONET" (G. R. SIMS) in Referee, 12 Feb.].
I
Understand, if you please, I'm a travelling thief, The gonophs all call me the gypsy; [1] By the rattler I ride when I've taken my brief, [2] And I sling on my back an old kipsey. [3]
II
If I pipe a good chat, why, I touch for the wedge, [4] But I'm not a "particular" robber; I smug any snowy I see on the hedge, [5] And I ain't above daisies and clobber. [6]
III
One day I'd a spree with two firms in my brigh, [7] And a toy and a tackle—both red 'uns; [8] And a spark prop a pal (a good screwsman) and I [9] Had touched for in working two dead 'uns.
IV
I was taking a ducat to get back to town [10] (I had come by the rattler to Dover), When I saw as a reeler was roasting me brown, [11] And he rapped, "I shall just turn you over." [12]
V
I guyed, but the reeler he gave me hot beef, [13] And a scuff came about me and hollered; I pulled out a chive, but I soon came to grief, [14] And with screws and a james I was collared. [15]
VI
I was fullied, and then got three stretch for the job,[16] And my trip—cuss the day as I seen her— [17] She sold off my home to some pals in her mob, [18] For a couple of foont and ten deener. [19]
VII
Oh, donnys and omees, what gives me the spur, [20] Is, I'm told by a mug (he tells whoppers), [21] That I ought to have greased to have kept out of stir [22] The dukes of the narks and the coppers. [23]
[1: boys] [2: rail; ticket] [3: basket] [4: see; horse; go for; silver plate] [5: steal; linen] [6: boots; clothes] [7: L5 notes; pocket] [8: watch; chain; gold] [9: diamond pin] [10: ticket] [11: detective; closely scanning me] [12: said; search you] [13: ran; tea; chased me] [14: knife] [15: burglars tools; caught] [16: remanded; years] [17: mistress] [18: friends; set] [19: L5 notes; shillings] [20: girl; fellows] [21: man] [22: bribed] [23: hands; detectives; police]
THE RONDEAU OF THE KNOCK [1890]
[By "DAGONET" (G. R. SIMS) in Referee, 20 Ap. p. 7].
I
He took the knock! No more with jaunty air [1] He'll have the "push" that made the punter stare; No more in monkeys now odds on he'll lay [2] And make the ever grumbling fielder gay. One plunger more has had his little flare [3] And then came to Monday when he couldn't "square"; [4] Stripped of his plunees a poor denuded J [5] He took the knock! Where is he now? Ah! echo answers "where"? Upon the turf he had his little day And when, stone-broke, he could no longer pay [6] Leaving the ring to gnash its teeth and swear He took the knock!
[1: gave in] [2: L500] [3: opportunity] [4: pay up] [5: fellow] [6: ruined]
THE RHYME OF THE RUSHER [1892]
[By DOSS CHIDERDOSS in Sporting Times, 29 Oct. In Appropriate Rhyming Slanguage].
I
I was out one night on the strict teetote, [1] 'Cause I couldn't afford a drain; I was wearing a leaky I'm afloat, [2] And it started to France and Spain. [3] But a toff was mixed in a bull and cow, [4] And I helped him to do a bunk; [5] He had been on the I'm so tap, and now [6] He was slightly elephant's trunk. [7]
II
He offered to stand me a booze, so I [8] Took him round to the "Mug's Retreat;" And my round the houses I tried to dry [9] By the Anna Maria's heat. [10] He stuck to the I'm so to drown his cares, While I went for the far and near, [11] Until the clock on the apples and pears [12] Gave the office for us to clear. [13]
III
Then round at the club we'd another bout, And I fixed him at nap until I had turned his skyrockets inside out, [14] And had managed my own to fill, Of course, I had gone on the half-ounce trick,[15] And we quarrelled, and came to blows; But I fired him out of the Roiy quick, And he fell on his I suppose. [16]
IV
And he laid there, weighing out prayers for me, Without hearing the plates of meat [17] Of a slop, who pinched him for "d. and d." [18] And disturbing a peaceful beat, And I smiled as I closed my two mince pies [19] In my insect promenade; For out of his nibs I had taken a rise, [20] And his stay on the spot was barred.
V
Next morning I brushed up my Barnet Fair, [21] And got myself up pretty smart; Then I sallied forth with a careless air, And contented raspberry tart. [22] At the first big pub I resolved, if pos., [23] That I'd sample my lucky star; So I passed a flimsy on to the boss [24] Who served drinks at the there you are. [25]
VI
He looked at the note, and the air began With his language to pen and ink; [26] For the mug I'd fleeced had been his head man, [27] And had done him for lots of chink. [28] I'm blessed if my luck doesn't hum and ha, For I argued the point with skill; But the once a week made me go ta-ta [29] For a month on the can't keep still. [30]
[1: without drink] [2: coat] [3: rain] [4: swell; row] [5: get away] [6: rap] [7: drunk] [8: drink] [9: trousers] [10: fire] [11: beer] [12: stairs] [13: warning] [14: pockets] [15: bounce] [16: nose] [17: feet] [18: policeman; arrested; drunk and disorderly] [19: eyes ] [20: him; advantage] [21: hair] [22: heart] [23: possible] [24: banknote] [25: bar] [26: stink] [27: fellow; cheated] [28: robbed; money] [29: beak] [30: everlasting wheel=mill]
WOT CHER! [Notes] or, Knocked 'em in the Old Kent Rd. [1892]
[By ALBERT CHEVALIER].
