Chapter XXX: Epilogue: Spoken by Mr. Smith (2)

p. 202 _Guinea for--no Feast_. This and the following verses refer to a circumstance much talked of and well laughed at by the Tories. The Duke of York having been invited to dine with the Artillery Company at Merchant-Tailors’-Hall, on 21 April, 1682; an opposition dinner was impudently projected by the Shaftesbury party, to be held at Haberdashers’ Hall, and tickets were forthwith issued at one guinea each; for the purpose, as it was declared, of commemorating the providential escape of the nation from the hellish designs of the papists, etc. The King, however, issued a salutary order forbidding the meeting as an illegal one. This supplied the loyal party with new matter for ridicule and satire against the Whigs, who were considerably dejected by their disappointment.

p. 206 _overtaken_--with liquor. cf. Steele, _Spectator_, No. 420, Wednesday, 6 August, 1712. ‘I do not remember I was ever o’ertaken in drink.’

p. 206 _wholesom Act_. see _supra_. Vol. I, _The Roundheads_, Act v, II, p. 457, note: ‘p. 414, an act, 24 June.’

p. 207 _Forty one_. The year of the Grand Remonstrance and agitation for the suppression of Episcopacy.

p. 207 _guttle_. To flatter, to toady. The word is rare in this sense, generally meaning to guzzle. cf. parasitus.

p. 210 _Porridge_. A contemptuous nickname given by Dissenters to the _Book of Common Prayer_. On 24 August, 1662, Pepys hears that there has been ‘a disturbance in a church in Friday St.; a great many young [people] knotting together and crying out _Porridge_ often and seditiously in the church, and took the Common Prayer Book, they say, away.’ There is a four leaved pamphlet, 4to 1642, by Gyles Calsine, entitled ‘A Messe of Pottage, very well seasoned and crumb’d with bread of life, and easie to be digested against the contumelious slanderers of the Divine Service, terming it Poridge.’

p. 214. _Opinion_. Reputation, cf. Shirley, _The Gamester_ (1637), Act i:--’_Barnacle_. Patience; I mean you have the opinion of a valiant gentleman.’

p. 218 _watch her like a Witch_. _vide_ Vol I, p. 448, note: _Women must be watcht as Witches are_.

p. 228 _i’ th’ Pit, behind the Scenes_. The foremost benches of the pit were a recognized rendezvous for fops and beaux. The tiring rooms of the actors and actresses were also a favourite resort of wits and gallants. Pepys frequently mentions the visits he paid behind the scenes. The Epilogue to _The Gentleman Dancing Master_ (1671) even invites cits behind the scenes:--

You good men o’ th’ Exchange, on whom alone
We must depend when Sparks to sea are gone;
Into the pit already you are come,
‘Tis but a step more to our tiring-room
Where none of us but will be wondrous sweet
Upon an able love of Lombard-Street.

p. 228 _flamm’d off_. Cheated, cf. Ford and Dekker’s _The Witch of Edmonton_, ii, II (1621):--’_Susan_. And then flam me off With an old witch.’

also South’s _Sermons_ (1687):--’A God not to be flammed off with lies.’

p. 209 _Lusum_. i.e. Lewisham.

p. 230 _in ure_. In use; practice. cf. John Taylor’s _The Pennyles Pilgrimage_ (4to 1618);--

For in the time that thieving was in ure
The gentle fled to places more secure.

p. 230 _betauder_. The meaning of this word (=to bedizen with tawdry finery) is plain. As it is only found here, the N.E.D. suggests it may be a nonce-verb.

p. 230 _Spanish Paint_. Rouge, cf. Lady Wishfort in _The Way of the World_ (1700);--’I mean the Spanish paper, idiot. Complexion, darling, paint, paint, paint.’--Act iii, 1.

p. 230 _prew_. Prim, modest. A very rare, affected little word.

p. 230 _rant_. To be boisterously merry, cf. Farquhar, _The Constant Couple_ (1700), Act iv, 1:--’_Clincher jun_. I’ll court, and swear, and rant, and rake and go to the jubilee with the best of them.’

