 |
p. 45, l. 18 The Queen's Apartments. I have added this locale.
p. 49, l. 10 frightful. 1724 'frighted'.
p. 50, l. 18 were worth your care. 1724 'was worth'.
p. 51, l. 24 Oh Traitress! 1724 'Oh, Traitoress'.
p. 57, l. 2 Act IV. Scene I. 4tos and 1724 'Act IV. Enter Abdelazer...'. I have added the locale here and numbered the scenes throughout this Act.
p. 58, l. 4 To gain your Heart. 4tos 1677, 1693, print this to the conclusion of Abdelazer's speech as prose. 1724 prints from 'Thousand of Bigots' as prose. I have metrically divided these last lines, and followed 1724 from 'To gain your Heart'.
p. 61, l. 3 afar off all the Scene. 1724 omits this.
p. 64, l. 3 some Moors. 1677 reads 'some Moor'.
p. 65, l. 22 Scene VI. Neither 4tos nor 1724 number this scene.
p. 65, l. 30 Your Soldiers faint, are round beset. 4tos omit comma.
p. 69, l. 12 Exeunt all. 1724 'Exeunt'.
p. 69, l. 13 Scene VII. Neither 4tos nor 1724 number this scene.
p. 69, l. 18 illustriate Hand. 1724 'illustrious'.
p. 75, l. 2 Barbarian. 4tos italic. 1724 roman.
p. 79, l. 2 attendance. 1724 'attendants'.
p. 79, l. 16 Scene II. 4tos and 1724 do not number this scene.
p. 80, l. 10 with Roderigo. 1724 'with Rod.'
p. 80, l. 18 Exit Elv. I have added this stage direction. Neither 4tos nor 1724 mark an exit here for Elvira, although she obviously goes out when the Queen says 'retire' as an entry is marked after the ensuing dialogue.
p. 80, l. 20 roughly. 1724 omits this.
p. 80, l. 34 and other Women. 1724 'and the Women.'
p. 81, l. 4 Durst. 1724 'Dares'.
p. 82, l. 23 Weeps over her. 1724 omits this.
p. 82, l. 29 repaid. 1724 'repair'd.'
p. 87, l. 12 to any Shape. 1724 'into any Shape'.
p. 87, l. 29 cou'd not the Gods. 1724 wrongly omits 'not'.
p. 89, l. 4 My Desire's grown high. 4tos 'My Desires grow high'.
p. 92, l. i Scene III. Neither 4tos nor 1724 number this scene.
p. 92, l. 8 Andromede. 1724 'Andromeda'.
p. 93, l. 13 through. 1724 'thro' throughout.
p. 94, l. 12 your Friends. 4tos misprint 'your Friend'.
p. 95, l. 23 upon my Name. 1724 'upon thy Name'.
p. 96, l. 12 that charming Maid. 1724 'the charming Maid'.
p. 96, l. 12 Whom I'd enjoy'd e'er now. 4tos 'whom I'de enjoy e're now'.
p. 97, l. 6 preserve. 4tos and 1724 here insert the stage direction '[Kneels.' But this is repeated at the line (11) 'Thus low I take the Bounty from your Hands' and is far more appropriate at the latter juncture. There can be no doubt that the stage direction '[Kneels' should also be inserted at line 19—'Thus low I fall'—and it has been misplaced by the printer in the old copies. I have restored it.
p. 97, l. 18 only me unhappy, when, Sir, my Crime Was only too much faith? 4tos punctuate: 'only me unhappy? When, Sir, my Crime Was only too much Faith;'
p. 97. l. 29 Seas again. At the conclusion 1677 prints 'The End of the Play.'
p. 98, l. 18 Sex's. 4tos 'Sexes'.
p. 105 To Philaster. This Epistle Dedicatory only appears in the 4tos 1683, 1696.
p. 108 Dramatis Personae. I have added 'Geron the old Tutor to Orsames; Gorel, a Citizen; Keeper of the Castle; A Druid; Courtiers (men and women); Officers: Guards; Huntsmen; Assassins'. 4to 1698 misprints 'Ismenis' for 'Ismenes'; 'Thursander' for 'Thersander'; 'the Court of Daca' for 'the Court of Dacia'. 1724 gives 'a Rabble of the Mobile'; 4tos 'all a Rabble of the Mobile'.
p. 109, l. 4 never the Luck. 4tos 'never the ill Luck'.
p. 109, l. 15 what's thy Business. 1724 'what's the Business'.
p. 109, l. 28 I spake. 4tos 'I speak'.
p. 110, l. 23 conspire against him. 4tos ''gainst him'. But the metre requires 1724 'against'.
p. 111, l. 6 him here. 4to 1696 misprints 'here him'.
p. 111, l. 14 Virago he Daughter. 1724 'Virago her Daughter', which is excellent sense but lacks the point of 'he Daughter'.
p. 112, l. 22 Ly. You sigh. 4tos and 1724 print as prose. I have arranged metrically.
p. 113, l. 16 one of gentle Birth. 4tos 'of the gentle Birth'. 1724 'of genteel Birth'.
p. 114, l. 11 Pim. Pox on her. 4tos divide Pimante's speech at 'let her go.' and commence a new line with 'Well, Colonel,' as if metrically. I have followed 1724 as it is obviously prose.
p. 114, l. 25 Sem. That's strange! 4tos wrongly print this speech as prose.
p. 115, l. 34 Artabazes. 4tos 'Artabaces'.
p. 116, l. 3 mistaken thing? 4tos punctuate 'mistaken thing;'.
p. 116, l. 6 fantastick. 1724 wrongly 'fanatick'.
p. 116, l. 24 cruel Cause. 4to 1696 misprints 'crul Cause'.
p. 117, l. 9 [_Sem. looks about, finds the Cap and Feathers. _Sem_. See, Madam, what I've found. 4tos and 1724 give the stage direction after the speech. I have transposed these, as obviously such an arrangement is better.
p. 118, l. 20 Ideas. 4tos wrongly 'Idea's'.
p. 118, 1.29 He rises. 4tos and 1724 '[Rises.' But it is Thersander who is kneeling, not Cleomena. The insertion of 'He' saves any confusion.
p. 119, L. 9 who're born. 4tos 'who are born'.
p. 119, L. 11 Whom happy Fate. 4tos misprint 'Whose happy Fate'.
p. 120, l. 29 Enter Vallentio Urania. 4to 1696 misprints 'Urina'.
p. 121, l. 3 But one that. 1724 omits 'one'.
p. 121, l. 16 we took her. 4to 1696 'wa took her'.
p. 121, l. 20 The Scythians. 4tos 'Th' Scythians'.
p. 122, l. 30 Arms across. 1724 'Arms close'.
p. 123, l. 9 I will be. 4tos 'And will be'.
p. 123, l. 12 this Harmony. 4tos 'his Harmony'.
p. 124, l. 11 Shore?—4tos punctuate 'Shore;'.
p. 126, l. 18 no less. 4tos 'not less'.
p. 127, l. 36 Amintas' Apartment. 4tos 'Amin. Apartment.' 1724 'Amintas's Apartment.'
p. 128, l, 7 Amin. It is the King. 1724 does not arrange this metrically.
p. 128, l. 21 Ex. Amin. 4tos 'Amin. exit.'
p. 128, l. 25 go bring. 4tos 'and bring'.
p. 128, l. 28 effect. 4tos 'effects'.
p. 128, l. 30 you're lost. 4tos 'you are lost'.
p. 129, l. 27 Unrest. 1724 misprints 'Undrest'.
p. 130, l. 10 Not seeing. 4tos print this line—'Not seeing a Woman I ne'er had bin.'
p. 130, l. 10 Exeunt. Not in 4tos and 1724.
p. 130, l. 11 Another Room. I have added the locale, unmarked in 4tos and 1724.
p. 131, l. 12 dearest fair. 4tos 'dear fair'.
p. 132, l. 18 Gods. 4tos misprint 'God's'.
p. 134, l. 14 He bows low. 4tos 'bows low.'
p. 134, l. 15 I am. 4tos 'I'm'.
p.. 135, l. 13 Rivulet. 4tos 'Rivolet'.
p. 136, l. 9 Ah! Madam. 4tos divide this speech metrically. 1724 prints as prose.
p. 137, l. 10 to live. 1724 'I live'.
p. 137, l. 11 Passion. 1724 'Person'.
p. 139. l. 8 All go out but Ther. Hon. Lysan. 4tos add 'manent Thers. Ho. Lysan.' which is entirely superfluous.
p. 139, l. 23 Aside. 4to 1698 omits this.
p. 139, l. 28 Renders me too unartful. 4tos 'Renders unartfull'.
p. 140, l. 11 Lys. 4tos, misprinting, omit the speech-prefix 'Lys.'
p. 140, l. 15 Exeunt. Omitted in 4tos and 1724.
p. 141, l. 15 eighteen Tears. 1724 misprints 'Year'.
p. 141, l. 32 then? Rage. 1724 omits 'Rage.'
p. 144, l. 5 a Table. Geron near the Throne. I have added 'Geron near the Throne', which occurs neither in 4tos nor 1724, It is extraordinary that the old copies do not give the name of the old tutor amongst the Dramatis Personae? nor do they mark his presence here.
p. 144, l. 13 any other God but I? 4tos 'any other God's but I?' 1724 'any other here but I?'
p. 145, l. 30 Exit Geron. Neither 4tos nor 1724 mark this exit, although later in the scene the entrance of Geron (p. 148) is noted in all the old copies.
p. 147, l. 11 Ors. 4to 1696 by a strange misprint gives speech-prefix 'Ger.'
p. 148, l. 9 I have. 4tos 'I've'.
p. 148, l. 20 —Itis not Sleep!— 4tos 'Is it not Sleep!'; but 1724 is far better here.
p. 148, l. 31 Arates. 4tos misprint 'Erates.'
p. 149, l. 4 A Grove near the Camp. 4tos and 1724 omit this locale.
