The Works of Aphra Behn, Volume III
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The Works of Aphra Behn, Volume III

By Aphra Behn
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Table of Contents
  • THE WORKS OF APHRA BEHN, VOL. III
    • EDITED BY MONTAGUE SUMMERS
      • MCMXV
      • CONTENTS:
    • MCMXV
    • CONTENTS:
  • THE TOWN-FOP; OR, SIR TIMOTHY TAWDREY.
    • ARGUMENT.
      • SOURCE.
      • THEATRICAL HISTORY.
        • PROLOGUE.
      • PROLOGUE.
      • DRAMATIS PERSONAE.
        • MEN.
        • WOMEN.
      • MEN.
      • WOMEN.
    • SOURCE.
    • THEATRICAL HISTORY.
      • PROLOGUE.
    • PROLOGUE.
    • DRAMATIS PERSONAE.
      • MEN.
      • WOMEN.
    • MEN.
    • WOMEN.
    • ACT I.
      • SCENE II. A Chamber.
    • SCENE II. A Chamber.
    • ACT II.
      • SCENE II. A Chamber.
      • SCENE III. Sir Timothy's House.
      • SCENE IV. Lord Plotwell's House.
      • SCENE V. The Street.
    • SCENE II. A Chamber.
    • SCENE III. Sir Timothy's House.
    • SCENE IV. Lord Plotwell's House.
    • SCENE V. The Street.
    • ACT III.
      • SCENE II_. A Bed Chamber_.
      • SCENE III. A Street.
    • SCENE II_. A Bed Chamber_.
    • SCENE III. A Street.
    • ACT IV.
      • SCENE II. A Baudy House.
      • SCENE III. Another Chamber in the Brothel, a Table with Box and Dice.
    • SCENE II. A Baudy House.
    • SCENE III. Another Chamber in the Brothel, a Table with Box and Dice.
    • ACT V.
      • SCENE II. Lord Plotwell's House.
      • SCENE III. A Street.
      • SCENE IV. Changes to the Inside of Friendlove's Lodgings.
      • EPILOGUE.
    • SCENE II. Lord Plotwell's House.
    • SCENE III. A Street.
    • SCENE IV. Changes to the Inside of Friendlove's Lodgings.
    • EPILOGUE.
  • THE FALSE COUNT.
    • ARGUMENT.
      • SOURCE.
      • THEATRICAL HISTORY.
      • PROLOGUE.
      • DRAMATIS PERSONAE.
        • MEN.
        • WOMEN.
      • MEN.
      • WOMEN.
    • SOURCE.
    • THEATRICAL HISTORY.
    • PROLOGUE.
    • DRAMATIS PERSONAE.
      • MEN.
      • WOMEN.
    • MEN.
    • WOMEN.
    • ACT I.
      • SCENE II. A Chamber.
    • SCENE II. A Chamber.
    • ACT II.
      • SCENE II. Changes to the Street.
      • SCENE III. The inside of the House.
    • SCENE II. Changes to the Street.
    • SCENE III. The inside of the House.
    • ACT III.
      • SCENE II. Francisco's house.
    • SCENE II. Francisco's house.
    • ACT IV.
      • SCENE II. A Garden.
    • SCENE II. A Garden.
    • ACT V.
      • EPILOGUE.
    • EPILOGUE.
  • THE LUCKY CHANCE; OR, AN ALDERMAN'S BARGAIN.
    • ARGUMENT.
      • SOURCE.
      • THEATRICAL HISTORY.
      • PREFACE.
    • SOURCE.
    • THEATRICAL HISTORY.
    • PREFACE.
    • THE LUCKY CHANCE;
      • PROLOGUE,
      • DRAMATIS PERSONAE
        • MEN.
      • MEN.
    • PROLOGUE,
    • DRAMATIS PERSONAE
      • MEN.
    • MEN.
    • ACT I.
