OLIAJ PA 3 1924 090 015 722 '«=? % Cornell University P Library The original of tiiis book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924090015722 In compliance with current copyright law, Cornell University Library produced this replacement volume on paper that meets the ANSI Standard Z39.48-1992 to replace the irreparably deteriorated original. 2001 (IJarncU Untucraity Cibratg Jtljata, J3*ui ^ark FROM THE BENNO LOEWY LIBRARY COLLECTED BY BENNO LOEWY 1854-1919 BEQUEATHED TO CORNELL UNIVERStTY LIFE IN LONDON. r i;)RT[:-ni'!i:r if a :v capita 'k ■%'i /' ••; !. j!i^y. TOM & JERRY LIFE IN LONDON OR THE DAY AND NIGHT SCENES OF JERRY HAWTHORN, ESQ. AND HIS ELEGANT FRIEND CORINTHIAN TOM IN THEIR PIERCE EGAN Tom and Jerry taking a Stroll WITH NUMEROUS COLOURED ILLUSTRATIONS FROM REAL LIFE DESIGNED BY I. R. &■ G. CRUIKSHANK LONDON JOHN CAMDEN HOTTEN, PICCADILLY INTRODUCTION TO THE PRESENT EDITION. EIGHT-AND-FOETY years ago the most popular work in British literature bore this title : — "LIFE IN LONDON; or, The Day and Night Scenes of Jerry Hawthorn, Esq., and his elegant friend Corinthian Tom, accompanied by Bob Logic, the Oxonian, in their Rambles and Sprees through the Metropolis. By Pierce Egan (author of ' Walks through Bath,' ' Sporting Anecdotes,' ' Picture of the Fancy,' ' Boxiana,' &c.), dedicated to His Most Gracious Majesty King George the Fourth. Embellished, with 36 Scenes from Real Life, designed and etched by I. E. & G. Gruikshank ; and enriched mth numerous original Designs on Wood, by the same Artists. 1821." This was the book — ilie literature — of that period, the one work which many elderly gentlemen still remember far away in the distance of their youth. A tedious — and by some will be considered an absurd — composition, when judged by similarly descriptive works of the present day, it has just this claim to our attention, that it is, perhaps, the best picture of "Society" — or as they of the period defined it, of " Life, Fashion, and Frolic" — in the 2 INTRODUCTION. days when George IV. was king, that has been bequeathed to us. Just ten years before this, another popular picture of English hfe had appeared under the title of "Doctor Syntax," also illustrated with coloured pictures ; but Combe's rhymed story of the Quixotic clergyman is altogether of a milder character than that brilliant picture of "fun and spree" — those astound- ing "Day and Night Scenes'' of the glorious heroes, Tom, Jerry, and Logic — which Mr Egan has chronicled for our in- struction and amusement. How delightful the book was to the youths of England, and how eagerly aU its promised feasts of pleasure were devoured by them, Thackeray has told us in his Eoundabout Paper, " Be Juventute." Thackeray pictures himself with a coin in his hand, the crown-piece of 1823, — the very period of our book's success, — and after reading the inscription, " Georgius IV. Britanniahum Eex. Fid. Def.," he conjures back his past life. " What is that I see ? A boy, — a boy in a jacket. He is at a desk j he has great books before him, Latin and Greek books and dictionaries. Yesj but behind the great books, which he pretends to read, is a Httle one with pictures, which he is really reading. It is — yes, I can read now — it is the 'Heart of Mid-Lothian,' by the author of 'Waverley' — or, no, it is ''Life in London, or the Adventures of Corinthian Tom, Jeremiah Hawthorn, and their friend Bob Logic,' by Pierce .Egan ■ and it has pictures — oh ! such funny pictures ! As he reads, there comes behind the boy a man, a dervish, in a black gown, like a woman, and a black square cap, and he has a book in each hand ; and he seizes the boy who is reading the picture- book, and lays his head upon one of his books, and smacks it with the other. The boy makes faces, and so that picture disappears." INTRODUCTION. 3 Long, however, before this recollection of " Tom and Jerry" was penned, Thackeray had told his readers of a partiality — a lingering fondness — which he had for the old book. In an article on George Cruikshank, which appeared in the West- minster Review, he says :— 7 " ' Tom and Jerry' must have a word of notice here ; for although by no means Mr Cruikshank's best work, his repu- tation was extraordinarily raised by it. Tom and Jerry were as popular twenty years since as Mr Pickwick and Sam Weller now are ; and often have we wished, while reading the bio- graphies of the latter celebrated personages, that they had been described as well by Mr Cruikshank's pencil as by Mr Dickens's pen. " As for Tom and Jerry, to show the mutabiHty of human affairs, and the evanescent nature of reputation, we