Part 11 out of 12
_Doct_. A Map of the _Lunar Mundus_, Sir! may I crave the Honour of
_Scar_. You shall, Sir, together with a Map of _Terra Incognita_; a
great Rarity, indeed, Sir.
_Doct_. Jewels, Sir, worth a King's Ransom!
_Bell_. Ha,--What Figure of a Thing have we here, bantering my credulous
Uncle?--This must be some Scout sent from our _Forlorn Hope_, to
discover the Enemy, and bring in fresh Intelligence.--Hum, that Wink
tipt me some Tidings, and she deserves not a good Look, who understands
not the Language of the Eyes.--Sir, Dinner's on the Table.
_Doct_. Let it wait, I am employ'd--
[_She creeps to the other side of_ Scaramouch, _who makes
Signs with his Hand to her_.
_Bell_. Ha, 'tis so:--This Fellow has some Novel for us, some Letter or
Instructions, but how to get it--
[_As_ Scar. _talks to the_ Doctor, _he takes the Letters by degrees
out of his Pocket, and unseen, given 'em_ Bellemante _behind him_.
_Doct_. But this Map, Seignior; I protest you have fill'd me with
Curiosity. Has it signify'd all things so exactly, say you?
_Scar_. Omitted nothing, Seignior, no City, Town, Village, or Villa;
no Castle, River, Bridge, Lake, Spring, or Mineral.
_Doct_. Are any, Sir, of those admirable Mineral Waters there, so
frequent in our World?
_Scar_. In abundance, Sir: the Famous _Garamanteen_, a young _Italian_,
Sir, lately come from thence, gives an account of an excellent
_Scaturigo_, that has lately made an Ebulation there, in great
Reputation with the Lunary Ladies.
_Doct_. Indeed, Sir! be pleas'd, Seignior, to 'solve me some Queries
that may enode some appearances of the Virtue of the Water you speak of.
_Scar_. Pox upon him, what Questions he asks--but I must on. [_Aside_.]
Why, Sir, you must know,--the Tincture of this Water upon Stagnation
ceruleates, and the Crocus upon the Stones flaveces; this he observes
--to be, Sir, the Indication of a generous Water.
_Doct_. Hum-- [_Gravely nodding_.
_Scar_. Now, Sir, be pleas'd to observe the three Regions: if they be
bright, without doubt _Mars_ is powerful; if the middle Region or Camera
be palled, _Filia Solis_ is breeding.
_Scar_. And then the third Region, if the Faeces be volatile, the Birth
will soon come _in Balneo_. This I observed also in the Laboratory of
that ingenious Chymist _Lysidono_, and with much Pleasure animadverted
that Mineral of the same Zenith and Nadir, of that now so famous Water
in _England_, near that famous Metropolis, call'd _Islington_.
_Scar_. For, Sir, upon the Infusion, the Crows Head immediately procures
the Seal of _Hermes_; and had not _Lac Virginis_ been too soon suck'd
up, I believe we might have seen the Consummation of _Amalgama_.
[Bellemante _having got her Letters, goes off. She makes Signs
to him to stay a little. He nods_.
_Doct_. Most likely, Sir.
_Scar_. But, Sir, this _Garamanteen_ relates the strangest Operation of
a Mineral in the Lunar World, that ever I heard of.
_Doct_. As how, I pray, Sir?
_Scar_. Why, Sir, a Water impregnated to a Circulation with _prima
Materia_; upon my Honour, Sir, the strongest I ever drank of.
_Doct_. How, Sir! did you drink of it?
_Scar_. I only speak the words of _Garamanteen_, Sir.
--Pox on him, I shall be trapt. [_Aside_.
_Doct_. Cry Mercy, Sir.-- [_Bows_.
_Scar_. The Lunary Physicians, Sir, call it _Urinam Vulcani_, it
calybeates every ones Excrements more or less according to the Gradus
of the natural Calor.--To my Knowledge, Sir, a Smith of a very fiery
Constitution is grown very opulent by drinking these Waters.
_Doct_. How, Sir, grown rich by drinking the Waters, and to your
_Scar_. The Devil's in my Tongue. To my Knowledge, Sir; for what a Man
of Honour relates, I may safely affirm.
