declares he will present himself, but secretly resolves to poinard his sister. Marcel who has overheard the conference, beside himself with rage, dashes on Silvio with dagger drawn and when checked by Ambrosio and the rest who rush in at Francisca’s cries makes known the cause of his wrath. Francisca confesses that Cleonte had sent no such message, but herself purposed to take her mistress’ place that night and receive Silvio. Ambrosio then reveals the secret of Silvio’s birth and gives Cleonte to him, in his joy even taking Hippolita to his arms since Antonio has married her. Alonzo, meanwhile, disguised as Haunce has been united to Euphemia. He is discovered by the arrival on the scene of the real Haunce accompanied by Gload, a foolish tutor. Carlo is soon reconciled to the new bridegroom, whilst Haunce and Gload joining in a masquerade find themselves unexpectedly wedded to Olinda and Dorice, two women attendant on the lady Euphemia. SOURCE. Mrs. Behn founded the plot of _The Dutch Lover_ upon the stories of Eufemie and Theodore, Don Jame and Frederic, in a pseudo-Spanish novel entitled ‘_The History of Don Fenise_, a new Romance written in Spanish by Francisco de Las Coveras, And now Englished by a Person of Honour, London, Printed for Humphrey Moseley,’ 8vo, 1651. There is of course no such Spanish author as ‘the ingenious Don Francisco de las Coveras’. The chief merit of the book is purely bibliographical: it is a very rare volume and difficult to meet with. The Bodleian indeed contains a copy, but it is not to be found in the British Museum library. The somewhat morbid theme of overwhelming passion barred by consanguinity eventually discovered to be false, which is here exemplified in the love of Silvio for Cleonte, occurs more than once in the later Jacobean and Carolan drama. In Beaumont and Fletcher’s tragicomedy _A King and no King_ (1611: 4to, 1619), we have Arbaces enamoured of Panthea, his reputed sister; similar motives are to be found in Arthur Wilson’s _The Swizzer_ (1631); but in 219 Middleton’s _Women beware Women_ (circa 1612: 4to, 1657), no contrivance can legitimize the incestuous loves of Hippolito and Isabella, and death is the only solution. In Massinger’s _The Unnatural Combat_ (1621: 4to, 1639), the demoniac Malefort pursues his daughter Theocrine with the same baleful fires as Francesco Cenci looked on Beatrice, but the height of horror, harrowing the soul with pity and anguish, culminates in Ford’s terrible scenes _Tis Pity She’s a Whore_ (4to, 1633), so tenderly tragic, so exquisitely beautiful for all their moral perversity, that they remain unequalled outside Shakespeare.