Chapter 86

Lights_.

_Enter_ Doctor, Elaria, Bellemante, _and_ Mopsophil. _Soft Musick is heard_.

_Bell_. Ha--Heavens! what’s here? what Palace is this?--No part of our House, I’m sure.

_Ela_. ‘Tis rather the Apartment of some Monarch.

_Doct_. I’m all amazement too; but must not show my Ignorance. --Yes, _Elaria_, this is prepar’d to entertain two Princes.

_Bell_. Are you sure on’t, Sir? are we not, think you, in that World above, I often heard you speak of? in the Moon, Sir?

_Doct_. How shall I resolve her--For ought I know, we are. [_Aside_.

_Ela_. Sure, Sir, ‘tis some Inchantment.

_Doct_. Let not thy female Ignorance profane the highest Mysteries of natural Philosophy: To Fools it seems Inchantment--but I’ve a Sense can reach it--sit and expect the Event.--Hark, I am amaz’d, but must conceal my Wonder, that Joy of Fools--and appear wise in Gravity.

_Bell_. Whence comes this charming Sound, Sir?

_Doct_. From the Spheres--it is familiar to me.

[_The Scene in the Front draws off, and shews the Hill of_ Parnassus; _a noble large Walk of Trees leading to it, with eight or ten Negroes upon Pedestals, ranged on each side of the Walks. Next_ Keplair _and_ Galileus _descend on each side, opposite to each other, in Chariots, with Perspectives in their Hands, as viewing the Machine of the Zodiack. Soft Musick plays still.

_Doct_. Methought I saw the Figure of two Men descend from yonder Cloud on yonder Hill.

_Ela_. I thought so too, but they are disappear’d, and the wing’d Chariot’s fled.

_Enter_ Keplair _and_ Galileus.

_Bell_. See, Sir, they approach.

[_The_ Doctor _rises and bows_.

_Kep_. Most reverend Sir, we, from the upper World, thus low salute you--_Keplair_ and _Galileus_ we are call’d, sent as Interpreters to Great _Iredonozor_, the Emperor of the Moon, who is descending.

_Doct_. Most reverend Bards--profound Philosophers--thus low I bow to pay my humble Gratitude.

_Kep_. The Emperor, Sir, salutes you, and your fair Daughter.

_Gal_. And, Sir, the Prince of _Thunderland_ salutes you, and your fair Neice.

_Doct_. Thus low I fall to thank their Royal Goodness.

[_Kneels. They take him up_.

_Bell_. Came you, most reverend Bards, from the Moon World?

_Kep_. Most lovely Maid, we did.

_Doct_. May I presume to ask the manner how?

_Kep_. By Cloud, Sir, through the Regions of the Air, down to the fam’d _Parnassus_; thence by Water, along the River _Helicon_, the rest by Post upon two wing’d Eagles.

_Doct_. Sir, are there store of our World inhabiting the Moon?

_Kep_. Oh, of all Nations, Sir, that lie beneath it in the Emperor’s Train! Sir, you will behold abundance; look up and see the Orbal World descending; observe the Zodiack, Sir, with her twelve Signs.

[_Next the Zodiack descends, a Symphony playing all the while; when it is landed, it delivers the twelve Signs: Then the Song, the Persons of the Zodiack being the Singers. After which, the Negroes dance and mingle in the_ Chorus.

A Song for the Zodiack.

_Let murmuring Lovers no longer repine, But their Hearts and their Voices advance; Let the Nymphs and the Swains in the kind Chorus join, And the Satyrs and Fauns in a Dance. Let Nature put on her Beauty of May, And the Fields and the Meadows adorn; Let the Woods and the Mountains resound with the Joy, And the Echoes their Triumph return_.

Chorus.

_For since Love wore his Darts, And Virgins grew Coy; Since these wounded Hearts, And those cou’d destroy, There ne’er was more Cause for your Triumphs and Joy.

Hark, hark, the Musick of the Spheres, Some Wonder approaching declares; Such, such, as has not bless’d your Eyes and Ears This thousand, thousand, thousand Years. See, see what the Force of Love can make, Who rules in Heaven, in Earth and Sea; Behold how he commands the Zodiack, While the fixt Signs unhinging all obey. Not one of which, but represents The Attributes of Love, Who governs all the Elements In Harmony above_.

Chorus.

_For since Love wore his Darts And Virgins grew coy; Since these wounded Hearts, And those cou’d destroy, There ne’er was more Cause for your Triumphs and Joy.