_Doct_. Excuse me, Seignior--
[_Puts off his Hat again gravely_.
_Scar_. For, Sir, conceive me how he grew rich! since he drank those
Waters he never buys any Iron, but hammers it out of _Stercus Proprius_.
_Enter_ Bellemante _with a Billet_.
_Bell_. Sir, 'tis three a Clock, and Dinner will be cold.
[_Goes behind_ Scaramouch, _and gives him the Note and goes out_.
_Doct_. I come, Sweet-heart; but this is wonderful.
_Scar_. Ay, Sir, and if at any time Nature be too infirm, and he prove
Costive, he has no more to do, but apply a Load-stone _ad Anum_.
_Doct_. Is't possible?
_Scar_. Most true, Sir, and that facilitates the Journey _per Viscera_.
--But I detain you, Sir;--another time, Sir,--I will now only beg the
Honour of a Word or two with the Governante, before I go.
_Doct_. Sir, she shall wait on you, and I shall be proud of the Honour
of your Conversation.
_Enter to him_ Harlequin, _dress'd like a Farmer, as before_.
_Har_. Hum--What have we here, a Taylor or a Tumbler?
_Scar_. Ha--Who's this?--Hum--What if it shou'd be the Farmer that the
Doctor has promis'd _Mopsophil_ to? My Heart misgives me.
[_They look at each other a while_.
Who wou'd you speak with, Friend?
_Har_. This is, perhaps, my Rival the Apothecary.--Speak with, Sir! why,
what's that to you?
_Scar_. Have you Affairs with Seignor Doctor, Sir?
_Har_. It may be I have, it may be I have not. What then, Sir?
_While they seem in angry Dispute, enter_ Mopsophil.
_Mop_. Seignior Doctor tells me I have a Lover waits me, sure it must be
the Farmer or the Apothecary. No matter which, so a Lover that welcomest
Man alive. I am resolv'd to take the first good Offer, though but in
revenge of _Harlequin_ and _Scaramouch_, for putting Tricks upon me.
--Ha,--Two of 'em!
_Scar_. My Mistress here!
[_They both bow, and advance, putting each other by_.
_Mop_. Hold, Gentlemen,--do not worry me. Which of you wou'd speak
_Both_. I, I, I, Madam--
_Mop_. Both of you?
_Both_. No, Madam, I, I.
_Mop_. If both Lovers, you are both welcome; but let's have fair Play,
and take your turns to speak.
_Har_. Ay, Seignior, 'tis most uncivil to interrupt me.
_Scar_. And disingenuous, Sir, to intrude on me.
[_Putting one another by_.
_Mop_. Let me then speak first.
_Har_. I'm dumb.
_Scar_. I acquiesce.
_Mop_. I was inform'd there was a Person here had Propositions of
Marriage to make me.
_Har_. That's I, that's I--
[_Shoves_ Scar. _away_.
_Scar_. And I attend to that consequential _Finis_.
[_Shoves_ Har. _away_.
_Har_. I know not what you mean by your Finis, Seignior; but I am come
to offer my self this Gentlewoman's Servant, her Lover, her Husband, her
Dog in a Halter, or any thing.
_Scar_. Him I pronounce a Paltroon, and an ignominious Utensil, that
dare lay claim to the renowned Lady of my _Primum Mobile_; that is, my
best Affections. [_In Rage_.
_Har_. I fear not your hard Words, Sir, but dare aloud pronounce, if
_Donna Mopsophil_ like me, the Farmer, as well as I like her, 'tis a
Match, and my Chariot's ready at the Gate to bear her off, d'ye see.
_Mop_. Ah, how that Chariot pleads. [_Aside_.
_Scar_. And I pronounce, that being intoxicated with the sweet Eyes of
this refulgent Lady, I come to tender her my noblest Particulars, being
already most advantageously set up with the circumstantial Implements of
my Occupation. [_Points to the Shop_.
_Mop_. A City Apothecary, a most genteel Calling--Which shall I chuse?
--Seignior Apothecary, I'll not expostulate the circumstantial Reasons
that have occasion'd me this Honour.
_Scar_. Incomparable Lady, the Elegancy of your Repartees most
excellently denotes the Profundity of your Capacity.