p. 150, l. 5 is he longer. 1724 misreads 'is he no longer'.
p. 150, l. 8 Trumpets sound. 4to 'Trumpet sounds.'
p. 150, l. 18 Trumpets sound. Exeunt. 4tos 'Trumpet sounds.' 1724 'Ex.'
p. 151, l. 18 Ismenes. 4tos 'Ismenis' throughout.
p. 152, l. 12 Horse's. 4to 1696 misprints 'Horses'.
p. 152, l. 13 Ura. Ex. 4tos 'Ura. Exit'.
p. 153, l. 11 Cavalry. 4tos 'Chavalry'.
p. 153, l. 13 yet-disputing. 1724 weakly 'yet-disputed'.
p. 153, l. 34 to the Stranger. 1724 omits 'to'.
p. 154, l. 7 Exeunt. Not in 4tos nor 1724.
p. 156, l. 1 drawing of. 1724 omits 'of'.
p. 156, l. 6 Moment's. 4tos misprint 'Moments'.
p. 157, l. 7 reach. 4tos 'reaches'.
p. 157, l. 18 Scene V. Changes. 4tos and 1724 'Scene changes'. I have numbered this scene.
p. 158, l. 15 Ism. goes in, Scene draws. 1724 omits 'Ism. goes in'.
p. 158, l. 33 Thersander—Prince of Scythia. 1724 omits this line, marking '[Faints.' at conclusion of previous line.
p. 159, l. 19 one end. 4tos 'one hand'.
p. 160, l. 28 my Dagger to this Heart. 1724 'this Dagger to my Heart'.
p. 160, l. 30 these. 4tos 'those'.
p. 160, l. 31 dear dead Prince. 1724 misprints 'dear dear Prince'.
p. 161, l. 6 require. 4tos 'requires'.
p. 163, l. 1 Scene II. Between the two Camps. 4tos 'Scene the Second.' I have added the locale, which is unmarked in all the editions.
p. 163, l. 7 te fight. 4tos 'to fight'.
p. 164, l. 7 The Scythian Guards. 4to 1698 misprints 'The Scythian Guards of'.
p. 164, l. 13 Exeunt. Unmarked in 4tos.
p. 166, l. 6 Aside. This is not marked in 4tos.
p. 166, l. 27 in the Earth. 4tos 'in Earth'.
p. 168, l. 7 Exit Lysander. No former editions mark this Exit, which, however, is obviously necessary.
p. 168, l. 10 Habit that I left. 4tos 'Habit I left'.
p. 168, l. 16 'tis. 4tos 'it is'.
p. 168, l. 18 remain. 4tos 'remains'.
p. 168, l. 20 my Dishonour. 4to 1696 omits 'my'.
p. 168, l. 26 Enter King. 4to 1698 has 'Enter King. Lysander solus.' Lysander is a misprint for Thersander, but the whole addition is quite unneeded.
p. 169, l. 6 given. 4tos 'gave'.
p. 169, l. 26 Herald. 4tos 'Herauld'.
p. 169, l. 27 Scene V. Cleomena's Apartments. 4tos 'Scene the Fifth.' I have added the locale, which is unmarked in all former editions.
p. 170, l. 19 Race. 4to 1698 misprints 'Rafe'.
p. 170, l. 26 Exit. 4tos 'Queen Exit'.
p. 172, l. 18 People's. 4to 1698 'Peoples'.
p. 173, l. 2 my Foe. 4tos omit 'my'.
p. 173, l. 3 Exit. Val. 4tos 'Vall, ex.'
p. 173, l. 23 Scene VI. A Street. The former editions do not mark or number this Scene. Neither do they give locale. Their reading runs:— '[Exeunt. Enter Vallentio passing over the Stage, is met'.
p. 174, l. 7 'Sha. 4tos 'Sha.'
p. 174, l. 7 though thats. 1724 omits 'though'.
p. I74, l. 17 gather. 410 1698 'gether'.
p. 174, l. 23 Civil Wars. 4to punctuates 'Civil Wars?'
p. 174, l. 32 Citizens goes out. 4tos 'Cit. goes out'.
p. 175, l. 13 Scene VII. 4tos 'Scene the Seventh.'
p. 175, l. 17 Exeunt Attendants, This stage direction is omitted in 1724 and 4tos.
p. 176, l. 25 King and Guards. 4tos omit 'and'.
p. 177, l. 3 Murderer. 4tos 'Mutherer'.
p. 177, l. 11 Act V. 4tos 'Act the Fifth.'
p. 177, l. 12 Scene I. 4tos 'Scene the First.'
p. 177, l. 17 with Guards. 4tos 'with the Guards'.
p. 177, l. 24 any. 4tos 'my'.
p. 178, l. 4 dy'd. 4tos 'di'd'.
p. 179, l. 14 Scene II. 4tos 'Scene the Second.'
p. 180, l. 5 crystal. 4tos 'chrystal'.
p. 180, l. 29 rustick. 4to 1698 misprints 'ruistick'.
p. 180, l. 33 now. 4tos 1698 misprints 'no'.
p. 181, l. 6 dy'd. 4tos 'di'd'.
p. 181, l. 24 Noise. 1724 omits this stage direction.
p. 181, l. 29 Gorel. I have added this entrance. A speech-prefix 'Gorel' is marked by all old copies in this scene, but no entrance, neither is the name given in the Dramatis Personae.
p. 181, l. 30 tearing. 1724 'dragging'.
p. 182, l. 12 terrably. 4tos, 1724 'terribly'. 'terrably' no doubt denotes a clownish mispronunciation.
p. 182, l. 17 It ought. 4to 1698 reads:—
'It ought to have been presented In a more glorious order.'
p. 183, l. 1 Dy'd. 4tos 'Di'd'.
p. 183, l. 18 you'd. 4tos 'you wou'd'.
p. 184, l. 25 Clemanthis'. 4tos 'Clemanthis'.
p. 184, l. 35 of's. 4tos 'of his'.
p. 185, l. 24 from you one visit. 4tos 'one visit from you'.
p. 186, l. 18 Oh, Madam. 4tos, which I follow, metrically. 1724 prose.
p. 186, l. 27 Clemanthis'. 4tos 'Clemanthis'.
p. 187, l. 6. Scene V. Changes. No former edition numbers this scene.
p. 187, l. 8 Attendants to them. 1724 misprints 'Attendantsm.'
p. 187, l. 18 all his Actions. 4to 1698 omits 'all'.
p. 187, l. 34 swound. 1724 'swoon'.
p. 188, l. 22 With numerous. 4tos divide thus:—
'With numerous Troops Which swiftly make their way.'
p. 188, l. 30 I long to see. 1724 prints as far as 'fair Princess' prosc. 4tos metrically.
p. 189, l. 1 Ism. Geron. All former editions omit Geron's name here though they give speech-prefix later in the scene.
p. 189, l. 27 Cleo. and Thers. All former editions read '[Points to Cleo.' I have added 'and Thers.', which is obviously required.
p. 191, l. 9 is he. 4tos 'was he'.
p. 191, l. 17 told you, 4to 'told him'.
THE CITY HEIRESS.
p. 199, l. 1 To the Right Honourable. The Dedicatory Epistle only occurs in 4tos 1682, 1698.
p. 199, l. 28 Peaching. 4to 1698 weakly reads 'Preaching'.
p. 201, l. 14 glout. 1724 'glour'.
p. 202, l. 10. Guinea. 4to 1682 spells 'Guinney' here and in each other place the word occurs.
p. 203, l. 5 Uncle to T. Wilding. 4tos 1682, 1698, 'He is Uncle to Tom Wilding'.
p. 203 Dramatis Personae. I have added to the list—'Laboir, Man to Tom Wilding; Boy, Page to Lady Galliard; Boy, Page to Diana; Guests; Mrs. Sensure, Sir Timothy's Housekeeper; Betty, Maid to Diana; Maid at Charlot's lodging.'
p. 205, l. 8 huff. 4to 1698 'hoff'.
p. 206, l. 33 Feats. 1724 misprints 'Fears'.
p. 206, l. 35 are you. 1724 'you are'.
p. 209, l. 24 when she loves. 1724 'then she loves'.
p. 209, l. 32 City-Heiress, Charles. 1724 omits 'Charles.'
p. 210, l. 5 Exit. 4tos and 1724 omit this 'Exit' which is obviously necessary.
p. 213, l. 32 you had. 4to 1682 'you'd had'.
p. 215, l. 5 Legions. 4tos 1682, 1698, misprint 'a Legend'.
p. 216, l. 30 Wild. Damn it. 1724 prints these lines as prose.
p. 220, l. 24 Mr. Foppington. 4tos 1682, 1698, 'Mr. Foping.'
p. 223, l. 14 do your. 4to 1682 'does your'.
p. 223, l. 33 cunning in their Trade of Love. 1724 divides 'cunning in their Trade of Love.'
p. 224, l. 6 Charl. To-night. 4tos 1682, 1698, print the first two lines of Charlot's speech as prose.
p. 224, l. 20 hast inur'd. 1724 misprints 'hast injur'd'.
p. 225, l. 22 cut his. 4tos 1682, 1698, 'cut's'.
p. 225, l. 34 Goes out with Fop. 4tos 1682, 1698, misplace this direction in the midst of Wilding's speech after 'Farewell', line 29.
p. 226, l. 27 petty. 1724 'pretty'.
p. 226, l. 29 Wilding. 4to 1682 misprints 'Widling'.
p. 227, l. 18 those. 4tos 1682, 1698, 'these'.
p. 227, l. 22 New. 4to 1682 'Now'.
p. 228, l. 4 at Coffee-houses. 4tos 1682, 1698, omit 'at'.
p. 228, l. 31 Manteau. 4tos 1682, 1698, 'Manto'.
p. 232, l. 19 Scene III. None of the former editions number this scene.
p. 234, l. 25 Sir Charles his Uncle. 1724 'Sir Charles' Uncle'.