The wanton Aries first descends, To show the Vigor and the Play, Beginning Love, beginning Love attends, When the young Passion is all-over Joy, He bleats his soft Pain to the fair curled Throng, And he leaps, and he bounds, and loves all the day long. At once Love’s Courage and his Slavery In_ Taurus _is expressed, Though o’er the Plains the Conqueror be, The generous Beast Does to the Yoke submit his noble Breast; While_ Gemini _smiling and twining of Arms, Shews Love’s soft Indearments and Charms; And_ Cancer’s _slow Motion the degrees do express, Respectful Love arrives to Happiness_. Leo _his strength and Majesty_, Virgo _her blushing Modesty, And_ Libra _all his Equity. His Subtilty does_ Scorpio _show, And_ Sagittarius _all his loose desire, By_ Capricorn _his forward Humour know, And_ Aqua, _Lovers Tears that raise his Fire, While_ Pisces, _which intwin’d do move, Shew the soft Play, and wanton Arts of Love_.

Chorus.

_For since Love wore his Darts, And Virgins grew coy; Since these wounded Hearts, And those you’d destroy, There ne’er was more Cause for Triumphs and Joy_.

--See how she turns, and sends her Signs to Earth.--Behold the Ram, _Aries_--see _Taurus_ next descends; then _Gemini_--see how the Boys embrace.--Next _Cancer_, then _Leo_, then the _Virgin_; next to her _Libra--Scorpio, Sagittary, Capricorn, Aquarius, Pisces_. This eight thousand Years no Emperor has descended, but _Incognito_; but when he does, to make his Journey more magnificent, the Zodiack, Sir, attends him.

_Doct_. ‘Tis all amazing, Sir.

_Kep_. Now, Sir, behold the Globick World descends two thousand Leagues below its wonted Station, to shew Obedience to its proper Monarch.

[_After which, the Globe of the Moon appears, first like a new Moon, as it moves forward it increases till it comes to the Full. When it is descended, it opens and shews the Emperor and the Prince. They come forth with all their Train, the Flutes playing a Symphony before them, which prepares the Song. Which ended the Dancers mingle as before_.

A SONG.

_All Joy to Mortals, Joy and Mirth, Eternal_ IO’S _sing; The Gods of Love descend to Earth, Their Darts have lost the Sting. The Youth shall now complain no more Of_ Sylvia’s _needless Scorn, But she shall love, if he adore, And melt when he shall burn.

The Nymph no longer shall be shy, But leave the jilting Road; And_ Daphne _now no more shall fly The wounded panting God; But all shall be serene and fair, No sad Complaints of Love Shall fill the gentle whispering Air, No echoing Sighs the Grove.

Beneath the Shades young_ Strephon _lies, Of all his Wish possess’d; Gazing on_ Sylvia’s _charming Eyes, Whose Soul is there confessed. All soft and sweet the Maid appears, With Looks that know no Art, And though she yields with trembling Fears, She yields with all her Heart_.

--See, Sir, the Cloud of Foreigners appears, French, English, Spaniards, Danes, Turks, Russians, Indians, and the nearer Climes of Christendom; and lastly, Sir, behold the mighty Emperor.--

[_A Chariot appears, made like a Half Moon, in which is_ Cinthio _for the Emperor, richly dressed, and_ Charmante _for the Prince, rich, with a good many Heroes attending_. Cinthio’s _Train born by four Cupids. The Song continues while they descend and land. They address themselves to_ Elaria _and_ Bellemante.--Doctor _falls on his Face, the rest bow very low as they pass. They make signs to_ Keplair.

_Kep_. The Emperor wou’d have you rise, Sir, he will expect no Ceremony from the Father of his Mistress. [_Takes him up_.

_Doct_. I cannot, Sir, behold his Mightiness--the Splendor of his Majesty confounds me.

_Kep_. You must be moderate, Sir, it is expected.

[_The two Lovers make all the Signs of Love in dumb show to the Ladies, while the soft Musick plays again from the end of the Song_.

_Doct_. Shall I not have the Joy to hear their heavenly Voices, Sir?

_Kep_. They never speak to any Subject, Sir, when they appear in Royalty, but by Interpreters, and that by way of Stentraphon, in manner of the Delphick Oracles.

_Doct_. Any way, so I may hear the Sense of what they wou’d say.

_Kep_. No doubt you will--But see the Emperor commands by Signs his Foreigners to dance.

[_Soft Musick changes_.

[_A very Antick Dance. The Dance ended, the Front Scene draws off, and shows a Temple, with an Altar, one speaking through a Stentraphon from behind it. Soft Musick plays the while_.

_Kep_. Most Learned Sir, the Emperor now is going to declare himself, according to his Custom, to his Subjects. Listen.--

_Sten_. Most Reverend Sir, whose Virtue did incite us, Whose Daughter’s Charms did more invite us; We come to grace her with that Honour, That never Mortal yet had done her; Once only, _Jove_ was known in Story, To visit _Semele_ in Glory. But fatal ‘twas, he so enjoy’d her, Her own ambitious Flame destroy’d her. His Charms too fierce for Flesh and Blood, She dy’d embracing of her God, We gentler marks of Passion give, The Maid we love, shall love and live; Whom visibly we thus will grace, Above the rest of human Race, Say, is’t your Will that we shou’d wed her, And nightly in Disguises bed her?