I
Last week down our alley come a toff, [1] Nice old geezer with a nasty cough, [2] Sees my Missus, takes 'is topper off [3] In a very gentlemanly way! "Ma'am," says he, "I 'ave some news to tell, Your rich Uncle Tom of Camberwell, Popped off recent, which it ain't a sell, [4] Leaving you 'is little Donkey Shay." "Wot cher!" all the neighbours cried, "Who're yer goin' to meet, Bill? Have yer bought the street, Bill?" Laugh! I thought I should 'ave died, Knock'd 'em in the Old Kent Road! [5]
II
Some says nasty things about the moke, [6] One cove thinks 'is leg is really broke, [7] That's 'is envy, cos we're carriage folk, Like the toffs as rides in Rotten Row! Straight! it woke the alley up a bit, [8] Thought our lodger would 'ave 'ad a fit, When my missus, who's a real wit, Says, "I 'ates a Bus, because it's low!" "Wot cher!" &c.
III
When we starts the blessed donkey stops, He won't move, so out I quickly 'ops, Pals start whackin' him, when down he drops, Someone says he wasn't made to go. Lor it might 'ave been a four-in-'and, My Old Dutch knows 'ow to do the grand, [9] First she bows, and then she waves 'er 'and, Calling out we're goin' for a blow! "Wot cher!" &c.
IV
Ev'ry evenin' on the stroke of five, Me and Missus takes a little drive, You'd say, "Wonderful they're still alive," If you saw that little donkey go. I soon showed him that 'e 'd have to do, Just whatever he was wanted to, Still I shan't forget that rowdy crew, 'Ollerin' "Woa! steady! Neddy Woa! "Wot cher!" &c.
[1: well-dressed man] [2: man] [3: hat] [4: died; mistake] [5: made them stare] [6: donkey] [7: fellow] [8: no mistake] [9: wife; make a show]
OUR LITTLE NIPPER [Notes] [1893]
[By ALBERT CHEVALIER].
I
I'm just about the proudest man that walks, I've got a little nipper, when 'e talks [1] I'll lay yer forty shiners to a quid [2] You'll take 'im for the father, me the kid. Now as I never yet was blessed wi' wealf, I've 'ad to bring that youngster up myself, And though 'is education 'as been free, 'E's allus 'ad the best of tips from me. [3] And 'e's a little champion, Do me proud well 'e's a knock out, [4] Takes after me and ain't a bit too tall. 'E calls 'is mother "Sally," And 'is father "good old pally," And 'e only stands about so 'igh, that's all!
II
'E gits me on at skittles and 'e flukes, [5] And when 'e wants to 'e can use 'is "dooks," [6] You see 'im put 'em up, well there, it's great, 'E takes a bit of lickin at 'is weight; 'E'll stick up like a Briton for 'is pals, An' ain't 'e just a terror with the gals; I loves to see 'im cuttin' of a dash, A walkin' down our alley on the mash. [7] There, 'e's a little champion, Do me proud well 'e's a knock out, I've knowed 'im take a girl on six foot tall; 'E'll git 'imself up dossy, [8] Say I'm goin' out wi' Flossie, An' 'e only stands about so 'igh, that's all.
III
I used to do a gin crawl e'vry night, [9] An' very, very often come 'ome tight, [10] But now of all sich 'abits I've got rid, I al'us wants to git 'ome to the kid. In teachin' 'im I takes a regular pride, Not books, of course, for them 'e can't abide, But artful little ikey little ways, [11] As makes the people sit up where we stays. [12]
(Spoken)—Only last Sunday me an' the missus took 'im out for a walk—I should say 'e took us out. As we was a comin' 'ome I says to the old gal "Let's pop into the 'Broker's Arms' and 'ave a drop o' beer?" She didn't raise no objection so in we goes, followed by 'is nibs—I'd forgotten all about 'im—I goes to the bar and calls for two pots of four 'alf; suddenly I feels 'im a tuggin' at my coat, "Wot's up?" sez I; "Wot did yer call for?" sez 'e; "Two pots of four 'alf," sez I; "Oh," sez 'e, "ain't mother goin' to 'ave none?"
Well, 'e's a little champion, Do me proud well 'e's a knock out, "Drink up," sez 'e, "Three pots, miss, it's my call." I sez "Now Jacky, Jacky;" 'E sez, "And a screw of baccy," And 'e only stands about so 'igh, that's all.
[1: child] [2: shillings; pound] [3: information] [4: Notes] [5: Notes] [6: hands] [7: courting] [8: dressy] [9: round of ginshops] [10: drunk] [11: funny] [12: stare]
THE COSTER'S SERENADE [1894]
[By ALBERT CHEVALIER].
I
You ain't forgotten yet that night in May, Down at the Welsh 'Arp, which is 'Endon way, You fancied winkles and a pot of tea, "Four 'alf" I murmured's "good enough for me." "Give me a word of 'ope that I may win"— You prods me gently with the winkle pin— We was as 'appy as could be that day Down at the Welsh 'Arp, which is 'Endon way.
Oh, 'Arriet I'm waiting, waiting for you my dear, Oh, 'Arriet I'm waiting, waiting alone out here; When that moon shall cease to shine, False will be this 'eart of mine, I'm bound to go on lovin' yer my dear; d'ye 'ear?
