Notes on the Text.The Younger Brother.Dedicationp. 316, l. 1The Epistle Dedicatory.This only appears in 4to 1696. It is there followed byAn Account of the Life of the Incomparable Mrs. BEHN, an entirely worthless composition of some three pages, afterwards vastly expanded intoMemoirs‘by one of the Fair Sex’.p. 316, l. 21The narrow Virtues ... [which] were.4to 1696 omits ‘which’ but it is necessary that this or some similar word be inserted to make the paragraph sufficiently grammatical.Prologuep. 319, l. 9an Intriguer.4to 1696 ‘the intrigues’.p. 319, l. 17Mistress young.4to 1696 erroneously gives ‘young’ as a proper name ‘Mistress Young’.Dramatis Personæp. 321Dramatis Personæ.I have added ‘Philip; Diana; Pages, Footmen, Masqueraders, Servants, Rakehells, &c.’ 4to 1696 spells Britton ‘Brittone’; Mr. Pinketham ‘Mr. Pinkerman.’ Powell is indifferently spelt ‘Powell’ or ‘Powel’.Act I: Scene ip. 327, l. 2he.4to 1696 omits.p. 327, l. 7Prince.Here and in ll. 11 and 19 all former editions give speech-prefix ‘Fred’, but afterwards uniformly ‘Prince’ throughout the play.p. 329, l. 31a.4to 1696 omits.p. 329, l. 34Tablets: 4to 1696 gives ‘Tablets write:’ which is obviously a misprint for ‘Tablets written:’ or, perhaps, ‘Tablets writ’.Act I: Scene iip. 330, l. 23Caudle.Here, and in the following line, 4to 1696 misprints ‘Candle’.p. 332, l. 22set.1724 ‘sit’.p. 337, l. 7Sir Mer.4to 1696 misprints ‘Sir Mark.’p. 337, l. 19George Kneels.I have inserted ‘George’.p. 337, l. 20Ay, Sir.4to 1696 marks this line ‘Aside.’ An obvious error.p.338, l. 10Sir Rowland.4to 1696 ‘Sir Merlin’.p. 338, l. 16Chaplain [Mr. Twang], and leaning.4to 1696 ‘her Chaplain, and leaning’. I have inserted Twang’s name and given inl. 19speech-prefix ‘Twang’ which all former editions mark ‘Chap.’, altering, however, to ‘Twang’ later in this scene at ‘Truly, Madam’.p. 339, l. 20cuckold.4to 1696 ‘Cuckhold’.p. 339, l. 34The End of the First Act.Only in 4to 1696.Act II: Scene ip. 340, l. 2Sir Rowland’s Lodging.I have supplied this locale.p. 340, l. 29Lookye.4to 1696 has ‘(Alone.) Lookye’—an obvious error. ‘(Alone.)’ is probably a misprint for ‘(Aloud.)’ which is of itself quite unnecessary.p. 341, l. 13Hearts.4to 1696 ‘Heats’.p. 342, l. 3’twill.4to 1696 ‘will’.p. 342, l. 19India.4to 1696 ‘Indian’.Act II: Scene iip. 343, l. 13A Chamber.I have supplied this locale.p. 346, l. 17Hackney-Coach.4to 1696 ‘Hackney’.p. 346, l. 31pimp.4to 1696 misprints ‘Pump’.p. 348, l. 8they.4to 1696 omits.p. 349, l. 29Sir Morgan Blunder’s.4to 1696 ‘Sir M. Blun.’Act II: Scene iiip. 350, l. 24Another Chamber.I have supplied this locale.p. 351, l. 10another.4to 1696 adds to this stage direction ‘Sir Mer. together.’p. 352, l. 7a Tendre.1724 omits ‘a’.p. 353, l. 11too.4to 1696 ‘to’.Act III: Scene ip. 354, l. 2A rich Chamber.I have supplied this locale.p. 358, l. 4Expectations.1724 ‘Expectation’.p. 358, l. 34Olivia enters.4to 1696 reads ‘Enter Olivia with a letter. Olivia gives Welborn the letter.’p. 359, l. 33Enter Sir Morgan.Before the couplet 4to 1696 repeats ‘Sir Morg. and Sir Merl. singing.’p. 360, l. 10de.1724 here and elsewhere ‘d’ye’.Act III: Scene iip. 362, l. 18you.4to 1696 ‘thou’.Act III: Scene iiip. 363, l. 17Whither?4to 1696 ‘Whether?’p. 367, l. 26Exeunt.I have added this stage direction.Act IV: Scene ip. 370, l. 30Exit Prince with Mirtilla.Former editions ‘and Mirtilla’.p. 371, l. 14Exit.4to 1696 ‘Exit George.’p. 373, l. 15Exeunt.4to 1696 ‘Exit both.’p. 373, l. 23of thy hopes.4to 1696 omits ‘of’.p. 373, l. 32ruffle, ravish, and ruin.4to 1696 ‘Ruffles, Ravishes, and Ruines’.p. 374, l. 8Racks.4to 1696 ‘Wrecks’.p. 374, l. 35feebly.1724 ‘freely’. A patent error.p. 375, l. 4near to being.1724 ‘near being’.p. 375, l. 33Exeunt.Not in 4to 1696.Act IV: Scene iip. 376, l. 1Scene II.I have numbered this scene, and the following (p. 378, l. 16.)Scene III.Act I:V Scene iiip. 379, l. 33Sir Merlin with his Sword.4to 1696 ‘Sir Merlin his Sword’.p. 380, l. 19she cries out.1724 omits ‘out’.p. 381, l. 17My Lady’s maid.I have inserted these words.Act V: Scene ip. 383, l. 27Welborn’s Chamber.I have marked this locale.p. 385, l. 13him.1724 ‘them’.Act V: Scene iip. 386, l. 18has.4to 1696 ‘had’.p. 386, l. 24Mirtilla.All previous editions here have ‘Lydia’, which makes no sense. It is probable that the original name of Mirtilla was Lydia, and Mrs. Behn, or Gildon, neglected to alter it in this passage.Act V: Scene iiip. 388, l. 28Scene III.All previous editions have ‘Scene discovers Mirtilla and Manage.’p. 388, l. 35you have left.1724 ‘you left’.p. 393, l. 17Exit Olivia with Manage.I have added Manage’s name here.Act V: Scene ivp. 394, l. 1Scene IV.I have numbered this scene.Epiloguep. 398, l. 26Fough, how he stinks!4to 1696 ‘Fough, he how he stinks?’Notes: Critical And Explanatory.The Younger Brother.Dedicationp. 