p. 233 _seditiously petitioning_. In allusion to the vast number of petitions which Shaftesbury procured from the counties in support of the Exclusion Bill. The rival factions, ‘Petitioners’ and ‘Abhorrers’ were the nucleus of the two great parties, Whigs and Tories.

p. 236 _Tuberose_. The most fashionable perfume of the day. cf. Etheredge’s _The Man of Mode_ (1676), Act v, 1:--’_Belinda_. I ... told them I never wore anything but orange-flowers and tuberose.’

p. 245 _hits_. A stroke of luck; an opportunity.

p. 246 _ignoramus_. The partial verdict of the Middlesex Grand Jury ignoring the bill of the indictment against Shaftesbury, 24 November, 1681. It is frequently alluded to by Dryden, Mrs. Behn, and the Tory writers.

p. 248 _Albany_. James (II), Duke of York and Albany.

p. 249 _Polanders_. Shaftesbury aspired to be chosen King of Poland in 1675 when John Sobieski was elected to that Throne. This piece of foolish ambition and a certain physical infirmity, to wit, an abscess that in order to preserve his life had to be kept continually open by a silver pipe, got him the nickname of Count Tapsky. In _The Medal_ (March, 1682) Dryden speaks of ‘The Polish Medal’, and Otway’s Prologue to _Venice Preserv’d_ (1682) ridicules Shaftesbury’s regal covetings thus:--

O Poland, Poland! had it been thy lot
T’have heard in time of this Venetian plot,
Thou surely chosen hadst one king from thence
And honoured them, as thou hast England since.

An elaborate and amusing piece of sarcasm on the same subject appeared in a pamphlet entitled _A Modest Vindication of the Earl of S----y, _In a Letter to a Friend concerning his being elected King of Poland_, 1682. Squibs and pasquinades such as _Scandalum Magnatum, or Potapski’s case; A Satire against Polish Oppression_ (1682), and the versified _Last Will and Testament of Anthony, King of Poland_ abounded.

p. 251 _Tantivy_. Reckless, dare-devil. Said by Dr. Johnson to be derived from the sound of a hunting-horn.

p. 251 _Absalom and Achitophel_. The first part of this great poem was published, folio, on or a little before 17 November, 1681. A second edition, quarto, followed during December. The work was anonymous, but the authorship was never a secret. The second part, mainly from the pen of Tate, appeared in November, 1682.

p. 254 _lookt Babies_. To look babies is to gaze at the reflection of one’s face in another’s eyes. cf. Beaumont, _The Woman Hater_ (1606), iii, 1:--

_Gondarino_. I cannot think I shall become a coxcomb,
To ha’ my hair curl’d by an idle finger,
* * * * *
Mine eyes look’d babies in.

p. 257 _an old Reckoning_, 4to 1, 1682, reads ‘an odde Reckoning’. 4to 2, 1698, reads ‘an odd Reckoning’. but 1724 ‘old’ is doubtless correct.

p. 257 _to give us a Song_. Charlotte Butler, who played Charlot, ’.roved’, says Cibber, ‘not only a good actress, but was allowed in those days, to sing and dance to great perfection. In the dramatic operas of _Dioclesian_ and _King Arthur_, she was a capital and admired performer. In speaking too, she had a sweet-toned voice, which, with her naturally genteel air and sensible pronunciation, rendered her wholly mistress of the amiable in many serious characters. In parts of humour, too, she had a manner of blending her assuasive softness, even with the gay, the lively, and the alluring.’ Fletcher’s _The Prophetess_ was brought out as an opera, _Dioclesian_, at Dorset Garden in 1690. Dryden’s _King Arthur_, ’. dramatic opera’, music by Purcell, was produced in 1691. In the latter piece Mrs. Butler acted Philidel, an Airy Spirit.

p. 257 _Charl. and Fop. dance_. Jevon, who acted Foppington, had originally been a dancing master. He was famous for his grace and nimbleness.

