Miscellany, 1685.

p. [365]. Sir William Clifton. Sir William Clifton, Bart., of Clifton, Notts, the only surviving son of Sir Clifford Clifton, Knight, and Frances his wife, daughter of Sir Heneage Finch, Knight, Recorder of London, succeeded to the baronetcy on the death of his uncle Sir Gervase Clifton, 14 January, 1675. Sir William Clifton died unmarried, leaving two sisters, coheirs.

p. [368] On the Death of the late Earl of Rochester. John Wilmot, second Earl of Rochester, libertine, poet, wit, died from a complication of ailments due to his profligacies on 26 July, 1680, at the High Lodge, Woodstock Park, whither he had journeyed in the preceding April. During the last three months of his life he shewed signs of a sincere penitence. He was much comforted by the ministrations of his chaplain, Robert Parsons, and on 25 June he wrote to Gilbert Burnet to come and receive his death-bed repentance. Burnet arrived 20 July, and stayed four days, spending the time in consolatory exhortations and prayer. Parsons' funeral sermon giving an account of Rochester's death and penitence is well known, but Burnet's book, Some Passages of the Life and Death of John, Earl of Rochester (1680, 8vo), has been even more constantly re-issued. The Earl was buried in the north aisle of Spelsbury church, Oxfordshire, but without any inscription or monument to mark the grave.

p. [369] Cyprus. A fine transparent stuff now called crape, cf. Winter's Tale, iv, iv (first folio):—

Cypresse black as ere was Crow.

Palsgrave, Lesclarcissement de la Langue Françoyse, has: 'Cypres for a woman's necke—crespe'; and Cotgrave, Fr. Dict., 'Crespe: m. Cipres; also Cobweb Lawne'. The etymology of the word has given rise to much discussion. Skinner, Etymol. Angl., regards it as a corruption of the French crepes, but suggests that it may be derived from the island of Cyprus where it was first manufactured. This is almost certainly the case, cf. arras; cashmere; dimity; dornick; muslin, and many more. Wheatley in his notes on Every Man in His Humour suggests that Cyprus is derived from 'the plant Cyperus textilis, which is still used for the making of ropes and matting.' One of the English names of this plant was 'cypress'. Gerarde in his Herbal (1597) says: 'Cyperus longus is called ... in English, Cypresse and Galingale.' Mr. Wheatley's suggestion is ingenious but impossible. There is, moreover, ample evidence in favour of the derivation from the isle Cyprus.

p. [372] A Paraphrase on the Lord's Prayer. One may compare with this Paraphrase of the Pater by Mrs. Behn that by Poliziano—Προσευχὴ πρὸς τὸν Θεόν—written in 1472 when the poet was eighteen years old. Waller has sixteen lines OF the Paraphrase on the Lord's Prayer, written by Mrs. Wharton. cf. also Some Reflections of his upon the Several Petitions in the Same Prayer.

p. [378] To Mr. P. who sings finely. Perhaps Henry Purcell, whose voice was a counter-tenor, or possibly a relative of the great musician, a bass, who sang in the choir of the Abbey at the coronation of James II.

p. [379] On the Author of that Excellent Book. The Way to Health, Long Life and Happiness was published (4to, 1682), as Health's Grand Preservative; or, the Women's Best Doctor ... shewing the Ill-Consequences of drinking Distilled Spirits and smoking Tobacco ... with a Rational Discourse on the excellency of Herbs (2nd edition, 1691, 8vo, under the first-named title; 3rd edition 1697). It is the work of Thomas Tryon (1634-1703), 'Pythagorean', mystic, economist. This remarkable man, of whom a full account may be found in the Dic. Nat. Biog., was long a fervent follower of Jacob Behmen, and forms an interesting link between this enthusiast and the early quakers. In The Way to Health he advocates a vegetable diet, complete abstinence from alcohol, tobacco, and indeed all luxuries. This, however, is done without fanaticism, and he has many pages of sound common sense. The manual is in the highest degree interesting, and in spite of much quaint detail his hygiene was excellent. Tryon died at Hackney, 21 August, 1703. This same poem appears prefixed to The Way to make All People Rich: or Wisdom's Call to Temperance and Frugality, by Philotheos Physiologus. [T. Tryon]. 12mo, 1685.

p. [382] Epilogue to the Jealous Lovers. The Jealous Lovers, which is by many considered Randolph's best play, was originally acted before the King and Queen at Cambridge by the students of Trinity. It was printed quarto, 1632, with nine copies of English, and seven of Latin, verses. The revival of this comedy at the Duke's house in 1682 met with extraordinary success, and is mentioned by Langbaine. Nokes, who spoke this epilogue, acted Asotus the prodigal, and Leigh, Ballio the pimp. Jo and Jack are Joseph Williams and John Bowman who sustained Tyndarus and Pamphilus.

Rebell Ward is a sharp hit at Sir Patience Ward (1629-1696), the ultra-protestant lord mayor of London, to which office he was elected on Michaelmas day, 1680, entering on to his duties 29 October following. He was a violent upholder of the city against the court, and in 1683 was tried for perjury in connection with the action brought by the Duke of York against Sir Thomas Pilkington for scandalum magnatum. On being found guilty he escaped to Holland but returned at the Revolution. He died 10 July, 1696, and is buried in the chancel of St. Mary Abchurch. This fanatic incurred much odium early in his Mayoralty by having an additional inscription engraved on the Monument to the effect that the Great Fire had been caused by the Catholics. A similar inscription was placed on the house in Pudding Lane where the fire began. Tom Ward (1652-1791), in his England's Reformation (1710, canto iv, p. 100), jeering at Titus Oates and his fictions has the following lines:—

That sniffling whig-mayor, Patience Ward,
To this damn'd lie had such regard,
That he his godly masons sent
T'engrave it round the Monument.
They did so; but let such things pass:
His men were fools, and he an ass.

Roscommon, The Ghost of the old House of Commons ... (1681), dockets 'the Bethels and the Wards' together as

Anti-Monarchic—Hereticks of State.

Your Damage is at most but half-a-Crown. half-a-Crown was the price of admittance to the Pit. vide note, vol. I, p. 450.

p. [383] A Pastoral to Mr. Stafford. John Stafford, the translator of the Camilla episode (Dryden's Sylvae: or, the Second Part of Poetical Miscellanies, 1685, p. 481), is the same person who translated other parts of Virgil and Horace in the same Miscellany, Vols. I and II. In the 3rd edition of Vol. II he is called 'the Honourable Mr. John Stafford.' Stafford is also the author of the Epilogue (sometimes erroneously printed as Dryden's) to Southerne's The Disappointment; or, The Mother in Fashion (1684, and 4to, 1684).

p. [383] cale. This excessively rare adjective, which the N.E.D. fails to include, is an Irish word = hard.

p. [390] Gildon's Chorus Poetarum. 'Adequately to translate Sappho' says J. A. Symonds in The Greek Poets 'was beyond the power of even Catullus: that love-ode, which Longinus called "not one passion, but a congress of passions," and which a Greek physician copied into his book of diagnoses as a compendium of all the symptoms of corroding emotion, appears but languid in its Latin dress of "Ille mi par." Far less has any modern poet succeeded in the task: Rossetti, who deals so skilfully with Dante and Villon, is comparatively tame when he approaches Sappho.' This rendering of The Ode to Anactoria (as tradition names it) Φαίνεταί μοι κῆνος ἴσος θέοισιν, first appears under Mrs. Behn's name in Gildon's Chorus Poetarum, 1694. In State Poems, Vol. II (1703), it is printed with the title On Madam Behn, a very different matter. If the lines are Mrs. Behn's she must have versified them from a translation given her by Hoyle or some other friend. In any case they are graceful and far better than the versions of Ambrose Philips (1711), or Smollett (1748). But, indeed, it is impossible to translate these lines which are so truly 'mixed with fire' as Plutarch has it. For various attempts and a literal prose version see Wharton's Sappho.

