Chapter XXXII: Epilogue: Spoken by Mr. Horden

We’ve grown Impatient to be out of pain,
And fain wou’d know our fortune, loss, or gain:
The Merchants phrase mayn’t be Improper now,
If ye our City Character allow.
But some Spruse Criticks, I hear, swears ‘tis strange,
To take a powder’d Beau off from the Exchange;
A place more fam’d for Band, and dress precise,
For greasy Cuckholds, Stockjobbers, and lies,
Than for a Spark o’ th’ town, but now a days
The Cit sets up in box, puffs, perfumes, plays,
And tho’ he passes for a Man of Trade,
Is the chief squeaker at the Masquerade,
Let him his Sister, or his wife beware,
‘Tis not for nothing Courtiers go so far;
Thus for a while he holds, till Cash is found
To be a Dr. many a woful Pound,
Then off he moves, and in another year,
Turns true Alsatian, or Solicitor.
For we (except o’ th’ stage) shall seldom find
To a poor broken Beau, a Lady kind,
Whilst pow’rful _Guinea_ last, he’s wondrous pretty,
And much the finest Gentlemen o’ th’ City,
But when fob’s empty, he’s an odious Creature.
Fough, how he stinks! h’as not one taking feature,
Then such an Awkard mein, and vulgar sence,
I vow, I wonder at his Impudence!
‘Tis well _Lejere_ appear’d, _George_ owes the prize
To the Gay Monsieur, Footmen and Disguise,
Charms which few English Women can withstand,
What can’t a Man of Quality command?
As to the faults, or Merits of the Play }
We leave ye to be judges of, yet say, }
Ye ought in justice to be kind to day. }
For to our Cost alas, we soon shall find, }
Perhaps not half the money ye design’d, }
Consider, Sirs, it goes to be refin’d. }
And since in all Exchanges ‘tis a notion,
For what ye take to be in due proportion,
So may we justly hope no wrong is done ye
If ye have _par of Wit for par of Money_.

* * * * *
* * * *

NOTES: The Younger Brother

NOTES ON THE TEXT.

+Dedication+

p. 316, l. 1 _The Epistle Dedicatory._ This only appears in 4to 1696.
It is there followed by _An Account of the Life of the Incomparable
Mrs. BEHN_, an entirely worthless composition of some three pages,
afterwards vastly expanded into _Memoirs_ ‘by one of the Fair Sex’.

p. 316, l. 21 _The narrow Virtues ... [which] were._ 4to 1696 omits
‘which’ but it is necessary that this or some similar word be inserted
to make the paragraph sufficiently grammatical.

+Prologue+

p. 319, l. 9 _an Intriguer._ 4to 1696 ‘the intrigues’.

p. 319, l. 17 _Mistress young._ 4to 1696 erroneously gives ‘young’ as
a proper name ‘Mistress Young’.

+Dramatis Personæ+

p. 321 _Dramatis Personæ._ I have added ‘Philip; Diana; Pages,
Footmen, Masqueraders, Servants, Rakehells, &c.’ 4to 1696 spells
Britton ‘Brittone’. Mr. Pinketham ‘Mr. Pinkerman.’ Powell is
indifferently spelt ‘Powell’ or ‘Powel’.

+ACT I: Scene i+

p. 327, l. 2 _he._ 4to 1696 omits.

p. 327, l. 7 _Prince._ Here and in ll. 11 and 19 all former editions
give speech-prefix ‘Fred’, but afterwards uniformly ‘Prince’
throughout the play.

p. 329, l. 31 _a._ 4to 1696 omits.

p. 329, l. 34 _Tablets_: 4to 1696 gives ‘Tablets write:’ which is
obviously a misprint for ‘Tablets written:’ or, perhaps, ‘Tablets
writ’.