have been to the British Museum, and no less than five circulating lib- raries, in quest of the book, and ' Life in London,' alas ! is not to be found at any one of them. We can only, therefore, speak of the work from recollection, but have stiU a very clear remembrance of the leather gaiters of Jerry Hawthorn, the green spectacles of Logic, and the hooked nose of Corinthian Tom. They were the school-boy's delight ; and in the days when the work appeared, we firmly beUeved the three heroes above named to be types of the most elegant, fashionable young fellows the town afforded, and thought their occupations and amusements were those of all high-bred English gentlemen. Tom knocking down the watchman at Temple Bar ; Tom and, Jerry dancing at Almack's ; or flirting in the saloon' at the theatre ; at the night-houses after the play ; at Tom Cribb's, examining the silver-cup then in the possession of that cham- pion; at Bob Logic's chambers, where, if we mistake not, ' Corinthian Kate' was at a cabinet piano, singing a song ; ambling gallantly in Rotten Row; or examining the poor 4 INTRODUCTION. fellow at Newgate who was having his chains knocked off before hangings all these scenes remain indelibly engraved upon the mind, and so far we are independent of aJl the cir- culating libraries in London. " As to the literary contents of the book, they have passed sheer away .... But it must have had some merit of its own, that is clear ; it must have given striking descriptions of life in some part or other of London, for all London read it, and went to see it in its dramatic shape. The artist, it is said, wished to close the career of the three heroes by bringing them all to ruin ; but the writer, or publishers, would not allow any such melancholy subjects to dash the merriment of the public, and we believe Tom, Jerry, and Logic Avere married off at the end of the tale, as if they had been the most moral personages in the world. There is some goodness in this pity, which authors and the public are disposed to show towards certain agreeable, disreputable characters of romance. And in regard of Jerry Hawthorn, and that hero without a surname, Corinthian Tom, Mr CruLkshank, we make little doubt, was glad in his heart that he was not allowed to have his own way." Exactly twenty years afterwards, Thackeray paid another visit to the great National Library, and this time was success- ful in finding his old favourite ; and it is curious to observe how, even with the book before him, he writes upon it^ in almost the same words as when he described it from memory : — " As for Thomas and Jeremiah (it is only my witty way of calling Tom and Jerry), I went to the British Museum the other day on purpose to get it ; but somehow, if you will press the question so closely, on reperusal, Tom and JeiTy I Eoundabout Papers, Oct. 1860. INTRODUCTION. 5 is not so brilliant as I had supposed it to be. The pictures are just as fine as ever ; and I shook hands with broad-backed Jerry Hawthorn and Corinthian Tom with delight, after many- years' absence. But the style of the writing, I own, was not pleasing to me ; I even thought it a little vulgar — well ! well ! other writers have been considered vulgar — and as a descrip- tion of the sports and amusements of London in the ancient times, more curious than amusing. " But the pictures ! — oh ! the pictures are noble still ! First, there is Jerry arriving from the country, in a green coat and leather gaiters, and being measured for a fashionable suit at Corinthian House, by Corinthian Tom's tailor. Then away for the career of pleasure and fashion. The park ! delicious excitement ! The theatre ! the saloon ! ! the green-room ! ! ! Rapturous bliss — the opera itself ! and then, perhaps, to Temple Bar, to TawcTc down a Gliarley there ! There are Jerry and Tom, with their tights and little cocked hats, coming from the opera — very much as gentlemen in waiting on royalty are habited now. There they are at Almack's itself, amidst a crowd of high-bred personages, with the Duke of Clarence himself looking at them dancing. Now, strange change — they are in Tom Cribb's parlour, where they don't seem to be a whit less at home than in fashion's gilded halls ; and now they are at Newgate, seeing the irons knocked off the malefactor's legs previous to execution. What hardened ferocity in the coun- tenance of the desperado in yellow breeches ! What com- punction in the face of the gentleman in black (who, I suppose, has been forging), and who clasps his hands, and listens to the chaplain ! Now we haste away to merrier scenes : to Tatter- sail's (ah ! gracious