Notes on the Text.Rover II.Dramatis Personæp. 117I have added to the Dramatis Personæ ‘Rag, boy to Willmore’, and ‘Porter at the English Ambassador’s’.Act I: Scene ip. 118, l. 2Scene I.I have added the locale ‘A Street’.p. 118, l. 4Campain.4to 1681 ‘campania’.p. 120, l. 17but cold.1724 ‘and cold’.p. 120, l. 28embracing.1724 omits.p. 120, l. 32Philies.4to 1681 ‘Philoes’.p. 122, l. 30Brussels.4to 1681 ‘Bruxels’.p. 123, l. 21But that.1724 prints these two lines as prose.p. 124, l. 3Marcy.1724 ‘Mercy’.p. 126, l. 16get ’em ready.1724 ‘get it ready’.p. 128, l. 33pickl’d Pilchard.1724. ‘pickle Pilchard’.p. 128, l. 34like a Christmas Sweet-heart.4to 1681 ‘boto Christmas Sweet-heart’.p. 129, l. 26have I.1724 ‘I have’.Act I: Scene iap. 131, l. 36hot Shot, 1724 omits ‘hot’.p. 134, l. 9to receive.1724, wrongly, ‘to deceive’.Act II: Scene ip. 135, l. 9Scene I.I have added the locale ‘The Street’.p. 142, l. 5Harlequin, Scaramouche.I have added these two names to the stage direction. Harlequin is obviously present from the business. Scaramouche is given in Dramatis Personæ, 4to 1681 and 1724, but in neither is any entry or exit marked throughout the play. In Killigrew, whom Mrs. Behn is here following very closely, Scaramouche is the quack’s servant and appears in this scene. Accordingly I have marked him an entrance.p. 142, l. 13Maremaids.1724 ‘Mairmaids’.p. 142, l. 26an a Man.4to 1681 ‘and a Man’.p. 142, l. 28and falls.4to 1681 ‘who falls’.p. 145, l. 30on the Mountebank’s Stage.4to 1681 ‘on the stage of the Mountebank’.p. 146, l. 1This is flat Conjuration.4to 1681 ‘This flat Conjuration’.p. 146, l. 7what’s here.4to 1681 ‘what here’.p. 148, l. 11Ex. Feth. and Blunt.4to 1681 and 1724 ‘[Ex.’Act II: Scene iip. 148, l. 12Scene II. Changes.4to 1681 and 1724 ‘Scene changes’.p. 148, ll. 21, 27, 33[bis.1724 omits.p. 150, l. 2my Cousin Endymion.1724 ‘Endymion’s’.p. 150, l. 16Sommes.4to 1681 and 1724 ‘somme’.p. 152, l. 5Snush.1724 ‘snuff’.Act III: Scene ip. 154, l. 25Gargantua.4to 1681 ‘Garigantua’, and omits ‘of’.p. 155, l. 5and Harlequin attending.Harlequin’s entrance is not marked in 4to 1681 or in 1724, but it is necessary here as he is addressed by the Dwarf.p. 156, l. 22Hu, how scornful.1724 omits ‘Hu’.p. 157, l. 37with Harlequin.Harlequin’s exit unmarked in 4to 1681 and 1724.p. 159, l. 10Talks to Hunt.4to 1681, wrongly, ‘Talks to Will’.p. 161, l. 4faithless as the Winds.1724 ‘Wind’.p. 161, l. 17fixt Resolves.1724 ‘fixt Resolve’.p. 163, l. 13he may again rally.1724 ‘railly’.p. 163, l. 27them that tries me.1724 ‘them that tire me’.p. 165, l. 21set such Price on.1724 ‘set a Price on’.p. 165, l. 33I grow weary.4to 1681 ‘I grew weary’.p. 166, l. 2sure he knows me not.1724 omits ‘he’.p. 166, l. 16better than an Age of Scorn from a proud faithless Beauty?1724 ‘better from Age of Scorn than a proud faithless Beauty?’p. 167, l. 2and all to bekiss me.1724 ‘and kiss me’.p. 167, l. 21Laying his hand on his Sword.4to 1681 gives stage direction as ‘[His Sword.’p. 168, l. 23ails he?1724 ‘ye’.p. 169, l. 24who wou’st.4to 1681 ‘who’st’. 1724 ‘wou’st’.p. 169, l. 25turn me out despis’d.1724 ‘turn me out so despis’d’.p. 169, l. 28Charms shall hold.4to 1681 ‘Charms can hold’.p. 169, l. 35she holds him.1724 omits ‘him’.p. 171, l. 3a Purse or hands full of Gold.1724 ‘a Purse of Gold’.Act IV: Scene ip. 172, l. 30Ariadne. [feels.] Tis so!1724 omits ‘[feels]’.Act IV: Scene iap. 173, l. 3I ever had.1724, wrongly, ‘I ne’er had’.p. 173, l. 27My hope.4to 1681 ‘ever hope’.p. 174, l. 3Orange-grove.1724 ‘orange-garden’.p. 175, l. 20Was this done.1724 ‘Was not this done’.p. 178, l. 28in the Piazza.4to 1681 ‘Piazzo’, and always this form.p. 178, l. 35and goes out.4to 1681 ‘and ex.’p. 181, l. 11whistle to the Birds.1724 ‘whistle to Birds’.Act IV: Scene ibp. 182, l. 18Aur. Well, the Stranger.1724 ‘Ant. Well, the Stranger’.p. 183, l. 6that was the Reason then she came.1724 omits ‘then’.p. 183, l. 13The Seigniora perhaps may be angry.1724 ‘Seignior’.p. 184, l. 1Damn all dissembling.1724 prints this speech as prose.p. 184, l. 9Love’s diviner Dictates.1724 ‘Love’s divine Dictates’.Act IV: Scene icp. 184, l. 19false Tenents.1724, wrongly, ‘False Tenements’.p. 187, l. 13Oh, any whither, any whither.1724 ‘any where, any where’.Act IV: Scene idp. 187, l. 24I believed he had.1724 ‘I believe he has’.p. 187, l. 31no matter whither ’tis.1724 ‘no matter which ’tis’.p. 188, l. 9Abev. sings.4to 1681 and 1724 ‘The Boy sings ...’, but his name has already been given.Act V: Scene ip. 190, l. 11To find out this Rest.1724 ‘To find this Rest’.p. 190, l. 32La Nu. ’Tis he whom I expect.1724 gives this speech as prose.p. 191, l. 10whence I fetcht my Gold.1724 ‘whence I fetch my Gold’.p. 191, l. 18they are by dark.1724 omits.p. 192, l. 33What is’t to be adorn’d.1724 ‘What ’tis to be adorn’d’.p. 193, l. 19Wou’d! by Heaven, thou hast.1724 gives this as prose, 1681 metrically. I have followed the 4to, attempting a rather better division of the lines.p. 193, l. 32The last indeed.The first three lines of this speech metrically as 4to 1681. 1724 prints as prose.p. 194, l. 22his Youth and Beauty.4to 1681 ‘this Youth and Beauty’.p. 195, l. 5not a Landlady. [bis.1724 omits ‘[bis.’p. 195, l. 18La Nu. Left by both!4to 1681 ‘Left by both?’p. 195, l. 20and Beau.I have added this exit. It is unmarked in 4to 1681 and in 1724.Act V: Scene iiip. 198, l. 9in the dark.4to 1681 ‘by dark’.p. 199, l. 2un Portavera Poco.1724 misprints ‘Porsavera’.p. 200, l. 12Harl. Qui est là?4to 1681 ‘Harl. Que et la!’p. 200, l. 17I am discover’d.1724 ‘I am discower’d’.Act V: Scene iiiap. 200, l. 22Feth. Hah— my Lady Monster!4to 1681 omits to mark at change of scene Feth. again as speech-prefix.p. 203, l. 13Ex. all.1724 omits ‘all’.p. 203, l. 31out of hand. [Aside.4to 1681 omits ‘Aside’.p. 205, l. 27Ariadne!— How vain is all.1724 give this speech as prose. I have followed the metrical division of the 4to 1681 with some slight rearrangement of the lines.p. 208, l. 23John Potages.1724. ‘Jean Potages’.p. 208, l. 26thou foul filthy Synagogue.1724. ‘foul-filthy’.p. 209, l. 23d’ye see.4to 1681 ‘de see’.p. 209, l. 24Myrmidons.4to 1681 ‘Mermidons’.p. 209, l. 28wiser than your other Men.1724 omits ‘your’,p. 210, l. 21Gets from her.1724 omits this stage direction.p. 211, l. 14They lay hold on him.4to 1681 ‘of him’.Epiloguep. 212, l. 26nobly throw away.1724 ‘throw a Way’.p. 213, ll. 3-22All this won’t do.The concluding twenty lines of the Epilogue are only given in 4to 1681. All subsequent editions omit them.Notes: Critical And Explanatory.Rover II.Dedicationp. 