The Works of Aphra Behn, Volume II

In Short

This volume gathers several of the most vibrant plays from a prolific Restoration-era dramatist. Spanning from the dark, blood-soaked political machinations of Abdelazer to the intricate, fast-paced romantic intrigues of comedies like The Feign’d Curtezans, the collection showcases a master of theatrical construction. Through stories of illicit romances, power-hungry usurpers, and quick-witted women navigating narrow social confines, these works explore the volatility of human nature. They remain essential for their sharp, unflinching look at the stakes of loyalty, the fluidity of gendered performance, and the sheer audacity required to survive in a corrupt society.

The Story

The volume opens with Abdelazer, a tragedy of dark political ambition. The Moorish general Abdelazer serves the Spanish crown while nursing a secret desire for revenge. He enters into a toxic alliance with the Queen, a woman driven by lust and a cold, calculating will. Together, they orchestrate the death of the King. The narrative quickly spirals into a series of betrayals: the Queen’s son, Philip, discovers his mother’s infidelity and moral decay, sparking a cycle of violence. As Abdelazer maneuvers to seize the throne by branding Philip a bastard, the play descends into a brutal war where the lines between political authority and base treachery vanish. The tragedy concludes with the destruction of the old order, as the ruthless Moorish general disposes of his allies and enemies alike before the weight of his own violence consumes him.

In contrast, the volume’s comedies, such as The Feign’d Curtezans, offer a frantic, witty exploration of desire. In the latter, two sisters, Cornelia and Marcella, flee an unwanted marriage and an overbearing uncle in Rome. To preserve their freedom, they adopt the guise of courtesans. This masquerade acts as a mirror for their society, allowing them to navigate a world of "civil whining coxcombs" and aggressive suitors. The plot is a whirlwind of disguises, mistaken identities, and late-night trysts. While the men they encounter—like the bumbling Sir Signal or the more earnest Fillamour—stumble through their own illusions, the women use their wits to secure their own futures. In these comedies, the "courtesan" is not a victim, but a strategic role that grants them agency in a city where their actual status as women would render them invisible or trapped.

The collection also features The City Heiress, which highlights the playwright’s staunch political voice. It centers on a clash between a young, vibrant nephew, Wilding, and his wealthy, sanctimonious uncle, Sir Timothy Treat-all. The play serves as both a satire of hypocritical "sober" party politics and a display of romantic gamesmanship. The uncle’s desire for power and his gullibility provide the backdrop for Wilding’s efforts to claim his inheritance and win his lady. As the plot unfolds, the distinction between private morality and public posturing is consistently blurred. The ending finds the younger generation triumphant, having successfully outmaneuvered the old guard through a combination of audacity, deception, and genuine affection, leaving the audience to consider the triumph of vitality over the stifling weight of tradition.

How It Unfolds

The Machiavellian ascent The Moorish general Abdelazer leverages his military command to become the Queen’s lover, forming a murderous partnership that topples the Spanish monarchy. He systematically isolates his rivals, using the Queen’s own cruelty as a weapon to secure his path to the throne.

The shift to urban intrigue The perspective moves from the high-stakes politics of the court to the bustling, dangerous streets of Rome in The Feign’d Curtezans. Sisters flee their domestic cages, adopting the masks of courtesans to manipulate the men hunting them and, ultimately, to choose their own destinies.

The satirical clash In The City Heiress, the narrative turns to the domestic theater of a wealthy merchant’s house. The young, cavalier Wilding engages in a war of wits against his hypocritical uncle, transforming a battle for an inheritance into a series of farcical traps and disguises.

The resolution of contradictions The plays conclude with the collapse of the false fronts established by the antagonists. Whether through the tragic fall of a usurper or the comedic pairing of lovers, the narrative arc exposes the vanity of those who mistake their power for permanence.

The People

Abdelazer is a figure of immense capability and unbridled resentment. A Moorish general who resents his status as an outsider, he uses his courage only to facilitate his rise to power. His trajectory is a descent into cold, efficient cruelty, ending in total isolation.

The Queen is defined by her abandonment of "rigid virtue" in favor of absolute personal satisfaction. She sees her royal status as a license to indulge her impulses, and she is ultimately undone by the same jealousy and lack of restraint she instills in those around her.

Cornelia and Marcella serve as the intellectual and emotional centers of the comedies. Both are determined to maintain their personal freedom. Cornelia, in particular, is sharp-tongued and disdainful of the "dull laws" imposed on her sex, using her wit as a shield against a world that demands her compliance.

Wilding represents the energetic, if morally ambiguous, youth. His desire for his inheritance and his lady is framed not as simple greed, but as a rejection of his uncle’s hypocritical "sober" politics. He is a survivor who treats life as a series of maneuvers, always staying one step ahead of those who wish to constrain him.

Sir Timothy Treat-all stands as the antagonist to vitality. Driven by his own secret ambitions to be a "King" of his party, he embodies the pompous, deceptive nature of the civic elite. His eventual humiliation is the comedic justice that drives the play’s resolution.

In Its Own Voice

The Queen asserts her independence from societal expectations, choosing to prioritize her own desires over the "dull laws" of her time:

"No rigid Virtue shall my Soul possess, Let Gown-men preach against the Wickedness; Pleasures were made by Gods, and meant for us, And not t’ enjoy ‘em, were ridiculous."

Abdelazer reflects on the necessity of his deception and the cold calculation required to maintain his secret power:

"And he who keeps not silent hears his Death.-- This Night the Prince and Cardinal--do you mark me-- Are murder’d."

What It's Really About

These works are fundamentally an inquiry into the nature of performance. Whether characters are donning the literal vizor of a courtesan, the mask of a loyal courtier, or the disguise of an obedient heir, the book argues that social life is an ongoing act of theater. Beneath the surface of these plays lies a deep suspicion of authority, both political and moral. The central conflict is rarely between "good" and "evil," but between those who are honest about their ambitions and those who cloak them in piety. The author challenges the reader to look past the moralizing of the "gown-men" and recognize that human action, for better or worse, is driven by the volatile combination of passion, survival, and the persistent, messy human need for autonomy.

Why Read It Today

This volume is for readers who appreciate the grit of seventeenth-century life—a world of sharp wit, sudden violence, and deep-seated political division. The writing possesses a raw, kinetic energy that feels surprisingly modern in its cynicism toward institutions and its focus on the agency of women. Readers will find that the prose moves with a rapid, almost breathless pace, reflecting a time when survival depended on the next clever line or the next daring move.

However, modern readers should be prepared for the dense, period-specific dialect and the unapologetic brutality that surfaces in the tragedies. The play’s reliance on stereotypes—particularly those concerning the "Moorish" outsider—reflects the prejudices of the era, which the author utilizes with a complexity that may be jarring. Yet, for those who can navigate the linguistic and historical distance, the reward is an immersive experience. The characters are rarely simple; their moral compromises and their relentless drive to define themselves against the expectations of their society remain deeply resonant. It is a vibrant, sometimes uncomfortable, and consistently brilliant look at the theater of human ambition, offering a perspective that feels as dangerous and immediate today as it did when it was first performed.