The Dutch Lover: "There is no sinner like a young saint."

By Aphra Behn

Aphra Behn was a prolific and well established writer but facts about her remain scant and difficult to confirm. What can safely be said though is that Aphra Behn is now regarded as a key English playwright and a major figure in Restoration theatre. Aphra was born into the rising tensions to the English Civil War. Obviously a time of much division and difficulty as the King and Parliament, and their respective forces, came ever closer to conflict. There are claims she was a spy, that she travelled abroad, possibly as far as Surinam. By 1664 her marriage was over (though by death or separation is not known but presumably the former as it occurred in the year of their marriage) and she now used Mrs Behn as her professional name. Aphra now moved towards pursuing a more sustainable and substantial career and began work for the King's Company and the Duke's Company players as a scribe. Previously her only writing had been poetry but now she would become a playwright. Her first, “The Forc’d Marriage”, was staged in 1670, followed by “The Amorous Prince” (1671). After her third play, “The Dutch Lover”, Aphra had a three year lull in her writing career. Again it is speculated that she went travelling again, possibly once again as a spy. After this sojourn her writing moves towards comic works, which prove commercially more successful. Her most popular works included “The Rover” and “Love-Letters Between a Nobleman and His Sister” (1684–87). With her growing reputation Aphra became friends with many of the most notable writers of the day. This is The Age of Dryden and his literary dominance. From the mid 1680’s Aphra’s health began to decline. This was exacerbated by her continual state of debt and descent into poverty. Aphra Behn died on April 16th 1689, and is buried in the East Cloister of Westminster Abbey. The inscription on her tombstone reads: "Here lies a Proof that Wit can never be Defence enough against Mortality." She was quoted as stating that she had led a "life dedicated to pleasure and poetry."

• Language: English
• Publisher: Copyright Group
• Release date: Aug 17, 2015
• ISBN: 9781785433320

Aphra Behn

Aphra Behn (1640-1689) was one of the first Englishwomen to earn a living from writing. She was a playwright, poet, translator, and fiction writer during the Restoration era. Behn’s plays and writing were well-received by the public, but she often found herself in legal trouble or being judged harshly because critics did not like that she was a successful woman. Behn remained a strong advocate for herself, and argued that women should have the same education opportunities as men, paving the way for more women to become writers.

Book preview

The Dutch Lover by Aphra Behn

Aphra Behn was a prolific and well established writer but facts about her remain scant and difficult to confirm. What can safely be said though is that Aphra Behn is now regarded as a key English playwright and a major figure in Restoration theatre

Aphra was born into the rising tensions to the English Civil War. Obviously a time of much division and difficulty as the King and Parliament, and their respective forces, came ever closer to conflict.

There are claims she was a spy, that she travelled abroad, possibly as far as Surinam. 

By 1664 her marriage was over (though by death or separation is not known but presumably the former as it occurred in the year of their marriage) and she now used Mrs Behn as her professional name.   

Aphra now moved towards pursuing a more sustainable and substantial career and began work for the King's Company and the Duke's Company players as a scribe.

Previously her only writing had been poetry but now she would become a playwright. Her first, The Forc’d Marriage, was staged in 1670, followed by The Amorous Prince (1671). After her third play, The Dutch Lover, Aphra had a three year lull in her writing career. Again it is speculated that she went travelling again, possibly once again as a spy.

After this sojourn her writing moves towards comic works, which prove commercially more successful. Her most popular works included The Rover and Love-Letters Between a Nobleman and His Sister (1684–87).

With her growing reputation Aphra became friends with many of the most notable writers of the day. This is The Age of Dryden and his literary dominance.

From the mid 1680’s Aphra’s health began to decline.  This was exacerbated by her continual state of debt and descent into poverty.

Aphra Behn died on April 16th 1689, and is buried in the East Cloister of Westminster Abbey. The inscription on her tombstone reads: Here lies a Proof that Wit can never be Defence enough against Mortality. She was quoted as stating that she had led a life dedicated to pleasure and poetry.

Index of Contents

ARGUMENT

SOURCE

THEATRICAL HISTORY

AN EPISTLE TO THE READER

DRAMATIS PERSONÆ.

MEN

WOMEN

THE SCENE. MADRID.

ACT I

SCENE I. A Street.

SCENE II. Ambrosio's House.

SCENE III. A Grove.

ACT II

SCENE I. The Street.

SCENE II. The Scene Changes to a Chamber.

SCENE III. A Street.

SCENE IV. Changes to a Dark Hall.

SCENE V. Changes to the Street. Discovers Alonzo Alone.