_Har_. What the Devil's all this? Good Mr. Conjurer, stand by--and don't
fright the Gentlewoman with your elegant Profundities. [_Puts him by_.
_Scar_. How, a Conjurer! I will chastise thy vulgar Ignorance, that
yclepes a Philosopher a Conjurer. [_In Rage_.
_Har_. Losaphers!--Prithee, if thou be'st a Man, speak like a Man--then.
_Scar_. Why, what do I speak like? what do I speak like?
_Har_. What do you speak like!--why you speak like a Wheel-Barrow.
_Har_. And how.
[_They come up close together at half Sword Parry; stare on each
other for a while, then put up and bow to each other civilly_.
_Mop_. That's well, Gentlemen, let's have all Peace, while I survey you
both, and see which likes me best.
[_She goes between 'em, and surveys 'em both, they making
ridiculous bows on both sides, and Grimaces the while_.
--Ha, now on my Conscience, my two foolish Lovers, _Harlequin_ and
_Scaramouch_; how are my Hopes defeated?--but, faith, I'll fit you
[_She views 'em both_.
_Scar_. So she's considering still, I shall be the happy Dog. [_Aside_.
_Har_. She's taking aim, she cannot chuse but like me best. [_Aside_.
_Scar_. Well, Madam, how does my Person propagate?
[_Bowing and smiling_.
_Mop_. Faith, Seignior, now I look better on you, I do not like your
Phisnomy so well as your Intellects; you discovering some circumstantial
Symptoms that ever denote a villanous Inconstancy.
_Scar_. Ah, are you pleas'd, Madam.
_Mop_. You are mistaken, Seignior. I am displeas'd at your Grey-Eyes,
and black Eye-brows, and Beard; I never knew a Man with those Signs,
true to his Mistress or his Friend. And I wou'd sooner wed that
Scoundrel _Scaramouch_, that very civil Pimp, that mere pair of chymical
Bellows that blow the Doctor's projecting Fires, that Deputy-urinal
Shaker, that very Guzman of _Salamanca_. than a Fellow of your
infallible _Signum Mallis_.
_Har_. Ha, ha, ha, you have your Answer, Seignior Friskin--and may shut
up your Shop and be gone.--Ha, ha, ha.
_Scar_. Hum, sure the Jade knows me. [_Aside_.
_Mop_. And as for you, Seignior--
_Har_. Ha, Madam. [_Bowing and smiling_.
_Mop_. Those Lanthorn Jaws of yours, with that most villanous Sneer and
Grin, and a certain fierce Air of your Eyes, looks altogether most
fanatically--which with your notorious Whey Beard, are certain Signs of
Knavery and Cowardice; therefore I'ad rather wed that Spider _Harlequin_,
that Sceleton Buffoon, that Ape of Man, that Jack of Lent, that very Top,
that's of no use, but when 'tis whip'd and lash'd, that piteous Property
I'ad rather wed than thee.
_Har_. A very fair Declaration.
_Mop_. You understand me--and so adieu, sweet Glisterpipe, and Seignior
Dirty-Boots, Ha, ha, ha.
[_They stand looking simply on each other, without speaking a while_.
_Scar_. That I shou'd not know that Rogue _Harlequin_. [_Aside_.
_Har_. That I shou'd take this Fool for a Physician. [_Aside_.
--How long have you commenc'd Apothecary, Seignior?
_Scar_. Ever since you turn'd Farmer.--Are not you a damn'd Rogue to
put these Tricks upon me, and most dishonourably break all Articles
_Har_. And are not you a dam'd Son of a--something--to break Articles
_Scar_. No more Words, Sir, no more Words, I find it must come to
Actions, draw. [_Draws_.
_Har_. Draw!--so I can draw, Sir. [_Draws_.
[_They make a ridiculous cowardly Fight. Enter the Doctor,
which they seeing, come on with more Courage. He runs between,
and with his Cane beats the Swords down_.
_Doct_. Hold, hold, what mean you, Gentlemen?
_Scar_. Let me go, Sir, I am provok'd beyond measure, Sir.
_Doct_. You must excuse me, Seignior.