+ACT I: Scene ii+

p. 330, l. 23 _Caudle._ Here, and in the following line, 4to 1696
misprints ‘Candle’.

p. 332, l. 22 _set._ 1724 ‘sit’.

p. 337, l. 7 _Sir Mer._ 4to 1696 misprints ‘Sir Mark.’

p. 337, l. 19 _George Kneels._ I have inserted ‘George’.

p. 337, l. 20 _Ay, Sir._ 4to 1696 marks this line ‘Aside.’ An obvious
error.

p. 338, l. 10 _Sir Rowland._ 4to 1696 ‘Sir Merlin’.

p. 338, l. 16 _Chaplain [Mr. Twang], and leaning._ 4to 1696 ‘her
Chaplain, and leaning’. I have inserted Twang’s name and given in
l. 19 speech-prefix ‘Twang’ which all former editions mark ‘Chap.’,
altering, however, to ‘Twang’ later in this scene at ‘Truly, Madam’.

p. 339, l. 20 _cuckold._ 4to 1696 ‘Cuckhold’.

p. 339, l. 34 _The End of the First Act._ Only in 4to 1696.

+ACT II: Scene i+

p. 340, l. 2 _Sir Rowland’s Lodging._ I have supplied this locale.

p. 340, l. 29 _Lookye._ 4to 1696 has ‘(Alone.) Lookye’--an obvious
error. ‘(Alone.)’ is probably a misprint for ‘(Aloud.)’ which is of
itself quite unnecessary.

p. 341, l. 13 _Hearts._ 4to 1696 ‘Heats’.

p. 342, l. 3 _’.will._ 4to 1696 ‘will’.

p. 342, l. 19 _India._ 4to 1696 ‘Indian’.

+ACT II: Scene ii+

p. 343, l. 13 _A Chamber._ I have supplied this locale.

p. 346, l. 17 _Hackney-Coach._ 4to 1696 ‘Hackney’.

p. 346, l. 31 _pimp._ 4to 1696 misprints ‘Pump’.

p. 348, l. 8 _they._ 4to 1696 omits.

p. 349, l. 29 _Sir Morgan Blunder’s._ 4to 1696 ‘Sir M. Blun.’

+ACT II: Scene iii+

p. 350, l. 24 _Another Chamber._ I have supplied this locale.

p. 351, l. 10 _another._ 4to 1696 adds to this stage direction ‘Sir
Mer. together.’

p. 352, l. 7 _a Tendre._ 1724 omits ‘a’.

+ACT III: Scene i+

p. 353, l. 11 _too._ 4to 1696 ‘to’.

p. 354, l. 2 _A rich Chamber._ I have supplied this locale.

p. 358, l. 4 _Expectations._ 1724 ‘Expectation’.

p. 358, l. 34 _Olivia enters._ 4to 1696 reads ‘Enter Olivia with a
letter. Olivia gives Welborn the letter.’

p. 359, l. 33 _Enter Sir Morgan._ Before the couplet 4to 1696
repeats ‘Sir Morg. and Sir Merl. singing.’

p. 360, l. 10 _de._ 1724 here and elsewhere ‘d’ye’.

+ACT III: Scene ii+

p. 362, l. 18 _you._ 4to 1696 ‘thou’.

+ACT III: Scene iii+

p. 363, l. 17 _Whither?_ 4to 1696 ‘Whether?’

p. 367, l. 26 _Exeunt._ I have added this stage direction.

+ACT IV: Scene i+

p. 370, l. 30 _Exit Prince with Mirtilla._ Former editions ‘and
Mirtilla’.

p. 371, l. 14 _Exit._ 4to 1696 ‘Exit George.’

p. 373, l. 15 _Exeunt._ 4to 1696 ‘Exit both.’

p. 373, l. 23 _of thy hopes._ 4to 1696 omits ‘of’.

p. 373, l. 32 _ruffle, ravish, and ruin._ 4to 1696 ‘Ruffles, Ravishes,
and Ruines’.

p. 374, l. 8 _Racks._ 4to 1696 ‘Wrecks’.

p. 374, l. 35 _feebly._ 1724 ‘freely’. A patent error.

p. 375, l. 4 _near to being._ 1724 ‘near being’.

p. 375, l. 33 _Exeunt._ Not in 4to 1696.

+ACT IV: Scene ii+

p. 376, l. 1 _Scene II._ I have numbered this scene, and the
following (p. 378, l. 16.) Scene III.