316Collonel Codrington.Christopher Codrington (1668-1710) was born at Barbadoes, and thence sent to England to be educated. In 1685 he passed as a gentleman commoner to Christ Church, Oxford. Five years later he was elected as a probationer fellow to All Souls. Here he speedily became known for the catholicity and thoroughness of his studies, and ‘soon acquir’d the deserv’d character of an accomplished, well-bred gentleman, and an universal scholar’. He was already an enthusiastic bibliophile. In 1694 he followed William III to Flanders, and having fought with great gallantry at Hay and Namur in 1695, received various military distinctions. In the same year he attended the King to Oxford, and pronounced the university oration on this royal visit. There are dedications to him by Creech, Dennis, and others, but it has been pertinently remarked that ‘his fame is rather to be inferred’ hence ‘than from actually existent performances on his part’, albeit we have copies of complimentary verses (e.g. prefixed to Garth’sDispensary) from his pen. In 1697 he succeeded his father as commander-in-chief of the Leeward Isles. He does not seem to have been popular, and resigned in 1703, retiring to a life of seclusion and study on his Barbadoes estate. He died 7 April, 1710, and his body was brought back to England to be buried in All Souls’ chapel. To this college he left £10,000, and £6,000 worth of books, a legacy which built, furnished and endowed the magnificent Codrington library there.p. 317Mr. Verbruggen’s reading some of his part.One may remember the incident recorded by Pepys (2 February, 1669), how, after Kynaston had been assaulted by Sedley’s bravos, and was too ill to appear, the young actor’s rôle was ‘done by Beeston, who is fain to read it out of a book all the while and thereby spoils the part, and almost the play, it being one of the best parts in it.... But it was pleasant to see Beeston come in with others, supposing it to be dark, and yet he is forced to read his part by the light of the candles: and this I observing to a gentleman that sat by me, he was mightily pleased therewith, and spread it up and down.’Prologuep. 319grave Sir Roger.‘Sir Roger’ was a common nickname for any clergyman from the well-known comic character ‘Sir Roger, Curate to theLady’, in Beaumont and Fletcher’s popularThe Scornful Lady. This excellent play, a rare favourite with Restoration audiences, kept the boards until the death of Mrs. Oldfield in 1730. After the great actress’ demise it would seem that none of her successors ventured to attempt the title-rôle, hence the piece soon fell out of the repertory. In 1783, however, an alteration, made by Cooke the barrister for Mrs. Abington, was produced with great success at Covent Garden. In this meagre adaptation the Curate disappears. Shanks originally acted this part, but Lacy was the acknowledged ‘Sir Roger’ in Restoration days.Act I: Scene ip. 326making Wax Babies.Playing at dolls.p. 330Southampton Square.The original name of Bloomsbury Square, so called from the Earl of Southampton’s town residence, afterwards Bedford House. Southampton Square was at this period, and for long afterwards, the headquarters of fashion in the metropolis:videfurther, Vol. III,The Town Fop, p. 22, ‘Southampton House,’ and note on that passage (p. 476).Cross-Reference:The Town FopAct I: Scene iip. 331Mr. Motteux.Peter Anthony Motteux was a French Hugenot who came to England upon the restoration of the Edict of Nantes (1685). He soon mixed with the gayest society, and became well known as a prolific writer of songs, prologues, epilogues, masques, and the lighter dramatic fare. Much of this work is not lacking in wit and volatile smartness, but it is all far too ephemeral to have any permanent value as literature. He editedThe Gentleman’s Journal, but is perhaps best remembered for his translation ofDon Quixote, and his concluding Urquhart’s version of Rabelais.p. 331the Rose.This celebrated house stood in Russell Street, Covent Garden, and adjoined Drury Lane. There are innumerable references to it. The greater portion of the ‘Rose’ was demolished in 1776, when a new front was being built to the theatre.p. 331scours.i.e. violently assaults. ‘To scour’ was to rampage the streets, breaking windows, fighting with passers-by, beating the watch, &c. Shadwell has an excellent comedy,The Scowrers(1691), which, giving a vivid picture of the times, show these drunken and blackguardly gentry in a very unamiable light. Several plays treat of their exploits. Vanbrugh’sThe Provoked Wife(1696), Act iii,II, and iv,IIandIV, is perhaps the locusclassicalfor mohocking.p. 333the Poet Sternhold.Thomas Sternhold (ob.1549), was the author with John Hopkins (ob.1570), of a metrical version of the Psalms, which became a bye-word for doggerel. Sir Morgan is, of course, alluding to some pious rhymes groaned on the way to the triple tree. cf. Shadwell,The Miser(1672), i,I, ‘She would be more welcome to thee than a reprieve would, if thou wert just now trolling out Hopkins and Sternhold upon a ladder.’p. 333Billmen in Flannel.Bills were the common weapon of the watch. cf.The Coxcomb(folio 1647), Act i, where Ricardo says to the constable of the watch, ‘Give me the bill, for I’ll be the sergeant.’ Doctor Johnson tells us that the Lichfield watchmen carried bills as late as 1778.p. 333Wills’Coffee-house. videVol. III, Preface,The Lucky Chance, p. 187, and note on that passage (p. 484).Cross-Reference:The Lucky Chancep. 334his Third Day. videVol. III, Preface,The Lucky Chance, p. 187, and note on that passage (p. 484).Cross-Reference:The Lucky Chancep. 334old Adam. videVol. I,The Rover, Part II, p. 133, and note on that passage (p. 446).Cross-Reference:The Roverp. 