113The Duke.James, Duke of York, for whom Mrs, Behn, a thorough Tory, entertained sentiments of deepest loyalty. The ‘absence’, ‘voluntary Exile’, ‘new Exiles’, mentioned in the Dedication all referto James’ withdrawal from England in 1679, at the time of the seditious agitation to pass an illegal Exclusion Bill. The Duke left on 4 March for Amsterdam, afterwards residing at the Hague. In August he came back, Charles being very ill. Upon the King’s recovery he retired to Scotland 27 October. In March, 1682, he paid a brief visit to the King, finally returning home June of the same year.p. 114.young Cesar in the Field.During the Commonwealth and his first exile James had joined Turenne’s army, 24 April, 1652, and was frequently in the field. He distinguished himself by conspicuous bravery. In 1656, at the wish of Charles, he joined the Spanish army.p. 114Some of Oliver’s Commanders at Dunkirk.During the Flanders campaign of 1657, Reynolds, the commander of the English at Dunkirk, sought and obtained an interview with James, whom he treated with the most marked respect and honour. This was reported to Cromwell, much to the Protector’s chagrin and alarm.p. 115.City Pope.An allusion to the exploits of Elkanah Settle, who was so notorious at that time for violent Whiggism that in 1680 he had presided over the senseless city ceremony of ‘Pope-burning’ on 17 November. This annual piece of ridiculous pageantry is smartly described by Dryden in his Prologue to Southerne’sThe Loyal Brother(1682); and in the Epilogue toOedipus, (1679), after enumerating the attractions of the play, he ends—We know not what you can desire or hopeTo please you more, but burning of a Pope.There are many contemporary references to Settle and his ‘fireworks’. Otway, inThe Poet’s Complaint(4to, 1680), speaks of Rebellion cockering the silly rabble with ‘November squibs and burning pasteboard Popes’, canto xi. Duke, in the Epilogue to the same author’sThe Atheist(1683), says that the poet never ‘made one rocket on Queen Bess’s night’. In Scott’sDryden, Vol. VI (1808) is given a cut representing the tom-fool procession of 1679, in which an effigy of the murdered Sir Edmund Bury Godfrey had a chief place. There were ‘ingenious fireworks’ and a bonfire. A scurrilous broadside of the day, with regard to the shouting, says that ‘’twas believed the echo ... reached Scotland [the Duke was then residing in the North], France, and even Rome itself damping them all with a dreadfull astonishment.’ The stage at this juncture of fierce political strife had become a veritable battle-ground of parties, and some stir was caused by Settle’s blatant, but not ineffective, melodrama on the subject of that mythical dameThe Female Prelate, being the History of the Life and Death of Pope Joan, produced at the Theatre Royal, 1680. This play itself is often referred to, and there are other allusions to Pope Joan about this time, e.g., in the Epilogue to Lee’sCæsar Borgia(1679), where the author says a certain clique could not have been more resolute to damn his playHad he the Pope’s Effigies meant to burn,.......Nay, conjur’d up Pope Joan to please the age,And had her breeches search’d upon the stage.cf. also Mrs. Behn in her own Epilogue when she speaks of ‘fat Cardinals, Pope Joans, and Fryers’; and Lord Falkland’s scoff in his Prologue to Otway’sThe Soldier’s Fortune(1680):—But a more pow’rful Saint enjoys ye now.......The fairest Prelate of her time, and best.Lord Falkland of course points at the play.Prologuep. 116lofty Tire.The Upper Gallery, the price of admission to which was one shilling. It was the cheapest part of the theatre, and is often alluded to in Prologue and Epilogue, but generally with abuse or sarcasm. Dryden, in his Prologue to Tate’sThe Loyal General(1680), caustically advises:—Remove your benches, you apostate pit,And take, above, twelve pennyworth of wit;Go back to your dear dancing on the rope,Or see what’s worse, the Devil and the Pope.Dramatis Personæp. 117Harlequin, Willmore’s Man.Although no actor’s name is printed for Harlequin, the part was undoubtedly played by Shadwell’s brother-in-law, Tom Jevon, who, at the age of twenty-one, had joined the company in 1673. Originally a dancing-master (Langbaine notes his ‘activity’), he became famous in low comedy and particularly for his lithe and nimble Harlequins. In Otway’sFriendship in Fashion(1677) Malagene, a character written for and created by Jevon, says, ‘I’m a very good mimick; I can act Punchinello, Scaramuchio, Harlequin, Prince Prettyman, or any thing.’Harlequin does not appear in Killigrew’sThomaso.Mrs. Behn’s mime plays pranks and speaks Italian and Spanish. No doubt she derived the character from the Italian comedians who had been at the Royal Theatre, Whitehall, in 1672-3, as Dryden, in an Epilogue (spoken by Hart) toThe Silent Womanwhen acted at Oxford, after a reference to a visit of French comedians, has:—The Italian Merry-Andrews took their place,And quite debauched the stage with lewd grimace,Instead of wit and humours, your delightWas there to see two hobby-horses fight,Stout Scaramoucha with rush lance rode in,And ran a tilt at centaur Arlequin.They were acting again in July, 1675, and remained some months in England. cf. Evelyn, 29 September this same year, writes: ‘I saw the Italian Scaramuccio act before the King at Whitehall, people giving money to come in, which was very scandalous and never so before at Court-diversions. Having seen him act before in Italy many years past, I was not averse from seeing the most excellent of that kind of folly.’ Duffett in his Prologue toEv’ry Man out of his Humour, ‘spoken by Mr. Hayns’, July, 1675, who refers to this second visit—The Modish Nymphs now ev’ry heart will winWith the surprizing ways of HarlequinO the fine motion and the jaunty meneWhile you Gallants—Who for dear Missie ne’er can do too muchMake Courtships à la mode de Scarramouch.and a little later he writes:—Religion has its Scarramouchys tooWhose hums and has get all the praise and pence.This Italian troop evidently returned in the following year or in 1677, as we have allusions to Dominique Biancolelli and Fiurelli, ‘the Fam’d Harlequin & Scaramouch’, in the Prologue to Ravenscroft’sScaramouch a Philosopher, Harlequin a School-Boy, Bravo, Merchant, and Magician, a Comedy after the Italian Manner, produced at the Theatre Royal in 1677, with the migratory Joe Haines as Harlequin, and again inFriendship in Fashion, Act iii, 1, when Lady Squeamish cries: ‘Dear Mr. Malagene, won’t you let us see you act a little something of Harlequin? I’ll swear you do it so naturally, it makes me think I am at the Louvre or Whitehall all the time.’ [Malagene acts.]p. 117.Lucia... Mrs. Norris.In the quarto the name of this actress is spelled Norice. Even if the two characters Lucia and Petronella Elenora were not so entirely different, one being a girl, the second a withered crone, it is obvious that as both appear on the stage at one and the same time Mrs. Norris could not have doubled these rôles. The name Mrs. Norice, however, which is cast for Lucia is undoubtedly a misprint for Mrs. Price. This lady may possibly have been the daughter of Joseph Price, an ‘Inimitable sprightly Actor’, who was dead in 1673. We find Mrs. Price cast for various rôles of no great consequence, similar to Lucia in this play. She sustained Camilla in Otway’sFriendship in Fashion(1678), Violante in Leanerd’sThe Counterfeits(1679), Sylvia inThe Soldier’s Fortune(1683), Hippolita in D’Urfey’sA Commonwealth of Women(1685), and many more, all of which belong to the ‘second walking-lady’.Mrs. Norris, who acted Petronella Elenora, was a far more important figure in the theatre. One of those useful and, indeed, indispensable performers, who, without ever attaining any prominent position, contribute more essentially than is often realized to the success of a play, she became well known for her capital personations of old women and dowagers. Wife of the actor Norris, she had been one of the earliest members of Davenant’s company, and her son, known as Jubilee Dicky from his superlative performance in Farquhar’sThe Constant Couple(1699), was a leading comedian in the reigns of Anne and the first George. Amongst Mrs. Norris’ many rôles such parts as Lady Dupe, the old lady in Dryden’sSir Martin Mar-All(1667), Goody Rash in Crowne’sThe Country Wit(1675), Nuarcha, an amorous old maid, in Maidwell’sThe Loving Enemies(1680), Mother Dunwell, the bawd in Betterton’sThe Revenge; or, A Match in Newgate(1680), all sufficiently typify her special line, within whose limits she won considerable applause.Act I: Scene ip. 120Crab-Wine.An inferior tipple brewed from sour apples.p. 122Tantalus better than ever Ovid described him.Quaerit aquas in aquis, et poma fugacia captatTantalus: hoc illi garrula lingua dedit.Amorum, ii, 11, 43-4.Tibi, Tantale, nullaeDeprenduntur aquae; quaeque imminet effugit arbos.Met, iv, 457-8.p. 126I ... must be this very Mountebank expected.One may remember Rochester’s unpenetrated masquerade as Alexander Bendo, high above ‘the bastard race of quacks and cheats,’ and Grammont’s account of all the courtiers and maids of honour flocking for lotions and potions of perpetual youth to the new empiric’s lodgings ‘inTower-Street, next door to the sign of theBlack Swan, at a Goldsmith’s house.’ In theWorks of the Earls of Rochester, Roscommon and Dorset(2. vols. 1756), there is a rough cut of Rochester as a charlatan delivering a speech to the assembled crowd. On the platform also stands his attendant, a figure dressed in the diamonded motley of Harlequin.p. 126.in querpo.A Spanish phrase,en cuerpo= without a cloak; in an undress or disguise.Act I: Scene iap. 133old 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.Act II: Scene ip. 141a Pageant.Here used to signify a platform or low scaffold.Act III: Scene ip. 157the Royal Sovereign.In a Navy List of 1684 theRoyal Sovereignis classed as one of the ‘Nine First Rate’ vessels. 1545 tons, 100 guns at home, 90 guns abroad, 815 men at home, 710 men abroad. In 1672 her commander was Sir Joseph Jorden. An authority on nautical matters whom I have consulted informs me that less men and fewer guns were carried to relieve the top hamper of the ship in a sea-way. Most vessels then were inclined to be top heavy, and although able to carry all their guns in the narrow seas, yet when going foreign were glad to leave ten behind, well knowing they would soon lose by scurvy or disease numbers of their crew apart from losses in battle. Although these ships were pierced with ports for, say, 100 guns, it did not follow they always carried so many, as a complete broadside could be fired by running the gun carriages across from one side to another before the fight, so she would not be so heavy above and not so liable to roll and spoil the aim of the guns.p. 159Bezolos mano’s, Seignior.Señor, beso las manos. = Sir, I kiss your hands; the usual Spanish salutation.p. 165brown George.Coarse black bread; hard biscuit. cf. Urquhart’sRabelais(1653), Book IV. Author’s prologue: ‘The devil of one musty crust of a Brown George the poor boys had to scour their grinders with.’ And Dryden,Persius(1693), v. 215:—Cubb’d in a cabin, on a matrass laid,On a Brown George with lousy swabbers fed.p. 165Spanish Pay.Slang for fair words; compliments, and nothing more.Act IV: Scene ibp. 182fin’d.In a somewhat unusual sense of to fine = to pay a composition or consideration for a special privilege.Act V: Scene iiip. 198Plymouth Cloaks.Obsolete slang for a cudgel ‘carried by one who walkeden cuerpo, and thus facetiously assumed to take the place of a cloak’. Fuller (1661),Worthies, ‘Devon’ (1662), 248, ‘A Plimouth Cloak. That is a Cane or a Staffe whereof this the occasion. Many a man of good Extraction comming home from far Voiages, may chance to land here [at Plymouth] and being out of sorts, is unable for the present time and place to recruit himself with Cloaths. Here (if not friendly provided) they make the next Wood their Draper’s shop, where a Staffe cut out, serves them for a covering’. Ray,Prov.(1670), 225, adds, ‘For we use when we walkin cuerpoto carry a staff in our hands but none when in a cloak’.N.E.D., which also quotes this passage ofThe Rover.cf. Davenant:—Whose cloak, at Plymouth spun, was crab-tree wood.p. 199Album Græcum.The excrement of dogs and some other animals which from exposure to air and weather becomes whitened like chalk. It was formerly much used in medicine.Act V: Scene iiibp. 209Guzman Medicines.Trashy, worthless medicines. InThe Emperor of The Moon, Act iii, 2, ‘Guzman’ is used as a term of abuse to signify a rascal. The first English translation (by James Mabbe) of Aleman’s famous romance,Vida del Picaro Guzman d’Alfarache, is, indeed, entitledThe Rogue, and it had as running titleThe Spanish Rogue.There is a novel by George Fidge entitledThe English Gusman; or, the History of that Unparallel’d Thief James Hind.(1652, 4to.)p. 209Copper Chains.In allusion to the trick played by Estifania on the churlish Cacafogo in Fletcher’sRule a Wife and Have a Wife.He lends her 1000 ducats upon trumpery which she is passing off as rich gems, and when later he scents the cozenage, he bawls out:—Plague of her jewels, and her copper chains,How rank they smell!— (Act v, 2.)The phrase became proverbial for shams.p. 211disimbogue.This word is generally used of the waters of a river or the outlet of a lake pouring into the open sea.p. 212by Play-Bill, summon’d here.In Restoration times one method of announcing the next day’s performance to the public was by putting out bills on posts in the streets adjacent to the theatre. There are allusions to this in Pepys, 24 March, 1662 and 28 July, 1664. The whole subject has been exhaustively treated by Mr. W. J. Lawrence in ‘The Origin of the Theatre Programme’—The Elizabethan Playhouse(Second Series).Epiloguep. 213.greasing.Flattery. Settle’s post as City Poet, it is well known, did not bring him in any great emoluments. He was, in fact, desperately poor, and even volunteered to join King James’ army at Hounslow Heath. In old age he was reduced to writing drolls performed in aBartholomew Fair booth kept by one Mrs. Minns and her daughter, Mrs. Leigh. He himself acted in these wretched farces, and on one occasion, inSt. George for England, appeared as a dragon in a green leather case. Eventually he obtained admission to the Charterhouse, where he died 24 February, 1724.
Dramatis Personæ
p. 117I have added to the Dramatis Personæ ‘Rag, boy to Willmore’, and ‘Porter at the English Ambassador’s’.
Act I: Scene i
p. 118, l. 2Scene I.I have added the locale ‘A Street’.
p. 118, l. 4Campain.4to 1681 ‘campania’.
p. 120, l. 17but cold.1724 ‘and cold’.
p. 120, l. 28embracing.1724 omits.
p. 120, l. 32Philies.4to 1681 ‘Philoes’.
p. 122, l. 30Brussels.4to 1681 ‘Bruxels’.
p. 123, l. 21But that.1724 prints these two lines as prose.
p. 124, l. 3Marcy.1724 ‘Mercy’.
p. 126, l. 16get ’em ready.1724 ‘get it ready’.
p. 128, l. 33pickl’d Pilchard.1724. ‘pickle Pilchard’.
p. 128, l. 34like a Christmas Sweet-heart.4to 1681 ‘boto Christmas Sweet-heart’.
p. 129, l. 26have I.1724 ‘I have’.
Act I: Scene ia
p. 131, l. 36hot Shot, 1724 omits ‘hot’.
p. 134, l. 9to receive.1724, wrongly, ‘to deceive’.
Act II: Scene i
p. 135, l. 9Scene I.I have added the locale ‘The Street’.
p. 142, l. 5Harlequin, Scaramouche.I have added these two names to the stage direction. Harlequin is obviously present from the business. Scaramouche is given in Dramatis Personæ, 4to 1681 and 1724, but in neither is any entry or exit marked throughout the play. In Killigrew, whom Mrs. Behn is here following very closely, Scaramouche is the quack’s servant and appears in this scene. Accordingly I have marked him an entrance.
p. 142, l. 13Maremaids.1724 ‘Mairmaids’.
p. 142, l. 26an a Man.4to 1681 ‘and a Man’.
p. 142, l. 28and falls.4to 1681 ‘who falls’.
p. 145, l. 30on the Mountebank’s Stage.4to 1681 ‘on the stage of the Mountebank’.
p. 146, l. 1This is flat Conjuration.4to 1681 ‘This flat Conjuration’.
p. 146, l. 7what’s here.4to 1681 ‘what here’.
p. 148, l. 11Ex. Feth. and Blunt.4to 1681 and 1724 ‘[Ex.’
Act II: Scene ii
p. 148, l. 12Scene II. Changes.4to 1681 and 1724 ‘Scene changes’.
p. 148, ll. 21, 27, 33[bis.1724 omits.
p. 150, l. 2my Cousin Endymion.1724 ‘Endymion’s’.
p. 150, l. 16Sommes.4to 1681 and 1724 ‘somme’.
p. 152, l. 5Snush.1724 ‘snuff’.
