Yours, A. Behn.
The Rover (I) is undoubtedly the best known of Aphra Behn’s comedies. It long remained a popular favourite in the theatre, its verve, bustle and wit, utterly defiant of the modest Josephs and qualmy prudes who censured these lively scenes. Steele has mention of this in an archly humorous paper, No. 51, Spectator, Saturday, 28 April, 1711. He pictures a young lady who has taken offence at some negligent expression in that chastest of ice-cold proprieties, The Funeral, and he forthwith more or less seriously proceeds to defend his play by quoting the example of both predecessors and contemporaries. Amongst the writers who are ‘best skilled in this luscious Way’, he informs us that ‘we are obliged to the Lady who writ Ibrahim [33] for introducing a preparatory Scene to the very Action, when the Emperor throws his Handkerchief as a Signal for his Mistress to follow him into the most retired Part of the Seraglio.... This ingenious Gentlewoman in this piece of Baudry refined upon an Author of the same Sex, who in The Rover makes a Country Squire strip to his Holland Drawers. For Blunt is disappointed, and the Emperor is understood to go on to the utmost.... It is not here to be omitted, that in one of the above-mentioned Female Compositions the Rover is very frequently sent on the same Errand; as I take it above once every Act. This is not wholly unnatural; for, they say, the Men-Authors draw themselves in their Chief Characters, and the Women-Writers may be allowed the same Liberty.’
Early in 1678, in either the first or second week of January, Sir Patient Fancy was received with great applause. A hint from Brome, more than a hint from Molière, much wit, vivacity, and cleverness make up this admirable comedy. Throughout the whole of her career it is amply evident that Mrs. Behn, an omnivorous reader, kept in constant touch with and profited by the French literature and theatre of her day. The debt of the English stage to France at this period is a fact often not sufficiently acknowledged, but one which it would really be difficult to over-emphasize. No adequate critical knowledge of much of our English song, fiction and drama of the Restoration can be attained without a close study of their French models and originals.
During the latter part of this year Mrs. Behn found time to revise and write up the romantic scenes she had composed two decades before as a girl in Surinam, and the result was a tragi-comedy, The Young King, which won considerable favour. Produced in March or early April,[34] 1679, it was not published till 1683, but a second edition was called for in 1698.[35]
In March, The Feign’d Courtezans, one of Mrs. Behn’s happiest efforts, appeared on the boards of the Duke’s House. Not one tittle is borrowed, and its success gives striking proof of the capacity of her unaided powers. When printed, the comedy was dedicated in adulatory terms to Nell Gwynne. With the great Betterton, handsome Will Smith, Nokes, Underhill, Leigh, an inimitable trio, the famous Mrs. Barry, pretty and piquante Betty Currer, the beautiful and serenely gracious Mrs. Mary Lee, in the cast, it had a perfect galaxy of genius to give it life and triumph.
In 1681 a second part continued the adventures of The Rover, and surprisingly good the sequel is.
From 1678 to 1683 were years of the keenest political excitement and unrest. Fomented to frenzy by the murderous villainies of Gates and his accomplices, aggravated by the traitrous ambition and rascalities of Shaftesbury, by the deceit and weakness of Monmouth, and the open disloyalty of the Whiggish crew, party politics and controversy waxed hotter and fiercer until riots were common and a revolution seemed imminent. Fortunately an appeal in a royal declaration to the justice of the nation at large allayed the storm, and an overwhelming outburst of genuine enthusiasm ensued. Albeit the bill against him was thrown out with an ‘ignoramus’ by a packed jury 24 November, 1681, a year later, 28 November, 1682, Shaftesbury found it expedient to escape to Holland. Monmouth, who had been making a regal progress through the country, was arrested. Shortly after he was bailed out by his political friends, but he presently fled in terror lest he should pay the penalty of his follies and crimes, inasmuch as a true bill for high treason had been found against him. It was natural that at such a crisis the stage and satire (both prose and rhyme), should become impregnated with party feeling; and the Tory poets, with glorious John Dryden at their head, unmercifully pilloried their adversaries. In 1682 Mrs. Behn produced three comedies, two of which are mainly political. The Roundheads, a masterly pasquinade, shows the Puritans, near ancestors of the Whigs, in their most odious and veritable colours. The City Heiress lampoons Shaftesbury and his cit following in exquisite caricature. The wit and humour, the pointed raillery never coarsening into mere invective and zany burlesque, place this in the very front rank of her comedies.[36] The False Count, the third play of this year, is non-political, and she has herein borrowed a suggestion from Molière. It is full of brilliant dialogue and point, whilst the situations are truly ludicrous and entertaining. As might well be surmised, The Roundheads and The City Heiress were not slow to wake the rancour of the Whigs, who looked about for an opportunity of vengeance which they shortly found. On 10 August, 1682, there was produced at the Duke’s Theatre an anonymous tragedy Romulus and Hersilia; or, The Sabine War. It is a vigorous play of no small merit and attracted considerable attention at the time.[37] Mrs. Behn contributed both Prologue and Epilogue, the former being spoken by that sweet-voiced blonde, winsome Charlotte Butler, the latter by Lady Slingsby, who acted Tarpeia. There was matter in the Epilogue which reflected upon the disgraced Duke of Monmouth, for whom, in spite of his known treachery and treasons, Charles still retained the fondest affection. Warm representations were made in high quarters, and the following warrant was speedily issued:—
Whereas the Lady Slingsby Comoedian and Mrs. Aphaw Behen have by acting and writeing at his Royall Highnesse Theatre committed severall Misdemeanors and made abusive reflections upon persons of Quality, and have written and spoken scandalous speeches without any License or Approbation of those that ought to peruse and authorize the same, These are therefore to require you to take into yo’r Custody the said Lady Slingsby and Mrs. Aphaw Behen and bring them before mee to answere the said Offence, And for soe doeing this shalbe yo’r sufficient Warr’t. Given und’r my hand and seale this 12’th day of August, 1682.
To Henry Legatt Messenger
of His Mat’ties Chamber, etc.
The lines particularly complained of ran as follows: