The Works of Aphra Behn, Volume III · Chapter 31Notes on the Text
This chapter is not translated yet. You are reading the original.
p. 7 Dramatis Personae. I have added ‘Page to Bellmour; Page to Lord Plotwell; Sir Timothy’s Page; Guests; Fiddlers; Ladies.’
p. 12, l. 36 honoured. 1724 ‘honourable’.
p. 13, l. 2 answered the Civility. 1724 ‘answered her the Civility’.
p. 13, l. 23 whats. 1724 ‘what’.
p. 13, l. 26 any thing in Life. 1724 ‘any thing in this Life’.
p. 14, l. 3 God forbid it; 1724 omits ‘it’.
p. 15, l. 11 you speak well. 1724 omits ‘well’.
p. 15, l. 20 Mrs. Celinda Dresswell. Following 4to 1677 and 1724 I have retained the name Dresswell although it should obviously be Friendlove. In the first draft Friendlove was called Dresswell, and in altering the nomenclature of the character Mrs. Behn forgot to make the change here. The same slip occurs in this same scene (p. 20, l. 23) when Friendlove is alluded to as Dresswell.
p. 16, l. 2 help. 1724 ‘help’d’.
p. 16, l. 30 me to. 1724 omits ‘to’.
p. 17, l. 9 and Allurements. 1724 omits ‘and’.
p. 19, l. 29 beholding. 1724 ‘beholden’.
p. 19, l. 31 belong’d. 1724 ‘belongs’.
p. 20, l. 6 Murder. 4to 1677 has here the marginal stage direction ’.A Letter’, to remind the prompter to have that property ready for the immediate entry of Friendlove.
p. 22, l. 4 Exit Sir Tim. 4to 1677 has ‘Ex.’ after ‘Celinda.’ 1724 ’.xit’ after ‘Southampton House.’
p. 22, l. 6 Exeunt. I have supplied this stage direction. 4to 1677 has ’.he End of the First Act.’
p. 22, l. 8 A Palace. I have left this quaint locale untouched although the scene is merely an antechamber in Friendlove’s house, and can have been no more than a drop cloth.
p. 22, l. 27 Scene II. This Scene is not numbered in the previous editions but considered as Scene I with the former.
p. 24, l. 10 To-morrow. 1724 as prose. I follow metrical arrangement of 4to.
p. 26, l. 12 impose. 4to 1677 ‘imposes’.
P. 27, l. 15 Scene III. Sir Timothy’s House. I have supplied the locale. In all former editions Scenes I and II being counted as one this is numbered Scene II.
p. 27, l. 16 and Boy. I have added the entrance of the Boy.
p. 28, l. 12 that I am. 4to 1677 omits ‘that’.
p. 28, l. 28 —and where—and where. 1724 reads ‘—and where—’ once.
p. 29, l. 25 Fortunes. 1724 ‘Fortune’.
p. 30, l. 32 Exeunt. 4to 1677 ‘Ex.’ 1724 ‘Exit.’
p. 30, l. 33 Scene IV. Lord Plotwell’s House. I have added the locale. The former editions, regarding Scenes I and II of this act as one, read ’.cene III.’
p. 34, l. 21 nor one. 1677 ‘nor none’.
p. 37, l. 14 Scene V. ‘Scene IV’ in former editions.
p. 39, l. 34 Exeunt. Not in former editions. 4to 1677 has ‘The End of the Second Act.’
p. 40, l. 2 A Room in Lord Plotwell’s House. All former editions mark the locale as ‘The Street.’ But this is obviously wrong from the sitting, dancing and whole business of the scene.
p. 41, l. 6 Griefs. 1724 ‘Grief.’
p. 41, l. 9 something of disorder. 4to 1677 ‘something in disorder’.
p. 41, l. 24 bear. 4to 1677 ‘bare’.
p. 42, l. 19 Life left. 1724 omits ‘left’.
p. 43, l. 4 plunged in Blood. 1724 ‘plung’d in, in Blood.’
p. 43, l. 5 A Jigg. Not in 1724.
p. 43, l. 19 with all your Faults. 4to 1677 omits ‘your’.
p. 45, l. 4 of it. 4to 1677 ‘on’t’.
p. 47, l. 7 Exeunt. All former editions ‘Exit.’
