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Books : Literature & Fiction : Authors, A-Z : ( B ) : Behn, Aphra
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When Prince Oroonoko’s passion for the virtuous Imoinda arouses the jealousy of his grandfather, the lovers are cast into slavery and transported from Africa to the colony of Surinam. Oroonoko’s noble bearing soon wins the respect of his English captors, but his struggle for freedom brings about his destruction. Inspired by Aphra Behn’s visit to Surinam, Oroonoko reflects the author’s romantic views of native peoples as being in “the first state of innocence, before man knew how to sin.” The novel also reveals Behn’s ambiguous attitude toward slavery: while she favored it as a means to strengthen England’s power, her powerful and moving work conveys its injustice and brutality.
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When Prince Oroonoko's passion for the virtuous Imoinda arouses the jealousy of his grandfather, the lovers are cast into slavery and transported from Africa to the colony of Surinam. Oroonoko's noble bearing soon wins the respect of his English captors, but his struggle for freedom brings about his destruction. Inspired by Aphra Behn's visit to Surinam, Oroonoko (1688) reflects the author's romantic view of Native Americans as simple, superior peoples 'in the first state of innocence, before men knew how to sin'. The novel also reveals Behn's ambiguous attitude to African slavery - while she favoured it as a means to strengthen England's power, her powerful and moving work conveys its injustice and brutality.
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Increasingly Aphra Behn—the first woman professional writer—is also regarded as one of the most important writers of the 17th century. The Rover, her most famous and most accomplished play, is in many ways firmly in the tradition of Restoration drama; Willmore, the title character, is a rake and a libertine, and the comedy feeds on sexual innuendo, intrigue and wit. But the laughter that the play insights has a biting edge to it and the sexual intrigue an unsettling depth. As Anne Russell points out in her introduction to this edition, there are three options for women in the society represented in The Rover: marriage, the convent, or prostitution. In this marriage economy the witty and pragmatic virgin Hellena learns how to survive, while the prostitute Angellica Bianca can retain her autonomy only so long as she remains free from romantic love. It seems that in this world women can only be free by the anonymity of disguise—yet the mask is also the mark of the prostitute. And, paradoxically, disguise is the device that in many ways drives the plot towards marriage.Enormously popular through the eighteenth century, The Rover is now once again widely performed. Filled with the play of ideas, it is one of the most amusing, entertaining -- and unsettling -- of comedies.
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Because of her sensuous writing in the 17th century, wild and wonderful Aphra Behn has been a notorious figure in history. Janet Todd's new biography elaborates on the mysterious Behn and reveals her to be a complex contradiction. Her politics were High Tory, but her language was considered indecent for a woman of her times. She fought against the restraints of a patriarchal world, yet depended upon male approval. She was a lover of the easy life, but risked her life as a spy for England. Todd brings new documents from Holland and England to light, as well as discussions of Behn's entire works, in order to present this in-depth study of a most remarkable writer.
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Homemade Candy Recipes from the early 1900s
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And turning to the men that had bound him, he said, "My friends, am I to die, or to be whipped?" And they cried, "Whipped! no, you shall not escape so well." And then he replied, smiling, "A blessing on thee"; and assured them they need not tie him, for he would stand fixed like a rock, and endure death so as should encourage them to die; "But, if you whip me," said he, "be sure you tie me fast."
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The novels and plays of Aphra Behn (1640-89) continue to draw attention, but much of her best work is in her poetry. Both candid and subtle, her writing was a radical exploration of the relationship between the sexes.
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Aphra Behn (1640-89) was both successful and controversial in her own lifetime; her achievements are now recognized less equivocally and her plays, often revived, demonstrate wit, compassion and remarkable range. This edition brings together her most important comedies in a single volume: The Rover, her best-known play; The Feigned Courtesans, a lively comedy of intrigue; The Lucky Chance, a comedy with a bitter edge, which takes a satirical look at marriage customs; and the dazzling and popular farce, The Emperor of the Moon. All the plays have been newly edited and are presented with modernized spelling and punctuation.