+ACT IV: Scene iii+

p. 379, l. 33 _Sir Merlin with his Sword._ 4to 1696 ‘Sir Merlin his
Sword’.

p. 380, l. 19 _she cries out._ 1724 omits ‘out’.

p. 381, l. 17 _My Lady’s maid._ I have inserted these words.

+ACT V: Scene i+

p. 383, l. 27 _Welborn’s Chamber._ I have marked this locale.

p. 385, l. 13 _him._ 1724 ‘them’.

+ACT V: Scene ii+

p. 386, l. 18 _has._ 4to 1696 ‘had’.

p. 386, l. 24 _Mirtilla._ All previous editions here have ‘Lydia’,
which makes no sense. It is probable that the original name of
Mirtilla was Lydia, and Mrs. Behn, or Gildon, neglected to alter it
in this passage.

+ACT V: Scene iii+

p. 388, l. 28 _Scene III._ All previous editions have ‘Scene
discovers Mirtilla and Manage.’

p. 388, l. 35 _you have left._ 1724 ‘you left’.

p. 393, l. 17 _Exit Olivia with Manage._ I have added Manage’s name
here.

+ACT V: Scene iv+

p. 394, l. 1 _Scene IV._ I have numbered this scene.

+Epilogue+

p. 398, l. 26 _Fough, how he stinks!_ 4to 1696 ‘Fough, he how he
stinks?’

NOTES: CRITICAL AND EXPLANATORY.

+Dedication+

p. 316 _Collonel Codrington._ Christopher Codrington (1668-1710) was
born at Barbadoes, and thence sent to England to be educated. In 1685
he passed as a gentleman commoner to Christ Church, Oxford. Five years
later he was elected as a probationer fellow to All Souls. Here he
speedily became known for the catholicity and thoroughness of his
studies, and ‘soon acquir’d the deserv’d character of an accomplished,
well-bred gentleman, and an universal scholar’. He was already an
enthusiastic bibliophile. In 1694 he followed William III to Flanders,
and having fought with great gallantry at Hay and Namur in 1695,
received various military distinctions. In the same year he attended
the King to Oxford, and pronounced the university oration on this
royal visit. There are dedications to him by Creech, Dennis, and
others, but it has been pertinently remarked that ‘his fame is rather
to be inferred’ hence ‘than from actually existent performances on his
part’, albeit we have copies of complimentary verses (e.g. prefixed to
Garth’s _Dispensary_) from his pen. In 1697 he succeeded his father as
commander-in-chief of the Leeward Isles. He does not seem to have been
popular, and resigned in 1703, retiring to a life of seclusion and
study on his Barbadoes estate. He died 7 April, 1710, and his body was
brought back to England to be buried in All Souls’ chapel. To this
college he left £10,000, and £6,000 worth of books, a legacy which
built, furnished and endowed the magnificent Codrington library there.

p. 317 _Mr. Verbruggen’s reading some of his part._ One may remember
the incident recorded by Pepys (2 February, 1669), how, after Kynaston
had been assaulted by Sedley’s bravos, and was too ill to appear, the
young actor’s rôle was ‘done by Beeston, who is fain to read it out of
a book all the while and thereby spoils the part, and almost the play,
it being one of the best parts in it.... But it was pleasant to see
Beeston come in with others, supposing it to be dark, and yet he is
forced to read his part by the light of the candles: and this I
observing to a gentleman that sat by me, he was mightily pleased
therewith, and spread it up and down.’

+Prologue+

p. 319 _grave Sir Roger._ ‘Sir Roger’ was a common nickname for any
clergyman from the well-known comic character ‘Sir Roger, Curate to
the Lady’, in Beaumont and Fletcher’s popular _The Scornful Lady_.
This excellent play, a rare favourite with Restoration audiences, kept
the boards until the death of Mrs. Oldfield in 1730. After the great
actress’ demise it would seem that none of her successors ventured
to attempt the title-rôle, hence the piece soon fell out of the
repertory. In 1783, however, an alteration, made by Cooke the
barrister for Mrs. Abington, was produced with great success at
Covent Garden. In this meagre adaptation the Curate disappears. Shanks
originally acted this part, but Lacy was the acknowledged ‘Sir Roger’
in Restoration days.