_Doct_. The Glory is too great for Mortal Wife. [_Kneels with Transport_.

_Sten_. What then remains, but that we consummate This happy Marriage in our splendid State?

_Doct_. Thus low I kneel, in thanks for this great Blessing.

[Cinthio _takes_ Elaria _by the Hand_; Charmante, Bellemante; _two of the Singers in white being Priests, they lead ‘em to the Altar, the whole Company dividing on either side. Where, while a Hymeneal Song is sung, the Priest joins their Hands: The Song ended, and they marry’d, they come forth; but before they come forward, two Chariots descend one on one side above, and the other on the other side; in which is_ Harlequin _dress’d like a Mock Hero, with others; and_ Scaramouch _in the other, dress’d so in Helmets_.

_Scar_. Stay, mighty Emperor, and vouchsafe to be the Umpire of our Difference. [Cinthio _signs to_ Keplair.

_Kep_. What are you?

_Scar_. Two neighbouring Princes to your vast Dominion.

_Har_. Knights of the Sun, our honourable Titles, And fight for that fair Mortal, _Mopsophil_.

_Mop_. Bless us!--my two precious Lovers, I’ll warrant; well, I had better take up with one of them, than lie alone to Night.

_Scar_. Long as two Rivals we have lov’d and hop’d, Both equally endeavour’d, and both fail’d. At last by joint Consent, we both agreed To try our Titles by the Dint of Lance, And chose your Mightiness for Arbitrator.

_Kep_. The Emperor gives Consent.

[_They both all arm’d--with gilded Lances and Shields of Black, with golden Suns painted. The Musick plays a fighting Tune. They fight at Barriers, to the Tune_.--Harlequin _is often foil’d, but advances still; at last_ Scaramouch _throws him, and is Conqueror; all give Judgment for him_.

_Kep_. The Emperor pronounces you are Victor.-- [_To_ Scar.

_Doct_. Receive your Mistress, Sir, as the Reward of your undoubted Valour-- [_Presents_ Mopsophil.

_Scar_. Your humble Servant, Sir, and _Scaramouch_ returns you humble Thanks. [_Puts off his Helmet_.

_Doct_. Ha,--_Scaramouch_! [_Bawls out, and falls in a Chair. They all go to him_. My Heart misgives me--Oh, I am undone and cheated every way. [_Bawling out_.

_Kep_. Be patient, Sir, and call up all your Virtue, You’re only cur’d, Sir, of a Disease That long has reign’d over your nobler Faculties. Sir, I am your Physician, Friend and Counsellor; It was not in the Power of Herbs or Minerals, Of Reason, common Sense, and right Religion, To draw you from an Error that unmann’d you.

_Doct_. I will be patient, Gentlemen, and hear you. --Are not you _Ferdinand_?

_Kep_. I am,--and these are Gentlemen of Quality, That long have lov’d your Daughter and your Niece; _Don Cinthio_ this, and this is _Don Charmante_, The Vice-Roy’s Nephews both. Who found as Men--’twas impossible to enjoy ‘em, And therefore try’d this Stratagem.

_Cin_. Sir, I beseech you, mitigate your Grief, Although indeed we are but mortal Men, Yet we shall love you, serve you, and obey you.

_Doct_. Are not you then the Emperor of the Moon? And you the Prince of _Thunderland_?

_Cin_. There’s no such Person, Sir. These Stories are the Fantoms of mad Brains, To puzzle Fools withal--the Wise laugh at ‘em-- Come, Sir, you shall no longer be impos’d upon.

_Doct_. No Emperor of the Moon, and no Moon World!

_Char_. Ridiculous Inventions. If we ‘ad not lov’d you you’ad been still impos’d on; You had brought a Scandal on your learned Name, And all succeeding Ages had despis’d it.

[Doct. _leaps up_.

_Doct_. Burn all my Books and let my study blaze, Burn all to Ashes, and be sure the Wind Scatter the vile contagious monstrous Lyes. --Most Noble Youths--you’ve honour’d me with your Alliance, and you, and all your Friends, Assistances in this glorious Miracle, I invite to Night to revel with me.--Come all and see my happy Recantation of all the Follies, Fables have inspir’d till now. Be pleasant to repeat your Story, to tell me by what kind degrees you cozen’d me. I see there’s nothing in Philosophy-- [_Gravely to himself_. Of all that writ, he was the wisest Bard, who spoke this mighty Truth--

“He that knew all that ever Learning writ, Knew only this--that he knew nothing yet.”

