Pp.14.15-16.24. See also _Key_, pp. 25-26. King Harry, at this point, would appear to be George I, with either Walpole or Marlborough as Sir John Pudding. Nevertheless, there are carefully interpolated overtones regarding Falstaff and Hal. "One knows not where to have him" (_Key_, p. 25) is one of several apt Shakespearian allusions in the work. Pp.17.25-18.26. In _Dumpling_, pp. 17-18, and _Key_, pp. 26-27, the references are to the writers Sir R[ichard] B[lackmore] and C[harles] J[ohnso]n; opera in the hands of Nicolino, Senesino, Handel, Buononcini and Attilio; the high-church idol, Sacheverel (d. 1724); the _Craftsman_ (founded to attack Walpole) and the _Occasional Writer_ (Bolingbroke's 4 pamphlets of Jan/Feb. 1727); and finally the discredited music printer, Cluer. Carey's relationship to opera was ambivalent, but in _Mocking is Catching_ he strongly attacked Senesino. P.24.5-29. Matt. Prior (d. 1721), despite his aristocratic pretensions, had been earlier associated with the Rummer Tavern. He was a member of the Kit Cat club until he became a Tory for Dumpling. P.[32].28. E[dmund] C[url] of the "ADVERTISEMENT" was a publisher notorious for stealing material. Carey complained frequently of his writings having been "fathered" by others. NOTES TO THE _KEY_ Title Page. "J. W.": Dr. Wood suggests this is the fictitious John Walton of the "Proposals" at the end of _Dumpling_. My own preference is for Dr. John Woodward, the famous antiquarian and physician. As late as Fielding's "Dedication" to _Shamela_, Woodward was being mocked for suggesting that the "Gluttony [which] is owing to the great Multiplication of Pastry-Cooks in the City" has "Led to the Subversion of Government...." (See Woodward's _The State of Physick and of Diseases_ [London, 1718], pp. 194-196 and 200-201. Compare this with _Dumpling_, pp. 22-23, on the _Dumpling-Eaters Downfall_, also pp. 9 and 16, and _Key_, p. 17.) Swift deals with "repletion" in _Gulliver's Travels_ (ed. Herbert Davis [Oxford, 1941], pp. 253-254 and 262). P.iii.1-22. L[intot] was Pope's publisher. B[ooth], W[ilks], and C[ibber] were the managers of Drury Lane. _The London Stage, Part 2: 1700-1729_, ed. Emmett L. Avery (Carbondale, Ill., 1960), shows that J. M. Smythe's _Rival Modes_ was first played 27 January 1727 at Drury Lane; John Thurmond's pantomime _The Miser: Or Wagner and Abericock_ was first played 30 December 1726 at Drury Lane; and Lun's pantomimes _Harlequin a Sorcerer: With The Loves of Pluto and Proserpine_ and _The Rape of Proserpine_ were first played at the Lincoln's Inn Fields Theatre 21 January 1725 and 13 February 1727 respectively. P.iv.16-25. The preface ends on a similar note to Carey's _Of Stage Tyrants_ (p. 108). P.[v].3-4. To "it never wants a Father," compare _Of Stage Tyrants_ (p. 107). P.vi.1-9. Swift's "old Bookseller" had been T[ooke] (though there may be overtones here regarding Tonson). His new publisher was [Benjamin] M[otte].