Jun. Harpsichord, Master Knight (that was).
Clavecin, by the Father of the Knights, to come.
Vivat Rex! No Money returned (because none will be taken).
_On account of the above surprising Novelty, not an_ ORDER _can
possibly be admitted:_--
_But it is requested, that if such a thing finds its way into the front
of the house_, IT WILL BE KEPT.
Doors open at Half past Six, begin at Half past Seven precisely.
The Entrance for all parts of the House at the Private Box Door in
Exeter Street.
Lowndes, Printer, Marquis Court, Drury Lane, London.

Mr. Dobell wonders if Lamb had any knowledge of this performance, and he
suggests that possibly he had a hand in the bill. Certainly the
interpolations concerning damnation are in his manner.

I add a few notes:--

Page 208. _The man with the great nose_. See Slawkenbergius's tale in
_Tristram Shandy_, Vol. IV.

Page 212. _The feeling Hurley_. Harley was the hero of Henry Mackenzie's
novel, _The Man of Feeling_.

Page 217. _Jeremiah Pry_. John Poole may have taken a hint here for his
farce "Paul Pry," produced in September, 1825. Lamb and he knew each
other slightly. Lamb analysed the prying nature again in _The New Times_
early in 1825, in two papers on "Tom Pry" and "Tom Pry's Wife" which
will be found in Vol. I. of this edition.

Page 220. _Old Q----_. William Douglas, fourth Duke of Queensberry
(1724-1810), the most notorious libertine of his later days.

Page 224. _John, my valet_. This is a very similar incident to that
described in the _Elia_ essay on the "Old Benchers," where Lovel (John
Lamb) warns Samuel Salt, when dressing him, not to allude, at the party
to which he is going, to the unfortunate Miss Blandy.

Page 228, line 1. _Mother Damnable_. There was at Kentish Town a
notorious old shrew who bore this nickname in the 17th century.

* * * * *

Page 238. "THE PAWNBROKER'S DAUGHTER."

Printed in _Blackwood_, January, 1830, and not reprinted by Lamb.

This little play was never acted. Lamb refers to it in a letter to
Bernard Barton--in July, 1829--as "an old rejected farce"; and Canon
Ainger mentions a note of Lamb's to Charles Mathews, in October, 1828,
offering the farce for production at the Adelphi. The theme is one that
seems always to have interested Lamb (see his essay on the
"Inconveniences of Being Hanged," Vol. I.).