[_Exeunt_.

EPILOGUE,

To be spoken by _Mrs. Cooke_.

_With our old Plays, as with dull Wife it fares, To whom you have been marry’d tedious Years. You cry--She’s wondrous good, it is confessed, | But still ‘tis_ Chapon Boüillé _at the best; | That constant Dish can never make a Feast: | Yet the pall’d Pleasure you must still pursue, You give so small Incouragement for new; And who would drudge for such a wretched Age, Who want the Bravery to support one Stage? The wiser Wits have now new Measures set, And taken up new Trades that they may hate. No more your nice fantastick Pleasures serve, Your Pimps you pay, but let your Poets starve, They long in vain for better Usage hop’d, Till quite undone and tir’d, they dropt and dropt; Not one is left will write for thin third Day, Like desperate Pickeroons, no Prize no Pay; And when they have done their best, the Recompence Is, Damn the Sot, his Play wants common Sense, Ill-natured Wits, who can so ill requite The drudging Slaves, who for your Pleasure write.

Look back on flourishing_ Rome, _ye proud Ingrates, And see how she her thriving Poets treats: Wisely she priz’d ‘em at the noblest Rate, | As necessary Ministers of State, | And Contributions rais’d to make ‘em great. | They from the publick Bank she did maintain, And freed from want, they only writ for Fame; And were as useful in a City held, As formidable Armies in the Field. They but a Conquest over Men pursued, While these by gentle force the Soul subdu’d. Not_ Rome _in all her happiest Pomp cou’d show | A greater_ Caesar _than we boast of now_; | Augustus _reigns, but Poets still are low. |

May Caesar live, and while his mighty Hand Is scattering Plenty over all the Land; With God-like Bounty recompensing all, Some fruitful drops may on the Muses fall; Since honest Pens do his just cause afford Equal Advantage with the useful Sword_.

NOTES ON THE TEXT.

THE TOWN FOP.

p. 7 _Dramatis Personae_. I have added ‘Page to _Bellmour_; Page to Lord _Plotwell_; Sir _Timothy’s_ Page; Guests; Fiddlers; Ladies.’

p. 12, l. 36 _honoured_. 1724 ‘honourable’.

p. 13, l. 2 _answered the Civility_. 1724 ‘answered her the Civility’.

p. 13, l. 23 _whats_. 1724 ‘what’.

p. 13, l. 26 _any thing in Life_. 1724 ‘any thing in this Life’.

p. 14, l. 3 _God forbid it_; 1724 omits ‘it’.

p. 15, l. 11 _you speak well_. 1724 omits ‘well’.

p. 15, l. 20 _Mrs. Celinda Dresswell_. Following 4to 1677 and 1724 I have retained the name Dresswell although it should obviously be Friendlove. In the first draft Friendlove was called Dresswell, and in altering the nomenclature of the character Mrs. Behn forgot to make the change here. The same slip occurs in this same scene (p. 20, l. 23) when Friendlove is alluded to as Dresswell.

p. 16, l. 2 _help_. 1724 ‘help’d’.

p. 16, l. 30 _me to_. 1724 omits ‘to’.

p. 17, l. 9 _and Allurements_. 1724 omits ‘and’.

p. 19, l. 29 _beholding_. 1724 ‘beholden’.

p. 19, l. 31 _belong’d_. 1724 ‘belongs’.

p. 20, l. 6 _Murder_. 4to 1677 has here the marginal stage direction ’.A Letter’, to remind the prompter to have that property ready for the immediate entry of Friendlove.

p. 22, l. 4 _Exit Sir Tim_. 4to 1677 has ‘Ex.’ after ‘Celinda.’ 1724 ’.xit’ after ‘Southampton House.’

p. 22, l. 6 _Exeunt_. I have supplied this stage direction. 4to 1677 has ’.he End of the First Act.’

p. 22, l. 8 _A Palace_. I have left this quaint locale untouched although the scene is merely an antechamber in Friendlove’s house, and can have been no more than a drop cloth.

p. 22, l. 27 _Scene II_. This Scene is not numbered in the previous editions but considered as Scene I with the former.

p. 24, l. 10 _To-morrow_. 1724 as prose. I follow metrical arrangement of 4to.

p. 26, l. 12 _impose_. 4to 1677 ‘imposes’.