p. 47, l. 8 Scene II. No former editions number this scene, but read ’.nter Diana, Scene a Bedchamber.’
p. 47, l. 33 unto. 4to 1677 ‘to’.
p. 49, l. 25 Love. 1724 ‘Life’.
p. 50, l. 23 Exit. Not marked in former editions.
p. 50, l. 24 Scene III. A Street. No former editions number this scene.
p. 51, l. 1 Which. 4to 1677 ‘Who’.
p. 54, l. 34 Exeunt. Not in 1724. 4to 1677 adds ‘The End of the Third Act.’
p. 55, l. 2 Celinda’s Chamber. The locale is unmarked in all former editions,
p. 57, l. 15 the longed for. 4to 1677 misprints ‘she long’d for’.
p. 59, l. 8 Blessings. 1724 ‘Blessing’.
p. 59, l. 10 Who ere. 1724 ‘When e’er’.
p. 61, l. 11 and who. 1724 ‘and she who’.
p. 62, l. 6 _Scene II. The former editions have not numbered this scene.
p. 62, l. 11 Jenny and Doll. I have supplied the wenches’ names as given in the Dramatis Personae.
p. 63, l. 1 Garnitures. 1724 ‘Garments’.
p. 64, l. 1 Scene III. I have numbered the scene. Former editions all read ‘Scene a Chamber, a Table with Box and Dice.’
p. 72, l. 20 Ex. severally. 4to 1677 adds ‘The End of the Fourth Act.’
p. 72, l. 22 Scene I. I have numbered this scene.
p. 76, l. 14 Scene II. Lord Plotwell’s House. There is no scene division in 4to 1677. I have numbered this scene and added the locale which is evident from the dialogue.
p. 80, l. 5 Exit. 4to 1677 omits this stage direction.
p. 82, l. 10 Scene III. I have numbered this scene.
p. 82, l. 27 Look on this face. I have metrically arranged this. It is obviously verse. 4to 1677 and 1724 print as prose.
p. 94, l. 24 written by Mr. E.R. i.e. ‘Mr. Edward Ravenscroft.’ Omitted in 1724.
p. 101 Dramatis Personae. I have added to the list ‘Page to Carlos, A little Page to the False Count; Wife to Petro.’
p. 106, l. 26 halving. Omitted by 1724,
p. 109, l. 7 hither. Omitted by 1724.
p. 110, l. 36 easier. 4to 1697 and 1724 ‘easilier’.
p. 111, l. 11 Son. 4tos ‘Soul’.
p. 115, l. 28 Huswise. read ‘Huswife’.
p. 116, l. 5 Just-au-corps. 4to 1697 ‘Justicore’.
p. 120, l. 29 He goes out. 1724 ‘Exeunt severally.’
p. 120, l. 30 Scene II_. I have numbered this scene.
p. 121, l. 34 Page holding his lanthorn to his face. Omitted in 1724.
p. 125, l. 20 Going in. 4tos 1682 and 1697 read ‘Goes in.’ But Carlos, obviously, does not leave the stage at this point.
p. 128, l. 24 Scene III. I have numbered this scene.
p. 131, l. 11 Don Carlos’ house. I have added the locale.
p. 131, l. 26 dear. 1724 ‘dearer’.
p. 135, l. 16 Francisco’s house. I have added the locale.
p. 135, l. 26 should. 1724 ‘shall’.
p. 139, l. 15 not yet. 1724 repeats ‘not yet’.
p. 140, l. 2 froward. 1724 ‘forward’,
p. 143, l. 21 They dance. 4tos add ‘with Don’, which seems unsuitable as the company are seated.
p. 147, l. 22 Exit Cap. I have added this necessary direction, not in any previous edition, although all mark his entry again a little later.
p. 152, l. 15 the body of Francisco. 4tos 1682 and 1697. 1724 omits ’.he body of’.
p. 156, l. 29 glout. 1724 ‘glut’.
p. 158, l. 6 Mahometan. 1724 repeats ‘Mahometan’.
p. 158, l. 33 And wou’d not break. These two lines, which are obviously metrical, all former editions print as prose.
p. 163, l. 19 and Mutes attending. I have added these words as Carlos addresses the mutes a little later in the scene.
