_T._ (_to R._). Ah, why 'your grace’indeed? _R._ This Tristram here Hath done us many a service. Flora too Hath played a useful part. May not their marriage Follow on ours, Diana? _N._ Yours! _T._ (_to audience sympathetically_). His! _D._ They may have so much promise with all my heart. _T._ Thank you, my lady. I never did understand anything in the ‘Humours of this Court,’ and I never shall. 3150 FINIS NOTES THE CHRISTIAN CAPTIVES This play, named after the chorus, is on the same subject as Calderon’s _El Principe Constante_, from which the little common to both plays is directly taken. Some of the differences are historic, but the most dramatic. _Sala ben Sala_, whose fine figure is substituted for _Muley_, is a famous warrior; and the whole story has this claim on English attention, that the Portuguese Regulus, _Ferdinand_, and his brother _Henry_, ‘_the Navigator_’ of more solid renown, were grandchildren of _John of Gaunt_, through his daughter _Philippa_, who was married to _King Joam I_. The history is shortly given in the _King of Fez’s_ long speech, page 103, line 120 et seq. 1886. In the first edition the hymn _Jesu dulcis memoria_ is directed to be sung to the music written for it by Allegri and Anerio. This was intended to indicate the sort of polyphonic music which I imagined for the stage effect. As the date of the play must be about 1420 its use would be an anachronism, but it is one that would never be observed, and it may therefore fairly be allowed. 1902. THE HUMOURS OF THE COURT _The Humours of the Court_ is founded on two Spanish comedies, which when I read them, appeared to me to be variations of the same story. These are Calderon’s _El secreto á voces_, and Lope’s _El perro del hortelano_; the latter already used by Molière. My play owes its plot to Calderon, and to Lope the first scene of its third act, which is the opening scene of _El perro del hortelano_. But since in that play the secretary is actually detected in what, in my play, he is only falsely suspected of, and yet, in spite of this, is married by Lope to the Countess, it may be judged that Lope’s play is something farcical. I believe this is a full statement of my indebtedness, for where I have borrowed incident I have not, that I remember, translated. _Yattendon_, 1893. OXFORD: HORACE HART PRINTER TO THE UNIVERSITY UNIFORM EDITION OF ROBERT BRIDGES’S POETICAL WORKS. _SOME PRESS OPINIONS._ VOLUME I. Prometheus the Firegiver—Eros and Psyche—The Growth of Love—Notes. Small Post 8vo, 6_s._ _TIMES._—‘For sheer poetical beauty there have been few things done in our generation more perfect.’ _GUARDIAN._—‘The new edition is as dainty a one as any poet could desire for his work, and it will no doubt win for Mr. Bridges a considerable portion of the many new readers whom he deserves.’