Wit and Mirth: or Pills to Purge Melancholy, Vol. 6 of 6 — Themes and Context

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D'Urfey, Thomas, 1653-1723 [Editor] Project Gutenberg 2010 Not confirmed
Ballads, English; Songs, English Readers of public-domain and historical texts
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Words 53,853
Reading time 235 min
Text sections 13

The source record for Wit and Mirth: or Pills to Purge Melancholy, Vol. 6 of 6 — Themes and Context measures this digital text at 53,853 words, 3 hr 55 min estimated reading time, and 13 detected text sections.

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Project Gutenberg metadata also associates the work with “Ballads, English,” connecting these edition facts with the source record’s subject description.

This volume of Thomas D'Urfey's song collection features bawdy ballads, satirical dialogues, and comic songs from early 18th-century London, with recurring themes of religious hypocrisy, sexual innuendo, and social mockery, set to popular tunes.
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said with a Kiss thou art welcome _John_ to me, For I have shed a Thousand, Thousand Tears for thee, Thee, thee, For I have shed a Thousand, Thousand Tears for thee.

Her flattering Words I was apt to believe, And then at my Hands she did freely receive; A Ring which she said she would keep for _Johnny's_ sake, She wept for Joy as if her very Heart wou'd break: Break, break, She wept for Joy as if her very Heart wou'd break.

We feasted on Dainties and drank of the best, Thought I with my Friends I am happily blest; For Punch, Beer and Brandy they Night and Day did call, And I was honest _Johnny_, _Johnny_ pay for all: All, all, And I was honest _Johnny_, _Johnny_ pay for all.

They ply'd me so warm, that in troth I may say, That I scarce in a Month knew the Night from the Day; My Hostess I kiss'd, tho' her Husband he was by, For while my Gold and Silver lasted, who but I: I, I, For while my Gold and Silver lasted, who but I.

They said I should Marry their dear Daughter _Kate_, And in Token of Love I presented her strait: With a Chain of Gold, and a rich costly Head, Thus _Johnny_, _Johnny_, _Johnny_ by the Nose was lead: Lead, lead, Thus _Johnny_, _Johnny_, _Johnny_ by the Nose was lead.

This Life I did lead for a Month and a Day, And then all my Glory begun to decay: My Money was gone, I quite consum'd my Store, My Hostess told me in a Word, she would not Score, Score, Score, My Hostess told me in a Word, she would not Score.

She frown'd like a Fury, and _Kate_ was Coy, A Kiss or a Smile I no more must enjoy, Nay, if that I call'd but for a Mug of Beer, My Hostess she was very Deaf and could not hear, hear, hear, My Hostess she was very Deaf and could not hear.

But that which concern'd me more than the rest, My Money it was gone, and she'd needs have me Prest; Aboard of the Fleet, then I in a Passion flew, And ever since I do abhor the Canting Crew, Crew, Crew, And ever since I do abhor the canting Crew.

Now having replenish'd my Stock once again, My Hostess and Daughter I vow to refrain Their Company quite, and betake my self to a Wife, With whom I hope to live a sober Life, Life, Life, With whom I hope to live a sober Life.

Then in came a Damsel as fresh as a Rose, He gave her a Kiss, and began for to close, In Courting, and said, canst love an honest Tar, Who for this Six or Seven Years has travell'd far, Far, far, Who for this Six or Seven Years has travell'd far.

His offer was noble, his Guineas was good, And therefore the innocent Maid never stood To make a Denial, but granted his Request, And now she's with a jolly Sailor, Sailor blest. Blest, blest, And now she's with a jolly Sailor, Sailor blest.

Through the cold shady Woods, As I was ranging, I heard the pretty Birds, Notes sweetly changing: Down by the Meadow's side, There runs a River A little Boy I spy'd With Bow and Quiver.

Little Boy tell me why Thou art here diving? Art thou some Run-away; And hast no abiding? I am no Run-away, _Venus_ my Mother, She gave me leave to play, When I came hither.

Little Boy go with me, And be my servant, I will take care to see For thy preferment: If I with thee should go, _Venus_ would chide me, And take away my Bow, And never abide me.