powers ! what a funny fellow that actor was who performed Dicky Green in that scene at the play !) ; and now we are at a private party, at which Corintliian Tom is waltzing (and very gracefully too, as you must confess) 6 INTRODUCTION. with Corinttian Kate, whilst Bob Logic, the Oxonian, is play- ing on the piano ! "After," the text says, " «Ae Oxonian had played several pieces of lively music, he requested as a favour that Kate and his friend Tom would perform a waltz. Kate without any hesitation immediately stood up. Tom offered his hand to his fascinating partner, and the dance took place. The plate con- veys a correct representation of the ' gay scene' at that precise moment. The anxiety of the Oxonian to witness the attitudes of the elegant pair had nearly put a stop to their movements.^ * Above is given a reduced fac-simile of Mr Thackeray's eketcb. INTRODUCTION. 1 On turning round from the pianoforte and presenting his comical mug, Kate could scarcely suppress a laugh." And no wonder ; just look at it now (as I have copied it to the hest of my humble ability), and compare Master Logic's countenance and attitude with the splendid elegance of Tom ! Now every London man is weary and hlase. There is an enjoy- ment of life in these young bucks of 1823 which contrasts strangely with our feelings of 1869. Here, for instance, is a specimen of their talk and walk. "'If,' says Logic — 'if enjoyment is your motto, you may make the most of an evening at Vauxhall, more than at any other place in the metropolis. It is all free-and-easy. Stay as long as you like, and depart when you think proper.' — ' Your description is so flattering,' replied Jerky, ' that I do not care how soon the time arrives for us to start.' Logic proposed a 'bit of a stroll,' in order to get rid of an hour or two, which was immediately accepted by Tom and Jerry A turn or two in Bond Street, a stroll through Piccadilly, a looTc in at Tattersall'S, a ramlle through Pall Mali, and a stt-ut on the Corinthian path, fully occupied the time of our heroes until the hour for dinner arrived, when a few glasses of Tom's rich wines soon put them on the qui vive. Vauxhall was then the object in y\sw, and the Trio started, bent upon enjoying thfe pleasures which this place so amjily affords." How nobly those inverted commas, those italics, those capitals, bring out the ^vriter's wit and relieve the eye ! They are as good as jokes, though you may not quite perceive the point. Mark the varieties of lounge in which the young men indulge — now a stroll, then a look in, then a ramble, and pre- sently a strut. When George, Prince of Wales, was twenty, I have read in an old magazine, " the Prince's lounge " was a peculiar manner of walking which the young bucks imitated. At Windsor George III. had a cat's path — a sly early walk 8 INTRODUCTION. ■which the good old king took in the gray morning before his household was astir. What was the Corinthian path here recorded 1 Does any antiquary know ? And what were the rich wines which our friends took, and which enabled them to enjoy Vauxhall % Vauxhall is gone, but the wines which could occasion such a delightful perversion of the intellect as to enable it to enjoy ample pleasures there, what were they ? So the game of life proceeds, until Jerry Hawthorn, the rustic, is fairly knocked up by all this excitement, and is forced to go home, and the last picture represents him getting into the coach at the " White Horse Cellar," he being one of six inside ; whilst his friends shake him by the hand ; whilst the sailor mounts on the roof; whilst the Jews hang round mth oranges, knives, and sealing-wax ; whilst the guard is closing the door. Where are they now, those sealing-wax vendors ? where are the guards ? where are the jolly teams ? where are the coaches % and where the youth that climbed inside and out of them ; that heard the merry horn which sounds no more ; that saw the sun rise over Stonehenge ; that rubbed away the bitter tears at night after parting, as the coach sped on the journey to school and London ; that looked out with beating heart as the milestones flew by, for the welcome corner where began home and holidays ? No better criticism of the book could be given than that conveyed in the preceding sentences ; the style of writing is not pleasing, according to our notions of descriptive writing,'^ but the pictures ! oh ! the pictures are noble still ! The age was the age of excesses — of vulgar refinement, and unreal politeness. Even the laughs and smiles of the " Bon Ton" ^ The European Magazine,- November 1821, had its own opimon of fine writing, and declared the present book to be " one of the most amusing books ever published. For our part, vpe prefer it to many of the sketches of mankind which have appeared since the days of the Spectator I " INTRODUCTION. 