+ACT I: Scene i+

p. 326 _making Wax Babies._ Playing at dolls.

p. 330 _Southampton Square._ The original name of Bloomsbury Square,
so called from the Earl of Southampton’s town residence, afterwards
Bedford House. Southampton Square was at this period, and for long
afterwards, the headquarters of fashion in the metropolis: _vide_
further, Vol. III, _The Town Fop_, p. 22, ‘Southampton House,’ and
note on that passage (p. 476).

+ACT I: Scene ii+

p. 331 _Mr. Motteux._ Peter Anthony Motteux was a French Hugenot who
came to England upon the restoration of the Edict of Nantes (1685).
He soon mixed with the gayest society, and became well known as a
prolific writer of songs, prologues, epilogues, masques, and the
lighter dramatic fare. Much of this work is not lacking in wit and
volatile smartness, but it is all far too ephemeral to have any
permanent value as literature. He edited _The Gentleman’s Journal_,
but is perhaps best remembered for his translation of _Don Quixote_,
and his concluding Urquhart’s version of Rabelais.

p. 331 _the Rose._ This celebrated house stood in Russell Street,
Covent Garden, and adjoined Drury Lane. There are innumerable
references to it. The greater portion of the ‘Rose’ was demolished
in 1776, when a new front was being built to the theatre.

p. 331 _scours._ i.e. violently assaults. ‘To scour’ was to rampage
the streets, breaking windows, fighting with passers-by, beating the
watch, &c. Shadwell has an excellent comedy, _The Scowrers_ (1691),
which, giving a vivid picture of the times, show these drunken and
blackguardly gentry in a very unamiable light. Several plays treat
of their exploits. Vanbrugh’s _The Provoked Wife_ (1696), Act III,
ii, and IV, ii and iv, is perhaps the locus classical for mohocking.

p. 333 _the Poet Sternhold._ Thomas Sternhold (_ob._ 1549), was the
author with John Hopkins (_ob._ 1570), of a metrical version of the
Psalms, which became a bye-word for doggerel. Sir Morgan is, of
course, alluding to some pious rhymes groaned on the way to the
triple tree. cf. Shadwell, _The Miser_ (1672), I, i, ‘She would be
more welcome to thee than a reprieve would, if thou wert just now
trolling out Hopkins and Sternhold upon a ladder.’

p. 333 _Billmen in Flannel._ Bills were the common weapon of the
watch. cf. _The Coxcomb_ (folio 1647), Act I, where Ricardo says
to the constable of the watch, ‘Give me the bill, for I’ll be the
sergeant.’ Doctor Johnson tells us that the Lichfield watchmen carried
bills as late as 1778.

p. 333 _Wills’ Coffee-house._ _vide_ Vol. III, Preface, _The Lucky
Chance_, p. 187, and note on that passage (p. 484).

p. 334 _his Third Day._ _vide_ Vol. III, Preface, _The Lucky Chance_,
p. 187, and note on that passage (p. 484).

p. 334 _old Adam._ _vide_ Vol. I, _The Rover_, Part II, p. 133, and
note on that passage (p. 446).

p. 334 _The Country Justice’s Calling._ _vide supra_, _The Widow
Ranter_, p. 265. _Dalton’s Country Justice_, and note on that passage.

+ACT II: Scene i+

p. 341 _by Inch of Candle._ An auction where bids are taken so long
as an inch of candle burns, the last bid before the flame expires
obtaining the lot.

p. 342 _a Termer._ Originally a frequenter of the law courts, and as
many came up from the country to London during term time on legal
business, it occasionally (as here) signified an unsophisticated
stranger. In Dryden’s _Sir Martin Mar-All_ (1667), I, Mrs. Millicent,
newly arrived from Canterbury, replies to Lady Dupe’s greeting,
‘I came up, Madam, as we country-gentlewomen use at an Easter term, to
the destruction of tarts and cheese cakes, to see a new play, buy a
new gown, take a turn in the Park, and so down again to sleep with my
forefathers.’ In Mountford’s farce, _Dr. Faustus_ (4to 1697, but
produced at the Theatre Royal November-December, 1685, or very early
in 1686), we have Scaramouch asking what practice the Doctor has, and
Harlequin replies: ‘Why his Business is to patch up rotten Whores
against the Term for Country Lawyers and Attorneys Clerks; and against
_Christmas_, _Easter_, and _Whitsun_ Holidays, for City Apprentices.’
cf. Southerne’s _Oroonoko_ (1696), I, i, when Charlot Welldon says to
her sister Lucia, ‘Nay, the young Inns-of-Court beaus, of but one
Term’s standing in the fashion, who knew nobody but as they were shown
‘em by the orange-women, had nicknames for us.’ More often a Termer
meant ‘A person, whether male or female, who resorted to London in
term time only, for the sake of tricks to be practised, or intrigues
to be carried on at that period.’ --(Nares.)