p. 163, l. 21 your. 1724 ‘thy’.
p. 166, l. 13 Sir, I’ll warrant. 1724 omits ‘Sir’.
p. 167, l. 15 that’s the greatest. 1724 omits ‘that’s’.
p. 168, l. 30 Aside. 1724 omits.
p. 177 The Lucky Chance. On the title of the 4to 1687, we have ‘This may be Printed, April 23, 1686. R.P.’
p. 183, l. 1 To The Right Honourable. This Dedication and the Preface (p. 185) are only found in the 4to 1687. p. 190 Dramatis Personae. have added to the list ‘Gingle, a Music Master; A Post-man; Susan, Servant to Sir Feeble; Phillis, Leticia’s Woman.’
p. 191, l. 20 Enter Mr. Gingle. I have inserted Gingle’s name. All previous editions read ‘Enter several with Musick.’
p. 194, l. 5 Dudgeon. 4to 1687 ‘Dugion’.
p. 199, l. 13 I have had … Guyneys. These words have by a curiously gross error been dropped out in all editions save the 4to 1687.
p. 202, l. 30 all but for. 1724 omits ‘but’.
p. 203, l. 10 so, I’ll go. 1724 ‘so, and I’ll go’.
p. 203, l. 27 Then then. All previous editions read ‘Then thou’ which makes no sense. The emendation, if not what Mrs. Behn wrote, is at least grammatical.
p. 204, l. 34 this St. Martin’s Trumpery. 1724 ‘these’.
p. 205, l. 4 my Girl. 1724 omits ‘my’.
p. 206, l. 28 of the World. 1724 ‘of the whole World’.
p. 207, l. 30 beholding. 1724 ‘beholden’.
p. 207, l. 36 Aside. 1724 omits.
p. 209, l. 2 look, look how. 1724 ‘look, how’.
p. 209, l. 12 Exeunt. I have supplied this, which does not occur in previous editions. 4to 1687 has ‘The End of the First Act.’ 1724 gives nothing.
p. 210, l. 3 Livings. 1724 ‘Living’.
p. 216, l. 13 Enter Bellmour. I have placed this entrance here as by his first speech Bellmour obviously overhears Leticia’s words, ‘Blest be this kind Retreat’. 1724 places the entrance after ‘Sighs and Tears.’ 4to 1687 gives it in a bracket by Leticia’s three lines.
p. 218, l. 9 Let. But how. I have arranged these lines metrically. 4to 1687 and 1724 print as prose.
p. 221, l. 1 Seraglio. 4to 1687 ‘Seraglia’.
p. 222, l. 31 Quonundrum. 4to 1687 ‘Qunnumdrum’.
p. 224, l. 17 Exit. I have supplied this. 1724 gives no direction. 4to 1687 has ‘The End of the Second Act.’
p. 225, ll. 13, 25 Aside. Not in 4to 1687.
p. 226, l. 8 swooned. 4to 1687 ‘swoonded’.
p. 227, l. 9 Aside. Not in 4to 1687.
p. 227, l. 29 Scene II. I have numbered this scene.
p. 227, l. 29 in an undressing. 1724 omits ‘in an’.
p. 228, l. 7 Aside. Omitted in 4to 1687.
p. 228, l. 21 Within. I have supplied this stage direction here and in Bellmour’s following speech.
p. 229, l. 2 to him. Not in 1724.
p. 229, l. 4 before to morrow. 1724 reads ‘before we go to him to-morrow.’
p. 229, l. 27 his Safety. 1724 omits ‘his’.
p. 231, l. 3 I’m sorry. I have arranged this metrically. Former editions as prose.
p. 23l, l. 16 Woman. 4to 1687 ‘Women’. But Pert is alone.
p. 231, l. 22 Want. 1724 misprints ‘Wont’.
p. 234, l. 4 Exit. I have supplied this stage direction.
p. 234, l. 5 Scene V. I have numbered this scene.
p. 234, l. 27 Dick his Boy. Former editions ‘and Boy.’ But Dick’s name is given in the Dramatis Personae and later in this same scene.
p. 235, l. 11 you know. Omitted by 1724.
p. 237, l. 21 Aside. Former editions wrongly mark this whole speech ’.side’. The last sentence is clearly spoken aloud to Sir Cautious.