II
You ain't forgotten 'ow we drove that day Down to the Welsh 'Arp, in my donkey shay; Folks with a "chy-ike" shouted, "Ain't they smart?" [1] You looked a queen, me every inch a Bart. Seemed that the moke was saying "Do me proud;" Mine is the nobbiest turn-out in the crowd; [2] Me in my "pearlies" felt a toff that day, [3] Down at the Welsh 'Arp, which is Endon way. Oh, 'Arriet, &c.
III
Eight months ago and things is still the same, You're known about 'ere by your maiden name, I'm getting chivied by my pals 'cos why? [4] Nightly I warbles 'ere for your reply. Summer 'as gone, and it's a freezin' now, Still love's a burnin' in my 'eart, I vow; Just as it did that 'appy night in May Down at the Welsh 'Arp, which is Endon way. Oh, 'Arriet, &c.
[1: shout] [2: finest; trap] [3: swell] [4: chaffed]
NOTES
Rhymes Of The Canting Crew. [Footnote: Throughout these notes free use has been made of the National Dictionary of Biography; a work which, without question, contains the latest and most accurately sifted array of biographical information, much of which could not be obtained from any other source whatever.]
These lines are of little interest apart from the fact of being the earliest known example of the Canting speech or Pedlar's French in English literature. Sorry in point or meaning, they are sorrier still as verse. Yet, antedating, by half a century or more, the examples cited by Awdeley and Harman, they possess a certain value they carry us back almost to the beginnings of Cant, at all events to the time when the secret language of rogues and vagabonds first began to assume a concrete form.
Usually ascribed to Thomas Dekker (who "conveyed" them bodily, and with errors, to Lanthorne and Candlelight, published in 1609) this jingle of popular Canting phrases, strung together almost at haphazard, is the production of Robert Copland (1508-1547), the author of The Hye Way to the Spyttel House, a pamphlet printed after 1535, and of which only two or three copies are now known. Copland was a printer-author; in the former capacity a pupil of Caxton in the office of Wynkyn de Worde.
The plan of The Hye Way is simplicity itself. Copland, taking refuge near St. Bartholomew's Hospital during a passing shower, engages the porter in conversation concerning the "losels, mighty beggars and vagabonds, the michers, hedge-creepers, fylloks and luskes" that "ask lodging for Our Lord's sake". Thereupon is drawn a vivid and vigorous picture of the seamy side of the social life of the times. All grades of "vagrom men," with their frauds and shifts, are passed in review, and when Copland asks about their "bousy" speech, the porter entertains him with these lines.
Lines 2 and 4. Bousy = drunken, sottish, dissipated. So Skelton in Elynoor Rommin (Harl. MSS. ed. Park, I. 416), 'Her face all bowsie'. Booze = to drink heavily, is still colloquial; and, = to drink, was in use as early as A.D. 1300. Line 4. Cove (or Cofe) = a man, an individual. Maimed nace (nase or nazy) = helplessly drunk; Lat. nausea = sickness; cf. line 9, 'nace gere'. Line 5. Teare (toure or towre) = to look, to see. Patrying cove (patrico, patricove, or pattercove) = a strolling priest; cf. Awdeley, Frat. of Vacabondes (1560), p. 6.:— "A Patriarke Co. doth make marriages, and that is untill death depart the married folke, which is after this sort: When they come to a dead Horse or any dead Catell, then they shake hands and so depart, euery one of them a seuerall way." The form patrying cove seems to suggest a derivation from 'pattering' or 'muttering'—the Pater- noster, up to the time of the Reformation, was recited by the priest in a low voice as far as 'and lead us not into temptation' when the choir joined in. Darkman
cace (or case) = a sleeping apartment or place—ward, barn, or inn: darkmans = night + Lat. casa = house etc.: 'mans' is a common canting affix = a thing or place: e.g. lightmans = day; ruffmans = a wood or bush; greenmans = the fields; Chepemans = Cheapside market etc. Line 6. docked the dell = deflowered the girl: dell = virgin; see Harman, Caveat (1575), p. 75:—'A dell is a yonge wenche, able for generation, and not yet knowen or broken by the upright man'. Coper meke (or make) = a half-penny. Line 7. His watch = he: my watch = I, or me: cf. 'his nabs' and 'my nabs' in modern slang. Feng (A. S.) = to get, to steal, to snatch. Prounces nobchete = prince's hat or cap: cheat (A. S.) = thing, and mainly used as an affix: thus, belly-chete = an apron; cackling-chete = a fowl; crashing-chetes = the teeth; nubbing-chete = the gallows, and so forth. Line 8. Cyarum, by Salmon—the meaning of cyarum is unknown: by Salmon (or Solomon) = a beggar's oath, i.e., by the altar or mass. Pek my jere = eat excrement: cf. 'turd in your mouth'. Line 9. gan = mouth. My watch, see ante, line 7. Nace gere = nauseous stuff: cf. ante, line 4: gere = generic for thing, stuff, or material. Line 10. bene bouse = strong drink or wine.