      • SCENE II. Sir Cautious Fulbank's House.
      • SCENE III. The House of Sir Feeble.
    • SCENE II. Sir Cautious Fulbank's House.
    • SCENE III. The House of Sir Feeble.
    • ACT II.
      • SCENE II. Sir Feeble's House.
    • SCENE II. Sir Feeble's House.
    • ACT III.
      • SCENE II. _Changes to the Bed-chamber; Leticia in an undressing by the Women at the Table_.
      • SCENE III. Changes to a Wash-house, or Out-House.
      • SCENE IV. _A Chamber in the Apartments of L. _Fulbank.
      • SCENE V. In the same House. The flat Scene of the Hall.
      • SCENE VI. The Street.
    • SCENE II. _Changes to the Bed-chamber; Leticia in an undressing by the Women at the Table_.
    • SCENE III. Changes to a Wash-house, or Out-House.
    • SCENE IV. _A Chamber in the Apartments of L. _Fulbank.
    • SCENE V. In the same House. The flat Scene of the Hall.
    • SCENE VI. The Street.
    • ACT IV.
    • ACT V.
      • SCENE II. A Bed-chamber.
      • SCENE III. Sir Cautious his Garden.
      • SCENE IV. Lady Fulbank's Anti-chamber.
      • SCENE V. Changes to a Bed-chamber.
      • SCENE VI. Draws over, and represents another Room in the same House.
      • SCENE VII. Changes to the Anti-chamber.
      • EPILOGUE.
    • SCENE II. A Bed-chamber.
    • SCENE III. Sir Cautious his Garden.
    • SCENE IV. Lady Fulbank's Anti-chamber.
    • SCENE V. Changes to a Bed-chamber.
    • SCENE VI. Draws over, and represents another Room in the same House.
    • SCENE VII. Changes to the Anti-chamber.
    • EPILOGUE.
  • THE FORC'D MARRIAGE; OR, THE JEALOUS BRIDEGROOM.
    • ARGUMENT.
      • SOURCE.
      • THEATRICAL HISTORY.
      • THE FORC'D MARRIAGE;
        • PROLOGUE.
      • PROLOGUE.
      • DRAMATIS PERSONAE.
        • MEN.
      • MEN.
    • SOURCE.
    • THEATRICAL HISTORY.
    • THE FORC'D MARRIAGE;
      • PROLOGUE.
    • PROLOGUE.
    • DRAMATIS PERSONAE.
      • MEN.
    • MEN.
    • ACT I.
      • SCENE II. Galatea's Apartments.
      • SCENE III. A room in the house of Orgulius.
      • SCENE IV. Philander's Apartments.
    • SCENE II. Galatea's Apartments.
    • SCENE III. A room in the house of Orgulius.
    • SCENE IV. Philander's Apartments.
    • ACT II.
      • THE REPRESENTATION OF THE WEDDING.
      • SCENE I. The Palace.
      • SCENE II. The Court Gallery.
      • SCENE III.
      • SCENE IV. Philander's Bed-chamber.
      • SCENE V. The Court Gallery.
      • SCENE VI. Draws off, discovers Philander_ and_ Alcander with Musick at the Chamber-door of Erminia; to them Pisaro, who listens whilst the Song is sung.
      • SCENE VII. The Court Gallery.
    • THE REPRESENTATION OF THE WEDDING.
    • SCENE I. The Palace.
    • SCENE II. The Court Gallery.
    • SCENE III.
    • SCENE IV. Philander's Bed-chamber.
    • SCENE V. The Court Gallery.
    • SCENE VI. Draws off, discovers Philander_ and_ Alcander with Musick at the Chamber-door of Erminia; to them Pisaro, who listens whilst the Song is sung.
    • SCENE VII. The Court Gallery.
    • ACT III.
      • SCENE II. The Palace.
      • SCENE III. Galatea's Apartments.
    • SCENE II. The Palace.
