The Works of Aphra Behn Volume IV
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THE WORKS
APHRA BEHN
CONTENTS.
Arrangement of Editor’s Notes
Arrangement of Editor’s Notes
CONTENTS.
Arrangement of Editor’s Notes
Arrangement of Editor’s Notes
SIR PATIENT FANCY.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
TO THE READER.
THEATRICAL HISTORY.
TO THE READER.
SIR PATIENT FANCY.
PROLOGUE,
DRAMATIS PERSONÆ.
PROLOGUE,
DRAMATIS PERSONÆ.
ACT I.
Scene I. A Room in Lady Knowell’s House.
A Chair and a Table. Enter Sir Credulous in a riding habit. Curry his Groom carrying a Portmantle.
Scene I. A Room in Lady Knowell’s House.
A Chair and a Table. Enter Sir Credulous in a riding habit. Curry his Groom carrying a Portmantle.
ACT II.
Scene I. A Garden to Sir Patient Fancy’s House.
Scene II. Changes to a Chamber.
Scene I. A Garden to Sir Patient Fancy’s House.
Scene II. Changes to a Chamber.
ACT III.
Scene I.
Scene II. Lady Knowell’s Chamber.
Scene III. A Garden.
Scene IV. Draws off, and discovers L. Fancy in her Night-gown, in a Chamber as by the dark.
Scene V. Changes again to a Garden.
A confused Noise of the Serenade, the Scene VI draws off to Lady Fancy’s Anti-chamber.
Scene VII. Changes to Lady Fancy’s Bed-chamber, discovers her as before; Lodwick as just risen in Disorder from the Bed, buttoning himself, and setting himself in order; and Noise at the Door of unlatching it.
The Scene draws over Sir Patient and Lady: draws again and discovers Scene VIII. The Garden, Wittmore, Fanny, and Isabella.
Scene IX. Changes to the long Street, a Pageant of an Elephant coming from the farther end with Sir Credulous on it, and several others playing on strange confused Instruments.
Scene I.
Scene II. Lady Knowell’s Chamber.
Scene III. A Garden.
Scene IV. Draws off, and discovers L. Fancy in her Night-gown, in a Chamber as by the dark.
Scene V. Changes again to a Garden.
A confused Noise of the Serenade, the Scene VI draws off to Lady Fancy’s Anti-chamber.
Scene VII. Changes to Lady Fancy’s Bed-chamber, discovers her as before; Lodwick as just risen in Disorder from the Bed, buttoning himself, and setting himself in order; and Noise at the Door of unlatching it.
The Scene draws over Sir Patient and Lady: draws again and discovers Scene VIII. The Garden, Wittmore, Fanny, and Isabella.
Scene IX. Changes to the long Street, a Pageant of an Elephant coming from the farther end with Sir Credulous on it, and several others playing on strange confused Instruments.
ACT IV.
Scene I. Lady Knowell’s House.
Scene II. A Chamber in Sir Patient Fancy’s House. A Table and Chairs.
Scene III. A Hall.
Scene IV. The Lady Fancy’s Bed-Chamber; she’s discover’d with Wittmore in disorder. A Table, Sword, and Hat.
Scene I. Lady Knowell’s House.
Scene II. A Chamber in Sir Patient Fancy’s House. A Table and Chairs.
Scene III. A Hall.
Scene IV. The Lady Fancy’s Bed-Chamber; she’s discover’d with Wittmore in disorder. A Table, Sword, and Hat.
ACT V.
Scene I. A Room in Sir Patient Fancy’s House. A Table, and six Chairs.
EPILOGUE,
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
Transcriber’s Footnote
Scene I. A Room in Sir Patient Fancy’s House. A Table, and six Chairs.
EPILOGUE,
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
Transcriber’s Footnote
THE AMOROUS PRINCE.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
THE AMOROUS PRINCE.
PROLOGUE.
DRAMATIS PERSONÆ.
SCENE, The Court of Florence.
PROLOGUE.
DRAMATIS PERSONÆ.
