University of Virginia Library

A New "A" Text of "Signior Dildo"
by
Harold Love

In my "A Restoration Lampoon in Transmission and Revision: Rochester's(?) 'Signior Dildo'" (Studies in Bibliography 46 [1993], 250 — 262) I presented a collation of the nine surviving manuscript texts and the one significant printed text of the Restoration lampoon, usually but not conclusively attributed to Rochester. My argument was that the texts that have been used as the basis for modern editions represent a distinct recension (the B version) which differs from the form in which the poem was originally read at court late in 1673 (the A version). I do not assert dogmatically that the B version is a later revision unconnected with the original phase of composition, but there is certainly circumstantial evidence to that effect, including the fact that its sources are all at least seventeen years later than the date of first circulation. The A version, on the other hand, is recorded in a copy written within weeks of that date.

The A version survives in two already known sources, Bodleian MS don. b 8, pp. 477 — 478, 480 — 482 and British Library MS Harley 7317, ff. 65r — 67r, and a newly discovered third source to be discussed shortly. The Bodleian manuscript is the personal miscellany of the courtier Sir William Haward, a gentleman of the privy chamber to Charles II, while the Harleian text represents a much later copy from a "linked group" which also contained a demonstrably early text of Rochester's "In th' Isle of Britain."[1] In the Haward text, the poem is divided into two sections separated by a pindaric ode on the Bible, the second section being headed "Additions to Seigneur Dildoe." It seems likely that the first section represents the form in which the poem was initially sung, recited and passed from hand to hand at Whitehall, and the second a selection of stanzas added by its various readers.[2] The version in Harleian 7317 has the poem as an unbroken sequence but disagrees with Haward over the order of stanzas and numerous readings, while at the same time agreeing strikingly with it against the manuscripts of the B version. These, by contrast, are relatively invariant except where the

order of stanzas has become disrupted by eyeskips. The distinction suggests two quite different modes of distribution.

The composition of the A version was clearly prompted by the wedding of the Duke of York in November 1673: it might even have been written for performance as a set of fescennine verses during this period — possibly with the king present.[3] It would seem to have circulated very rapidly through the court, acquiring new material as it went and being subject to constant rewriting by those who sang or recited it. There may even have been episodes of memorial transmission of the kind that led much later to a single stanza from it being written by a reader into the margin of a B-version manuscript.[4] The B text, on the other hand, is found only in manuscript anthologies of lampoons written for sale by the "Cameron" scriptorium and by one other, as yet unidentified, scribe.[5] Its mode of replication was intrinsically more stable, and its intended readership was also different, not being concerned with the poem as a repository of current scandal but as a precursor of post-1688 anti-Jacobite satire.

The importance of the new text, which was kindly brought to my attention by Peter Beal, is that it gives us a third version of the earliest or A version, and that its form both supports and strengthens my assumption about the earlier stages of circulation. It should also be noted that it is not attributed to Rochester! Contained in an uncatalogued manuscript in the Powis papers in the National Library of Wales at Aberystwyth, it has been identified by Beal as in the hand of another courtier of the time, Sir Edward Herbert. It agrees with Haward but with no other manuscript in including the name of the tune to which the poem was originally sung, and shares most of its characteristic readings. It also further demonstrates the agglutinative tendency of the earliest period of circulation by containing twelve lines found in no other source.

The text of the new version is given here with the permission of the National Library of Wales. Its variants from the other sources can be established by referring to the collation printed in my earlier article. The variants in line order relative to the base text (that of the B-version text, British Library Harley MS 7319, fols 4r — 6v) are as follows:

Decimalized numbers are those that do not appear at all in the B version. The order of Powis up to its l. 64 (which is also l. 64 of the base text) is in effect that of the Haward MS, section one, with two quatrains interpolated. One of these, 36.1 — 36.4, also present in the Haward "Additions," interrupts a sub-narrative involving the Earl of St Albans and three court ladies who are disturbed by his departure with the signior: this is clearly misplaced. (The B version also violates this sequence; but by reversing the order of the stanzas. Harley 7317 interpolates different material without reversal.) The second interpolation is unique to the Powis MS, and comes between ll. 56 and 73 in the numeration of the base text (Powis, ll. 53 — 56). The order of the lines in the remainder of the poem has no particular resemblance to either Haward section two or to Harleian 7317, as can be seen from the following: The similarities in order between Powis and Haward suggest that they derive from a common source in which the order of the earlier stanzas was reasonably stable, but the later stanzas were recorded on stray fragments of paper which might be placed in any order for copying. But it is also clear that text was gained during subsequent transcription, namely that which is unique to the two manuscripts (base text lines 28.1 — 28.24 in the case of Haward and ll. 53 — 56, 65 — 68 and 105 — 108 in Powis's own lineation).[6] Harley 7317 stands closer to both the order and the content of the B version and like it fails to indicate that the poem was for singing.