P. 27, l. 15 _Scene III. Sir Timothy’s House_. I have supplied the locale. In all former editions Scenes I and II being counted as one this is numbered Scene II.

p. 27, l. 16 _and Boy_. I have added the entrance of the Boy.

p. 28, l. 12 _that I am_. 4to 1677 omits ‘that’.

p. 28, l. 28 _--and where--and where_. 1724 reads ‘--and where--’ once.

p. 29, l. 25 _Fortunes_. 1724 ‘Fortune’.

p. 30, l. 32 _Exeunt_. 4to 1677 ‘Ex.’ 1724 ‘Exit.’

p. 30, l. 33 _Scene IV. Lord Plotwell’s House_. I have added the locale. The former editions, regarding Scenes I and II of this act as one, read ’.cene III.’

p. 34, l. 21 _nor one_. 1677 ‘nor none’.

p. 37, l. 14 _Scene V_. ‘Scene IV’ in former editions.

p. 39, l. 34 _Exeunt_. Not in former editions. 4to 1677 has ‘The End of the Second Act.’

p. 40, l. 2 _A Room in Lord Plotwell’s House_. All former editions mark the locale as ‘The Street.’ But this is obviously wrong from the sitting, dancing and whole business of the scene.

p. 41, l. 6 _Griefs_. 1724 ‘Grief.’

p. 41, l. 9 _something of disorder_. 4to 1677 ‘something in disorder’.

p. 41, l. 24 _bear_. 4to 1677 ‘bare’.

p. 42, l. 19 _Life left_. 1724 omits ‘left’.

p. 43, l. 4 _plunged in Blood_. 1724 ‘plung’d in, in Blood.’

p. 43, l. 5 _A Jigg_. Not in 1724.

p. 43, l. 19 _with all your Faults_. 4to 1677 omits ‘your’.

p. 45, l. 4 _of it_. 4to 1677 ‘on’t’.

p. 47, l. 7 _Exeunt_. All former editions ‘Exit.’

p. 47, l. 8 _Scene II_. No former editions number this scene, but read ’.nter Diana, Scene a Bedchamber.’

p. 47, l. 33 _unto_. 4to 1677 ‘to’.

p. 49, l. 25 _Love_. 1724 ‘Life’.

p. 50, l. 23 _Exit_. Not marked in former editions.

p. 50, l. 24 _Scene III. A Street_. No former editions number this scene.

p. 51, l. 1 _Which_. 4to 1677 ‘Who’.

p. 54, l. 34 _Exeunt_. Not in 1724. 4to 1677 adds ‘The End of the Third Act.’

p. 55, l. 2 _Celinda’s Chamber_. The locale is unmarked in all former editions,

p. 57, l. 15 _the longed for_. 4to 1677 misprints ‘she long’d for’.

p. 59, l. 8 _Blessings_. 1724 ‘Blessing’.

p. 59, l. 10 _Who ere_. 1724 ‘When e’er’.

p. 61, l. 11 _and who_. 1724 ‘and she who’.

p. 62, l. 6 _Scene II. The former editions have not numbered this scene.

p. 62, l. 11 _Jenny and Doll_. I have supplied the wenches’ names as given in the Dramatis Personae.

p. 63, l. 1 _Garnitures_. 1724 ‘Garments’.

p. 64, l. 1 _Scene III_. I have numbered the scene. Former editions all read ‘Scene a Chamber, a Table with Box and Dice.’

p. 72, l. 20 _Ex. severally_. 4to 1677 adds ‘The End of the Fourth Act.’

p. 72, l. 22 _Scene I_. I have numbered this scene.

p. 76, l. 14 _Scene II. Lord Plotwell’s House_. There is no scene division in 4to 1677. I have numbered this scene and added the locale which is evident from the dialogue.

p. 80, l. 5 _Exit_. 4to 1677 omits this stage direction.

p. 82, l. 10 _Scene III_. I have numbered this scene.

p. 82, l. 27 _Look on this face_. I have metrically arranged this. It is obviously verse. 4to 1677 and 1724 print as prose.

p. 94, l. 24 _written by Mr. E.R_. i.e. ‘Mr. Edward Ravenscroft.’ Omitted in 1724.

THE FALSE COUNT.

p. 101 _Dramatis Personae_. I have added to the list ‘Page to _Carlos_, A little Page to the False Count; Wife to _Petro_.’

p. 106, l. 26 _halving_. Omitted by 1724,

p. 109, l. 7 _hither_. Omitted by 1724.

p. 110, l. 36 _easier_. 4to 1697 and 1724 ‘easilier’.

p. 111, l. 11 _Son_. 4tos ‘Soul’.

p. 115, l. 28 _Huswise_. read ‘Huswife’.

p. 116, l. 5 _Just-au-corps_. 4to 1697 ‘Justicore’.

p. 120, l. 29 _He goes out_. 1724 ‘Exeunt severally.’

p. 120, l. 30 Scene II_. I have numbered this scene.

p. 121, l. 34 _Page holding his lanthorn to his face_. Omitted in 1724.

p. 125, l. 20 _Going in_. 4tos 1682 and 1697 read ‘Goes in.’ But Carlos, obviously, does not leave the stage at this point.

p. 128, l. 24 _Scene III_. I have numbered this scene.