SCENE, The Court of Florence.
ACT I.
Scene I. The Chamber of Cloris.
Scene II. A Grove.
Scene III. The Apartment of Antonio.
Scene IV. The Same.
Scene I. The Chamber of Cloris.
Scene II. A Grove.
Scene III. The Apartment of Antonio.
Scene IV. The Same.
ACT II.
Scene I. The Apartment of Frederick.
Scene II. Antonio’s House.
Scene III. The Street.
Scene IV. Antonio’s House.
Scene V. A Chamber in Alberto’s House.
Scene I. The Apartment of Frederick.
Scene II. Antonio’s House.
Scene III. The Street.
Scene IV. Antonio’s House.
Scene V. A Chamber in Alberto’s House.
ACT III.
Scene I. A Room in Salvator’s House.
Scene II. A Street.
Scene III. A Wood.
Scene I. A Room in Salvator’s House.
Scene II. A Street.
Scene III. A Wood.
ACT IV.
Scene I. Antonio’s House.
Scene II. A Street.
Scene III. Frederick’s Chamber.
Scene IV. A Street.
Scene V. Antonio’s House.
Scene I. Antonio’s House.
Scene II. A Street.
Scene III. Frederick’s Chamber.
Scene IV. A Street.
Scene V. Antonio’s House.
ACT V.
Scene I. Laura’s Chamber.
Scene II. A Grove.
Scene III. The Lodgings of Curtius.
EPILOGUE,
Notes on the Text.
Notes: Critical And Explanatory.
Cross-Reference
Scene I. Laura’s Chamber.
Scene II. A Grove.
Scene III. The Lodgings of Curtius.
EPILOGUE,
Notes on the Text.
Notes: Critical And Explanatory.
Cross-Reference
SOURCE.
THEATRICAL HISTORY.
TO THE READER.
THEATRICAL HISTORY.
TO THE READER.
SIR PATIENT FANCY.
PROLOGUE,
DRAMATIS PERSONÆ.
PROLOGUE,
DRAMATIS PERSONÆ.
ACT I.
Scene I. A Room in Lady Knowell’s House.
A Chair and a Table. Enter Sir Credulous in a riding habit. Curry his Groom carrying a Portmantle.
Scene I. A Room in Lady Knowell’s House.
A Chair and a Table. Enter Sir Credulous in a riding habit. Curry his Groom carrying a Portmantle.
ACT II.
Scene I. A Garden to Sir Patient Fancy’s House.
Scene II. Changes to a Chamber.
Scene I. A Garden to Sir Patient Fancy’s House.
Scene II. Changes to a Chamber.
ACT III.
Scene I.
Scene II. Lady Knowell’s Chamber.
Scene III. A Garden.
Scene IV. Draws off, and discovers L. Fancy in her Night-gown, in a Chamber as by the dark.
Scene V. Changes again to a Garden.
A confused Noise of the Serenade, the Scene VI draws off to Lady Fancy’s Anti-chamber.
Scene VII. Changes to Lady Fancy’s Bed-chamber, discovers her as before; Lodwick as just risen in Disorder from the Bed, buttoning himself, and setting himself in order; and Noise at the Door of unlatching it.
The Scene draws over Sir Patient and Lady: draws again and discovers Scene VIII. The Garden, Wittmore, Fanny, and Isabella.
Scene IX. Changes to the long Street, a Pageant of an Elephant coming from the farther end with Sir Credulous on it, and several others playing on strange confused Instruments.
Scene I.
Scene II. Lady Knowell’s Chamber.
Scene III. A Garden.
Scene IV. Draws off, and discovers L. Fancy in her Night-gown, in a Chamber as by the dark.
Scene V. Changes again to a Garden.
A confused Noise of the Serenade, the Scene VI draws off to Lady Fancy’s Anti-chamber.
Scene VII. Changes to Lady Fancy’s Bed-chamber, discovers her as before; Lodwick as just risen in Disorder from the Bed, buttoning himself, and setting himself in order; and Noise at the Door of unlatching it.