p. 238, l. 30 Ad, and. 1724 ‘and and’.
p. 238, l. 32 Exit Dick. I have added this Exit, unmarked in former editions. Dick obviously does not remain on the stage as his entrance is marked later.
p. 239, l. 14 Aside, turns. 1724 omits ‘turns’.
p. 240, l. 29 Scene VI. I have numbered this scene.
p. 241, l. 28 Aside. Not in 4to 1687. But marked in 1724.
p. 243, l. 18 Exeunt. This stage direction is in no previous edition.
p. 244, ll. 28-36 I am sorry … Jewel, Sir. Previous editions as prose.
p. 245, l. 5 Where had … Previous editions print as prose.
p. 246, l. 1 rivell’d. 4to 1687. All later editions ‘shrivel’d’, which is by no means as good.
p. 246, l. 2 Ladles. 1724 misprints ‘Ladies’,
p. 248, l. 31 amended. 1724 ‘mended’.
p. 249, l. 2 Dinner in. 1724 ‘Dinner at’.
p. 255, l. 27 wou’d but stand. 1724 omits ‘but’.
p. 259, l. 13 Exit. I have added this stage direction. 4to 1687 reads ’.he End of the Fourth Act.’
p. 260, l. 17 Scene II. I have numbered this scene,
p. 263, l. 14 Scene III. 4to and 1724 ‘Scene II.’
p. 264, l. 21 attend. 1724 ‘intend.’
p. 265, l. 31 Soft Musick ceases. I put this stage direction here, following 4to 1687. 1724 inserts it after the Song, which is not so well.
p. 266, l. 20 Scene IV. I have numbered this scene.
p. 267, l. 1 Yet you may. I have arranged the whole speech metrically. 1687 prints to ‘April Flow’rs’ as prose. 1724 prints to ‘gather’ as prose.
p. 267, l. 19 Sir. Omitted in 1724.
p. 268, l. 11 But leave. I have arranged metrically. Previous editions prose.
p. 269, l. 29 With all my Soul. 4to 1687 gives an ‘[Aside’ to Gayman’s speech. This is an obvious error.
p. 270, l. 12 Scene V. I have numbered this and the two following scenes.
p. 271, l. 20 he have not. 1724 ‘he has not’.
p. 27l, l. 31 Oh! You. I have arranged metrically. Previous editions prose.
p. 274, l. 3 Life’s. 4to 1687 ‘Lives’. P. 275, l. 24 Enter Leticia, Bellmour, and Phillis. I have added this necessary direction which is in no former edition.
p. 278, l. 20 An After Math. 4to 1687 reads ‘An After Mach’. 1724 ‘An after Match’. As neither of these forms are found, the 4to seems an obvious misprint for ‘After Math’.
p. 278, l. 25 whiffling. 1724 ‘whistling’.
p. 286, l. 15 Enter an Actress. Omitted in 4to 1671.
p. 287 Dramatis Personae. I have added to the list ‘Page to Pisaro; Clergy; Officers;’ and have named Lysette from Act iii, v. 4to 1671 spells Orgulius, Orguilious; Falatius, Falatio; Cleontius, Cleontious in the Dramatis Personae, but in the text I have spelled these names throughout following 1724. It may here be noted that the 1671 quarto swarms with errors and typographical mistakes. It is vilely printed and seemingly issued from the press almost without revision.
p. 288, l. 2 The Palace. I have added the locale.
p. 289, l. 5 Bravery. 4to 1671. 4to 1690 and 1724 ‘Virtue’.
p. 289, l. 11 Alcippus. 4to 1671 prints ‘Alcip.’ as a speech-prefix. An obvious blunder.
p. 289, l. 18 Gift. 4to 1671 misreads ‘Guilt’.
p. 290, l. 11 added little. 1724 ‘added a little’.
p. 290, l. 19 hated. 4to 1690 and 1724 ‘hate’.
p. 292, l. 9 who. 4to 1671 ‘whom’.
p. 295, l. 5 pretends. 4to 1671 ‘pretend’.
p. 295, l. 31 thee most fatal proofs. 1724 ‘the most fatal proof’.