p. 235, l. 36 quitting of the Town. 4to 1698 and 1724 read 'quitting the Town.'
p. 237, l. 14 buy. 4to 1682 'b'ye '.
p. 241, l. 1 with Diana. 4tos 'and Diana'.
p. 241, l. 8 catechize. 4tos misprint 'chastize'.
p. 244, l. 15 she is. 4tos 'she's'.
p. 242, l. 5 shalt. 4tos 'sha't'.
p. 242, l. 22 shalt. 4tos 'sha't'.
p. 242, l. 31 shall I not have. 1724 'shall I have'.
p. 243, l. 27 Commendation. 4tos 'Commendations'.
p. 246, l. 27 Enter Sensure. This entrance, obviously necessary here, is not marked in any former edition, although all note the exit 'Betty and Sensure.'
p. 248, l. 3 convert from. 4to 1698 and 1724 read 'convert for'.
p. 248, l. 15 Charms that. 4tos 1698 and 1724 'Charms which'.
p. 249, l. 4 Mester de Hotel. 4tos 'Mester de Hotell.' 1724 'Maitre de Hotel.'
p. 249, l. 5 Mater de Otell! 4tos 'Meter de Otell.'
p. 249, l. 27 This next. 4to 1628 and 1724 'the next'.
p. 252, l. 31 I's tell. 1724 'I'll tell'.
p. 252, l. 33 wondrous. 4tos 'wonderous'.
p. 253, l. 3 wele aday! 1724 punctuates 'wele aday?'.
p. 254, l. 2 excellency. 4to 1682 'excellently'. 4to 1698 'excellensie'.
p. 254, l. 22 this your fickle. 4to 1682 and 1724 omit 'this'.
p. 257, l. 16 old. 4tos 1682, 1698, 'odd'.
p. 258, l. 5 leav'st. 4to 1682, 1698, 'leavest'.
p. 258, l. 12 Vizards. 1724 'Vizors'.
p. 258, l. 25 do you make as if you went to bed. 1724 omits this sentence.
p. 258, l. 36 Exeunt. 4tos omit.
p. 259, l. 14 Mien. 4tos 'Mine'.
p. 259, l. 15 Hold thy fluent. 1724 prints as prose.
p. 260, l. 1 Who is a most. 1724 prints this speech as prose.
p. 261, l. 2 Twelve was. 4tos italicize this line as a quotation. 1724 prints it roman.
p. 261, l. 8 You. 4tos 'Ye'.
p. 262, l. 20 _Cue. 4tos 'Que'.
p. 262, l. 23 three. 1724 'thee'.
p. 263, l. 29 let 'em. 4tos 'let them'.
p. 264, l. 7 felt for. 4to 1698 and 1724 'felt in'.
p. 264, l. 27 know't. 1724 'know it'; and prints the speech as prose.
p. 265, l. 28 I'm glad on't. 1724 prints as prose.
p. 267, the unequal. 4to 1698 and 1724 omit 'the'.
p. 267, l. 16 wou'd. 1724 'shou'd'.
p. 268, l. 2 Another Room. None of the previous editions give the locale or number the scene.
p. 269, l. 6 you. 41to 1698 and 1724 'ye'.
p. 270, l. 20 they go out. 4tos 'and goes out'.
p. 272, l. 28 He goes out. I have added this stage direction as we have 'Wild, returns'.
p. 273, l. 2 Candles. 4to 1698 and 1724 'Candle'.
p. 275, l. 8 resolv'd no body. 1724 'resolv'd that nobody'.
p. 276, l. 13 Nay, that's too much. 1724 as prose.
p. 276, l. 27 in a Rage. 4tos 'in Rage'.
p. 277, l. 9 Exit. Not in 4tos.
p. 277, l. 12 Laboir. I have added this name to the stage direction.
p, 278, l. 1 I'd had. 1724 omits 'had'.
p. 278, l. 9 nor. 4to 'or'.
p. 278, l. 13 Portmantle. 4tos 'Portmantua'.
p. 278, l. 29 conscious of Treasure. 1724 'where any Treasure is.'
p. 279, l. 23 Night-Cap. 4to 1682 'Night-Caps.'
p, 279, l. 25 feeling in. 1724 'feeling of'.
p. 282, l. 4 Dresswell, Laboir. I have added these names to the stage direction.
p. 282, l. 26 away with it. 1724 'away with him'.
p. 284, l. 13 Scene II. None of the previous editions number this scene.
p. 284, l. 15 to them. 1724 'to him'.
p. 285, l. 18 shall to Bed. 4to 1698 and 1724 'shall go to Bed.'
p. 285, l. 29 Scene III. None of the previous editions number this scene.
p. 286, l. 15 barricado'd. 4tos 'baracado'd'.
p. 288, l. 2 naming. 1724 omits.
p. 288, l. 6 followed by Betty. I have added Betty's exit to this stage direction.
p. 288, l. 6 Scene IV. None of the previous editions number this scene.
p. 289, l. 24 at Galliard's Door! 1724 'at Lady Galliard's Door!'.
p. 289, l. 33 meet. 4tos 'meets'.
p. 290, l. 29 of your. 1724 'on your'.
p. 290, l. 33 Hopes. 1724 'Hours'.
p. 291, l. 1 Scene V. None of the previous editions number this scene.
p. 291, l. 12 You are mistaken. 1724 prints this speech as prose.
p. 292, l. 27 As far as. 1724 prints this as prose.
p. 292, l. 29 to Ladies. 4to 1698 and 1724 'to the Ladies'.
p. 293, l. 18 Care of. 1724 'Care on'.
p. 293, l. 21 fond. 1724 omits.
p. 294, l. 12 nought. 1724 'not'.
p. 294, l. 22 took. 1724 'taken'.
p. 294, l. 23 of Grace. 4to 1682 'a Grace'.
p. 295, l. 1 made. 1724 omits.
p. 298, l. 32 Exeunt. Not in 4tos, which, however, mark 'The End.'
p. 299, l. 30 of. 4tos 'in.'.
THE FEIGN'D CURTEZANS.
p. 301 The Feign'd Curtezans. 4to 1679 gives 'The Feign'd Curtizans' and so throughout.
p. 305, l. 1 To Mrs. Ellen Guin. The Dedication only occurs in 4to 1679.
p. 309, l. 1 Dramatis Personae. I have added 'Silvio, Page to Laura Lucretia. Antonio, an Attendant to Laura Lucretia. Page to Julio. Page to Fillamour.' In both 4to 1679 and 1724 there is great confusion between Silvio and Sabina. These characters are sometimes intermingled as one, sometimes disentangled as two. This will be duly noticed as it occurs. I have no doubt the confusion existed in Mrs. Behn's MS. cf the play.
p. 310, l. 2 A Street. I have added the locale, unmarked in previous editions.
p. 310, l. 27 Exeunt Lau. and Ant. All previous editions reads 'Exeunt Lau.'
p. 311, l. 35 and the. 1724 omits 'and'.
p. 312, l. 12 _Viterboan_. 4to 1679 'Vitterboan'; and Viterbo_ 'Vitterbo' throughout.
p. 312, l. 16 Why, faith. 4to 1679 'Whe faith'.
p. 312, l. 28 with him. 4to 1679 omits 'him'.
p. 312, l. 32 me it would. 4to 1679 'assur'd me wou'd'.
p. 313, l. 7 in yours. 4to 1679 'to yours'.
p. 313, l. 21 you out. 4to 1679 'out you'.
p. 314, l. 16 Francis. 4to 1679 'Frances'.
p. 314, l. 34 Fool's. 4to 1679 'Fool'.
p. 315, l. 17 Inamorata, 4to 1679 'Inamorato.'
p. 315, l. 18 young Lady. 4to 1679 omits 'young'.
p. 316, l. 3 use of. 4to 1679 'use on'.
p. 316, l. 31 Allons. 4to 1679 'Aloone.' 1724 omits.
p, 317, l. 1 to a room in Tickletext's lodging. I have added this locale.
p. 317, l. 3 Petro snaps. 4to 1679 'and Petro snaps'.
p. 320, l. i remember a fart these. 1724 'remember these'.
p. 320, l. 21 Pusilage. 1724 'Pupilage'.
p. 321, l. 23 voluntiero. 4to 1679 'vollentiero'.
p. 323, l. 10 wou'd. 4to 1679 'will'.
p. 326, l. 15 The Gardens of the Villa Medici. This locale is unmarked in all previous editions.
p. 326, l. 16 Morosini. 4to 1679 misprints 'Murismi'.
p. 326, l. 25 Marcella and Cornelia, 4to 1679 'Marcella nor Cornelia.'
p. 328, l. 12 dozen years. 4to 1679 'dozen year'.
p. 329, l. 2 down-right. 4to 1679 'right down'.
p. 330, l. 9 St Teresa's. 4to 1679 'St. Teretia's'.
p. 330, l. 15 garb. 4to 1679 'garbo'.
p. 330, l. 27 with Silvio, Antonio, and. I have added these words to the stage direction.
p. 331, l. 3 Sans Coeur. 1724 omits. 4to 1679 reads 'San's Coeure.'
p. 332, l. 22 Exit with Silvio and her Train. 4to 1679 'Exeunt with her train.' 1724 'Exit with her Train.'
p. 333, l. 24 pray for infinitely. 4to 1679 'pray infinitely for'.
p. 335, l. 11 for his Falshood. 4ti 1679 'for Falshood'.
p. 335, l. 24 Bills. 4to 1679 'Bill'.
p. 337, l. 4 of us. 4to 1679 'on's'.
p. 338, l. 5 Cinquante per cent. 4to 1679 'Cinquant par cent'. I have not in any place modified and corrected the spelling of the Italian as it stands in the old editions.
p. 340, l. 1 Oblige. 4to 1679 'Obliges'.
p. 342, l. 11 un Bacio. 4to 1679 misprints 'un Bacoi'.
p. 332, l. 14 you are all a little. 1724 'you are a little'.
