For both are of one Sort, &c.
The rest I have forgot. He took some Offence at the Words; but more at the Visit that Sir Philip, and Goodland, made him, about an Hour after, who found him in Bed with his Royal Consort; and [after having wish’d ’em Joy, and thrown their Majesties own Shoes and Stockings] at their Head, retir’d. This gave Monarch in Fancy so great a Caution that he took his Royal Consort into the Country, (but above forty Miles off the Place where his own Lady was) where, in less than eight Months, she was deliver’d of a Princely Babe, who was Christen’d by the Heathenish Name of Hayoumorecake Bantam, while her Majesty lay in like a pretty Queen.
[ Notes: Critical and Explanatory:]
The King of Bantam.
The header for the “King of Bantam” notes is misprinted, placed between the two notes for p. 30 instead of between pgs. 9 and 17. The story begins on p. 11.
[p. 17] last new Plays, being then in the Year 1683. The new plays acted at the Theatre Royal in 1682 were: Southerne’s The Loyal Brother; or, The Persian Prince; Tate’s Ingratitude of a Commonwealth; or, The Fall of Caius Marius Coriolanus; Settle’s The Heir of Morocco, with the Death of Gayland; Banks’ The Unhappy Favourite; or, the Earl of Essex; D’Urfey’s The Injur’d Princess; or, The Fatal Wager. There were also an unusual number of revivals of the older plays at this house. At Dorset Garden the following were produced: Otway’s Venice Preserved; or, A Plot Discovered; Mrs. Behn’s The City Heiress; or, Sir Timothy Treatall; D’Urfey’s The Royalist; Mrs. Behn’s The False Count; or, A New Way to Play an Old Game; Banks’ Virtue Betray’d; or, Anna Bullen; Mrs. Behn’s The Roundheads; or, The Good Old Cause; Ravenscroft’s The London Cuckolds; and Romulus and Hersilia; or, The Sabine War, an anonymous tragedy. There were also notable revivals of Randolph’s The Jealous Lovers, and Fletcher’s The Maid in the Mill. The two Companies amalgamated in the autumn, opening at the Theatre Royal, 16 November, for which occasion a special Prologue and Epilogue were written by Dryden. 4 December, Dryden and Lee’s famous tragedy, The Duke of Guise, had a triumphant first night. It will be remembered that Mrs. Behn is writing of incidents which took place on 6 January, 1683, Twelfth Night, so ‘the last new plays’ must refer to the productions of 1682. Of course, fresh songs, and probably musical entertainments, would be inserted at the different revivals of the older plays which were so frequent during that year.
[p. 20] Statira, . . . Roxana. In allusion to the two rival princesses for Alexander’s love as they appear in Nat Lee’s famous tragedy, The Rival Queens; or, Alexander the Great, produced at Drury Lane, 1677. It held the stage over a century and a half, longest of his plays, and is indeed an excellent piece. Originally, Hart played Alexander; Mrs. Marshall, the glowing Roxana; and Mrs. Boutell, Statira. Genest chronicles a performance at Drury Lane, 23 June, 1823, with Kean as Alexander; Mrs. W. West, Statira; Mrs. Glover, Roxana.
[p. 24] forty the Lurch. ‘Lurch’ is a very common old term (now rare) ‘used in various games to denote a certain concluding state of the game in which one player is enormously ahead of the other; often a “maiden set” or love-game’—N.E.D. cf. Urquhart’s Rabelais (1653), II, xii: ‘By two of my table-men in the corner point I have gained the lurch.’ Gouldman’s Latin Dictionary (1674), gives: ‘A lurch; duplex palma, facilis victoria.’
[p. 26] to Locket’s, where they din’d. This fashionable Ordinary stood on the site of Drummond’s Bank, Charing Cross. It was named from Adam Locket, the landlord, who died in 1688. In 1702, however, we find an Edward Locket, probably a son, as proprietor. The reputation of the house was on the wane during the latter years of Anne, and in the reign of George I its vogue entirely ceased. There are very frequent references. In The Country Wife (1675), Horner tells Pinchwife: ‘Thou art as shy of my kindness as a Lombard-street alderman of a courtier’s civility at Locket’s’ (iv, III). In Shadwell’s The Scowerers (1691), old Tope, replying to a health, cries: ‘I’ll answer you in a couple of Brimmers of Claret at Locket’s at Dinner’ (i, I). In Vanbrugh’s The Relapse (1696), Lord Foppington, when asked if he dines at home, surmises: ‘’tis passible I may dine with some of aur House at Lacket’s,’ which shows that it was then the very rendezvous of fashion and quality.
[p. 27] A King and no King. Langbaine testifies to the popularity of Beaumont and Fletcher’s play both before and after the Restoration. Pepys saw it 14 March, 1661, and again, 26 September the same year. The 1676 quarto ‘as it is now acted at the Theatre Royal by his Majestie’s Servants’ gives a full cast with Hart as Arbaces; Kynaston, Tigranes; Mohun, Mardonius; Lacy, Bessus; Mrs. Betty Cox, Panthea; Mrs. Marshall, Spaconia. In the earlier production Nell Gwynne had acted Panthea. The two Companies amalgamated in 1682, opening 16 November. Hart ‘never Acted more’ after this date. Mrs. Marshall had retired in 1677; and in 1683 Betterton was playing Arbaces with quite a new allotment of the other rôles.
[p. 27] The Rose. There are repeated references to this celebrated tavern which stood in Russell Street, Covent Garden. vide The Younger Brother, i, II (Vol. IV), Motteux’ Song: ‘Thence to the Rose where he takes his three Flasks,’ and the note on that passage. [ Cross-Reference: The Younger Brother.]