Recording: New Mad Tom of Bedlam (part 1)
Recording: New Mad Tom of Bedlam (part 2)
This broadside offered two songs in one and was clearly very popular during the seventeenth century, perhaps particularly from the 1640s onwards. Both songs originated earlier in the century: a version of ‘New Mad Tom’ appears in a Jacobean manuscript (British Library); and if the ‘Man in the Moon’ was indeed ‘Sung at the Curtain’, as the title claims, then this must have happened before c. 1627, when the theatre of this name ceased to operate.
It is striking that the popularity of the first song actually seems to have increased in the eighteenth century – an unusual pattern among our ballads – and it was included in a higher number of songbooks after 1700 than before (several of these are listed below). It also appeared more occasionally in songsters of the nineteenth century, suggesting its capacity to connect the worlds of early modern broadside balladry and Victorian music hall (see Cross).
The two songs can be a little hard to fathom today but in the early-modern age they clearly triggered numerous associations and proved highly appealing to consumers. Madness was endlessly fascinating to seventeenth-century people, and the ballad about ‘Mad Tom’, written in the first person, invited singers and readers to step into his weird world for a moment before returning to normality. The ballad was even included in one courtship manual of the period (Phillips), presumably with the intention that young men would sing it while wooing their sweethearts.
Long before the ballad’s composition, the character of ‘Mad Tom’ (also ‘Poor Tom’) was a very commonly encountered personification of severe mental illness and he appears in numerous plays of the period, including Shakespeare’s King Lear. In other respects too, the first song follows contemporary convention in representing madness: Tom is naked, having shed the garments that signal conformity and convention (see also the first woodcut); his brain is ‘distempered’ and his senses are ‘stragling’; his thought processes are disjointed (see also Featured tune history) and he jumps from one topic to the next without discernible logic; he is prone to grand delusions in which he sports with the gods; his voice is used either to express his deep turmoil (‘In vain with cries/ I rend the skies’) or to implore charity (‘Help, O help, or else I dye’); and his sleepless wandering reflects simultaneously his madness, his dependence on alms and the potential danger he poses to supposedly settled society.
The references to Tom’s incarceration in a ‘sad and darksome Cell’ in ‘Bedlam’ would have been similarly familiar to early-modern readers and listeners. Bedlam was the famous Bethlem hospital in London, England’s only specialist facility for the mentally unwell. It has given us the word ‘bedlam’ as a description of chaos or extreme disorder.
Visiting the hospital to see the unfortunate inmates was a popular recreation in early-modern London, particularly after the extraordinary transformation of the institution that took place in 1675-76. At this date, the hospital moved from its original site at Bishopsgate to a new location at Moorfields. Robert Hooke designed a palatial new building that was clearly the talk of the town for some time. On arrival, inmates and visitors alike passed by two specially-commissioned statues representing mania and melancholy. This bold and expensive change of surroundings attracted such attention that it may help to explain the frequency with which the ballad was published in the last quarter of the seventeenth century.
It was repeatedly alleged that some of the beggars who roamed the streets of London were guilty of faking the symptoms of mental disorder and falsely claiming to be operating with licences from the Bethlem hospital. Thomas Dekker identified the beggars who called themselves ‘Poor Tom’ as leading perpetrators of this deceit. When people heard or read the ballad, they could therefore choose between interpreting ‘New Mad Tom’ as a conman or as an individual deserving of sympathy. For many, he was also a figure of fun; laughing at madness was commonplace, and even visiting the hospital could stir mirth as well as horror.
It seems probable that the text of the ballad as it appears in our featured edition was partly a product of intense political turbulence during the mid-century Civil Wars and Interregnum. The lines, ‘Let Charles make ready his Wain,/ To bring my sences again’, seem to be an amendment to earlier versions, specifically designed to suit a particular political context in which the king and his son of the same name were embattled.
The texts of both songs also reveal affinities with the lyrics of another famous ballad, The King enjoyes his own again. This was probably composed by Martin Parker during the mid-1640s to support Charles I’s cause in the first Civil War but it acquired even greater power after the king’s execution in 1649, becoming an anthem for those who hoped to see Charles II restored to his kingdoms. New Mad Tom and The Man in the MOON seem to connect with it at several points. The Parker ballad, for example, included a declaration that ‘The man in the Moon, may wear out his shoone,/ in run[n]ing after Charles his Wain’, and the echoes that occur in our double-ballad suggest the likelihood of deliberate cross-referencing.