9 noisy and grotesque as we are bound to believe them, wfere very hollow affairs — something like its wit, now discovered only by the printer's italics. These were the last days of coarse caricatures, of duelling, and of the glorious three-bottle system after dinner. There is no deception about the present book j it very well reflects all these peculiarities — the litera- ture of the time included — and therefore its value as a true picture of life fifty years ago. AND now for a few words about the " Tom and Jerry " literature generally, and of the furor which accom- panied the publication of the original work. Some time previous to its appearance a great taste had ex- hibited itself amongst fashionable bloods for sporting works — books upon the chase, upon racing, ujaon boxing, and " sport " generally. The demand soon brought an excellent supply, and Boxiana, in its own peculiar department, at once became a great favourite. Artists, too, arose, who devoted all their powers to hunting subjects, to racing favourites, and to pugilistic encounters. Amongst these the names of Aiken, Dighton, and Brooke became very popular. One day it occurred to the editor of Boxiana that if Londoners were so anxious for books about country and out-of-door sports, why should not provincials and even the Cockneys themselves be equally anxious to know something of " Life in London " ? The editor of Boxiana was Mr Pierce Egan, who, as the liter- ary representative of sport and high life, had already been introduced to George IV. The character of the proposed work was mentioned to the King, and His Gracious Majesty seems to have heartily approved of it, for he at once gave per- mission for it to be dedicated to himself. The services of Messrs L R. and George Cruikshank were secured as illustra- tors, and on the 15th of July 1821, the first number, price one lo INTRODUCTION. shilling, was published by Messrs Sherwood, Neely, & Joues, of Paternoster Eow. This sample, or first instalment, of the entire work was quite enough for society to judge by. It took both town and country by storm. It was found to be the exact thing in literature that the readers of those days wanted. Edition after edition was called for — and supplied, as fast as the illustrations could be got away from the small army of women and children who were colouring them. With the appearance of Numbers II. and III. the demand only increased, and a revolution in our literature, in our drama, and even in our nomenclature, began to develop itself. All the announce- ments from Paternoster Row were of books, great and small, depicting life in London ; dramatists at once turned their attention to the same subject; and tailors, bootmakers, and hatters recommended nothing but Corinthian shapes and Tom and Jerry patterns. Immediately Messrs Sherwood & Co. issued the first shilling number of Mr Egan's work, out came Jones & Co.i with the following in sixpenny numbers : — " REAL LIFE IN LONDON; or, The Eambles and Adventures of Bob Tallyho, Esq., and his cousin, the Hon. ToM Dashall, &c., through the Metro- polis. Exhibiting a Living Picture of Fashionable Characters, Mamiers, and Amusements in High and Low Life. By an Amateur. Embellished and Illustrated with a Series of Coloured Prints, De- signed and Engraved by Messrs Heath, Aiken, Dighton, Brooke, Rowlandson, &c." The author of Jones and Company's speculation is said to have been John Badcock,^ who some years previously had ' Jones & Co., of Finsb.ury Square, the succeaaors of the famous Lack- ington, who would have been shocked at the very idea of such a work. ^ Badcock wrote under various names, but hia favourite pseudonym was INTRODUCTION. n compiled what was then termed a " Flash Dictionary " — that is, a dictionary of vulgar or slang words. In the immense demand which had arisen for "Life in London" books, this rival to Egan's great original obtained a fair share of popu- larity, and a second volume was soon issued under the title of "Further Eambles and Adventures." In some respects the text of the counterfeit is more amusing reading than the original. It contains a trilie less of those charming words of the ring, and the stable, which characterise the conversa- tion of Pierce Egan's " bloods" and " pinks," and therefore we are very thankful; but the living "pinks" and " bloods"- — the Bon Ton — who subscribed to " Tom and Jerry," thought otherwise. They