_Enter_ Julio _backwards, fighting_ Octavio _and Bravoes_.

_Gal_. Hah, on retreating,--S’death, I’ve no Sword!

_Fil_. Here’s one, I’ll take my Page’s.

[_Takes the Boy’s Sword_.

_Gal_. Now am I mad for mischief; here, hold my Lanthorn, Boy.

[_They fight on_ Julio’s _side, and fight_ Octavio _out at

t’other side: Enter_ Laura _and_ Sabina _at the Fore-door,

which is the same where Sir_ Signal _stands:_ Tick. _groping

up that way, finds Sir_ Sig. _just entring in;_ Laura _and_

Sab. _pass over the Stage_.

Sir _Sig_. Hah, a door open! I care not who it belongs to, ‘tis better

dying within Doors like a Man, than in the Street like a Dog.

[_Going in_, Tick. _in great fear comes up and pulls him_.

_Tick_. Signior, gentle Signior, whoe’er you are that owns this Mansion,

I beseech you to give Protection to a wretched Man half dead with Fear

and Injury.

Sir _Sig_. Nay, I defy the Devil to be more dead with Fear than I--

Signior, you may enter, perhaps ‘tis some body that will make an Excuse

for us both,--but hark, they return.

[_Both go in, just after_ Lau. _and_ Sab. _and_ Silvio _enter_.

_Lau_. He’s gone! he’s gone! perhaps for ever gone.--

Tell me, thou silly Manager of Love,

How got this Ruffian in? how was it possible

Without thy Knowledge he cou’d get Admittance?

_Sab_. Now as I hope to live and learn, I know not, Madam, unless he

follow’d you when you let in the Cavalier, which being by dark he easily

conceal’d himself; no doubt some Lover of _Silvianetta’s_, who mistaking

you for her, took him too for a Rival.

_Lau_. ‘Tis likely, and my Fortune is to blame, my cursed Fortune,

Who like Misers deals her scanty Bounties with so slow a hand,

That or we die before the Blessing falls,

Or have it snatcht e’er we can call it ours.

[_Raving_.]

To have him in my House, to have him kind,

Kind as young Lovers when they meet by stealth;

As fond as Age to Beauty, and as soft

As Love and Wit cou’d make impatient Youth,

Preventing even my Wishes and Desires,

--Oh Gods! and then, even then to be defeated,

Then from my o’erjoy’d Arms to have him snatcht;

Then when our Vows had made our Freedom lawful;

What Maid cou’d suffer a Surprize so cruel?

--The Day begins to break,--go search the Streets,

And bring me news he’s safe, or I am lost.

_Enter_ Gal. Fil. _and_ Jul.

_Fil_. _Galliard_, where art thou?

_Gal_. Here safe, and by thy side.--

_Lau_. ‘Tis he!

_Jul_. Whoe’er he were, the Rogue fought like a Fury, and but for your

timely Aid I’d been in some Danger.

_Fil_. But, _Galliard_, thou wert telling me thy Adventure with

_Silvianetta_; there may be comfort in’t.

_Lau_. So, now I shall hear with what concern he speaks of me.--

[_Aside_.

_Gal_. Oh, damn her, damn her!

_Lau_. Hah!

_Gal_. The veriest Jilt that ever learnt the Art.

_Lau_. Heavens!

_Gal_. Death, the Whore took me for some amorous _English_ elder Brother,

and was for Matrimony, in the Devil’s name; thought me a loving Fool,

that ne’er had seen so glorious a sight before, and wou’d at any rate

enjoy.

_Lau_. Oh Heaven! I’m amaz’d, how much he differs from the thing he was

but a few Minutes since. [_Aside_.

_Gal_. And to advance her Price, set up for Quality; nay, swore she was a

Maid, and that she did but act the Curtezan.

_Lau_. Which then he seem’d to give a credit to.--O, the forsworn

Dissembler!

_Gal_. But when I came to the matter then in debate, she was for

honourable Love forsooth, and wou’d not yield, no marry wou’d she, not

under a Licence from the Parson of the Parish.

_Jul_. Who was it, prithee? ‘twere a good Deed to be so reveng’d on her.

_Gal_. Pox on her; no, I’m sure she’s a damn’d Gipsy, for at the same

time she had her Lovers in reserve, lay hid her Bed-chamber.

_Lau_. ‘Twas that he took unkindly, And makes me guilty of that rude

Address.

_Fil_. Another Lover had she?

_Gal_. Yes, our Coxcomb Knight Buffoon, laid by for a relishing Bit, in

case I prov’d not season’d to her Mind.

_Lau_. Hah, he knew him then.

_Gal_. But damn her, she passes with the Night, the Day will bring new

Objects.

_Fil_. Oh, do not doubt it, _Frank_.

_Lau_. False and Inconstant! Oh, I shall rave, _Silvio_--

[_Aside to Sil_.

_Enter_ Cornelia _in Man’s Clothes with a Letter_.

_Cor_. Here be the Cavaliers: give me, kind Heaven, but hold of him; and

if I keep him not, I here renounce my Charms of Wit and Beauty--Signiors,

is there a Cavalier amongst ye, call’d _Fillamour_?

_Fil_. I own that Name; what wou’d you, Sir?

_Cor_. Only deliver this, Signior.

[Fil. _goes aside, opens his Lanthorn, and reads_,

Jul. _and_ Gal. _talk aside_.

_Fil_. [Reads.] _I’ll only tell you I am Brother to that Marcella whom

you have injured, to oblige you to meet me an Hour hence, in the_ Piazo

Despagnia: _I need not say with your Sword in your hand, since you will

there meet_ Julio Sebastiano Morosini!

--Hah! her Brother sure return’d from Travel. [_Aside_.

--Signior,--I will not fail to answer it as he desires.

[_To_ Cornelia.

I’ll take this Opportunity to steal off undiscover’d.

[_Aside going out_.

_Cor_. So, I’ve done my Sister’s Business; now for my own.

_Gal_. But, my good Friend, pray what Adventure have you been on to

night.

_Jul_. Faith, Sir, ‘twas like to have prov’d a pleasant one, I came just

now from _Silvianetta_, the fair young Curtezan.

_Cor_. Hah! what said the Man--came from me! [_Aside_.