The Beggar's Curse
Thomas Dekker, one of the best known of the Elizabethan pamphleteers and dramatists, was born in London about 1570, and began his literary career in 1597-8 when an entry referring to a loan-advance occurs in Henslowe's Diary. A month later forty shillings were advanced from the same source to have him discharged from
the Counter, a debtor's prison. Dekker was a most voluminous writer, and not always overparticular whence he got, or how he used, the material for his tracts and plays. The Belman of London Bringing to Light the Most Notorious Villanies that are now practised in the Kingdome (1608) of which three editions were published in one year, consists mainly of pilferings from Harman's Caveat for Common Curselors first published in 1566-7. He did not escape conviction, however, for Samuel Rowlands showed him up in Martin Mark-All. Yet another instance of wholesale "conveyance" is mentioned in the Note to "Canting Rhymes" (ante). In spite of this shortcoming, however, and a certain recklessness of workmanship, the scholar of to- day owes Dekker a world of thanks: his information concerning the social life of his time is such as can be obtained nowhere else, and it is, therefore, now of sterling value.
Lanthorne and Candlelight is the second part of The Belman of London. Published also in 1608, it ran to two editions in 1609, a fourth appearing in 1612 under the title of O per se O, or a new Cryer of Lanthorne and Candlelight, Being an Addition or Lengthening of the Belman's Second Night Walke. Eight or nine editions of this second part appeared between 1608 and 1648 all differing more or less from each other, another variation occurring when in 1637 Dekker republished Lanthorne and Candlelight under the title of English Villanies, shortly after which he is supposed to have died.
"Towre Out Ben Morts"
Samuel Rowlands, a voluminous writer circa 1570-1628, though little known now, nevertheless kept the publishers busy for thirty years, his works selling readily for another half century. Not the least valuable of his numerous productions from a social and antiquarian point of view is Martin Mark-All, Beadle of Bridewell; his Defence and Answere to the Belman of London (see both Notes ante).
Martin Markall delivers himself of a vivid and "originall" account of "the Regiment of Rogues, when they first began to take head, and how they have succeeded one the other successively unto the sixth and twentieth year of King Henry the Eighth, gathered out of the Chronicle of Crackropes" etc. He then criticizes somewhat severely the errors and omissions in Dekker's Canting glossary, adding considerably to it, and finally joins issue with the Belman in an attempt to give "song for song". Dekker's "Canting Rhymes" (plagiarised from Copland) and "The Beggar's Curse" thus apparently gave birth to the present verses and to those entitled "The Maunder's Wooing" that follow.
Stanza I, line i. Ben = Lat. bene = good. Mort = a woman, chaste or not. Line 3. Rome-cove = "a great rogue" (B. E., Dict. Cant. Crew, 1690), i.e., an organizer, or the actual perpetrator of a robbery: quire-cove = a subordinate thief—the money had passed from the actual thief to his confederate. Rom (or rum) and quier (or queer) enter largely into combination, thus—rom = gallant, fine, clever, excellent, strong; rom-bouse = wine or strong drink; rum- bite = a clever trick or fraud; rum-blowen = a handsome mistress; rum-bung = a full purse; rum-diver = a clever pickpocket; rum-padder = a well-mounted highwayman, etc.: also queere = base, roguish; queer-bung = an empty purse; queer-cole = bad money; queer-diver = a bungling pickpocket; queer-ken = a prison; queer-mart = a foundered whore, and so forth. Budge = a general verb of action, usually stealthy action: thus, budge a beak = to give the constable the slip, or to bilk a policeman; to budge out (or off) = to sneak off; to budge an alarm = to give warning.
The Maunder's Wooing
See previous Note.
Stanza II, line 2. Autem mort = a wife; thus Harman, Caveat (1575):—"These Autem Mortes be maried wemen, as there be but a fewe. For Autem in their Language is a Churche; so she is a wyfe maried at the Church, and they be as chaste as a Cowe I have, that goeth to Bull every moone, with what Bull she careth not." Line 5. wap = to lie carnally with.
Stanza IV, line 5. Whittington = Newgate, from the famous Lord Mayor of London who left a bequest to rebuild the gaol. After standing for 230 years Whittington's building was demolished in 1666.
Stanza V, line 2. Crackmans = hedges or bushes. Tip lowr with thy prat = (literally) get money with thy buttocks, i.e. by prostitution.
Stanza VI, line 2. Clapperdogen = (B. E. Dict. Cant. Crew, 1690) "a beggar born and bred"; also Harman, Caveat, etc. p. 44:—" these go with patched clokes, and have their morts with them, which they call wives."
"A Gage Of Ben Rom-Bouse"
Thomas Middleton, another of the galaxy of Elizabethan writers contributing so many sidelights on Shakspeare's life and times, is supposed to have been of gentle birth. He entered Gray's Inn about 1593 and was associated with Dekker in the production of The Roaring Girl, probably having the larger share in the composition. Authorities concur in tracing Dekker's hand in the canting scenes, but less certainly elsewhere. The original of Moll Cut-purse was a Mary Frith (1584—1659), the daughter of a shoemaker in the Barbican. Though carefully brought up she was particularly restive under discipline, and finally became launched as a "bully, pickpurse, fortune-teller, receiver and forger" in all of which capacities she achieved considerable notoriety. As the heroine of The Roaring Girl Moll is presented in a much more favorable light than the facts warrant.
Line 11. And couch till a palliard docked my dell = (literally) 'And lie quiet while a beggar deflowered my girl', but here probably = while a beggar fornicates with my mistress.
