[192] Kavanagh, Julia. English Women of Letters, vol. I, chap. II.

[193] See [p. 386].

[194] See [p. 388].

[195] Genest, Some Account of the English Stage, vol. II, p. 104.

[196] See [pp. 104-09].

[197] Mrs. Inchbald: The British Theatre, vol. XI; Cibber: Lives of the Poets, vol. IV, pp. 58-61.

[198] Centlivre, Susanna: Works. "To the World."

[199] Hobohm: Das Verhältniss von Sus. Centlivre's "Love at a Venture" zu Thomas Corneille's "Le Gallant Double." (Hall. Diss. 1900.) Wüllenweber: Mrs. Centlivre's Lustspiel "Love's Contrivance" und seine Quellen. (Hall. Diss. 1900.) Strube: Sus. Centlivre's Lustspiel "The Stolen Heiress" und sein Verhältniss zu "The Heir" von Thomas May. (Hall. Diss. 1900.) Grober: Das Verhältniss von Sus. Centlivre's Lustspiel "The Gamester" zu Reynard's Lustspiel "Le Joneur." (Hall. Diss. 1900.) Weidler: Das Verhältniss von Mrs. Centlivre's "The Busy Body" zu Molière's "L'Etourdi" und Ben Jonson's "The Divill is an Ass." (Hall. Diss. 1900.) Ohnsorg: John Lacy's "Dumb Lady," Mrs. Centlivre's "Love's Contrivance" und Henry Fielding's "Mock Doctor" in ihrem Verhältniss zu einander und zu ihrer gemeinshaftlichen Quelle. (Rostock. Diss. 1900.) Poelchau: Susannah Centlivre's Tragödie "The Cruel Gift" in ihrem Verhältniss zur Quelle Boccaccio's Decameron IV. (Hall. Diss. 1905.)

[200] See [p. 85], [86].

[201] See mezzotint engraving by Becket in 1686 edition of her poems.