[_Parlies with Harlequin_.
_Scar_. I dare not discover the Fool for his Master's sake, and it may
spoil our Intrigue anon; besides, he'll then discover me, and I shall be
discarded for bantering the Doctor. [_Aside_.
--Man of Honour to be so basely affronted here.
[_The_ Doctor _comes to appease_ Scaramouch.
_Har_. Shou'd I discover this Rascal, he wou'd tell the old Gentleman I
was the same that attempted his House to day in Woman's Clothes, and I
should be kick'd and beaten most insatiably.
_Scar_. What, Seignior, for a Man of Parts to be impos'd upon, and
whip'd through the Lungs here--like a Mountebank's Zany for sham Cures
--Mr. Doctor, I must tell you 'tis not civil.
_Doct_. I am extremely sorry for it, Sir,--and you shall see how I will
have this fellow handled for the Affront to a Person of your Gravity,
and in my House.--Here, _Pedro_.
--Take this Intruder, or bring some of your Fellows hither, and toss him
in a Blanket.
[Har. _going to creep away_, Scar, _holds him_.
_Har_. Hark ye, bring me off, or I'll discover all your Intrigue.
[Aside to _him_.
_Scar_. Let me alone.
_Doct_. I'll warrant you some Rogue that has some Plot on my Niece and
_Scar_. No, no, Sir, he comes to impose the grossest Lye upon you, that
ever was heard of.
_Enter_ Pedro _with others, with a Blanket. They put_ Harlequin
_into it, and toss him_.
_Har_. Hold, hold, I'll confess all, rather than indure it.
_Doct_. Hold, what will you confess, Sir.
[_He comes out, makes sick Faces_.
_Scar_.--That he's the greatest Impostor in Nature. Wou'd you think it,
Sir? he pretends to be no less than an Ambassador from the Emperor of
the Moon, Sir.
_Doct_. Ha, Ambassador from the Emperor of the Moon!
[_Pulls off his Hat_.
_Scar_. Ay, Sir, thereupon I laugh'd, thereupon he grew angry--I laugh'd
at his Resentment, and thereupon we drew, and this was the high Quarrel,
_Doct_. Hum--Ambassador from the Moon. [_Pauses_.
_Scar_. I have brought you off, manage him as well as you can.
_Har_. Brought me off, yes, out of the Frying-pan into the Fire.
Why, how the Devil shall I act an Ambassador? [_Aside_.
_Doct_. It must be so, for how shou'd either of these know I expected
[_He addresses him with profound Civility to_ Har.
Sir, if the Figure you make, approaching so near ours of this World,
have made us commit any undecent Indignity to your high Character, you
ought to pardon the Frailty of our mortal Education and Ignorance,
having never before been bless'd with the Descension of any from your
_Har_. What the Devil shall I say now? [_Aside_.
--I confess I am, as you may see by my Garb, Sir, a little _Incognito_,
because the publick Message I bring is very private--which is, that the
mighty _Iredonozor_, Emperor of the Moon, with his most worthy Brother,
the Prince of _Thunderland_, intend to sup with you to Night.--Therefore
be sure you get good Wine.--Though by the way let me tell you, 'tis for
the sake of your fair Daughter.
_Scar_. I'll leave the Rogue to his own Management. I presume, by your
whispering, Sir, you wou'd be private, and humbly begging pardon, take
_Har_. You have it, Friend. Does your Niece and Daughter drink, Sir?
_Doct_. Drink, Sir?
_Har_. Ay, Sir, drink hard?
_Doct_. Do the Women of your World drink hard, Sir?
_Har_. According to their Quality, Sir, more or less; the greater the
Quality, the more profuse the Quantity.
_Doct_. Why, that's just as 'tis here; but your Men of Quality, your
Statesmen, Sir, I presume they are sober, learned, and wise.
_Har_. Faith, no, Sir; but they are, for the most part, what's as good,
very proud and promising, Sir, most liberal of their Word to every
fauning Suiter, to purchase the state of long Attendance, and cringing
as they pass; but the Devil of a Performance, without you get the Knack
of bribing in the right Place and Time; but yet they all defy it, Sir.
_Doct_. Just, just, as 'tis here.--But pray, Sir, how do these Great men
live with their Wives?
