[17.] The Retrospective Review, however (Vol. I, November, 1852), has an article, ‘Mrs. Behn’s Dramatic Writings,’ which warmly praises her comedies. The writer very justly observes that ‘they exhibit a brilliance of conversation in the dialogue, and a skill in arranging the plot and producing striking situations, in which she has few equals.’ He frequently insists upon her ‘great skill in conducting the intrigue of her pieces’, and with no little acumen declares that ‘her comedies may be cited as the most perfect models of the drama of the latter half of the seventeenth century.’
[18.] Which it certainly was not secundum mid-Victorian morals.
[19.] Mr. Gosse in the Dictionary of National Biography basing upon the preface to The Young King, says that after knocking in vain for some time at the doors of the theatres with this tragi-comedy that could find neither manager nor publisher, she put it away and wrote The Forc’d Marriage, which proved more successful. Dr. Baker follows this, but I confess I cannot see due grounds for any such hypothesis.
[20.] The Duke’s Company opened at their new theatre, Dorset Garden, 9 November, 1671.
[21.] 4to, 1673. Mrs. Behn’s accurate knowledge of the theatre and technicalties theatrical as shown in the preface to this early play is certainly remarkable. It is perhaps worth noting that her allusion to the popularity of 1 Henry IV was not included in Shakspere Allusion-Book (ed. Furnivall and Munro, 1909), where it should have found a place.
[22.] In view of the extremely harsh treatment Ravenscroft has met with at the hands of the critics it may be worth while emphasizing Genest’s opinion that his ‘merit as a dramatic writer has been vastly underrated’. Ravenscroft has a facility in writing, an ease of dialogue, a knack of evoking laughter and picturing the ludicrous, above all a vitality which many a greater name entirely lacks. As a writer of farce, and farce very nearly akin to comedy, he is capital.
[23.] Letters from the Dead to the Living: The Virgin’s [Mrs. Bracegirdle] Answer to Mrs. Behn. ‘You upbraid me with a great discovery you chanc’d to make by peeping into the breast of an old friend of mine; if you give yourself but the trouble of examining an old poet’s conscience, who went lately off the stage, and now takes up his lodgings in your territories, and I don’t question but you’ll there find Mrs. Behn writ as often in black characters, and stand as thick in some places, as the names of the generation of Adam in the first of Genesis.’ How far credence may be given to anything of Brown’s is of course a moot point, but the above passage and much that follows would be witless and dull unless there were some real suggestion of scandal. Moreover, it cannot here be applied to Hoyle, whereas it very well fits Ravenscroft. This letter which speaks of ‘the lash of Mr. C——r’ must have been written no great time after the publication of Jeremy Collier’s A Short View of the Immorality of the English Stage (March, 1698), probably in 1701-2. Ravenscroft’s last play, The Italian Husband, was produced at Lincoln’s Inn Fields in 1697, and he is supposed to have died a year or two later, which date exactly suits the detail given by Brown. Ravenscroft’s first play, Mamamouchi, had been produced in 1672, and the ‘an old poet’ would be understood.
[24.] This occurrence is the subject of some lines in The Rump (1662): ‘On the happy Memory of Alderman Hoyle that hang’d himself.’
[25.] The Muses Mercury, December, 1707, refers to verses made on Mrs. Behn ‘and her very good friend, Mr. Hoyle’.
[26.] My attention was drawn to these lines by Mr. Thorn Drury, who was, indeed, the first to suggest that Hoyle is the person aimed at. I have to thank him, moreover, for much valuable information on this important point.