Chapter 87

p. 330, l. 24 _as passing by_. Omitted by 1724.

p. 331, l. 23 _Railly_. 1724 prints this speech as prose.

p. 332, l. 29 _beholding_. 1724 ‘beholden’.

p. 332, l. 32 _Fal. That’s too much_. Following the 4tos I have arranged all the speeches of Falatius, which 1724 gives as prose, metrically. The result is, it must be confessed, not entirely satisfactory in places.

p. 334, l. 25 _Farewell_. 4tos and 1724 all print ‘For well’.

p. 334, l. 34 _Sees Pisaro_. 1724 omitting ‘sees’ makes a poor alteration in the conduct of this business.

p. 335, l. 20 _Exit Pis_. Former editions simply ‘Exit.’ This confuses the scene.

p. 335, l. 21 _Re-enter Falatius_. The 4tos omit this stage direction.

p. 337, l. 7 _Galatea’s Apartments_. I have supplied the locale.

p, 337, l. 12 _you were_. 4to 1690 and 1724 ‘you are’.

p. 338, l. 25 _must credit you_. 4to 1671 ‘faith, I credit you’.

p. 339, l. 4 _Erminia, sure you’ll_. 4to 1690 and 1724 ‘Erminia sure will’.

p. 339, l. 14 _the fault_. 4to 1690 and 1724 ‘my faults’.

p. 340, l. 5 _He rises_. I have inserted ‘He’ to make the direction quite clear.

p. 342, l. 5 _The Palace_. I have added the locale.

p. 343, l. 25 _loving me_. 4to 1671 prints an unsatisfactory text:

‘none for loving me, for I’m much unlike Lucinda whom you ey’d.’

p. 344, l. 28 _The Apartments of Alcippus_. I have added this locale.

p. 344, l. 32 _fear’d_. 4to 1671 ‘heard’.

p. 347, l. 17 _Entering_. I have added this stage direction.

p, 347, l. 30 _a Chamber_. I have inserted the locale.

p. 347, l. 30 _in a dishabit_. All editions save 4to 1671 read ‘in an undress’.

p. 349, l. 5 _appetites_. 1724 ‘appetite’.

p. 349, l. 12 _Within_. I have supplied this stage direction.

p. 349, l. 20 _took_. 1724 ‘taken’.

p. 351, l. 34 _To Alcip_. This and the following stage direction ‘To the Prince’ are not in 4to 1671.

p. 352, l. 16 _vile_. 4to 1671 omits.

p. 352, l. 25 _or smothers her with a pillow_. This is only found in 4to 1671.

p. 353, l. 21 _Knew_. 4to 1671 ‘know’.

p. 354, l. 6 _has_. 4to 1671 ‘had’.

p. 354, l. 16 _Murder_. 4to 1690 and 1724 ‘a Murderer’.

p. 354, l. 29 _The Palace_. I have supplied the locale.

p. 356, l. 30 _merits not_. 1724 ‘merits all’. A striking misprint.

p. 357, l. l2 _Gonzal_. 4to 1671 ‘Gen’rall’.

p. 357, l. 16 _You once_. 4to 1671 wrongly gives this to the King.

p. 357, l. 19 _And should_. 4to 1671 omits this whole line.

p. 357, l. 29 _Fal. Wert_. I have followed the arrangement of 4to 1671 throughout in this scene, which 1724 prints as prose.

p. 358, l. 7 _Tiffany_. 4to 1690 and 1724 ‘Taffety.’

p. 358, l. 22 _Philander’s Apartments_. I have supplied this locale.

p. 359, l. 29 _Within_. I have added this stage direction.

p. 360, l. 27--_Gods_--. I follow 4tos. 1724 prints these two lines as prose.

p. 361, l. 36 _the World_. 1724 ‘that World’.

p. 362, l. 6 _smiling to the Princess_. 1724 reads ‘Er. who comes out smiling.’

p. 363, l. 18 _Galatea’s Apartments_. I have supplied the locale.

p. 365, l. 8 _’.was_. 4to 1690 and 1724 ‘twere’.

p. 365, l. 12 _The Bedchamber_. I have supplied this locale.

p. 365, l. 14 _so_. 4to 1671 ‘now’.

p. 365, l. 20 _Weeps_. 4to 1671 only has ‘Weeps.’ 4to 1690 and 1724 give the stage direction in full.

p. 365, l. 31 _Influence_. 4to 1671 ‘Influences’ to the ruin of the metre.

p. 366, l. 6 _as touch her_. 4to 1690, 1724 ‘to touch her’.

p. 368, l. 8 _Princes_. 4tos 1671, 1690 read ‘Princess’.

p. 368, l. 14 _who goes_. 4tos 1671, 1690 ‘and goes’.

p. 368, l. 32 _Do_. 4to 1671 ‘So’.

p. 369, l. 28 _what_. 4to 1671 ‘which’.

p. 371, l. 8 _The King’s Chamber_. I have supplied this locale and that of the following Scene (IV).

p. 374, l. 28 _A Pass or two_. Only in 4to 1671.

p. 375, l. 25 _Alcip. Might I_. Only 4to 1671 gives this speech to Alcippus. All other editions erroneously continue it as part of Galatea’s speech.

p. 375, l. 32 _My Love_. 4to 1671 wrongly ‘Thy love’.

p. 377, l. 13 _Ease_. 4to 1671 ‘easie’.

p. 381, l. 8 _Exeunt_. I have supplied this stage direction.