This transcription is based on copies supplied by the National Library of Wales and has been prepared with the help of Meredith Sherlock. The manuscript is written in a hurried, careless hand which at times represents the final and middle letters of words by minimal undulations of the pen. Words are frequently run into each other with the final letter of the first word almost disappearing and final "m" becoming indistinguishable from "n." Minuscule "o" is written several times as a single inclined stroke or shallow loop resembling a careless italic "e." Italic, secretary and Greek forms of "e" are used indiscriminately. There is virtually no punctuation. It is often quite impossible to tell whether the first letter of a word is capital or minuscule. In the absence of any other way of discriminating between the two, I have assumed that the first letter of a line and of a proper name is a capital unless its form clearly indicates otherwise, reversing the rule for other words. For reference, the lineation of the base text is given, in parentheses, after that of the current version.

To ye Tune that peg's gone ouer ye sea with a soldr.

• 1
• O all yee young ladies of merry England 1 (1)
• That haue been to kisse ye Dutches hand 2 (2)
• I pray you enquire ye next time you goe 3 (3)
• for a noble Italian calld seignior Dildo. 4 (4)
• 2
• This seignior Dildoe was ye cheife of ye Traine 5 (5)
• That came to conduct her ouer ye Maine 6 (6)
• I could not in conscience but let you all knowe 7 (7)
• The Happy arriuall of signior Dildoe 8 (8)
• 3
• A<t> ye signe of ye crosse in St James-street 9 (9)
• When next you endeauour to make yr selfe sweat[7] 10 (10)
• By Buying of powder Gloues Essence or soe 11 (11)
• You may chance get a sight of signior Dildoe 12 (12)
• 4
• Youle take him at first for noe person of Note 13 (13)
• Because hee'l appeare in a plaine leather Coate 14 (14)
• But when you his Vertuous abilities knowe 15 (15)
• Youle fall doune & Worship this signior Dildoe 16 (16)
• 5
• This signior dwelt once with ye Countesse of Ralph 17 (29)
• & from all ye fierce[8] Harry's preserued her safe 18 (30)
• She had almost smother'd Him under her pillowe 19 (31)
• 'Tis a Barbarous Nation quoth signior Dildoe 20 (32)
• 6
• My Lady Southaske Heauen prosper her fort 21 (17)
• first cloathed Him in satin & sent him to Court 22 (18)
• When scarse in ye Circle his face he durst shew 23 (19)
• Soe modest a Youth was this signior Dildoe. 24 (20)
• 7
• My good Lady suffolk thinking noe harme 25 (21)
• Had hid this poore stranger under her Arme 26 (22)
• Lady Betty by chance came this secret to know 27 (23)
• & from her owne Mother stool signior Dildoe 28 (24)
• 8
• Her Dutifull daughter whom dearly she loued 29 (24.1)
• with teares in her Eyes shee gently reproued 30 (24.2)
• O lamentable Betty why did you doe soe 31 (24.3)
• I prethee restore me my signior Dildoe. 32 (24.4)

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173




• 9
• pray pardon me Madam quoth Lady Betty. 33 (24.5)
• I'me not such an Asse as you take me to bee 34 (24.6)
• for all yo're my mother Il haue you to know 35 (24.7)
• You shall giue me a prick or I'le keep your Dildoe 36 (24.8)
• 10
• St Albans with wrinkles & smiles in his face 37 (57)
• Whose kindnes to strangers becomes his High place 38 (58)
• In coach & six Horses is gone to pergoe 39 (59)
• to take ye fresh aire with signior Dildoe 40 (60)
• 11
• The Maidens of Honor rood to ye sea side 41 (36.1)
• In comely behauiour to meet ye new Bride 42 (36.2)
• Wh<e>re noe on regarded poore Prince Rinaldoe 43 (36.3)
• But all fell a scratching for signior Dildoe 44 (36.4)
• 12
• Red Howard Red Sheldon & Temple soe tall 45 (49)
• Complain of his Absence thus long from whitehall 46 (50)
• But Sir Barnard has promised a journey to Goe 47 (51)
• & bring back his Contriman signior Dildoe 48 (52)
• 13
• Doll Howard no more with his Highnes shall range 49 (53)
• Wee'l profer her therefore this Civill exchange 50 (54)
• Her teeth being rotten she smells best belowe 51 (55)
• & needs must be fitter for signior Dildoe 52 (56)
• 14
• The Dutches of late hath heard a report 53 (56.1)
• That Catzo had Divers intreagues in ye Court 54 (56.2)
• To preserue her maids from him has order'd it soe 55 (56.3)
• That each Maid of Honor should haue signior Dildoe 56 (56.4)
• 15
• This signior is sound safe ready & Dumbe 57 (73)
• As euer was Candle finger or Thumbe 58 (74)
• Then away with these Nastie deuices to show 59 (75)
• How you'le rate ye Just Merits of signior Dildoe 60 (76)
• 16
• If he were but well used by ye Citizen fopps 61 (61)
• Hee'd keep their fine wiues from ye foremen of ye shops 62 (62)
• But ye rascall<s> deserue their Hornes should still growe 63 (63)
• For burning ye Pope & his Nephew Dildoe 64 (64)
• 17
• When steward & Harvy doe meet & debate 65 (64.1)
• In private of mighty affaires of ye state 66 (64.2)
• They alwaies admitt to make up ye Junto 67 (64.3)
• A trustie Butler & signior Dildoe 68 (64.4)