p. 296, l. 18 There was so. Following quartos I have printed these lines (which 1724 gives as prose) metrically, although I confess the result is not satisfactory.
p. 297, l. 1 Galatea’s Apartments. I have added this locale.
p. 298, l. 9 first. Not in 4to 1671.
p. 298, l. 29 Sighing. Not in 4to 1671.
p. 299, l. 30 Madam, that grief. This speech, which all previous editions give to Erminia, I have assigned to Aminta. I am, however, not entirely satisfied that a speech of Galatea’s has not dropped out here (the first quarto is notoriously careless), and in this case the speech may well be Erminia’s.
p. 300, l. 14 sworn. 4to 1690 and 1724, which I retain as better than 1671 ‘vow’d’.
p. 300, l. 24 won. 4to 1690 and 1724, which I have preferred to 1671 ’.ov’d’.
p. 301, l. 1 A room in the house. I have added this locale.
p. 303, l. 29 and Isil. I have added Isillia’s exit.
p. 303, l. 30 Philanders Apartments. I have added the locale.
p. 305, l. 14 The Representation of the Wedding. This line is not in 1724.
p. 305, l. 15 must be let down … must play. 1724 ‘is let down … plays.’
p. 305, l. 29 The Palace. I have added this locale.
p. 306, l. 22 th’.lmighty. 4to 1671 ‘i’th’ Almighty’.
p. 307, l. 31 needs. 4to 1671 ‘need’. 1690 ‘needs’t’.
p. 309, l. 1 The Court Gallery. I have added this locale.
p. 309, l. 8 That sad tone. I have followed the quartos in their metrical arrangement of this speech. 1724 gives it as prose. The same rule has been observed l.21, ‘Am. Nay thou hast …’
p. 310, l. 31 Not so well. In this speech and also p. 311, l. 1 I have followed the metrical arrangement of the 4tos. 1724 prints as prose.
p. 312, l. 9 Ex. 4to 1671 ‘goes out.’
p. 312, l. 13 Exeunt. 4to 1671 ‘go out.’
p. 312, l, 14 ’.is the most. I have followed the two quartos in their arrangement of these lines, which, none the less, seems far from satisfactory. 1724 prints as prose.
p. 313, l. 10 Erminia. 4to 1671 omits.
p. 313, l. 28 She weeps. Not in 4to 1671, but in 4to 1690 and in 1724.
p. 313, l. 35 Prince his word. 4to 1690 and 1724 ‘Prince’s word’.
p. 315, l. 10 Thou would’st allow. This is the reading of 4to 1690 and of 1724. 4to 1671 reads ‘I should allow what I deny thee here.’
p. 316, l. 31 Philander’s Bed-chamber. I have added the locale.
p. 317, l. 25 marry other. 1724 ‘marry any other’.
p. 320, l. 5 an ignorant. This is the reading of the 4tos. I take ’.gnorant’ as the obsolete substantive. 1724 omits ‘an’.
p. 320, l. 9 Enter Lysette. 1724 has ‘Enter a Maid’, but gives speech prefix ‘Lyc.’, spelling Lysette, Lycette.
p. 320, l. 12 I cry your Lordship’s. I have followed the 4tos in the metrical arrangement of this speech. 1724 prints as prose.
p. 320, l. 15 She goes in. 1724 ‘She goes out.’
p. 320, l. 21 I fell asleep. So 4tos. 1724 as prose.
p. 321, l. 28 Shepherdess. 4tos and 1724 punctuate ‘Shepherdess,’. It has been suggested that the passage be punctuated with a full stop at ’.all.’ and continue ‘Ah, cruel’ with the punctuation of former editions retained.
p. 323, l. 8 he has. 4to 1671 ‘it has’.
p. 323, l. 14 The Court Gallery. I have supplied this locale.
p. 326, l. 21 The apartments of Alcippus. I have supplied this locale.
p. 327, l. 26 And I so strangely. 4to 1671 omits ‘I’.
p. 330, l. 23 The Palace. I have supplied this locale. 1724 misprints Scene IV.
p. 330, l. 24 as passing by. Omitted by 1724.
p. 331, l. 23 Railly. 1724 prints this speech as prose.
p. 332, l. 29 beholding. 1724 ‘beholden’.