p. 343, l. 2 The Corso. I have supplied the locale which all previous editions omit.
p. 343, l. 20 Enter Mor. and Octa. 4to 1679 'Enters Mur. and Octa.' 1724 'Enters Mor. and Octa.'
p. 344, l. 21—nay, was contracted to him, fairly contracted in my own Chappel;' 1724 '—nay, was contracted to him, fairly contracted to him, fairly contracted in my own Chappel ;'.
p. 345, l. 5 This fine. 1724 prints this speech as prose.
p. 346, l. 11 with Silvio and. I have added these three words to the stage direction.
p. 348, l. 15 with Phillipa. I have added an entrance for Philiipa here, although it is not marked in the former editions, as later in the scene she speaks to Cornelia, and obviously must be in attendance on her in the balcony.
p. 349, l. 6 so good. 1724 omits these words.
p. 350, l. 9 Exit Crap. I have added Crapine's exit here as he re-enters anon with Octavio, and his exit is required by the business of the scene.
p. 351, l. 6 false-souled. Both 4to 1679 and 1724 read'false souly', which I have ventured to alter.
p. 352, l. 12 They are going. 4to 1679 and 1724 both read 'They go out...', but it is obvious from Galliard and Fillamour's conversation with Tickletext that they do not actually leave the stage, as also from the direction later 'Offering to go.'
p. 352, l. 13 Aside. 4to 1679 and 1724 both read 'Aside to Mar.' An obvious mistake.
p. 352, l. 18 Exit. Both 4to 1679 and 1724 have 'Exeunt.' We may suppose Phillipa to have entered with Marcella and the former direction to be 'Aside to Phil.' but it seems more in accordance with the scene to make these two slight changes.
p. 354, l. 22 Exeunt Fil. and Gal. 4to adds 'and Lau.' but the 1724 'exit' at the end of her next speech is obviously correct.
p. 354, l. 35 and Crapine. I have added this entrance. 4to 1679 and 1724 omit this, but both mark his exit.
p. 365, l. 7 to steal to a Wench. 1724 'to steal a Wench'.
p. 363, l. 26 'Tis Love. Both 4to 1679 and 1724 print this speech as prose. It is obviously verse.
p. 365, l. 21 Fil.—I've. 4to 1679 wrongly gives this speech to Galliard.
p. 369, l. 13 Papish. 1724 'Papist'.
p. 372, l. 30 Ex. Pet. with Tick. I have added this stage direction which is unmarked in the former editions, but obviously necessary here.
p. 374, l. 22 Scene II. I have numbered this scene. Former editions read 'The Scene changes to...'.
p. 383, l. 3 Phil. 4to 1679 and 1724 both wrongly give these two lines to Fillamour.
p. 383, l. 15 Exeunt. Omitted in all former editions.
p. 383, l. 17 The Corso. I have added the locale.
p. 386, l. 19 no Sword. 4to 1679 and 1724 here needlessly repeat a stage direction 'Enter Julio and Octavio fighting.'
p. 386, l. 32 Signior, gentle Signior. 4to 1679 reads 'Signior, a gentle Signior'.
p. 387, l. 3 and Silvio. I have added this entrance of Silvio's here, which is not marked in the former editions, but later Laura addresses him.
p. 387, l. 4 He's gone. 4to 1679 and 1724 give this speech as prose but I have arranged it metrically.
p. 389, l. 25 from Silvianetta. 4to 1679 'from the Silvianetta'.
p. 391, l. 17 But e'er. 1724 prints this speech as prose. I have followed 4to 1679.
p. 392, l. 7 and Sabina. I have added Sabina's exit. There exists in the former editions great confusion between Silvio and Sabina here. 4to 1679 and 1724 give Silvio's three speeches to Galliard with prefix 'Sab.'
p. 393, l. 1 Scene II. I have numbered the scene. 4to 1679 reads 'Enter Laura, as before, in a Night-Gown. Scene, A Chamber.'
p. 393, l. 8 Enter Silvio. The confusion between Silvio and Sabina continues in the former editions. 4to 1679 and 1724 both give Silvio's entrance but mark his speech 'Sab.' In Laura's speech (line 14) both read 'Sabina, see the Rooms', which I have altered to 'Silvio, see the Rooms'. Both read (line 18) 'Enter to Sil....'.
p. 394, l. 32 and Silvio. I have added Silvio's entrance. The confusion continues.
p. 399, l. 7 Aside. Omitted in 1724. 4to 1679 reads 'and laughing.'
p. 400, l. 1 Scene III. I have numbered this scene.
p. 400, l. 18 Aside. 4to omits.
p. 401, l. 18 Hold, much mistaken. 4to 1679 and 1724 as prose. I have arranged metrically.
p. 401, l. 24 Aside. 4to 1679 omits.
p. 401, l. 36 This is. 4to 1679 and 1724 as prose. I have arranged metrically.
p. 402, l. 10 Ex. Jul. Fil. 4to 1679 omits this.
p. 402, l. 26 Exeunt. 4to 1679 gives no stage direction. 1724 reads 'exit', but obviously all go out.
p. 403, l. 23 Scene IV. I have numbered this scene.
p. 403, l. 3 I a wandring. 4to omits 'a'.
p. 406, l. 31 And here I vow. I have arranged this speech metrically. Former editions print as prose.
NOTES: CRITICAL AND EXPLANATORY.
ABDELAZER.
p. 6 Montero-Caps. Spanish montero = a hunter. A Spanish hunting-cap with two flaps for the cars. Pepys, 20 March, 1660, sees 'two monteeres for me to take my choice of'.
p. 7 Beasts. 17th century French beste = an obsolete card game said to have resembled Nap; also certain penalties at Ombre and Quadrille. The word most frequently occurs in connection with Ombre, which is derived from the Spanish hombre=man. The one who undertakes the game has to beat each of the other two; if he fails he is said to have been beasted and pays a forfeit to the pool. It has been suggested that 'unable to sustain himself as a man, Hombre, he becomes beast.' c.f. The Feign'd Astrologer, iii, I (4to 1668), where Lewis speaks of
A kind of Lady-ordinary Where they were beasting it, for that game's in Fashion still, though Hombre be more courtly.
Butler, Hudibras (1678), iii, 1, l. 1007, has—
These at Beste and Ombre woo And play for love and money too.
Lestrange, Quovedo (1708), talks of spending 'whole nights at Beste or Ombre with my Lady Pen-Tweezel.'
p. 8 Isabella, Queen of Spain. Mrs. Lee. 'About the year 1670, Mrs. Aldridge, after Mrs. Lee, after Lady Slinsgby' was 'entertain'd in the Duke's House.' Her husband, John Lee, joined the company at the same time. But whilst his wife became the leading tragedienne of the day, he himself never rose above the most minor and insignificant roles. A woman of superb and Junoesque beauty, haughty mein and imperious manners, Mrs. Mary Lee soon won a prominent place in the theatre. Although effective in comedy, especially in its higher flights, it was as tragedy queen she obtained her greatest triumphs. In December, 1670, she made her debut at Lincoln's Inn Fields as Olinda, a small part in Mrs. Behn's maiden effort, The Forc'd Marriage, and early the following year acted Daranthe, Chief Commandress of the Amazons, in Edward Howard's dull drama, The Women's Conquest. A few months later, in April, she played Leticia in Revet's The Town Shifts. In 1672, at Dorset Gardens, she was Aemelia in Arrowsmith's amusing The Reformation; 1673, Mariamne in Settle's heroic tragedy, The Empress of Morocco, a role she acted with such excellence that it gave every token of her future greatness and advanced her to the very front rank. 1674, ahe was Amavanga in Settle's The Conquest of China; Salome, Herod's sister, in Pordage's bombastic Herod and Mariamne. 1675, Chlotilda, disguised as Nigrello, in Settle's Love and Revenge; Deidamia, Queen of Sparta, in Otway's first and feeblest tragedy, Alcibiades, of which play she also spoke the epilogue. 1676, Roxolana in Settle's Ibrahim, produced in May; and late the same month or very early in June the Queen of Spain in Otway's magnificent Don Carlos, a powerful play which, supported by Betterton as Philip II, Smith as Carlos, Harris as Don John of Austria, and our great tragedienne 'succeeded much better than either Venice Preserved or The Orphan, and was infinitely more applauded and followed for many years.' In November she played Madam Fickle in D'Urfey's comedy of the same name; in December Corisca in Settle's Pastor Fido. In 1677 Mrs. Lee's only rival, Mrs. Marshall, the leading lady of the King's House, retired.[1] Mrs. Barry's star was but just faintly rising on the theatrical horizon; and it is noticeable that even when this famous actress was at the height of her great reputation, we still find Mrs. Lee cast for those roles she made so peculiarly her own, and in which no one could approach her. In February, 1677, she acted Berenice in Otway's Titus and Berenice, a rather tame adaption of Racine. Mrs. Barry is named for the small character of the queen's confident, Phoenice, and was also Lucia in a farce from Moliere, The Cheats of Scapin, which followed the drama. Mrs. Lee naturally took no part in this afterpiece, but there is a smart epilogue, 'spoken by Mrs. Mary Lee, when she was out of Humour,' which commences:—
How little do you guess what I'm to say! I'm not to ask how you like Farce or Play: For you must know I've other Business now; It is to tell you, Sparks, how we like you.
