¹ The acquisition is recorded by Wilkinson, C. H. in “The Library of Worcester College,” Oxford Bibliographical Society Proceedings and Papers, i (1926), p. 276.Google Scholar

² “Thomas Killigrew Prepares his Plays for Production,” John Quincy Adams Memorial Studies, ed. James McManaway et al. (Washington, D.C., 1948), pp. 803–808.

³ “Production Notes for Three Plays by Thomas Killigrew,” Theatre Survey, X (1969), 105–113.

⁴ See Thomas Killigrew, Cavalier Dramatist, 1612–83 (Philadelphia, 1930), pp. 191–3.

⁵ p. 217. All references to Killigrew's plays and to his annotations on his plays are to the page, or to act, scene, and page of the Comedies and Tragedies, (London, 1664), with Killigrew's manuscript annotations, in the library of Worcester College, Oxford.

⁶ G. E. Bentley, with reference to Bellamira, cites Harbage's remark that “though the play is clearly closet drama, the stage directions anticipate Restoration methods” (The Jacobean and Caroline Stage [Oxford, 1956], IV, 697). This, surely, is to give Killigrew supernatural prescience. It seems more likely that the changes were made immediately before publication.

⁷ Smith, Irwin in Shakespeare's Blackfriars Playhouse (New York, 1964)Google Scholar uses The Parson's Wedding, IV, vi as evidence for the existence of the controversial “inner stage” at the second Blackfriars. That such a discovery area existed and that it was substantial seems to me to be indisputable. King, T. J. in Shakespearean Staging, 1599–1642 (Cambridge, 1971)CrossRefGoogle Scholar challenges Smith's use of The Parson's Wedding as evidence for the existence of this “inner stage.” He argues that:

although allusions in the text of The Parson's Wedding suggest the author may have originally intended that this play be performed at Blackfriars, the work was not printed until 1663 and its title page states: “Written at Basil in Switzerland” …. In his Diary, Pepys (11 October 1664) refers to this play as being acted by the King's company. Since Killigrew, the author of the play, was manager of this company at the time the work was printed, it seems more than likely that the first edition reflects stage conditions of the Restoration playhouse rather than of Blackfriars over twenty years earlier (p. 126).

King leaves out of account the fact that playwrights do not write in a vacuum, they write with a theatre in mind, and that even in Switzerland the theatre that Killigrew was likely to have had in mind was the theatre for Which he had previously written. Killigrew's reference to the “Tyring-Room” and his suggestion that the scene may be played “above,” can scarcely be taken to reflect “stage conditions of the Restoration Playhouse.”

⁸ Smith, p. 323.

⁹ Smith, pp. 380–1.

¹⁰ Smith, p. 359.

¹¹ Cited Smith, pp. 359–60.

¹² For an account of this convention on the Restoration stage see Visser, C., “The Anatomy of the Early Restoration Stage: The Adventures of Five Hours and John Dryden's ‘Spanish’ Comedies,” Theatre Notebook, XXIX (1975), 56–69, 114–119.Google Scholar

¹³ Killigrew's annotations are notoriously difficult to read: the script has faded, and his spelling is eccentric. Van Lennep remarks, “according to the epilogue to The Parson's Wedding (p. 154), Killigrew had trouble reading his own hand. He was an uneducated man, and his spelling, as is evident, was most uncertain.” (op. cit., p. 806). Of the stage directions in Act V, Van Lennep says merely: “In the last act Killigrew has added to the stage directions, particularly a direction on the use of the galley he has introduced into the scene …” (p. 806).