"Bing Out, Bien Morts"
[See Note to "The Beggar's Curse"]. Dekker introducing these verses affirms "it is a canting song not ... composed as those of the Belman's were, out of his owne braine, but by the Canter's themselves, and sung at their meetings", in which, all things considered, Dekker is probably protesting overmuch.
Stanza V, line 3. And wapping dell that niggles well = a harlot or mistress who "spreads" acceptably.
Stanza IX, line 2. Bing out of the Rom-vile;
i.e. to Tyburn, then the place of execution: Rom-vile = London.
The Song Of The Begger
The Description of Love is an exceedingly scarce little "garland" which first appeared in 1620; but of that edition no copies are known to exist. Of the sixth edition, from which this example is taken, one copy is in the British Museum and another in the library collected by Henry Huth Esq. A somewhat similar ballad occurs in the Roxburgh Collection I, 42 (the chorus being almost identical), under the title of "The Cunning Northern Beggar". The complete title is A Description of Love. With certain Epigrams, Elegies, and Sonnets. And also Mast. Iohnson's Answere to Mast. Withers. With the Crie of Ludgate, and the Song of the Begger. The sixth Edition. London, Printed by M. F. for FRANCIS COULES at the Upper end of the Old-Baily neere Newgate, 1629.
Stanza II, line I. If a Bung be got by the Hie-law, i.e. by Highway robbery.
The Maunder's Initation
John Fletcher(1579—1625), dramatist, a younger son of Dr. Richard Fletcher afterwards bishop of London, by his first wife Elizabeth, was born in December 1579 at Rye in Sussex, where his father was then officiating as minister. A 'John Fletcher of London' was admitted 15 Oct. 1591 a pensioner of Bene't (Corpus) College, Cambridge, of which college Dr. Fletcher had been president. Dycc assumes that this John Fletcher, who became one of the bible-clerks in 1593, was the dramatist. Bishop Fletcher died, in needy circumstances, 15 June 1596, and by his will, dated 26 Oct. 1593, left his books to be divided between his sons Nathaniel and John.
The Beggar's Bush was performed at Court at Christmas 1622, and was popular long after the Restoration.
Fletcher was buried on 29 Aug. 1625 at St. Saviour's, Southwark. 'In the great plague, 1625,' says Aubrey (Letters written by Eminent Persons, vol. ii. pt. i. p. 352), 'a knight of Norfolk or Suffolk invited him into the countrey. He stayed but to make himselfe a suite of cloathes, and while it was makeing fell sick of the plague and died.'
The High Pad's Boast
See Note to "The Maunder's, Initiation", ante.
The Merry Beggars
Little is known of the birth or extraction of Richard Brome, and whether he died in 1652 or 1653 is uncertain. For a time he acted as servant to Ben Jonson. The Jovial Crew was produced in 1641 at The Cock-pit, a theatre which stood on the site of Pitt Place running out of Drury Lane into Gt. Wild St.
Stanza I, line 5. Go-well and Com-well = outgoing and incoming.
A Mort's Drinking Song
See Note to "The Merry Beggars," ante.
"A Beggar I'll Be"
This ballad is from the Bagford Collection which, formed by John Bagford (1651-1716), passed successively through the hands of James West (president of the Royal Society), Major Pearson, the Duke of Roxburghe and Mr. B. H. Bright, until in 1845 it and the more extensive Roxburghe Collection became the property of the nation.
Stanza II, line 1. Maunder = beggar. Line 2. filer = pickpocket; filcher = thief. Line 3. canter = a tramping beggar or rogue. Line 4. lifter = a shop-thief.
Stanza IV, line 8. Compter (or Counter), King's Bench, nor the Fleet, all prisons for debtors.
Stanza V, line 6, jumble = to copulate.
Stanza VIII, line 5. With Shinkin-ap-Morgan, with Blue-cap, or Teague = With a Welshman, Scotchman, or Irishman—generic: as now are Taffy, Sandy, and Pat.
A Budg And Snudg Song
Chappell in Popular English Music of the Olden Time says that this song appears in The Canting Academy (2nd ed. 1674) but the writer has been unable to find a copy of the book in question. The song was very popular, and many versions (all varying) are extant. The two given have been carefully collated. The portions in brackets [ ],- -for example stanza II, line 6, stanza III, lines 1—7, stanza IV, lines 5—8 etc.—only appear in the New Canting Dict. (1725). It was sung to the tune now known as There was a jolly miller once lived on the river Dee.
Title. Budge = "one that slips into a house in the dark, and taketh cloaks, coats, or what comes next to hand, marching off with them" (B. E., Dict. Cant. Crew, 1690). Snudge = "one that lurks under a bed, to watch an opportunity to rob the house"—(B. E., Dict. Cant. Crew, 1690).
Stanza I, line 7. Whitt= Newgate (see Note p. 204).
Stanza V, line 3. Jack Ketch, the public hangman 1663-1686.
The Maunder's Praise Of His Strowling Mort
The Triumph of Wit by J. Shirley is a curious piece of bookmaking—scissors and paste in the main—which ran through many editions. Divided into three parts, the first two are chiefly concerned with "the whole art and mystery of love in all its nicest intrigues", "choice letters with their answers" and such like matters. Part III contains "the mystery and art of Canting, with the original and present management thereof, and the ends to which it serves, and is employed: Illustrated with poems, songs and various intrigues in the Canting language with the explanation, etc." The songs were afterwards included in The New Canting Dict. (1725), and later on in Bacchus and Venus (1731).
