[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). [ Cross-Reference: The Town Fop]
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.