+ACT II: Scene ii+

p. 347 _Sa._ i.e. Save us! Sir Morgan has a frequent exclamation ‘God
sa me!’ God save me! The abbreviation is early and frequent.

+ACT III: Scene i+

p. 356 _the Country of True Love._ Mrs. Behn, an omnivorous reader
of romances, was thinking of the celebrated _Carte de Tendre_
(Loveland), to be found in Mlle. de Scudéri’s _Clélie_ (1654, Vol. I,
p. 399), and reproduced in the English folio edition of 1678. This
fantastic map, which is said to have been suggested by Chapelain,
aroused unbounded ridicule. In scene iv of Molière’s _Les Précieuses
Ridicules_ (1659), Cathos cries, ‘Je m’en vais gager qu’ils n’ont
jamais vu la carte de Tendre, et que Billets-Doux, Petits-Soins,
Billets-Galante, et Jolis-Vers sont des terres inconnues pour eux.’
This imaginary land is divided by the River of Inclination: on the
one side are the towns of Respect, Generosity, A Great Heart, and the
like; on the other Constant Friendship, Assiduity, Submission, &c.
Across the Dangerous Sea another continent is marked, ‘Countreys
undiscovered.’ _Terra Incognita._

The extravagant penchant for romances of the Scudéri _Parthenissa_
school was amply satirized by Steele in his clever comedy _The Tender
Husband_ (1705), and as late as 1752 by Mrs. Charlotte Lennox in _The
Female Quixote_, an amusing novel.

p. 360 _old Queen Bess in the Westminster-Cupboard._ The waxen
effigies which yet remain at Westminster are preserved in the wainscot
presses over the Islip Chapel. Queen Elizabeth, in her tattered velvet
robes, is still one of the most famous. They were formerly far more
numerous. A waxen figure of the deceased, dressed in the habit worn
whilst living, was, in the case of any royal or notable personage,
very frequently carried as part of the torchlight funeral procession
and, after the obsequies, left over the grave to serve as a kind of
temporary monument.

+ACT III: Scene iii+

p. 366 _drink up the Sun._ i.e. carouse till dawn.

+ACT IV: Scene iii+

p. 379 _a Back like an Elephant--’twill bear a Castle._ Dr. Aldis
Wright, in his notes on _Twelfth Night_, draws attention to the fact
that the celebrated ‘Elephant and Castle,’ at Newington, in the south
suburbs of London, can be traced back to the middle of the seventeenth
century.

p. 380 _Old Queen Gwiniver._ For ‘Queen Gwiniver’ applied as a term of
abuse to an old woman cf. Dekker’s _Satiromastix, or, The Untrussing
of the Humorous Poet_ (4to 1602), III, i, where Tucca rallying
Mistress Miniver cries: ‘Now, now, mother Bunch, how dost thou? what,
dost frowne, Queen Gwyniver, dost wrinckle?’ The reference is, of
course, to Arthur’s queen.

+ACT V: Scene iii+

p. 390 _Ha! what do I see?_ cf. The incident in _The Plain Dealer_,
IV, ii, of which there are obvious reminiscences here. Olivia, making
love to Fidelia, who is dressed as a boy, is surprised by Vernish.
Olivia runs out, and he discovering the supposed lad to be a woman
proceeds to turn the tables on his spouse.