334The Country Justice’s Calling. vide supra,The Widow Ranter, p. 265.Dalton’s Country Justice, andnoteon that passage.Act II: Scene ip. 341by Inch of Candle.An auction where bids are taken so long as an inch of candle burns, the last bid before the flame expires obtaining the lot.p. 342a Termer.Originally a frequenter of the law courts, and as many came up from the country to London during term time on legal business, it occasionally (as here) signified an unsophisticated stranger. In Dryden’sSir Martin Mar-All(1667), i, Mrs. Millicent, newly arrived from Canterbury, replies to Lady Dupe’s greeting, ‘I came up, Madam, as we country-gentlewomen use at an Easter term, to the destruction of tarts and cheese cakes, to see a new play, buy a new gown, take a turn in the Park, and so down again to sleep with my forefathers.’ In Mountford’s farce,Dr. Faustus(4to 1697, but produced at the Theatre Royal November-December, 1685, or very early in 1686), we have Scaramouch asking what practice the Doctor has, and Harlequin replies: ‘Why his Business is to patch up rotten Whores against the Term for Country Lawyers and Attorneys Clerks; and againstChristmas,Easter, andWhitsunHolidays, for City Apprentices.’ cf. Southerne’sOroonoko(1696), i,I, when Charlot Welldon says to her sister Lucia, ‘Nay, the young Inns-of-Court beaus, of but one Term’s standing in the fashion, who knew nobody but as they were shown ’em by the orange-women, had nicknames for us.’ More often a Termer meant ‘A person, whether male or female, who resorted to London in term time only, for the sake of tricks to be practised, or intrigues to be carried on at that period.’ —(Nares.)Act II: Scene iip. 347Sa.i.e. Save us! Sir Morgan has a frequent exclamation ‘God sa me!’ God save me! The abbreviation is early and frequent.Act III: Scene ip. 356the Country of True Love.Mrs. Behn, an omnivorous reader of romances, was thinking of the celebratedCarte de Tendre(Loveland), to be found in Mlle. de Scudéri’sClélie(1654, Vol. I, p. 399), and reproduced in the English folio edition of 1678. This fantastic map, which is said to have been suggested by Chapelain, aroused unbounded ridicule. In sceneIVof Molière’sLes Précieuses Ridicules(1659), Cathos cries, ‘Je m’en vais gager qu’ils n’ont jamais vu la carte de Tendre, et que Billets-Doux, Petits-Soins, Billets-Galante, et Jolis-Vers sont des terres inconnues pour eux.’ This imaginary land is divided by the River of Inclination: on the one side are the towns of Respect, Generosity, A Great Heart, and the like; on the other Constant Friendship, Assiduity, Submission, &c. Across the Dangerous Sea another continent is marked, ‘Countreys undiscovered.’Terra Incognita.The extravagant penchant for romances of the ScudériParthenissaschool was amply satirized by Steele in his clever comedyThe Tender Husband(1705), and as late as 1752 by Mrs. Charlotte Lennox inThe Female Quixote, an amusing novel.p. 360old Queen Bess in the Westminster-Cupboard.The waxen effigies which yet remain at Westminster are preserved in the wainscot presses over the Islip Chapel. Queen Elizabeth, in her tattered velvet robes, is still one of the most famous. They were formerly far more numerous. A waxen figure of the deceased, dressed in the habit worn whilst living, was, in the case of any royal or notable personage, very frequently carried as part of the torchlight funeral procession and, after the obsequies, left over the grave to serve as a kind of temporary monument.Act III: Scene iiip. 366drink up the Sun.i.e. carouse till dawn.Act IV: Scene iiip. 379a Back like an Elephant—’twill bear a Castle.Dr. Aldis Wright, in his notes onTwelfth Night, draws attention to the fact that the celebrated ‘Elephant and Castle,’ at Newington, in the south suburbs of London, can be traced back to the middle of the seventeenth century.p. 380Old Queen Gwiniver.For ‘Queen Gwiniver’ applied as a term of abuse to an old woman cf. Dekker’sSatiromastix, or, The Untrussing of the Humorous Poet(4to 1602), iii,I, where Tucca rallying Mistress Miniver cries: ‘Now, now, mother Bunch, how dost thou? what, dost frowne, Queen Gwyniver, dost wrinckle?’ The reference is, of course, to Arthur’s queen.Act V: Scene iiip. 390Ha! what do I see?cf. The incident inThe Plain Dealer, iv,II, of which there are obvious reminiscences here. Olivia, making love to Fidelia, who is dressed as a boy, is surprised by Vernish. Olivia runs out, and he discovering the supposed lad to be a woman proceeds to turn the tables on his spouse.Act V: Scene ivp. 394this Tour.cf. ‘your false Towers’,The False Count, i,II(Vol. III, p. 116), and note on that passage (p. 480).Cross-Reference:The False Countp. 394Fontange.A ‘fontange’ was a bow of ribbons, so called from the celebrated Madame de Fontanges. Her hair coming down during a hunting-party at Vincennes, she tied it up hastily with one of her garters. Louis XIV, whose mistress she was, so admired the result that he begged her to continue to wear her hair in the same way. This set the fashion, which soon spread into England and long remained popular. cf. Shadwell’sBury Fair(1689), ii,II: ‘Milliner.What d’ye lack, Ladies? fine Mazarine hoods, fontanges, girdles, sable tippets?’p. 394Coventry-Blue.A kind of blue thread manufactured at Coventry and formerly much used for embroidery, &c. cf. Greene’sJames IV(1592), iv,III, where Slipper ordering a doublet cries: ‘Edge me the sleeves with Coventry blue.’ Ben Jonson,Gipsies Metamorph.(1621), speaks of ‘A skein of Coventry blue’.p. 395Tawdrums.Fal-lals. cf. Marston’sDutch Courtezan(4to 1605), v, ‘no matter for lace and tawdrums’.