Act III: Scene i
p. 154, l. 25Gargantua.4to 1681 ‘Garigantua’, and omits ‘of’.
p. 155, l. 5and Harlequin attending.Harlequin’s entrance is not marked in 4to 1681 or in 1724, but it is necessary here as he is addressed by the Dwarf.
p. 156, l. 22Hu, how scornful.1724 omits ‘Hu’.
p. 157, l. 37with Harlequin.Harlequin’s exit unmarked in 4to 1681 and 1724.
p. 159, l. 10Talks to Hunt.4to 1681, wrongly, ‘Talks to Will’.
p. 161, l. 4faithless as the Winds.1724 ‘Wind’.
p. 161, l. 17fixt Resolves.1724 ‘fixt Resolve’.
p. 163, l. 13he may again rally.1724 ‘railly’.
p. 163, l. 27them that tries me.1724 ‘them that tire me’.
p. 165, l. 21set such Price on.1724 ‘set a Price on’.
p. 165, l. 33I grow weary.4to 1681 ‘I grew weary’.
p. 166, l. 2sure he knows me not.1724 omits ‘he’.
p. 166, l. 16better than an Age of Scorn from a proud faithless Beauty?1724 ‘better from Age of Scorn than a proud faithless Beauty?’
p. 167, l. 2and all to bekiss me.1724 ‘and kiss me’.
p. 167, l. 21Laying his hand on his Sword.4to 1681 gives stage direction as ‘[His Sword.’
p. 168, l. 23ails he?1724 ‘ye’.
p. 169, l. 24who wou’st.4to 1681 ‘who’st’. 1724 ‘wou’st’.
p. 169, l. 25turn me out despis’d.1724 ‘turn me out so despis’d’.
p. 169, l. 28Charms shall hold.4to 1681 ‘Charms can hold’.
p. 169, l. 35she holds him.1724 omits ‘him’.
p. 171, l. 3a Purse or hands full of Gold.1724 ‘a Purse of Gold’.
Act IV: Scene i
p. 172, l. 30Ariadne. [feels.] Tis so!1724 omits ‘[feels]’.
Act IV: Scene ia
p. 173, l. 3I ever had.1724, wrongly, ‘I ne’er had’.
p. 173, l. 27My hope.4to 1681 ‘ever hope’.
p. 174, l. 3Orange-grove.1724 ‘orange-garden’.
p. 175, l. 20Was this done.1724 ‘Was not this done’.
p. 178, l. 28in the Piazza.4to 1681 ‘Piazzo’, and always this form.
p. 178, l. 35and goes out.4to 1681 ‘and ex.’
p. 181, l. 11whistle to the Birds.1724 ‘whistle to Birds’.
Act IV: Scene ib
p. 182, l. 18Aur. Well, the Stranger.1724 ‘Ant. Well, the Stranger’.
p. 183, l. 6that was the Reason then she came.1724 omits ‘then’.
p. 183, l. 13The Seigniora perhaps may be angry.1724 ‘Seignior’.
p. 184, l. 1Damn all dissembling.1724 prints this speech as prose.
p. 184, l. 9Love’s diviner Dictates.1724 ‘Love’s divine Dictates’.
Act IV: Scene ic
p. 184, l. 19false Tenents.1724, wrongly, ‘False Tenements’.
p. 187, l. 13Oh, any whither, any whither.1724 ‘any where, any where’.
Act IV: Scene id
p. 187, l. 24I believed he had.1724 ‘I believe he has’.
p. 187, l. 31no matter whither ’tis.1724 ‘no matter which ’tis’.
p. 188, l. 9Abev. sings.4to 1681 and 1724 ‘The Boy sings ...’, but his name has already been given.
Act V: Scene i
p. 190, l. 11To find out this Rest.1724 ‘To find this Rest’.
p. 190, l. 32La Nu. ’Tis he whom I expect.1724 gives this speech as prose.
p. 191, l. 10whence I fetcht my Gold.1724 ‘whence I fetch my Gold’.
p. 191, l. 18they are by dark.1724 omits.
p. 192, l. 33What is’t to be adorn’d.1724 ‘What ’tis to be adorn’d’.
p. 193, l. 19Wou’d! by Heaven, thou hast.1724 gives this as prose, 1681 metrically. I have followed the 4to, attempting a rather better division of the lines.
p. 193, l. 32The last indeed.The first three lines of this speech metrically as 4to 1681. 1724 prints as prose.
p. 194, l. 22his Youth and Beauty.4to 1681 ‘this Youth and Beauty’.
p. 195, l. 5not a Landlady. [bis.1724 omits ‘[bis.’
p. 195, l. 18La Nu. Left by both!4to 1681 ‘Left by both?’
p. 195, l. 20and Beau.I have added this exit. It is unmarked in 4to 1681 and in 1724.
Act V: Scene iii
p. 198, l. 9in the dark.4to 1681 ‘by dark’.
p. 199, l. 2un Portavera Poco.1724 misprints ‘Porsavera’.
p. 200, l. 12Harl. Qui est là?4to 1681 ‘Harl. Que et la!’
p. 200, l. 17I am discover’d.1724 ‘I am discower’d’.
Act V: Scene iiia
p. 200, l. 22Feth. Hah— my Lady Monster!4to 1681 omits to mark at change of scene Feth. again as speech-prefix.
p. 203, l. 13Ex. all.1724 omits ‘all’.
p. 203, l. 31out of hand. [Aside.4to 1681 omits ‘Aside’.
p. 205, l. 27Ariadne!— How vain is all.1724 give this speech as prose. I have followed the metrical division of the 4to 1681 with some slight rearrangement of the lines.
p. 208, l. 23John Potages.1724. ‘Jean Potages’.
p. 208, l. 26thou foul filthy Synagogue.1724. ‘foul-filthy’.
p. 209, l. 23d’ye see.4to 1681 ‘de see’.
p. 209, l. 24Myrmidons.4to 1681 ‘Mermidons’.
p. 209, l. 28wiser than your other Men.1724 omits ‘your’,
p. 210, l. 21Gets from her.1724 omits this stage direction.
p. 211, l. 14They lay hold on him.4to 1681 ‘of him’.
Epilogue
p. 212, l. 26nobly throw away.1724 ‘throw a Way’.
p. 213, ll. 3-22All this won’t do.The concluding twenty lines of the Epilogue are only given in 4to 1681. All subsequent editions omit them.
Dedication
p. 113The Duke.James, Duke of York, for whom Mrs, Behn, a thorough Tory, entertained sentiments of deepest loyalty. The ‘absence’, ‘voluntary Exile’, ‘new Exiles’, mentioned in the Dedication all referto James’ withdrawal from England in 1679, at the time of the seditious agitation to pass an illegal Exclusion Bill. The Duke left on 4 March for Amsterdam, afterwards residing at the Hague. In August he came back, Charles being very ill. Upon the King’s recovery he retired to Scotland 27 October. In March, 1682, he paid a brief visit to the King, finally returning home June of the same year.
p. 114.young Cesar in the Field.During the Commonwealth and his first exile James had joined Turenne’s army, 24 April, 1652, and was frequently in the field. He distinguished himself by conspicuous bravery. In 1656, at the wish of Charles, he joined the Spanish army.
p. 114Some of Oliver’s Commanders at Dunkirk.During the Flanders campaign of 1657, Reynolds, the commander of the English at Dunkirk, sought and obtained an interview with James, whom he treated with the most marked respect and honour. This was reported to Cromwell, much to the Protector’s chagrin and alarm.
p. 115.City Pope.An allusion to the exploits of Elkanah Settle, who was so notorious at that time for violent Whiggism that in 1680 he had presided over the senseless city ceremony of ‘Pope-burning’ on 17 November. This annual piece of ridiculous pageantry is smartly described by Dryden in his Prologue to Southerne’sThe Loyal Brother(1682); and in the Epilogue toOedipus, (1679), after enumerating the attractions of the play, he ends—
We know not what you can desire or hopeTo please you more, but burning of a Pope.
We know not what you can desire or hope
To please you more, but burning of a Pope.
There are many contemporary references to Settle and his ‘fireworks’. Otway, inThe Poet’s Complaint(4to, 1680), speaks of Rebellion cockering the silly rabble with ‘November squibs and burning pasteboard Popes’, canto xi. Duke, in the Epilogue to the same author’sThe Atheist(1683), says that the poet never ‘made one rocket on Queen Bess’s night’. In Scott’sDryden, Vol. VI (1808) is given a cut representing the tom-fool procession of 1679, in which an effigy of the murdered Sir Edmund Bury Godfrey had a chief place. There were ‘ingenious fireworks’ and a bonfire. A scurrilous broadside of the day, with regard to the shouting, says that ‘’twas believed the echo ... reached Scotland [the Duke was then residing in the North], France, and even Rome itself damping them all with a dreadfull astonishment.’ The stage at this juncture of fierce political strife had become a veritable battle-ground of parties, and some stir was caused by Settle’s blatant, but not ineffective, melodrama on the subject of that mythical dameThe Female Prelate, being the History of the Life and Death of Pope Joan, produced at the Theatre Royal, 1680. This play itself is often referred to, and there are other allusions to Pope Joan about this time, e.g., in the Epilogue to Lee’sCæsar Borgia(1679), where the author says a certain clique could not have been more resolute to damn his play
Had he the Pope’s Effigies meant to burn,.......Nay, conjur’d up Pope Joan to please the age,And had her breeches search’d upon the stage.