In April she gave a fine performance of Cleopatra, Sedley's Antony and Cleopatra; in June she was acting Circe, the title-role of Charles Davenant's gorgeously mounted opera; in August, Astatius in a bucolic, whose scene is Arcady, entitled The Constant Nymph; or The Rambling Shepherd, 'written by a Person of Quality,' which proved anything but a success. In the autumn she created the Queen in Abdelazer; in November, Roxana in Pordage's tumid The Siege of Babylon, a play founded upon the famous romance, Cassandra. In January, 1678, she played Priam's prophetic daughter, a very strong part, in Banks' melodrama, The Destruction of Troy; August of the same year, Elvira in Leanerd's witty comedy, The Counterfeits, whence a quarter of a century later Colley Gibber borrowed pretty freely for She Wou'd and She Wou'd Not. That autumn Mrs. Lee acted Eurydice in Dryden and Lee's Oedipus. It was this year that her husband died, and she was left a widow. In April, 1679, she played Cressida in Dryden's Troilus and Cressida, and probably in the same month, Cleomena in Mrs. Behn's The Young King; later in the autumn, Laura Lucretia in The Feign'd Curtezans; in October, Bellamira, the heroine of Lee's excellent if flamboyant tragedy, Caesar Borgia, to the Borgia of Betterton and Smith's Machiavel. In 1680 her roles were Arviola in Tate's The Loyal General; Julia in Lawrence Maidwell's capital comedy, The Loving Enemies; Queen Margaret in Crowne's The Misery of Civil War, a version of 2 Henry VI. In the winter of this year Mrs. Lee re-married, and thenceforward is billed as Lady Slingsby, our first titled actress. Her husband was probably Sir Charles Slingsby, second baronet, of Bifrons in Kent, a nephew of Sir Robert Slingsby, Comptroller of the Navy, who had died 26 October, 1661. Sir Charles is recorded to have sold Bifrons in 1677, but we know practically nothing about him.[2] Dr. Doran supposes Lady Slingsby to have been connected with the Slingbys of Scriven, but he adduces no authority. In 1681 Lady Slingsby performed Queen Margaret in Crowne's Henry VI, the First Part with the Murder of Gloucester, an adaption of Shakespeare's I Henry VI, suggested by the great success of his previous alteration. She also played Regan in Tate's foolhardy tinkering with King Lear; Sempronia in Lee's powerful Lucius Junitis Brutus; and in December, Marguerite in the same author's excellent The Princess of Cleves. In 1682 she acted another Roman role, Tarpeia, in an anonymous tragedy, Romulus and Hersilia, produced 10 August. She also spoke Mrs. Behn's famous epilogue reflecting upon the Duke of Monmouth. Two days later a warrant was issued for the arrest of 'Lady Slingsby, Comoedian, and Mrs. Aphaw Behen,' to answer for their 'severall Misdemeanours' and 'abusive reflections upon Persons of Quality.' Even if they were actually imprisoned, of which there is no evidence, the detention both of actress and authoress was very brief. On 4 December of the same year, after the union of the two companies, Lady Slingsby created Catherine de' Medici in Dryden and Lee's stirring tragedy, The Duke of Guise, produced at the Theatre Royal, In 1683 Lady Slingsby had no original part which is recorded, but her genius successfully helped the numerous revivals of older plays that belong to that year. In 1684 she sustained Calphurnia to the Caesar of Cardell Goodman, the Antony of Kynaston, the Brutus and Cassius of Betterton and Smith, the Portia of Mrs. Sarah Cook, in a notable revival of Julius Caesar (4to 1694), marred, however, by stagey alterations said to be the work of Davenant and Dryden two decades before. The same year she played Lucia in The Factious Citizen; Lady Noble in Ravenscroft's Dame Dobson. In August, 1685, Clarinda in D'Urfey's plagiarism of Fletcher's The Sea Voyage, which he called A Commonwealth of Women. Shortly after she appears to have retired from the stage. Dame Mary Slingsby, widow, from St. Mary's parish, was buried in old St. Pancras graveyard, 1 March, 1694. Careless historians and critics even now continually confuse Mrs. Mary Lee, Lady Slingsby, with Mrs. Elizabeth Leigh, the wife of the celebrated comedian, Antony Leigh. The two actresses must be carefully distinguished. Geneste curiously enough gives a very incomplete list of Lady Slingsby's roles, a selection only, as he allows; he makes several bad mistakes as to dates, and entirely fails to appreciate the merits and importance of this great actress in the Restoration theatre. These errors have been largely followed, and it is become necessary to insist somewhat strongly upon the fact that Lady Slingsby was one of the leading performers of the day. In a contemporary Satire on the Players (1682-3), which has never been printed, she heads the list of actresses, and Mrs. Barry is vilipended second. The lines run as follows:—
Imprimis Slingsby has the fatal Curse To have a Lady's honour with a Player's Purse. Though now she is so plaguy haughty grown Yet, Gad, my Lady, I a Time have known When a dull Whiggish Poet wou'd go down. That Scene's now changed, but Prithee Dandy Beast Think not thyself an Actress in the least. For sure thy Figure ne'er was seen before, Such Arse-like Breasts, stiff neck, with all thy Store, Are certain Antidotes against a Whore.
The 'dull Whiggish Poet' alluded to is Elkanah Settle, with whom at the beginning of her theatrical career Lady Slingsby was on terms of considerable intimacy. Scandal further accused her of an intrigue with Sir Gilbert Gerrard, which is referred to when the knight was attacked in A Satyr on Both Whigs and Tories, (1683, unprinted MS.)
Thou Thing made up of Buttons, Coach, and Show, The Beasts that draw thee have more sense than thou. Yet still thou mightst have fool'd behind the Scenes, Have Comb'd thy Wig and set thy Cravat Strings, Made love to Slingsby when she played the Queen, The Coxcomb in the Crowd had passed unseen.
p. 9 Song. Poets and critics have been unanimous in their praise of this exquisite lyric, which, had she written nothing more, would alone have been amply sufficient to vindicate Aphara Behn's genius and immortality. It was a great favourite with Swinburne, who terms it 'that melodious and magnificent song'; Mr. Bullen is warm in its praise, whilst Professor Saintsbury justly acknowledges it to be 'of quite bewildering beauty'.
p. 70 Stout Sceva. The centurion M. (Valerius Max. iii. ii. 23.) Cassius Scaeva at the battle of Dyrrachium, B.C. 48, showed heroic valour and maintained his post although he had lost an eye, was deeply wounded in shoulder and thigh, and his shield was pierced in 120 places. He survived, however, and lived until after Cassar's assassination, v. Casar B.G. iii 53. Suet. Caes, 68. Flor. iv. 2. 40. Appian, B.C. ii. 60. He appears as a character in Fletcher's The False One.
p. 98 little Mrs. Ariell. This actress doubtless belonged to the Nursery, a training theatre for boys and girls intended for the stage. Established under Royal Letters Patent issued 30 March, 1664, it is frequently alluded to in contemporary literature. There was only one Nursery, although, as it not infrequently changed its quarters, two are sometimes stated to have existed simultaneously, an easy and plausible mistake, The Nursery was originally in Hatton Garden, About 1668 it was transferred to Vere Street, and thence finally to the Barbican. Mr. W. J. Lawrence in an able history of Restoration Stage Nurseries, shows that Wilkinson's oft-engraved view of the supposed Fortune Theatre is none other than this Golden Lane Nursery on the site of the old Fortune Theatre. Mrs. Ariell, a young girl, probably performed Fanny in Sir Patient Fancy. Occasionally the names of other Nursery actresses occur. We have a certain Miss Nanny, of whom nothing is known, billed as Clita, a small part in D'Urfey's The Commonwealth of Women, produced August, 1685. The prefix 'Miss' as meaning a young girl occurs here in a bill for the first time. A decade later we have Miss Allinson as Hengo, a lad, in an alteration of Fletcher's Bonduca, and Miss Cross as Bonvica, Bonduca's youngest daughter. In 1693 Miss Allison, who took the part of Jano, a page boy, in Southerne's The Maid's Last Prayer, is billed as Betty Allison. In 1696 again, Miss Cross, with Horden, spoke the prologue to D'Urfey's Don Quixote, Part III. In the cast, however, when she enacted Altisidora, she is described as Mrs. Cross, A Miss Howard acted Kitty in Motteux's Love's a Jest(1696) and, 'in page's habit,' spoke the epilogue to Dilke's The Lover's Luck the same year. After that date 'Miss' instead of the heretofore 'Mrs.' became more general.
The name of the child actress, doubtless from the Nursery, who took the young Princess Elizabeth in Banks' Virtue Betray'd; or, Anna Bullen (1682) has not come down to us. Wits led by the Nose; or, A Poet's Revenge, an alteration of Chamberlaine's unacted Love's Victory (4to 1658), produced at the Theatre Royal in the summer of 1677, has indifferent performers such as Coysh, Perrin, in the leading roles; whilst other parts are cast thus: Sir Jasper Sympleton, Stiles; Jack Drayner, Nathaniel Q.; Heroina, Mrs. Baker, Jun.; Theocrine, Mrs. F[arlee?]. Stiles, Nathaniel Q., Mrs. Baker, Jun., Mrs. F[arlee?] were all temporary recruits from the Nursery. In the spring of 1678 the younger members act again in Leanerd's The Rambling Justice. Powre played Sir John Twiford; Disney, Contentious Surley; Mr. Q., Spywell; Mrs. Merchant, Petulant Easy; Mrs. Bates, Emilia. The Nursery disappears about 1686. Certainly in 1690 it was the custom for young aspirants to the sock and buskin to join the regular theatres without preliminary training elsewhere.
FOOTNOTES:
1. Her last original role was Berenice in Crowne's The Destruction of Jerusalem, a heroic tragedy in two parts.
2. There was a Sir Arthur Slingsby, a younger son of Sir Guildford Slingsby, Bart. Both Pepys (20 July, 1664) and Evelyn (19 July, 1664) mention the lottery he held with the King's permission in the Banqueting House at Whitehall. Evelyn judged him to be 'a mere shark.'