More generally, both ‘Mad Tom’ and the ‘Man in the Moon’ sometimes served as shrewd observers of the world, gifted with insight as a result of the abnormality that also saw them segregated from society (in one way or another). In the middle decades of the seventeenth century, they were both well qualified to serve as symbols of ‘the world turned upside down’ by political conflict. In a broadside of 1648 entitled Mad Tom a bedlams desires of peace, the eponymous character offers the prayer, ‘Blesse us all ‘tis a mad World’. And one frequently published Royalist mercury of 1649-50 was entitled, The man in the moon, discovering a world of knavery under the sunne. Its author described England in the wake of the king’s execution as a ‘universall Bedlam’. When we further recall that the enthusiastic and excessive drinking that is celebrated in the second song was strongly associated with political loyalty in the decades after c. 1650 (McShane), then it becomes apparent that these two pieces were not only amusing but politically charged.
It seems likely that the popularity of the songs was linked to the richness and complexity of the associations that they summoned up in the minds of listeners. In addition to the factors mentioned above, we might also note the contemporary fascination with the moon and particularly with the possibility that it might be inhabited by unidentified life-forms. It is possible, therefore, that the second ballad on the sheet may, in some minds, have stimulated serious thoughts of extra-terrestrial life (see Cressy).
To many more, ‘The man in the moon’ was, like his companion on the page, a figure of fun, associated strongly with absurdity. Lunar humour of the seventeenth century represented him as elusive, ignorant, non-existent, fantastical, and mad (‘lunar’ and ‘lunatic’ are of course related). As in the ballad, he was also said to have a particular fondness for claret. It is not entirely clear whether the many literary references to his favourite drink were responses to the ballad or examples of a pre-existing trope.
It is interesting to note, finally, that the two songs are connected with one another not only through sharing a sheet and a tune but in other ways too. The first closes with references to alcohol and to ‘The Man ith Moon’ and the second picks up the baton. This seems to indicate that these pieces were composed or revised in relation to one another, though we cannot be sure how this process worked.
We might also speculate that the twinning of the two songs may for some have opened up the possibility of a more critical understanding. Unrestrained personal vices were often presented as one of the most significant causes of madness, and the alcoholic dependence that is hinted at in the first song and amply described in the second (‘Drink until the sky looks blew’) could easily have been considered as evidence of dangerous excess. Royalist interpretations of the song probably predominated but they may not have been alone.
Christopher Marsh
References
Jonathan Andrews, 'The (un)dress of the mad poor in England c, 1650-1850. Part 1', History of psychiatry 18.1 (2007), pp. 5-24.
Jonathan Andrews, 'The (un)dress of the mad poor in England c, 1650-1850. Part 2', History of psychiatry 18.2 (2007), pp. 131-56.
Anon, An antidote against melancholy made up in pills (1669), pp. 99-100.
Anon, Catch that catch can (1685), song no. 71.
Anon, Choice ayres, songs, & dialogues... sung at court, and at the publick theatres... newly printed with large additions (1676), p. 94.
Anon, Covent garden drolery (1672), pp. 42-44.
Anon, The man in the moon, discovering a world of knavery under the sunne (numerous issues, 1649-50).
Anon, Mirth and glee; or, the songster’s favourite (1782), pp. 41-42.
Anon, New London laughable songster for 1812 (1812), pp. 33-35.
Anon, Roundelay or the new syren (1785?), pp. 89-90.
Anon, The syren. A choice collection of the most esteemed and favourite songs (1765?), pp. 190-92.
Anon, The vocal medley, or universal songster (1785?), pp. 15-17.
Anon, The vocal miscellany (1738), vol. 1, pp. 109-10.
Anon, Wit and mirth, 6 vols. (1719-20), vol. 3, pp. 43-44.
British Library, MS Harl. 7332, fo. 42 [NOT YET SEEN]
Broadside ballads from the Bodleian Library: http://ballads.bodleian.ox.ac.uk/
David Cressy, ‘Early modern space travel and the English Man in the Moon’, American historical review 111.4 (2006), pp. 961-82.
Simon Cross, ‘Bedlam in mind: seeing and reading historical images of madness’, European journal of cultural studies 15.1 (2012), pp. 19-34.