p. 259 _Mercury_. The first foreign printed periodical circulating in England was _Mercurius Gallobelgicus_, a bound book printed in Cologne and written in Latin. The first number, a thick little octavo of 625 pages, was published in March, 1594, and contained a chronicle of events from 1588. From this ‘newsbook’ came the Latin title _Mercurius_, used on so many of our periodicals. In 1625 was issued the first coranto with a name, ‘printed for Mercurius Britannicus’. The earliest number in existence is 16, dated 7 April, 1625. Butler (_Hudibras_, II, i. 56) speaks of

Mercuries of furthest regions,
Diurnals writ for regulation
Of lying, to inform the nation.

p. 259 _flam_, humbug. cf. South’s Sermons (1737), II, xii, p. 443. _Conscience_ (1692). ‘All pretences to the contrary are nothing but cant and cheat, flam and delusion.’

p. 260 _Hackney_. A whore. Cotgrave (1611), _Bringuenaudée_, a common hackney. Stapylton’s _Juvenalls Satyrs_ (1647), III, 76: --’And hackney-wenches that i’ th’ _Circus_ stand’. _Hudibras_, III, i, 811-2:--

That is no more than every lover
Does from his hackney-lady suffer.

p. 261 _Twelve was the lucky_. Tom is quoting from _The Happy Night_, a piece which may be found in Vol. I of the _Works of the Earl of Rochester_ (1756), and in the early pseudo-Amsterdam editions. The following note is generally appended: ‘The late Duke of Buckinghamshire was pleased to own himself the Author of this Poem.’

p. 262 _fisking and giggiting. Both these words have practically the same signification, i.e., to frisk or scamper about heedlessly, cf. _Rules of Civility_ (1675), in _Antiquary_ (1880):--’Madam ... fisking and prattling are but ill ways to please.’

To giggit is a very rare verb. _The N.E.D_. only notices it as a modern U.S.A. colloquialism, quoting _Old Town Folks_ ‘While the wagon and uncle Liakim were heard giggiting away.’

p. 263 _Rakeshame_. A common word for a profligate in the 17th century. cf. Bishop Montagu, _Diatribae_ (1621), ‘Such roysterers and rakeshames as Mars is manned with.’

p. 269 _whipping Tom_. The use of a whipping boy punished for another’s fault is well known. Barnaby Fitzpatrick served that office for the young Edward VI, and Mungo Murray for Charles I.

p. 273 _Intelligence_. Newspaper; diurnal. ‘Letters of Intelligence’ was an early and common name for a periodical. In 1662 we have _A Monthly Intelligence Relating the Affaires of the People called Quakers_. No. I, August--September 1. (The only number.) In 1665, _Publick Intelligence_, No. i, 28 November, 1665. By Sir Roger L’Estrange. (One number.)

p. 277 _I saw how_. Tom is quoting these four lines from stanza vii of _The Disappointment_ vide Vol. vi. The same poem, yclept _The Insensible_, appears in various editions of Rochester’s _Works_, and is attributed to the Earl. _The Disappointment_ is again the title of another poem which directly precedes _The Insensible_.

p. 278 _Enter Sensure_. cf. Shadwell’s _The Miser (1672)_, Act iv, where Squeeze escaping from Mother Cheatley’s house is exposed by being found to have donned Letrice’s red silk stocking in mistake for his own. It is said that when Shaftesbury’s house was searched for incriminating papers a lady of some little notoriety was found concealed under his bed, p. 281 _the City-Charter_. The Charter of the City of London was broken by the Crown in 1683. cf. Dryden’s _Prologue to the King & Queen ... upon the Union of the Two Companies _spoken at Drury Lane, 16 November, 1682:--

When men will needlessly their freedom barter
For lawless power, sometimes they catch a Tartar;
(There’s a damned word that rhymes to this, call’d Charter.)

p. 282 _Crape-Goivnorums_. Clerics. Bailey (1755) defines crape as a “sort of thin worsted stuff of which the dress of the clergy is sometimes made”, cf. _Speculum Crape-Gownsorum; or, A Looking-Glass for the young Academicks (1682)_. An unpublished satire (Harleian MS.), _The Convocation (1688)_, has:--