    • SCENE III. Galatea's Apartments.
    • ACT IV.
      • SCENE II. The Apartments of Alcippus.
      • SCENE III. The Court Gallery.
      • SCENE IV.
      • SCENE V. The Court Gallery.
      • SCENE VI. A Bed-chamber.
      • SCENE VII. The Palace.
      • SCENE VIII. The Gallery.
      • SCENE IX. Philander's Apartments.
    • SCENE II. The Apartments of Alcippus.
    • SCENE III. The Court Gallery.
    • SCENE IV.
    • SCENE V. The Court Gallery.
    • SCENE VI. A Bed-chamber.
    • SCENE VII. The Palace.
    • SCENE VIII. The Gallery.
    • SCENE IX. Philander's Apartments.
    • ACT V.
      • SCENE II. The Bedchamber of Alcippus.
      • SCENE III. The King's Chamber.
      • SCENE IV. The Court Gallery.
      • SCENE V.
      • EPILOGUE,
    • SCENE II. The Bedchamber of Alcippus.
    • SCENE III. The King's Chamber.
    • SCENE IV. The Court Gallery.
    • SCENE V.
    • EPILOGUE,
  • THE EMPEROR OF THE MOON.
    • ARGUMENT.
      • SOURCE.
      • THEATRICAL HISTORY.
    • SOURCE.
    • THEATRICAL HISTORY.
    • THE EMPEROR OF THE MOON.
      • PROLOGUE,
      • DRAMATIS PERSONAE.
        • MEN.
      • MEN.
    • PROLOGUE,
    • DRAMATIS PERSONAE.
      • MEN.
    • MEN.
    • ACT I.
      • SCENE II. A Garden.
      • SCENE III. The Chamber of Bellemante.
    • SCENE II. A Garden.
    • SCENE III. The Chamber of Bellemante.
    • ACT II.
      • SCENE II. Changes to the Street.
      • SCENE III. Changes to the Inside of the House. The Front of the Scene is only a Curtain or Hangings, to be drawn up at Pleasure.
      • SCENE IV. Draws off to Bellemante's Chamber, discovers Elaria, Bellemante and Mopsophil in Night-Gowns.
      • SCENE V. The Garden.
    • SCENE II. Changes to the Street.
    • SCENE III. Changes to the Inside of the House. The Front of the Scene is only a Curtain or Hangings, to be drawn up at Pleasure.
    • SCENE IV. Draws off to Bellemante's Chamber, discovers Elaria, Bellemante and Mopsophil in Night-Gowns.
    • SCENE V. The Garden.
    • ACT III.
      • SCENE II. Changes to the Doctor's House. The Hall.
      • SCENE III. The Last. The Gallery richly adorn'd with Scenes and Lights.
      • EPILOGUE,
    • SCENE II. Changes to the Doctor's House. The Hall.
    • SCENE III. The Last. The Gallery richly adorn'd with Scenes and Lights.
    • EPILOGUE,
  • NOTES ON THE TEXT.
    • THE TOWN FOP.
      • THE FALSE COUNT.
      • THE LUCKY CHANCE.
      • THE FORC'D MARRIAGE.
      • THE EMPEROR OF THE MOON.
    • THE FALSE COUNT.
    • THE LUCKY CHANCE.
    • THE FORC'D MARRIAGE.
    • THE EMPEROR OF THE MOON.
    • NOTES: CRITICAL AND EXPLANATORY.
      • THE TOWN FOP.
      • THE FALSE COUNT.
      • THE LUCKY CHANCE.
      • THE FORC'D MARRIAGE.
      • THE EMPEROR OF THE MOON.
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    • THE TOWN FOP.
    • THE FALSE COUNT.
    • THE LUCKY CHANCE.
    • THE FORC'D MARRIAGE.
    • THE EMPEROR OF THE MOON.
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      • Section 2. Information about the Mission of Project Gutenberg-tm
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