p. 347 _Sa._ i.e. Save us! Sir Morgan has a frequent exclamation ‘God sa me!’ God save me! The abbreviation is early and frequent. +ACT III: Scene i+ p. 356 _the Country of True Love._ Mrs. Behn, an omnivorous reader of romances, was thinking of the celebrated _Carte de Tendre_ (Loveland), to be found in Mlle. de Scudéri’s _Clélie_ (1654, Vol. I, p. 399), and reproduced in the English folio edition of 1678. This fantastic map, which is said to have been suggested by Chapelain, aroused unbounded ridicule. In scene iv of Molière’s _Les Précieuses Ridicules_ (1659), Cathos cries, ‘Je m’en vais gager qu’ils n’ont jamais vu la carte de Tendre, et que Billets-Doux, Petits-Soins, Billets-Galante, et Jolis-Vers sont des terres inconnues pour eux.’ This imaginary land is divided by the River of Inclination: on the one side are the towns of Respect, Generosity, A Great Heart, and the like; on the other Constant Friendship, Assiduity, Submission, &c. Across the Dangerous Sea another continent is marked, ‘Countreys undiscovered.’ _Terra Incognita._ The extravagant penchant for romances of the Scudéri _Parthenissa_ school was amply satirized by Steele in his clever comedy _The Tender Husband_ (1705), and as late as 1752 by Mrs. Charlotte Lennox in _The Female Quixote_, an amusing novel. p. 360 _old Queen Bess in the Westminster-Cupboard._ The waxen effigies which yet remain at Westminster are preserved in the wainscot presses over the Islip Chapel. Queen Elizabeth, in her tattered velvet robes, is still one of the most famous. They were formerly far more numerous. A waxen figure of the deceased, dressed in the habit worn whilst living, was, in the case of any royal or notable personage, very frequently carried as part of the torchlight funeral procession and, after the obsequies, left over the grave to serve as a kind of temporary monument. +ACT III: Scene iii+ p. 366 _drink up the Sun._ i.e. carouse till dawn. +ACT IV: Scene iii+ p. 379 _a Back like an Elephant--’twill bear a Castle._ Dr. Aldis Wright, in his notes on _Twelfth Night_, draws attention to the fact that the celebrated ‘Elephant and Castle,’ at Newington, in the south suburbs of London, can be traced back to the middle of the seventeenth century. p. 380 _Old Queen Gwiniver._ For ‘Queen Gwiniver’ applied as a term of abuse to an old woman cf. Dekker’s _Satiromastix, or, The Untrussing of the Humorous Poet_ (4to 1602), III, i, where Tucca rallying Mistress Miniver cries: ‘Now, now, mother Bunch, how dost thou? what, dost frowne, Queen Gwyniver, dost wrinckle?’ The reference is, of course, to Arthur’s queen. +ACT V: Scene iii+