_Gal_. How, Sir, you with _Silvianetta!_ when?

_Jul_. Now, all the dear live-long Night.

_Cor_. A Pox take him, who can this be? [_Aside_.

_Gal_. This night! this night! that is not yet departed.

_Jul_. This very happy Night,--I told you I saw a lovely Woman at St.

_Peter’s_ Church.

_Gal_. You did so.

_Jul_. I told you too I follow’d her home, but you’d learn neither her

Name nor Quality; but my Page getting into the acquaintance of one of

hers, brought me News of both; her Name _Silvianetta_, her Quality a

Curtezan.

_Cor_. I at Church yesterday! now hang me if I had any such devout

Thoughts about me: why, what a damn’d scandalous Rascal’s this?

_Jul_. Fill’d with hopes of Success, at night I made her a Visit, and

under her Window had a skirmish with some Rival, who was then serenading

her.

_Gal_. Was’t he that fought us then.--[_Aside_.--

But it seems you were not mistaken in the House--

On with your Story pray--Death, I grow jealous now--

[_Aside_.] You came at Night you said?

_Jul_. Yes, and was receiv’d at the door by the kind _Silvianetta_, who

softly whisper’d me, come to my Bosom, and be safe for ever! and

doubtless took me for some happier Man.

_Lau_. Confusion on him, ‘twas my very Language! [_Aside raving_.

_Jul_. Then led me by dark into her Chamber.

_Cor_. Oh, this damn’d lying Rascal! I do this? [_Aside_.

_Jul_. But oh, the things, the dear obliging things, the kind, the fair

young Charmer said and did.

_Gal_. To thee!

_Jul_. To me.

_Gal_. Did _Silvianetta_ do this, _Silvianetta_ the Curtezan?

_Jul_. That passes, Sir, for such, but is indeed of Quality.

_Cor_. This Stranger is the Devil, how shou’d he know that Secret else?

_Jul_. She told me too ‘twas for my sake alone, whom from the first

Minute she saw she lov’d, she had assum’d that Name and that Disguise,

the sooner to invite me.

_Lau_. ‘Tis plain, the things I utter’d!--Oh, my Heart!

_Gal_. Curse on the publick Jilt, the very Flattery she wou’d have past

on me.

_Cor_. Pox take him, I must draw on him, I cannot hold. [_Aside_.

_Gal_. Was ever such a Whore?

_Lau_. Oh, that I knew this Man, whom by mistake I lavisht all the

Secrets of my Soul to! [_Aside_.

_Jul_. I prest for something more than dear Expressions,

And found her yield apace;

But sighing, told me of a fatal Contract,

She was oblig’d to make to one she never saw;

And yet if I wou’d vow to marry her, when she cou’d prove

To merit it, she wou’d deny me nothing.

_Lau_. ‘Twas I, by Heaven, that heedless Fool was I.

_Jul_. Which I with Lover’s’ eager Joy perform’d,

And on my Knees utter’d the hasty Words,

Which she repeated o’er, and gave me back.

_Gal_. So, he has swallow’d with a vengeance the very Bait she had

prepar’d for me, or any body that wou’d bite. [_Aside_.

_Jul_. But e’er I cou’d receive the dear Reward of all my Vows,

I was drawn upon by a Man that lay hid in her Chamber;

Whether by chance or design I know not; who fought me out,

And was the same you found me engag’d with.

_Cor_. A pleasant Rascal this, as e’er the Devil taught his Lesson to.

_Gal_. So, my Comfort is, she has jilted him too most damnably.

_Cor_. Slife, I have anger enough to make me valiant; why shou’d I not

make use on’t, and beat this lying Villain whilst the Fit holds?

_Gal_. And you design to keep these Vows, though you’re contracted to

another Woman?

_Jul_. I neither thought of breaking those, or keeping these;

My Soul was all employ’d another way.

_Lau_. It shall be so, _Silvio_,--I’ve thought upon a way that must

redeem all:--hark and observe me.

[_Takes_ Sil. _and whispers to him_.

_Jul_. But I’m impatient to pursue my Adventure, which

I must endeavour to do, before the Light discover the

Mistake.--Farewel, Sir.

[_Ex_. Julio.

_Gal_. Go and be ruin’d quite, she has the Knack of doing it.

_Sil_. I’ll warrant ye, Madam, for my Part.

[_Ex_. Laura and Sabina.

_Gal_. I have a damn’d hankering after this Woman: why cou’d I not have

put the cheat on her, as _Julio_ has? I stand as little on my Word as he:

a good round Oath or two had done the Business.--But a pox on’t, I lov’d

too well to be so wise.

[Silvio _comes up to him_.

_Sil_. _Con licentia_, Signior; is your Name _Galliard_?

_Gal_. I am the Man, sweet Heart,--let me behold thee--hah--_Sans

Coeur’s_ Page!

_Sil_. A duce of his Lanthorn, what shall I say now?--Softly, Signior, I

am that Page whose chiefest Business is to attend my Lord’s Mistress,

Sir.

_Cor_. His Mistress! whose Mistress, what Mistress? S’life, how that

little Word has nettled me!

[_Aside, listening close_.

_Gal_. Upon my Life, the Woman that he boasted of--

[_Aside, hugging of himself_.]

--A fair young amorous--noble--Wanton--a--And she wou’d speak with me, my

lovely Boy?

_Sil_. You have prevented the Commands I had; but should my Lord know of

it--

_Gal_. Thou wert undone, I understand thee--

And will be secret as a Confessor,

As lonely Shades, or everlasting Night.

Come, lead the way.

_Cor_. Where I will follow thee, though to the Bed of her thou’rt going

to, and even prevent thy very Business there. [_Aside_.]

[_Exeunt_.

SCENE II. _A Chamber_.

_Enter_ Laura, _as before, in a Night-Gown_.

_Lau_. Now for a Power that never yet was known

To charm this Stranger quickly into Love.

Assist my Eyes, thou God of kind Desires;

Inspire my Language with a moving Force,

That may at once gain and secure the Victory.

_Enter_ Silvio.

_Sil_. Madam, your Lover’s here: your time’s but short; consider too,

Count _Julio_ may arrive.