p. 332, l. 32 Fal. That’s too much. Following the 4tos I have arranged all the speeches of Falatius, which 1724 gives as prose, metrically. The result is, it must be confessed, not entirely satisfactory in places.
p. 334, l. 25 Farewell. 4tos and 1724 all print ‘For well’.
p. 334, l. 34 Sees Pisaro. 1724 omitting ‘sees’ makes a poor alteration in the conduct of this business.
p. 335, l. 20 Exit Pis. Former editions simply ‘Exit.’ This confuses the scene.
p. 335, l. 21 Re-enter Falatius. The 4tos omit this stage direction.
p. 337, l. 7 Galatea’s Apartments. I have supplied the locale.
p, 337, l. 12 you were. 4to 1690 and 1724 ‘you are’.
p. 338, l. 25 must credit you. 4to 1671 ‘faith, I credit you’.
p. 339, l. 4 Erminia, sure you’ll. 4to 1690 and 1724 ‘Erminia sure will’.
p. 339, l. 14 the fault. 4to 1690 and 1724 ‘my faults’.
p. 340, l. 5 He rises. I have inserted ‘He’ to make the direction quite clear.
p. 342, l. 5 The Palace. I have added the locale.
p. 343, l. 25 loving me. 4to 1671 prints an unsatisfactory text:
‘none for loving me, for I’m much unlike Lucinda whom you ey’d.’
p. 344, l. 28 The Apartments of Alcippus. I have added this locale.
p. 344, l. 32 fear’d. 4to 1671 ‘heard’.
p. 347, l. 17 Entering. I have added this stage direction.
p, 347, l. 30 a Chamber. I have inserted the locale.
p. 347, l. 30 in a dishabit. All editions save 4to 1671 read ‘in an undress’.
p. 349, l. 5 appetites. 1724 ‘appetite’.
p. 349, l. 12 Within. I have supplied this stage direction.
p. 349, l. 20 took. 1724 ‘taken’.
p. 351, l. 34 To Alcip. This and the following stage direction ‘To the Prince’ are not in 4to 1671.
p. 352, l. 16 vile. 4to 1671 omits.
p. 352, l. 25 or smothers her with a pillow. This is only found in 4to 1671.
p. 353, l. 21 Knew. 4to 1671 ‘know’.
p. 354, l. 6 has. 4to 1671 ‘had’.
p. 354, l. 16 Murder. 4to 1690 and 1724 ‘a Murderer’.
p. 354, l. 29 The Palace. I have supplied the locale.
p. 356, l. 30 merits not. 1724 ‘merits all’. A striking misprint.
p. 357, l. l2 Gonzal. 4to 1671 ‘Gen’rall’.
p. 357, l. 16 You once. 4to 1671 wrongly gives this to the King.
p. 357, l. 19 And should. 4to 1671 omits this whole line.
p. 357, l. 29 Fal. Wert. I have followed the arrangement of 4to 1671 throughout in this scene, which 1724 prints as prose.
p. 358, l. 7 Tiffany. 4to 1690 and 1724 ‘Taffety.’
p. 358, l. 22 Philander’s Apartments. I have supplied this locale.
p. 359, l. 29 Within. I have added this stage direction.
p. 360, l. 27—Gods—. I follow 4tos. 1724 prints these two lines as prose.
p. 361, l. 36 the World. 1724 ‘that World’.
p. 362, l. 6 smiling to the Princess. 1724 reads ‘Er. who comes out smiling.’
p. 363, l. 18 Galatea’s Apartments. I have supplied the locale.
p. 365, l. 8 ’.was. 4to 1690 and 1724 ‘twere’.
p. 365, l. 12 The Bedchamber. I have supplied this locale.
p. 365, l. 14 so. 4to 1671 ‘now’.
p. 365, l. 20 Weeps. 4to 1671 only has ‘Weeps.’ 4to 1690 and 1724 give the stage direction in full.
p. 365, l. 31 Influence. 4to 1671 ‘Influences’ to the ruin of the metre.
p. 366, l. 6 as touch her. 4to 1690, 1724 ‘to touch her’.
p. 368, l. 8 Princes. 4tos 1671, 1690 read ‘Princess’.
p. 368, l. 14 who goes. 4tos 1671, 1690 ‘and goes’.