THE EMPEROR OF THE MOON.

p. 390, l. 1 _To The Lord Marquess_. The dedication only occurs in 4tos 1687, 1688.

p. 391, l. 6 _Billet Doux_. 4tos read ‘Billet Deux’--The same form is found in the _Prologue_ l. 8; but as no other instance of ‘Billet Deux’ occurs I have corrected what is doubtless a misprint.

p. 394, l. 28 _Adznigs_. 1724, ‘Adzigs’.

p. 395 _Dramatis Personae_. I have added ‘Page; _Florinda_, Cousin to _Elaria_ and _Bellemante_.’

p. 398, l. 4 _otherwise_. 1724 ‘otherways’.

p. 399, l. 30 _Rosycrusian_. 4 to 1687 ‘Rosacrucian.’

p. 400, l. 16 _Ma tres chère_. 4 to 1687 ‘Matres chear.’ 4to 1688 ’.arrois charé.’

p,400, l. 27 _tout autour_. 4to 1687 ‘tout au toore.’ 4to 1688 ‘tout au tour.’

p.400, l. 30 _sighing_. 1724 misprints ‘fighting’.

p.400, l. 9 _Cheveux blonds_. 4tos ‘Chevave Blond’.

p. 403, l. 30 _Sylphs_. 4to 1687 ‘Silfs.’

p. 409, l. 13 _Scene III_. All the former editions have Scene II.

p. 412, l. 21 _Enter Doctor_. Both 4tos and 1724 omit to mark this entrance which I have supplied.

p.413, l. 18 _Draws_. 1724 omits.

p.417, l. 19 _The End of the First Act_. Only in 4tos 1687, 1688.

p. 417, l. 21 _A Chamber_. I have added the locale.

p. 418, l. 26 _the Street_. 1724 ‘a Street.’

p. 418, l. 27 _a Flambeaux_. This is the reading of both 4tos. 1724 ‘a Flambeau’. As Sir T. Herbert, Travels (1638), has a plural ‘Flambeauxes’ I have retained ‘Flambeaux’ as a singular here, though no other instance can be cited.

p. 420, l. 6 _Scene III_. I have numbered this scene.

p. 420, l. 9 _Florinda_. I have inserted this name here and as speech-prefix instead of ‘Lady’. It is supplied by Act ii, II, and again in this scene.

p. 422, l. 2 _Harpsicals_. 1724 ‘Harpsicords’.

p. 422, l. 15 _Within_. I have supplied this stage direction.

p. 424, l. 3 _Doct. Hold up_. 1724 improperly puts this speech after the stage direction.

p. 424, l. 8 _Harlequin sits still_. 4tos ‘He sits still.’

p. 426, ll. 7, 9 _Mistriss_. 1724 ‘Mrs.’

p. 426, l. 35 _Aside, and Exit_. ‘Aside’ only in 1724. I have supplied ’.nd exit.’

p. 427, l. 16 _Scene IV_. I have numbered this scene and supplied the locale ‘to Bellemante’s Chamber’.

p. 429, l. 6 _Scene V_. I have numbered this scene.

p. 436, l. 14 _The End of the Second Act_. Only in 4tos.

p. 438, l. 22 _Scene II_. I have numbered this scene.

p. 442, l. 5 _prima_. 4tos misprint ‘Fema’.

p. 453, l. 1 _Scene III. The Last_. I have numbered this scene. 1724 omits ‘The Last.’

p. 454, l. 3 _the Emperor_. 1724 omits ‘the’.

p. 456, l. 28 _Sagittary_. 1724 ‘Sagittar’.

p. 461, l. 32 _Gravely to himself_. Only in 4tos.

p. 462, l. 19 _Pay_. 1724 ‘Play.’

p. 462, l. 29 _Bank_. 1724 ‘Rank’.

NOTES: CRITICAL AND EXPLANATORY.