THE YOUNG KING.
p. 107 Tartarian war. Brawls and free fights, sometimes of a serious character, in the pit (Tartarus) of a Restoration theatre were of frequent occurrence. There is a well-known instance in Langbaine: 'At the acting of this tragedy [Macbeth] on the stage, I saw a real one acted in the pit; I mean the death of Mr. Scroop, who received his death's wound from the late Sir Thomas Armstrong, and died presently after he was remov'd to a house opposite to the Theatre, in Dorset Garden.' This was in 1679. In April, 1682, in the pit at the Theatre Royal, Charles Dering and Mr. Vaughan drew on each other and then clambered on to the stage to finish their duel 'to the greater comfort of the audience'. Dering being badly wounded, Vaughan was held in custody until he recovered. In Shadwell's A True Widow (1678) Act iv, i, there is a vivid picture of a general scuffle and battle royal in the pit. cf. Dryden's Prologue to The Spanish Friar (1681):—
Now we set up for tilting in the pit, Where 'tis agreed by bullies chicken-hearted To fright the ladies first, and then be parted.
p. 107 Half crown my play.... There are many allusions to the price of admission to the pit. Pepys mentions it, and on one occasion notices 'ordinary' prentices and mean people in the pit at 2s 6d a-piece'. cf. Epilogue to Carye's The Generous Enemies:—
There's a nest of devils in the pit, By whom our plays, like children, just alive, Pinch'd by the fairies, never after thrive: 'Tis but your half-crown, Sirs: that won't undo.
p. 133 antick.—here used in its strict and original sense, 'baroque', 'rococo'. A favourite word with Mrs. Behn.
p. 181 _Life it self's a Dream. This is the very title of Calderon's comedia, _La Vida es Sueno_.
p. 183 J. Wright, esq. James Wright (1643-1713), barrister-at-law and miscellaneous writer, is now chiefly remembered by his famous pamphlet, Historia Histrionica (1699), a dialogue on old plays and players, reprinted in various editions of Dodsley. Wright was a great lover of the theatre, and 'one of the first collectors of old plays since Cartwright.'
p. 192 spoken ... at his Royal Highness' second exile. This note fixes the date of the play as being between the latter end of March, 1679, and August of the same year. It was probably produced in April. The Duke of York sailed for Antwerp on 4 March, 1679. From Antwerp he went to the Hague and thence to Brussels. In August he was summoned home as Charles was attacked by a severe fit of ague. He returned to Brussels to escort the Duchess back, and on 27 October left for Scotland.
THE CITY HEIRESS.
p. 199 Henry, Earl of Arundel. Henry Howard, 1655-1701, son of Henry, sixth Duke of Norfolk, succeeded his father 10 January, 1684. From 1678 to 1684 he was styled Earl of Arundel, although summoned to Parliament on 27 January, 1679 as Lord Mowbray.
p. 200 Then let the strucken Deer. Hamlet, Act iii, ii.
p. 201 to roar. To be tipsily boisterous, deoauchcd and wantonly destructive. The word is common.
p. 201 to glout. To stare at; to make eyes at. Not here to frown or scowl, the usual meaning, and the sole explanation given by the N.E.D. For 'glout' in this sense cf. Orrery's Guzman (1679) iv, 'Guzman glouts at her, sighs, and folds his arms.'
p. 201 Convenient. 'Blowing, Natural, Convenient, Tackle. Several names for a Mistress or rather a Whore.'—'An Explanation of the Cant' prefixed to Shadwell's The Squire of Alsatia (4to, 1688). The word occurs more than once in the course of the play. cf. Act iv, where we have
'Enter Margaret and Mrs. Hackum with a Cawdle. Belf. Sen. Oh my dear Blowing! my Convenient! my Tackle!'
p. 201 In Reverend Shape. The allusion throughout this prologue is to Titus Oates. After his abominable perjuries this wretch was lodged at Whitehall, assigned L1200 a year and a special posse of officers and attendants.
p. 201 The Oaths ... cf. Dryden's description of Oates as Corah. Absalom and Achitophel, Part I—especially—
Who ever asked the witnesses' high race Whose oath with martyrdom did Stephen grace?
p. 202 Pug. A quasi-proper name for a fox. cf. R.S. Surtees' Ask Mamma (1857-8), xv. 'Pug ... turns tail and is very soon in the rear of the hounds.'
p. 202 silken Doctor. Oates pretended to have taken the degree of D.D. at the University of Salamanca.
The spirit caught him up! the Lord knows where, And gave him his Rabbinical degree Unknown to foreign university.—Absalom and Achitopbel, i.
Silken of course alludes to his black silk Doctor's gown.
p. 202 Guinea for—no Feast. This and the following verses refer to a circumstance much talked of and well laughed at by the Tories. The Duke of York having been invited to dine with the Artillery Company at Merchant-Tailors'-Hall, on 21 April, 1682; an opposition dinner was impudently projected by the Shaftesbury party, to be held at Haberdashers' Hall, and tickets were forthwith issued at one guinea each; for the purpose, as it was declared, of commemorating the providential escape of the nation from the hellish designs of the papists, etc. The King, however, issued a salutary order forbidding the meeting as an illegal one. This supplied the loyal party with new matter for ridicule and satire against the Whigs, who were considerably dejected by their disappointment.
p. 206 overtaken—with liquor. cf. Steele, Spectator, No. 420, Wednesday, 6 August, 1712. 'I do not remember I was ever o'ertaken in drink.'
p. 206 wholesom Act. see supra. Vol. I, The Roundheads, Act v, II, p. 457, note: 'p. 414, an act, 24 June.'
p. 207 Forty one. The year of the Grand Remonstrance and agitation for the suppression of Episcopacy.
p. 207 guttle. To flatter, to toady. The word is rare in this sense, generally meaning to guzzle. cf. parasitus.
p. 210 Porridge. A contemptuous nickname given by Dissenters to the Book of Common Prayer. On 24 August, 1662, Pepys hears that there has been 'a disturbance in a church in Friday St.; a great many young [people] knotting together and crying out Porridge often and seditiously in the church, and took the Common Prayer Book, they say, away.' There is a four leaved pamphlet, 4to 1642, by Gyles Calsine, entitled 'A Messe of Pottage, very well seasoned and crumb'd with bread of life, and easie to be digested against the contumelious slanderers of the Divine Service, terming it Poridge.'
p. 214. Opinion. Reputation, cf. Shirley, The Gamester (1637), Act i:—'Barnacle. Patience; I mean you have the opinion of a valiant gentleman.'
p. 218 watch her like a Witch. vide Vol I, p. 448, note: Women must be watcht as Witches are.
p. 228 i' th' Pit, behind the Scenes. The foremost benches of the pit were a recognized rendezvous for fops and beaux. The tiring rooms of the actors and actresses were also a favourite resort of wits and gallants. Pepys frequently mentions the visits he paid behind the scenes. The Epilogue to The Gentleman Dancing Master (1671) even invites cits behind the scenes:—
You good men o' th' Exchange, on whom alone We must depend when Sparks to sea are gone; Into the pit already you are come, 'Tis but a step more to our tiring-room Where none of us but will be wondrous sweet Upon an able love of Lombard-Street.
p. 228 flamm'd off. Cheated, cf. Ford and Dekker's The Witch of Edmonton, ii, II (1621):—'Susan. And then flam me off With an old witch.'
also South's Sermons (1687):—'A God not to be flammed off with lies.'
p. 209 Lusum. i.e. Lewisham.
p. 230 in ure. In use; practice. cf. John Taylor's The Pennyles Pilgrimage (4to 1618);—
For in the time that thieving was in ure The gentle fled to places more secure.
p. 230 betauder. The meaning of this word (=to bedizen with tawdry finery) is plain. As it is only found here, the N.E.D. suggests it may be a nonce-verb.
p. 230 Spanish Paint. Rouge, cf. Lady Wishfort in The Way of the World (1700);—'I mean the Spanish paper, idiot. Complexion, darling, paint, paint, paint.'—Act iii, 1.
p. 230 prew. Prim, modest. A very rare, affected little word.
p. 230 rant. To be boisterously merry, cf. Farquhar, The Constant Couple (1700), Act iv, 1:—'Clincher jun. I'll court, and swear, and rant, and rake and go to the jubilee with the best of them.'
p. 233 seditiously petitioning. In allusion to the vast number of petitions which Shaftesbury procured from the counties in support of the Exclusion Bill. The rival factions, 'Petitioners' and 'Abhorrers' were the nucleus of the two great parties, Whigs and Tories.
p. 236 Tuberose. The most fashionable perfume of the day. cf. Etheredge's The Man of Mode (1676), Act v, 1:—'Belinda. I ... told them I never wore anything but orange-flowers and tuberose.'
p. 245 hits. A stroke of luck; an opportunity.
p. 246 ignoramus. The partial verdict of the Middlesex Grand Jury ignoring the bill of the indictment against Shaftesbury, 24 November, 1681. It is frequently alluded to by Dryden, Mrs. Behn, and the Tory writers.
p. 248 Albany. James (II), Duke of York and Albany.
p. 249 Polanders. Shaftesbury aspired to be chosen King of Poland in 1675 when John Sobieski was elected to that Throne. This piece of foolish ambition and a certain physical infirmity, to wit, an abscess that in order to preserve his life had to be kept continually open by a silver pipe, got him the nickname of Count Tapsky. In The Medal (March, 1682) Dryden speaks of 'The Polish Medal', and Otway's Prologue to Venice Preserv'd (1682) ridicules Shaftesbury's regal covetings thus:—
O Poland, Poland! had it been thy lot T'have heard in time of this Venetian plot, Thou surely chosen hadst one king from thence And honoured them, as thou hast England since.
