In the jail scene, the rake turns out of his breeches a "Scheme to Pay the National Debt," a specific verbal echo of the Fleet Street print, and the prisoners sing a familiar tune ("Welcome, Brother Debtor") as musical background to his off-stage suicide. Then Virtue returns to ascend with "Liberty and Benevolence" on a cloud, able to relax now that Vice's influence has run its destructive course. _The Rake's Progress_ is an essentially uneven dramatic work. The playwright colors the didacticism of Hogarth's prints with music and farce, yet underscores it by adding Virtue and Vice and the melodrama of Rakewell's suicide and Sarah's probable death. The author capitalizes on the suspense of choice, characteristic of the morality play, by dramatizing it in conflicts between Vice and Virtue. Yet the effect remains unbalanced. This palpable form of Hogarth's visual satire loses much of its impact without a balance of serious, comic, and musical ingredients. Furthermore, the musical elements are so haphazardly distributed that they often contribute to a patchwork effect, as when the bailiff sings a solo prior to making an arrest. Although _The Rake's Progress_ purports to imitate Hogarth's "Comedy," where a "biginning, middle & an End/ Are Aptly join'd; where parts on parts depend,/ Each made for each, as Bodies for their Soul," the 15 scenes alternate too erratically between humor and melodrama to convey the artistic unity and moral conviction evident in the pictorial sequence. But this stage piece does demonstrate the persistence of Hogarth's visual presence in later eighteenth-century life along with the adaptability of his graphic scenes for the London theater. Clearly Theophilus Cibber's comical, lyrical exploitation in _The Harlot's Progress_ of Hogarth's designs exhibits a more coherent dramatic structure than the tentative, disjointed medley of music and moralism in _The Rake's Progress_. Further, Cibber's piece adds literary insight to our concept of the hardly dumb genre of pantomime, with its musical and masque components. The added melodrama and sentimentality in _The Rake's Progress_ can help to index theatrical taste in the later period. For students of the century, both works demonstrate clearly an aspect of the reliance on Hogarth's art by playwrights. They also show the flexibility of the London stage in the use of elements of music and dance to link separate print scenes, and so attempt a bridge between the forms of art and drama. These two examples of the lively interplay operative between stage and print in the early and late decades heighten appreciation of the expectancies of cultural experiences of different audiences in the eighteenth century. THE TUNES