Whole Troops of Crape Gowns with Curtains of Lawn
In the Pale of the Church together are drawn.

p. 282 _Association_. When Shaftesbury was apprehended and sent to the Tower in 1681, the project of an “Association” was discovered amongst his papers. The satire is very mordant here. There is a caustic pasquil entitled _Massinello, or a Satyr against the Association and the Guildhall Plot_. Dedicated to the Salamanca (No) Doctor, 1683. Cf. Dryden’s _Prologue to the King and Qucen_, spoken at the opening of their Theatre, Drury Lane, upon the Union of the Two Companies, 16 November, 1682:--

How Pennsylvania’s air agrees with Quakers,
And Carolina’s with Associators:
Both e’en too good for madmen and for traitors.

p. 289 _Chitterling_. Originally the smaller intestines of beasts, as of the pig, but here used as equalling “catgut”. A rare example.

p. 290 _Discoverer_. A name given to those who belonged to Titus Oates’ gang and feigned to have knowledge of and discover the Popish Plot.

p. 294 _mump’d_. tricked. Dutch _mompen_ = to cheat. A very common expression.

p. 296 _Polish Embassador then incognito_? _A Modest Vindication of the Earl of S----y (1682)_, banters that nobleman by describing how “Polish Deputies were immediately sent Post incognito with the Imperial Crown and Sceptre in a Cloak-Bag”.

p. 297 _Salamanca_. The abominable Oates, prince of perjurers, feigned to have taken his degree D.D, at Salamanca, cf. _Crowne’s City Politics (1683)_, Act v, where Crafty says to Dr. Panchy (Oates), “Where did you take your degree--in Beargarden?’ ‘In a learned university, Sir,’ thunders the Doctor, to which Crafty retorts, ‘I’ the University of Coffee-houses, the University of Lies.”

p. 299 _Trincaloes_. In Davenant and Dryden’s version of _The Tempest_, produced with extraordinary success at the Duke’s House, 7 November, 1667: or in Shadwell’s operatic alteration of Shakespeare produced at Dorset Garden, 30 April (or very early in May), 1674. The reference is applicable to either of these two. No sooner has Trincalo chosen Sycorax, Caliban’s sister, as his spouse, than the treacherous Stephano wins the she-monster for himself, and a battle royal ensues. Cave Underbill, a famous Gravedigger in _Hamlet_, excelled as Trincalo. p. 299. _Fop-corner_. One of the corners of the pit nearest the stage much affected by the gallants and beau critics. There are frequent allusions in prologues, epilogues and plays, cf. the ballad epilogue to Davenant’s _The Man’s the Master_ (produced 26 March, 1668, 4to, 1669):--

Others are bolder, and never cry, shall I?
For they make our guards quail
And’twixt curtain and rail,
Oft combing their hair, they walk in Fop-Alley.

THE FEIGN’D CURTEZANS.

p. 305 _To Mrs. Ellen Guin_. This adulatory epistle may be paralleled with that prefixed by Duffet to his rhyming comedy, _The Spanish Rogue_ (410, 1674). The only other known book beside these two plays dedicated to Nell Gwynne is a very rare little volume entitled Janua Di’vorum: or The Lives and Histories of the Heathen Gods, Goddesses, & Demi-Gods, by Robert Whitcombe, published in 1678, and inscribed to ‘The Illustrious Madam Ellen Guin’. Dr. Johnson’s pungent remark to the effect that Dryden has never been equalled in the hyperbole of flattery except by Aphara Behn in her address to Nell Gwynne is quoted to triteness. But then at that time it was the fashion to riot in the wildest extravagances of compliment. Neither the great laureate nor Astrea must be too harshly taken to task for their vivid verbal colouring.