_Har_. Most nobly, Sir, my Lord keeps his Coach, my Lady hers; my Lord
his Bed, my Lady hers; and very rarely see one another, unless they
chance to meet in a Visit, in the _Park_, the _Mall_, the _Tour_, or at
the _Basset-Table_, where they civilly salute and part, he to his
Mistress, she to play.
_Doct_. Good lack! just as 'tis here.
_Har_.--Where, if she chance to lose her Money, rather than give out,
she borrows of the next amorous Coxcomb, who, from that Minute, hopes,
and is sure to be paid again one way or other, the next kind
_Doct_.--Just as 'tis here.
_Har_. As for the young Fellows that have Money, they have no Mercy upon
their own Persons, but wearing Nature off as fast as they can, Swear,
and Whore and Drink, and borrow as long as any Rooking Citizen will lend
till, having dearly purchased the heroick Title of a Bully or a Sharper,
they live pity'd of their Friends, and despis'd by their Whores, and
depart this Transitory World, diverse and sundry ways.
_Doct_. Just, just as 'tis here!
_Har_. As for the Citizen, Sir, the Courtier lies with his Wife; he in
revenge, cheats him of his Estate, till rich enough to marry his
Daughter to a Courtier, again gives him all--unless his Wife's
over-gallantry breaks him; and thus the World runs round.
_Doct_. The very same 'tis here--Is there no preferment, Sir, for Men of
Parts and Merit?
_Har_. Parts and Merit! what's that? a Livery, or the handsome tying a
Cravat; for the great Men prefer none but their Foot-men and Valets.
_Doct_. By my Troth, just as 'tis here.--Sir, I find you are a Person
of most profound Intelligence--under Favour, Sir, are you a Native of
the Moon, or this World?
_Har_. The Devil's in him for hard Questions.
--I am a _Neapolitan_, Sir?
_Doct_. Sir, I Honour you; good luck, my Countryman! How got you to the
Region of the Moon, Sir?
_Har_. A plaguy inquisitive old Fool!
--Pox on't, what shall I say?
--I being--one day in a musing Melancholy, walking by the Sea-side--
there arose, Sir, a great Mist, by the Sun's exhaling of the Vapours
of the Earth, Sir.
_Doct_. Right, Sir.
_Har_. In this Fog, or Mist, Sir, I was exhal'd.
_Doct_. The Exhalations of the Sun draw you to the Moon, Sir?
_Har_. I am condemn'd to the Blanket again.
--I say, Sir, I was exhal'd up, but in my way--being too heavy, was
drop'd into the Sea.
_Doct_. How, Sir, into the Sea?
_Har_. The Sea, Sir, where the Emperor's Fisherman casting his Nets,
drew me up, and took me for a strange and monstrous Fish, Sir,--and as
such, presented me to his Mightiness,--who going to have me Spitchcock'd
for his own eating--
_Doct_. How, Sir, eating?
_Har_. What did me I, Sir (Life being sweet) but fall on my Knees, and
besought his Gloriousness not to eat me, for I was no Fish, but a Man;
he ask'd me of what Country, I told him of _Naples_; whereupon the
Emperor overjoy'd ask'd me if I knew that most reverend and learned
Doctor _Baliardo_, and his fair Daughter. I told him I did: whereupon
he made me his Bed-fellow, and the Confident to his Amour to Seigniora
_Doct_. Bless me, Sir! how came the Emperor to know my Daughter?
_Har_. There he is again with his damn'd hard Questions.
--Know her, Sir,--Why--you were walking abroad one day.
_Doct_. My Daughter never goes abroad, Sir, farther than our Garden.
_Har_. Ay, there it was indeed, Sir,--and as his Highness was taking a
Survey of this lower World--through a long Perspective, Sir,--he saw you
and your Daughter and Neice, and from that very moment fell most
desperately in love.--But hark, the sound of Timbrels, Kettle-Drums and
Trumpets.--The Emperor, Sir, is on his way, prepare for his Reception.
[_A strange Noise is heard of Brass Kettles, and Pans,
and Bells, and many tinkling things_.