p. [391] Complaint of the poor Cavaliers. The Muses Mercury, June 1707, prefixes the following to this poem: 'All the World knows Mrs. Behn was no Whig, no Republican, nor Fanatick; her Zeal lay quite on the other Side: And tho her Manners was no Honour to any, yet her Wit made her acceptable to that which she espous'd. She was a Politician, as well as a Poet: for we find in the short Account of her Life, printed with those of other Poets, she was employ'd by Charles II. in the Discovery of the Dutch Intrigues in the Dutch War; which she was the better qualifi'd to do by her knowledge of their Language, she having liv'd a long time in Surinam, a Colony where there were many Dutch Merchants; and not long after she left it 'twas surrendered to that Republic by King Charles. 'Tis well known, that the Gentlemen she speaks of in the following Poem, had too much reason to complain; and that the very Men, who had been so much instrumental in keeping King Charles the II. out of his Dominions, were most caress'd after his Restoration.'

p. [393] Mrs. Harsenet. Carola, daughter of Sir Roger Harsnett, knight. These verses are a variation of 'To my Lady Morland at Tunbridge.' vide p. 175.

p. [395] A letter to the Earl of Kildare. John FitzGerald, 18th Earl of Kildare, lived in St. James' Square, and in 1648 married, as his second wife, Elizabeth, eldest daughter of Charles Jones, 1st Earl of Ranelagh ('a fortune of £10,000.') She died in 1758 at the great age of ninety-three. She was extremely beautiful, and either she or one of her unmarried sisters was a mistress of the King.

The Lady Mary Howard, sister to the Earl of Carlisle, died in the last week of October, 1694. She was notorious for her intrigues, and the satires of the time accuse her of being little better than a procuress both for King Charles II and the Earl of Dorset. cf. Rochester's The Royal Angler

My Lady Mary nothing can design
But feed her lust with what she get's for thine,

and the Earl of Dorset's Lamentation for Moll Howard's absence (Harleian MSS.), which ends

Oh Love! Oh Love! Ye Pow'rs above
Intriguing Moll restore,
The best Interpreter of Love,
That ever message bore.

Amongst her lovers were Harry Lumley, Hungerford, Howe. It is noticeable that the lampoons inevitably refer to her in the grossest terms.

All the World can't afford
Such a Bitch as Mall Howard,

writes one versifier, and in Rochester's Ghost addressing itself to the Secretary of the Muses she is found bracketed with seven other ladies of the most dubious repute,

And here, would time permit me, I could tell,
Of Cleveland, Portsmouth, Crofts, and Arundel,
Mol. Howard, Su[sse]x, Lady Grey, and Nell,
Strangers to good, but bosom Friends to ill,
As boundless in their lusts as in their will.

When Lady Mary Howard was received into the Church in 1685, the wits (as was often the case on these conversions) seized the opportunity to flood the town with their pasquils, e.g. The Ladies March.

p. [397] an Urban Throng (as Mr. Bayes calls it). cf. The Rehearsal, iii, v, the scene of Prince Volscius 'going out of Town'.

Vols. Harry, my Boots; for I'l go rage among
My Blades encamp'd, and quit this Urban throng.

p. [398] Prologue to Romulus. vide Vol. I, pp. xlii-iii.

p. [399] Green-Ribbon-Brother. The green ribbon was the badge of Shaftesbury's party, as a red ribbon was of the Tories. North (Examen) gives the following account of the green ribbon fraternity: 'This was the club originally called the King's Head Club. The gentlemen of that worthy society held their evening sessions continually at the King's Head Tavern, over against the Inner Temple Gate. But upon occasion of the signal of a green ribbon agreed to be worn in their hats, in the days of street-engagements, like the coats of arms of valiant knights of old, whereby all the warriors of that society might be distinguished, and not mistake friends for enemies; they were called also the Green Ribbon Club. Their seat was in a sort of car-four at Chancery-lane-end; a centre of business and company most proper for such anglers of fools. The house was double balconied in the front, as may be yet seen, for the clubsters to issue forth in fresco, with hats and no perruques; pipes in their mouths, merry faces, and diluted throats, for the vocal encouragement of the canaglia below, at bonfires, on usual and unusual occasions.' The Green Ribbon is frequently alluded to. cf. Otway, The Poet's Complaint of His Muse (4to, 1680), xv:—

He gain'd authority and place:
By many for preferments was thought fit,
For talking treason without fear or wit:
For opening failings in the state: }
For loving noisy and unsound debate, }
And wearing of a mystical green ribband in his hat. }

p. [400] Mrs. Behn's Satyr on Dryden. This acrid attack upon the great laureate is ungenerous to a degree, and Mrs. Behn's jibes are the more surprising, inasmuch as she had always been Tory to the backbone and a particular partisan of King James II. No doubt continued ill health and a hard struggle are largely responsible for her bad temper. There can be no question that Dryden's conversion was absolutely conscientious, and his line of action at the Revolution amply proves his sincerity. Few, if any, critics would to-day venture to echo Macaulay's discredited pronouncements, doubly dangerous that they are from the vigour and charm of their expression. Burnet's partisan libels and denunciation of Dryden can be dismissed as impertinent and groundless. It is not to be supposed that on such an occasion the whole horde of waspish Lilliputians, who hated the genius of glorious John, would not pour forth a very torrent of venom and slime. Such impotent pasquils as The Renegado Poet, and To Mr. Dryden upon his declaring himself a Roman Catholic abound. Dryden, so far as we know, had always shown himself kindly to Mrs. Behn. He included her paraphrase of Ovid's [OE]none to Paris in the translation of Ovid's Epistles 'by several Hands' (1680), and took care to pay her a graceful compliment in the preface. Further, he allowed a prologue of his own to be used at the production of her posthumous play, The Widow Ranter, in 1690. His letter of advice to Corinna (Mrs. Thomas), which, with an acknowledgement of the freedom of some of his own scenes, bids her refrain from following the carelessness of the illustrious Astrea, was written with reference to the mitigated taste of the last years of the seventeenth century when Collier had already penned his diatribe of decorum, rather than as a rebuke of, or a reflection upon Mrs. Behn.

I owe the present copy of this satire, which has never before been printed, to the kindness of G. Thorn Drury, Esq., K.C., who generously transcribed the lines, thirty-one in number, from a MS. in his possession, which he copied from Haslewood, who writes 'From an old MS. in my Port Folio'.[7] The Historical MSS. Commission Third Report (1872) Appendix gives amongst the MSS. in the custody of the Bishop of Southwark, On Mr. Dryden renegate, by Mrs. Behn, 1 leaf, 33 lines. Fr. Cunningham, the Southwark archivist, whom I take this opportunity of most heartily thanking for the trouble he was put to in the matter, finds that this leaf was one of a number of MSS. restored by Bishop Danell in October, 1875, to the two sources whence they had been borrowed by the Rev. Mark Tierney. These were the Archivium of the late Cardinal Manning, and the Stonyhurst collection. Fr. Cyril Martindale, S.J., informs me that the poem is not to be found at Stonyhurst College. Nor can it be traced at Westminster. The unfortunate conclusion is that it has been irretrievably lost. A couplet would appear to have dropped out in the present copy.