Title. Strowling Mort = a beggar's trull:—"pretending to be widows, sometimes travel the countries ... are light-fingered, subtle, hypocritical, cruel, and often dangerous to meet, especially when the ruffler is with them" (B. E., Dict. Cant. Crew, 1690).
Stanza I, line 1. Doxy—"These Doxes be broken and spoyled of their maydenhead by the upright men, and then they have their name of Doxes, and not afore. And afterwards she is commen and indifferent for any that wyll use her".—Harman, Caveat, p. 73. Line 3. prats = buttocks or thighs. Line 4. wap = to copulate (also stanza IV, line i).
Stanza II, line 4. clip and kiss = to copulate.
The Rum-Mort's Praise Of Her Faithless Maunder
Obviously a companion song to the previous example: See Note ante. Rum-Mort = a beggar or gypsy queen.
Stanza I, line 1. Kinching-cove = (literally) a child or young lad: here as an endearment. Line 4. Clapperdogeon = "The Paillard or Clapperdogeons, are those that have been brought up to beg from their infancy, and frequently counterfeit lameness, making their legs, arms, and hands appear to be sore"—Triumph of Wit, p. 185.
Stanza II, line 1. Dimber-damber = a chief man in the Canting Crew, or the head of a gang. Line 2. Palliard (See note Stanza I). Line 3. jockum =penis. Line 4. glimmer = fire; here, a pox or clap.
Stanza V, line 1. crank (or counterfeit-crank)—"These that do counterfet the cranke be yong knaves and yonge harlots that deeply dissemble the falling sickness".—(Harman, Caveat, 1814, p. 33). Line 1. dommerar= a beggar feigning deaf and dumb. Line 2. rum-maunder = to feign madness. Line 3. Abram-cove = a beggar pretending madness to cover theft. Line 4. Gybes well jerk'd = pass or license cleverly forged.
The Black Procession
See Note as to J. Shirley on page 209.
Frisky Moll's Song
John Harper (d. 1742), actor, originally performed at Bartholomew and Southwark fairs. On 27 Oct. 1721 his name appears as Sir Epicure Mammon in the Alchemist at Drury Lane. Here he remained for eleven years, taking the parts of booby squires, fox-hunters, etc., proving himself what Victor calls 'a jolly facetious low comedian'. His good voice was serviceable in ballad opera and farce. On account of his 'natural timidity', according to Davies, he was selected by Highmore, the patentee, in order to test the status of an actor, to be the victim of legal proceedings taken under the Vagrant Act, 12 Queen Anne, and on 12 Nov. 1733 he was committed to Bridewell as a vagabond. On 20 Nov. he came before the chief justice of the Kings Bench. It was pleaded on his behalf that he paid his debts, was well esteemed by persons of condition, was a freeholder in Surrey, and a householder in Westminster. He was discharged amid acclamations on his own recognisance.
The Canter's Serenade
The New Canting Dictionary (1725) is, in the main, a reprint of The Dictionary of the Canting* Crew (c. 1696) compiled by B. E. The chief difference is that the former contains a collection of Canting Songs, most of which are included in the present collection.
Stanza I, line 3. palliards—see Note, p. 210, ten lines from bottom.
"Retoure My Dear Dell"
See Note to "The Canter's Serenade." This song appears to be a variation of a much older one, generally ascribed to Chas II, entitled I pass all my hours in a shady old grove.
The Vain Dreamer
See Note to "The Canter's Serenade."
"When My Dimber Dell I Courted"
See Note to "The Canter's Serenade." The first two stanzas appear in a somewhat different form as "a new song" to the time of Beauty's Ruin in The Triumph of Wit (1707), of which the first stanza is as follows:—
When Dorinda first I courted, She had charms and beauty too; Conquering pleasures when she sported, The transport it was ever new: But wastful time do's now deceive her, Which her glories did uphold; All her arts can ne'er relieve her, Poor Dorinda is grown old.
Stanza I, line 4. Wap = the act of kind. Dimber dell = pretty wench—"A dell is a yonge wenche, able for generation, and not yet knowen or broken by the upright man ... when they have beene lyen with all by the upright man then they be Doxes, and no Dells."— (HARMAN).
Stanza III, line 3. Upright-men—"the second rank of the Canting tribes, having sole right to the first night's lodging with the Dells."—(B. E., Dict. Cant. Crew, 1696).