An elaborate and amusing piece of sarcasm on the same subject appeared in a pamphlet entitled _A Modest Vindication of the Earl of S——y, _In a Letter to a Friend concerning his being elected King of Poland_, 1682. Squibs and pasquinades such as _Scandalum Magnatum, or Potapski's case; A Satire against Polish Oppression_ (1682), and the versified _Last Will and Testament of Anthony, King of Poland_ abounded.
p. 251 Tantivy. Reckless, dare-devil. Said by Dr. Johnson to be derived from the sound of a hunting-horn.
p. 251 Absalom and Achitophel. The first part of this great poem was published, folio, on or a little before 17 November, 1681. A second edition, quarto, followed during December. The work was anonymous, but the authorship was never a secret. The second part, mainly from the pen of Tate, appeared in November, 1682.
p. 254 lookt Babies. To look babies is to gaze at the reflection of one's face in another's eyes. cf. Beaumont, The Woman Hater (1606), iii, 1:—
Gondarino. I cannot think I shall become a coxcomb, To ha' my hair curl'd by an idle finger, * * * * * Mine eyes look'd babies in.
p. 257 an old Reckoning, 4to 1, 1682, reads 'an odde Reckoning'; 4to 2, 1698, reads 'an odd Reckoning'; but 1724 'old' is doubtless correct.
p. 257 to give us a Song. Charlotte Butler, who played Charlot, 'proved', says Cibber, 'not only a good actress, but was allowed in those days, to sing and dance to great perfection. In the dramatic operas of Dioclesian and King Arthur, she was a capital and admired performer. In speaking too, she had a sweet-toned voice, which, with her naturally genteel air and sensible pronunciation, rendered her wholly mistress of the amiable in many serious characters. In parts of humour, too, she had a manner of blending her assuasive softness, even with the gay, the lively, and the alluring.' Fletcher's The Prophetess was brought out as an opera, Dioclesian, at Dorset Garden in 1690. Dryden's King Arthur, 'a dramatic opera', music by Purcell, was produced in 1691. In the latter piece Mrs. Butler acted Philidel, an Airy Spirit.
p. 257 Charl. and Fop. dance. Jevon, who acted Foppington, had originally been a dancing master. He was famous for his grace and nimbleness.
p. 259 Mercury. The first foreign printed periodical circulating in England was Mercurius Gallobelgicus, a bound book printed in Cologne and written in Latin. The first number, a thick little octavo of 625 pages, was published in March, 1594, and contained a chronicle of events from 1588. From this 'newsbook' came the Latin title Mercurius, used on so many of our periodicals. In 1625 was issued the first coranto with a name, 'printed for Mercurius Britannicus'. The earliest number in existence is 16, dated 7 April, 1625. Butler (Hudibras, II, i. 56) speaks of
Mercuries of furthest regions, Diurnals writ for regulation Of lying, to inform the nation.
p. 259 flam, humbug. cf. South's Sermons (1737), II, xii, p. 443. Conscience (1692). 'All pretences to the contrary are nothing but cant and cheat, flam and delusion.'
p. 260 Hackney. A whore. Cotgrave (1611), Bringuenaudee, a common hackney. Stapylton's Juvenalls Satyrs (1647), III, 76: —'And hackney-wenches that i' th' Circus stand'. Hudibras, III, i, 811-2:—
That is no more than every lover Does from his hackney-lady suffer.
p. 261 Twelve was the lucky. Tom is quoting from The Happy Night, a piece which may be found in Vol. I of the Works of the Earl of Rochester (1756), and in the early pseudo-Amsterdam editions. The following note is generally appended: 'The late Duke of Buckinghamshire was pleased to own himself the Author of this Poem.'
p. 262 _fisking and giggiting. Both these words have practically the same signification, i.e., to frisk or scamper about heedlessly, cf. _Rules of Civility_ (1675), in _Antiquary_ (1880):—'Madam ... fisking and prattling are but ill ways to please.'
To giggit is a very rare verb. The N.E.D. only notices it as a modern U.S.A. colloquialism, quoting Old Town Folks 'While the wagon and uncle Liakim were heard giggiting away.'
p. 263 Rakeshame. A common word for a profligate in the 17th century. cf. Bishop Montagu, Diatribae (1621), 'Such roysterers and rakeshames as Mars is manned with.'
p. 269 whipping Tom. The use of a whipping boy punished for another's fault is well known. Barnaby Fitzpatrick served that office for the young Edward VI, and Mungo Murray for Charles I.
p. 273 Intelligence. Newspaper; diurnal. 'Letters of Intelligence' was an early and common name for a periodical. In 1662 we have A Monthly Intelligence Relating the Affaires of the People called Quakers. No. I, August—September 1. (The only number.) In 1665, Publick Intelligence, No. i, 28 November, 1665. By Sir Roger L'Estrange. (One number.)
p. 277 I saw how. Tom is quoting these four lines from stanza vii of The Disappointment vide Vol. vi. The same poem, yclept The Insensible, appears in various editions of Rochester's Works, and is attributed to the Earl. The Disappointment is again the title of another poem which directly precedes The Insensible.
p. 278 Enter Sensure. cf. Shadwell's The Miser (1672), Act iv, where Squeeze escaping from Mother Cheatley's house is exposed by being found to have donned Letrice's red silk stocking in mistake for his own. It is said that when Shaftesbury's house was searched for incriminating papers a lady of some little notoriety was found concealed under his bed, p. 281 the City-Charter. The Charter of the City of London was broken by the Crown in 1683. cf. Dryden's Prologue to the King & Queen ... upon the Union of the Two Companies spoken at Drury Lane, 16 November, 1682:—
When men will needlessly their freedom barter For lawless power, sometimes they catch a Tartar; (There's a damned word that rhymes to this, call'd Charter.)
p. 282 Crape-Goivnorums. Clerics. Bailey (1755) defines crape as a "sort of thin worsted stuff of which the dress of the clergy is sometimes made", cf. Speculum Crape-Gownsorum; or, A Looking-Glass for the young Academicks (1682). An unpublished satire (Harleian MS.), The Convocation (1688), has:—
Whole Troops of Crape Gowns with Curtains of Lawn In the Pale of the Church together are drawn.
p. 282 Association. When Shaftesbury was apprehended and sent to the Tower in 1681, the project of an "Association" was discovered amongst his papers. The satire is very mordant here. There is a caustic pasquil entitled Massinello, or a Satyr against the Association and the Guildhall Plot. Dedicated to the Salamanca (No) Doctor, 1683. Cf. Dryden's Prologue to the King and Qucen, spoken at the opening of their Theatre, Drury Lane, upon the Union of the Two Companies, 16 November, 1682:—
How Pennsylvania's air agrees with Quakers, And Carolina's with Associators: Both e'en too good for madmen and for traitors.
p. 289 Chitterling. Originally the smaller intestines of beasts, as of the pig, but here used as equalling "catgut". A rare example.
p. 290 Discoverer. A name given to those who belonged to Titus Oates' gang and feigned to have knowledge of and discover the Popish Plot.
p. 294 mump'd. tricked. Dutch mompen = to cheat. A very common expression.
p. 296 Polish Embassador then incognito? A Modest Vindication of the Earl of S——y (1682), banters that nobleman by describing how "Polish Deputies were immediately sent Post incognito with the Imperial Crown and Sceptre in a Cloak-Bag".
p. 297 Salamanca. The abominable Oates, prince of perjurers, feigned to have taken his degree D.D, at Salamanca, cf. Crowne's City Politics (1683), Act v, where Crafty says to Dr. Panchy (Oates), "Where did you take your degree—in Beargarden?' 'In a learned university, Sir,' thunders the Doctor, to which Crafty retorts, 'I' the University of Coffee-houses, the University of Lies."
p. 299 Trincaloes. In Davenant and Dryden's version of The Tempest, produced with extraordinary success at the Duke's House, 7 November, 1667: or in Shadwell's operatic alteration of Shakespeare produced at Dorset Garden, 30 April (or very early in May), 1674. The reference is applicable to either of these two. No sooner has Trincalo chosen Sycorax, Caliban's sister, as his spouse, than the treacherous Stephano wins the she-monster for himself, and a battle royal ensues. Cave Underbill, a famous Gravedigger in Hamlet, excelled as Trincalo. p. 299. Fop-corner. One of the corners of the pit nearest the stage much affected by the gallants and beau critics. There are frequent allusions in prologues, epilogues and plays, cf. the ballad epilogue to Davenant's The Man's the Master (produced 26 March, 1668, 4to, 1669):—
Others are bolder, and never cry, shall I? For they make our guards quail And'twixt curtain and rail, Oft combing their hair, they walk in Fop-Alley.
THE FEIGN'D CURTEZANS.
p. 305 To Mrs. Ellen Guin. This adulatory epistle may be paralleled with that prefixed by Duffet to his rhyming comedy, The Spanish Rogue (410, 1674). The only other known book beside these two plays dedicated to Nell Gwynne is a very rare little volume entitled Janua Di'vorum: or The Lives and Histories of the Heathen Gods, Goddesses, & Demi-Gods, by Robert Whitcombe, published in 1678, and inscribed to 'The Illustrious Madam Ellen Guin'. Dr. Johnson's pungent remark to the effect that Dryden has never been equalled in the hyperbole of flattery except by Aphara Behn in her address to Nell Gwynne is quoted to triteness. But then at that time it was the fashion to riot in the wildest extravagances of compliment. Neither the great laureate nor Astrea must be too harshly taken to task for their vivid verbal colouring.
p. 306 two noble Branches. Charles Beauclerk, Duke of St. Albans, born 8 May, 1670; James Beauclerk, born 25 December, 1671, ob, Septemher, 1680, the two sons of Nell Gwynne by Charles II. There is an exquisitely voluptuous painting by Gascar, engraved by Masson, of Nell Gwynne on a bed of roses whilst the two boys as winged amorini support flowing curtains and draperies. Her royal lover appears in the distance. There is also a well-known and beautiful painting of the mother and children by Lely, engraved by Richard Tompson.