Laurent Curelly, ‘”Ha, ha, ha”: modes of satire in the Royalist newsbook The man in the moon’, XVII-XVIII. Revue de la Société d’Etudes Anglaises 70 (2013), pp. 73-91.
Thomas Dekker, The belman of London (1608), D3v.
English Broadside Ballad Archive: https://ebba.english.ucsb.edu/
English Short Title Catalogue.
Michael MacDonald, Mystical Bedlam: madness, anxiety and healing in seventeenth-century England (Cambridge, 2008).
Dolly MacKinnon, ‘”Poor senseless Bess, clothed in her rags and folly”: early modern women, madness and song in seventeenth-century England’, Parergon 18.3 (2001), pp. 119-51.
Angela McShane, ‘Drink, song and politics in early modern England’, Popular music 35.2 (2016), pp. 166-90.
Martin Parker, The King enjoyes his own again. To be joyfully sung, with its own proper Tune (composed c. 1643; edition of 1660).
Thomas Percy, Reliques of ancient English poetry, 3 vols. (1765), vol. 2, pp. 343-46.
Edward Phillips, The mysteries of love and eloquence, or, the arts of wooing and complementing (1685), pp. 120-22.
Joseph Ritson, A select collection of English songs, 3 vols. (1783), vol. 2, pp. 146-48.
Hyder E. Rollins, An analytical index to the ballad-entries (1557-1709) in the Registers of the Company of Stationers of London (1924; Hatboro, Pennsylvania, 1967), nos. 1878 and 2656.
Vaughan Williams Memorial Library, https://www.vwml.org/ (Roud no. V27137).
Joy Wiltenberg, ‘Madness and society in the street ballads of early modern England’, Journal of popular culture 21.4 (1988), pp. 101-27.
To the tune of ‘Grays-Inn-Masque’ (standard name: Gray’s Inn masque)
The purpose of this section is to provide brief notes on the melody followed by detailed evidence relating to its career, paying particular attention to the ‘echoes’ (inter-song associations and connections) that may have been set up if it was nominated for the singing of more than one ballad. In the list presented in the ‘Songs and Summaries’ section below, we have endeavored to include as many of the black-letter ballads that used the tune as possible, under any of its variant names. Titles from our chart of best-sellers are presented in bold type (these are also in colour when there is a link to the relevant ballad page on the website). It should be noted that it is extremely difficult to date many ballads precisely and the chronological order in which the songs are listed is therefore very approximate (we have drawn on previous attempts to date the ballads, making adjustments when additional evidence can be brought into play). In most cases, we list the earliest surviving edition of a ballad, though in many instances there may have been earlier versions, now lost.
Versions and variations
This long and complex tune originated in a masque performed at the court of James I in c. 1613 and it seems to call for the skills of a trained singer. Notation can be found in a number of seventeenth-century sources, in print and manuscript. Our recording of the first of the two songs uses the version in a Jacobean collection of masque tunes and other music held in the British Library (Add MS 10444). For the second song, we have used an example of the tune that appears in John Sturt’s lute book (c. 1613-16).
Playford included the melody in the first ten editions of his famous Dancing Master (1656-98), adjusting the title from ‘Gray’s Inn Mask’ to ‘Gray’s Inn Mask or Mad Tom’ around 1670, in a manner that hints at the popularity of the song. Other versions occur in the following sources: Drexel MS 5612, a collection of keyboard music held by New York Public Library; Playford’s Choice Songs and Ayres (1673); and Catch that Catch Can (1685). The tune remained popular into the eighteenth century and was nominated and notated in John Mottley’s ballad-opera, Penelope (1728).
These versions are all unmistakably the same tune – it is highly distinctive – but minor details of the melody were adjusted constantly. The most striking departure from the norm was Mottley’s version, which included only the first portion of the tune and, uniquely, rendered it in a major key (thus reducing the faintly menacing quality of the original).
[See 'Postscript', below, for additional notes on this melody].
Echoes (an overview)
‘Gray’s Inn masque’ was unusually complicated for a broadside melody and only one other surviving black-letter ballad recommends its use. The cunning Northerne Begger follows the hit song, New Mad Tom of Bedlam, in representing a marginal figure (madness and beggary are connected by the tune). The disjointed nature of the tune, with its frequent shifts of rhythm and melodic motif, was presumably intended to represent the distracted thought processes that were associated with madness.