Dedication
p. 316, l. 1The Epistle Dedicatory.This only appears in 4to 1696. It is there followed byAn Account of the Life of the Incomparable Mrs. BEHN, an entirely worthless composition of some three pages, afterwards vastly expanded intoMemoirs‘by one of the Fair Sex’.
p. 316, l. 21The narrow Virtues ... [which] were.4to 1696 omits ‘which’ but it is necessary that this or some similar word be inserted to make the paragraph sufficiently grammatical.
Prologue
p. 319, l. 9an Intriguer.4to 1696 ‘the intrigues’.
p. 319, l. 17Mistress young.4to 1696 erroneously gives ‘young’ as a proper name ‘Mistress Young’.
Dramatis Personæ
p. 321Dramatis Personæ.I have added ‘Philip; Diana; Pages, Footmen, Masqueraders, Servants, Rakehells, &c.’ 4to 1696 spells Britton ‘Brittone’; Mr. Pinketham ‘Mr. Pinkerman.’ Powell is indifferently spelt ‘Powell’ or ‘Powel’.
Act I: Scene i
p. 327, l. 2he.4to 1696 omits.
p. 327, l. 7Prince.Here and in ll. 11 and 19 all former editions give speech-prefix ‘Fred’, but afterwards uniformly ‘Prince’ throughout the play.
p. 329, l. 31a.4to 1696 omits.
p. 329, l. 34Tablets: 4to 1696 gives ‘Tablets write:’ which is obviously a misprint for ‘Tablets written:’ or, perhaps, ‘Tablets writ’.
Act I: Scene ii
p. 330, l. 23Caudle.Here, and in the following line, 4to 1696 misprints ‘Candle’.
p. 332, l. 22set.1724 ‘sit’.
p. 337, l. 7Sir Mer.4to 1696 misprints ‘Sir Mark.’
p. 337, l. 19George Kneels.I have inserted ‘George’.
p. 337, l. 20Ay, Sir.4to 1696 marks this line ‘Aside.’ An obvious error.
p.338, l. 10Sir Rowland.4to 1696 ‘Sir Merlin’.
p. 338, l. 16Chaplain [Mr. Twang], and leaning.4to 1696 ‘her Chaplain, and leaning’. I have inserted Twang’s name and given inl. 19speech-prefix ‘Twang’ which all former editions mark ‘Chap.’, altering, however, to ‘Twang’ later in this scene at ‘Truly, Madam’.
p. 339, l. 20cuckold.4to 1696 ‘Cuckhold’.
p. 339, l. 34The End of the First Act.Only in 4to 1696.
Act II: Scene i
p. 340, l. 2Sir Rowland’s Lodging.I have supplied this locale.
p. 340, l. 29Lookye.4to 1696 has ‘(Alone.) Lookye’—an obvious error. ‘(Alone.)’ is probably a misprint for ‘(Aloud.)’ which is of itself quite unnecessary.
p. 341, l. 13Hearts.4to 1696 ‘Heats’.
p. 342, l. 3’twill.4to 1696 ‘will’.
p. 342, l. 19India.4to 1696 ‘Indian’.
Act II: Scene ii
p. 343, l. 13A Chamber.I have supplied this locale.
p. 346, l. 17Hackney-Coach.4to 1696 ‘Hackney’.
p. 346, l. 31pimp.4to 1696 misprints ‘Pump’.
p. 348, l. 8they.4to 1696 omits.
p. 349, l. 29Sir Morgan Blunder’s.4to 1696 ‘Sir M. Blun.’
Act II: Scene iii
p. 350, l. 24Another Chamber.I have supplied this locale.
p. 351, l. 10another.4to 1696 adds to this stage direction ‘Sir Mer. together.’
p. 352, l. 7a Tendre.1724 omits ‘a’.
p. 353, l. 11too.4to 1696 ‘to’.
Act III: Scene i
p. 354, l. 2A rich Chamber.I have supplied this locale.
p. 358, l. 4Expectations.1724 ‘Expectation’.
p. 358, l. 34Olivia enters.4to 1696 reads ‘Enter Olivia with a letter. Olivia gives Welborn the letter.’
p. 359, l. 33Enter Sir Morgan.Before the couplet 4to 1696 repeats ‘Sir Morg. and Sir Merl. singing.’
p. 360, l. 10de.1724 here and elsewhere ‘d’ye’.
Act III: Scene ii
p. 362, l. 18you.4to 1696 ‘thou’.
Act III: Scene iii
p. 363, l. 17Whither?4to 1696 ‘Whether?’
p. 367, l. 26Exeunt.I have added this stage direction.