Had he the Pope’s Effigies meant to burn,
.......
Nay, conjur’d up Pope Joan to please the age,
And had her breeches search’d upon the stage.
cf. also Mrs. Behn in her own Epilogue when she speaks of ‘fat Cardinals, Pope Joans, and Fryers’; and Lord Falkland’s scoff in his Prologue to Otway’sThe Soldier’s Fortune(1680):—
But a more pow’rful Saint enjoys ye now.......The fairest Prelate of her time, and best.
But a more pow’rful Saint enjoys ye now
.......
The fairest Prelate of her time, and best.
Lord Falkland of course points at the play.
Prologue
p. 116lofty Tire.The Upper Gallery, the price of admission to which was one shilling. It was the cheapest part of the theatre, and is often alluded to in Prologue and Epilogue, but generally with abuse or sarcasm. Dryden, in his Prologue to Tate’sThe Loyal General(1680), caustically advises:—
Remove your benches, you apostate pit,And take, above, twelve pennyworth of wit;Go back to your dear dancing on the rope,Or see what’s worse, the Devil and the Pope.
Remove your benches, you apostate pit,
And take, above, twelve pennyworth of wit;
Go back to your dear dancing on the rope,
Or see what’s worse, the Devil and the Pope.
Dramatis Personæ
p. 117Harlequin, Willmore’s Man.Although no actor’s name is printed for Harlequin, the part was undoubtedly played by Shadwell’s brother-in-law, Tom Jevon, who, at the age of twenty-one, had joined the company in 1673. Originally a dancing-master (Langbaine notes his ‘activity’), he became famous in low comedy and particularly for his lithe and nimble Harlequins. In Otway’sFriendship in Fashion(1677) Malagene, a character written for and created by Jevon, says, ‘I’m a very good mimick; I can act Punchinello, Scaramuchio, Harlequin, Prince Prettyman, or any thing.’
Harlequin does not appear in Killigrew’sThomaso.Mrs. Behn’s mime plays pranks and speaks Italian and Spanish. No doubt she derived the character from the Italian comedians who had been at the Royal Theatre, Whitehall, in 1672-3, as Dryden, in an Epilogue (spoken by Hart) toThe Silent Womanwhen acted at Oxford, after a reference to a visit of French comedians, has:—
The Italian Merry-Andrews took their place,And quite debauched the stage with lewd grimace,Instead of wit and humours, your delightWas there to see two hobby-horses fight,Stout Scaramoucha with rush lance rode in,And ran a tilt at centaur Arlequin.
The Italian Merry-Andrews took their place,
And quite debauched the stage with lewd grimace,
Instead of wit and humours, your delight
Was there to see two hobby-horses fight,
Stout Scaramoucha with rush lance rode in,
And ran a tilt at centaur Arlequin.
They were acting again in July, 1675, and remained some months in England. cf. Evelyn, 29 September this same year, writes: ‘I saw the Italian Scaramuccio act before the King at Whitehall, people giving money to come in, which was very scandalous and never so before at Court-diversions. Having seen him act before in Italy many years past, I was not averse from seeing the most excellent of that kind of folly.’ Duffett in his Prologue toEv’ry Man out of his Humour, ‘spoken by Mr. Hayns’, July, 1675, who refers to this second visit—
The Modish Nymphs now ev’ry heart will winWith the surprizing ways of HarlequinO the fine motion and the jaunty meneWhile you Gallants—Who for dear Missie ne’er can do too muchMake Courtships à la mode de Scarramouch.
The Modish Nymphs now ev’ry heart will win
With the surprizing ways of Harlequin
O the fine motion and the jaunty mene
While you Gallants—
Who for dear Missie ne’er can do too much
Make Courtships à la mode de Scarramouch.
and a little later he writes:—
Religion has its Scarramouchys tooWhose hums and has get all the praise and pence.
Religion has its Scarramouchys too
Whose hums and has get all the praise and pence.
This Italian troop evidently returned in the following year or in 1677, as we have allusions to Dominique Biancolelli and Fiurelli, ‘the Fam’d Harlequin & Scaramouch’, in the Prologue to Ravenscroft’sScaramouch a Philosopher, Harlequin a School-Boy, Bravo, Merchant, and Magician, a Comedy after the Italian Manner, produced at the Theatre Royal in 1677, with the migratory Joe Haines as Harlequin, and again inFriendship in Fashion, Act iii, 1, when Lady Squeamish cries: ‘Dear Mr. Malagene, won’t you let us see you act a little something of Harlequin? I’ll swear you do it so naturally, it makes me think I am at the Louvre or Whitehall all the time.’ [Malagene acts.]
p. 117.Lucia... Mrs. Norris.In the quarto the name of this actress is spelled Norice. Even if the two characters Lucia and Petronella Elenora were not so entirely different, one being a girl, the second a withered crone, it is obvious that as both appear on the stage at one and the same time Mrs. Norris could not have doubled these rôles. The name Mrs. Norice, however, which is cast for Lucia is undoubtedly a misprint for Mrs. Price. This lady may possibly have been the daughter of Joseph Price, an ‘Inimitable sprightly Actor’, who was dead in 1673. We find Mrs. Price cast for various rôles of no great consequence, similar to Lucia in this play. She sustained Camilla in Otway’sFriendship in Fashion(1678), Violante in Leanerd’sThe Counterfeits(1679), Sylvia inThe Soldier’s Fortune(1683), Hippolita in D’Urfey’sA Commonwealth of Women(1685), and many more, all of which belong to the ‘second walking-lady’.
Mrs. Norris, who acted Petronella Elenora, was a far more important figure in the theatre. One of those useful and, indeed, indispensable performers, who, without ever attaining any prominent position, contribute more essentially than is often realized to the success of a play, she became well known for her capital personations of old women and dowagers. Wife of the actor Norris, she had been one of the earliest members of Davenant’s company, and her son, known as Jubilee Dicky from his superlative performance in Farquhar’sThe Constant Couple(1699), was a leading comedian in the reigns of Anne and the first George. Amongst Mrs. Norris’ many rôles such parts as Lady Dupe, the old lady in Dryden’sSir Martin Mar-All(1667), Goody Rash in Crowne’sThe Country Wit(1675), Nuarcha, an amorous old maid, in Maidwell’sThe Loving Enemies(1680), Mother Dunwell, the bawd in Betterton’sThe Revenge; or, A Match in Newgate(1680), all sufficiently typify her special line, within whose limits she won considerable applause.
Act I: Scene i
p. 120Crab-Wine.An inferior tipple brewed from sour apples.
p. 122Tantalus better than ever Ovid described him.
Quaerit aquas in aquis, et poma fugacia captatTantalus: hoc illi garrula lingua dedit.Amorum, ii, 11, 43-4.
Quaerit aquas in aquis, et poma fugacia captat
Tantalus: hoc illi garrula lingua dedit.
Amorum, ii, 11, 43-4.
Tibi, Tantale, nullaeDeprenduntur aquae; quaeque imminet effugit arbos.Met, iv, 457-8.
Tibi, Tantale, nullae
Deprenduntur aquae; quaeque imminet effugit arbos.
Met, iv, 457-8.
p. 126I ... must be this very Mountebank expected.One may remember Rochester’s unpenetrated masquerade as Alexander Bendo, high above ‘the bastard race of quacks and cheats,’ and Grammont’s account of all the courtiers and maids of honour flocking for lotions and potions of perpetual youth to the new empiric’s lodgings ‘inTower-Street, next door to the sign of theBlack Swan, at a Goldsmith’s house.’ In theWorks of the Earls of Rochester, Roscommon and Dorset(2. vols. 1756), there is a rough cut of Rochester as a charlatan delivering a speech to the assembled crowd. On the platform also stands his attendant, a figure dressed in the diamonded motley of Harlequin.
p. 126.in querpo.A Spanish phrase,en cuerpo= without a cloak; in an undress or disguise.
Act I: Scene ia
p. 133old 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.
Act II: Scene i
p. 141a Pageant.Here used to signify a platform or low scaffold.
