Note return to page 1 This two-act travesty of, chiefly, Colley Cibber's adaptation of RICHARD III sets the play among contemporary prize-fighters.

Note return to page 2 *It would seem that King Edward before his marriage, sported Lady Lucy (to speak in the modern tongue) as his chere amie, and that she “proved with childe by him;”—a thing quite uncommon among our chere amies of the present day! however, the historians inform us that the king's mother alledged a pre-contract between them, whereupon “dame Elizabeth Lucye was sente for and albeit she was by the kyng, her mother, and many others, put in good comfort to affirme that she was assured to the kyng, yet when she was solemnly sworne to saye the truth, she confessed she was never assured. Howbeit, she sayd his grace spake such loving wordes to her, that she verily hoped that he would have married her; that yf such kind wordes had not been, she woulde never have showed such kindness to him to lette hym so kyndely gette her wyth chylde.” Hall, Edward V. fo. 19. This truly innocent and delicate, open confession, would (I am under apprehension) no little embarrass certain great ladies, possessed with the power of captivating us with their bewitching blandishments, and who for weighty reasons must be nameless, and at the same time no little inflame certain great men, who shall also be nameless, for fear that a rash exposure, might in all probability throw these unhappy gentlemen into a still greater embarrasment, touching them in what is too often considered a more tender point than honour itself.

Note return to page 3 *See Richard the Third, Act IV. Scene IV. the Queen enters with the Duchess of York lamenting the death of her children. How is it possible she could come to the knowledge of it, when the murder was only committed at the conclusion of the preceeding scene?

Note return to page 4 *Wind and Water.

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