The story itself is briefly as follows. Oroonoko was a brave young chief, the grandson of a king whose dominions lay on the coast of Africa. He had distinguished himself in war, and already commanded all the forces of his grandfather's kingdom. Hitherto rather unsusceptible to female charms, he became deeply enamored of Imoinda, on returning victorious from a great war. Unfortunately the king noticed Imoinda at the same time, and had her brought to his palace as his concubine. According to the rules of the court, this would separate the lovers forever. Oroonoko in desperation made his way to Imoinda's chamber in the palace at night, where he was discovered by the king's servants. Imoinda was immediately sold as a slave. Oroonoko made his way down to the seashore, and was there allured, under false pretenses of hospitality, on board an English ship. He was carried to the West Indies, and sold to a planter of Surinam, the colony in which Mrs. Behn was living, and where by a remarkable chance Imoinda had already been sold. The beauty of Imoinda had brought about her a large number of suitors, all of whom met with a cold repulse. The tenderness of the meeting between Oroonoko and Imoinda prevailed upon their master to allow them to live together. But Oroonoko longed for liberty. He plotted a revolt among his fellow-slaves, and on its suppression was brutally flogged. Enraged by this, he escaped into the woods with Imoinda, who was then pregnant. Fearing that she might fall into the hands of the whites, and unwilling to be the father of a slave, he killed her, and remained by her dead body several days, half insensible with grief and without food. Again taken by the colonists, he was tied to a post, hacked to pieces and burned. The story, simple in itself, becomes striking in the hands of Mrs. Behn. The hut of the old negro king is given the brilliancy of an Eastern court, and his harem is copied after that of a Turkish potentate. When Oroonoko is induced to board the English slaver, it is in no common style, but "the Captain in his Boat richly adorned with Carpets and velvet Cushions went to the Shore to receive the Prince, with another Long Boat where was placed all his Music and Trumpets." Mrs. Behn's methods of adorning her tale are best shown by her description of Oroonoko himself, which is a good example of the tone in which the story is written.
I have often seen and conversed with this Great Man, and been a Witness to many of his mighty Actions: and do assure my Reader, the most illustrious Courts could not have produced a braver Man, both for Greatness of Courage and Mind, a Judgment more solid, a Wit more quick, and a Conversation more sweet and diverting. He knew almost as much as if he had read much; he had heard of and admired the Romans; he had heard of the late Civil Wars in England, and the deplorable Death of our great Monarch; and would discourse of it with all the Sense and abhorrence of the Injustice imaginable. He had an extremely good and graceful Mien, and all the civility of a well bred Great Man. He had nothing of Barbarity in his Nature, but in all Points addressed himself as if his Education had been in some European Court.
This great and just character of Oroonoko gave me an extreme Curiosity to see him, especially when I knew he spoke French and English, and that I could talk with him. But though I had heard so much of him, I was as greatly surprised when I saw him, as if I had heard nothing of him; so beyond all Report I found him. He came into the Room, and addressed himself to me and some other Women with the best Grace in the World. He was pretty tall, but of a Shape the most exact that can be fancyed: The most famous Statuary could not form the figure of a Man more admirably turned from Head to Foot. His face was not of that brown lusty Black which most of that Nation are, but a perfect Ebony or polished Jet. His Eyes were the most aweful that could be seen, and very piercing; the White of 'em being like Snow, as were his teeth. His Nose was rising and Roman, instead of African and flat. His Mouth the finest Shape that could be seen; far from those great turn'd Lips which are so natural to the rest of the Negroes. The whole Proportion and Air of his Face was nobly and exactly form'd, that bating his Colour, there would be nothing in Nature more beautiful, agreeable and handsome. There was no one Grace wanting that bears the Standard of true Beauty. His Hair came down to his Shoulders, by the aids of Art, which was by pulling it out with a quill, and keeping it comb'd; of which he took particular care. Nor did the perfections of his Mind come short of those of his Person; for his Discourse was admirable upon almost any Subject; and whoever had heard him speak, would have been convinced of their Errors, that all fine Wit is confined to the white Men, especially to those of Christendom; and would have confessed that Oroonoko was as capable even of reigning well, and of governing as wisely, had as great a Soul, as politick Maxims, and was as sensible of Power, as any Prince civilized in the most refined Schools of Humanity and Learning, or the most illustrious Courts.[89]
