[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.