The Scene draws over Sir Patient and Lady: draws again and discovers Scene VIII. The Garden, Wittmore, Fanny, and Isabella.
Scene IX. Changes to the long Street, a Pageant of an Elephant coming from the farther end with Sir Credulous on it, and several others playing on strange confused Instruments.
ACT IV.
Scene I. Lady Knowell’s House.
Scene II. A Chamber in Sir Patient Fancy’s House. A Table and Chairs.
Scene III. A Hall.
Scene IV. The Lady Fancy’s Bed-Chamber; she’s discover’d with Wittmore in disorder. A Table, Sword, and Hat.
Scene I. Lady Knowell’s House.
Scene II. A Chamber in Sir Patient Fancy’s House. A Table and Chairs.
Scene III. A Hall.
Scene IV. The Lady Fancy’s Bed-Chamber; she’s discover’d with Wittmore in disorder. A Table, Sword, and Hat.
ACT V.
Scene I. A Room in Sir Patient Fancy’s House. A Table, and six Chairs.
EPILOGUE,
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
Transcriber’s Footnote
Scene I. A Room in Sir Patient Fancy’s House. A Table, and six Chairs.
EPILOGUE,
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
Transcriber’s Footnote
THE AMOROUS PRINCE.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
THE AMOROUS PRINCE.
PROLOGUE.
DRAMATIS PERSONÆ.
SCENE, The Court of Florence.
PROLOGUE.
DRAMATIS PERSONÆ.
SCENE, The Court of Florence.
ACT I.
Scene I. The Chamber of Cloris.
Scene II. A Grove.
Scene III. The Apartment of Antonio.
Scene IV. The Same.
Scene I. The Chamber of Cloris.
Scene II. A Grove.
Scene III. The Apartment of Antonio.
Scene IV. The Same.
ACT II.
Scene I. The Apartment of Frederick.
Scene II. Antonio’s House.
Scene III. The Street.
Scene IV. Antonio’s House.
Scene V. A Chamber in Alberto’s House.
Scene I. The Apartment of Frederick.
Scene II. Antonio’s House.
Scene III. The Street.
Scene IV. Antonio’s House.
Scene V. A Chamber in Alberto’s House.
ACT III.
Scene I. A Room in Salvator’s House.
Scene II. A Street.
Scene III. A Wood.
Scene I. A Room in Salvator’s House.
Scene II. A Street.
Scene III. A Wood.
ACT IV.
Scene I. Antonio’s House.
Scene II. A Street.
Scene III. Frederick’s Chamber.
Scene IV. A Street.
Scene V. Antonio’s House.
Scene I. Antonio’s House.
Scene II. A Street.
Scene III. Frederick’s Chamber.
Scene IV. A Street.
Scene V. Antonio’s House.
ACT V.
Scene I. Laura’s Chamber.
Scene II. A Grove.
Scene III. The Lodgings of Curtius.
EPILOGUE,
Notes on the Text.
Notes: Critical And Explanatory.
Cross-Reference
Scene I. Laura’s Chamber.
Scene II. A Grove.
Scene III. The Lodgings of Curtius.
EPILOGUE,
Notes on the Text.
Notes: Critical And Explanatory.
Cross-Reference
THE WIDOW RANTER.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
To the much Honoured MADAM WELLDON.
THEATRICAL HISTORY.
To the much Honoured MADAM WELLDON.
THE WIDOW RANTER: Or, the History of Bacon in Virginia.
PROLOGUE,
DRAMATIS PERSONÆ.
SCENE, Virginia: in Bacon’s Camp, James-Town and the surrounding Country.
PROLOGUE,
DRAMATIS PERSONÆ.
SCENE, Virginia: in Bacon’s Camp, James-Town and the surrounding Country.
ACT I.
Scene I. A Room with several Tables.
Scene II. The Council-Table.
Scene III. Surelove’s House.
Scene I. A Room with several Tables.
Scene II. The Council-Table.
Scene III. Surelove’s House.
