The Feign'd Curtizans, or, A Nights Intrigue is a 1679 comedic stage play by the English author Aphra Behn. Behn dedicated the play, originally performed at the Dorset Garden Theatre in London, to the well-known actress and mistress of King Charles II, Nell Gwyn.
Set in Rome, The Feign’d Curtizans was written and performed after the advent of the Popish Plot. The play is sympathetic to Catholicism during a time when declaring one's Protestant beliefs was “politically expedient”. [1] Behn uses the English characters of Sir Signall Buffoon and Mr. Tickletext to satirize their nationalism and fear of Italian “Popery,” while portraying several Italian characters of quality as honorable and virtuous. Behn “emphasizes that, while Whiggish middle-class patriots are to be derided, upper-class good taste is international”. [2]
The play centers around two virtuous sisters, Marcella and Cornelia. Marcella has been promised to Octavio for marriage, but has fallen in love with Sir Henry Fillamour. Cornelia is bound for the convent. They have run away to Rome together, posing as courtesans named Euphemia and Silvianetta, so that they may be free to control their own futures.
When Fillamour and Galliard arrive in Rome, they notice the beautiful Marcella and Cornelia disguised as the courtesans Euphemia and Silvianetta. Galliard is taken by Silvianetta's beauty, and Fillamour is struck by Euphemia's resemblance to Marcella. He becomes conflicted, desiring to stay constant in his love for Marcella, but unable to resist Euphemia.
Meanwhile, Laura Lucretia, the sister of Octavio (Marcella's betrothed), has fallen in love with Galliard. Knowing that he favors the courtesan named Silvianetta, Laura Lucretia disguises herself as Cornelia's alter ego so as to secure Galliard's affections. Having learned of Marcella's adoration for Fillamour, Octavio pledges revenge against him. To keep Fillamour safe, Marcella disguises herself as a pageboy and attempts to divert him from going to meet Euphemia at a place where Octavio and his men are lying in wait.
In a comedic scene, Fillamour, Galliard, Signall, and Tickletext all stumble about in the dark trying to reach Silvianetta and Euphemia, but instead find themselves in a battle with Octavio and his supporters. During the same night, Laura Lucretia, dressed as Silvianetta, receives an oath of marriage from a man she believes to be Galliard, but is actually Julio.
Once in the daylight, all parties confront each other and identities are revealed. Fillamour professes his love for Marcella, who agrees to marry him after Octavio renounces his claim. Galliard and Cornelia also become engaged. Julio, who had made an oath of marriage to “Silvianetta,” discovers he has actually sworn himself to his already bride-to-be, Laura Lucretia.
Recent critics have analysed the Behn's manipulation of commercially successful plays, giving them a twist from a woman's perspective. [4]
The play was not well received at the Dorset Garden but did move on to a staging at court in 1680. Samuel Johnson criticized the fact that Behn dedicated the printed version to the king's Protestant mistress. It seems there was never a second edition printed, and even the first was badly edited with errors and erratic line breaks. The Feign'd Curtizans might have seen a revival production in 1696. In any case, a 1716 production at Lincoln's Inn Fields is documented. Several further productions followed until 1717, after which the play no longer appears. [5]
Synchronicity Performance Group performed the play at Emory University in the 1997/1998 season. [6]
Aphra Behn was an English playwright, poet, prose writer and translator from the Restoration era. As one of the first English women to earn her living by her writing, she broke cultural barriers and served as a literary role model for later generations of women authors. Rising from obscurity, she came to the notice of Charles II, who employed her as a spy in Antwerp. Upon her return to London and a probable brief stay in debtors' prison, she began writing for the stage. She belonged to a coterie of poets and famous libertines such as John Wilmot, Lord Rochester. Behn wrote under the pastoral pseudonym Astrea. During the turbulent political times of the Exclusion Crisis, she wrote an epilogue and prologue that brought her legal trouble; she thereafter devoted most of her writing to prose genres and translations. A staunch supporter of the Stuart line, Behn declined an invitation from Bishop Burnet to write a welcoming poem to the new king William III. She died shortly after.
"Restoration comedy" is English comedy written and performed in the Restoration period of 1660–1710. Comedy of manners is used as a synonym for this. After public stage performances were banned for 18 years by the Puritan regime, reopening of the theatres in 1660 marked a renaissance of English drama. Sexually explicit language was encouraged by King Charles II (1660–1685) personally and by the rakish style of his court. Historian George Norman Clark argues:
The best-known fact about the Restoration drama is that it is immoral. The dramatists did not criticize the accepted morality about gambling, drink, love, and pleasure generally, or try, like the dramatists of our own time, to work out their own view of character and conduct. What they did was, according to their respective inclinations, to mock at all restraints. Some were gross, others delicately improper.... The dramatists did not merely say anything they liked: they also intended to glory in it and to shock those who did not like it.
The City-Heiress, or, Sir Timothy Treat-all is a play by Aphra Behn first performed in 1682. The play, a Restoration comedy, reflects Behn's own highly Royalist political point of view.
The Rover or The Banish'd Cavaliers is a play in two parts that is written by the English author Aphra Behn. It is a revision of Thomas Killigrew's play Thomaso, or The Wanderer (1664), and features multiple plot lines, dealing with the amorous adventures of a group of Englishmen and women in Naples at Carnival time. According to Restoration poet John Dryden, it "lacks the manly vitality of Killigrew's play, but shows greater refinement of expression." The play stood for three centuries as "Behn's most popular and most respected play."