The Oath Of The Canting Crew
Bamfylde Moore Carew, the King of the Gypsies, born in 1693, was the son of the Rector of Bickley, near Tiverton. It is related that to avoid punishment for a boyish freak he, with some companions, ran away and joined the gypsies. After a year and a half Carew returned for a time, but soon rejoined his old friends. His career was a long series of swindling and imposture, very ingeniously carried out, occasionally deceiving people who should have known him well. His restless nature then drove him to embark for Newfoundland, where he stopped but a short time, and on his return he pretended to be the mate of a vessel, and eloped with the daughter of a respectable apothecary of Newcastle on Tyne, whom he afterwards married. He continued his course of vagabond roguery for some time, and when Clause Patch, a king, or chief of the gypsies, died, Carew was elected his successor. He was convicted of being an idle vagrant, and sentenced to be transported to Maryland. On his arrival he attempted to escape, was captured, and made to wear a heavy iron collar, escaped again, and fell into the hands of some friendly Indians, who relieved him of his collar. He took an early opportunity of leaving his new friends, and got into Pennsylvania. Here he pretended to be a Quaker, and as such made his way to Philadelphia, thence to New York, and afterwards to New London, where he embarked for England. He escaped impressment on board a man- of-war by pricking his hands and face, and rubbing in bay salt and gunpowder, so as to simulate smallpox. After his landing he continued his impostures, found out his wife and daughter, and seems to have wandered into Scotland about 1745, and is said to have accompanied the Pretender to Carlisle and Derby. The record of his life from this time is but a series of frauds and deceptions, and but little is absolutely known of his career, except that a relative, Sir Thomas Carew of Hackern, offered to provide for him if he would give up his wandering life. This he refused to do, but it is believed that he eventually did so after he had gained some prizes in the lottery. The date of his death is uncertain. It is generally given, but on no authority, as being in 1770 but 'I. P.', writing from Tiverton, in Notes and Queries, 2nd series, vol. IV, p. 522, says that he died in 1758. The story of his life in detail is found in the well-known, and certainly much-printed, Life and Adventures of Bamfylde Moore Carew, the earliest edition of which (1745) describes him on the title-page as "the Noted Devonshire Stroller and Dogstealer". This book professes to have been "noted by himself during his passage to America", but though no doubt the facts were supplied by Carew himself, the actual authorship is uncertain, though the balance of probability lies with Robert Goadby, a printer and compiler of Sherborne Dorsetshire, who printed an edition in 1749. A correspondent of Notes and Queries, however, states that Mrs. Goadby wrote it from Carew's dictation. [N. and Q. 2 S iii. 4; iv. 330, 440, 522],
Line 1. Crank Cuffin = Queer Cove = a rogue. Line 9. Stop-hole Abbey, "the nick-name of the chief rendezvous of the Canting Crew ".—(B. E., Dict. Cant. Crew, 1696). Line 17. Abram = formerly a mendicant lunatic of Bethlehem Hospital who on certain days was allowed to go out begging: hence a beggar feigning madness. Ruffler crack = an expert rogue. Line 18. Hooker = "peryllous and most wicked Knaves... for, as they walke a day times, from house to house, to demaund Charite... well noting what they see... that will they be sure to have... for they customably carry with them a staffe of V. of VI. foote long, in which within one ynch of the tope thereof, ys a lytle hole bored through, in which hole they putte an yron hoke, and with the same they wyll pluck unto them quickly anything that they may reche therewith."—(Harman, Caveat, 1869, p. 35, 36). Line 19. Frater = "such as beg with a sham-patent or brief for Spitals, Prisons, Fires, etc."—(B. E.). Line 20. Irish toyle = a beggar-thief, working under pretence of peddling pins, lace, and such-like wares. Line 21. Dimber-damber = the chief of a gang: also an expert thief. Angler = hooker (see ante). Line 23. swigman = a beggar peddling haberdashery to cover theft and roguery. Clapperdogeon = a beggar born and bred, see note p. 210, tenth line from bottom. Line 24. Curtal—"a curtall is much like to the upright man (that is, one in authority, who may "call to account", "command a share", chastise those under him, and "force any of their women to serve his turn"), but hys authority is not fully so great. He useth commonly to go with a short cloke, like to grey Friers, and his woman with him in like livery, which he calleth his Altham if she be hys wyfe, and if she be his harlot, she is called hys Doxy."—(HARMAN). Line 25. Whip-jack = a rogue begging with a counterfeit license. Palliard = a beggar born and bred. Patrico = a hedge-priest. Line 26. Jarkman = "he that can write and reade, and sometime speake latin. He useth to make counterfaite licenses which they call gybes, and sets to seales, in their language called Jarkes. "—(HARMAN). Line 27. Dommerar = a rogue pretending deaf and dumb. Romany = a gipsy. Line 28. The family = the fraternity of vagabonds.
"Come All You Buffers Gay"
In the Roxburghe Collection (ii. 504) is a ballad upon which the present song is clearly based. It is called The West Country Nymph, or the little maid of Bristol to the time of Young Jemmy (i.e. the Duke of Monmouth, Charles II's natural son). The first stanza runs—
Come all you maidens fair, And listen to my ditty, In Bristol city fair There liv'd a damsel pretty.
The Potato Man
Stanza II, line 2. Cly = properly pocket, but here is obviously meant the contents.
Stanza IV, line 1. Blue bird's-eye = a blue and silk handkerchief with white spots.
A Slang Pastoral
Of R. Tomlinson nothing is known. The Dr. Byrom whose poem is here parodied is perhaps best remembered as the author of a once famous system of shorthand. He was born in 1691, went to the Merchant Taylor's School, and at the age of 16 was admitted a pensioner of Trinity College Cambridge. It was here that he wrote My time, O ye muses. He died in 1763, and his poems, no inconsiderable collection, were published in 1773.
"Ye Scamps, Ye Pads, Ye Divers"
Stanza I, line 1. The lay = a pursuit, a scheme: here = thievery and roguery in general.
Stanza IV, line 4. Like Blackamore Othello &c.—the reference is to Othello, v. 2. "Yet she must die, else she'll betray more men. Put out the light, and then—put out the light."
