tient suffering from the _lues venerea_ was
disciplined by long and severe sweating in a heated tub, which combined
with strict abstinence was formerly considered an excellent remedy for
the disease. cf. _Measure for Measure_, Act iii, sc. II: 'Troth, sir,
she has eaten up all her beef, and she is herself in the tub.' Also
_Timon of Athens_, iv, III: 'Be a whore still' ...

p. 279 _Jack Ketch_. cf. _Dict. Canting Crew_ (by B.E. _Gent_, 1690):
'Jack Kitch. The Hangman of that Name, but now all his Successors.' He
exercised his office circa 1663-87. It was Ketch who bungled the
execution of Monmouth. There are innumerable contemporary references
to him. cf. Dryden's Epilogue to _The Duke of Guise_ (1682):--

'Jack Ketch', says I, ''s an excellent physician.'

THE FORC'D MARRIAGE.

p. 286 _The Nursery_. Vide note, _little Mrs. Ariell_, Vol. II,
p. 430-1.

p. 287 _King. Mr. Westwood_. It has been quite mistakenly suggested that
Westwood was Otway's theatrical name. Westwood was a professional actor
of mediocre though useful attainments. He is cast for such roles as Tom
Faithfull in Revet's _The Town Shifts_ (April, 1671); Eumenes in Edward
Howard's _The Woman's Conquest_ (1671); and Battista in Crowne's
_Juliana_ (1671).

p. 300 _unsuit_. A rare form of 'unsuitable'.

p. 304 _devoir_. Endeavour; effort. This passage is quoted in the
_N.E.D_.

p. 305 _The Representation of the Wedding_. This curious tableau is a
striking example of the Elizabethan 'Dumb Show' lingering on to
Restoration days. Somewhat similar, though by no means such complete,
examples may be seen in Orrery's _Henry the Fifth_ (1664), at the
commencement of Act iv, and again in the same author's _The Black
Prince_ (19 October, 1667), Act ii. It must be confessed that Mrs. Behn
has made an excellent use of this technical contrivance. In the
Restoration theatre it was the usual practice for the curtain to rise at
the beginning and fall at the end of the play, so that the close of each
intermediate act was only shown by a clear stage. Although I have marked
Act ii, sc. I of _The Forc'd Marriage_ 'The Palace', I have little doubt
that as the drama was staged Smith and Mrs. Jennings advanced and the
curtain fell behind them hiding the rest of the characters, only to rise
again upon Scene II, 'The Court Gallery'. Philander and Galatea played
upon the apron stage. If they, however, maintained their places in the
tableau, they would have immediat