[7] In line twenty-four the MS. has 'constant to worship', but as Mr. Thorn Drury pertinently points out, 'content' is clearly the right word.

p. [401] Valentinian. For Rochester's Valentinian see Vol. III, The Lucky Chance, Preface (p. 186), and note on that passage (p. 484). This alteration was printed quarto, 1685, with a vigorous defence of Rochester, 'a Preface concerning the Author and his Writings. By one of his Friends.' (i.e. Robert Wolseley, son of Sir Charles Wolseley.) It is curious to note that two publishers divided the risk of publication, and on the title pages of different 4tos we have different names. Mrs. Sarah Cook, who spoke this Prologue the first day, was an actress of no little eminence and beauty. Her origin was humble (her mother is said to have kept a tiny shop), and she early joined the Nursery. In 1677 we find her cast for Gillian, when Leanard's wholesale plagiarism of Brewer's Country Girl entitled Country Innocence; or, The Chambermaid turn'd Quaker, was produced during Lent by the younger part of the Theatre Royal Company, with help from such experienced performers as Haynes, Lydal, Goodman, Mrs. Marshall and Mrs. Knipp. The following year Mrs. Cook acted Flora in The Rambling Justice, another Nursery play, also put on in Lent. Langbaine ascribes this comedy to Leanard, and much of it is stolen in his style. Amongst Mrs. Cook's many rôles after she had joined the King's Company as a regular actress were:—1681, Livia, in D'Urfey's Sir Barnaby Whig; 1682, Semanthe, in Southerne's The Loyal Brother; The Countess of Rutland in Banks' The Unhappy Favourite. After the Union of the Companies (first performance 16 November, 1682), Mrs. Cook, who had already taken a high place, acted parts of great importance. We find that she spoke the Epilogue to Dryden and Lee's The Duke of Guise (December, 1682), and in 1683 she appears as Spaconia in a notable revival of A King and No King. The same year she possibly acted the Countess in Ravenscroft's Dame Dobson. In 1684 she played Serena in Lee's Constantine the Great; Erminia in Southerne's The Disappointment; Portia, in a revival of Julius Cæsar; 1685, Aminta in D'Urfey's The Commonwealth of Women; Edith, in a revival of Rollo, Duke of Normandy; 1686, Lady Lovemore in Jevon's farce, A Devil of A Wife; Donna Elvira in D'Urfey's The Banditti; 1687, Letitia in Mrs. Behn's The Lucky Chance; Quisara in Tate's poor alteration of The Island Princess; Elaria, in Mrs. Behn's farcical The Emperor of the Moon. Genest who records this as her last rôle says that she quitted the stage at this time. It has been stated that she died in the winter of 1687. At any rate her name no longer appears, and her place was amply filled by the advent of Mrs. Bracegirdle. Mrs. Cook was celebrated for speaking saucy and political epilogues, e.g. that to The Duke of Guise, and, again, Dryden's brilliant epilogue to Constantine the Great. A MS. (Harleian) Satire on the Players (c. 1682-3) coarsely vilipends her thus:—

Impudent Sarah thinks she's praised by all,
Mistaken Drab, back to thy Mother's stall,
And let true Savin whom thou hast proved so well; }
'Tis a rare thing that belly will not swell, }
Though swived and swived and as debauched as hell. }

On the Second Day of Valentinian a second prologue was spoken by Mrs. Cook. They are clever verses, and with regard to the critics who gird at Rochester, some 'for his want of Wit', and others because 'he too obscenely writ', it is said:—

Like Falstaffe let 'em conquer Heroes dead,
And praise Greek Poets they cou'd never read.

The third 'Prologue intended for Valentinian, to be spoken by Mrs. Barrey' contains the famous lines with reference to the dead author:—

Some Beauties here I see—
Though now demure, have felt his pow'rful Charms,
And languish'd in the circle of his Arms.

p. [402] Jenny. A well-known orange wench to whom there are allusions in the satires of the day. 'Jenny' is sometimes also a generic name for a mask.

p. [402] Blanket Fair. Evelyn, 6 January, 1684, notes 'the river quite frozen', and on the 9th writes: 'I went across the Thames on the ice, now become so thick as to bear not only streets of booths, in which they roasted meat, and had divers shops of wares, quite across as in a town, but coaches, carts and horses passed over.' On subsequent days he notes the continuance of this frost, and on 24 January has a famous description of the Thames fair with its 'sleds, sliding with skates, a bull-baiting, horse and coach-races, puppet-plays and interludes, cooks, tippling, and other lewd places, so that it seemed to be a bacchanalian triumph, or carnival on the water'. A printing press was even set up and cards printed, one of which is given, dated 5 February, in a note by Bray, Evelyn's Diary, II (p. 192) (1850).

p. [403] To Henry Higden. Henry Higden, to whose translation of Juvenal's tenth satire Mrs. Behn prefixed these complimentary verses, was a well-known wit of the day. A Yorkshireman, a member of the Middle Temple, he moved in the best and gayest society. In 1686 he published A Modern Essay on the Thirteenth Satyr of Juvenal (Licensed 11 November, 1685), and in 1687 followed this up by A Modern Essay on the Tenth Satyr of Juvenal. With Mrs. Behn's Poem are also printed verses by Dryden and Settle. Higden is the author of a good comedy, The Wary Widdow: or, Sir Noisy Parrat (4to, 1693). Sir Charles Sedley wrote the prologue, there are six copies (one by Tom Brown in Latin), of complimentary verses, and the play is dedicated to the Earl of Dorset and Middlesex. A legend exists that the author 'had introduced so much punch-drinking into it that the actors got intoxicated before the end of the third act, and the house separated in confusion'. This seems to me dubious at the least, and if true the actors must have begun in a singularly mellow condition. Sir Noisy, indeed (Act i), declares 'we must banish Venus out of our Calender, Jolly Bacchus shall rejoyce our hearts, and be our Dominical Letter,' yet in Act ii, sc. iii, he toasts Clarinda's health but once and that in 'Wine and Colour'd water'; whilst Act iii, sc. vi, 'the Rose Tavern' where Sir Noisy gets drunk with Scaredevil and Fulham is somewhat quiet for a toping of the period. In Act iv Nantz is quaffed on shipboard, but all the rest of the play is temperate enough, and the tradition (repeated ad nauseam), must indubitably be dismissed as pure fiction. Higden in his Preface ascribes the doom of The Wary Widdow to those 'Sons of Zeruiah', the 'murmuring Israelites' and 'Pagans of the Pits' who 'hissing, mimicking, ridiculing, and Cat-calling' utterly 'vanquished the stage', and dumbfounded the unfortunate performers. No doubt a braying clique damned the piece. It may be noted that in his Preface Higden takes occasion to gird at the recent success of Congreve's The Old Bachelor.

p. [405] On the Death of E. Waller, Esq. Edmund Waller died at Hall Barn, 21 October, 1687, and on 26 October was buried in Beaconsfield churchyard. This elegy of Mrs. Behn's was first printed in a collection entitled Poems to Memory of that Incomparable Poet Edmund Waller, Esquire. 'By Several Hands.' 1688. The volume (27 pages), contains poems by Sir John Cotton, Bart.; Sir Tho. Higgons; T. Rymer; Monsieur St. Evremon (six lines in French, with an English translation by T. R.); George Granville; Bevill Higgons; A. Behn; an Anonymous Poem; and 'To Mr. Riley, Drawing Mr. Waller's Picture', signed T. R. The letter accompanying these lines sent by Mrs. Behn to Waller's daughter-in-law, will be found in the Memoir (Vol. I, pp. l-li).

p. [407] A Pindaric Poem. For the occasion of this Poem vide Vol. I, p. liii. From stanza 4 it would appear that Dr. Burnet had suggested to Mrs. Behn that she should write a Pindaric or some similar poem on William of Orange and his consort. To her credit she refused. The verses To Her Sacred Majesty Queen Mary are more than ample on such themes.

