Aphra Behn

Aphra Behn: The Enigma of Restoration's First Female Playwright

I. Introduction: A Woman Ahead of Her Time

The streets of London in the Restoration period were alive with new beginnings. The shadow of the English Civil War had passed, King Charles II was back on the throne, and with him, an era of opulence and artistry was rekindled. The theatres, once silent and shuttered by Puritanical edicts, now echoed with laughter, applause, and the resplendent drama of the age. But beyond this renaissance of arts and culture, societal norms held strong. Women were ornamental—seen, appreciated, but rarely heard in public spheres, especially in the realms of literature and theatre. This was the world Aphra Behn was born into—a world she would come to challenge and change.

Amidst the backdrop of extravagant masquerades and political intrigue emerged a figure who would defy the conventions of her time: Aphra Behn. Her name might not resonate as Shakespeare's or Marlowe's does in common parlance, but her legacy is no less significant. Behn was a woman of many masks—an enigmatic playwright, a daring spy, and a passionate poet. At a time when women writers were rarities and often dismissed or published anonymously, Behn unabashedly put her name on her works, owning her narrative both in life and on paper.

Aphra was no mere spectator of her era; she was an active participant, leaving imprints in the sand of time that would shape centuries to come. Her writings, audacious and vivid, laid bare the passions and prejudices of her contemporaries. Through her plays and prose, she gave voice to the muted desires and dreams of women, presenting them not as mere objects of desire but as thinking, feeling, and assertive individuals.

But who was Aphra Behn, the woman behind the ink and parchment? What drove her to carve a niche for herself in a male-dominated world? As we delve into her life's tapestry, we'll unravel tales of adventure and adversity, of love and betrayal, of art and espionage. For Aphra's story is not just the biography of a playwright—it is a testament to the enduring spirit of rebellion, resilience, and reinvention.

II. The Making of Aphra Behn: Origins and Mysteries

The early years of Aphra Behn, much like the plays she would later write, are steeped in intrigue and ambiguity. Sources from her era present a mélange of stories—each offering tantalizing hints but never painting a complete picture.

Some chronicles suggest that Aphra was born Aphra Johnson in Canterbury, to Bartholomew Johnson, a barber, and Elizabeth Denham, a wet-nurse. However, another theory presents her as a child of humble origins, potentially even born abroad, perhaps in the bustling colony of Surinam. This theory gains traction when one considers her intimate portrayal of the colony in "Oroonoko," her groundbreaking novel that stands as a poignant criticism of slavery.

The shadowy veil of her early life is further compounded by her own elusive remarks. Aphra rarely shed light on her childhood, save for occasional, cryptic references in her writings. Whether this was a conscious choice to maintain a mystique or a reflection of the era's scant documentation remains a topic of fervent debate among scholars.

For a woman in the 17th century, Aphra's intellectual prowess was nothing short of exceptional. Her works indicate not just a formal grasp of language and literature, but a comprehensive understanding of politics, human psychology, and the contemporary debates of her time.

But where did this erudition stem from? Unfortunately, as with much of her life, the wellsprings of her education are more a matter of speculation than concrete fact. Some suggest she might have been self-taught, a testament to her indomitable spirit and voracious appetite for knowledge. Others hint at a possible stint in an English boarding school, where she might have been introduced to the classics, rhetoric, and drama.

Of particular interest are her evident connections with influential literary figures and courtiers. This has led some to believe that Aphra may have had mentors or benefactors who recognized her talents early on, providing her access to libraries and intellectual circles otherwise closed to women of her status.

Behn's romantic life, much like her origins, is a tapestry interwoven with rumors, half-truths, and her own artful obfuscations. Her works, dripping with passion, romance, and at times, raw sensuality, certainly suggest a life deeply acquainted with the intricacies of love.

While she never married, whispers linked her name with several figures, including influential politicians and fellow writers. Her most poignant romantic association, however, seems to be with a merchant named John Hoyle. Their relationship, often turbulent yet deeply passionate, became the subject of many discussions. The lasting nature of their bond is underscored by the elegy she penned upon his death—a piece rife with raw emotion and unbridled sorrow.

It's worth noting that while Aphra's personal relationships undeniably influenced her works, they did not solely define them. Beyond the passions of the heart, Behn's writings also channelled the societal constraints, political intrigues, and intellectual debates of her age. Her romances, real or fictionalized, thus offer a dual lens: a glimpse into her heart and a mirror reflecting the world she navigated.