There are few explicit textual connections between New Mad Tom and The cunning Northerne Begger, and the verse structure of the latter suggests that a shortened version of the tune was intended, perhaps for the encouragement of less accomplished singers.
Songs and Summaries
New Mad Tom of Bedlam + The Man in the Moon drinks Clarret... The Tune is, Grays-Inn-Mask (composed c. 1613; J. Wright, J. Clark, W. Thackeray, and T. Passenger, 1682-84). Pepys 1.502-03; EBBA 20237. Recreation – alcohol, good fellowship, food, dance, music, tobacco; Disability – mental; Gender – masculinity; History – ancient/mythological; Humour – extreme situations/surprises; Bodies – health/sickness. The first song presents the disconnected rantings of a disturbed individual, and the second describes the many strange effects of excessive alcohol upon male behaviour.
The cunning Northerne Begger, Who all the By-standers doth earnestly pray, To bestow a penny upon him to day (F. Coules, 1624-80). Roxburghe 1.42-43; EBBA 30034. Society – rich/poor, urban life, rural life; Humour – deceit/disguise; Bodies – clothing, physique/looks; Disability – physical; Employment – begging, sailors/soldiers; Economy – extortion; Religion – charity; Family – children/parents; Places – English; Recreation – alcohol, tobacco. A beggar describes the disguises and devices he employs in order to trick honest people out of their money.
Postscript
The tune was used occasionally on political white-letter ballads later in the century. See, for example: THE COCK-CROWING AT THE Approach of a Free-Parliament (1659); and A NEW BALLADE, To an Old Tune. Tom of Bedlam (1660s?). Both celebrate the return of Charles II, perhaps providing us with a clue as to the manner in which the earlier song, New Mad Tom, may have been interpreted by Royalists during the 1650s (one line in this song runs, ‘Let Charles make ready his Wain’ – this was presumably an addition to the original, Jacobean text). The tune was also named for the singing of ‘The PARLIAMENTS GHOST’, a satirical Royalist song that appears at the back of the pamphlet, ONE and THIRTY NEW ORDERS OF PARLIAMENT (1659).
The lasting appeal of New Mad Tom of Bedlam is suggested by the manner in which a short romantic text, set to the tune in Mottley’s Penelope (1728), makes several clear references to the original song (it opens, ‘Forth from my Shopboard am I come’).
Christopher Marsh
References
Jeremy Barlow (ed.), The Complete Country Dance Tunes from Playford’s Dancing Master (1985), no. 30.
Catch that Catch Can (1685), no. 71.
Collection of masques, fancies, airs… (c. 1603-25), British Library, Add MS 10444, fo. 44.
Jean Knowlton, ‘Dating the masque dances in British Museum Additional MS. 10444’, The British Museum Quarterly, 32.3/4 (1968), pp. 99-102.
John Mottley, Penelope (1728), pp. 24-25 and appendix of airs, p. 11, no. 3.
New York Public Library, MS Drexel 5612 (seventeenth century), p. 59.
John Playford, Choice Songs and Ayres (1673), p.66.
Claude Simpson, The British broadside ballad and its music (New Brunswick, 1966), pp. 263-66.
John Sturt, lute book (c. 1613-16), British Library, Add MS 38539, fo. 29 (transcription in Simpson).
Back to contentsStandard woodcut name: Man in the moon
The purpose of this section is to provide evidence relating to the career of the image under discussion, paying particular attention to the ‘reflections’ (inter-song associations and connections) that may have been set up if it was chosen to illustrate more than one ballad. The list given below includes all ballads from the Pepys and Roxburghe collections that feature this woodcut or a close variant (these are the two largest collections, including approximately 3300 sheets, in total). References to ballads from other collections occur only when the featured edition of the song under consideration here (or the featured edition of another song from our list) comes from such a source. Ballads from our chart of best-sellers are presented in bold type, and they also appear in colour where there is a link to another song in the database. Please note, however, that the editions of hit songs listed below are not necessarily those for which digital images are presented on this website. Cross-references to other examples of our featured woodcuts are also presented in bold. It is extremely difficult to date many ballads precisely and the chronological order in which the songs are listed is therefore very approximate (we have drawn on previous attempts to date the ballads, making adjustments when additional evidence can be brought into play).