relished the " flash," the " St Giles Greek," with a gusto which we cannot now enjoy, and therefore the meed of praise was given to the original. Immediately a translation of Pierce Egan's work was pub- lished in Paris, under the title of '■' The English Diorama, or Picturesque Eambles in London ; containing the most faithful notices of the character, manners, and custmns of the English nation, in the various classes of society." By M. S. On this work a French critic of the time made, with all seriousness, the following amusing observations: — "It is an Englishman, and an Englishman already known by several " Jonathan Eee." It is this name that is affixed to " The Dictionakt of the Turf, the liing, the Chase, the Pit, the Bon Ton, and the Varieties of Life, forming the completest and, most auiheviic Balatronicum hitherto offered to the notice of the Sporting World, hy Jon. Bee:" 1823. "A Living PiCTUBE OF London /or 1828, and Stranger^ Guide thronyh the Streets of tjte Metropolis ; showing the Frauds, the Arts, Snares, and Wiles of all description of Rogues that everywhere abound, by Jon. Bee : " 1828. This same author published books on stable economy, under the name of " Hinds." As the editor of " The Fancy," " Fancy Gazette," Picture of London, &c., he was the sporting rival of Pierce Egan. Professor Wilson, in an amusing article in Blackwood, reviewed " The Dictionary." 1 2 INTROD UCTION. esteemed descriptive publications, wlio has here painted liis countrymen. Pierce Egan, the author of The Picture of London, and who may be called the Mercier of England, has, like him, carefully studied the manners of all classes of the community. He conducts his reader from the royal palace to the most miserable pot-house, the resort of beggars and the dregs of the people. Such, indeed, in these latter scenes is the scrupulous fidelity of his pencil, that the enlightened taste of his transla- tor has frequently induced him to soften the features of the picture. These suppressions are dictated by a sound discretion and considerable tact, and include several long digressions, and some circumstances which would wound delicacy and French taste at the same time." ^ What renders the work one of the most valuable which have appeared on England and London, are the twenty-four (sic) engi-avings, which represent almost all the incidents described in the book. They are from the arch pencil of Mr Cruikshank. He, like the author, may congratulate himself on having caused us to see "Life in London;" and on having, as was said of Charles Vernet, composed "Epigrams of design." As may be readily conceived, the Stage soon claimed Tom and Jerry. The first drama founded upon the book was from the pen of Mr Barrymore; the second was written for the Olympic Theatre by Charles Dibdin ; the third, and by far the most successful, version was Moncrieff 's. It came out upon the Adelphi boards on Monday, November 26, 1821, and created a furor amongst play-goers, the like of which never occurred be- fore, and has never occurred since. It ran for upwards of three hundred nights, and only gave over because the actors were tired out ; the audience were as mad for it as ever. It ^ This seems straining at a gnat and swallowing a camel for a nation tliat can devour Paul de ICock's novels. INTRODUCTION. 13 made the fortune of the house, and everybody connected with it — except the author. But why should I spoil the story, when the dramatist himself has told it in his own earnest words,i written long, long before he was a blind old man, living on tha bounty of the Charter House : — " It is scarcely necessary to observe that this drama is founded on the Life in London of my friends, Pierce Egan, and the inimitable Cruikshank. Aided by Pierce's clever illustrations to the matchless series of plates in that work, I have in this piece endeavoured to put them into dramatic motion ; running a connecting story through the whole. " From the popularity of the subject, the novelty and acknowledged truth of the various scenes comprised in it, the inimitable manner in which it was originally acted, and the beauty of the music I fortunately selected, this piece obtained a popularity and excited a sensation totally unprecedented in theatrical histoiy : from the highest to the lowest, all classes were alike anxious to witness its representation. Dukes and dustmen were equally interested in its performance, and peers might be seen mobbing it with apprentices to obtain an admis- sion. Seats were sold for weeks before they could be occu- pied ; every theatre in the United Kingdom, and even in the United States, enriched its coffers by performing it ; and the smallest tithe-portion of its profits would for ever have rendered it unnecessary for its author to have troubled the public with any further productions of his Muse. It estab- lished the fortunes of most of the actors engaged in its repre- sentation, and gave birth to several newspapers. The success of the Beggars' Opera, the Castle Spectre, and Pizarro, sunk into the shade before it. In the furor of its popularity, ^ Preface to " Tom and Jerky, or Life in London ; an Operatic Extra- vaganza, in Three Acts ; first performed at the Adelphi Theatre, Monday, November 26, 1821." By \V. T. Moncrieff. 