These notes are of necessity selective and are chiefly concerned with the identification of persons. No attempt has been made to indicate the complex textual relationships of the two versions. Where detailed evidence for identifications is not given, the reader is referred to the article mentioned above.

Title-page. Parve ... quÒ-. Ovid, Tristia, I, i, 1-2.

A2^v-A3^v. The authors of the extracts are Dryden, Shadwell, Lacy, Lee, and Banks. The Banks extract is unlikely to have been in print for more than a few weeks at the time PdT was published. The corresponding list in PC is called "Quotations" and contains twenty-three passages of which only two reappear in PdT.

A4^r: 15-16. Philip, the first Christian Emperour. Marcus Julius Philipus, c. 204-249.

P. 2: 21-22. Yet ... Liberty. The press regained its liberty through the expiry of the Licensing Act in 1679. This passage does not occur in PC and may be one of the "Ingenious Person's" additions to PdT.

P. 3: 28. Cris-cros-row. I.e., Christ-cross-row. The alphabet with a cross before it as represented in horn books.

P. 4: 4. Honourable stabs. Perhaps a reference to the attack on Dryden in Rose Alley on 16 December 1679, which was popularly attributed to various honorable persons satirized in Mulgrave's An Essay upon Satyr.

P. 4: 9-10. Tho' ... Bays. Cf. John Aubrey on the funeral of Samuel Butler on 27 September 1680:

About 25 of his old acquaintance at his Funerall. I myself being one of the eldest, helped to carry the Pall. His coffin covered with black Bayes. (Brief Lives, ed. O. L. Dick [London, 1958], p. 47.)

P. 6: 7. As Tonnellers catch Partridge. A tunnel was a kind of net used by bird-catchers.

P. 6: 21-22. As ... go. Cf. Donne's "A Lame Begger," The Satires, Epigrams and Verse Letters, ed. W. Milgate (Oxford, 1969), p. 51.

P. 6: 27. BARBARA. The opening word of a mnemonic used in expressing the moods of the syllogism.

P. 7: 21. Lab'ring Muses. PC has "tab'ring" (i.e., playing on tabors), a fairly clear case of lectio difficilior.

P. 10: 6. How a curst Broker met a Poet. The earlier part of the description seems to be hinting at the distresses of John Banks, who was reduced to poverty after two of his plays met censorship trouble; however, the closing section on pp. 16-17 is clearly meant to refer to Wycherley. It is possible that this is another of the "Ingenious Person's" additions. Indeed it would have to be as Wycherley's troubles did not begin until after the date given for the departure of the Poeta.

P. 10: 21. White-Fryers. The sanctuary area on the city side of the Temple: Shadwell's Alsatia.

P. 12: 1-2. half ... Temple-Bar. I.e., Whitefriars.

P. 12: 26. Being Tragedy, and writ in Rhimes. Dryden abandoned rhyme with All for Love (1677). Cf. Elkanah Settle's complaint in the preface to Ibrahim (licensed 4 May 1676): "Another misfortune the Play had, that it was written in Rhime, a way of writing very much out of Fashion...."

P. 16: 9. Where Bread and Cheese he said he'ld buy. This detail has some resemblance to a circumstance in Shiels and Cibber's account of the death of Otway, which may derive from a mistaken belief that he was the subject of the passage. See R. G. Ham, Otway and Lee (New Haven, 1931), p. 214.

P. 16: 14. One who would play at six-pence gleek. The index of extravagance at gleek seems to have advanced alarmingly in the course of the seventeenth century. Jonson in The Devil is an Ass (V, ii, 31) specifies three-pence; however, Shadwell in 1680 was already foreseeing a shilling (Works, ed. M. Summers, IV, 60).

P. 16: 15. Creswel's. The famous bawdy house, finally closed down in 1681.

P. 16: 16. Locket's. An ordinary at Charing-Cross mentioned in many Restoration comedies.

P. 16: 21. the Royal Theatre. Presumably the Theatre Royal, Drury Lane, although the term could equally well be meant for the theatre at Whitehall.

P. 17: 7. the briskest of our Crew. Probably Dryden, although the description has some problematical features. The fact that the poet is a rhymer and connected with the Duke's house rules out most other possibilities.

P. 19: 1. Will have a Poet at their tail. Possibly Otway. In PC (pp. 2-3), a shorter version of the description is combined with lines from the "Dryden" portrait—the one piece of evidence for the truncation theory:

P. 20: 2. Channel-row. The scene of this canto is Arthur Prior's Rhenish house in Channel-row near Whitehall.

P. 20: 19. A. as 'tis first in th' Alphabet. In view of his exalted station, wealth, and Whiggish company, it is probably safe to identify "A" with Charles Sackville, Sixth Earl of Dorset, who is known as a habituÉ of Prior's wineshop through the stories of his encouragement of the owner's nephew Matthew. However, most details would apply equally well—in his own mind at least—to another prominent patron of the day, John Sheffield, Earl of Mulgrave. In this connection, it is interesting to note that Mulgrave's account at Child's bank records a payment of £20/—/—made on 14 May 1683 to a Thomas Wood. The name was, naturally, a common one.