_Lau_. Let him arrive; having secur’d my self of what I love,

I’ll leave him to complain his unknown Loss

To careless Winds as pitiless as I--_Silvio_, see the Rooms

Be fill’d with Lights, whilst I prepare my self to entertain him.

Darkness shall ne’er deceive me more--

[_Enter to_ Sil. Gal. _gazing about him_,

Cor. _peeping at the Door_.

_Gal_. All’s wondrous rich,--gay as the Court of Love,

But still and silent as the Shades of Death;

--Hah--Musick! and excellent!

[_Soft Musick whilst they speak_.

Pox on’t--but where’s the Woman?--I need no preparation.--

_Cor_. No, you are always provided for such Encounters, and can fall to

_sans_ Ceremony,--but I may spoil your Stomach.

[_A Song tuning_.

_Gal_. A Voice too! by Heaven, and ‘tis a sweet one:

Grant she be young, and I’ll excuse the rest,

Yet vie for Pleasure with the happiest _Roman_.

[_The Song as by_ Laura, _after which soft Musick till she enters_.

The SONG by a Person of Quality.

_Farewel the World and mortal Cares,

The ravished Strephon cry’d,

As full of Joy and tender Tears

He lay by Phillis’ side:

Let others toil for Wealth and Fame,

Whilst not one Thought of mine

At any other Bliss shall aim,

But those dear Arms, but those dear Arms of thine.

Still let me gaze in thy bright Eyes,

And hear thy charming Tongue;

I nothing ask t’increase my Joys,

But thus to feel ‘em long.

In close Embraces let us lie,

And spend our Lives to come;

Then let us both together die,

And be each other’s, be each other’s Tomb_.

--Death, I’m fir’d already with her Voice--

_Cor_. So, I am like to thrive.--

_Enter_ Julio.

_Jul_. What mean these Lights in every Room, as if to make

The day without the Sun, and quite destroy my Hopes!--

Hah, _Galliard_ here!

_Cor_. A Man! grant it some Lover, or some Husband, Heaven,

Or any thing that will but spoil the Sport.

The Lady! Oh, blast her, how fair she is!

_Enter_ Laura _with her Lute, drest in a careless rich Dress,

followed by_ Sabina, _to whom she gives her Lute, and_ Silvio.

_Jul_. Hah! ‘tis the same Woman.

[_She sees_ Julio _and starts_.

_Lau_. A Stranger here! What Art can help me now?

[_She pauses_.

_Gal_. By all my Joys, a lovely Woman ‘tis.

_Lau_. Help me, Deceit, Dissembling, all that’s Woman--

[_She starts and gazes on_ Gal. _pulling_ Silvio.

_Cor_. Sure I shou’d know that Face.--

_Lau_. Ah, look, my _Silvio_, is’t not he?--it is!

That Smile, that Air, that Mien, that Bow is his:

’.is he, by all my Hopes, by all my Wishes.

_Gal_. He! yes, yes, I am a He, I thank my Stars,

And never blest ‘em half so much for being so,

As for the dear Variety of Woman.

_Cor_. Curse on her Charms, she’ll make him love in earnest.

_Lau_. It is my Brother; and Report was false.

[_Going towards him_.

_Gal_. How, her Brother! Gad, I’m sorry we are so near akin, with all my

Soul; for I’m damnably pleas’d with her.

_Lau_. Ah, why do you shun my Arms? or are ye Air?

And not to be enclos’d in human Twines--

Perhaps you are the Ghost of that dead Lord,

That comes to whisper Vengeance to my Soul.

_Gal_. S’heart, a Ghost! This is an odd preparative to Love.

[_Aside_.

_Cor_, ‘Tis Laura, my Brother _Julio’s_ Mistress, and Sister to

_Octavio_.

_Gal_. Death, Madam! do not scare away my Love with Tales of Ghosts, and

Fancies of the Dead. I’ll give ye Proofs I’m living loving Man, as errant

an amorous Mortal as Heart can wish--I hope she will not jilt me too.

[_Aside_.

_Cor_. So! he’s at his common Proof for all Arguments; if she shou’d take

him at his Word now, and she’ll be sure to do’t.

_Lau_. Amiable Stranger, pardon the Mistake,

And charge it on a Passion for a Brother:

Devotion was not more retir’d than I,

Vestals or widow’d Matrons when they weep;

Till by a fatal Chance I saw in you,

The dear Resemblance of a murder’d Brother. [_Weeps_.

_Jul_. What the Devil can she mean by this? [_Aside_.

_Lau_. I durst not trust my Eyes, yet still I gaz’d,

And that encreas’d my Faith you were my Brother:

But since they err’d, and he indeed is dead,

Oh, give me leave to pay you all that Love,

That Tenderness and Passion that was his. [_Weeping_.

_Cor_. So, I knew she wou’d bring Matters about some way or other. Oh

Mischief, Mischief, help me! S’life, I can be wicked enough when I have

no use on’t! and now have, I’m as harmless as a Fool.

[_As Gal. _is earnestly talking to_ Lau. Julio _pulls him

by the Sleeve_.

_Lau_. Oh, save me, save me from the Murderer.

_Jul_. Hah!

_Gal_. A Murderer, where?

_Lau_. I faint, I die with horror of the Sight!

_Gal_. Hah--my Friend a Murderer! sure you mistake him, Madam; he saw not

Rome till yesterday; an honest Youth, Madam, and one that knows his

distance upon occasion!--S’life, how cam’st thou here?--prithee be gone

and leave us.

_Jul_. Why, do you know this Lady, Sir?

_Gal_. Know her!--a--ay, ay,--Man--and all her Relations, she’s of

Quality:--withdraw, withdraw--Madam--a--he is my Friend, and shall be

civil.--

_Lau_. I have an easy Faith for all you say:--but yet however innocent he

be, or dear to you, I beg he wou’d depart--he is so like my Brother’s

Murderer, that one Look more wou’d kill me--

_Jul_. A Murderer! charge me with Cowardice, with Rapes or Treasons--

Gods, a Murderer!

_Cor_. A Devil on her, she has robb’d the Sex of all their Arts of

Cunning.

_Gal_. Pox on’t, thou’rt rude; go, in good Manners go.

_Lau_. I do conjure ye to torture me no more:

If you wou’d have me think you’re not that Murderer,

Be gone, and leave your Friend to calm my Heart

Into some kinder Thoughts.