Little Boy let me know, What's thy Name termed, That thou dost wear a Bow, And go so arm'd: You may perceive the same, With often changing; _Cupid_ it is my Name, I live by ranging.

If _Cupid_ be thy Name, That shoot at Rovers; I have heard of thy Fame, By wounded Lovers: Should any languish that Are set on fire; By such a naked Brat, I much admire.

If thou dost but the least, At my Laws grumble; I'll pierce thy stubborn breast, And make thee humble, If I with Golden Dart, Wound thee but surely, There's no Physitians Art, That e're can cure thee.

Little Boy with thy Bow, Why dost thou threaten; It is not long ago Since thou wast beaten: Thy wanton Mother, fair _Venus_ will chide thee; When all thy Arrows are gone, Thou may'st go hide thee.

This sixth volume of Wit and Mirth presents a sequence of songs that move between taverns, streets, and domestic interiors, often using a single tune for multiple lyrics. The collection's structure is shaped by its alphabetical table of songs and the recurring pattern of a tune name followed by its lyric page, creating a practical reference for performance. The excerpts reveal a world where clergymen debate theology in verse, Quakers are satirized for hypocrisy, and Windsor wives defend their honor against London stereotypes.

Tune and Text as Paired Structures

The volume's organization foregrounds the relationship between music and words. Each entry lists a tune page and a lyric page, implying that the same melody could carry different verses. For instance, the tune for "The Saint turn'd Sinner" is marked "To the foregoing Tune," linking it directly to the preceding song. This pairing suggests that readers or performers were expected to know the melodies or have access to a separate musical score. The repetition of tunes across multiple songs creates a network of intertextual echoes, where a familiar tune could lend irony or emphasis to new lyrics.

Recurring Images of Flight and Pursuit

Several songs in the excerpts employ images of flight, pursuit, or escape. In "The Battle-Royal," Religion "took her flight" after the disputing clergymen fail to agree. In "The Saint turn'd Sinner," the Quaker woman is "forc'd to call the Watch in" to stop the parson's advances, while the parson himself is described as "more eager / Than lustful Turk or Neger." The Windsor wives assert their independence by declaring they will "sing and laugh" despite being mocked. These recurring motifs of movement—whether literal flight, pursuit, or defiant stasis—give the collection a kinetic quality, as characters shift between roles of aggressor and victim.

Satirical Dialogues and Disputes

Many songs are structured as debates or confrontations. "The Battle-Royal" features a Dean and a Prebendary arguing over who has more grace, with a third figure, the Master of the Charter, denying the existence of God entirely. The song ends with Religion fleeing, leaving the disputants as "Fools a Prating." Similarly, "The Saint turn'd Sinner" presents a dialogue between a Dissenting parson and a Quaker woman, where the parson uses biblical precedent to justify his advances. These dialogues use direct speech and rhetorical questions to dramatize conflicts, often undercutting authority figures by exposing their hypocrisy or absurdity.

Social Geography and Local Identity

The songs frequently reference specific locations and social types. "The Merry Wives of Windsor" contrasts the honesty of Windsor women with the perceived corruption of London's "City Dames" and "Bankside" wenches. Other songs mention "Islington," "London Town," and "Windsor Horn," grounding the lyrics in recognizable places. The collection also includes songs about tradespeople, such as "A Jolly young Grocer of London Town" and "A Taylor good Lord," suggesting a broad social canvas. This attention to local identity and occupational stereotypes gives the volume a documentary quality, reflecting the urban and suburban milieu of early 18th-century England.

Readers approaching this volume should attend to the interplay between tune and text, as the same melody can transform the meaning of different lyrics. The songs reward attention to their dialogic structure and the recurring imagery of flight, pursuit, and social performance. Rather than a unified narrative, the collection offers a mosaic of voices, each vying for attention in a crowded tavern of wit and mirth.

I’ve spent long afternoons with D’Urfey’s volume, chuckling at its bawdy bluster, yet it always left a quiet ache—the way laughter hides a longing for plainness. That ache found its echo in Ye book of Copperheads — Story, Setting & Ideas, whose dry pages hold a similar patience with human folly, though its humor runs darker, closer to embers than sparks.

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