14 INTRODUCTION. persons have been known to travel post from the farthest parts of the kingdom to see it ; and five guineas have been offered in an evening for a single seat. Its language became the language of the day ; drawing-rooms were turned into chaffmg cribs, and rank and beauty learned to patter slang. " With respect to the cry of immorality, so loudly raised by those inimical to the success and plain speaking of this piece, it is soon answered. To say nothing of the envy of rival theatres feeling its attraction most sensibly in their Saturday treasuries, those notorious pests, the watchmen, dexterously joined in the war-howl of detraction raised against it, and by converting every trifling street broil into a ' Tom and Jerry row,^ endeavoured to revenge themselves for the expose its scenes afforded of their villainy and extortion — but all in vain. In vain, too, it was that the actors' old rivals, the Methodists, took the alarm, — in vain they distributed the whole of the stock of the Eeligious Tract Society at the doors of the theatre, — in vain they denounced Tom and Jerry from the pul- pit, — in vain the puritanical portion of the press prated of its immorality : they but increased the number of its followers, and added to its popularity. Vainly, too, was the Lord Chamberlain called upon to suppress it. His Grace came one night to see it, and brought his Duchess the next. It was nearly the same with the chief magistrate of Bow Street. His experience rendered him perfectly sensible that long before the appearance of Tom and Jerry, young men and country gentle- men would, in moments of hilarity, sometimes exceed in their potations, be provoked into quarrels by designing watchmen, and consigned for purposes of extortion, on the following morning, to the custody of His Honour, the Night Constable ; but according to the Saints' Accounts, to believe their tales, it must be held as a point of faith that no one previous to the appearance of 'Tom and Jerry' ever got into a row. Oh, no ! INTRODUCTION. 15 drinldng and all its train of follies were unknown to youth, till inculcated into their minds by the example of ' Tom and Jerry.' How many an unsuspecting country cousin has been converted, in the public prints, through an hour of harmless frolic, into a Jerry, while his equally unconscious town relation figured as a Tom ; and any honest plodder they might have with them was transformed into aLoGiC — his first appearance in that character ! " The thing speaks for itself. So far from being immoral, if the piece be fairly examined, it will be found to be of as correct tendency as any production ever brought on the stage. The obnoxious scenes of life are only shown that they may be avoided; the danger of mixing in them is strikingly exempli- fied, and every incident tends to prove that happiness is only to be found in the domestic circle. " To those venerable noodles who complain that I and my prototype, Pierce, have made this the age of flash, I answer. Any age is better than Tlie age of Cant." Besides the authors already mentioned, Tom Dibdin, Farrell, and Douglas Jerrold each produced dramas upon the popular theme; and in the summer of 1822 "Life in London" was being performed at no less than ten theatres in and around London. Mr Egan, in his "Finish to the Adventures of Tom and Jerry," states that he reckoned no less than sixty-five separate publications all derived from his own work. Even the JuvenUe Library was found to be deficient without an appropriate edition of " Tom and Jerry,'' and Mr Hodgson, the popular caterer for the young in those days, at once set to work to supply the want. Forthwith there appeared : — " Hodgson's Juvenile Drama, Life in London .-^ a Play, in ^ At the end it says : — " A key to the Cant Terms made use of in this play will be found in the ' Modern Flash Dictionary,' published by Hodgson & Co., price 6d." i6 INTRODUCTION. Three Acts; depicting the Day and Night Scenes of Tom, Jerry, Logic,