[Index of First Lines.]

A
VOL.PAGE
A Constancy in Love I'll prisevi[304]
A Curse upon that faithless Maidiii396
A Den where Tygers make the passage goodvi[252]
A Lady lovely, with a charming Meenvi[261]
A Lovers Rage and Jealousievi[330]
A Neighbouring Villa which derives its namevi[237]
A Palace that is more uneasy farvi[269]
A Pox of the States-man that's wittyi397;vi[211]
A Pox upon this needless Scorni188;vi[190]
A thousand Martyrs I have madevi[305]
After our showing Play of mighty Painsii192
After these Debates of Lovevi[73]
Ah! charming Object of my wishing Thought!vi[19]
Ah! Charmion! shroud those killing Eyesiv386
Ah! cruel Love! when will thy Torments cease?vi[307]
Ah! false Amyntas, can that Houri273
Ah hapless sex! who bear no charmsvi[348]
Ah! he who first found out the wayvi[25]
Ah, Jenny, gen your Eyes do killii253
Ah, Sylvia! if I still pursuevi[198]
Ah! what can mean that eager Joyvi[192]
Ah! wonder not if I appearvi[46]
Alas! and must the Sun declinevi[61]
Alexis, since you'll have it sovi[349]
All Joy to Mortals, Joy and Mirthiii457
All Trembling in my Arms Aminta layvi[241]
All you Beauties and Attractionsvi[342]
Aminta, fear not to confessvi[38]
Amyntas, that true hearted Swaineiii321;vi[164]
Amyntas, if your Wit in Dreamsvi[174]
Amyntas led me to a Grovei255;vi[163]
Amyntas, whilst youvi[173]
And how, and how, Mesieurs! what do you sayvi[382]
And sighing said, ah Gods! have youvi[258]
And tho' I do not speak, alasvi[251]
As Country Squire, who yet had never knowniii5
As free as wanton Winds I liv'dvi[56]
As Rivals of each other jealous proveiv319
As when a Conqu'ror does in Triumph comevi[175]
As when a Monarch does in Triumph comevi[393]
As young Selinda led her Flockvi[375]
At last, dear Lysidas, I'l set thee Freevi[224]
B
Beauty like Wit, can only charm when newii106
Beneath the kind protecting Laurel's shadevi[63]
Beyond the Merit of the Agevi[204]
Blest Age! when ev'ry Purling Streamvi[138]
By Heaven 'tis false, I am not vainvi[43]
C
Cease, cease, Aminta, to complainvi[370]
Cease, cease, that vain and useless scornvi[326]
Cease to defend your Amorous Heartvi[319]
Cease your Wonder, cease your Guessiii233
Celinda, who did Love Disdainiii55;vi[209]
Ceres, Great Goddess of the bounteous Yearvi[177]
Cold as my solid Chrystal isvi[99]
Come, my fair Cloris, come awayvi[156]
Come, my Phillis, let us improvevi[192]
Crudo Amore, Crudo Amoreii361
Cupid, my darling Cupid, and my Joyvi[387]
D
Damon, altho you waste in vainvi[378]
Damon, I cannot blame your Willii111;vi[165]
Damon, if you'd have me truevi[36]
Damon, if your Heart and Flamevi[27]
Damon, if your Love be truevi[31]
Damon, my Watch is just and newvi[79]
Damon, the young, the am'rous, and the truevi[96]
Darling of Mars! Bellona's Care!vi[78]
Dear Silvia, let's no farther strivevi[212]
Dull Love no more thy Senceless Arrows prizevi[208]
E
Enough kind Heaven! to purpose I have liv'dvi[171]
F
Fain I would have leave to tellvi[102]
Fair Goddess of my just Desirevi[81]
Fair Ladies, pity an Unhappy Maidvi[399]
Fair lovely Maid, or if that Title bevi[363]
Fair Nymph, remember all your Scorn (J. Wright)ii183
Faithful Lisander, I your Vows approvevi[259]
Farewel, my little charming Boy!vi[310]
Farewell the Great, the Brave and Goodvi[144]
Farewel the World and mortal Caresii394
Fly, Lysidus, this hated Placevi[340]
Fond Love thy pretty Flatteries ceasevi[267]
For far less Conquest we have knownvi[87]
G
Gallants, our Poets have of late so us'd yeiii285
Gallants, you have so long been absent henceii6;iv309
Give me the Man that's hollowvi[391]
Go, happy Lovers, perfect the desiresvi[282]
H
Had'st thou, Amintas, liv'd in that great agevi[360]
Hail, Beauteous Prophetess, in whom alone (Kendrick)vi[296]
Hail, Learned Bard! who dost thy power dispencevi[379]
Hang Love, for I will never pineiii309
Heav'n for Sovereignty has made your Formvi[98]
Heaven save ye, Gallants; and this hopeful Age (Dryden)iv223
Here at your Feet, we tribute payi280
Her mourning languid Eyes are rarely shownvi[265]
He that would have the Passion bevi[73]
He that wou'd precious time improvevi[326]
Him whom you see so awful and severevi[235]
Hiss 'em, and cry 'em down, 'tis all in vaini329
Honour's a mighty Phantom! which aroundvi[278]
How shall a Lover come to knowvi[51]
How strangely does my Passion growiii160
How strongly does my Passion flowvi[189]
How, to thy Sacred Memory, shall I bringvi[405]
How vain have prov'd the Labours of the Stage (Otway)ii201
How we shall please ye now I cannot sayvi[398]
I
I am the Ghost of him who was a true Soni341
I Come not a Petitioner to sueiii175
If when the God of Day retiresvi[200]
I here and there o'erheard a Coxcomb cryiv115
In a Cottage by the Mountainiv189
I know You, and I must confessvi[403]
Injurious Pin, how durst thou steal so nigh?vi[392]
I Never mourn'd my Want of Wit, 'till now (Cotton)vi[6]
In Phillis all vile Jilts are metii260
In the Blooming Time o'th' yearvi[193]
In vain, dear Youth, you say you lovevi[196]
In vain I have labour'd the Victor to proveiv153;vi[173]
In vain to Woods and Deserts I retirevi[389]
In vain we labour to reform the Stagei115
Iris, to keep my Soul entire and truevi[42]
Iris, to spare what you call Flatteryvi[94]
Its Torrent has no other sourcevi[253]
It was too much, ye Gods, to see and hearvi[207]
K
Keep, lovely Maid, the Softness in your Eyesvi[101]
Know all ye Whigs and Tories of the Pitiii99
L
Ladies, the Prince was kind at lastiv212
Let murmuring Lovers no longer repineiii454
Let Love no more your Heart inspirevi[314]
Long, and at vast Expence, th' industrious Stageiii393
Long has Wit's injur'd Empire been opprest (J. Cooper)vi[117]
Long have we turn'd the point of our just Rage (A Person of Quality)iii278
Long have our Priests condemn'd a wicked Agevi[343]
Love in Fantastique Triumph satii9;vi[163]
Love is a God, whose charming Swayvi[34]
Love, of all Joys, the sweetest isvi[54]
Love ought alone the Mystick Knot to tievi[82]
Love when he Shoots abroad his Dartsvi[230]
Lovers, if you wou'd gain a Heartvi[24]
Lydia, Lovely Maid, more fairvi[212]
M
Make haste, Amintas, come awayii35
Make hast! make hast! my miserable soulvi[361]
Melinda, who had never beenvi[29]
Mourn, Mourn, ye Muses, all your loss deplorevi[368]
Must we eternal Martyrdom pursue?vi[249]
My Amoret, since you must knowvi[153]
My Damon, if your Heart be kindvi[41]
My Damon, tho' I stint your Lovevi[33]