III. The World of Espionage: Behn's Adventures in Shadows

The late 1660s in England were not just a time of artistic revival; they were also an era of shadows, secrets, and subterfuge. The Restoration of Charles II to the throne marked the end of a turbulent period, but it didn't quell the undercurrents of political intrigue that rippled through the court and across Europe.

Charles II, the Merry Monarch as he was colloquially known, was juggling a delicate balance. The Dutch Wars loomed over the horizon, and whispers of dissent were abundant, both domestically and from afar. Spies, those silent players behind the curtains of politics, became invaluable. Their craft: gathering intelligence, maintaining a web of informants, and, at times, engaging in acts of subtle sabotage.

It is within this seething cauldron of espionage that Aphra Behn found herself entangled. A playwright and poet she might have been, but her sharp wit, keen observation skills, and her connections made her an attractive recruit for the secretive world of spycraft.

The bustling port city of Antwerp was Aphra's destined stage, not for a play, but for a mission that held real-world stakes. Her role was to act as a covert agent for Charles II, gathering intelligence on exiled Englishmen who harbored sympathies for the Dutch and might pose threats back home.

Operating under the pseudonym Astrea, Behn wove a meticulous network of informants and sources. Taverns, masquerades, and marketplaces became her theaters of operation. Her targets were often unsuspecting, charmed by her intellect and charisma, unaware that their whispered secrets would find their way to the English court.

However, spycraft in the 17th century, especially for a woman, was fraught with danger. Every meeting held the risk of exposure, every message the potential for interception. Trust was a luxury, and betrayal a constant companion. Aphra, with her innate talent for storytelling, had to craft her narratives with precision, ensuring the veracity of her intelligence while safeguarding her true identity.

As months turned into years, Aphra—or Astrea—became deeply ensnared in the web of espionage, often blurring the lines between ally and enemy, truth and deception. Her writings from this period, though few, resonate with a palpable tension, an echo of the high-wire act she was performing in the bylanes of Antwerp.

But as is often the case in tales of intrigue, Behn's cover was eventually blown. Whether it was a result of betrayal or just an unfortunate twist of fate remains shrouded in history. She was arrested and thrown into a debtor's prison. The irony was biting: a spy working for the crown, now abandoned and left to fend for herself.

Her time in prison was undoubtedly one of the darkest periods of her life. Stripped of her freedom, with the weight of potential treason charges hanging over her, many would have crumbled. But Aphra Behn was made of sterner stuff. Her resilience during this period stands as a testament to her indomitable spirit.

Letters and pleas were sent to the English court, but help was slow to come. It was not royal intervention, but rather the assistance of a mysterious benefactor, likely a lover or admirer, who secured her release. Emerging from the cold clutches of her cell, Aphra was changed. The experience, harrowing as it was, only fueled her determination. The world of espionage had scarred her, but it also provided a wellspring of material that she would channel into her subsequent works, further solidifying her legacy as a literary force of the Restoration era.

IV. Theatre and Rebellion: Aphra's Dramatic Legacy

In the grand amphitheater of the Restoration era's theatre scene, dominated by the verve of male playwrights, a new and unexpected voice began to resonate. That voice, audacious and unyielding, belonged to none other than Aphra Behn.

It's easy to picture the London theatre scene of her time: candle-lit auditoriums filled with eager audiences, the rich mingling with the commoners, all captivated by the drama unfolding on stage. But while the audience was diverse, the playwrights were predominantly men, their narratives often casting women in traditional or ornamental roles.

Into this milieu, Aphra dared to step, not just as an audience member or an actress, but as a playwright. Her early days were, unsurprisingly, fraught with skepticism. The thought of a woman penning dramas was a novelty, if not an outright affront to some. Whispers and murmurs shadowed her initial plays—was Aphra truly the mind behind these works? Could a woman, indeed, conjure such wit, humor, and insight?

One particularly telling anecdote speaks of a male critic confronting her, doubting her authorship. Aphra, ever sharp-tongued, is said to have retorted, "Sir, you are no judge of plays or of women. Had you ever truly known either, you would have held a different opinion."

Her early works, while still finding their footing, resonated with unmistakable passion. They touched upon love, betrayal, and ambition, but they also hinted at the societal cages she herself felt confined by. The theatre became her realm of rebellion, and each play was a step towards etching her mark in the annals of literary history.