SCENE VI. Chamber of Cleonte.

SCENE VII. The Street.

ACT III

SCENE I. House of Carlo.

SCENE II. A Flat Grove.

SCENE III. Draws off. A Grove.

SCENE IV. The Garden.

ACT IV

SCENE I. Carlo's House.

SCENE II. The Street.

SCENE III. A Deep Grove.

ACT V

SCENE I. A Garden.

SCENE II. Carlo's House.

EPILOGUE

Aphra Behn – A Short Biography

Aphra Behn – A Concise Bibliography

The Dorset Square Theatre – A Short History

ARGUMENT

Roderigo, the natural son of the great Count d' Olivarez, minister to Philip IV of Spain,  was, upon his father's disgrace, given over when very young to the care of a certain Don Ambrosio, and by him brought up as his own child. Ambrosio has one son, Marcel, and two daughters, Hippolita and Cleonte. Marcel, whilst in Flanders, promised Hippolita to his friend Alonzo. This Alonzo is the son of a lady Octavia and Don Manuel. But Manuel's rival in Octavia's love, Alonzo, stole their boy when an infant and brought him up to arms, giving him his own name.

Pedro, an old servant, who is cognizant of this, is sworn to secrecy.

Alonzo arrives in Madrid purposing to wed Hippolita as he desires to ally himself with so ancient and powerful a family as Ambrosio's. Hippolita, however, having been betrayed by a German named Antonio, has fled, and now resides in a house of pleasure in the town, having assumed the habit of a Venetian courtezan. Alonzo meeting Euphemia, sister to his friend Lovis, becomes enamoured of her, and the lady grants him a rendezvous at a house where they will be uninterrupted, it happens this house is the bagnio where Hippolita is secreted. Marcel, on his way to visit Clarinda, whom he loves, recognizes Alonzo and follows him to his rendezvous, Olinda, Euphemia's maid, mistakenly introduces Marcel to her mistress. Euphemia is veiled and Marcel, who has heard that his sister is living in that house, in his turn mistakes the lady for Hippolita, more especially as he meets Antonio there. The two men fight, but Alonzo entering interferes. Antonio escapes, bearing away Hippolita. Euphemia, whom Marcel in a passion of revenge would kill, is soon discovered not to be Hippolita, and the angry brother duly retires from the scene. Alonzo, however, leaving the house is accosted for Marcel by Dormida, Clarinda's maid, who gives him the key to their house. Alonzo enters followed by Marcel who is close on his heels. They jostle and fight in the darkness of the hall within, and Alonzo departs leaving Marcel wounded. Dormida fearing trouble drags Clarinda forth and meeting Alonzo in the street they throw themselves on his honourable protection.

A complete stranger, in his dilemma he escorts them to the mansion of Ambrosio, and they chance on Cleonte's chamber. She has just had a visit from Silvio (under which name Roderigo passes), who is burning with passion for her but shrinks from his supposed sister. Cleonte offers the two ladies a refuge and Alonzo retires. With the aid of his friend Lovis he assumes the habit of Haunce van Ezel, a Dutch boor who is contracted to Euphemia, and, as Haunce, courts Lovis' sister with the full approbation of their father Don Carlo. When Haunce himself appears he is greeted with some familiarity as having been at the house before. The Dutch Lover, who has newly arrived, chances on a strife between Antonio and Hippolita and interfering disarms Antonio, wounding him in the face.

Cleonte meantime has introduced her guest Clarinda to Silvio, and Marcel seeing them together concludes that his own brother is the man who fought him on the previous night and indeed his favoured rival. At once he challenges him and they arrange to have a duel in a grove near the town. Here, however, comes Hippolita disguised in man's attire, awaiting Antonio to whom she has sent a billet signed 'Alonzo'. She retires, whilst Silvio appears, and when he is engaged with Marcel, Alonzo rushes in and parts them. Alonzo avows that it was he who caused the confusion with Clarinda, and arranges to meet Marcel later in another spot.

