Event Comment: A Comparison Between the Two Stages (1702), commenting upon Betterton's success with I Henry IV (see 9 Jan. 1699@1700) pictures Betterton entering his Closet and praying to Shakespeare for further assistance (p. 25), with the result that "tho' some of those Plays that Batterton Acted were Historical, and consequently highly irregular, yet they never fail'd to please" (p. 26). Sullen adds: Well, this lucky hit of Batterton's put D. Lane in a non-plus! Shakespear's Ghost was rais'd at the New-house, and he seem'd to inhabit it for ever: What's to be done then? Oh, says Rich I'll pray as well as he-What? Shall a Heathen Player have more Religion than a Lawyer? No, it shall never be said--with that Mr R@@ goes up to the Garret (a pair of Stairs higher than his own Apartment) and taking Ben Johnson's Picture with him, he implores. This work implies that Betterton presented Henry VIII in addition to I Henry IV and that Rich revived Volpone, The Alchymist, and The Silent Woman, which had, according to the author of this work, lain unacted for twenty years (p. 26)

Event Comment: See Herbert, Dramatic Records, p. 116. This was the King's Company (under Killigrew), split off from the United Company. According to Downes (Roscius Anglicanus, p. 2) the roster included: Theophilus Bird, Hart, Mohun, Lacy, Burt, Cartwright, Clun, Baxter, Robert Shatterel, William Shatterrel, Duke [Marmaduke Watson], Hancock, Kynaston, Wintersel, Bateman, Blagden. (But see also Nicoll, Restoration Drama, p. 295.) According to the articles of agreement, 5 Nov. 1660 (Herbert, Dramatic Records, pp. 96-100), the Duke's Company (under Davenant) included Thomas Batterton, Thomas Sheppey, Robert Noakes, James Noakes, Thomas Lovell, John Moseley, Cave Underhill, Robert Turner, Thomas Lilleston

Event Comment: Betterton's Company. The date of the first production is not known, but the Prologue refers to "this Winter," suggesting a date before March 1700. A song, Ah Belinda I am pressed, in this play, appeared in Orpheus Britannica, 1698, the music by Henry Purcell, who had died some years before its appearance in this collection. A Comparison Between the Two Stages (1702), pp. 26-27, referring to the rivalry between lif and dl in reviving Shakespeare and Jonson: The Battel continued a long time doubtful, and Victory hovering over both Camps, Batterton Sollicts for some Auxiliaries from the same Author, and then he flanks his Enemy with Measure for Measure