My Plot, I fear, will take but with a fewii299
My Present's delicate and newvi[15]
N
No, Delia, no: What Man can range (Gildon)iv343
No! give me all, th' impatient Lover criesvi[107]
No more, Lucinda, ah! expose no more (Cheek)iii224
Not to sigh and be tendervi[312]
Now, my fair Tyrant, I despise your Pow'rvi[254]
O
O Iris! While you thus can charmvi[22]
O Jealousy! thou Passion most ingrate!vi[70]
O thou that dost excel in Wit and Youth!vi[106]
O Wondrous condescention of a God!vi[372]
Oft in my Jealous Transports I wou'd cryvi[271]
Oh, Damon, if thou ever wertvi[345]
Oh! fond remembrance! do not bringvi[341]
Oh! how at ease my Heart would livevi[72]
Oh! how soft it is to seevi[332]
Oh! how that Negligence becomes your Air!vi[104]
Oh! how the Hand the Lover ought to prizevi[103]
Oh Iris! boast that one peculiar Charmvi[101]
Oh Iris! let my sleeping Hours be fraughtvi[66]
Oh! Love that stronger art than Wineiii231
Oh! what Pleasure 'tis to findvi[325]
Oh with what Pleasure did I pass awayvi[262]
Oh, wonder of thy Sex! Where can we seevi[123]
Olives are never fading seenvi[85]
Once more my Muse is blest; her humble Voice (Jenkins)vi[9]
One day the Amorous Lysandervi[178]
P
Pan, grant that I may never provevi[177]
Perhaps I am mistaken herevi[16]
Philander, since you'll have it sovi[58]
Philander was a jolly Swainii247
Phillis, whose Heart was Unconfin'di148;vi[191]
Poets are Kings of Wit, and you appeari212
Poor Damon! Art thou caught? Is't ev'n so?vi[185]
Poor Lost Serena, to Bemoanvi[186]
Poor Lycidus, for shame arisevi[306]
R
Rejoyce! my new made happy Soul, Rejoyce!vi[260]
Remember, Damon, while your Mindvi[16]
Rise, Cloris, charming Maid, arise!iii191
Rivals 'tis call'd, a Village wherevi[268]
S
Say, my fair Charmer, must I fallvi[255]
Scorning religion all thy life time pastvi[400]
She blows the Youthful Lovers flamevi[245]
She that wou'd rack a Lover's Heartvi[70]
Since with old Plays you have so long been cloy'diii188
Sincerity! thou greatest Good!vi[49]
Sir Timothy, Gallants, at last is come (Ravenscroft)vi[49]
Sitting by yonder River side (made by a Gentleman)iv44
Slight unpremeditated Words are bornevi[22]
So hard the times are, and so thin the Townii411
Such Charms of Youth, such Ravishmentvi[231]
T
Take back that Heart, you with such Caution givevi[202]
Take heed, my Damon, in the Grovevi[47]
Tell me; oh, tell me! Charming Prophetessvi[109]
Tell me! What can he designvi[18]
That Beauty I ador'd beforevi[364]
That Coxcomb can ne're be at easevi[311]
That Love may all Perfection bevi[92]
That Love's my Conduct where I govi[14]
That Love, the great Instructor of the Mindvi[14]
That tho' the Favours of the Fairvi[17]
That when a Lover ceases to be blestvi[20]
The banisht Cavaliers! a Roving Blade!i105
The Devil take this cursed plotting Ageii307
The God of Love beholding every dayvi[315]
The Grove was gloomy all aroundvi[183]
The happy Minute's come, the Nymph is laidiii52
The Houses there, retir'd in Gardens arevi[250]
The nobler Lover, who would provevi[77]
The peaceful Place where gladly I resortvi[397]
The Smiles, the Graces, and the Sportsvi[84]
The Vizor's off, and now I dare appeari424
Then do not let your murm'ring Heartvi[72]
There they shall all together reignvi[70]
This is the Coast of Africavi[228]
This Little, Silent, Gloomy Monumentvi[381]
This River's call'd Pretension; and its sourcevi[244]
Thither all the Amorous Youth repairvi[239]
Tho' Damon every Virtue havevi[18]
Thô my Heart were full of Passionvi[336]
Tho', Silvia, you are very fairvi[71]
Those Eyes that can no better Conquest makevi[86]
Thou great Young Man! Permit amongst the Crowdvi[166]
Thou Grief of my Heart, and thou Pearl of my Eyesiv59
Thou one continu'd Sigh! all over Painvi[111]
Thou Wonder of thy Sex! Thou greatest Good! (G. J.)vi[9]
Though the Young prize Cupid's Fireiv352
Thus both resolve to break their Chainvi[71]
Time and Place you see conspireiv353
Tis all eternal Spring aroundvi[283]
'Tis not enough to reade and to admire (J. C.)vi[119]
Tis not your saying that you lovevi[397]
'Tis that which leads those captivated Heartsvi[99]
'Tis wonderous Populous from the excessvi[244]
To celebrate your Praise, no Muse can crown (Rich. Faerrar)vi[8]
To speak of thee no Muse will I invokevi[121]
To thee, dear Paris, Lord of my Desiresvi[214]
'Twas there, I saw my Rival takevi[308]
'Twas vain for Man the Laurels to persue (J. Adams)vi[120]
'Twas when the Fields were gayvi[188]
W
We all can well admire, few well can praise (J. W.)vi[131]
We charg'd you boldly in our first advanceiii381
Weep, weep, Lysander, for the lovely Maidvi[280]
Well! you expect a Prologue to the Playiv121
We pity such as are by Tempest lostvi[395]
We're grown Impatient to be out of painiv398
We write not now, as th' antient Poets writiv8
What Art thou, oh! thou new-found pain?vi[356]
What differing Passions from what once I feltvi[238]
What doleful crys are these that fright my sencevi[151]
What is the recompence of Wariv202
What Life can compare with the jolly Town-Rake's (Motteux)iv331
What mean those Amorous Curles of Jet?vi[195]
What means this Knot, in Mystick Order Ty'dvi[182]
When Damon first began to lovei33
When Jemmy first began to Lovevi[165]
When Love shall two fair objects mixvi[339]
When Maidens are young and in their Springiii429
When old Rome's Candidates aspir'd to Famevi[407]
When th'Almighty Powers th'Universe had fram'd (H. Watson)vi[136]
When the sad news was spread (F. N. W.)vi[132]
When to the charming Bellinda I camevi[322]
When two Hearts entirely lovevi[90]
When you Love, or speak of itvi[321]
Where should a Lover hide his Joysvi[89]
While, Iris, I at distance gazevi[371]
While this poor Homage of our Verse we give (N. Tate)vi[7]
Whilst happy I Triumphant stoodvi[148]
Whither, young Damon, whither in such hastvi[350]
Who, but a Lover, can expressvi[20]
Why, Amarillis, dost thou walk alonevi[383]
Why, fair Maid, are you uneasyvi[324]
Why shou'd that faithless wanton givevi[309]
With late Success being blest, I'm come againii98
With our old Plays, as with dull Wife it faresiii462
With Rigor Arm your self (I cry'd)vi[272]
With that assurance we to day addressvi[401]
With you, unhappy Eyes, that first let invi[225]
Wits, like Physicians, never can agreei7
Y
Ye bold Magicians in Philosophy (Anon.)vi[124]
Yes, the fair Object, whom you praisevi[60]
You ask me, Phillis, why I still pursuevi[394]
Young Jemmy was a Ladvi[210]

[GENERAL INDEX.]