+ACT V: Scene iv+

p. 394 _this Tour._ cf. ‘your false Towers’, _The False Count_, I, ii
(Vol. III, p. 116), and note on that passage (p. 480).

p. 394 _Fontange._ A ‘fontange’ was a bow of ribbons, so called from
the celebrated Madame de Fontanges. Her hair coming down during a
hunting-party at Vincennes, she tied it up hastily with one of her
garters. Louis XIV, whose mistress she was, so admired the result that
he begged her to continue to wear her hair in the same way. This set
the fashion, which soon spread into England and long remained popular.
cf. Shadwell’s _Bury Fair_ (1689), II, ii: ‘_Milliner._ What d’ye
lack, Ladies? fine Mazarine hoods, fontanges, girdles, sable tippets?’

p. 394 _Coventry-Blue._ A kind of blue thread manufactured at Coventry
and formerly much used for embroidery, &c. cf. Greene’s _James IV_
(1592), IV, iii, where Slipper ordering a doublet cries: ‘Edge me the
sleeves with Coventry blue.’ Ben Jonson, _Gipsies Metamorph._ (1621),
speaks of ‘A skein of Coventry blue’.

p. 395 _Tawdrums._ Fal-lals. cf. Marston’s _Dutch Courtezan_ (4to
1605), v, ‘no matter for lace and tawdrums’.

* * * * *
* * * *

Cross-References from Critical Notes: _The Younger Brother_

p. 330 _Southampton Square._ .... _vide_ further, Vol. III, _The Town Fop_, p. 22, ‘Southampton House,’ and note on that passage (p. 476).

_Town Fop_ text:

meet me to morrow Morning about five, with your Sword in your Hand,
behind _Southampton_ House

_Town Fop_ note:

_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. 333 _Wills’ Coffee-house._ _vide_ Vol. III, Preface, _The Lucky Chance_, p. 187, and note on that passage (p. 484).

_Lucky Chance_ text:

a Wit of the Town, a Friend of mine at Wills Coffee House

_Lucky Chance_ note:

_Wills Coffee House._ This famous coffee-house was No. 1 Bow Street,
Covent Garden, on the west side corner of Russell Street. It derived
its name from Will Unwin who kept it. The wits’ room was upstairs on
the first floor. Some of its reputation was due to the fact that it
was a favourite resort of Dryden.

p. 334 _his Third Day._ _vide_ Vol. III, Preface, _The Lucky Chance_, p. 187, and note on that passage (p. 484).

_Lucky Chance_ text:

I will be kinder to my Brothers of the Pen, than they have been to a
defenceless Woman; for I am not content to write for a Third day only.

_Lucky Chance_ note:

_write for a Third day only._ The whole profits of the third day’s
performance went to the author of the play; and upon these occasions
his friends and patrons would naturally rally to support him. There
are numberless allusions to this custom, especially in Prefaces,
Prologues and Epilogues.

p. 334 _old Adam._ _vide_ Vol. I, _The Rover_, Part II, p. 133, and note on that passage (p. 446).

_Rover II_ text:

For your parts, who are the poor dependent, brown Bread and old
Adam’s Ale is only current amongst ye

_Rover II_ note:

_old Adam’s Ale._ A very ancient colloquialism for water. In
Scotland ‘Adam’s wine’ and frequently merely ‘Adam’. Prynne in his
_Sovereign Power of Parliament_ (1648), speaks of prisoners
‘allowed only a poor pittance of Adam’s ale.’ cf. Peter Pindar (John
Wolcot), _The Lousiad_, Canto ii, ll. 453-4:--

Old Adam’s beverage flows with pride
From wide-mouthed pitchers in a plenteous tide.]

p. 394 _this Tour._ cf. ‘your false Towers’, _The False Count_, I, ii (Vol. III, p. 116), and note on that passage (p. 480).

_False Count_ text:

you must be a Lady, and have your Petticoats lac’d four Stories high;
wear your false Towers, and cool your self with your _Spanish_ Fan

_False Count_ note:

_Towers._ The tower at this time was a curled frontlet of false
hair. cf. Crowne’s _The Country Wit_ (1675), Act II, ii, where Lady
Faddle cries to her maid, ‘run to my milliner’s for my gloves and
essences ... run for my new towre.’ Shadwell, _The Virtuoso_ (1676),