_Gal_. Ay, prithee go, I’ll be sure to do thy Business for thee.

_Cor_. Yes, yes, you will not fail to do a friendly Part, no doubt--

_Jul_. ‘Tis but in vain to stay--I see she did mistake her Man last

night, and ‘twas to Chance I am in debt for that good Fortune;--I will

retire to shew my Obedience, Madam.

[_Exit_. Jul. Gal. _going to the door with him_.

_Lau_. He’s gone, and left me Mistress of my Wish.

Descend, ye little winged Gods of Love,

Descend and hover round our Bower of Bliss;

Play all in various Forms about the Youth,

And empty all your Quivers at his Heart. [_Aside_.

[Gal. _returns, she takes him by the hand_.

--Advance, thou dearer to my Soul than Kindred,

Thou more than Friend or Brother.

Let meaner Souls base-born conceal the God;

Love owns his Monarchy within my Heart,

So Kings that deign to visit humble Roofs,

Enter disguis’d, but in a noble Palace,

Own their great Power, and shew themselves in Glory.

_Gal_. I am all Transport with this sudden Bliss,

And want some kind Allay to fit my Soul for Recompence.

_Cor_. Yes, yes, my forward Friend, you shall have an Allay, if all my

Art can do’t, to damp thee even to Disappointment.

_Gal_. My Soul’s all Wonder; now let us retire,

And gaze till I have softened it to Love.

[_Going out is met by_ Cor.

_Cor_. Madam!

_Lau_. More Interruption!--hah--

[_Turns_.

_Cor_. My Master, the young Count _Julio_--

_Lau. Julio_!

_Gal_. What of him? [_Aside_.

_Cor_. Being just now arriv’d at _Rome_--

_Lau_. Heavens, arriv’d! [_Aside_.

_Cor_. Sent me to beg the Honour of waiting on you.

_Lau_. Sure, Stranger, you mistake.--

_Cor_. If, Madam, you are _Laura Lucretia_.--

_Gal. Laura Lucretia_! by Heaven, the very Woman he’s to marry.

[_Aside_.

_Lau_. This would surprize a Virgin less resolv’d:

But what have I to do with ought but Love? [_Aside_.

--And can your Lord imagine this an Hour

To make a ceremonious Visit in?

_Gal_. Riddles by Love! or is’t some Trick again? [_Aside_.

_Cor_. Madam, where Vows are past, the want of Ceremony may be pardon’d.

_Lau_. I do not use to have my Will disputed,

Be gone, and let him know I’ll be obey’d.

_Cor_. S’life, she’ll out-wit me yet,-- [_Aside_.

Madam, I see this Niceness is not general,

--You can except some Lovers.

_Gal_. My pert young Confident, depart, and let your

Master know he’ll find a better welcome from the fair

vain Curtezan, _la Silvianetta_, where he has past the Night,

and given his Vows.

_Lau_. Dearly devis’d, and I must take the hint.

[_Aside smiling_.

_Cor_. He knows me sure, and says all this to plague me. [_Aside_.

My Lord, my Master with a Curtezan! he’s but just now arriv’d.

_Gal_. A pretty forward saucy lying Boy this; and may do well in time.--

Madam, believe him not, I saw his Master yesterday,--convers’d with him.

--I know him, he’s my Friend;--’twas he that parted hence but now, he

told me all his Passion for a Curtezan scarce half an hour since.

_Cor_. So!

_Lau_. I do not doubt it, Oh, how I love him for this seasonable Lye:

--And can you think I’ll see a perjur’d Man, [_To_ Cor.

Who gives my interest in him to another?

--Do I not help ye out most artfully?--

[_Aside. Laughing to_ Gal.

_Cor_. I see they are resolv’d to out-face me.

_Gal_. Nay, vow’d to marry her.

_Lau_. Heavens, to marry her!

_Cor_. To be conquer’d at my own Weapon too!--Lying! ‘tis a hard case.--

[_Aside_.

_Gal_. Go, Boy, you may be gone; you have you Answer, Child, and may

depart--Come, Madam, let us leave him.

_Cor_. Gone, no help! Death, I’ll quarrel with him,--nay, fight him,--

damn him,--rather than lose him thus.--Stay, Signior. [_Pulls him_.]--You

call me Boy--but you may find your self mistaken, Sir,--And know--I’ve

that about me may convince ye.

[_Shewing his Sword_.

--’Thas done some Execution.

_Gal_. Prithee, on whom or what? small Village Curs?

The barking of a Mastiff wou’d unman thee.

[_Offers to go_.

_Cor_. Hold--follow me from the Refuge of her Arms;

As thou’rt a Man, I do conjure thee do’t:--I

hope he will, I’ll venture beating for’t. [_Aside_.

_Gal_. Yes, my brisk little Rascal, I will a--a--

_Lau_. By all that’s good, you shall not stir from hence;

ho, who waits there, _Antonio, Silvio, Gaspero_?

[_Enter all_.]

--take that fierce Youth, and bear him from my sight.

_Cor_. You shall not need; s’life, these rough Rogues will be too hard

for me; I’ve one prevention left,--farewel.

_May’st thou supply her with as feeble Art,

As I should do, were I to play thy part_.

[_Goes out with the rest_.

_Gal_. He’s gone, now let’s redeem our blessed Minutes lost.

[_Go in_.

SCENE III. _Changes to the Street_.--Piazo d’.ispagnia.

_Enter_ Julio _alone_.

_Jul_. Now by this breaking Day-light I cou’d rave: I knew she mistook me

last night, which made me so eager to improve my lucky Minutes. Sure,

_Galliard_ is not the Man, I long to know the Mystery;--hah--who’s here?

--_Fillamour!_

_Enter_ Fillamour _met by_ Marcella _in Man’s Clothes; they

pass by each other, cock and justle_.

_Mar_. I take it, you are he I look for, Sir.

_Fil_. My name is _Fillamour_.

_Mar_. Mine, _Julio Sebastiano Morosini_.

_Jul_. Hah, my Name, by Heaven! [_Aside_.

_Fil_. I doubt it not, since in that lovely Face

I see the charming Image of _Marcella_.

_Jul_. Hah!

_Mar_. You might, e’er Travel ruffled me to Man. [_Aside_.