Act IV: Scene i
p. 370, l. 30Exit Prince with Mirtilla.Former editions ‘and Mirtilla’.
p. 371, l. 14Exit.4to 1696 ‘Exit George.’
p. 373, l. 15Exeunt.4to 1696 ‘Exit both.’
p. 373, l. 23of thy hopes.4to 1696 omits ‘of’.
p. 373, l. 32ruffle, ravish, and ruin.4to 1696 ‘Ruffles, Ravishes, and Ruines’.
p. 374, l. 8Racks.4to 1696 ‘Wrecks’.
p. 374, l. 35feebly.1724 ‘freely’. A patent error.
p. 375, l. 4near to being.1724 ‘near being’.
p. 375, l. 33Exeunt.Not in 4to 1696.
Act IV: Scene ii
p. 376, l. 1Scene II.I have numbered this scene, and the following (p. 378, l. 16.)Scene III.
Act I:V Scene iii
p. 379, l. 33Sir Merlin with his Sword.4to 1696 ‘Sir Merlin his Sword’.
p. 380, l. 19she cries out.1724 omits ‘out’.
p. 381, l. 17My Lady’s maid.I have inserted these words.
Act V: Scene i
p. 383, l. 27Welborn’s Chamber.I have marked this locale.
p. 385, l. 13him.1724 ‘them’.
Act V: Scene ii
p. 386, l. 18has.4to 1696 ‘had’.
p. 386, l. 24Mirtilla.All previous editions here have ‘Lydia’, which makes no sense. It is probable that the original name of Mirtilla was Lydia, and Mrs. Behn, or Gildon, neglected to alter it in this passage.
Act V: Scene iii
p. 388, l. 28Scene III.All previous editions have ‘Scene discovers Mirtilla and Manage.’
p. 388, l. 35you have left.1724 ‘you left’.
p. 393, l. 17Exit Olivia with Manage.I have added Manage’s name here.
Act V: Scene iv
p. 394, l. 1Scene IV.I have numbered this scene.
Epilogue
p. 398, l. 26Fough, how he stinks!4to 1696 ‘Fough, he how he stinks?’
Dedication
p. 316Collonel Codrington.Christopher Codrington (1668-1710) was born at Barbadoes, and thence sent to England to be educated. In 1685 he passed as a gentleman commoner to Christ Church, Oxford. Five years later he was elected as a probationer fellow to All Souls. Here he speedily became known for the catholicity and thoroughness of his studies, and ‘soon acquir’d the deserv’d character of an accomplished, well-bred gentleman, and an universal scholar’. He was already an enthusiastic bibliophile. In 1694 he followed William III to Flanders, and having fought with great gallantry at Hay and Namur in 1695, received various military distinctions. In the same year he attended the King to Oxford, and pronounced the university oration on this royal visit. There are dedications to him by Creech, Dennis, and others, but it has been pertinently remarked that ‘his fame is rather to be inferred’ hence ‘than from actually existent performances on his part’, albeit we have copies of complimentary verses (e.g. prefixed to Garth’sDispensary) from his pen. In 1697 he succeeded his father as commander-in-chief of the Leeward Isles. He does not seem to have been popular, and resigned in 1703, retiring to a life of seclusion and study on his Barbadoes estate. He died 7 April, 1710, and his body was brought back to England to be buried in All Souls’ chapel. To this college he left £10,000, and £6,000 worth of books, a legacy which built, furnished and endowed the magnificent Codrington library there.
p. 317Mr. Verbruggen’s reading some of his part.One may remember the incident recorded by Pepys (2 February, 1669), how, after Kynaston had been assaulted by Sedley’s bravos, and was too ill to appear, the young actor’s rôle was ‘done by Beeston, who is fain to read it out of a book all the while and thereby spoils the part, and almost the play, it being one of the best parts in it.... But it was pleasant to see Beeston come in with others, supposing it to be dark, and yet he is forced to read his part by the light of the candles: and this I observing to a gentleman that sat by me, he was mightily pleased therewith, and spread it up and down.’
Prologue
p. 319grave Sir Roger.‘Sir Roger’ was a common nickname for any clergyman from the well-known comic character ‘Sir Roger, Curate to theLady’, in Beaumont and Fletcher’s popularThe Scornful Lady. This excellent play, a rare favourite with Restoration audiences, kept the boards until the death of Mrs. Oldfield in 1730. After the great actress’ demise it would seem that none of her successors ventured to attempt the title-rôle, hence the piece soon fell out of the repertory. In 1783, however, an alteration, made by Cooke the barrister for Mrs. Abington, was produced with great success at Covent Garden. In this meagre adaptation the Curate disappears. Shanks originally acted this part, but Lacy was the acknowledged ‘Sir Roger’ in Restoration days.
Act I: Scene i
p. 326making Wax Babies.Playing at dolls.
p. 330Southampton Square.The original name of Bloomsbury Square, so called from the Earl of Southampton’s town residence, afterwards Bedford House. Southampton Square was at this period, and for long afterwards, the headquarters of fashion in the metropolis:videfurther, Vol. III,The Town Fop, p. 22, ‘Southampton House,’ and note on that passage (p. 476).Cross-Reference:The Town Fop
Act I: Scene ii
p. 331Mr. Motteux.Peter Anthony Motteux was a French Hugenot who came to England upon the restoration of the Edict of Nantes (1685). He soon mixed with the gayest society, and became well known as a prolific writer of songs, prologues, epilogues, masques, and the lighter dramatic fare. Much of this work is not lacking in wit and volatile smartness, but it is all far too ephemeral to have any permanent value as literature. He editedThe Gentleman’s Journal, but is perhaps best remembered for his translation ofDon Quixote, and his concluding Urquhart’s version of Rabelais.