p. 131, l. 11 _Don Carlos’ house_. I have added the locale.

p. 131, l. 26 _dear_. 1724 ‘dearer’.

p. 135, l. 16 _Francisco’s house_. I have added the locale.

p. 135, l. 26 _should_. 1724 ‘shall’.

p. 139, l. 15 _not yet_. 1724 repeats ‘not yet’.

p. 140, l. 2 _froward_. 1724 ‘forward’,

p. 143, l. 21 _They dance_. 4tos add ‘with Don’, which seems unsuitable as the company are seated.

p. 147, l. 22 _Exit Cap_. I have added this necessary direction, not in any previous edition, although all mark his entry again a little later.

p. 152, l. 15 _the body of Francisco_. 4tos 1682 and 1697. 1724 omits ’.he body of’.

p. 156, l. 29 _glout_. 1724 ‘glut’.

p. 158, l. 6 _Mahometan_. 1724 repeats ‘Mahometan’.

p. 158, l. 33 _And wou’d not break_. These two lines, which are obviously metrical, all former editions print as prose.

p. 163, l. 19 _and Mutes attending_. I have added these words as Carlos addresses the mutes a little later in the scene.

p. 163, l. 21 _your_. 1724 ‘thy’.

p. 166, l. 13 _Sir, I’ll warrant_. 1724 omits ‘Sir’.

p. 167, l. 15 _that’s the greatest_. 1724 omits ‘that’s’.

p. 168, l. 30 _Aside_. 1724 omits.

THE LUCKY CHANCE.

p. 177 _The Lucky Chance_. On the title of the 4to 1687, we have ‘This may be Printed, _April 23_, 1686. _R.P_.’

p. 183, l. 1 _To The Right Honourable_. This Dedication and the Preface (p. 185) are only found in the 4to 1687. p. 190 _Dramatis Personae_. have added to the list ‘_Gingle_, a Music Master; A Post-man; _Susan_, Servant to Sir _Feeble; Phillis, Leticia’s_ Woman.’

p. 191, l. 20 _Enter Mr. Gingle_. I have inserted Gingle’s name. All previous editions read ‘Enter several with Musick.’

p. 194, l. 5 _Dudgeon_. 4to 1687 ‘Dugion’.

p. 199, l. 13 _I have had ... Guyneys_. These words have by a curiously gross error been dropped out in all editions save the 4to 1687.

p. 202, l. 30 _all but for_. 1724 omits ‘but’.

p. 203, l. 10 _so, I’ll go_. 1724 ‘so, and I’ll go’.

p. 203, l. 27 _Then then_. All previous editions read ‘Then thou’ which makes no sense. The emendation, if not what Mrs. Behn wrote, is at least grammatical.

p. 204, l. 34 _this St. Martin’s Trumpery_. 1724 ‘these’.

p. 205, l. 4 _my Girl_. 1724 omits ‘my’.

p. 206, l. 28 _of the World_. 1724 ‘of the whole World’.

p. 207, l. 30 _beholding_. 1724 ‘beholden’.

p. 207, l. 36 _Aside_. 1724 omits.

p. 209, l. 2 _look, look how_. 1724 ‘look, how’.

p. 209, l. 12 _Exeunt_. I have supplied this, which does not occur in previous editions. 4to 1687 has ‘The End of the First Act.’ 1724 gives nothing.

p. 210, l. 3 _Livings_. 1724 ‘Living’.

p. 216, l. 13 _Enter Bellmour_. I have placed this entrance here as by his first speech Bellmour obviously overhears Leticia’s words, ‘Blest be this kind Retreat’. 1724 places the entrance after ‘Sighs and Tears.’ 4to 1687 gives it in a bracket by Leticia’s three lines.

p. 218, l. 9 _Let. But how_. I have arranged these lines metrically. 4to 1687 and 1724 print as prose.

p. 221, l. 1 _Seraglio_. 4to 1687 ‘Seraglia’.

p. 222, l. 31 _Quonundrum_. 4to 1687 ‘Qunnumdrum’.

p. 224, l. 17 _Exit_. I have supplied this. 1724 gives no direction. 4to 1687 has ‘The End of the Second Act.’

p. 225, ll. 13, 25 _Aside_. Not in 4to 1687.

p. 226, l. 8 _swooned_. 4to 1687 ‘swoonded’.

p. 227, l. 9 _Aside_. Not in 4to 1687.

p. 227, l. 29 _Scene II_. I have numbered this scene.

p. 227, l. 29 _in an undressing_. 1724 omits ‘in an’.

p. 228, l. 7 _Aside_. Omitted in 4to 1687.

p. 228, l. 21 _Within_. I have supplied this stage direction here and in Bellmour’s following speech.

p. 229, l. 2 _to him_. Not in 1724.