--I shou’d return thy Praise whilst I survey thee,

But that I came not here to compliment;--draw--

[_Draws_.

_Fil_. Why, cause thou’rt like _Marcella?_

_Mar_. That were sufficient reason for thy Hate,

But mine’s because thou hast betray’d her basely.

--She told me all the story of her Love,

How well you meant, how honestly you swore,

And with a thousand Tears imploy’d my Aid

To break the Contract she was forc’d to make

T’ _Octavio_, and give her to your Arms:

I did, and brought you word of our Design,

--I need not tell ye what returns you made;

Let it suffice, my Sister was neglected,

Neglected for a Curtezan,--a Whore;

I watcht, and saw each Circumstance of Falshood.

_Jul_. Damnation! what means this?

_Fil_. I scorn to save my Life by Lyes or Flatteries;

But credit me, the Visit that I made

I durst have sworn had been to my _Marcella_;

Her Face, her Eyes, her Beauty was the same,

Only the business of her Language differ’d,

And undeceiv’d my hope.

_Mar_. In vain thou think’st to flatter me to Faith,--

When thou’dst my Sister’s Letter in thy hand, which ended that dispute,

Even then I saw with what regret you read it;

What care you took to disobey it too--

The shivering Maid, half dead with fears and terrors of the Night,

In vain expected a Relief from Love or thee.

Draw, that I may return her the glad news I have reveng’d her.

_Jul_. Hold, much mistaken Youth; ‘tis I am _Julio_,

Thou, _Fillamour_, know’st my name, know’st I arriv’d

But yesterday at _Rome_, and heard the killing News

Of both my Sisters Flights, _Marcella_ and _Cornelia_,--

And thou art some Imposture. [_To_ Marcella.

_Mar_. If this now shou’d be true, I were in a fine condition.--

[_Aside_.

_Fil_. Fled! _Marcella_ fled!

_Jul_. ‘Twas she I told thee yesterday was lost;

But why art thou concern’d?--explain the Mystery.

_Fil_. I lov’d her more than Life; nay, even than Heaven;

And dost thou question my concern for her?

Say how, and why, and whither is she fled?

_Jul_. Oh, wou’d I knew, that I might kill her in her Lover’s Arms;

Or if I found her innocent, restore her to _Octavio_.

_Fil_. To _Octavio_! and is my Friendship of so little worth,

You cannot think I merit her?

_Jul_. This is some trick between ‘em; but I have sworn

Most solemnly, have sworn by Heaven and my Honour

To resign her, and I will do’t or die--

Therefore declare quickly, declare where she is,

Or I will leave thee dead upon the place. [_To_ Marcella.

_Mar_. So, Death or _Octavio_, a pretty hopeful Choice this!

_Fil_. Hold! by Heaven, you shall not touch a single hair, thus--will I

guard the Secret in his bosom.

[_Puts himself between ‘em, draws_.

_Jul_. ‘Tis plain thou’st injur’d me,--and to my Honour I’ll sacrifice my

Friendship, follow me.

[_Ex_. Jul. Fil.

_Enter_ Petro _and_ Cornelia.

_Mar_. Ah, _Petro_, fly, fly, swift and rescue him.--

[_Ex_. Pet. _with his Sword in his hand_.

_Cor_. Oh, have I found thee, fit for my purpose too? Come, haste along

with me,--thou must present my Brother _Julio_ instantly, or I am lost,

and my Project’s lost, and my Man’s lost, and all’s lost.

_Enter_ Petro.

_Pet_. _Victoria, Victoria_, your Cavalier’s the Conqueror; the other

wounded in his Sword-hand, was easily disarmed.

_Mar_. Then let’s retire, if I am seen I’m lost;--_Petro_, stay here for

the Cavalier, and conduct him to me to this house;--I must be speedy

now.--

_Cor_. Remember this is _Julio_.

[_Pointing to_ Marcella.

_Pet_. I know your design, and warrant ye my part:--hah,

_Octavio_

[_Exeunt_.

_Enter_ Octavio, Morosini _and_ Crapine.

_Oct_. Now, Cowardice, that everlasting Infamy, dwell ever on my face,

that Men may point me out that hated Lover that saw his Mistress false,

stood tamely by whilst she repeated Vows; nay, was so infamous, so dully

tame, to hear her swear her Hatred and Aversion, yet still I calmly

listen’d; though my Sword were ready, and did not cut his throat for’t.

_Mor_. I thought you’d said you’d fought.

_Oct_. Yes, I did rouze at last, and wak’d my Wrongs;

But like an Ass, a patient Fool of Honour,

I gave him friendly notice I wou’d kill him;

And fought like Prizers, not as angry Rivals.

_Mor_. Why, that was handsome,--I love fair play; what wou’d you else

have done?

_Oct_. Have fall’n upon him like a sudden Storm,

[_Enter_ Pet. _and_ Fill.]

quick unexpected in his height of Love:--see--see yonder; or I’m mistaken

by this glimmering Day, or that is _Fillamour_ now entering at her door;

’.is he, by my Revenge--What say you, Sir?

_Mor_. By th’ Mass, I think ‘twas he--

[_Enter_ Julio.

_Oct_. _Julio_, I’ve caught the Wantons in their Toil, I have ‘em fast,

thy Sister and her Lover.

[_Embraces him_.

_Jul_. Eternal Shame light on me if they scape then.

_Oct_. Follow me quick, whilst we can get Admittance.

_Jul_. Where--here?

_Oct_. Here,--come all and see her Shame and my Revenge.

_Jul_. And are you not mistaken in the House?

_Oct_. Mistaken! I saw the Ravisher enter just now, thy Uncle saw it too;

Oh, my excessive Joy! come, if I lye--say I’m a Dog, a Villain.

[_Exeunt as into the House_.

SCENE IV. _Changes to a Chamber_.

_Enter_ Sir Signal _a little groping_.

Sir _Sig_. There’s no finding my way out,--and now does Fear make me

fancy this some inchanted Castle.--

_Enter_ Tick, _listening_.

_Tick_. Hah, an inchanted Castle!

Sir _Sig_. Belonging to a monstrous Giant; who having spirited away the

King of _Tropicipopican’s_ Daughter, keeps her here inclos’d, and that I

a wandring Knight am by fickle Fortune sent to her Deliverance.