The Sandman's Wedding
Though George Parker's name is not formally attached to this "Cantata" there would appear little doubt, from internal evidence, that it, with the two songs immediately following, forms part of a characteristic series from the pen of this roving soldier-actor. Parker was born in 1732 at Green Street, near Canterbury and was 'early admitted', he says, 'to walk the quarterdeck as a midshipman on board the Falmouth and the Guernsey'. A series of youthful indiscretions in London obliged him to leave the navy, and in or about 1754 to enlist as a common soldier in the 2Oth regiment of foot, the second battalion of which became in 1758 the 67th regiment, under the command of Wolfe. In his regiment he continued a private, corporal, and sergeant for seven years, was present at the siege of Belleisle, and saw service in Portugal, Gibraltar, and Minorca. At the end of the war he returned home as a supernumerary excise-man. About 1761 his friends placed him in the King's Head inn at Canterbury where he soon failed. Parker went upon the stage in Ireland, and in company with Brownlow Ford, a clergyman of convivial habits, strolled over the greater part of the island. On his return to London he played several times at the Haymarket, and was later introduced by Goldsmith to Colman. But on account of his corpulence Colman declined his services. Parker then joined the provincial strolling companies, and was engaged for one season with Digges, then manager of the Edinburgh Theatre. At Edinburgh he married an actress named Heydon, from whom, however, he was soon obliged to part on account of her dissolute life. Returning again to London, he set up as wandering lecturer on elocution, and in this character travelled with varying success through England. In November 1776 he set out on a visit to France, and lived at Paris for upwards of six months on funds supplied by his father. His resources being exhausted, he left Paris in the middle of July 1777 on foot. On reaching England he made another lecturing tour, which proved unsuccessful. His wit, humour, and knowledge of the world rendered him at one time an indispensable appendage to convivial gatherings of a kind; but in his later days he was so entirely neglected as to be obliged to sell gingerbread-nuts at fairs and race-meetings for a subsistance. He died in Coventry poorhouse in April 1800.
The Happy Pair and The Bunter's Christening and The Masqueraders
See note (ante) to "The Sandman's Wedding". Life's Painter etc. ran through several editions.
The Flash Man of St. Giles
Stanza II, line 7. Drunk as David's sow = beastly drunk. Grose (Classical Dictionary of the Vulgar Tongue) says: One David Lloyd, a Welshman, who kept an ale-house at Hereford, had a sow with six legs, which was an object of great curiosity. One day David's wife, having indulged too freely, lay down in the sty to sleep, and a company coming to see the sow, David led them to the sty, saying, as usual, "There is a sow for you! Did you ever see the like?" One of the visitors replied, "Well, it is the drunkenest sow I ever beheld." Whence the woman was ever after called "Davy's sow."
A Leary Mot
Stanza III, line 1. Cock and Hen Club = a free-and-easy for both sexes.
Stanza IV, line 4. Tom Cribb—see note p. 223.
"The Night Before Larry was Stretched"
Neither the authorship nor the date of these inimitable verses are definitely known. According to the best authorities, Will Maher, a shoemaker of Waterford, wrote the song. Dr. Robert Burrowes, Dean of St. Finbar's Cork, to whom it has been so often attributed, certainly did not. Often quoted in song book and elsewhere. Francis Sylvester Mahony, better known as "Father Prout" contributed to Froser's Magazine the following translation into the French.
La mort de Socrate.
Par l'Abbe de Prout, Cure du Mont-aux-Cressons, pres de Cork.
A la veille d'etre pendu, Notr' Laurent recut dans son gite, Honneur qui lui etait bien du, De nombreux amis la visite; Car chacun scavait que Laurent A son tour rendrait la pareille, Chapeau montre, et veste engageant, Pour que l'ami put boire bouteille, Ni faire, a gosier sec, le saut.
"Helas, notre garden!" lui dis-je, "Combien je regrette ton sort! Te voila fleur, que sur sa tige Moisonne la cruelle mort!"— "Au diable," dit-il, "le roi George! Ca me fait la valeur d'un bouton; Devant le boucher qui m'egorge, Je serai comme un doux mouton, Et saurai montrer du courage!"
Des amis deja la cohorte Remplissait son etroit reduit: Six chandelles, ho! qu'on apporte, Donnons du lustre a cette nuit! Alors je cherchai a connaitre S'il s'etait dument repenti? "Bah! c'est les fourberies des pretres Les gredins, ils en ont menti, Et leurs contes d'enfer sont faux!"
L'on demande les cartes. Au jeu Laurent voit un larron qui triche; D'honneur tout rempli, il prend feu, Et du bon coup de poign l'affiche. "Ha, coquin! de mon dernier jour Tu croyais profiler, peut-etre; Tu oses me jouer ce tour! Prends ca pour ta peine, vil traitre! Et apprends a te bien conduire!"
Quand nous eumes cesse nos ebats, Laurent, en ce triste repaire Pour le disposer au trepas, Voit entrer Monsieur le Vicaire. Apres un sinistre regard, Le front de sa main il se frotte, Disant tout haut, "Venez plus tard!" Et tout has, "Vilaine calotte!" Puis son verre il vida deux fois.
Lors il parla de l'echaufaud, Et de sa derniere cravate; Grands dieux! que ca paraissait beau De la voir mourir en Socrate! Le trajet en chantant il fit— La chanson point ne fut un pseaume; Mais palit un peu quand il vit La statute de Roy Guillaume— Les pendards n'aiment pas ce roi! |
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