Unhallowed and incestuous passions again form the plot of The Fatal Discovery; or, Love in Ruins (4to, 1698), produced at Drury Lane, a play seemingly derived from Bandello, Part II, Novel 35, which coincides with the thirtieth tale of the Heptameron. In various forms, however, this legend is to be found in the literature of all countries, and a cognate tradition is even attached to certain districts. Innocence Distress’d; or, The Royal Penitents, a tragedy by Robert Gould (ob. 1709), never performed but published by subscription (8vo, 1737), for the benefit of his daughter Hannah, is based on the same story. Gould’s work is weak and insipid.
Later in the eighteenth century we have Horace Walpole’s The Mysterious Mother (8vo, 1768), an unacted drama of extraordinary power and undissipated gloom on the same terrible theme; whilst Shelley’s The Centi, published in 1819, which the poet most emphatically intended for the boards, remains a masterpiece of supreme genius.
Wagner in Die Walküre shows the irresistible passion of Siegmund and Sieglinde, brother and sister, from whose union sprang the mighty hero Siegfried; and in Gengangere (Ghosts), 1881, Ibsen threw, by the sickly craving of the fibreless Oswald Alving for Regina, a lurid light across that awesome tragedy of shadows, Nemesis, and blank despair.
[THEATRICAL HISTORY.]
The Dutch Lover was produced at the Duke’s Theatre, Dorset Garden, in February, 1673, but owing to the manifold disadvantages under which it was put on the stage it did not meet with that success it certainly deserved. It was indeed, to quote the preface, ‘hugely injured in the acting.’ The performers were anything but word perfect and hopelessly forgot or confused their business, which, more especially in a play of such a type as this romantic comedy so full of busy and complicated detail demanding close and continuous attention, was enough to mystify the audience completely and foredoom the piece to failure. The worst sinner was Haunce himself, who hardly spoke one of his lines but gagged from start to finish. Not unnaturally, Mrs. Behn resented this and avows that she would have trounced him roundly in print except ‘de mortuis...’ Although the original cast is not given, this detail enables us to fix the representative of Haunce as Angel, a leading comedian, who died in the spring of 1673, his name last appearing as de Boastado in Ravenscroft’s Careless Lovers.
In addition to these serious detriments the costumes were very poor, especially the disguise of Alonzo as the Hollander, and Haunce’s own ‘fantastical travelling habit,’ dresses on the aptness of which the probability of the intrigue can be made so largely to depend.
Yet another mishap occurred. The epilogue, which had been promised by a friend, did not come to hand, and accordingly the present epilogue was hastily composed. Though containing nothing notably witty or pointed it does not fall below the generality of these productions. Of the prologue we have no means of judging as it was unfortunately lost before it could find its way into print.
Had The Dutch Lover received fair treatment from the actors it should surely have commanded no small success in its day. Technically it is well contrived, and exhibits the skill and clever stage-craft of its authoress in a high degree, qualities which have often given a long lease of life to plays of infinitely less merit.