Love-Letters Between a Nobleman and His Sister is a three-volume roman à clef by Aphra Behn playing with events of the Monmouth Rebellion and exploring the genre of the epistolary novel. The first volume, published in 1684, lays some claim to be the first English novel. Some scholars claim that the attribution to Behn remains in dispute. The novel is "based loosely on an affair between Ford, Lord Grey of Werke, and his wife's sister, Lady Henrietta Berkeley, a scandal that broke in London in 1682". It was originally published as three separate volumes: Love-Letters Between a Noble-Man and his Sister (1684), Love-Letters from a Noble Man to his Sister: Mixt with the History of Their Adventures. The Second Part by the Same Hand (1685), and The Amours of Philander and Silvia (1687). The copyright holder was Joseph Hindmarsh, later joined by Jacob Tonson.
Thomaso, or the Wanderer is mid-seventeenth-century stage play, a two-part comedy written by Thomas Killigrew, The work was composed in Madrid, c. 1654. Thomaso is based on Killigrew's personal experiences as a Royalist exile during the era of the Commonwealth, when he was abroad continuously from 1647 to 1660.
Mary, Lady Slingsby, born Aldridge, was an English actress. After a marriage lasting 1670 to 1680 to John Lee, an actor, during which she was on the stage as Mrs. Lee, she was widowed. She then married Sir Charles Slingsby, 2nd Baronet, a nephew of Sir Robert Slingsby, and performed as Lady Slingsby. Theatre historians have pointed out the difficulty in identifying her roles in the period when Elinor Leigh, wife of Anthony Leigh, was performing as Mrs. Leigh, because the homophones "Lee" and "Leigh" were not consistently spelled at the time.
The Forc'd Marriage; or, The Jealous Bridegroom is a play by Aphra Behn, staged by the Duke's Company on 20 September 1670 in Lincoln's Inn Fields, London, England. This sex tragicomedy ran for six nights, which granted Behn the house profits for both the third and six nights. It is considered her first staged play. Thomas Otway played a "probation part."
John Hoyle was a bisexual lawyer in London and a lover of the writer Aphra Behn. Behn's relationship with Hoyle was the "dominating one" in her life.
The Town-Fopp: or, Sir Timothy Tawdrey is a Restoration comedy written by Aphra Behn and first staged in 1676. It deals with an unhappy marriage and its dissolution.
The Younger Brother, or, The Amorous Jilt is a comedy written by Aphra Behn. The play was first performed and published posthumously in 1696, but was probably written in the late 1680s.
Sir Patient Fancy: A Comedy, is a comedic play written by Aphra Behn, first performed in 1678. It is Behn's first overtly political play. It was staged by the Duke's Company at the Dorset Garden Theatre in London with a cast that included Nell Gwyn as Lady Knowell, Anthony Leigh as Sir Patient Fancy, John Crosby as Leander Fancy, Thomas Betterton as Wittmore, William Smith as Lodwick Knowell, James Nokes as Sir Credulous Easy, John Richards as Curry, Elizabeth Currer as Lady Fancy, Mary Betterton as Isabella, Emily Price as Lucretia and Anne Shadwell as Maundy.
The Young King, or, The Mistake is a tragicomedy written by Aphra Behn. It was probably written during the 1660s, but was not staged until 1679. It explores notions of kingship and divine right, and gender and heroism.
Joseph Williams was an English stage actor of the seventeenth and early eighteenth century.
Elizabeth Currer was an Irish stage actress of the Restoration Era. She was a member of the Duke's Company during the 1670s and subsequently part of the merged United Company from 1682. Although she was likely acting in London several years earlier than this, her first known role was in The Conquest of China in 1675. Due to the irregular spelling of the time her surname is sometimes written as Carrier, Corer and Currier amongst other variants.
George Bright was an English stage actor of the seventeenth and early eighteenth century. He specialised in playing "comic dullards, fops and bouncy servants". After beginning his career in Dublin he joined the Duke's Company at the Dorset Garden Theatre in 1679 and then became part of the merged United Company in 1682.
John Richards was an English stage actor of the seventeenth century. An early member of the Duke's Company in London, he was lured away to the new Smock Alley Theatre in Dublin by John Ogilby. He was back with the Duke's at the Dorset Garden Theatre from the mid-1670s, but while in Ireland he was able to play major roles his English performances were generally supporting parts.
Thomas Percival or Percivall was an English stage actor of the seventeenth century. He was a member of the Duke's Company from 1671 to 1682 and then the merged United Company until 1686. Throughout his career he was confined to playing supporting roles, never graduating to major parts. He was the father of the actress Susanna Verbruggen. In 1693, following his retirement from the stage, he was arrested for coin clipping, a capital crime, for which he was sentenced to hang at Tyburn. The intercession of his daughter with Mary II saw his sentence commuted to transportation, but before he reached Portsmouth he died of natural causes.
John Crosby was an English stage actor of the Restoration Period. He first recorded performance is in 1662 when he appeared in Ignoramus at Whitehall Palace, likely as a child actor. It was further eight years before he was solidly established in the Duke's Company in 1670 beginning with The Forc'd Marriage by Aphra Behn. He became a regular with the company over the following decade, often playing young lover roles. He retired from the stage in 1679 and later became a justice of the peace for Middlesex. He died on 8 April 1724 and was buried in St Sepulchre.
Emily Price was an English stage actress of the seventeenth century. She was a member of the Duke's Company between 1676 and 1682, acting at the Dorset Garden Theatre in London and then joined the merged United Company. She was a friend of the playwright Aphra Behn and appeared in several of her plays. She was billed as Mrs Price.
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