Reflections (an overview)
This image, probably designed specifically for The Man in the MOON Drinks Clarret (the second song on the sheet), has not been found on any other ballad in the two largest collections. The only title listed below is therefore our featured edition. The woodcut was used on most other copies and editions of this ballad and presumably contributed to its success. The evidence suggests that only one woodblock was in use.
Songs and summaries
New Mad Tom of Bedlam OR, The Man in the Moon drinks Clarret (J. Wright, J. Clark, W. Thackeray, and T. Passenger, 1682-84). Pepys 1.502-03; EBBA 20237. Disability – mental; Recreation – alcohol, food, music, dance; History – ancient/mythological; Bodies – health/sickness, nourishment; Emotions – confusion; Humour – extreme situations/surprises; Religion – ancient gods. Mad Tom delivers a suitably incoherent appeal for charity and describes all the drunken revelry that he has witnessed (picture placement: he stands beneath the title to the second part of the song, on the right side of the sheet).
Christopher Marsh
Back to contentsWit and drollery, a collection of ‘joviall poems’ published in 1656, included four verses under the title, ‘Tom of Bedlam’. This is not, however, a version of our ballad but a new composition that introduces ‘Mad Maudlin’, who searches desperately for her lover, ‘Tom of Bedlam’. Her ultimately unsuccessful mission is closely observed by an assortment of nymphs, fairies and gods. The text, though a distinct composition, echoes New Mad Tom in many of its lines. The report, ‘Mad Maudlin is come, to seek her naked Tom’, closely parallels the corresponding line in the earlier song: ‘Mad Tom is come to view the world again’. And where Tom had said ‘Let Charles make ready his Wain,/ To bring my sences again’, Maudlin declares sadly, ‘Poor Charles his waine, was thrown into the main’, presumably an acknowledgement of the king’s execution in 1649.
Several other published books and ballads mentioned either Mad Tom or the Man in the Moon in their titles but none of them seems to be closely related to the hit song. Examples include: John Lyly, Endimion, the man in the moone (1591); Francis Godwin, The man in the moon: Or A discourse of a voyage thither by Domingo Gonsales (1638); Anon, Mad Tom a bedlams desires of peace and his Benedicities for distracted Englands restauration to her wits again (1648); Anon, New Bartholomew Fayrings presented to several members of the Juncto and Councell of State by the Man in the Moon (1649); Anon, The man in the moon, discovering a world of knavery under the sunne (1649-50); Anon, Twenty Quaking queries, having been clowded, and now brought forth to light by Mad Tom (1659); and Anon, News from Bedlam, or, Tom of Bedlams observations, upon every month and feastival time in this present year (1674).
Christopher Marsh
New Mad Tom of Bedlam;/ OR,The Man in the Moon drinks Clarret,/ With Powder-beef, Turnep and Carret.
The Tune is, Grays-Inn-Mask.
[Play each verse by clicking anywhere within its text]
Or from the deep Abiss of Hell, Mad Tom is come to view the world again, To see if he can ease his distempered Brain: Fear and care doth pierce the Soul, Hark how the angry Furies howl; Pluto laughs and Proserpine is, glad, To see poor naked Tom of Bedlam mad: Through the world I wander night and day, to find my stragling sences, In an angry mood I found old Time, with’s Pentarchy of Tenches, When me he spies, Away he flies, For time will wait for no man, In vain with cries, I rend the skies, For pitty is not common. Cold and comfortless I lye, Help, O help, or else I dye, Hark I hear Appoll’s Theam, The Carman gins to Whistle, Chast Diana Bends her Bow, The Boar begins to Bristle: Come Vulcan with Tools and with Tackle, shake off my troublesome shackle, Let Charles make ready his Wain, To bring my sences again.
Mars met Venus in the Dark, Leaping Vulcan het an Iron=Bar, And furiously did run at the God of War. Mars with his Weapon laid about, But Vulcans Temples had the Gout, His broad Horns did so hang in his sight, He could not see to aim his Blows aright Mercury the Nimble Post of Heaven, staid still to see the Quarrell, Gorrel bellied Baccus Gyant=like, bestri’d a strong Beer Barrell: To me he drank, I did him thank, But I could get no Syder, He drank whole Buts, Till he crackt his Guts, But mine were ne’r the wider. Poor naked Tom is very dry, A little drink for Charity: Hark I hear Acteon’s hounds, The Huntsman whoops and hollows, Ringing Royster, Bowman Jowler At the chase now follows: The Man in the Moon drinks Clarret, With Powder beef Turnep and Carret, A Cup of Old Mallago Sack, Will fire the Bush at his back.