[Tick _listens_.

_Tick_. How’s that! spirited away the King of _Tropicipopican’s_

Daughter; bless me, what unlawful Wickedness is practis’d in this Romish

Heathenish Country! [_Aside_.

Sir _Sig_. And yet the Devil of any Dwarf, Squire or Damsel have I met

with yet,--wou’d I were cleanlily off this business--hah, Lights, as I

live, and People coming this way!--bless me from the Giant!--Oh Lord,

what shall I do!--

[_Falls on his Knees_.

_Tick_. I fear no Giants, having Justice on my Side; but Reputation makes

me tender of my Person.--Hah--what’s this, a Curtain; I’ll wind my self

in this, it may secure me.

[_Winds himself in a Window-Curtain_.

Sir _Sig_.--They’re entering, what shall I do?--hah--here’s a Corner;

defend me from a Chimney.

[_Creeps to the Corner of the Window, and feels a space

between Tick’s Legs and the Corner; creeps in, and

stands up just behind_ Tickletext. _Enter_ Gal. _leading_

Laura; Sab. _with Lights just after ‘em_; Jul. Oct.

Mor. _and_ Crap.

_Oct_. Just in the happy Minute!

_Gal_. I’ve sworn by every God, by every Power divine, to marry thee, and

save thee from the Tyranny of a forc’d Contract.--Nay, Gad, if I lose a

fine Wench for want of Oaths this bout, the Devil’s in me.

_Oct_. What think ye now, Sir?

_Jul_. Damnation on her, set my Rage at Liberty,

That I may kill ‘em both.

[Mor. _holds him_.

_Mor_. I see no cause for that, she may be virtuous yet.

_Oct_. Do ye think as such to pass her off on me,

Or that I’ll bear the Infamy of your Family?

No, I scorn her now, but can revenge my Honour on a Rival.

_Mor_. Nay, then I’ll see fair Play,--turn and defend thy Life.

[_Goes to_ Gal. _who turns_.

_Jul_. Whilst I do Justice on the Prostitute:--hah--

Defend me, ‘tis the Woman that I love.

[_He gazes, she runs to_ Gal.

_Lau. Octavio_!

_Oct_. _Laura!_ My Sister, perfidious shameful--

[_Offers to kill her_.

_Jul_. Hold, thy Sister this? that Sister I’m to marry.

_Lau_. Is this then _Julio_? and do all the Powers conspire to make me

wretched?

_Oct_. May I be dumb for ever.

[_Holds his Sword down, and looks sadly;_ Jul. _holds_

Lau. _by one hand, pleads with_ Oct. _with the other_.

_Enter_ Fillamour _and_ Pet.

_Fil_.--Hah, _Galliard!_ in danger too.

[_Draws, steps to ‘em_, Mor. _puts between_.

_Oct_. _Fillamour_ here! how now, what’s the matter, Friend?

[_They talk whilst enter_ Marcella _and_ Cornelia.

_Cor_. Hah, new Broils; sure the Devil’s broke loose to night.--my Uncle,

as I live!

[Mor. _pleads between_ Fil. _and_ Octavio.

_Mar_. And _Octavio!_ Where shall we fly for Safety?

_Cor_. I’ll even trust to my Breeches, ‘tis too late to retreat;--s’life,

here be our Cavaliers too; nay then, ne’er fear falling into the Enemies

hands.

_Fil_. I, I fled with _Marcella!_ had I been blest with so much Love from

her, I wou’d have boasted on’t i’th’ face of Heaven.

_Mor_. La ye, Sir. [_To_ Octavio.

_Fil_. The lovely Maid I own I have a Passion for;

But by the Powers above, the Flame was sacred,

And wou’d no more have past the Bounds of Honour

Or Hospitality, than I wou’d basely murder; and were she free,

I wou’d from all the World make her for ever mine.

_Mor_. Look ye, Sir, a plain case this.

_Gal_. He tells ye simple truth, Sir.

_Oct_. Was it not you this scarce past night I fought with here, in the

House by dark, just when you had exchanged yours Vows with her?

_Lau_. Heavens! was it he? [_Aside_.

_Fil_. This Minute was the first I ever enter’d here.

_Jul_. ‘Twas I, Sir, was that interrupted Lover,--and this the Lady.

_Lau_. And must I yield at last? [_Aside_.

_Oct_. Wonders and Riddles!

_Gal_. And was this the _Silvianetta_, Sir, you told the Story of?

[_Slily_.

_Jul_. The same whom Inclination, Friends, and Destiny, conspire to make

me blest with.

_Gal_. So many Disappointments in one night wou’d make a Man turn honest

in spite of Nature.

[_Sir Sig. peeps from behind_.

Sir _Sig_. Some Comfort yet, that I am not the only Fool defeated. Ha!

_Galllard_!

_Oct_. I’m satisfy’d (_To_ Fil.)--but what cou’d move you, Sir--[_to_

Gal.] to injure me, one of my Birth and Quality?

_Gal_. Faith, Sir, I never stand upon Ceremony when there’s a Woman in

the case,--nor knew I ‘twas your Sister: Or if I had, I shou’d ha’ lik’d

her ne’er the worse for that, had she been kind.

_Jul_. It is my Business to account with him, And I am satisfy’d he has

not injur’d me, he is my Friend.

_Gal_. That’s frankly said; and uncompell’d, I swear she’s innocent.

_Oct_. If you’re convinc’d, I too am satisfy’d, And give her to you

whilst that Faith continues.

[_Gives him her_.

_Lau_. And must I, must I force my Heart to yield? And yet his generous

Confidence obliges me. [_Aside_.

_Oct_. And here I vow by all the sacred Powers,

[_kneels_]

That punish Perjury, never to set my Heart

On faithless Woman;--never to love nor marry;

[_Rises_]

Travel shall be my business--thou my Heir.

[_To Julio_.

Sir _Sig_. So, poor soul, I’ll warrant he has been defeated too.

_Mar_. _Marcella_, Sir, will take ye at your Word.

_Fil_. _Marcella_!

_Mar_. Who owns with Blushes Truths shou’d be conceal’d, but to prevent

more Mischief,--That I was yours, Sir, was against my Will, [_to_ Oct.]

my Soul was _Fillamour’s_ e’er you claim’d a right in me; though I never

saw or held discourse with him, but at an awful distance,--nor knew he of

my Flight.