Act III: Scene i
p. 157the Royal Sovereign.In a Navy List of 1684 theRoyal Sovereignis classed as one of the ‘Nine First Rate’ vessels. 1545 tons, 100 guns at home, 90 guns abroad, 815 men at home, 710 men abroad. In 1672 her commander was Sir Joseph Jorden. An authority on nautical matters whom I have consulted informs me that less men and fewer guns were carried to relieve the top hamper of the ship in a sea-way. Most vessels then were inclined to be top heavy, and although able to carry all their guns in the narrow seas, yet when going foreign were glad to leave ten behind, well knowing they would soon lose by scurvy or disease numbers of their crew apart from losses in battle. Although these ships were pierced with ports for, say, 100 guns, it did not follow they always carried so many, as a complete broadside could be fired by running the gun carriages across from one side to another before the fight, so she would not be so heavy above and not so liable to roll and spoil the aim of the guns.
p. 159Bezolos mano’s, Seignior.Señor, beso las manos. = Sir, I kiss your hands; the usual Spanish salutation.
p. 165brown George.Coarse black bread; hard biscuit. cf. Urquhart’sRabelais(1653), Book IV. Author’s prologue: ‘The devil of one musty crust of a Brown George the poor boys had to scour their grinders with.’ And Dryden,Persius(1693), v. 215:—
Cubb’d in a cabin, on a matrass laid,On a Brown George with lousy swabbers fed.
Cubb’d in a cabin, on a matrass laid,
On a Brown George with lousy swabbers fed.
p. 165Spanish Pay.Slang for fair words; compliments, and nothing more.
Act IV: Scene ib
p. 182fin’d.In a somewhat unusual sense of to fine = to pay a composition or consideration for a special privilege.
Act V: Scene iii
p. 198Plymouth Cloaks.Obsolete slang for a cudgel ‘carried by one who walkeden cuerpo, and thus facetiously assumed to take the place of a cloak’. Fuller (1661),Worthies, ‘Devon’ (1662), 248, ‘A Plimouth Cloak. That is a Cane or a Staffe whereof this the occasion. Many a man of good Extraction comming home from far Voiages, may chance to land here [at Plymouth] and being out of sorts, is unable for the present time and place to recruit himself with Cloaths. Here (if not friendly provided) they make the next Wood their Draper’s shop, where a Staffe cut out, serves them for a covering’. Ray,Prov.(1670), 225, adds, ‘For we use when we walkin cuerpoto carry a staff in our hands but none when in a cloak’.N.E.D., which also quotes this passage ofThe Rover.cf. Davenant:—
Whose cloak, at Plymouth spun, was crab-tree wood.
p. 199Album Græcum.The excrement of dogs and some other animals which from exposure to air and weather becomes whitened like chalk. It was formerly much used in medicine.
Act V: Scene iiib
p. 209Guzman Medicines.Trashy, worthless medicines. InThe Emperor of The Moon, Act iii, 2, ‘Guzman’ is used as a term of abuse to signify a rascal. The first English translation (by James Mabbe) of Aleman’s famous romance,Vida del Picaro Guzman d’Alfarache, is, indeed, entitledThe Rogue, and it had as running titleThe Spanish Rogue.There is a novel by George Fidge entitledThe English Gusman; or, the History of that Unparallel’d Thief James Hind.(1652, 4to.)
p. 209Copper Chains.In allusion to the trick played by Estifania on the churlish Cacafogo in Fletcher’sRule a Wife and Have a Wife.He lends her 1000 ducats upon trumpery which she is passing off as rich gems, and when later he scents the cozenage, he bawls out:—
Plague of her jewels, and her copper chains,How rank they smell!— (Act v, 2.)
Plague of her jewels, and her copper chains,
How rank they smell!
— (Act v, 2.)
The phrase became proverbial for shams.
p. 211disimbogue.This word is generally used of the waters of a river or the outlet of a lake pouring into the open sea.
p. 212by Play-Bill, summon’d here.In Restoration times one method of announcing the next day’s performance to the public was by putting out bills on posts in the streets adjacent to the theatre. There are allusions to this in Pepys, 24 March, 1662 and 28 July, 1664. The whole subject has been exhaustively treated by Mr. W. J. Lawrence in ‘The Origin of the Theatre Programme’—The Elizabethan Playhouse(Second Series).
Epilogue
p. 213.greasing.Flattery. Settle’s post as City Poet, it is well known, did not bring him in any great emoluments. He was, in fact, desperately poor, and even volunteered to join King James’ army at Hounslow Heath. In old age he was reduced to writing drolls performed in aBartholomew Fair booth kept by one Mrs. Minns and her daughter, Mrs. Leigh. He himself acted in these wretched farces, and on one occasion, inSt. George for England, appeared as a dragon in a green leather case. Eventually he obtained admission to the Charterhouse, where he died 24 February, 1724.
Scenes described in (parentheses) are unnumbered.
Argument.
Source.
Theatrical History.
Epistle to the Reader
Dramatis Personæ.
Act I.Scene I.A Street.Scene II.Ambrosio’s House.Scene III.A Grove.
Act II.Scene I.The Street.Scene II.A Chamber.Scene III.A Street.Scene IV.A dark Hall.Scene V.The Street.Scene VI.Chamber of Cleonte.Scene VII.The Street.
Act III.Scene I.House of Carlo.Scene II.A flat Grove.Scene III.A Grove.Scene IV.The Garden.(A fine Arbour.)
Act IV.Scene I.Carlo’s House.Scene II.The Street.Scene III.A deep Grove.
Act V.Scene I.A Garden.Scene II.Carlo’s House.(A Chamber.)
Epilogue.
Notes toThe Dutch Lover
ARGUMENT.Roderigo—the natural son of the great Count d’ Olivarez, minister to Philip IV of Spain—was, upon his father’s disgrace, given over when very young to the care of a certain Don Ambrosio, and by him brought up as his own child. Ambrosio has one son, Marcel, and two daughters, Hippolita and Cleonte. Marcel, whilst in Flanders, promised Hippolita to his friend Alonzo. This Alonzo is the son of a lady Octavia and Don Manuel. But Manuel’s rival in Octavia’s love, Alonzo, stole their boy when an infant and brought him up to arms, giving him his own name. Pedro, an old servant, who is cognizant of this, is sworn to secrecy. Alonzo arrives in Madrid purposing to wed Hippolita as he desires to ally himself with so ancient and powerful a family as Ambrosio’s. Hippolita, however, having been betrayed by a German named Antonio, has fled, and now resides in a house of pleasure in the town, having assumed the habit of a Venetian courtezan. Alonzo meeting Euphemia, sister to his friend Lovis, becomes enamoured of her, and the lady grants him a rendezvous at a house where they will be uninterrupted—it happens this house is the bagnio where Hippolita is secreted. Marcel, on his way to visit Clarinda, whom he loves, recognizes Alonzo and follows him to his rendezvous, Olinda, Euphemia’s maid, mistakenly introduces Marcel to her mistress. Euphemia is veiled and Marcel, who has heard that his sister is living in that house, in his turn mistakes the lady for Hippolita, more especially as he meets Antonio there. The two men fight, but Alonzo entering interferes. Antonio escapes, bearing away Hippolita. Euphemia, whom Marcel in a passion of revenge would kill, is soon discovered not to be Hippolita, and the angry brother duly retires from the scene. Alonzo, however, leaving the house is accosted for Marcel by Dormida, Clarinda’s maid, who gives him the key to their house. Alonzo enters followed by Marcel who is close on his heels. They jostle and fight in the darkness of the hall within, and Alonzo departs leaving Marcel wounded. Dormida fearing trouble drags Clarinda forth and meeting Alonzo in the street they throw themselves on his honourable protection. A complete stranger, in his dilemma he escorts them to the mansion of Ambrosio, and they chance on Cleonte’s chamber. She has just had a visit from Silvio (under which name Roderigo passes), who is burning with passion for her but shrinks from his supposed sister. Cleonte offers the two ladies a refuge and Alonzo retires. With the aid of his friend Lovis he assumes the habit of Haunce van Ezel, a Dutch boor who is contracted to Euphemia, and, as Haunce, courts Lovis’ sister with the full approbation of their father Don Carlo. When Haunce himself appears he is greeted with some familiarity as having been at the house before. The Dutch Lover, who has newly arrived, chances on a strife between Antonio and Hippolita and interfering disarms Antonio, wounding him in the face. Cleonte