p. 368, l. 32 Do. 4to 1671 ‘So’.
p. 369, l. 28 what. 4to 1671 ‘which’.
p. 371, l. 8 The King’s Chamber. I have supplied this locale and that of the following Scene (IV).
p. 374, l. 28 A Pass or two. Only in 4to 1671.
p. 375, l. 25 Alcip. Might I. Only 4to 1671 gives this speech to Alcippus. All other editions erroneously continue it as part of Galatea’s speech.
p. 375, l. 32 My Love. 4to 1671 wrongly ‘Thy love’.
p. 377, l. 13 Ease. 4to 1671 ‘easie’.
p. 381, l. 8 Exeunt. I have supplied this stage direction.
p. 390, l. 1 To The Lord Marquess. The dedication only occurs in 4tos 1687, 1688.
p. 391, l. 6 Billet Doux. 4tos read ‘Billet Deux’—The same form is found in the Prologue l. 8; but as no other instance of ‘Billet Deux’ occurs I have corrected what is doubtless a misprint.
p. 394, l. 28 Adznigs. 1724, ‘Adzigs’.
p. 395 Dramatis Personae. I have added ‘Page; Florinda, Cousin to Elaria and Bellemante.’
p. 398, l. 4 otherwise. 1724 ‘otherways’.
p. 399, l. 30 Rosycrusian. 4 to 1687 ‘Rosacrucian.’
p. 400, l. 16 Ma tres chère. 4 to 1687 ‘Matres chear.’ 4to 1688 ’.arrois charé.’
p,400, l. 27 tout autour. 4to 1687 ‘tout au toore.’ 4to 1688 ‘tout au tour.’
p.400, l. 30 sighing. 1724 misprints ‘fighting’.
p.400, l. 9 Cheveux blonds. 4tos ‘Chevave Blond’.
p. 403, l. 30 Sylphs. 4to 1687 ‘Silfs.’
p. 409, l. 13 Scene III. All the former editions have Scene II.
p. 412, l. 21 Enter Doctor. Both 4tos and 1724 omit to mark this entrance which I have supplied.
p.413, l. 18 Draws. 1724 omits.
p.417, l. 19 The End of the First Act. Only in 4tos 1687, 1688.
p. 417, l. 21 A Chamber. I have added the locale.
p. 418, l. 26 the Street. 1724 ‘a Street.’
p. 418, l. 27 a Flambeaux. This is the reading of both 4tos. 1724 ‘a Flambeau’. As Sir T. Herbert, Travels (1638), has a plural ‘Flambeauxes’ I have retained ‘Flambeaux’ as a singular here, though no other instance can be cited.
p. 420, l. 6 Scene III. I have numbered this scene.
p. 420, l. 9 Florinda. I have inserted this name here and as speech-prefix instead of ‘Lady’. It is supplied by Act ii, II, and again in this scene.
p. 422, l. 2 Harpsicals. 1724 ‘Harpsicords’.
p. 422, l. 15 Within. I have supplied this stage direction.
p. 424, l. 3 Doct. Hold up. 1724 improperly puts this speech after the stage direction.
p. 424, l. 8 Harlequin sits still. 4tos ‘He sits still.’
p. 426, ll. 7, 9 Mistriss. 1724 ‘Mrs.’
p. 426, l. 35 Aside, and Exit. ‘Aside’ only in 1724. I have supplied ’.nd exit.’
p. 427, l. 16 Scene IV. I have numbered this scene and supplied the locale ‘to Bellemante’s Chamber’.
p. 429, l. 6 Scene V. I have numbered this scene.
p. 436, l. 14 The End of the Second Act. Only in 4tos.
p. 438, l. 22 Scene II. I have numbered this scene.
p. 442, l. 5 prima. 4tos misprint ‘Fema’.
p. 453, l. 1 Scene III. The Last. I have numbered this scene. 1724 omits ‘The Last.’
p. 454, l. 3 the Emperor. 1724 omits ‘the’.
p. 456, l. 28 Sagittary. 1724 ‘Sagittar’.
p. 461, l. 32 Gravely to himself. Only in 4tos.
p. 462, l. 19 Pay. 1724 ‘Play.’
p. 462, l. 29 Bank. 1724 ‘Rank’.