Editorial note — Scene I. A Room in Sir Patient Fancy’s House. A Table, and six Chairs.
Reading edition
Note to p. 22: the Bergere.
Feign’d Curtezans note:
The hour of the Berjere. L’heure du berger ou l’amant trouve celle qu’il aime favorable à ses voeux. cf. La Fontaine, Contes. La Coupe Enchantée. ‘Il y fait bon, l’heure du berger sonne.’ It is a favourite expression of Mrs. Behn. cf. Sir Patient Fancy, Act i, I. ‘From Ten to Twelve are the happy hours of the Bergere, those of intire enjoyment.’ Also the charming conclusion of The Lover’s Watch:—
Damon, my watch is just and new: And all a Lover ought to do, My Cupid faithfully will show. And ev’ry hour he renders there Except l’heure du Bergère.
Note to p. 32: Ay and No Man.
False Count note:
By Yea and Nay. ‘Yea and Nay’ was often derisively applied to the Puritans, and hence to their lineal descendants the Whigs, in allusion to the Scriptural injunction, S. Matthew v, 33-7, which they feigned exactly to follow. Timothy Thin-beard, a rascally Puritan, in Heywood’s If you Know Not Me, You Know Nobody, Part II (4to, 1606), is continually asseverating ‘By yea and nay’, cf. Fletcher’s Monsieur Thomas, Act ii, III, where Thomas says:—
Do not ye see me alter’d? ‘Yea and Nay,’ gentlemen; A much-converted man.
A. “Ton d’ apamibominous prosiphe podas ochus Achilleus”
τὸν δ᾽ ἀπαμειβόμενος προσέφη πόδας ὠκὺς Ἀχιλλεύς Ton d’ apameibomenos prosephê podas ôkus Achilleus
Each element (“Ton ... prosephê” and “podas ôkus Achilleus”) is used several dozen times in the Iliad; the complete line occurs at least ten times.
Argument.
Source.
Theatrical History.
Prologue.
Dramatis Personæ.
Act I.
Scene I. The Chamber of Cloris.
Scene II. A Grove.
Scene III. The Apartment of Antonio.
Scene IV. The Same.
Act II.
Scene I. The Apartment of Frederick.
Scene II. Antonio’s House.
Scene III. The Street.
Scene IV. Antonio’s House.
Scene V. A Chamber in Alberto’s House.
Act III.
Scene I. A Room in Salvator’s House.
Scene II. A Street.
Scene III. A Wood.
Act IV.
Scene I. Antonio’s House.
Scene II. A Street.
Scene III. Frederick’s Chamber.
Scene IV. A Street.
Scene V. Antonio’s House.
Act V.
Scene I. Laura’s Chamber.
Scene II. A Grove.
Scene III. The Lodgings of Curtius.
Epilogue.
Notes to The Amorous Prince