_Doct_. I'm in a Rapture--How shall I pay my Gratitude for this great
Negotiation?--but as I may, I humbly offer, Sir.
[_Presents him with a rich Ring and a Purse of Gold_.
_Har_. Sir, as an Honour done the Emperor, I take your Ring and Gold. I
must go meet his Highness.
_Enter to him_ Scaramouch, _as himself_.
_Scar_. Oh, Sir! we are astonish'd with the dreadful sound of the
sweetest Musick that ever Mortal heard, but know not whence it comes.
Have you not heard it, Sir?
_Doct_. Heard it, yes, Fool,--'tis the Musick of the Spheres, the
Emperor of the Moon World is descending.
_Scar_. How, Sir, no marvel then, that looking towards the South, I saw
such splendid Glories in the Air.
_Doct_. Ha, saw'st thou ought descending in the Air?
_Scar_. Oh, yes, Sir, Wonders! haste to the old Gallery, whence, with
the help of your Telescope, you may discover all.
_Doct_. I would not lose a moment for the lower Universe.
_Enter_ Elaria, Bellemante, Mopsophil, _dressed in rich Antick Habits_.
_Ela_. Sir, we are dress'd as you commanded us, what is your farther
_Doct_. It well becomes the Honour you're design'd for, this Night to
wed two Princes--come with me and know your happy Fate.
[_Ex_. Doctor _and_ Scar.
_Ela_. Bless me! My Father, in all the rest of his Discourse shows so
much Sense and Reason, I cannot think him mad, but feigns all this
to try us.
_Bell_. Not mad! Marry, Heavens forbid, thou art always creating Fears
to startle one; why, if he be not mad, his want of Sleep this eight and
forty hours, the Noise of strange unheard of Instruments, with the
fantastick Splendour of the unusual Sight, will so turn his Brain and
dazzle him, that in Grace and Goodness, he may be mad, if he be not;--
come, let's after him to the Gallery, for I long to see in what showing
Equipage our princely Lovers will address to us.
SCENE III. _The Last. The Gallery richly adorn'd with Scenes and
_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
_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
_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_.
_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_.
_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_.
_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,
_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_.
_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
_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
_Scar_. Your humble Servant, Sir, and _Scaramouch_ returns you humble
Thanks. [_Puts off his Helmet_.
[_Bawls out, and falls in a Chair. They all go to him_.
My Heart misgives me--Oh, I am undone and cheated every way.
_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."
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 Boueille _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
'Exit' after 'Southampton House.'
p. 22, l. 6 _Exeunt_. I have supplied this stage direction. 4to 1677 has
'The 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
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
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
'Enter 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
p. 55, l. 2 _Celinda's Chamber_. The locale is unmarked in all former
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
'the 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
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
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
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
'aside'. 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
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
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
'The 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
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'
p. 267, l. 19 _Sir_. Omitted in 1724.
p. 268, l. 11 _But leave_. I have arranged metrically. Previous editions
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
p. 271, l. 20 _he have not_. 1724 'he has not'.
p. 27l, l. 31 _Oh! You_. I have arranged metrically. Previous editions
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
p. 300, l. 24 _won_. 4to 1690 and 1724, which I have preferred to 1671
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
p. 305, l. 15 _must be let down ... must play_. 1724 'is let down ...
p. 305, l. 29 _The Palace_. I have added this locale.
p. 306, l. 22 _th'Almighty_. 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
p. 312, l. 9 _Ex_. 4to 1671 'goes out.'
p. 312, l. 13 _Exeunt_. 4to 1671 'go out.'
p. 312, l, 14 _'Tis 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
'ignorant' 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
'call.' and continue 'Ah, cruel' with the punctuation of former
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
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
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
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
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
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
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
p. 361, l. 36 _the World_. 1724 'that World'.
p. 362, l. 6 _smiling to the Princess_. 1724 reads 'Er. who comes out
p. 363, l. 18 _Galatea's Apartments_. I have supplied the locale.
p. 365, l. 8 _'twas_. 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
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
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
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 chere_. 4 to 1687 'Matres chear.' 4to 1688
p,400, l. 27 _tout autour_. 4to 1687 'tout au toore.' 4to 1688 'tout au
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
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
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
'I 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
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_,
In Post-Restoration days a ballad sung in the streets by two persons was
frequently called a Jig, presumably because it was a 'song in dialogue'.
