the play did not
require the use of a balcony at all, spectators would also fill the
inner side boxes. In time, indeed, two doors and two balconies only
came to be used, but for some decades at least all four were
practicable. The present passage of _The Rover_ indicates the use of
three doors. The bravos hang up two little pictures of Angelica, one
at each side of the door of her house, and presently the fair
courtezan appears in her balcony above. A little later Don Pedro and
Stephano enter by one door at the opposite side, Don Antonio and his
page by the second door on the same side as Pedro.

In Etheredge's _She Wou'd if She Cou'd_ (6 February, 1668) Act ii, 1,
Courtal and Freeman are seen following up Ariana and Gatty in the
Mulberry Garden. Presently 'The Women go out, and go about behind
the Scenes to the other Door', then 'Enter the Women [at one door]
and after 'em Courtal at the lower Door, and Freeman at the upper on
the contrary side'.

Three balconies are employed in Ravenscroft's _Mamamouchi_ (1672;
4to 1675) Act iv. We have 'Enter Mr. Jorden, musick' obviously in
one balcony from the ensuing dialogue. Then 'Cleverwit, in Turk's
habit, with Betty Trickmore and Lucia appear in the Balcony' number
two. A song is sung and 'Young Jorden and Marina in the Balcony
against 'em'. Young Jorden remarks, 'Now, dearest Marina, let us
ascend to your Father, he is by this time from his Window convinc'd
of the slight is put on you....' 'They retire' and although there
has been no exit marked for Mr, Jorden, we find directly, 'Enter Mr.
Jorden and Trickmore,' obviously upon the stage itself, to which Mr.
Jorden has descended. It must be noted, however, that the use of
more than two balconies is very rare.

Mr. W. J. Lawrence in _The Elizabethan Playhouse and other Studies_
(First Series) aptly writes: 'No dramatist of the time had a better
sense of the theatre than Mrs. Behn, and none made more adroit
employment of the balconies.' He then cites the scene of Angelica,
her bravos and admirers.

p. 36 _a Patacoone._ A Spanish coin in value about 4_s._ 8_d._

+Act II: Scene ii+

p. 38 _a Pistole-worth._ The pistole was a gold coin worth about
16_s._

p. 42 _a shameroon._ A rare word meaning a trickster, a cozening
rascal.

+Act III: Scene iia+

p. 54 _bow'd Gold._ Bowed for bent is still used in the North of
England: 'A bowed pin.'

+