p. 185 _Mr. Killigrew_. Charles Killigrew (1655-1725), Master of the Revels, was son of Thomas Killigrew by his second wife Charlotte de Hesse. He had been appointed Master of the Revels in 1680, patentee of Drury Lane Theatre in 1682. He was buried in the Savoy, 8 January, 1724-5. p. 186 _Mr. Leigh_. Antony Leigh, the famous comedian, who created Sir Feeble Fainwood. The scene referred to is Act iii, sc. II, where it must be confessed that, in spite of her protestation, Mrs. Behn gives the stage direction--Sir Feeble ‘throws open his Gown, they run all away, he locks the Door.’ p. 186 _Oedipus_. Dryden and Lee’s excellent tragedy was produced at Dorset Garden in 1679. Betterton created Oedipus and his wife Jocasta. It was extraordinarily popular, as, indeed, were all the plays Mrs. Behn marshalls forth in this preface. The scene particularly referred to is Act ii, I: ‘Oedipus enters, walking asleep in his Shirt, with a Dagger in his Right-Hand and a Taper in his Left.’ A little after ‘Enter Jocasta, attended with Lights, in a Night-Gown.’ p. 186 _City Politicks_. This comedy by Crowne is a mordant satire upon the Whigs. It was produced with great success at the Theatre Royal and printed quarto 1683. A certain Florio feigns to be dying in order to prevent the Podesta suspecting an intrigue between his wife, Rosaura, ’.he Lady Mayoress’, and so impotent an invalid. Artall is in love with Lucinda, who is married to a toothless old lawyer, Bartoline. Says Genest: ‘The Podesta and Bartoline are as well cuckolded as any Tory could wish.’ cf. The conclusion of Act ii and the commencement of Act iii; also the discovery of Florio and Rosaura in Act v. p. 186 _London Cuckolds_. This immensely popular play, five merry side-splitting acts which kept the stage for a century, was produced in 1682 at Dorset Garden. Ravenscroft has no less than three cuckolds in his Dramatis Personae: Doodle, Dashwell, and Wiseacre. The intrigues and counter-intrigues are innumerable. At the end the cuckolds all jeer one another. p. 186 _Sir Courtly Nice_. This witty comedy, Crowne’s masterpiece, was produced at the Theatre Royal in 1685. Mrs. Behn’s allusion is to Act ii, II, where Crack, disguised as a tailor, visits Leonora. The language is often cleverly suggestive. p. 186 _Sir Fopling_. Etheredge’s third comedy, _The Man of Mode; or, Sir Fopling Flutter_ was produced at the Duke’s Theatre in 1676. It met ’.ith extraordinary success’. Mrs. Behn points at Act iv, II.