_Oct_. I do believe, and give thee back my Claim, I scorn the brutal part

of Love; the noblest Body, where the Heart is wanting.

[_They all talk aside_, Cornelia _comes up to Galliard_.

_Cor_. Why, how now, Cavalier, how like a discarded Favourite do you look

now, who whilst your Authority lasted, laid about ye, domineer’d, huft

and bluster’d, as if there had been no end on’t: now a Man may approach

ye without terror--You see the Meat’s snatcht out of your Mouth, Sir, the

Lady’s dispos’d on; whose Friends and Relations you were so well

acquainted with.

_Gal_. Peace, Boy, I shall be angry else.--

_Cor_. Have you never a cast Mistress, that will take compassion on you:

Faith, what think ye of the little Curtezan now?

_Gal_. As ill as e’er I did; what’s that to thee?

_Cor_. Much more than you’re aware on, Sir--and faith, to tell you Truth,

I’m no Servant to Count _Julio_, but e’en a little mischievous Instrument

she sent hither to prevent your making love to _Donna Laura_.

_Gal_. ‘Tis she herself.--how cou’d that Beauty hide itself so long from

being known? [_Aside_.]--Malicious little Dog in a Manger, that wou’d

neither eat, nor suffer the Hungry to feed themselves, what spiteful

Devil cou’d move thee to treat a Lover thus? but I am pretty well

reveng’d on ye.

_Cor_. On me!

_Gal_. You think I did not know those pretty Eyes, that lovely Mouth I

have so often kist in cold imagination.

_Cor_. Softly, Tormentor.

[_They talk aside_.

_Mar_. In this disguise we parted from _Viterbo_, attended only by

_Petro_ and _Philippa_: At Rome we took the Title and Habit of two

_Curtezans_; both to shelter us from knowledge, and to oblige _Fillamour_

to visit us, which we believ’d he would in curiosity; and yesterday it so

fell out as we desired.

_Fil_. Howe’er my Eyes might be imposed upon, you see my Heart was firm

to its first Object; can you forget and pardon the mistake?

_Jul_. She shall, and with _Octavio’s_ and my Uncle’s leave,--thus make

your Title good.--

[_Gives her to_ Fil.

_Oct_. ‘Tis vain to strive with Destiny. [_Gives her_.

_Mor_. With all my heart,--but where’s _Cornelia_ all this while?

_Gal_. Here’s the fair Stragler, Sir.

[_Leads her to Mor. he holds his Cane up at her_.

_Mor_. Why, thou Baggage, thou wicked Contriver of Mischief, what excuse

had’st thou for running away? Thou had’st no Lover.

_Cor_. ‘Twas therefore, Sir, I went to find one; and if I am not mistaken

in the mark, ‘tis this Cavalier I pitch upon for that use and purpose.

_Gal_. Gad, I thank ye for that,--I hope you’ll ask my leave first, I’m

finely drawn in, i’faith--Have I been dreaming all this night of the

possession of a new-gotten Mistress, to wake and find my self noos’d to a

dull Wife in the morning?

_Fil_. Thou talk’st like a Man that never knew the Pleasures thou

despisest; faith, try it, _Frank_, and thou wilt hate thy past loose way

of living.

_Cor_. And to encourage a young Setter up, I do here promise to be the

most Mistress-like Wife,--You know, Signior, I have learnt the trade,

though I had not stock to practise; and will be as expensive, insolent,

vain, extravagant and inconstant, as if you only had the keeping part,

and another the amorous Assignations. What think ye, Sir?

_Fil_. Faith, she pleads well, and ought to carry the Cause.

_Gal_. She speaks Reason, and I’m resolv’d to trust good Nature:--Give me

thy dear hand.--

[_They all join to give it him, he kisses it_.

_Mor_. And now ye are both sped, pray give me leave to ask ye a civil

question; are you sure you have been honest? if you have, I know not by

what miracle you have liv’d.

_Pet_. Oh, Sir, as for that, I had a small stock of Cash in the hands of

a couple of _English_ Bankers, one Sir _Signal Buffoon_--

Sir _Sig_. Sir _Signal Buffoon_, what a pox, does he mean me trow?

[_Peeping_.

_Pet_.--And one Mr. _Tickletext_.

_Tick_. How was that? _certo_, my Name!

[_Peeps out, and both see each other; their faces being

close together, one at one side the Curtain, and t’other

at t’other_.

_Gal_. and _Fil_. Ha, ha, ha.

Sir _Sig_. And have I caught you, i’faith, Mr. Governour? Nay, ne’er put

in your head for the matter, here’s none but Friends, mun.

_Gal_. How now, what have we here?

Sir _Sig_. Speak of the Devil, and he appears.

[_Pulls his Governour forward_.

_Tick_. I am undone,--but, good Sir _Signal_, do not cry Whore first, as

the old Proverb says.

Sir _Sig_. And good Mr. Governour, as another old Proverb says, do not

let the Kettle call the Pot black-arse!--

_Fil_. How came you hither, Gentlemen?

Sir _Sig_. Why faith, Sir, divining of a Wedding or two forward, I

brought Mr. Chaplain to give you a cast of his Office, as the saying is.

_Fil_. What, without Book, Mr. _Tickletext_?

_Cor_. How now, sure you mistake, these are two Lovers of mine.

Sig _Sig_. How, Sir, your Lovers! we are none of those, Sir, we are

_Englishmen_.

_Gal_. You mistake, Sir _Signal_, this is _Silvianetta_.

Sir _Sig_. and _Tick_. How! [_Aside_.

_Gal_. Here’s another Spark of your acquaintance,--do you know him?

_Tick_. How, _Barberacho_! nay, then all will out.--

_Gal_. Yes, and your Fencing and Civility-Master.

Sir _Sig_. Ay,--Why, what, was it you that pickt our Pockets then, and

cheated us?

_Gal_. Most damnably,--but since ‘twas for the supply of two fair Ladies,

all shall be restor’d again.

_Tick_. Some comfort that.

_Fil_. Come, let’s in and forgive all; ‘twas but one Night’s Intrigue, in

which all were a little faulty.