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The most complete collection of the work of Aphra Behn (1640-89) available, this volume contains Oroonoko and five other works of fiction ranging from comedy and high melodrama to tragedy. The works included--The Fair Jilt, Memoirs of the Court of the King of Bantam, The History of the Nun, The Adventure of the Black Lady, and The Unfortunate Bride--are complemented by a generous selection of her poetry from public political verse to lyrics and witty conversation poems.
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As a beautiful and sought-after woman, Iris is well aware of the hours of reflection and sighing due to her—and of the dangers and temptations that await a man whose lover is absent. Thus, the hour between 8 and 9, before Damon is enjoined to rise, may be spent in “Agreeable Reverie,” of which the principle subject would be, of course, Iris, while 5 o’clock is the hour of “Dangerous Visits,” when Damon will be prey to the wiles and machinations of his female acquaintances. Interspersed with exquisite—and instructive—verse, The Lover’s Watch is an ironic, sharp-witted observation of the universal manners of love as well as an invaluable manual for all eager suitors. Proto-feminist Aphra Behn was the first female professional writer in the English language; the author of many plays, she also wrote the highly regarded philosophical novel Oroonoko.
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This is the first study of the posthumous life of Aphra Behn, the extraordinary vicissitudes of her critical reception, and the personal vilifications of her reputation through three centuries. Beginning with the reception of Behn's work during her lifetime, which she herself helped to orchestrate by performing herself as a seductive woman, a beleaguered lady writer, and a serious intellectual, among other roles, the work ends with the late 20th-century reception of Behn, when the interest in gender, race, and class has made of her almost a postmodern writer. In the 17th century she was seen as a playwright of sexy and propagandist comedies, and attacked by those who disapproved her supposedly unfeminine stance and her royalist politics. Later, as the Restoration period itself fell into disrepute, Behn's plays were denigrated along with those of her fellow men, but greater opprobrium fell on her as a woman, because in the 19th century it was felt that a female writer should have higher morals than a man. During this period, Behn's reputation was exceedingly low, while her short story Oroonoko gained acclaim, freed from any association with its author or her supposedly squalid times. In the 18th and 19th centuries Oroonoko moved from being viewed as political commentary and heroic romance to a sentimental tale of doomed love and then an abolitionist text. In the early twentieth century it was hailed as one of the earliest realist texts, part of the great English ascent into the novel.JANET TODD is professor of English at the University of East Anglia.
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King. Turn, turn ye fugitive Slaves, and face the Enemy; Oh Villains, Cowards, Deaf to all Command, by Heaven I had my Rival my in view and Aim'd at nothing but my Conquering him--now like a Coward I must fly with Cowards, or like a desperate Mad-Man fall, thus singly midst the numbers.
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The Rover Aphra Behn A rollicking Restoration comedy-the most performed and most studied by the increasingly admired first ever woman playwright, Aphra Behn.
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This is a classic story about the horrors of slavery. It is about a Coromantien (Ghanaian) prince who, through his courage and integrity, acquires respect in his circle and even amongst the prisoners he takes in battle. The plot takes an unexpected turn when the white slave traders eventually take Oroonoko captive. Later he is sold into slavery. Penetrating!
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King. All Lives And Safeties In My Power Remain! Mistaken Charming Creature, If My Power Be Such, Who Kneel And Bow To Thee, What Must Thine Be, Who Hast The Soveraign Command O're Me And It! Wou'dst Thou Give Life? Turn But Thy Lovely Eyes Upon The Wretched Thing That Wants It, And He Will Surely Live, And Live For Ever. Canst Thou Do This, And Com'st To Beg Of Me?
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Aphra Behn was England's first professional woman writer, but her status as a major author has only recently become clear. Between the sixteenth and eighteenth centuries Behn was denigrated for her "unwomanly" subject matter and intellectual immodesty. In the twentieth century she has been increasingly viewed as a leading dramatist of the Restoration and a founder of the English novel. This collection forms an important resource for those studying seventeenth century English literature and drama, and for those interested in the development of women's writing.