Numerous examples are to be found amongst the Roxburgh Ballads.
The Jig introduced in _Sir Timothy Tawdrey_ would seem to have been the
simple dance although not improbably an epithalamium was also sung.
p. 44 _an Entry_. A dance which derived its name from being performed at
that point in a masque when new actors appeared. In Crowne's _The
Country Wit_ (1675) Act iii, I, there is a rather stupid play on this
sense of the word confounded with its meaning 'a hall or lobby'.
p. 63 _Cracking_. Prostitution. A rare substantive, although 'Crack',
whence it is derived, was common, cf. p. 93 and note.
p. 65 _Cater-tray_. cater = quatre. The numbers four and three on dice
or cards. This term was used generally as a cant name for dice; often
for cogged or loaded dice.
p. 69 _She cries Whore first_. In allusion to the old proverb--cf. _The
Feign'd Courtezans_, Act v, iv, Vol. II, p. 409, when Mr. Tickletext on
his discovery appeals to the same saw.
p. 81 _Berjere_. A very favourite word with Mrs. Behn. Vide Vol. II,
note (p. 346, _The hour of the Berjere_), p. 441 _The Feigned
p. 93 _Cracks_. Whores. As early as 1678 'Crack' is the proper name of
a whore in _Tunbridge Wells_, an anonymous comedy played at the Duke's
House, cf. D'Urfey, _Madam Fickle_ (1682), Act v, ii, when Flaile says:
'Y'have killed a Mon yonder, He that you quarrell'd with about your
Crack there.' Farquhar, _Love and a Bottle_ (1698), Act v, ii, has: 'You
imagine I have got your whore, cousin, your crack.' Grose, _Dict. Vulgar
Tongue_, gives the word, and it is also explained by the _Lexicon
Balatronicum_ (1811). It was, in fact, in common use for over an
p. 94 _Mr. E.R_. i.e. Edward Ravenscroft.
THE FALSE COUNT.
p. 99 _Forty One_. cf. note, Vol. II (p. 207) p. 433, _The City
p. 99 _no Plot was true_. A patent allusion to the fictitious Popish
p. 99 _Conventicles_. For the accentuated last syllable, _vide_ Vol. I,
p. 454. A striking example of this accentuation occurs in a Collection
of _Loyal Songs_--1639-1661--
But all the Parish see it plain,
Since thou art in this pickle,
Thou art an Independent quean,
And lov'st a conventicle.
p. 99 _Christian Suckling_. The charge of murdering young Christian
boys, especially at Passover time, and eating their flesh was
continually brought against the Jews. Little St. Hugh of Lincoln, St.
William of Norwich, the infant St. Simon of Trent and many more were
said to have been martyred in this way. But recently (1913) the trial of
Mendil Beiliss, a Jew, upon a charge of ritually murdering the Russian
lad Yushinsky has caused a world-wide sensation.
p. 99 _Gutling_. Guzzling. Guttle is used in a secondary sense (= to
flatter) in _The City Heiress_. Vide Vol. II, note (on p. 207) p. 433.
p. 100 _took in Lamb's-Wool Ale_. Lamb's-Wool Ale is hot ale mixed with
the pulp of roasted apples, sugared and well spiced. The allusion is to
Lord Howard of Esrick, who, having been imprisoned in the Tower on a
charge connected with the so-called Popish Plot, to prove his innocence
took the Sacrament according to the rites of the English church. It is
said, however, that on this occassion, instead of wine, lamb's-wool was
profanely used. cf. Dryden's bitter jibe--_Absalom and Achitophel_
(November, 1681), I, 575:--
And canting Nadab let oblivion damn,
Who made new porridge for the paschal lamb.
cf. also _Absalom's IX Worthies_:--
Then prophane Nadab, that hates all sacred things,
And on that score abominateth kings;
With Mahomet wine he damneth, with intent
To erect his Paschal-lamb's-wool-Sacrament.
A ballad on the Rye House Plot, entitled _The Conspiracy; or, The
Discovery of the Fanatic Plot_, sings:--