ACT II.
Scene I. A Pavilion.
Scene II. The Widow Ranter’s Hall.
Scene III. A Sevana, or large Heath.
Scene IV. The Council-Table.
Scene I. A Pavilion.
Scene II. The Widow Ranter’s Hall.
Scene III. A Sevana, or large Heath.
Scene IV. The Council-Table.
ACT III.
Scene I. The Country Court, a great Table, with Papers, a Clerk writing.
Scene II. The Sevana or Heath.
Scene I. The Country Court, a great Table, with Papers, a Clerk writing.
Scene II. The Sevana or Heath.
ACT IV.
Scene I.
Scene II.
Scene III. A Tent.
Scene I.
Scene II.
Scene III. A Tent.
ACT V.
Scene I. The Sevana in sight of the Camp; the Moon rises.
Scene II. Changes to Wellman’s Tent.
Scene III. A thick Wood.
Scene IV. Changes to another part of the Wood.
Scene V. A Grove near Madam Surelove’s.
EPILOGUE.
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
Scene I. The Sevana in sight of the Camp; the Moon rises.
Scene II. Changes to Wellman’s Tent.
Scene III. A thick Wood.
Scene IV. Changes to another part of the Wood.
Scene V. A Grove near Madam Surelove’s.
EPILOGUE.
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
THE YOUNGER BROTHER; OR, THE AMOROUS JILT.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
THE EPISTLE DEDICATORY TO Collonel Codrington.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
THE EPISTLE DEDICATORY TO Collonel Codrington.
THE YOUNGER BROTHER; or, The Amorous Jilt.
PROLOGUE,
DRAMATIS PERSONÆ.
PROLOGUE,
DRAMATIS PERSONÆ.
ACT I.
Scene I. A Chamber.
Scene II. A Chamber.
Scene I. A Chamber.
Scene II. A Chamber.
ACT II.
Scene I. Sir Rowland’s Lodging.
Scene II. A Chamber.
Scene III. Another Chamber.
Scene I. Sir Rowland’s Lodging.
Scene II. A Chamber.
Scene III. Another Chamber.
ACT III.
Scene I. A rich Chamber.
Scene II. A Chamber, and Alcove, discovers Mirtilla and Prince Frederick.
Scene III. A Garden by Night still.
Scene I. A rich Chamber.
Scene II. A Chamber, and Alcove, discovers Mirtilla and Prince Frederick.
Scene III. A Garden by Night still.
ACT IV.
Scene I. The Prince’s Lodgings.
Scene II. Draws off, discovers Mirtilla at her Toylet, dress’d.
Scene III. Changes to Lady Youthly’s.
Scene I. The Prince’s Lodgings.
Scene II. Draws off, discovers Mirtilla at her Toylet, dress’d.
Scene III. Changes to Lady Youthly’s.
ACT V.
Scene I. Welborn’s Chamber.
Scene II. The Dressing-Room. Discovers the Prince at his Toylet, dressing. Musick and a Song.
Scene III. A Chamber.
Scene IV. My Lady Youthly’s; Discovers her, and Lettice dressing her.
EPILOGUE.
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
Scene I. Welborn’s Chamber.
Scene II. The Dressing-Room. Discovers the Prince at his Toylet, dressing. Musick and a Song.
Scene III. A Chamber.
Scene IV. My Lady Youthly’s; Discovers her, and Lettice dressing her.
EPILOGUE.
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
SOURCE.
THEATRICAL HISTORY.
To the much Honoured MADAM WELLDON.
THEATRICAL HISTORY.
To the much Honoured MADAM WELLDON.
THE WIDOW RANTER: Or, the History of Bacon in Virginia.
PROLOGUE,
DRAMATIS PERSONÆ.
SCENE, Virginia: in Bacon’s Camp, James-Town and the surrounding Country.
PROLOGUE,
DRAMATIS PERSONÆ.
SCENE, Virginia: in Bacon’s Camp, James-Town and the surrounding Country.
ACT I.