p. 307 Mrs. Currer. Elizabeth Currer was born in Dublin. When quite a girl she joined the Duke's Company in 1673, and in a few years, owing to her beauty and extraordinary spirit, became a prime favourite with the Town. Amongst her chief recorded parts are: 1677, Mrs. Hadland in The Counterfeit Bridegroom, January, 1678, Lady Fancy in Mrs. Behn's Sir Patient Fancy; in March, Marcella in The Feign'd Curtezans; June of the same year, Madam Tricklove in D'Urfey's Squire Oldsapp. In 1680, The Queen in Tate's The Loyal General, and Jenny Wheedle (Matilda) in D'Urfey's entertaining comedy The Virtuous Wife. In 1681 she created Ariadne in The Rover, Part II. and 'Lady Elianor Butler, a young lady of great quality that was one of King Edward's mistresses,' in Crowne's adaptation of, 2 Henry VI, which he dubbed The Miseries of Civil War. 1682, Eugenia in Ravenscroft's rollicking The London Cuckolds; (probably) Lady Desbro' in The Roundheads; Diana in The City Heiress; Isabella in The False Count; and, her greatest role, Aquilina the Greek light o' love in Venice Preserv'd to the Antonio of Leigh. 'When Leigh and Mrs. Currer', says Davies, 'performed the parts of doting cully and rampant courtezan the applause was as loud as the triumphant Tories could bestow.' Subsequent decades eliminated the intrigue between Nicky Nacky and the fumbling old senator. The scenes were thought to reek too openly of the stews, and when indeed they were played for the last time in their entirety at the express command of George II, then Prince of Wales, with Pinketham as Antonio and pretty Mrs. Horton Aquilina, the house, in spite of the high patronage, thought fit to demonstrate their pudicity in a very audible manner.[1] The critics too, in a somewhat ductile herd, have modestly decried these same episodes. Otway's comic and satiric powers have been thoroughly underrated. Taine, however, boldly confessed that Otway 'like Shakespeare ... found at least once the grand bitter buffoonery, the harsh sentiment of human baseness', and he demonstrates that, however odious and painful the episodes of senator and whore may be, they are true to the uttermost. Even the great nineteenth-century realist Zola did not disdain to take a hint thence for his chapters in Nana of the masochist Count Muffat and the 'rampant courtezan'.
[Footnote 1: There was a notable performance of Venice Preserv'd at Drury Lane, 19 November, 1721, which is perhaps the occasion referred to; but, as Genest says, after the original performances the role of Aquilina is not to be found in the play bills. 2 December, 1721, Spiller acted Antonio at Lincoln's Inn Fields.]
In 1684 Mrs. Currer created Mrs. Featly In Ravenscroft's 'recantation play', Dame Dobson; she was also Sylvia in Otway's last comedy, The Atheist, and Lady Medlar in The Factious Citizen. In 1685 she played Isabella in Tate's farcical A Duke and no Duke, and five years later she is billed as the roystering Widow Ranter in Mrs. Behn's posthumous comedy of the same name. Her name does not appear after 1690, latterly her appearances were few, and she seems to have been one of those 'crept the stage by love'. An unprinted MS. Satire on the Players (1682-3) has a sharp reference to Betty Currer and cries:—
Currer 'tis time thou wert to Ireland gone Thy utmost Rate is here but Half-a-Crown Ask Turner if thou art not fulsome grown.
p. 309 Silvio, Page to Laura Lucretia. (Dramatis Personae.) I have added 'Silvio' to the list of actors as he enters according to the stage directions, Act i, 1, and elsewhere. Julio in the same scene refers to him, and Laura Lucretia several times addresses him during the play. Act ii, 1, &c. In Act v, however, he is manifestly confused with Sabina. Laura gives Silvio certain instructions, he approaches Galliard, and his lines have speech-prefix 'Sab.' In the following scene the direction is 'enter Silvio' and his speech is given to Sabina, Laura moreover addressing him as Sabina. I have no doubt that this confusion existed in Mrs. Behn's MS.
p. 315 Medices Villa. The Villa Medici was erected in 1540 by Annibale Lippi. The gardens are famous for their beauty. From the avenue of evergreen-oaks with a fountain before the Villa can be obtained a celebrated view of St. Peter's.
p. 317 I may chance to turn her. Mr. Tickletext was much of the opinion of the celebrated casuist Bauny, who, in his Theologia Moralis, tractatus iv, De Poenitentia, quaestio 14, writes: 'Licitum est cuilibet lupanar ingredi ad odium peccati ingerendum meretricibus, etsi metus sit, et vero etiam verisimilitudo non parva se peccaturum eo quod malo suo saepe sit expertus, blandis se muliercularum sermonibus flecci solitum ad libidinem.'
p. 319 Amorous Twire. Twire—a sly, saucy glance; a leer. cf. Etheridge's The Man of Mode (1676), Act iii, III, Harriet. 'I abominate ... the affected smiles, the silly By-words, and amorous Tweers in passing.' The verb 'to twire' occurs in Shakespeare's Sonnets, xxviii, 12, and frequently elsewhere.
p. 320 Hogan-Mogan. A popular corruption, or rather perversion, of the Dutch Hoogmogend-heiden, 'High Mightinesses', the title of the States-General. In a transferred manner it is used as a humorous or Contemptuous adjective of those affecting grandeur and show; 'high and mighty.' The phrase is common. Needham, Mercurius Pragmaticus, No. 7 (1648), speaks of the 'Hogan Mogan States of Westminster'. Tom Brown (1704), Works (1760), Vol. IV, lashes 'hogan-mogan generals'.
p. 330 Pusilage. French pucelage; virginity; maidenhead. 1724 reading 'pupilage' misses the whole point and comes near making nonsense of the passage. cf. Otway's The Poets Complaint of his Muse (4to, 1680), v-vi:
No pair so happy as my Muse and I. Ne'er was young lover half so fond, When first his pusilage he lost; Or could of half my pleasure boast.
p. 322 Back-Sword. A sword with a cutting edge; or single-stick (with a basket hilt).
p. 322 Parades. 'The lessons defensive are commonly called the parades'.—Sir W. Hope's Compleat Fencing Master (2nd edition, 1692).
p. 322 Degagements. Andre Wernesson, Sieur de Liancour, in chap. v of Le Maistre d' Armes (1686), treats 'des Degagements' in some detail. Hope defines 'Caveating or Dis-engaging' as 'the slipping of your Adversaries' sword when it is going to bind or secure yours'.
p. 322 Advancements. Advancings. 'A man is said to Approach or Advance when being out of his adversaries' reach or at a pretty distance from him he cometh nearer to him'.—Hope, Compleat Fencing Master.
p. 322 Eloynements. To elonge 'is to Streatch forward one's right Arm and Legg and to keep a close left Foot. This a Man doth when he giveth a Thrust, and when he doth it he is said to make an Elogne' (Eloynements).—Hope, New Method of Fencing, chap. iv, XI (2nd edition, 1714), deals in detail with 'Elonging, or making an Elonge'.
p. 322 Retierments. Retreats or Retirings are very fully described in Liancour's Le Maistre d' Armes, chap. iv. 'A Man is said to Retire when being within his Adversaries' reach he goeth out of it either by stepping or jumping backwards from his Adversary upon a Straight Line'.—Hope, Compleat Fencing Master (2nd edition, 1692).
p. 322 St. George's Guard. 'A guard of the broadsword or sabre used in warding off blows directed against the head'.—C. James, Military Dictionary (1802).
p. 322 Flurette. or Fluret. A fencing foil. Hope, New Method of Fencing (1714), chap, vii says: '[The Fencing-Master] ought to ... begin his Scholars with Fleurets'.
p. 323 Ajax and Ulysses contending for Achilles his armour?
Bella mouet clypeus: deque armis anna feruntur. Non ea Tydides, non audet Oileos Aiax, Non minor Atrides, non bello maior et aeuo Poscere non alii: soli Telamone creato Laeertaque fuit tantae fiducia laudis.—Ovid: Metamorphoscon.
xii, 621-5. Book xiii commences with a description of the contest of Ajax (Telamonis) and Ulysses for the arms of the dead Achilles. They were awarded to the prince of Ithaca.
p. 324 Clouterlest. Clumsiest. E. Phillips, Theatrum Poetarum, speaks of Spenser's 'rough hewn clouterly verses'. cf. Pamela, Vol. I, p. 112 (1741), 'some clouterly ploughboy'.
p. 338 Rosemary. 'There's rosemary, that's for remembrance'. Hamlet, iv, v.
p. 340 Docity. Gumption. A favourite word with Mrs. Behn. cf. The False Count, ii, 11. Guill. 'I thank heaven I have docity', and elsewhere,
p. 341 Julio. Guilio, a silver coin worth 6d. It was first struck by Pope Julius II (1503-13), hence its name.
p. 346 The hour of the Berjere. L'heure du berger ou l'amant trouve celle qu'il aime favorable a ses voeux. cf. La Fontaine, Contes. La Coupe Enchantee. 'Il y fait bon, l'heure du berger sonne.' It is a favourite expression of Mrs. Behn. cf. Sir Patient Fancy, Act i, l. 'From Ten to Twelve are the happy hours of the Bergere, those of intire enjoyment.' Also the charming conclusion of The Lover s Watch:—
Damon, my watch is just and new: And all a Lover ought to do, My Cupid faithfully will show. And ev'ry hour he renders there Except l'heure du Bergere.
p. 352 Knox, or Cartwright. The allusion here is to the Scotch reformer and the Puritan divine, whose weighty tomes Tickletext might be supposed to carry with him for propagandist purposes. Fillamour has already rallied him on his Spartan orthodoxy, and anon we find the worthy chaplain hot at the 'great work of conversion'. It has been ingeniously suggested that a reference is intended to The Preacher's Travels of John Cartwright of Magdalen, Oxford, a book first published in 1611, and afterwards reprinted.
p. 353 St. James's of the Incurables. The church of S. Giacomo and the adjacent Ospedale stand at the corner of the Via S. Giacomo, which leads from the Corso towards the river.
p. 378 cogging. To cog is to trick, to cheat. A word in common use.
p. 384 like to like.... A very old proverbial saying. The humours of Grim the collier are introduced by Ulpian Fulwell into his morality, Like Will to Like (1561). cf. The amusing anonymous comedy, Grim, the Collier of Croydon (1600), with its major plot of the Belphegor story.
p. 384 smoke. To detect. cf. All's Well That Ends Well, iii, 6. 'He was first smoked by the old lord Lafeu.'
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