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174




• 18
• Tom Killegrews wife ye faire flower of dort 69 (65)
• At ye sight of this stranger did boeth fart & <s>nort 70 (66)
• & more of her Ciuill Dutch breeding to showe 71 (67)
• Cry'ed Welcome to Ningland Myn heer Van Dildoe 72 (68)
• 19
• He Ciuilly went to ye Cockpit on night 73 (69)
• & offerd his seruice to faire Mm Knight 74 (70)
• Quoth she I intreague it with Captaine Catzo 75 (71)
• Your Nose in mine Arse then quoth signior Dildoe 76 (72)
• 20
• Lord Almoner Howard a Tu Quoque of Rome 77 (28.25)
• Doth usher in all ye young Ladies that Come 78 (28.26)
• & if that Italian they chance not to knowe 79 (28.27)
• He interprets between them & signior Dildoe 80 (28.28)
• 21
• He hath ma<n>y preferments in church & in state 81 (28.29)
• For he gouerns ye Conscience of gracious Queen Kate 82 (28.30)
• & Though in ye pulpit his parts he nere showe 83 (28.31)
• He is father Confessor to signior Dildoe 84 (28.32)
• 22
• Our Delicate Dutchesses haue got a Trick 85 (33)
• To be fond of a fool for ye sake of his Prick 86 (34)
• How ye fopps were undone if their Graces did knowe 87 (35)
• The discretion & Vigour of signior Dildoe 88 (36)
• 23
• The stiffe stalking lord with his hugh limber prick 89 (40.1)
• Has shut himselfe up & pretends to be sick 90 (40.2)
• Cause Cleauland resolues ye King shall Bestowe 91 (40.3)
• Her son Eustans Blew ribbon on signior Dildoe 92 (40.4)
• 24
• A Number of prick<s> who were welcome before 93 (81)
• Being snubed by ye porter & shut out of Dore 94 (82)
• Maliciously waited his comeing to knowe 95 (83)
• & inhumanly set upon signior Dildoe. 96 (84)
• [unnumbered]
• From this barbarous rabble this stranger did fly 97 (85)
• All along the palmall they follow full cry 98 (86)
• The weomen concerned out of euery Window 99 (87)
• Cryed Oh for God sake saue Signior Dildoe 100 (88)
• 25
• But my good Lady Sandes burst into a laughter 101 (89)
• To see how ye Ballocks came wambling after — 102 (90)
• & had not their weight o're headed ye foe 103 (91)
• In deed 'thad gone hard with signior Dildoe 104 (92)

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175




• 26
• Lord Newport who with his old sencelesse laugh 105 (92.01)
• To Brunkard & Denham owes his white staffe 106 (92.02)
• Will still be a fumbling but Howard Cries oh 107 (92.03)
• Let alone your weak prick giue me ye Dildoe 108 (92.04)
• 27
• In to Yorke house at last for protection he fleed 109 (92.1)
• He knew himselfe safe with a Nation well bread 110 (92.2)
• & ye Count d'Gramount by ye Marques de Angeau 111 (92.3)
• To his Countesse at paris sent Signior Dildoe 112 (92.4)

As will be seen by referring to the collation published in my earlier article, Powis consistently agrees with Haward against all other texts. However, stanzas 18 and 22, in particular, contain readings in which it pairs with Harley 7317, the third A-group text, against Haward. At line 76 (72) the Powis reading implies an anatomical impossibility: in all other versions of the poem the insult is directed much more plausibly by Knight to the signior. A particularly striking variant is "Tu Quoque" (l. 77 [28.25]) for Haward's "Togate." Here "Togate" definitely makes better sense as well as preserving the meter. At l. 103 (91) Haward's "ouerladed" is likewise better than Powis's "o're headed": on the other hand the Powis reading could easily be the source, through the loss of "o'," of the "retarded" of the remaining texts. The scribe is to be congratulated on preserving the correct spelling for the Marquis D'Angeau referred to in l. 111 (92.3), Haward (who should have known better) having corrupted him to "Ansou."

Another point of interest is the spelling "Seignior" in line 4 of Powis, after which it is replaced by "Signior." Haward carefully writes "Seigneur" in the first section and in the title of the "Additions," and "Seignior" in the rest of the "Additions." "Seignor" is used throughout Harley 7317. The B-version manuscripts all use "Signior" as their predominant form; however, as mentioned in my earlier article, the "Seig" variant recurs sporadically in Harley 7319 and in three of the Cameron scriptorium texts. While granting that Restoration scribes were more likely to be familiar with French than Italian, it seems clear that the "Seig" spelling was that of the ancestor.

Notes