A
Abington, Mrs. Frances
iv 420
Adams, J.
vi [121], [421]
Adamson, John
v 212
Albemarle, Christopher Monck, 2nd Duke of
i xlix
Alchemist,
i 224
Alsatia,
iii 485
Angel (actor),
i 220;
iv 121, 413
Antony and Cleopatra,
iv 415
Apple John,
iii 487
Apuleius, Lucius
vi [296]
Araujo, J. de
v 211
Arconville, Marie-Geneviève-Charlotte Tiroux d'
v 212
Aretino, Pietro
i 449;
iii 497
Ariell, Mrs.
ii 98, 431
Arteida, A. Ray de
v 260
Arwaker, Edmund
i xlviii
Association,
ii 437
Aue, Harmann von
v 417
Ay and No (man),
iv 411
B
Bacon, Nathaniel
iv 218
Baggs, Zachary
i xlviii
Baker (actor),
iv 219
Balconies (stage),
i 441
Bandello, Matteo
i 219;
v 69, 417, 418
Banister, James
v 521
Banister, John
vi [164]
Banks, John
ii 198;
v 515
Banter,
iii 481
Barckley, Sir Richard
ii 103
Barlow, Francis
i xlix
Barnes (actor),
iv 219
Basset,
iv 419
Bayes,
iv 7, 411, 413;
vi [397]
Beale, Mary
i lxiii
Beasts,
ii 427
Beeston, William
i 334;
iv 419
Begines,
v 75, 520
Bell (inn),
iv 412
Bellon, Peter
v 211
Bergerac, Cyrano de
iii 97, 496
Bergere,
ii 441;
iii 478;
iv 411;
vi [79]
Berkeley, Lady Henrietta
i xliv
Bertoletti,
v 212
Bess (Queen Bess' night)
i 443
Bethel, Slingsby
vi [129], [241]
Biancolelli, Dominique
i 445;
iii 386
Bickerstaffe, Isaac
iv 5
Blanket Fair,
vi [402]
Bob,
i 458;
iv 416
Boccaccio, Giovanni
i 5;
v 260
Boileau, Nicholas
vi [3]
Bonnecorse, Balthazar de
iv 411;\
vi [3]
Boutell, Mrs.
i 450;
v 516
Bowman, John
i lvii;
iii 419;
vi [383]
Bracegirdle, Anne
iv 225;
v 515
Brillac, Mlle S. B. de
v 211
Brinvilliers, Marie-Marguerite, Marquisede
iv 411
Briscoe, Sam
i liii;
v 401
Brome, Richard
i xxxvi, xxxviii, 442;
iv 4
Brown, Tom
i xxxiii, lv, liv;
v 518
Brumigham,
iii 479
Brydges Street,
v 515
Bulker,
iii 492
Burnet, Bishop Gilbert
i liii;
vi [407], [431], [438]
Burt, Nicholas
iv 413
Burton, Robert
ii 103
Bushel, Brown
i 457
Butler, Charlotte
i xlii;
ii 435;
vi [398]
Butler, Edward
i xxv-vi
Byam, William
v 521
Byshop,
v 417
C
Calderon, de la Barca
ii 102-3
Calprenède, Gautier de Costes, Seigneur de la
i xix, 449;
ii 102
Camöens, Luis de
v 212
Camphor,
iv 415
Canons (cannons),
iii 496
Canonesses,
v 519
Capel, Arthur Lord
i 457
Cassius,
iv 218-9
Castlemaine, Barbara Villiers, Lady
iv 314
Cataline,
iv 121, 413
Cedrenus,
v 417
Cenci, Francesco
i 219
Cent Nouvelles Nouvelles,
v 200
Cervantes, Miguel de
iv 120
Chamberlain, Dr. Hugh
iv 218
Chateaubriand, François Auguste de
v 127
Cheek, Thomas
iii 489
Cibber, Colley ii 5;
iv 5, 6, 220;
v 523
Cibber, Mrs. Susannah Maria
v 128, 212, 261
City Politics,
iii 483
Clélie,
iv 421
Cléopatre,
ii 102
Clifden,
vi [76], [419]
Clifton, Sir William
vi [365], [431]
Coach (glass),
iii 476
Codrington, Colonel Christopher
iv 316, 419
Colbert, Jean Baptiste
v 223
College, Stephen
i 335
Col- (cowl-) staff,
i 458
Colombine,
iii 496
Compton, Lady Mary
vi [350], [430]
Congreve, William
iv 5
Convenient (a),
ii 433
Conventicle,
i 454;
iii 478
Cooke, Mrs. Sarah
iii 462, 484;
vi [401], [436]
Cooper, J.,
vi [119], [420]
Corbet (Cobbet), Ralph
i 452
Cordeliers,
v 521
Corey, Mrs.
iv 413;
v 519
Cotton, Charles
vi [7], [417]
Coventry-blue,
iv 422
Coveras, Francesço de las
i 218
Cowley, Mrs. Hannah
iii 181
Crape-gownorum,
ii 437
Creech, Thomas
i xlv, lii;
iv 419;
vi [123], [166], [421]
Cromwell, Richard
i 333, 454
Cromwell, Mrs.
i 334, 452, 454
Cromwell, Oliver
i 453, 457
Cromwell (his funeral),
i 453;
iv 416
Crosby (actor),
i 439
Cross, Mrs.
v 128
Crowne, John
i 335;
iii 483, 492;
iv 5, 120;
v 515
Cudworth (actor),
iv 219
Currer, Mrs. Betty
i xl, 336;
ii 203, 307, 438;
iv 220
Cushion Dance, vide Sanderson, Joan
Cymbeline,
v 523
D
Daniel (Cromwell's porter),
i 456
Dalton, Michael
iv 417, 421
D'Avenant, Charles
iii 483
Davenport, Robert
iv 119
Desborough, John
i 451
Desborough, Lady
i 452
Desfontaines,
v 417
De-Wit (to),
iv 417
Dishabit,
iii 493
Docity,
ii 340;
iii 210, 481, 487
Doctor Baliardo,
iii 495
Doctor Faustus (Mountford),
iv 421
Doors (stage),
i 441
Dorset, Earl of
vi [350]
Dove (Tom, a bear),
iii 476
Dryden, John
i xxx, xli, xlv, lii, 219, 335, 443, 444, 449;
ii 198, 433, 435;
iii 491, 496;
iv 8, 220, 223, 412, 413, 414, 421;
v 515, 523;
vi [400], [435]
Duckingneld, Robert
i 452
Duffett, Thomas
i 444;
ii 438;
v 515
Duke of Guise, The
i xliv
Dumfound (to),
iii 482
D'Urfey, Tom
i 335, 456;
iii 481, 495;
iv 6, 314, 315, 415;
v 515
E
Eachward, John
i 222, 448
Edwardes, Richard
ii 103
Elephant and Castle,
iv 422
Entry,
iii 478, 489
Ephelia,
vi [297]
Etheredge, Sir George
i 441
Evans, Thomas,
v 259
Exercise,
i 455, iv 412
F
Fairfax, General
i 333
Fane, Sir Francis
vi [343], [429]
Farmer, Thomas
vi [191], [426]
Farren, Elizabeth
i lx;
iii 181-2
Ferriar, J.
v 128
Field, Nathaniel
iv 120
Fielding, Henry
i lix
Fifth Monarchy,
i 453
Fitz-Roy, Henry
i 357, 450
Fiurelli,
i 445
Flabber,
iii 487
Flambeaux (as sing.),
iii 475;
iv 418
Fleetwood, Charles
i 333, 451, 453
Fleetwood (Lady),
i 452