p. 229, l. 4 _before to morrow_. 1724 reads ‘before we go to him to-morrow.’

p. 229, l. 27 _his Safety_. 1724 omits ‘his’.

p. 231, l. 3 _I’m sorry_. I have arranged this metrically. Former editions as prose.

p. 23l, l. 16 _Woman_. 4to 1687 ‘Women’. But Pert is alone.

p. 231, l. 22 _Want_. 1724 misprints ‘Wont’.

p. 234, l. 4 _Exit_. I have supplied this stage direction.

p. 234, l. 5 _Scene V_. I have numbered this scene.

p. 234, l. 27 _Dick his Boy_. Former editions ‘and Boy.’ But Dick’s name is given in the Dramatis Personae and later in this same scene.

p. 235, l. 11 _you know_. Omitted by 1724.

p. 237, l. 21 _Aside_. Former editions wrongly mark this whole speech ’.side’. The last sentence is clearly spoken aloud to Sir Cautious.

p. 238, l. 30 _Ad, and_. 1724 ‘and and’.

p. 238, l. 32 _Exit Dick_. I have added this Exit, unmarked in former editions. Dick obviously does not remain on the stage as his entrance is marked later.

p. 239, l. 14 _Aside, turns_. 1724 omits ‘turns’.

p. 240, l. 29 _Scene VI_. I have numbered this scene.

p. 241, l. 28 _Aside_. Not in 4to 1687. But marked in 1724.

p. 243, l. 18 _Exeunt_. This stage direction is in no previous edition.

p. 244, ll. 28-36 _I am sorry ... Jewel, Sir_. Previous editions as prose.

p. 245, l. 5 _Where had_ ... Previous editions print as prose.

p. 246, l. 1 _rivell’d_. 4to 1687. All later editions ‘shrivel’d’, which is by no means as good.

p. 246, l. 2 _Ladles_. 1724 misprints ‘Ladies’,

p. 248, l. 31 _amended_. 1724 ‘mended’.

p. 249, l. 2 _Dinner in_. 1724 ‘Dinner at’.

p. 255, l. 27 _wou’d but stand_. 1724 omits ‘but’.

p. 259, l. 13 _Exit_. I have added this stage direction. 4to 1687 reads ’.he End of the Fourth Act.’

p. 260, l. 17 _Scene II_. I have numbered this scene,

p. 263, l. 14 _Scene III_. 4to and 1724 ‘Scene II.’

p. 264, l. 21 _attend_. 1724 ‘intend.’

p. 265, l. 31 _Soft Musick ceases_. I put this stage direction here, following 4to 1687. 1724 inserts it after the Song, which is not so well.

p. 266, l. 20 _Scene IV_. I have numbered this scene.

p. 267, l. 1 _Yet you may_. I have arranged the whole speech metrically. 1687 prints to ‘April Flow’rs’ as prose. 1724 prints to ‘gather’ as prose.

p. 267, l. 19 _Sir_. Omitted in 1724.

p. 268, l. 11 _But leave_. I have arranged metrically. Previous editions prose.

p. 269, l. 29 _With all my Soul_. 4to 1687 gives an ‘[Aside’ to Gayman’s speech. This is an obvious error.

p. 270, l. 12 _Scene V_. I have numbered this and the two following scenes.

p. 271, l. 20 _he have not_. 1724 ‘he has not’.

p. 27l, l. 31 _Oh! You_. I have arranged metrically. Previous editions prose.

p. 274, l. 3 _Life’s_. 4to 1687 ‘Lives’. P. 275, l. 24 _Enter Leticia, Bellmour, and Phillis_. I have added this necessary direction which is in no former edition.

p. 278, l. 20 _An After Math_. 4to 1687 reads ‘An After Mach’. 1724 ‘An after Match’. As neither of these forms are found, the 4to seems an obvious misprint for ‘After Math’.

p. 278, l. 25 _whiffling_. 1724 ‘whistling’.

THE FORC’D MARRIAGE.

p. 286, l. 15 _Enter an Actress_. Omitted in 4to 1671.

p. 287 _Dramatis Personae_. I have added to the list ‘Page to _Pisaro_; Clergy; Officers;’ and have named Lysette from Act iii, v. 4to 1671 spells Orgulius, Orguilious; Falatius, Falatio; Cleontius, Cleontious in the Dramatis Personae, but in the text I have spelled these names throughout following 1724. It may here be noted that the 1671 quarto swarms with errors and typographical mistakes. It is vilely printed and seemingly issued from the press almost without revision.

p. 288, l. 2 _The Palace_. I have added the locale.

p. 289, l. 5 _Bravery_. 4to 1671. 4to 1690 and 1724 ‘Virtue’.

p. 289, l. 11 _Alcippus_. 4to 1671 prints ‘Alcip.’ as a speech-prefix. An obvious blunder.