Antonio next arrives and Hippolita, calling herself Alonzo, draws, but Alonzo himself insists on taking up the quarrel. At the clash of steel Marcel returns and all four fight, Marcel with Hippolita, whom he wounds, Alonzo with Antonio, whom he disarms, Hippolita reveals herself, Alonzo claims her, but Antonio declaring that he is bound to her by sacred vows rescues her from Marcel's vengeance and obtains his forgiveness. All return to Ambrosio's house where they find Cleonte and Clarinda. Explanations ensue, and Marcel is at Clarinda's feet. Pedro, however, who attends Alonzo, recognizes his old fellow-servant, Dormida, duenna to Clarinda, and learning Don Manuel is dead, reveals that Alonzo is Clarinda's brother, also handing over papers left by Don Alonzo the foster-father, which bestow 12,000 crowns a year on his adopted son, Alonzo portions Clarinda and gives her to Marcel. Francisca, woman to Cleonte, informs Silvio that Cleonte will yield to him, Silvio, suddenly revolted, declares he will present himself, but secretly resolves to poinard his sister. Marcel who has overheard the conference, beside himself with rage, dashes on Silvio with dagger drawn and when checked by Ambrosio and the rest who rush in at Francisca's cries makes known the cause of his wrath. Francisca confesses that Cleonte had sent no such message, but herself purposed to take her mistress' place that night and receive Silvio. Ambrosio then reveals the secret of Silvio's birth and gives Cleonte to him, in his joy even taking Hippolita to his arms since Antonio has married her. Alonzo, meanwhile, disguised as Haunce has been united to Euphemia. He is discovered by the arrival on the scene of the real Haunce accompanied by Gload, a foolish tutor.

Carlo is soon reconciled to the new bridegroom, whilst Haunce and Gload joining in a masquerade find themselves unexpectedly wedded to Olinda and Dorice, two women attendant on the lady Euphemia.

SOURCE

Mrs. Behn founded the plot of The Dutch Lover upon the stories of Eufemie and Theodore, Don Jame and Frederic, in a pseudo-Spanish novel entitled 'The History of Don Fenise, a new Romance written in Spanish by Francisco de Las Coveras, And now Englished by a Person of Honour, London, Printed for Humphrey Moseley,' 8vo, 1651. There is of course no such Spanish author as 'the ingenious Don Francisco de las Coveras'. The chief merit of the book is purely bibliographical: it is a very rare volume and difficult to meet with. The Bodleian indeed contains a copy, but it is not to be found in the British Museum library. The somewhat morbid theme of overwhelming passion barred by consanguinity eventually discovered to be false, which is here exemplified in the love of Silvio for Cleonte, occurs more than once in the later Jacobean and Carolan drama. In Beaumont and Fletcher's tragicomedy A King and no King (1611: Quarto, 1619), we have Arbaces enamoured of Panthea, his reputed sister; similar motives are to be found in Arthur Wilson's The Swizzer (1631); but in Middleton's Women beware Women (circa 1612: Quarto, 1657), no contrivance can legitimize the incestuous loves of Hippolito and Isabella, and death is the only solution. In Massinger's The Unnatural Combat (1621: Quarto, 1639), the demoniac Malefort pursues his daughter Theocrine with the same baleful fires as Francesco Cenci looked on Beatrice, but the height of horror, harrowing the soul with pity and anguish, culminates in Ford's terrible scenes Tis Pity She's a Whore (Quarto, 1633), so tenderly tragic, so exquisitely beautiful for all their moral perversity, that they remain unequalled outside Shakespeare.

In the Restoration Theatre the theme of consanguinity was originally dealt with no less than three times by Dryden: comically, in The Spanish Friar (1681), when Lorenzo, after all the love-brokerage of pursy Father Dominic, discovers Elvira to be his sister: tragically, in Don Sebastian (1690), when Sebastian and Almeyda are separated by the disclosures of old Alvarez: sentimentally and romantically, in Love Triumphant (1693-4), when Alphonso wins Victoria whom he has long loved, even whilst she was supposed to be his sister. Otway it will be remembered turns the pathetic catastrophe of The Orphan (1680), upon a deceit which produces similar though unhappy circumstances. In 1679, Oedipus, a joint production of Dryden and Lee, was brought out with great success at the Duke's Theatre, Dorset Gardens.

Unhallowed and incestuous passions again form the plot of The Fatal Discovery; or, Love in Ruins (Quarto, 1698), produced at Drury Lane, a play seemingly derived from Bandello, Part II, Novel 35, which coincides with the thirtieth tale of the Heptameron. In various forms, however, this legend is to be found in the literature of all countries, and a cognate tradition is even attached to certain districts.

Innocence Distress'd; or, The Royal Penitents, a tragedy by Robert Gould (ob. 1709), never performed but published by subscription (8vo, 1737), for the benefit of his daughter Hannah, is based on the same story. Gould's work is weak and insipid.

Later in the eighteenth century we have Horace Walpole's The Mysterious Mother (8vo, 1768), an unacted drama of extraordinary power and undissipated gloom on the same terrible theme; whilst Shelley's The Centi, published in 1819, which the poet most emphatically intended for the boards, remains a masterpiece of supreme