As years progressed, Aphra's pen grew more assured, her voice more distinct. From her vast repertoire, a few plays stand out, not just as markers of her genius, but also as reflections of the era she lived in.

"The Rover", perhaps her most celebrated work, is a riotous romp, brimming with passion, wit, and intrigue. Set against the carnival streets of Naples, it tells the story of two brothers and their romantic escapades. But beneath the comedy and revelry, Aphra weaves a sharp commentary on the societal expectations and limitations placed upon women.

Another gem, "Oroonoko", while technically a novel, holds strong dramatic undertones. It's a heartbreaking tale of an African prince betrayed into slavery, a narrative that pulls no punches in its criticism of colonialism and the brutalities of the slave trade. Aphra's personal experiences in Surinam undoubtedly influenced this work, making it a powerful blend of fiction and poignant reality.

"The Widow Ranter" is another fascinating exploration, this time of the Bacon Rebellion in Virginia. Through its scenes, Aphra delves into the nuances of liberty, governance, and the often tumultuous relationship between rulers and the ruled.

In each of these works, Aphra's keen observation and understanding of human nature shine through. She paints her characters, irrespective of their gender or status, with shades of gray, eschewing caricature for complexity. The worlds she creates on stage are vivid and immersive, but they are also mirrors held up to society, reflecting both its beauty and its blemishes.

In an age where women were often relegated to the fringes of society, Aphra Behn's plays pulsated with strong, multifaceted female characters who defied convention. They were not mere props or damsels in distress; they were protagonists, thinkers, and rebels in their own right.

To appreciate the audacity of Aphra's narrative choices, one must first understand the Restoration theater's typical portrayal of women. Often, they were confined to stereotypical roles: the innocent maiden, the deceitful temptress, or the comedic foil. Their stories were most often defined by the men around them, their destinies charted by fathers, brothers, and lovers.

But in Behn's world, women were the architects of their own stories. In “The Rover”, for instance, Hellena is no shrinking violet. She's witty, bold, and determined to control her own romantic destiny, despite societal norms and expectations. Her playful banter and repartees with the male characters do not just serve comedic purpose; they also underscore her intelligence and autonomy.

Then there's “Sir Patient Fancy”, where women navigate the complex terrains of love, ambition, and societal expectations. Lady Fancy, a widow, adeptly maneuvers societal norms, balancing her desires with the weight of social judgement. These female characters don’t just exist; they debate, decide, and dictate the course of their own lives.

Aphra's plays often contain subtle, and sometimes not-so-subtle, feminist undertones. Her women are neither submissive nor demure. They question and challenge, sometimes with a whisper and sometimes with a roar. It's evident in their dialogues, their choices, and even in their silences.

But Behn's narratives weren’t just about creating strong women. They were also a critique of the society that so often sought to suppress them. By presenting these empowered female characters on stage, she indirectly posed a question to her audience: If these women, bound by fictional narratives, could break free from their societal chains, why couldn't real women do the same?

However, Behn was no idealist. She understood the constraints of her era all too well, perhaps from her own lived experiences. While her plays championed female agency, they didn’t always promise them victories. Instead, they presented a more nuanced reality where triumphs were hard-fought and sometimes, just out of reach.

By pushing the boundaries of character development, especially for her female protagonists, Aphra Behn didn’t just leave a legacy as one of the first professional female playwrights. She laid down the gauntlet for future generations, urging them to envision a world where women stood shoulder to shoulder with men, not just on the stage, but in all walks of life.

V. The Last Act: Legacy and Reflections

The life of Aphra Behn was a testament to her spirit, one that refused to be shackled by societal norms. As the years progressed, she continued to weave tales that enchanted, provoked, and illuminated the London stages. No longer the young woman who ventured into espionage or the budding playwright making her mark amidst skeptics, Aphra, in her later years, became an established name in literary circles.

But even with such recognition, challenges persisted. The fickle nature of the theater, coupled with economic hardships, meant that Aphra continued to work diligently. Her later plays, while perhaps not as groundbreaking as her early masterpieces, were testaments to her unwavering passion for the craft.

The closing scene of Aphra's life came in 1689. She was buried in Westminster Abbey, a resting place that bespoke her contributions to English literature. The inscription on her tombstone reads, "Here lies a proof that wit can never be defense enough against mortality." And though her physical journey ended, her literary voyage was far from over.