p. 289, l. 18 _Gift_. 4to 1671 misreads ‘Guilt’.

p. 290, l. 11 _added little_. 1724 ‘added a little’.

p. 290, l. 19 _hated_. 4to 1690 and 1724 ‘hate’.

p. 292, l. 9 _who_. 4to 1671 ‘whom’.

p. 295, l. 5 _pretends_. 4to 1671 ‘pretend’.

p. 295, l. 31 _thee most fatal proofs_. 1724 ‘the most fatal proof’.

p. 296, l. 18 _There was so_. Following quartos I have printed these lines (which 1724 gives as prose) metrically, although I confess the result is not satisfactory.

p. 297, l. 1 _Galatea’s Apartments_. I have added this locale.

p. 298, l. 9 _first_. Not in 4to 1671.

p. 298, l. 29 _Sighing_. Not in 4to 1671.

p. 299, l. 30 _Madam, that grief_. This speech, which all previous editions give to Erminia, I have assigned to Aminta. I am, however, not entirely satisfied that a speech of Galatea’s has not dropped out here (the first quarto is notoriously careless), and in this case the speech may well be Erminia’s.

p. 300, l. 14 _sworn_. 4to 1690 and 1724, which I retain as better than 1671 ‘vow’d’.

p. 300, l. 24 _won_. 4to 1690 and 1724, which I have preferred to 1671 ’.ov’d’.

p. 301, l. 1 _A room in the house_. I have added this locale.

p. 303, l. 29 _and Isil_. I have added Isillia’s exit.

p. 303, l. 30 _Philanders Apartments_. I have added the locale.

p. 305, l. 14 _The Representation of the Wedding_. This line is not in 1724.

p. 305, l. 15 _must be let down ... must play_. 1724 ‘is let down ... plays.’

p. 305, l. 29 _The Palace_. I have added this locale.

p. 306, l. 22 _th’.lmighty_. 4to 1671 ‘i’th’ Almighty’.

p. 307, l. 31 _needs_. 4to 1671 ‘need’. 1690 ‘needs’t’.

p. 309, l. 1 _The Court Gallery_. I have added this locale.

p. 309, l. 8 _That sad tone_. I have followed the quartos in their metrical arrangement of this speech. 1724 gives it as prose. The same rule has been observed l.21, ‘Am. Nay thou hast ...’

p. 310, l. 31 _Not so well_. In this speech and also p. 311, l. 1 I have followed the metrical arrangement of the 4tos. 1724 prints as prose.

p. 312, l. 9 _Ex_. 4to 1671 ‘goes out.’

p. 312, l. 13 _Exeunt_. 4to 1671 ‘go out.’

p. 312, l, 14 _’.is the most_. I have followed the two quartos in their arrangement of these lines, which, none the less, seems far from satisfactory. 1724 prints as prose.

p. 313, l. 10 _Erminia_. 4to 1671 omits.

p. 313, l. 28 _She weeps_. Not in 4to 1671, but in 4to 1690 and in 1724.

p. 313, l. 35 _Prince his word_. 4to 1690 and 1724 ‘Prince’s word’.

p. 315, l. 10 _Thou would’st allow_. This is the reading of 4to 1690 and of 1724. 4to 1671 reads ‘I should allow what I deny thee here.’

p. 316, l. 31 _Philander’s Bed-chamber_. I have added the locale.

p. 317, l. 25 _marry other_. 1724 ‘marry any other’.

p. 320, l. 5 _an ignorant_. This is the reading of the 4tos. I take ’.gnorant’ as the obsolete substantive. 1724 omits ‘an’.

p. 320, l. 9 _Enter Lysette_. 1724 has ‘Enter a Maid’, but gives speech prefix ‘Lyc.’, spelling Lysette, Lycette.

p. 320, l. 12 _I cry your Lordship’s_. I have followed the 4tos in the metrical arrangement of this speech. 1724 prints as prose.

p. 320, l. 15 _She goes in_. 1724 ‘She goes out.’

p. 320, l. 21 _I fell asleep_. So 4tos. 1724 as prose.

p. 321, l. 28 _Shepherdess_. 4tos and 1724 punctuate ‘Shepherdess,’. It has been suggested that the passage be punctuated with a full stop at ’.all.’ and continue ‘Ah, cruel’ with the punctuation of former editions retained.

p. 323, l. 8 _he has_. 4to 1671 ‘it has’.

p. 323, l. 14 _The Court Gallery_. I have supplied this locale.

p. 326, l. 21 _The apartments of Alcippus_. I have supplied this locale.

p. 327, l. 26 _And I so strangely_. 4to 1671 omits ‘I’.

p. 330, l. 23 _The Palace_. I have supplied this locale. 1724 misprints