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Notes
In (b), K3r has a white space between the last line of text and the catch-word equal to two lines of text, K3v beginning with a stage direction. In the same compositor's stint white space occurs between the last line of text and the catch-word when the following page begins with a stage direction on G1r, H3v and uncorrected I1r. So the gap on K3r could just as well be the compositor's normal practice as the consequence of re-arranging lines of type.
The reason for the abnormal length of the page in (a) is not apparent; in the same compositor's stint text in the direction line occurs on G2r, H2v, H4r and I1v, none of which are otherwise exceptional. So unless earlier states have not survived the compositor of G-L set five pages with text in the direction line.
If censorship could be shown to have accounted for the deletion of the 'black knight' lines then the editor might well be justified in retaining them at the expense of the 'canary bird' lines, otherwise (4. and 5. apart) printing (b) readings. An argument could perhaps be made for regarding the changes as being designed to bring the text into conformity with an authority which presumably differed from the printer's copy, in which case it could be claimed that the text ideally should include both the 'black knight' and the 'canary bird' lines, the former having been eliminated because there was insufficient room, sheet L already having been printed or imposed (there appear to be no types from K recurring in L, though types from H and I recur there). Nonetheless the case for accepting (b) readings in toto is much the strongest, lacking external evidence to the contrary.
Discounting Maidment and Logan, in whose Dramatic Works of John Crowne (4 vols., 1873-4) City Politiques occupies pp. 81-213 of the second volume (1873). Incredibly Maidment and Logan had never seen an exemplar of the 1683 edition and concluded, evidence to the contrary notwithstanding, that the first edition was that of 1688, which they reproduce.
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