Centuries have a way of clouding memories, and for a while, Aphra Behn's brilliance dimmed in the collective consciousness. However, as the waves of literary and feminist movements surged, scholars and enthusiasts began to rediscover her works, and her legacy was pulled from the shadows.

In the late 19th and early 20th centuries, her plays found new audiences, and her narratives were lauded for their forward-thinking perspectives on gender, power, and society. Virginia Woolf, in her seminal essay “A Room of One’s Own”, paid tribute to Behn, remarking, “All women together ought to let flowers fall upon the tomb of Aphra Behn... for it was she who earned them the right to speak their minds.”

Modern renditions of plays like “The Rover” and “Oroonoko” have graced stages around the world, each performance a nod to Aphra’s enduring influence. Scholars continue to dissect her works, unraveling layers of meaning and understanding the depth of her genius.

Aphra Behn's journey is not just a chronicle of one woman's adventures in literature and espionage; it is a testament to the resilience of the human spirit and the transformative power of art.

Her impact on literature and theatre is undeniable. Through her plays, Aphra gave voice to thoughts and feelings that were often sidelined in her era. She presented characters, particularly women, who defied conventions and showcased the depth and complexity of the human experience.

But more than her plays and novels, Aphra's very life became a beacon for countless artists who came after her, especially women. In an era when female voices were stifled, she stood firm, wrote fiercely, and carved a space for herself. Her legacy serves as a reminder that art can be both a reflection of society and a tool to challenge and reshape it.

In today's world, where conversations about representation and inclusivity are more important than ever, figures like Aphra Behn assume profound significance. They urge us to question, challenge, and break barriers. They remind us of the power of stories, not just to entertain but to spark change.

As we remember Aphra Behn, we do not just celebrate a playwright or a novelist. We salute a trailblazer, a woman who, in her own unique way, changed the narrative. Her tales, both on paper and in real life, continue to inspire, teaching us that no matter the challenges, one can always script their own story.

Timeline

• 1640 (approx.) Birth: Aphra Behn is believed to have been born around this year, though the exact date and circumstances of her birth remain somewhat shrouded in mystery.
• 1663 Voyage to Surinam: Aphra travels to the British colony of Surinam. Her experiences there would later serve as the backdrop for her novel "Oroonoko".
• 1664 Return to England: After her stint in Surinam, Aphra returns to England.
• 1666  Espionage in Antwerp: Aphra is recruited as a political spy for the English crown during the Second Anglo-Dutch War. She operates under the pseudonym Astrea.
• 1667 Imprisonment: Facing debts and without expected compensation from her spying efforts, Aphra is briefly imprisoned for debt.
• 1670 Theatrical Debut: Aphra's first play, "The Forc’d Marriage", is staged.
• 1671 Further Plays: Her comedy, "The Amorous Prince", is performed.
• 1677 "The Rover": Perhaps her most famous play, "The Rover", is staged for the first time.
• 1688  "Oroonoko" Published: This novel, based on her experiences in Surinam and regarded as one of the first English novels, tells the tragic story of a noble African prince sold into slavery.
• 1689 Demise: Aphra Behn passes away and is buried in Westminster Abbey.

Selected Bibliography

Plays:

•     The Forc'd Marriage (1670)
•     The Amorous Prince (1671)
•     The Dutch Lover (1673)
•     Abdelazer (1676)
•     The Town Fop (1676)
•     The Rover, Part 1 (1677) and Part 2 (1681)
•     Sir Patient Fancy (1678)
•     The Feigned Courtesans (1679)
•     The Young King (1679)
•     The False Count (1681)
•     The Roundheads (1681)
•     The City Heiress (1682)
•     Like Father, Like Son (1682)

Novels:

•     Oroonoko (1688) – Often cited as one of the first English novels, this work is a semi-autobiographical narrative of Behn's experiences in Surinam, focusing on the tragic story of a noble African prince enslaved and transported to the New World.

Short Stories and Novellas:

•     The Fair Jilt
•     Agnes de Castro

Poetry:

•     Poems Upon Several Occasions, with A Voyage to the Island of Love (1684)
•     Lycidus; or, The Lover in Fashion (1688)

Translations:

•     A Discovery of New Worlds (from Bernard le Bovier de Fontenelle) (1688)