THE TOWN FOP.

p. 15 _Mrs. Celinda Dresswell_. Dresswell was obviously the original name of Friendlove, and Mrs. Behn forgot to alter her MS. at this passage. The same oversight occurs later in the act when Bellmour says ’. must rely on Dresswell’s friendship,’ (p. 20).

p. 18 _Glass Coach_. Coaches with glasses were a recent invention and very fashionable amongst the courtiers and ladies of the Restoration. De Grammont tells in his _Memoirs_ how he presented a French calash with glasses to the King, and how, after the Queen and the Duchess of York, had publicly appeared in it, a battle royal took place between Lady Castlemaine and Miss Stewart as to which of the two should first be seen therein on a fine day in Hyde Park. _The Ultimum Vale of John Carleton_ (4to, 1663) says, ‘I could wish her coach ... made of the new fashion, with glass, very stately, ... was come for me.’

p. 20 _Tom Dove_. A well-known bear so named and exhibited at the Bear Garden. Besides this passage there are four other allusions to him to be found. Dryden’s _Epilogue to the King and Queen_ at the Union of the Two Companies, 1682, has:--

Then for your lacquies ... They roar so loud, you’d think behind the stairs, Tom Dove, and all the brotherhood of bears.

His prologue to Vanbrugh’s alteration of _The Pilgrim_ (1700) begins:--

How wretched is the fate of those who write! Brought muzzled to the stage, for fear they bite; Where, like Tom Dove, they stand the common foe.

In Southerne’s _The Maid’s Last Prayer_ (1693) Act ii, II, Granger on receiving an invitation to dinner cries: ‘Zounds! a man had as good be ty’d to a stake and baited like Tom Dove on Easter Monday as be the necessary appurtenance of a great man’s table!’ D’Urfey in the epilogue (spoken by Verbruggen) to Robert Gould’s _The Rival Sisters; or, The Violence of Love_, produced at Drury Lane in 1696, writes:--

When the dull Crowd, unskilled in these Affairs, To day wou’d laugh with us, to morrow with the Bears: Careless which Pastime did most Witty prove, Or who pleas’d best, Tom Poet, or Tom Dove.

Tom Dove has been wrongly described as ‘a bearward.’

p. 22 _Southampton House_. Southampton House, Bloomsbury, occupied the whole of the north side of the present Bloomsbury Square. It had ‘a curious garden behind, which lieth open to the fields,’--_Strype_. A great rendezvous for duellists, cf. Epilogue to Mountfort’s _Greenwich Park_ (Drury Lane, 1691) spoken by Mrs. Mountfort:--

If you’re displeased with what you’ve seen to-night Behind Southampton House we’ll do you right; Who is’t dares draw ‘gainst me and Mrs. Knight?

p. 39 _Nickers_. Vide note (p. 456) Vol. I, p. 398, _The Roundheads_.

p. 41 _Courant_. A quick, lively dance frequently referred to in old dramatists.

p. 43 _A Jigg_. There were, in Post-Restoration times, two interpretations of the word Jig. Commonly speaking it was taken to mean exactly what it would now, a simple dance. Nell Gwynne and Moll Davis were noted for the dancing of Jigs. cf. Epilogue to Buckingham’s _The Chances_ (1682):--

The Author dreads the strut and meen Of new prais’d Poets, having often seen Some of his Fellows, who have writ before, When Nel has danc’d her Jig, steal to the Door, Hear the Pit clap, and with conceit of that Swell, and believe themselves the Lord knows what.

Thus at the end of Lacy’s _The Old Troop_ (31 July, 1668), we have ‘a dance of two hobby horses in armour, and a Jig.’ Also shortly before the epilogue in Shadwell’s _The Sullen Lovers_ (1668) we read, ‘Enter a Boy in the habit of Pugenello and traverses the stage, takes his chair and sits down, then dances a Jig.’

But it must be remembered that beside the common meaning there was a gloss upon the word derived from Elizabethan stage practice. In the prologue to _The Fair Maid of the Inn_ (licensed 1626), good plays are spoken of as often scurvily treated, whilst

A Jigge shall be clapt at, and every rhime Prais’d and applauded by a clam’rous chyme.

The Pre-Restoration Jig was little other indeed than a ballad opera in embryo lasting about twenty-five minutes and given as an after-piece. It was a rhymed farce in which the dialogue was sung or chanted by the characters to popular ballad tunes. But after the Restoration the Jig assumed a new and more serious complexion, and came eventually to be dovetailed with the play itself, instead of being given at the fag end of the entertainment. Mr. W.J. Lawrence, the well-known theatrical authority to whom I owe much valuable information contained in this note, would (doubtless correctly) attribute the innovation to Stapylton and Edward Howard, both of whom dealt pretty freely in these Jigs. Stapylton has in Act v of _The Slighted Maid_ (1663) a ‘Song in Dialogue’ between Aurora and Phoebus with a chorus of Cyclops, which met with some terrible parody in _The Rehearsal_ (cf. the present editor’s edition of _The Rehearsal_, p. 145). Indeed all extrinsic songs in dialogue, however serious the theme, were considered ‘Jigs’. A striking example would be the Song of the Spirits in Dryden’s _Tyrannic Love_,