p. 331the Rose.This celebrated house stood in Russell Street, Covent Garden, and adjoined Drury Lane. There are innumerable references to it. The greater portion of the ‘Rose’ was demolished in 1776, when a new front was being built to the theatre.
p. 331scours.i.e. violently assaults. ‘To scour’ was to rampage the streets, breaking windows, fighting with passers-by, beating the watch, &c. Shadwell has an excellent comedy,The Scowrers(1691), which, giving a vivid picture of the times, show these drunken and blackguardly gentry in a very unamiable light. Several plays treat of their exploits. Vanbrugh’sThe Provoked Wife(1696), Act iii,II, and iv,IIandIV, is perhaps the locusclassicalfor mohocking.
p. 333the Poet Sternhold.Thomas Sternhold (ob.1549), was the author with John Hopkins (ob.1570), of a metrical version of the Psalms, which became a bye-word for doggerel. Sir Morgan is, of course, alluding to some pious rhymes groaned on the way to the triple tree. cf. Shadwell,The Miser(1672), i,I, ‘She would be more welcome to thee than a reprieve would, if thou wert just now trolling out Hopkins and Sternhold upon a ladder.’
p. 333Billmen in Flannel.Bills were the common weapon of the watch. cf.The Coxcomb(folio 1647), Act i, where Ricardo says to the constable of the watch, ‘Give me the bill, for I’ll be the sergeant.’ Doctor Johnson tells us that the Lichfield watchmen carried bills as late as 1778.
p. 333Wills’Coffee-house. videVol. III, Preface,The Lucky Chance, p. 187, and note on that passage (p. 484).Cross-Reference:The Lucky Chance
p. 334his Third Day. videVol. III, Preface,The Lucky Chance, p. 187, and note on that passage (p. 484).Cross-Reference:The Lucky Chance
p. 334old Adam. videVol. I,The Rover, Part II, p. 133, and note on that passage (p. 446).Cross-Reference:The Rover
p. 334The Country Justice’s Calling. vide supra,The Widow Ranter, p. 265.Dalton’s Country Justice, andnoteon that passage.
Act II: Scene i
p. 341by Inch of Candle.An auction where bids are taken so long as an inch of candle burns, the last bid before the flame expires obtaining the lot.
p. 342a Termer.Originally a frequenter of the law courts, and as many came up from the country to London during term time on legal business, it occasionally (as here) signified an unsophisticated stranger. In Dryden’sSir Martin Mar-All(1667), i, Mrs. Millicent, newly arrived from Canterbury, replies to Lady Dupe’s greeting, ‘I came up, Madam, as we country-gentlewomen use at an Easter term, to the destruction of tarts and cheese cakes, to see a new play, buy a new gown, take a turn in the Park, and so down again to sleep with my forefathers.’ In Mountford’s farce,Dr. Faustus(4to 1697, but produced at the Theatre Royal November-December, 1685, or very early in 1686), we have Scaramouch asking what practice the Doctor has, and Harlequin replies: ‘Why his Business is to patch up rotten Whores against the Term for Country Lawyers and Attorneys Clerks; and againstChristmas,Easter, andWhitsunHolidays, for City Apprentices.’ cf. Southerne’sOroonoko(1696), i,I, when Charlot Welldon says to her sister Lucia, ‘Nay, the young Inns-of-Court beaus, of but one Term’s standing in the fashion, who knew nobody but as they were shown ’em by the orange-women, had nicknames for us.’ More often a Termer meant ‘A person, whether male or female, who resorted to London in term time only, for the sake of tricks to be practised, or intrigues to be carried on at that period.’ —(Nares.)
Act II: Scene ii
p. 347Sa.i.e. Save us! Sir Morgan has a frequent exclamation ‘God sa me!’ God save me! The abbreviation is early and frequent.
Act III: Scene i
p. 356the Country of True Love.Mrs. Behn, an omnivorous reader of romances, was thinking of the celebratedCarte de Tendre(Loveland), to be found in Mlle. de Scudéri’sClélie(1654, Vol. I, p. 399), and reproduced in the English folio edition of 1678. This fantastic map, which is said to have been suggested by Chapelain, aroused unbounded ridicule. In sceneIVof Molière’sLes Précieuses Ridicules(1659), Cathos cries, ‘Je m’en vais gager qu’ils n’ont jamais vu la carte de Tendre, et que Billets-Doux, Petits-Soins, Billets-Galante, et Jolis-Vers sont des terres inconnues pour eux.’ This imaginary land is divided by the River of Inclination: on the one side are the towns of Respect, Generosity, A Great Heart, and the like; on the other Constant Friendship, Assiduity, Submission, &c. Across the Dangerous Sea another continent is marked, ‘Countreys undiscovered.’Terra Incognita.
The extravagant penchant for romances of the ScudériParthenissaschool was amply satirized by Steele in his clever comedyThe Tender Husband(1705), and as late as 1752 by Mrs. Charlotte Lennox inThe Female Quixote, an amusing novel.
p. 360old Queen Bess in the Westminster-Cupboard.The waxen effigies which yet remain at Westminster are preserved in the wainscot presses over the Islip Chapel. Queen Elizabeth, in her tattered velvet robes, is still one of the most famous. They were formerly far more numerous. A waxen figure of the deceased, dressed in the habit worn whilst living, was, in the case of any royal or notable personage, very frequently carried as part of the torchlight funeral procession and, after the obsequies, left over the grave to serve as a kind of temporary monument.
Act III: Scene iii
p. 366drink up the Sun.i.e. carouse till dawn.