meantime has introduced her guest Clarinda to Silvio, and Marcel seeing them together concludes that his own brother is the man who fought him on the previous night and indeed his favoured rival. At once he challenges him and they arrange to have a duel in a grove near the town. Here, however, comes Hippolita disguised in man’s attire,awaiting Antonio to whom she has sent a billet signed ‘Alonzo’. She retires, whilst Silvio appears, and when he is engaged with Marcel, Alonzo rushes in and parts them. Alonzo avows that it was he who caused the confusion with Clarinda, and arranges to meet Marcel later in another spot. Antonio next arrives and Hippolita, calling herself Alonzo, draws, but Alonzo himself insists on taking up the quarrel. At the clash of steel Marcel returns and all four fight, Marcel with Hippolita, whom he wounds, Alonzo with Antonio, whom he disarms—Hippolita reveals herself, Alonzo claims her, but Antonio declaring that he is bound to her by sacred vows rescues her from Marcel’s vengeance and obtains his forgiveness. All return to Ambrosio’s house where they find Cleonte and Clarinda. Explanations ensue, and Marcel is at Clarinda’s feet. Pedro, however, who attends Alonzo, recognizes his old fellow-servant, Dormida, duenna to Clarinda, and learning Don Manuel is dead, reveals that Alonzo is Clarinda’s brother, also handing over papers left by Don Alonzo the foster-father, which bestow 12,000 crowns a year on his adopted son, Alonzo portions Clarinda and gives her to Marcel. Francisca, woman to Cleonte, informs Silvio that Cleonte will yield to him—Silvio, suddenly revolted, declares he will present himself, but secretly resolves topoinardhis sister. Marcel who has overheard the conference, beside himself with rage, dashes on Silvio with dagger drawn and when checked by Ambrosio and the rest who rush in at Francisca’s cries makes known the cause of his wrath. Francisca confesses that Cleonte had sent no such message, but herself purposed to take her mistress’ place that night and receive Silvio. Ambrosio then reveals the secret of Silvio’s birth and gives Cleonte to him, in his joy even taking Hippolita to his arms since Antonio has married her. Alonzo, meanwhile, disguised as Haunce has been united to Euphemia. He is discovered by the arrival on the scene of the real Haunce accompanied by Gload, a foolish tutor. Carlo is soon reconciled to the new bridegroom, whilst Haunce and Gload joining in a masquerade find themselves unexpectedly wedded to Olinda and Dorice, two women attendant on the lady Euphemia.SOURCE.Mrs. Behnfounded the plot ofThe Dutch Loverupon the stories of Eufemie and Theodore, Don Jame and Frederic, in a pseudo-Spanish novel entitled ‘The History of Don Fenise, a new Romance written in Spanish by Francisco de Las Coveras, And now Englished by a Person of Honour, London, Printed for Humphrey Moseley,’ 8vo, 1651. There is of course no such Spanish author as ‘the ingenious Don Francisco de las Coveras’. The chief merit of the book is purely bibliographical: it is a very rare volume and difficult to meet with. The Bodleian indeed contains a copy, but it is not to be found in the British Museum library. The somewhat morbid theme of overwhelming passion barred by consanguinity eventually discovered to be false, which is here exemplified in the love of Silvio for Cleonte, occurs more than once in the later Jacobean andCarolandrama. In Beaumont and Fletcher’s tragicomedyA King and no King(1611: 4to, 1619), we have Arbaces enamoured of Panthea, his reputed sister; similar motives are to be found in Arthur Wilson’sThe Swizzer(1631); but inMiddleton’sWomen beware Women(circa 1612: 4to, 1657), no contrivance can legitimize the incestuous loves of Hippolito and Isabella, and death is the only solution. In Massinger’sThe Unnatural Combat(1621: 4to, 1639), the demoniac Malefort pursues his daughter Theocrine with the same baleful fires as Francesco Cenci looked on Beatrice, but the height of horror, harrowing the soul with pity and anguish, culminates in Ford’s terrible scenesTis Pity She’s a Whore(4to, 1633), so tenderly tragic, so exquisitely beautiful for all their moral perversity, that they remain unequalled outside Shakespeare.In the Restoration Theatre the theme of consanguinity was originally dealt with no less than three times by Dryden: comically, inThe Spanish Friar(1681), when Lorenzo—after all the love-brokerage of pursy Father Dominic—discovers Elvira to be his sister: tragically, inDon Sebastian(1690), when Sebastian and Almeyda are separated by the disclosures of old Alvarez: sentimentally and romantically, inLove Triumphant(1693-4), when Alphonso wins Victoria whom he has long loved, even whilst she was supposed to be his sister. Otway it will be remembered turns the pathetic catastrophe ofThe Orphan(1680), upon a deceit which produces similar though unhappy circumstances. In 1679,Oedipus, a joint production of Dryden and Lee, was brought out with great success at the Duke’s Theatre, Dorset Gardens.Unhallowed and incestuous passions again form the plot ofThe Fatal Discovery; or, Love in Ruins(4to, 1698), produced at Drury Lane, a play seemingly derived fromBandello, Part II, Novel 35, which coincides with the thirtieth tale of theHeptameron. In various forms, however, this legend is to be found in the literature of all countries, and a cognate tradition is even attached to certain districts.Innocence Distress’d; or, The Royal Penitents, a tragedy by Robert Gould (ob. 1709), never performed but published by subscription (8vo, 1737), for the benefit of his daughter Hannah, is based on the same story. Gould’s work is weak and insipid.Later in the eighteenth century we have Horace Walpole’sThe Mysterious Mother(8vo, 1768), an unacted drama of extraordinary power and undissipated gloom on the same terrible theme; whilst Shelley’sThe Centi, published in 1819, which the poet most emphatically intended for the boards, remains a masterpiece of supreme genius.Wagner inDie Walküreshows the irresistible passion of Siegmund and Sieglinde, brother and sister, from whose union sprang the mighty hero Siegfried; and inGengangere(Ghosts), 1881, Ibsen threw, by the sickly craving of the fibreless Oswald Alving for Regina, a lurid light across that awesome tragedy of shadows, Nemesis, and blank despair.THEATRICAL HISTORY.The Dutch Loverwas produced at the Duke’s Theatre, Dorset Garden, in February, 1673, but owing to the manifold disadvantages under which it was put on the stage it did not meet with that success it certainly deserved. It was indeed, to quote the preface, ‘hugely injured in the acting.’ The performers were anything but word perfect and hopelessly forgot or confused their business, which, more especially in a play of such a type as this romantic comedy so full of busy and complicated detail demanding close and continuous attention, was enough to mystify theaudience completely and foredoom the piece to failure. The worst sinner was Haunce himself, who hardly spoke one of his lines but gagged from start to finish. Not unnaturally, Mrs. Behn resented this and avows that she would have trounced him roundly in print except ‘de mortuis...’ Although the original cast is not given, this detail enables us to fix the representative of Haunce as Angel, a leading comedian, who died in the spring of 1673, his name last appearing as de Boastado in Ravenscroft’sCareless Lovers.In addition to these serious detriments the costumes were very poor, especially the disguise of Alonzo as the Hollander, and Haunce’s own ‘fantastical travelling habit,’ dresses on the aptness of which the probability of the intrigue can be made so largely to depend.Yet another mishap occurred. The epilogue, which had been promised by a friend, did not come to hand, and accordingly the present epilogue was hastily composed. Though containing nothing notably witty or pointed it does not fall below the generality of these productions. Of the prologue we have no means of judging as it was unfortunately lost before it could find its way into print.HadThe Dutch Loverreceived fair treatment from the actors it should surely have commanded no small success in its day. Technically it is well contrived, and exhibits the skill and clever stage-craft of its authoress in a high degree, qualities which have often given a long lease of life to plays of infinitely less merit.