p. 306 _two noble Branches_. Charles Beauclerk, Duke of St. Albans, born 8 May, 1670; James Beauclerk, born 25 December, 1671, ob, Septemher, 1680, the two sons of Nell Gwynne by Charles II. There is an exquisitely voluptuous painting by Gascar, engraved by Masson, of Nell Gwynne on a bed of roses whilst the two boys as winged amorini support flowing curtains and draperies. Her royal lover appears in the distance. There is also a well-known and beautiful painting of the mother and children by Lely, engraved by Richard Tompson.

p. 307 _Mrs. Currer_. Elizabeth Currer was born in Dublin. When quite a girl she joined the Duke’s Company in 1673, and in a few years, owing to her beauty and extraordinary spirit, became a prime favourite with the Town. Amongst her chief recorded parts are: 1677, Mrs. Hadland in The Counterfeit Bridegroom, January, 1678, Lady Fancy in Mrs. Behn’s _Sir Patient Fancy_; in March, Marcella in _The Feign’d Curtezans_; June of the same year, Madam Tricklove in D’Urfey’s _Squire Oldsapp_. In 1680, The Queen in Tate’s _The Loyal General_, and Jenny Wheedle (Matilda) in D’Urfey’s entertaining comedy _The Virtuous Wife_. In 1681 she created Ariadne in _The Rover_, Part II. and ‘Lady Elianor Butler, a young lady of great quality that was one of King Edward’s mistresses,’ in Crowne’s adaptation of, 2 _Henry VI_, which he dubbed _The Miseries of Civil War_. 1682, Eugenia in Ravenscroft’s rollicking _The London Cuckolds_; (probably) Lady Desbro’ in _The Roundheads_; Diana in _The City Heiress_; Isabella in _The False Count_; and, her greatest rôle, Aquilina the Greek light o’ love in _Venice Preserv’d_ to the Antonio of Leigh. ‘When Leigh and Mrs. Currer’, says Davies, ‘performed the parts of doting cully and rampant courtezan the applause was as loud as the triumphant Tories could bestow.’ Subsequent decades eliminated the intrigue between Nicky Nacky and the fumbling old senator. The scenes were thought to reek too openly of the stews, and when indeed they were played for the last time in their entirety at the express command of George II, then Prince of Wales, with Pinketham as Antonio and pretty Mrs. Horton Aquilina, the house, in spite of the high patronage, thought fit to demonstrate their pudicity in a very audible manner.[1] The critics too, in a somewhat ductile herd, have modestly decried these same episodes. Otway’s comic and satiric powers have been thoroughly underrated. Taine, however, boldly confessed that Otway ‘like Shakespeare ... found at least once the grand bitter buffoonery, the harsh sentiment of human baseness’, and he demonstrates that, however odious and painful the episodes of senator and whore may be, they are true to the uttermost. Even the great nineteenth-century realist Zola did not disdain to take a hint thence for his chapters in _Nana_ of the masochist Count Muffat and the ‘rampant courtezan’.

[Footnote 1: There was a notable performance of _Venice Preserv’d_ at Drury Lane, 19 November, 1721, which is perhaps the occasion referred to; but, as Genest says, after the original performances the role of Aquilina is not to be found in the play bills. 2 December, 1721, Spiller acted Antonio at Lincoln’s Inn Fields.]

In 1684 Mrs. Currer created Mrs. Featly In Ravenscroft’s ‘recantation play’, _Dame Dobson_; she was also Sylvia in Otway’s last comedy, _The Atheist_, and Lady Medlar in _The Factious Citizen_. In 1685 she played Isabella in Tate’s farcical _A Duke and no Duke_, and five years later she is billed as the roystering Widow Ranter in Mrs. Behn’s posthumous comedy of the same name. Her name does not appear after 1690, latterly her appearances were few, and she seems to have been one of those ‘crept the stage by love’. An unprinted MS. _Satire on the Players_ (1682-3) has a sharp reference to Betty Currer and cries:--

Currer ‘tis time thou wert to Ireland gone
Thy utmost Rate is here but Half-a-Crown
Ask Turner if thou art not fulsome grown.