Act IV: Scene iii
p. 379a Back like an Elephant—’twill bear a Castle.Dr. Aldis Wright, in his notes onTwelfth Night, draws attention to the fact that the celebrated ‘Elephant and Castle,’ at Newington, in the south suburbs of London, can be traced back to the middle of the seventeenth century.
p. 380Old Queen Gwiniver.For ‘Queen Gwiniver’ applied as a term of abuse to an old woman cf. Dekker’sSatiromastix, or, The Untrussing of the Humorous Poet(4to 1602), iii,I, where Tucca rallying Mistress Miniver cries: ‘Now, now, mother Bunch, how dost thou? what, dost frowne, Queen Gwyniver, dost wrinckle?’ The reference is, of course, to Arthur’s queen.
Act V: Scene iii
p. 390Ha! what do I see?cf. The incident inThe Plain Dealer, iv,II, of which there are obvious reminiscences here. Olivia, making love to Fidelia, who is dressed as a boy, is surprised by Vernish. Olivia runs out, and he discovering the supposed lad to be a woman proceeds to turn the tables on his spouse.
Act V: Scene iv
p. 394this Tour.cf. ‘your false Towers’,The False Count, i,II(Vol. III, p. 116), and note on that passage (p. 480).Cross-Reference:The False Count
p. 394Fontange.A ‘fontange’ was a bow of ribbons, so called from the celebrated Madame de Fontanges. Her hair coming down during a hunting-party at Vincennes, she tied it up hastily with one of her garters. Louis XIV, whose mistress she was, so admired the result that he begged her to continue to wear her hair in the same way. This set the fashion, which soon spread into England and long remained popular. cf. Shadwell’sBury Fair(1689), ii,II: ‘Milliner.What d’ye lack, Ladies? fine Mazarine hoods, fontanges, girdles, sable tippets?’
p. 394Coventry-Blue.A kind of blue thread manufactured at Coventry and formerly much used for embroidery, &c. cf. Greene’sJames IV(1592), iv,III, where Slipper ordering a doublet cries: ‘Edge me the sleeves with Coventry blue.’ Ben Jonson,Gipsies Metamorph.(1621), speaks of ‘A skein of Coventry blue’.
p. 395Tawdrums.Fal-lals. cf. Marston’sDutch Courtezan(4to 1605), v, ‘no matter for lace and tawdrums’.
Cross-ReferencesNote to p. 330:Southampton Square.Town Foptext:meet me to morrow Morning about five, with your Sword in your Hand, behindSouthamptonHouseTown Fopnote:Southampton House. Southampton House, Bloomsbury, occupied the whole of the north side of the present Bloomsbury Square. It had ‘a curious garden behind, which lieth open to the fields,’—Strype. A great rendezvous for duellists, cf. Epilogue to Mountfort’sGreenwich Park(Drury Lane, 1691) spoken by Mrs. Mountfort:—If you’re displeased with what you’ve seen to-nightBehind Southampton House we’ll do you right;Who is’t dares draw ’gainst me and Mrs. Knight?Note to p. 333:Wills’ Coffee-house.Lucky Chancetext:a Wit of the Town, a Friend of mine at Wills Coffee HouseLucky Chancenote:Wills Coffee House. This famous coffee-house was No. 1 Bow Street, Covent Garden, on the west side corner of Russell Street. It derived its name from Will Unwin who kept it. The wits’ room was upstairs on the first floor. Some of its reputation was due to the fact that it was a favourite resort of Dryden.Note to p. 334:his Third Day.Lucky Chancetext:I will be kinder to my Brothers of the Pen, than they have been to a defenceless Woman; for I am not content to write for a Third day only.Lucky Chancenote:write for a Third day only. The whole profits of the third day’s performance went to the author of the play; and upon these occasions his friends and patrons would naturally rally to support him. There are numberless allusions to this custom, especially in Prefaces, Prologues and Epilogues.Note to p. 334:old Adam.Rover IItext:For your parts, who are the poor dependent, brown Bread and old Adam’s Ale is only current amongst yeRover IInote:old Adam’s Ale.A very ancient colloquialism for water. In Scotland ‘Adam’s wine’ and frequently merely ‘Adam’. Prynne in hisSovereign Power of Parliament(1648), speaks of prisoners ‘allowed only a poor pittance of Adam’s ale.’ cf. Peter Pindar (John Wolcot),The Lousiad, Canto ii, ll. 453-4:—Old Adam’s beverage flows with prideFrom wide-mouthed pitchers in a plenteous tide.Note to p. 394:this Tour.False Counttext:you must be a Lady, and have your Petticoats lac’d four Stories high; wear your false Towers, and cool your self with yourSpanishFanFalse Countnote:Towers.The tower at this time was a curled frontlet of false hair. cf. Crowne’sThe Country Wit(1675), Act ii,II, where Lady Faddle cries to her maid, ‘run to my milliner’s for my gloves and essences ... run for my new towre.’ Shadwell,The Virtuoso(1676), Act iii, mentions ‘Tires for the head, locks, tours, frouzes, and so forth’.The Debauchee(1677), Act ii,I: Mrs. Saleware speaks of buying ‘fine clothes, and tours, and Points and knots.’The Younger Brother(1696), Act v, the last scene, old Lady Youthly anxiously asks her maid, ‘is not this Tour too brown?’ During the reign of Mary II and particularly in the time of Anne a Tower meant almost exclusively the high starched head-dress in vogue at that period.Arrangement of Editor’s NotesIn the printed book, all notes were grouped at the end of the volume as “Notes on the Plays” and “Notes: Critical and Explanatory”. For this e-text, Notes have been placed after their respective plays.The Notes as printed give only page and line numbers. References to Acts and Scenes were added by the transcriber. All links lead directly to the cited text. Annotated passages are identified in the body text with two kinds of link:dotted underliningfor text notes;solid underliningfor critical notes. Passages that have both kinds of note are linked to the “Critical and Explanatory” note.The critical notes include a few cross-references to other volumes of the Complete Works. Where appropriate, these texts are quoted after each play’s Notes. The “N.E.D.” of the Notes is now generally known as the OED.In the Notes, the variation between .’ and ’. (close quote before or after final period) is as printed and has not been regularized. The abbreviation “cf.” is always lower-case. Brackets are in the original.
