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Christopher Breward<br />

Put that down then, nobody wants it, now then what do you say to this?<br />

There’s a lovely garment for you, that’s a racing coat that is,<br />

Once it mingled with the bookies at each popular resort,<br />

And the cove who used to wear it dearly loved a bit of sport.<br />

But my dear, once down at Epsom, someone overheard his name,<br />

And that someone, a detective, went and bowled his little game.<br />

For he was a welsher, a regular crook,<br />

A wrong’un as you’ll suppose.<br />

The public he’d spoof, he’d collar their ’oof,<br />

And that’s what I found in his second hand clothes. (produces 3 card trick)<br />

(produces workhouse jacket with medals pinned on breast)<br />

’Ere’s a coat that’s got a history, I shan’t offer it for sale,<br />

I shall keep it for inspection, so that I may tell the tale.<br />

Who do you imagine wore it? Don’t think I’m telling lies,<br />

Tis a fact my dear, tis really, though you’ll hear it with surprise.<br />

Once the man who used to wear it, fought hard by his colonel’s side,<br />

Tho’ a Balaclava hero, in that pauper’s coat he died.<br />

For he was a veteran, a warrior bold,<br />

A hero as you may suppose.<br />

For his country he bled, yet he died wanting bread,<br />

And that’s what I found in his second hand clothes. (produces nothing)<br />

Bet you know who this garment belongs to, him who buys this has a catch,<br />

’Ere’s a nobby garment for you, collar too as well, to match.<br />

Once this frock coat ornamented one of England’s greatest men,<br />

Straight there isn’t one to touch ’im, either with the tongue or pen.<br />

Never mind how I came by it, at his house I often call,<br />

And the goat who used to wear it, is well known to one and all.<br />

For he is a statesman, a clever old man,<br />

A grand old man as you’ll suppose.<br />

And in Ireland today, he’ll have his own way,<br />

And that’s what I found in his second hand clothes.<br />

(produces Home Rule Bill) 107<br />

Beyond the melodrama of the patter song, with its narrative that encapsulated the<br />

music hall standards of pathos and patriotism, other performances trading on the<br />

demotic currency of men’s clothing and fashion presented a more bathetic<br />

interpretation of attempts by the “cove” or “bloke” to appropriate the language or<br />

290

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