P. 21: 28. And wounds it too with its own Sting. Presumably a reference to Dorset's "On Mr. Edward Howard upon his British Princes" or Mulgrave's "An Essay upon Satyr." Both poems may be found in the first volume of the Yale Poems on Affairs of State series (ed. George deForrest Lord [New Haven, 1963]).

P. 22: 3. Next unto A. B. took his place. Sir George Etherege. The opening lines anticipate Dean Lockier's comment recorded by Spence that "he was exactly his own Sir Fopling Flutter" which may on the other hand be derived from it. See Joseph Spence, Observations, Anecdotes, and Characters of Books and Men, ed. James M. Osborn (Oxford, 1966), p. 281.

P. 22: 17. For you must know he's kept by a Miss. Frederick Bracher has pointed out in a letter that Etherege was closely connected at this time with the circle of the Duchesse de Mazarin. See James Thorpe's note on "A Song on Basset," The Poems of Sir George Etherege (Princeton, 1963), pp. 85-87.

P. 22: 25. Heroick C. Elkanah Settle.

P. 23: 7. Cadem——. William Cademan, Settle's principal publisher.

P. 23: 23. But if you speak one word of's Chumb. Probably William Buller Fyfe, an Oxford friend who had assisted Settle with his first play, Cambyses. Fyfe was dead by the time the play reached the stage and Settle was criticized for bringing it out under his own name only.

P. 23: 26. D. the brisk lack-latine Poet. Thomas Shadwell. The accusation that he knew no Latin was repeated by Dryden in The Vindication of the Duke of Guise (1683) and is denied with characteristic stridency by Shadwell in The Tenth Satyr of Juvenal (1687). The accusation that his plays were partly written by others is made by Dryden in Mac Flecknoe ("But let no alien Sedley interpose") and is present by implication in Rochester's reference in "Timon" to "Shadwell's unassisted former Scenes...." Shadwell began his career as the collaborator of the aged Duke of Newcastle and acknowledges Sedley's help in his best comedy, A True Widow (1678). He was on good terms with Rochester, Dorset, and Buckingham and addressed dedications to the two last. The references to Horace and Lucretius allude to the preface to The Humorists and the opening scene of The Virtuoso, respectively.

P. 24: 14. Angling for single Money in a Shoe. This line from the Epilogue to The Libertine (1676) is quoted in context in the Author's Epistle. It also appears on the title-page of PC.

P. 27: 14. Whetstone-Whore. A reference to Whetstone Park, a street at the North end of Lincoln's Inn Fields. The name was subsequently changed to Whetstone St., but has since reverted, perhaps under the liberalizing influences of its principal present-day occupants, The New Statesman and the Olivetti typewriter company.

P. 30: 12-17. To ... pick'd. The reference is apparently to one of the "posture artists" of Moorfields, another brothel district; however, there may also be an allusion intended to an incident in the Duke's playhouse on 23 June 1679, when John Churchill, the future Duke of Marlborough, attempted to cane Betty Mackerell, an orange girl, and was thrashed in his turn by Thomas Otway. See Ham, Otway and Lee, pp. 112-115.

William Andrews Clark Memorial Library: University of California, Los Angeles

The Augustan Reprint Society

2520 CIMARRON STREET, LOS ANGELES, CALIFORNIA 90018

General Editors: William E. Conway, William Andrews Clark Memorial Library; George Robert Guffey, University of California, Los Angeles: Maximillian E. Novak, University of California, Los Angeles

Corresponding Secretary: Mrs. Edna C. Davis, William Andrews Clark Memorial Library

The Society's purpose is to publish rare Restoration and eighteenth-century works (usually as facsimile reproductions). All income of the Society is devoted to defraying costs of publication and mailing.

Correspondence concerning memberships in the United States and Canada should be addressed to the Corresponding Secretary at the William Andrews Clark Memorial Library, 2520 Cimarron Street, Los Angeles, California. Correspondence concerning editorial matters may be addressed to the General Editors at the same address. Manuscripts of introductions should conform to the recommendations of the MLA Style Sheet. The membership fee is $5.00 a year in the United States and Canada and £.19.6 in Great Britain and Europe. British and European prospective members should address B. H. Blackwell, Broad Street, Oxford, England. Copies of back issues in print may be obtained from the Corresponding Secretary.

Publications of the first fifteen years of the Society (numbers 1-90) are available in paperbound units of six issues at $16.00 per unit, from the Kraus Reprint Company, 16 East 46th Street, New York, N.Y. 10017.

Make check or money order payable to The Regents of the University of California.