Note to p. 330:Southampton Square.
Town Foptext:
meet me to morrow Morning about five, with your Sword in your Hand, behindSouthamptonHouse
Town Fopnote:
Southampton House. Southampton House, Bloomsbury, occupied the whole of the north side of the present Bloomsbury Square. It had ‘a curious garden behind, which lieth open to the fields,’—Strype. A great rendezvous for duellists, cf. Epilogue to Mountfort’sGreenwich Park(Drury Lane, 1691) spoken by Mrs. Mountfort:—
If you’re displeased with what you’ve seen to-nightBehind Southampton House we’ll do you right;Who is’t dares draw ’gainst me and Mrs. Knight?
If you’re displeased with what you’ve seen to-night
Behind Southampton House we’ll do you right;
Who is’t dares draw ’gainst me and Mrs. Knight?
Note to p. 333:Wills’ Coffee-house.
Lucky Chancetext:
a Wit of the Town, a Friend of mine at Wills Coffee House
Lucky Chancenote:
Wills Coffee House. This famous coffee-house was No. 1 Bow Street, Covent Garden, on the west side corner of Russell Street. It derived its name from Will Unwin who kept it. The wits’ room was upstairs on the first floor. Some of its reputation was due to the fact that it was a favourite resort of Dryden.
Note to p. 334:his Third Day.
Lucky Chancetext:
I will be kinder to my Brothers of the Pen, than they have been to a defenceless Woman; for I am not content to write for a Third day only.
Lucky Chancenote:
write for a Third day only. The whole profits of the third day’s performance went to the author of the play; and upon these occasions his friends and patrons would naturally rally to support him. There are numberless allusions to this custom, especially in Prefaces, Prologues and Epilogues.
Note to p. 334:old Adam.
Rover IItext:
For your parts, who are the poor dependent, brown Bread and old Adam’s Ale is only current amongst ye
Rover IInote:
old Adam’s Ale.A very ancient colloquialism for water. In Scotland ‘Adam’s wine’ and frequently merely ‘Adam’. Prynne in hisSovereign Power of Parliament(1648), speaks of prisoners ‘allowed only a poor pittance of Adam’s ale.’ cf. Peter Pindar (John Wolcot),The Lousiad, Canto ii, ll. 453-4:—
Old Adam’s beverage flows with prideFrom wide-mouthed pitchers in a plenteous tide.
Old Adam’s beverage flows with pride
From wide-mouthed pitchers in a plenteous tide.
Note to p. 394:this Tour.
False Counttext:
you must be a Lady, and have your Petticoats lac’d four Stories high; wear your false Towers, and cool your self with yourSpanishFan
False Countnote:
Towers.The tower at this time was a curled frontlet of false hair. cf. Crowne’sThe Country Wit(1675), Act ii,II, where Lady Faddle cries to her maid, ‘run to my milliner’s for my gloves and essences ... run for my new towre.’ Shadwell,The Virtuoso(1676), Act iii, mentions ‘Tires for the head, locks, tours, frouzes, and so forth’.The Debauchee(1677), Act ii,I: Mrs. Saleware speaks of buying ‘fine clothes, and tours, and Points and knots.’The Younger Brother(1696), Act v, the last scene, old Lady Youthly anxiously asks her maid, ‘is not this Tour too brown?’ During the reign of Mary II and particularly in the time of Anne a Tower meant almost exclusively the high starched head-dress in vogue at that period.
Arrangement of Editor’s NotesIn the printed book, all notes were grouped at the end of the volume as “Notes on the Plays” and “Notes: Critical and Explanatory”. For this e-text, Notes have been placed after their respective plays.The Notes as printed give only page and line numbers. References to Acts and Scenes were added by the transcriber. All links lead directly to the cited text. Annotated passages are identified in the body text with two kinds of link:dotted underliningfor text notes;solid underliningfor critical notes. Passages that have both kinds of note are linked to the “Critical and Explanatory” note.The critical notes include a few cross-references to other volumes of the Complete Works. Where appropriate, these texts are quoted after each play’s Notes. The “N.E.D.” of the Notes is now generally known as the OED.In the Notes, the variation between .’ and ’. (close quote before or after final period) is as printed and has not been regularized. The abbreviation “cf.” is always lower-case. Brackets are in the original.
In the printed book, all notes were grouped at the end of the volume as “Notes on the Plays” and “Notes: Critical and Explanatory”. For this e-text, Notes have been placed after their respective plays.
The Notes as printed give only page and line numbers. References to Acts and Scenes were added by the transcriber. All links lead directly to the cited text. Annotated passages are identified in the body text with two kinds of link:dotted underliningfor text notes;solid underliningfor critical notes. Passages that have both kinds of note are linked to the “Critical and Explanatory” note.
The critical notes include a few cross-references to other volumes of the Complete Works. Where appropriate, these texts are quoted after each play’s Notes. The “N.E.D.” of the Notes is now generally known as the OED.
In the Notes, the variation between .’ and ’. (close quote before or after final period) is as printed and has not been regularized. The abbreviation “cf.” is always lower-case. Brackets are in the original.