"Oroonoko" is the only one of Mrs Behn's stories which has a didactic aim or a special interest of any kind. Her other works of fiction are short tales, usually founded on fact, which describe in unrestrained language the passion and adventures of a pair of very ardent lovers. They show the prevailing inclination in narrative fiction toward characters and scenes taken from actual life. But they have no interest apart from the slender thread of the story itself. They contain no studies of character, and no information of importance concerning contemporary manners. Their heroes and heroines differ from each other only in the intensity or the circumstances of their love. The best in narrative interest, and the most attractive in tone, is the "Lucky Mistake." It is without the grossness characteristic of Mrs. Behn's works, and gives quite a pretty account of the loves of a young French nobleman and an unusually modest young woman named Atlante. Mrs. Behn's notion of love is contained in the opening lines of the "Fair Jilt," the most licentious of her tales. "As Love is the most noble and divine Passion of the Soul, so it is that to which we may justly attribute all the real Satisfactions of Life; and without it Man is Unfinished and unhappy. There are a thousand Things to be said of the Advantages this generous Passion brings to those whose Hearts are capable of receiving its soft Impressions; for 'tis not Every one that can be sensible of its tender Touches. How many Examples from History and Observation could I give of its wondrous Power; nay, even to a degree of Transmigration! How many Idiots has it made wise! How many Fools eloquent! How many home-bred Squires accomplished! How many cowards brave!" There is no doubt that Mrs. Behn was fully alive to the strength of the passion she describes, but as Sir Richard Steele said, she "understood the practic part of love better than the speculative." In accordance with the views general amidst the society of her own time, she represented love merely as a physical passion, and made the interest of her stories depend on its gratification, and not on the ennobling effects or subtle manifestations of which it is capable.
There is a great deal in that well-known anecdote of Sir Walter Scott's, in which he relates that he "was acquainted with an old lady of family, who assured him that, in her younger days, Mrs. Behn's novels were as currently upon the toilette as the works of Miss Edgeworth at present; and described with some humor her own surprise, when the book falling into her hands after a long interval of years, and when its contents were quite forgotten, she found it impossible to endure, at the age of fourscore, what at fifteen, she, like all the fashionable world of the time, had perused without an idea of impropriety." This is a striking illustration of the mere relativeness of such words as "morality," "refinement," and their opposites. If this old lady could have lived over her early youth embued with the refinement of taste which surrounded her declining years, she would have been still more shocked at the coarseness of language, and the looseness of conduct and morals which prevailed among the highest ranks. At the same time she would have observed, that the society which appeared to her coarse and corrupt was far from so considering itself. What is gross to one age may have been the refinement of the last. A young girl considered modest and discreet at the end of the seventeenth century, if transferred unchanged to the end of the eighteenth, would have shocked the women she met with by talking of subjects unmentioned in society with a freedom and broadness unusual among the men. In judging a literary work from the point of view of morality or refinement, we must compare it with the standard of the age to which it belongs, and not with our own. Pope's graphic lines, in which he describes Mrs. Behn's position as a dramatist,
"The stage how loosely doth Astræa tread,
Who fairly puts all characters to bed."
apply almost equally well to her novels. But still the contemporary reader found nothing in their pages to offend his sense of propriety. And Mrs. Behn, who simply put into a literary form ideas and scenes which were common in the society about her, cannot with justice be accused of an intention to pander to the lowest tastes of her readers. She said herself, when reproved for the tone of her plays, which was much inferior to that of her novels: "I make challenge to any person of common sense and reason, that is not wilfully bent on ill nature, and will, in spite of sense, wrest a double entendre from everything * * * but any unprejudiced person that knows not the author—to read one of my comedies and compare it with others of this age, and if they can find one word which can offend the chastest ear, I will submit to all their pevish cavills." All this is worthy of note, if we are to follow the course of English fiction without prejudice. For it will be shown that the nineteenth century, with all its well-deserved pride in an advanced refinement and morality, has produced a large number of novelists, both male and female, whose works are as immoral as those of Mrs. Behn, without her excuse. Who, with all the advantages accruing from life in a refined age, with every encouragement to pursue a better course, have deliberately chosen to court an infamous notoriety by making vice familiar and attractive. And this too, at a time when a general confidence in the purity of contemporary literary works has practically done away with parental censorship; when books of evil tendency are as likely to fall into the hands of the young and susceptible as those of elevating tendency—a circumstance which adds a new responsibility to the duties of the conscientious writer.
[87] Dunlop's "History of Fiction," chap. iv.
[88] "The Fair Hypocrite," "The Physician's Stratagem," "The Wife's Resentment," "The Husband's Resentment," in two parts; "The Happy Fugitive," "The Perjured Beauty."
[89] "History of Oroonoko," Mrs. Behn's "Collected plays and novels."