p. 309 _Silvio, Page to Laura Lucretia_. (Dramatis Personae.) I have added ‘Silvio’ to the list of actors as he enters according to the stage directions, Act i, 1, and elsewhere. Julio in the same scene refers to him, and Laura Lucretia several times addresses him during the play. Act ii, 1, &c. In Act v, however, he is manifestly confused with Sabina. Laura gives Silvio certain instructions, he approaches Galliard, and his lines have speech-prefix ‘Sab.’ In the following scene the direction is ’.nter Silvio’ and his speech is given to Sabina, Laura moreover addressing him as Sabina. I have no doubt that this confusion existed in Mrs. Behn’s MS.

p. 315 _Medices Villa_. The Villa Medici was erected in 1540 by Annibale Lippi. The gardens are famous for their beauty. From the avenue of evergreen-oaks with a fountain before the Villa can be obtained a celebrated view of St. Peter’s.

p. 317 _I may chance to turn her_. Mr. Tickletext was much of the opinion of the celebrated casuist Bauny, who, in his _Theologia Moralis_, tractatus iv, _De Poenitentia_, quaestio 14, writes: ‘Licitum est cuilibet lupanar ingredi ad odium peccati ingerendum meretricibus, etsi metus sit, et vero etiam verisimilitudo non parva se peccaturum eo quod malo suo saepe sit expertus, blandis se muliercularum sermonibus flecci solitum ad libidinem.’

p. 319 _Amorous Twire_. Twire--a sly, saucy glance; a leer. cf. Etheridge’s _The Man of Mode_ (1676), Act iii, III, _Harriet_. ‘I abominate ... the affected smiles, the silly By-words, and amorous Tweers in passing.’ The verb ‘to twire’ occurs in Shakespeare’s _Sonnets_, xxviii, 12, and frequently elsewhere.

p. 320 _Hogan-Mogan_. A popular corruption, or rather perversion, of the Dutch _Hoogmogend-heiden_, ‘High Mightinesses’, the title of the States-General. In a transferred manner it is used as a humorous or Contemptuous adjective of those affecting grandeur and show; ‘high and mighty.’ The phrase is common. Needham, _Mercurius Pragmaticus_, No. 7 (1648), speaks of the ‘Hogan Mogan States of Westminster’. Tom Brown (1704), _Works_ (1760), Vol. IV, lashes ‘hogan-mogan generals’.

p. 330 _Pusilage_. French _pucelage_; virginity; maidenhead. 1724 reading ’.upilage’ misses the whole point and comes near making nonsense of the passage. cf. Otway’s _The Poets Complaint of his Muse_ (4to, 1680), v-vi:

No pair so happy as my Muse and I.
Ne’er was young lover half so fond,
When first his pusilage he lost;
Or could of half my pleasure boast.

p. 322 _Back-Sword_. A sword with a cutting edge; or single-stick (with a basket hilt).

p. 322 _Parades_. ‘The lessons defensive are commonly called the parades’.--Sir W. Hope’s _Compleat Fencing Master_ (2nd edition, 1692).

p. 322 _Degagements_. André Wernesson, Sieur de Liancour, in chap. v of _Le Maistre d’ Armes_ (1686), treats ‘des Dégagements’ in some detail. Hope defines ‘Caveating or Dis-engaging’ as ‘the slipping of your Adversaries’ sword when it is going to _bind_ or secure yours’.

p. 322 _Advancements_. Advancings. ‘A man is said to _Approach_ or _Advance_ when being out of his adversaries’ reach or at a pretty distance from him he cometh nearer to him’.--Hope, _Compleat Fencing Master_.

p. 322 _Eloynements_. To elonge ‘is to Streatch forward one’s right Arm and Legg and to keep a close left Foot. This a Man doth when he giveth a Thrust, and when he doth it he is said to make an _Elogne_’ (Eloynements).--Hope, _New Method of Fencing_, chap. iv, XI (2nd edition, 1714), deals in detail with ‘Elonging, or making an Elonge’.

p. 322 _Retierments_. Retreats or Retirings are very fully described in Liancour’s _Le Maistre d’ Armes_, chap. iv. ‘A Man is said to Retire when being within his Adversaries’ reach he goeth out of it either by stepping or jumping backwards from his Adversary upon a Straight Line’.--Hope, _Compleat Fencing Master_ (2nd edition, 1692).

p. 322 _St. George’s Guard_. ‘A guard of the broadsword or sabre used in warding off blows directed against the head’.--C. James, _Military Dictionary_ (1802).

p. 322 _Flurette_. or Fluret. A fencing foil. Hope, _New Method of Fencing_ (1714), chap, vii says: ‘[The Fencing-Master] ought to ... begin his Scholars with Fleurets’.

p. 323 _Ajax and Ulysses contending for Achilles his armour?_

Bella mouet clypeus: deque armis anna feruntur.
Non ea Tydides, non audet Oïleos Aiax,
Non minor Atrides, non bello maior et aeuo
Poscere non alii: soli Telamone creato
Läertaque fuit tantae fiducia laudis.--Ovid: _Metamorphoscon_.

xii, 621-5. Book xiii commences with a description of the contest of Ajax (Telamonis) and Ulysses for the arms of the dead Achilles. They were awarded to the prince of Ithaca.

p. 324 _Clouterlest_. Clumsiest. E. Phillips, _Theatrum Poetarum_, speaks of Spenser’s ‘rough hewn clouterly verses’. cf. _Pamela_, Vol. I, p. 112 (1741), ‘some clouterly ploughboy’.

p. 338 _Rosemary_. ‘There’s rosemary, that’s for remembrance’. Hamlet, iv, v.

p. 340 _Docity_. Gumption. A favourite word with Mrs. Behn. cf. _The False Count_, ii, 11. _Guill_. ‘I thank heaven I have docity’, and elsewhere,

p. 341 _Julio_. Guilio, a silver coin worth 6_d_. It was first struck by Pope Julius II (1503-13), hence its name.

p. 346 _The hour of the Berjere_. L’heure du berger ou l’amant trouve celle qu’il aime favorable à ses voeux. cf. La Fontaine, _Contes. La Coupe Enchantée_. ‘Il y fait bon, l’heure du berger sonne.’ It is a favourite expression of Mrs. Behn. cf. _Sir Patient Fancy_, Act i, l. ’.rom Ten to Twelve are the happy hours of the Bergere, those of intire enjoyment.’ Also the charming conclusion of _The Lover s Watch_:--

Damon, my watch is just and new:
And all a Lover ought to do,
My Cupid faithfully will show.
And ev’ry hour he renders there
Except _l’heure du Bergère_.

p. 352 _Knox, or Cartwright_. The allusion here is to the Scotch reformer and the Puritan divine, whose weighty tomes Tickletext might be supposed to carry with him for propagandist purposes. Fillamour has already rallied him on his Spartan orthodoxy, and anon we find the worthy chaplain hot at the ‘great work of conversion’. It has been ingeniously suggested that a reference is intended to _The Preacher’s Travels_ of John Cartwright of Magdalen, Oxford, a book first published in 1611, and afterwards reprinted.

p. 353 _St. James’s of the Incurables_. The church of S. Giacomo and the adjacent Ospedale stand at the corner of the Via S. Giacomo, which leads from the Corso towards the river.

p. 378 _cogging_. To cog is to trick, to cheat. A word in common use.

p. 384 _like to like_.... A very old proverbial saying. The humours of Grim the collier are introduced by Ulpian Fulwell into his morality, _Like Will to Like_ (1561). cf. The amusing anonymous comedy, _Grim, the Collier of Croydon_ (1600), with its major plot of the Belphegor story.

p. 384 _smoke_. To detect. cf. _All’s Well That Ends Well_, iii, 6. ‘He was first smoked by the old lord Lafeu.’

END OF VOL. II

End of Project Gutenberg’s The Works of Aphra Behn, Vol. II, by Aphra Behn