confirms the opinion the Englishman had already formed of her treachery and deceit. Laura Lucretia overhears and sends her maid to bring her Galliard; but whilst he is with her, Cornelia, who has jealously followed, feigning to be Julio’s page, gives the amorous dame a letter as from her betrothed. The trick fails, Cornelia is laughed at as a saucy lad, repulsed and obliged to retire. Sir Harry is then met by Marcella dressed as a man and calling herself Julio. Julio himself happens to be at the Piazza di Spagna and he interrupts the quarrel. Octavio and Morosini speedily join him, as Crapine has tracked the runaways to their lodging. All these hurry into the courtezans’ house, where they find Fillamour and Galliard. Mutual explanations follow. Octavio nobly renounces Marcella in favour of Fillamour who claims her hand, whilst Cornelia gives herself to Galliard in sober wedlock. Tickletext and Sir Signal are then discovered to be concealed in the room, and their mutual frailties exposed. It is promised that the money of which Petro has choused them shall be restored, and everything is forgiven, since “‘twas but one night’s intrigue, in which all were a little faulty.” SOURCE. The plot of _The Feign’d Curfezans_; or, _A Night’s Intrigue_ is wholly original. It is one of those bustling pieces, quick with complicated intrigue, of the Spanish _comedias de capa y espada_ school, which Mrs. Behn loved, and which none could present more happily or wittily than she. To quote the _Biographia Dramatics_, ‘the play contains a vast deal of business and intrigue; the contrivance of the two ladies to obtain their differently disposed lovers, both by the same means, viz. by assuming the characters of courtezans, being productive of great variety.’ Some incidents, indeed, recall _The Rover_; and the accident of Tickletext being discovered in bed by Galliard is similar to that when Carlo comes upon Fetherfool in the same circumstance, _Rover_ II, Act iv, iv. On the whole, however, _The Feign’d Curtezans_ is the better play, and may not unjustly claim to be, if not Mrs. Behn’s masterpiece (a title it disputes with _The Rover_, Part I, and _The Lucky Chance_), at least one of the very best and wittiest of her sparkling comedies. THEATRICAL HISTORY.