Scene I. A Room with several Tables.
Scene II. The Council-Table.
Scene III. Surelove’s House.
Scene I. A Room with several Tables.
Scene II. The Council-Table.
Scene III. Surelove’s House.
ACT II.
Scene I. A Pavilion.
Scene II. The Widow Ranter’s Hall.
Scene III. A Sevana, or large Heath.
Scene IV. The Council-Table.
Scene I. A Pavilion.
Scene II. The Widow Ranter’s Hall.
Scene III. A Sevana, or large Heath.
Scene IV. The Council-Table.
ACT III.
Scene I. The Country Court, a great Table, with Papers, a Clerk writing.
Scene II. The Sevana or Heath.
Scene I. The Country Court, a great Table, with Papers, a Clerk writing.
Scene II. The Sevana or Heath.
ACT IV.
Scene I.
Scene II.
Scene III. A Tent.
Scene I.
Scene II.
Scene III. A Tent.
ACT V.
Scene I. The Sevana in sight of the Camp; the Moon rises.
Scene II. Changes to Wellman’s Tent.
Scene III. A thick Wood.
Scene IV. Changes to another part of the Wood.
Scene V. A Grove near Madam Surelove’s.
EPILOGUE.
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
Scene I. The Sevana in sight of the Camp; the Moon rises.
Scene II. Changes to Wellman’s Tent.
Scene III. A thick Wood.
Scene IV. Changes to another part of the Wood.
Scene V. A Grove near Madam Surelove’s.
EPILOGUE.
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
THE YOUNGER BROTHER; OR, THE AMOROUS JILT.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
THE EPISTLE DEDICATORY TO Collonel Codrington.
ARGUMENT.
SOURCE.
THEATRICAL HISTORY.
THE EPISTLE DEDICATORY TO Collonel Codrington.
THE YOUNGER BROTHER; or, The Amorous Jilt.
PROLOGUE,
DRAMATIS PERSONÆ.
PROLOGUE,
DRAMATIS PERSONÆ.
ACT I.
Scene I. A Chamber.
Scene II. A Chamber.
Scene I. A Chamber.
Scene II. A Chamber.
ACT II.
Scene I. Sir Rowland’s Lodging.
Scene II. A Chamber.
Scene III. Another Chamber.
Scene I. Sir Rowland’s Lodging.
Scene II. A Chamber.
Scene III. Another Chamber.
ACT III.
Scene I. A rich Chamber.
Scene II. A Chamber, and Alcove, discovers Mirtilla and Prince Frederick.
Scene III. A Garden by Night still.
Scene I. A rich Chamber.
Scene II. A Chamber, and Alcove, discovers Mirtilla and Prince Frederick.
Scene III. A Garden by Night still.
ACT IV.
Scene I. The Prince’s Lodgings.
Scene II. Draws off, discovers Mirtilla at her Toylet, dress’d.
Scene III. Changes to Lady Youthly’s.
Scene I. The Prince’s Lodgings.
Scene II. Draws off, discovers Mirtilla at her Toylet, dress’d.
Scene III. Changes to Lady Youthly’s.
ACT V.
Scene I. Welborn’s Chamber.
Scene II. The Dressing-Room. Discovers the Prince at his Toylet, dressing. Musick and a Song.
Scene III. A Chamber.
Scene IV. My Lady Youthly’s; Discovers her, and Lettice dressing her.
EPILOGUE.
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
Scene I. Welborn’s Chamber.
Scene II. The Dressing-Room. Discovers the Prince at his Toylet, dressing. Musick and a Song.
Scene III. A Chamber.
Scene IV. My Lady Youthly’s; Discovers her, and Lettice dressing her.
EPILOGUE.
Notes on the Text.
Notes: Critical And Explanatory.
Cross-References
THE WORKS
APHRA BEHN
CONTENTS.
Arrangement of Editor’s Notes
Arrangement of Editor’s Notes
CONTENTS.
Arrangement of Editor’s Notes
Arrangement of Editor’s Notes
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