Fletcher, John
i 4, 218;
ii 197;
iv 120, 418;
v 118, 261, 515
Fontange,
iv 422
Fop-corner,
ii 437
Ford, John,
i 219
Forde, Lord Grey
i lxiv
Fortune my Foe,
i 458
Forty-One,
i 451;
ii 433
Friday Street,
iv 421
Frost, Walter,
i 455
G
Gabalis, Comte de
iii 497
Gad-bee,
iii 481, 488
Garrick, David
v 128, 212, 261
Garth, Dr. Samuel
i 438;
iv 419
Gentleman, Francis
v 128
George (inn),
iii 490
Gherardi, Evaniste
iii 386
Gibbons, Grinling
vi [75], [419]
Gildon, Charles
i xxi, lviii;
iv 314;
v 259, 521;
vi [387], [390]
Gloucester, Henry, Duke of
i 455
Godfrey, Sir Edmond Bury
i 443;
iv 417
Godfrey (to),
iv 417
Godwin, Bishop Francis
iii 497
Gordon, Sir Robert
vi [76], [419]
Goulart, Simon
ii 103
Gould, Robert
i xli, 219;
iii 476
Gozzi, Carlo
iii 316
Granville, George, Lord Lansdowne
v 351, 522
Grapulo, T.
v 417
Greene, Robert
iv 119, 422
Greenhill, John
vi [151], [422]
Griffith, Mrs. Elizabeth
v 137, 212
Grimeston,
ii 103
Grison,
iii 482
Groom Porter,
iv 416
Gun (inn),
v 524
Guzman,
i 209, 447;
iii 498
Gwiniver,
iv 422
Gwynne, Nell
i xl, 439, 456;
ii 305, 438;
iv 413, 414;
v 520
H
Halsall, James
i xxiii, xxvi
Hannibal,
iv 219, 418
Hans in Kelder,
iii 487
Harlequin,
i 112, 145, 187-9, 144;
iii 387-8, 496, 497, 498;
iv 421
Haroun al Raschid,
ii 103
Harris, Henry,
iv 413
Harsenet, Mrs. vide Lady Morland
Hart, Charles
iv 413;
v 516, 519
Hattigé,
iv 314
Hawkesworth, Dr. John
v 128
Hédelin (François),
iii 482
Henry IV (1),
i 224
Henry III (2),
ii 415
Henry VI (2),
v 515
Henry VIII,
iii 202, 485
Heptameron,
i 219;
v 417, 418
Heroic (an),
i 453
Heselrige, Sir Arthur
i 453
Hewson, John
i 451, 454, 456
Higden, Henry
vi [403], [438]
Holland, Earl of
i 457
Hopkins, John
iv 420
Hopkins, Matthew
i 448
Hordon,
iv 398
Howard, Lord of Esrick
iii 479
Howard, Edward
iii 477, 492, 493;
vi [204], [426]
Howard, Moll
vi [395], [434]
Howard, Sir Robert
i 335;
iv 417;
v 520
Hoyle, John
i xxxii-vi;
vi [153], [160], [200], [360], [361], [392]
Hutchinson, Richard
i 455
I
Ibsen, Henrik
i 219
Ice (Isles), Stephen
i 455
J
J. G. (George Jenkins),
iv 222, 415, 418;
vi [9], [11]
Jealous Lovers,
vi [382]
Jermyn Street,
v 518
Jesuitesses,
v 520
Jevon, Tom
i 444;
ii 436;
iii 188, 387, 393, 495
Jigg,
ii 477;
iv 414
Johnson, Charles
ii 197
Jolly, George
i 334
Jonson, Ben
i 4, 224;
iv 121, 413, 422;
vi [204]
Judas,
i 457
Julian,
i lvii;
v 518
Just-au-corps,
iii 480
K
Kelter,
iii 491
Kemble, J. P.,
i 6
Kendrick, Dr. Daniel
vi [298]
Ketch, Jack,
iii 492
Kildare, Earle of
vi [395], [434]
Killigrew, Charles
iii 483
Killigrew, Tom
i xxiii-vii, xxxvii, 4
Knip (to),
iv 416
Kynaston, Edward
iv 419;
v 516
L
Lacy, John
iv 5, 420;
v 516, 519
La Fontaine, Jean de,
v 261
Lambert, Major-General
i 333, 451
Lambert, Lady
i 333, 452
Lamb's wool,
iii 479
La motte,
v 212
Langbaine, Gerard
iv 218
Lauderdale, 4th Earl of
v 524
Laurence (lazy)
i 448
Lazzi,
iii 498
Lee, John
i 438
Lee, Mrs. Mary vide Lady Slingsby
Lee, Nathaniel
i 219, 335, 443, 449;
iv 220;
v 515
Lee, Mrs. Rachel
i 439
Leigh, Antony
i 106, 336, 442;
ii 439;
iii 186, 387, 483;
iv 6;
vi [383]
Leigh, Mrs. Elizabeth
i 9, 336, 439
Leigh, Mrs.
i 439
Leigh, Frank
i 439
Leigh, Michael
i 439
Lely, Sir Peter
i lxiii
Lennox, Mrs. Charlotte
iv 421
Le Roux,
v 418
L'Estrange, Sir Roger
iii 483;
v 260
Lewis, Mat
v 419
Lilly, William
i 458
Locket's,
v 516
London Cuckolds,
iii 483;
v 517
Long's,
v 7
Loveday, Robert
ii 102
Lowther, Sir Gerard
i 456
Luiz, Nicolas
v 212
Luther, Martin
v 418
M
Macready, W. C.
ii 5
Maid's Tragedy,
iii 284, 484
Malespini, Celio
v 260
Mall,
iii 484
Mallet, David
v 212
Manley, Mrs. Mary de la Rivière
i xxviii;
iv 418
Marillier, J. P.
vi [223]
Marini, Gio. Ambrogio
ii 103
Marlowe, Christopher
ii 4
Marshall, Mrs. Rebecca
ii 4, 428;
v 516, 520
Marston, John
iv 422
Martin, George
iv 314;
v 180, 208, 521
Martin, Henry
i 457;
iv 314;
v 180, 521
Massinger, Philip
i 219;
ii 197
Masuccio, di Salerno
v 417
Maynard, Sgt.
i 335
Mayne, Jasper
i 457
Mazarine, Duchess of
v 521
Measure for Measure,
iii 485, 492
Medrano, Julio de
v 418
Melander, Otho
v 417
Melford, John Drummond, 1st Earl of
vi [428]
Mercury (diurnal),
ii 436
Middle gallery,
iii 491
Middleton, Thomas
i xxxvi, 5, 457;
ii 197, 198
Miller, James
iv 5
Millin, Aubin Louis
v 418
Moders, Mary
i 450
Mohun, Michael
v 516, 519
Molière, J. B. P. de
iii 97;
iv 4, 5, 421
Molina, Tirso de
v 260
Monmouth, James, Duke of
i xl-xliii
Montalvan, J. Perez de
v 260, 417
Morland, Lady
vi [175], [393], [424]
Morland, Sir Samuel
vi [76], [419]
Mosely (Mother),
v 519
Motteux, Peter
iv 420;
v 517
Mountford, William
i 5;
iii 477, 492, 495;
iv 421
Musset, Alfred de
iv 120
Mysterious Mother,
v 418
N
Names (Mrs. Behn, confusion of),
ii 439;
iii 476;
iv 6;
v 523
Needham, Marchmont
i 454
Neville, Edward
v 519
Nice, vide Sir Courtly Nice
Nickers,
i 456
Nokes, James
i 106, 336, 442;
iv 6, 121, 412, 413, 414
Norris, Mrs.
i 445
Norton, Richard
v 401, 522