Roderigo—the natural son of the great Count d’ Olivarez, minister to Philip IV of Spain—was, upon his father’s disgrace, given over when very young to the care of a certain Don Ambrosio, and by him brought up as his own child. Ambrosio has one son, Marcel, and two daughters, Hippolita and Cleonte. Marcel, whilst in Flanders, promised Hippolita to his friend Alonzo. This Alonzo is the son of a lady Octavia and Don Manuel. But Manuel’s rival in Octavia’s love, Alonzo, stole their boy when an infant and brought him up to arms, giving him his own name. Pedro, an old servant, who is cognizant of this, is sworn to secrecy. Alonzo arrives in Madrid purposing to wed Hippolita as he desires to ally himself with so ancient and powerful a family as Ambrosio’s. Hippolita, however, having been betrayed by a German named Antonio, has fled, and now resides in a house of pleasure in the town, having assumed the habit of a Venetian courtezan. Alonzo meeting Euphemia, sister to his friend Lovis, becomes enamoured of her, and the lady grants him a rendezvous at a house where they will be uninterrupted—it happens this house is the bagnio where Hippolita is secreted. Marcel, on his way to visit Clarinda, whom he loves, recognizes Alonzo and follows him to his rendezvous, Olinda, Euphemia’s maid, mistakenly introduces Marcel to her mistress. Euphemia is veiled and Marcel, who has heard that his sister is living in that house, in his turn mistakes the lady for Hippolita, more especially as he meets Antonio there. The two men fight, but Alonzo entering interferes. Antonio escapes, bearing away Hippolita. Euphemia, whom Marcel in a passion of revenge would kill, is soon discovered not to be Hippolita, and the angry brother duly retires from the scene. Alonzo, however, leaving the house is accosted for Marcel by Dormida, Clarinda’s maid, who gives him the key to their house. Alonzo enters followed by Marcel who is close on his heels. They jostle and fight in the darkness of the hall within, and Alonzo departs leaving Marcel wounded. Dormida fearing trouble drags Clarinda forth and meeting Alonzo in the street they throw themselves on his honourable protection. A complete stranger, in his dilemma he escorts them to the mansion of Ambrosio, and they chance on Cleonte’s chamber. She has just had a visit from Silvio (under which name Roderigo passes), who is burning with passion for her but shrinks from his supposed sister. Cleonte offers the two ladies a refuge and Alonzo retires. With the aid of his friend Lovis he assumes the habit of Haunce van Ezel, a Dutch boor who is contracted to Euphemia, and, as Haunce, courts Lovis’ sister with the full approbation of their father Don Carlo. When Haunce himself appears he is greeted with some familiarity as having been at the house before. The Dutch Lover, who has newly arrived, chances on a strife between Antonio and Hippolita and interfering disarms Antonio, wounding him in the face. Cleonte meantime has introduced her guest Clarinda to Silvio, and Marcel seeing them together concludes that his own brother is the man who fought him on the previous night and indeed his favoured rival. At once he challenges him and they arrange to have a duel in a grove near the town. Here, however, comes Hippolita disguised in man’s attire,awaiting Antonio to whom she has sent a billet signed ‘Alonzo’. She retires, whilst Silvio appears, and when he is engaged with Marcel, Alonzo rushes in and parts them. Alonzo avows that it was he who caused the confusion with Clarinda, and arranges to meet Marcel later in another spot. Antonio next arrives and Hippolita, calling herself Alonzo, draws, but Alonzo himself insists on taking up the quarrel. At the clash of steel Marcel returns and all four fight, Marcel with Hippolita, whom he wounds, Alonzo with Antonio, whom he disarms—Hippolita reveals herself, Alonzo claims her, but Antonio declaring that he is bound to her by sacred vows rescues her from Marcel’s vengeance and obtains his forgiveness. All return to Ambrosio’s house where they find Cleonte and Clarinda. Explanations ensue, and Marcel is at Clarinda’s feet. Pedro, however, who attends Alonzo, recognizes his old fellow-servant, Dormida, duenna to Clarinda, and learning Don Manuel is dead, reveals that Alonzo is Clarinda’s brother, also handing over papers left by Don Alonzo the foster-father, which bestow 12,000 crowns a year on his adopted son, Alonzo portions Clarinda and gives her to Marcel. Francisca, woman to Cleonte, informs Silvio that Cleonte will yield to him—Silvio, suddenly revolted, declares he will present himself, but secretly resolves topoinardhis sister. Marcel who has overheard the conference, beside himself with rage, dashes on Silvio with dagger drawn and when checked by Ambrosio and the rest who rush in at Francisca’s cries makes known the cause of his wrath. Francisca confesses that Cleonte had sent no such message, but herself purposed to take her mistress’ place that night and receive Silvio. Ambrosio then reveals the secret of Silvio’s birth and gives Cleonte to him, in his joy even taking Hippolita to his arms since Antonio has married her. Alonzo, meanwhile, disguised as Haunce has been united to Euphemia. He is discovered by the arrival on the scene of the real Haunce accompanied by Gload, a foolish tutor. Carlo is soon reconciled to the new bridegroom, whilst Haunce and Gload joining in a masquerade find themselves unexpectedly wedded to Olinda and Dorice, two women attendant on the lady Euphemia.
Mrs. Behnfounded the plot ofThe Dutch Loverupon the stories of Eufemie and Theodore, Don Jame and Frederic, in a pseudo-Spanish novel entitled ‘The History of Don Fenise, a new Romance written in Spanish by Francisco de Las Coveras, And now Englished by a Person of Honour, London, Printed for Humphrey Moseley,’ 8vo, 1651. There is of course no such Spanish author as ‘the ingenious Don Francisco de las Coveras’. The chief merit of the book is purely bibliographical: it is a very rare volume and difficult to meet with. The Bodleian indeed contains a copy, but it is not to be found in the British Museum library. The somewhat morbid theme of overwhelming passion barred by consanguinity eventually discovered to be false, which is here exemplified in the love of Silvio for Cleonte, occurs more than once in the later Jacobean andCarolandrama. In Beaumont and Fletcher’s tragicomedyA King and no King(1611: 4to, 1619), we have Arbaces enamoured of Panthea, his reputed sister; similar motives are to be found in Arthur Wilson’sThe Swizzer(1631); but inMiddleton’sWomen beware Women(circa 1612: 4to, 1657), no contrivance can legitimize the incestuous loves of Hippolito and Isabella, and death is the only solution. In Massinger’sThe Unnatural Combat(1621: 4to, 1639), the demoniac Malefort pursues his daughter Theocrine with the same baleful fires as Francesco Cenci looked on Beatrice, but the height of horror, harrowing the soul with pity and anguish, culminates in Ford’s terrible scenesTis Pity She’s a Whore(4to, 1633), so tenderly tragic, so exquisitely beautiful for all their moral perversity, that they remain unequalled outside Shakespeare.
In the Restoration Theatre the theme of consanguinity was originally dealt with no less than three times by Dryden: comically, inThe Spanish Friar(1681), when Lorenzo—after all the love-brokerage of pursy Father Dominic—discovers Elvira to be his sister: tragically, inDon Sebastian(1690), when Sebastian and Almeyda are separated by the disclosures of old Alvarez: sentimentally and romantically, inLove Triumphant(1693-4), when Alphonso wins Victoria whom he has long loved, even whilst she was supposed to be his sister. Otway it will be remembered turns the pathetic catastrophe ofThe Orphan(1680), upon a deceit which produces similar though unhappy circumstances. In 1679,Oedipus, a joint production of Dryden and Lee, was brought out with great success at the Duke’s Theatre, Dorset Gardens.
Unhallowed and incestuous passions again form the plot ofThe Fatal Discovery; or, Love in Ruins(4to, 1698), produced at Drury Lane, a play seemingly derived fromBandello, Part II, Novel 35, which coincides with the thirtieth tale of theHeptameron. In various forms, however, this legend is to be found in the literature of all countries, and a cognate tradition is even attached to certain districts.Innocence Distress’d; or, The Royal Penitents, a tragedy by Robert Gould (ob. 1709), never performed but published by subscription (8vo, 1737), for the benefit of his daughter Hannah, is based on the same story. Gould’s work is weak and insipid.
Later in the eighteenth century we have Horace Walpole’sThe Mysterious Mother(8vo, 1768), an unacted drama of extraordinary power and undissipated gloom on the same terrible theme; whilst Shelley’sThe Centi, published in 1819, which the poet most emphatically intended for the boards, remains a masterpiece of supreme genius.
Wagner inDie Walküreshows the irresistible passion of Siegmund and Sieglinde, brother and sister, from whose union sprang the mighty hero Siegfried; and inGengangere(Ghosts), 1881, Ibsen threw, by the sickly craving of the fibreless Oswald Alving for Regina, a lurid light across that awesome tragedy of shadows, Nemesis, and blank despair.
The Dutch Loverwas produced at the Duke’s Theatre, Dorset Garden, in February, 1673, but owing to the manifold disadvantages under which it was put on the stage it did not meet with that success it certainly deserved. It was indeed, to quote the preface, ‘hugely injured in the acting.’ The performers were anything but word perfect and hopelessly forgot or confused their business, which, more especially in a play of such a type as this romantic comedy so full of busy and complicated detail demanding close and continuous attention, was enough to mystify theaudience completely and foredoom the piece to failure. The worst sinner was Haunce himself, who hardly spoke one of his lines but gagged from start to finish. Not unnaturally, Mrs. Behn resented this and avows that she would have trounced him roundly in print except ‘de mortuis...’ Although the original cast is not given, this detail enables us to fix the representative of Haunce as Angel, a leading comedian, who died in the spring of 1673, his name last appearing as de Boastado in Ravenscroft’sCareless Lovers.
In addition to these serious detriments the costumes were very poor, especially the disguise of Alonzo as the Hollander, and Haunce’s own ‘fantastical travelling habit,’ dresses on the aptness of which the probability of the intrigue can be made so largely to depend.
Yet another mishap occurred. The epilogue, which had been promised by a friend, did not come to hand, and accordingly the present epilogue was hastily composed. Though containing nothing notably witty or pointed it does not fall below the generality of these productions. Of the prologue we have no means of judging as it was unfortunately lost before it could find its way into print.
HadThe Dutch Loverreceived fair treatment from the actors it should surely have commanded no small success in its day. Technically it is well contrived, and exhibits the skill and clever stage-craft of its authoress in a high degree, qualities which have often given a long lease of life to plays of infinitely less merit.