Sir _Sig_. And Governour, pray let me have no more Domineering and

Usurpation: but as we have hitherto been honest Brothers in Iniquity, so

let’s wink hereafter at each others Frailties;

Since Love and Women easily betray Man,

From the grave Gown-man to the busy Lay-man.

EPILOGUE.

Spoken by Mr. _Smith_.

_So hard the times are, and so thin the Town,

Though but one Playhouse, that must too lie down;

And when we fail, what will the Poets do?

They live by us as we are kept by you:

When we disband, they no more Plays will write,

But make Lampoons, and libel ye in spite;

Discover each false Heart that lies within,

Nor Man nor Woman shall in private sin;

The precise whoring Husband’s haunts betray,

Which the demurer Lady to repay,

In his own coin does the just debt defray.

The brisk young Beauty linked to Lands and Age,

Shuns the dull Property and strokes the youthful Page;

And if the Stripling apprehend not soon,

Turns him aside, and takes the brawny Groom;

Whilst the kind Man so true a Husband proves,

To think all’s well done by the thing he loves;

Knows he’s a Cuckold, yet content to bear

Whatever Heaven sends, or Horns or lusty Heir.

Fops of all sorts he draws more artfully,

Than ever on the Stage did_ Nokes or Leigh:

_And Heaven be prais’d when these are Scarce, each Brother

O’ th’ Pen contrives to set on one another.

These are the effects of angry Poets Rage,

Driven from their Winter-Quarters on the Stage;

And when we go, our Women vanish too,

What will the well-fledg’d keeping Gallant do?

And where but here can he expect to find

A gay young Damsel managed to his mind,

Who ruins him, and yet seems wondrous kind?

One insolent and false, and what is worse,

Governs his Heart, and manages his Purse;

Makes him whatever she’d have him to believe,

Spends his Estate, then learns him how to live?

I hope those weighty Considerations will

Move ye to keep us altogether still;

To treat us equal to our great Desert,

And pay your Tributes with a franker Heart;

If not, th’ aforesaid Ills will come, and we must part_.

NOTES.

NOTES ON THE TEXT.

ABDELAZER.

p. 8 _Dramatis Personae_. I have added ‘Ordonio, a Courtier. A Swain and

Shepherds. Courtiers, Guards, Soldiers, Moors, A Nymph and

Shepherdesses.’

p. 11, l. 7 _But thousand Eyes throw killing Looks at me_.

4tos--’But thousand Eyes

Throw killing Looks at me.’

p, 11, l. 26 _Than to lie fawning_. 4to misprints ‘Then’.

p. 12, l. 10 _reveng’d by penitence_. 1724 misprints ‘Patience’.

p. 12, l. 33 _Why star’st thou so_? 1724 wrongly ‘Why dar’st thou so?’

p. 13, l. 5 _wou’d they search her here_? 1724 ‘wou’d you search her

here?’

p. 13, l. 25 _swounded_. 1724 ‘swooned’.

p. 13, l. 33 _more knocking_! [_knocking_. 1724 omits the stage

direction.

p. 15, l. 4 _Sway’d Destiny as well as they, and took their trade of

killing_.

4to--’Sway’d Destiny as well as they,

And took their trade of killing.’

p. 15, l. 16 _Pointing to his Sword_. 4to ‘Points.’

p. 15, l. 17 _Scene II. A Room in the Palace_. I have supplied this

locale.

p. 15, l. 18 _Enter Ferdinand weeping_. 4to ‘Enter Fernando weeping.’

p. 19, ll. 33-4 _Covers a Soul more sanctify’d than this

Moorish Robe_.

1724 gives this as one line.

p. 20, l. 8 _except Abdelazar, Florella_. 4to ‘manent Abdelazer,

Florella.’

p. 20, l. 17 _honest and religious_. 1724 omits ‘and’.

p. 24, l. 2 _Scene I. A Chamber of State_. I have added the locale.

p. 27, l. 27 _To the Women, who go out_. 4to ‘Exeunt’.

p. 31, l. 15 _Madam, that Blessing_. 1724 omits ‘Madam’.

p. 33, l. 8 _Scene II. A Banqueting Hall_. I have added the locale.

p. 33, l. 15 _I have a double Cause_. 1724 omits ‘a’.

p. 34, l. 19 _though_. 1724 ‘tho’ throughout.

p. 34, l. 27 _thou lovest_. 1724 ‘lov’st’.

p. 35, l. 13 _Aside_. The 4to omits this stage direction.

p. 38, l. 18 _A Gallery in the Palace_. I have supplied this locale.

p. 40, l. 11 _Queen and Women_. 1724 ‘Woman’.

p. 40, l. 28 _subtle, and ambitious_. 4to ‘subtle as ambitious.’ 1724 is

undoubtedly the best reading.

p. 42, ll. 23-4 _And then our Lives he may dispose,

As he has done our Honours_.

1724 gives this as one line.

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 ‘’.ainst 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

’.mintas’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

’.ny 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

’.er.’

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 _’.is_. 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 _’.ha_. 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

’.orel’ 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

’.xcellensie’.

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

’.ild, 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

’.xit’ 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 _’.is 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

’.abina, 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

’.xit’, 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 rôles 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 Molière, _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-rôle 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 rôles 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 rôle, 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

’.iss’ 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 rôle 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

’.rdinary’ 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’,

’.ococo’. 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 Sueño_.

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 £1200 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,

’.roved’, 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_,

’. 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), _Bringuenaudée_,

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 rôle, 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

’.nter 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

’.upilage’ 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_. André Wernesson, Sieur de Liancour, in chap. v of

_Le Maistre d’ Armes_ (1686), treats ‘des Dégagements’ 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 Oïleos Aiax,

Non minor Atrides, non bello maior et aeuo

Poscere non alii: soli Telamone creato

Läertaque 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 6_d_. 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 à ses voeux. cf. La Fontaine, _Contes. La

Coupe Enchantée_. ‘Il y fait bon, l’heure du berger sonne.’ It is a

favourite expression of Mrs. Behn. cf. _Sir Patient Fancy_, Act i, l.

’.rom 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 Bergère_.

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.’

END OF VOL. II

End of Project Gutenberg’s The Works of Aphra Behn, Vol. II, by Aphra Behn