p. 278 _Pharamond._ A heroic romance in twelve volumes, the seven first of which are by the celebrated la Calprenède, the remainder being the work of Pierre de Vaumorière. It was translated into English by J. Phillips (London, 1677, folio). Lee has taken the story of Varanes in his tragedy, _Theodosius_ (1680), from this romance. Act IV: Scene i p. 289 _Bethlehem-Gaber._ Bethlen-Gabor (Gabriel Bethlen), 1580-1629, was a Hungarian noble who embraced the Protestant religion, and in 1613, with the help of an Ottoman army, succeeded in establishing himself as King of Transylvania. His reign, although one long period of warfare and truces, proved a most flourishing epoch for his country. Himself a musician and a man of letters, he was constant in his patronage of art and scholars, cf. Abraham Holland’s _Continued Inquisition of Paper Persecutors_ (1626):— But to behold the walls Butter’d with weekly Newes composed in Pauls By some decaied Captaine, or those Rooks Whose hungry brains compile prodigious books Of Bethlem Gabor’s preparations and How terms betwixt him and th’ Emperor stand. 450 p. 291 _a Hoy._ A small vessel like a sloop, peculiarly Dutch. Pepys, 16 June, 1661, speaks of hiring ‘a Margate hoy’. Act V: Scene ii p. 323 _a Lapland Witch._ cf. _Paradise Lost_, Book II, l. 666:— To dance With Lapland witches, while the labouring moon Eclipses at their charms. Act V: Scene iia p. 329 _the German Princess._ Mary Morders, alias Stedman, alias Kentish Moll, a notorious imposter of the day, who pretended to be a Princess from Germany. She had been transported to Jamaica in 1671, but returning too soon and stealing a piece of plate, was hanged at Tyburn, 22 January, 1673. Her adventures formed the plot of a play by Tom Porter, _A Witty Combat; or, The Female Victor_ (4to, 1663). Kirkman’s _Counterfeit Lady Unveiled_ (8vo, 1673), contains very ample details of her career. Pepys went to visit her ‘at the Gatehouse at Westminster’, 29 May, 1663. In talk he was ‘high in the defence of her wit and spirit’ (7 June, 1663). 15 April, 1664, the diarist further notes: ‘To the Duke’s house and there saw _The German Princess_ acted by the woman herself ... the whole play ... is very simple, unless, here and there, a witty sprinkle or two.’ This piece was doubtless identical with Porter’s tragi-comedy. p. 329 _four Shillings, or half a Crown._ Four shillings was the price of admission to the boxes on the first tier of the theatre; half a crown to the pit. These sums are very frequently alluded to in prologue and epilogue. Dryden in his second epilogue to _The Duke of Guise_ (1682), after referring to the brawls and rioting of the pit, says:— This makes our boxes full; for men of sense Pay their four shillings in their own defence. The epilogue (spoken by Mrs. Bontell) to Corye’s _The Generous Enemies_ (1671), has these lines:—