The Man in the MOON Drinks Clarret./ As it was lately Sung, at the Curtain Holy-Well./ To the same Tune.
Full Mazers, Beakers Glasses, Bowles Greasie Flapdragons, Flemish Upsie freeze, With health stab’d in arms upon naked knees Of all his Wines he makes you tasters, So you Tipple like Bumbasters: Drink till you reel, a welcome he doth give, O how the boon Claret makes you live: Not a Painter purer Colour shows, then what’s laid on by Clarret, Pearl and Ruby doth set out the Nose, when thin small Beer doth mar it. Rich Wine is good, It heats the blood, It makes an old man lusty, The young to brawl, And Drawers up call, Before being too much musty. Whether you drink all or little, Pot it so your selves to wittle, Then though twelve A Clock it be, Yet all the way go Roaring, If the Band Of Bills cry stand, Swear that you must a Whor___ Such Gambols, such tricks such Fegaries, We fetch though we touch no Canaries: Drink wine till the Welkin roars, And cry out out a Pox of your Scores.
Catzoes, Rumbilloes, Whirligigs, Campo got in Huff=Cap vain, The Devil in the places you wot were raign, Brave wine it thus tickles our Heels, Mull’d well in wine none sorrows feels: Our moon=man and his powder beef mad crew thus caper thrugh the liquor sweet turnep drew Round about over Tables and joyn’d=stools let’s dance with naked Rapiers, Cut the Fiddle=strings and then like fools, kick out the fum fum scrapers: There is no sound That cares can wound, As lids of wine pots clinking; Theres no such sport, When all amort, Men cry lets fall a drinking: O ‘tis Nappy Geer, Would each Belly was filled here, Herrings pickl’d, Must be tickel’d Down to draw the Liquor: The salt Sammon, And fat Gammon, Makes our Wine drink quicker, Our man in the Moon drinks Clarret, [?missing line: With Power beef Turnep and Carret,] If he doth so, why should not you, Drink until the sky looks blew.
O my Noddle too heavy doth weigh, Metheglin, Perry, Syder, nor strong Ale, Are half so heady be they ne’r so stale: Wine in our Guts can never rumble, Down now & then though it maks us stumble Yet scrambling up a drunkard feels no pain, But cryes Sirrah Boy, tother Pottle again We can drink no more unles we have full pipes of Trinnidado, Give us the best it keeps our brains, more warm then can freezado. It makes us sing, And cry hey ding, And laugh when Pipes lye broken, For which to pay At going away, We scorn a Mustard token, Never curse the sawcy score, Out=swear the Bar you’l pay no more: In these days He is not Gallant That cannot puff and swagger, Though he dare Not kill a sheep, Yet our must flye his Dagger. If then you do love my Hoast’s Clarret Fat powder beef, Turnep and Carret, Come agen, and agen, And still welcome Gentlemen.
Printed for J. Wright, J. Clark, W. Thackeray, and T. Passenger.
This ballad is included according to the criteria for List A (see Methodology). The evidence presented here is accurate, to the best of our knowledge, as of 1st January 2024.
Shirburn ballads: not included.
Appearances on Ballad Partners' lists: Coles, Vere, Wright and Clarke, 1675; and Thackeray, 1689 (as 'Mad Tom of Bedlam').
Other registrations with Stationers' Company: none.
No. of known editions c.1560-1711: 8
No. of extant copies: 8
New tune-titles generated: 'Tom of Bedlam' (3 ballads).
Specially-commissioned woodcuts: ?Mad man with horn of featured edition (and other editions); and Man in the moon on featured edition (and other editions).
Vaughan Williams Memorial Library databases: 25 references, with no evidence of later collection as a folk-song (Roud no. V27137).
POINTS: 0 + 10 + 0 + 16 + 8 + 6 + 10 + 3 = 53
This box will be used to highlight any new information on this song that might come to light after the launch of the website.
New information on this ballad has come to light on the Lost PLays Database:
https://lostplays.folger.edu/Man_in_the_Moon_Drinks_Claret
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