Nursery,
ii 431
O
Oates, Titus
ii 433, 437
Oedipus,
iii 483
Oldys, William
iv 218
Olivarez, Gaspar Guzman d'
i 449
Oroonoko (Southerne),
v 128, 421
Osenbrigs,
v 520
Othello,
iii 186, 484, 485, 494
Otway, Thomas
i xxxi, xxxvii, lii, 219, 443, 449;
ii 198, 210, 439;
iii 284;
v 515
Ovid,
iv 411, 412
Ousley,
iii 489
P
Pack, Captain
vi [189], [426]
Pad (to),
iii 490
Paisible, James
vi [188], [425]
Parsons, Mrs.
iv 5
Payne, Nevil
ii 198;
v 70, 519
Peer (Pierre), Will
v 518
Perkins, W.
v 419
Peters, Hugh
i 456, 457
Pinner,
v 523
Pit (brawls in),
ii 431
Pitts, Mr.
i xxxv-vi
Pix, Mrs. Mary
i xxxviii
Plymouth cloak,
i 447
Pope (City pope),
i 115, 443
Porridge (Book of Common Prayer),
ii 434
Powell, George
ii 5;
iv 319;
v 212, 521
Price, Mrs. Emily
i xxxvii;
vi [397]
Price, Mrs. (actress)
i 445
Prior, Matthew
i liv
Prynne, William
i 454
Puppets,
iii 495
Pusilage,
ii 440
Q
Quests (nuns),
v 520
Quick, John
v 517
Quin, Mrs. Anne
i 439;
iv 115
Quiocto,
iv 418
R
Rabel,
i 7, 438
Randolph, Thomas
v 515;
vi [177]
Ravenscroft, Edward
i xxxii-iii, 220, 441, 445;
iii 94, 97;
iv 5;
v 515, 517;
vi [185]
Rehersal, The
iii 477, 493;
iv 411, 413, 414-5
Reis, Quita Domingo dos,
v 212
Riley, John,
i lxiii
Ring (Hyde Park),
iii 485
Ritual murders,
iii 478
Rochester, John Wilmot, Earl of,
i 446;
ii 436, 437;
iii 484;
vi [171], [368], [402]
Rogers, Mrs.,
v 212
Romulus and Hersilia,
i xlii-iii;
vi [398]-9
Rose (tavern),
iv 420;
v 517
Ros solis,
v 518
Royal Sovereign,
i 446
Rump (songs),
i xxxiii, 335
S
St. Albans, Charles Beauclerk, Duke of,
ii 438
St. Antholin (church),
i 457
Saint-Pierre, Bernardin de,
i lx;
v 127
Salisbury, James Cecil, 4th Earl of,
i xlv;
vi [115], [414], [420]
Sanderson, Joan (dance),
i 456;
iii 203, 486
Sanford, Samuel,
iv 219
Sawny,
iii 495
Scaramouch,
i 444;
iii 495, 498;
iv 421
Scobell, Henry,
i 456
Scott, Thomas,
i xxii-v
Scott, Sir Walter,
i xxix
Scour (to),
iv 420
Scudéri, Georges de,
ii 102;
vi [3]
Scudéri, Madeline de,
i xix;
iv 421
Sedley, Sir Charles,
iv 419;
v 523
Settle, Elkanah,
i 443, 447;
iii 387;
v 515
Shadwell, Charles,
iv 5
Shadwell, Thomas,
i xlvii, 439, 444, 448;
ii 437;
iii 97, 486, 490;
iv 412, 413, 415, 417;
v 516
Shaftesbury, 1st Earl of,
i xl, xli, 454;
ii 198, 434, 435;
iii 479;
v 519
Shamming,
iii 482
Sharpe, Charles Kirkpatrick,
v 260
Shelley, Percy Bysshe,
i 219
Sheridan, T.,
iv 5
Shirley, James,
iii 180;
iv 120;
v 261
Sir Courtly Nice,
iii 483, 492;
v 515
Sir Fopling,
iii 483, 492
Sir Guy of Warwick,
iii 487
Sirreverence,
iii 490
Sisseraro,
i 458
Slingsby, Lady,
i xl, xlii-iv, 438, 441;
ii 4, 104, 427-30;
vi [399]
Smith, Will,
i xl, 5, 112, 115, 336;
iii 99, 284, 493
Snow Hill,
iii 491
Southampton House,
iii 477
Southampton Square,
iv 420
Southerne, Thomas,
i 335, 439;
iv 120, 421;
v 128, 259-61, 515
Spital Sermon,
iii 485
Sprat, Bishop Thomas,
vi [168], [423]
Stafford, Mr.,
vi [383], [433]
Stapylton, Sir Robert,
iii 477
Steele, Sir Richard,
i xxxviii;
iv 421
Stephenson, B. G.,
ii 197
Sternhold,
iv 420
Stocking (tossing the),
iii 489;
v 518
Stowe, Mrs. Harriet Beecher,
v 127
Suidas,
v 417
Swart Sisters,
v 520
Swiney, Owen,
iv 5
T
Tallemant, Paul (Abbé),
i xlv, li;
vi [223]
Taming of the Shrew,
iii 485
Tate, Nahum,
i xlvii, lii;
v 515;
vi [8], [417]
Tatham, John,
i 334, 458
Tasso, Torquato,
iv 411
Tennyson, Alfred, Lord,
v 260
Terence,
v 523
Termer,
iv 421
Thames (fair on),
vi [402], [437]
Thompson, Benjamin,
v 212
Thurlo, John,
i 455
Timon of Athens,
iii 492
Tonson, Jacob,
i xlv
Tourneur, Cyril,
iv 120
Tower,
iii 480;
iv 422
Trincalo,
ii 438;
iii 491
Trotter, Mrs. Catherine
v 212
Tryon, Thomas
vi [432]
Tunbridge Wells,
vi [175]
U
Underhill, Cave
i 5
V
Valentinian,
iii 484;
vi [401]
Vanbrugh, Sir John
iv 5, 420
Vane, Sir Harry
i 333, 453
Vega, Lope de
v 212
Verbruggen,
iv 317;
v 128, 212
Vergil,
i 107, 442
Verrio, Antonio
vi [75], [419]
Voltaire, Arouet de
v 212
W
Wagner, Richard
i 219
Walker, William
v 128
Waller, Edmund
i l;
vi [405], [438]
Wallingford House,
i 454
Walpole, Horace
i lx, 219;
iii 182;
v 418
Walsh, William
iv 5
Walter, Lucy
i xliv
Ward, Patience
vi [382], [432]
Wariston, Archibald Johnston, Lord
i 451
Webb, James
ii 102
Welldon, Madam
iv 221, 415
Westminster (effigies),
iv 422
Weston, Peter
vi [4], [417]
Westwood (actor),
iii 284, 493
Wharton, Mrs. Anne
vi [171], [424]
Whipping, Tom
ii 437
Whitelocke, Bulstrode
i 456
Wild Gallant,
iii 488
Wilkins, George
iii 4
Willoughby, Baron
i xviii;
v 521
Wills,
iii 485
Wilson, Arthur
i 218
Wilson, John
i 335;
v 519
Witches,
i 448
Wright, James
ii 432
Wright, Thomas
iv 5
Wycherley, William
iv 5
Y
Yea and Nay,
iii 480
York (James II), Duke of
i 113, 442-3;
ii 432-3
Young, Edward
ii 5

Printed by A. H. Bullen, at the Shakespeare Head Press, Stratford-upon-Avon.

Transcriber's Notes:

Simple spelling, grammar, and typographical errors in the prose were corrected.

Egregious errors were corrected in the poetry.