The City Heiress: or, Sir Timothy Treat-All

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: Jun 6, 2016
• ISBN: 9781785438363

Aphra Behn

Born in the first few decades of the seventeenth century, Aphra Behn is one of early literature’s best-known female writers. Behn had the lucky distinction of being able to support herself strictly by her “pen,” something unheard of for women of her time. Throughout her long career, she wrote in various forms—poetry, plays, prose—and is known as a member of the ‘fair triumvirate of wit’ alongside fellow scribes Eliza Haywood and Delarivier Manley. Although little is known about her early life, Behn’s father held a post as lieutenant governor of Surinam, and Behn’s experiences during her stay most likely formed the basis for her most famous work, Oroonoko. Behn was also a popular dramatist in her time, penning critical successes like The Rover and The Feigned Courtesans. Her literary exploits aside, Behn is also known to have acted as a political spy for King Charles II of England during the Second Anglo-Dutch War. Behn died in 1689, and is buried in Westminster Abbey.

Book preview

The City Heiress by Aphra Behn

Or, SIR TIMOTHY TREAT-ALL

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

To THE RIGHT HONOURABLE HENRY, EARL OF ARUNDEL, AND LORD MOWBRAY.

DRAMATIS PERSONAE

MEN

WOMEN

SCENE, Within the Walls of London

THE CITY HEIRESS; or, Sir Timothy Treat-all

PROLOGUE

ACT I

SCENE I. The Street

ACT II

SCENE I -  A Room

SCENE II -  The Street

SCENE III - Changes to a Chamber

ACT III.

SCENE I - A Room

ACT IV

SCENE I - A Dressing-Room

SCENE II - Changes. Another Room in Lady Galliard's House

ACT V

SCENE I - Sir Timothy's House

SCENE II - Changes to Wilding's Chamber

SCENE III - Changes to Diana's Chamber

SCENE IV - Changes to a Street

SCENE V - Changes to a Chamber

EPILOGUE

APHRA BEHN – A SHORT BIOGRAPHY

APHRA BEHN – A CONCISE BIBLIOGRAPHY

THE DORSET SQUARE THEATRE – A SHORT HISTORY

ARGUMENT

The scene is London. Sir Timothy Treat-all, an old seditious knight, that keeps open house for Commonwealthsmen and true Blue Protestants, has disinherited his nephew, Tom Wilding, a town gallant and a Tory. Wilding is pursuing an intrigue with Lady Galliard, a wealthy widow, and also with Chariot, heiress to the rich Sir Nicholas Get-all, recently deceased. Lady Galliard is further hotly wooed by Sir Charles Meriwill, a young Tory, but she favours Wilding. Sir Charles is encouraged in his suit by his roystering uncle, Sir Anthony. Wilding introduces his mistress Diana to Sir Timothy as the heiress Charlot; and at an entertainment given by Sir Timothy, Charlot herself appears, disguised as a Northern lass, to watch the progress of Tom's intrigue with the widow, who eventually yields to him. Sir Charles, none the less, backed by Sir Anthony, still persists, and after various passionate scenes forces her to consent to become his bride. Meanwhile Sir Timothy has arranged a marriage with Diana, whom he firmly believes to be Charlot. During the progress of the entertainment he is visited by a strange nobleman and his retinue, who offer him the crown of Poland and great honours. That night, however, his house is rifled by thieves and his money and papers stolen.

He himself is pinioned hand and foot, the foreign lord bound fast in his own room, and all his followers secured. Sir Timothy having married Diana discovers that she is none other than his nephew's mistress, and, moreover, the Polish ambassador was Tom in masquerade, the attendants and burglars his friends, who by obtaining his treasonable correspondence are able effectually to silence the old knight. Wilding is united to Charlot, whilst Lady Galliard weds Charles Meriwill.

SOURCE

The City Heiress is most manifestly borrowed from two main sources. Sir Anthony Meriwill and Charles are Durazzo and Caldoro from Massinger's The Guardian (licensed 31 October, 1633, 8vo, 1655). Mrs. Behn has transferred to her play even small details and touches. The burglary, that most wonderful of all burglaries, is taken and improved from Middleton's A Mad World, My Masters (4to, 1608), Act ii, where Sir Bounteous Progress is robbed by Dick Folly-Wit, his grandson, in precisely the same way as Sir Timothy is choused by Tom. On 4 February, 1715, Charles Johnson produced at Drury Lane his The Country Lasses; or, The Custom of the Manor, a rifacimento of Fletcher's The Custom of the Country and The City Heiress. It is a well-written, lively enough comedy, but very weak and anaemic withal when compared to Mrs. Behn. B. G. Stephenson, in his vivacious libretto to Cellier's tuneful opera, Dorothy, produced at the Gaiety Theatre, 25 September, 1886, has made great use of Johnson's play, especially Act i, where the gallants meet the two ladies disguised as country girls; the duel scenes of Act v; and the pseudo-burglary of Act iii. He even gives his comic sheriff's officer the name of Lurcher, who in Johnson is the rackety nephew that tricks his hospitable old uncle, Sir John English. The Biographia Dramatica states that Mrs. Behn 'introduced into this play (The City Heiress) a great part of the Inner Temple Masque by Middleton.' This charge is absolutely unfounded, and it would not be uninteresting to know how so complete an error arose. The two have nothing in common. It must be allowed that Mrs. Behn has displayed such wit and humour as amply to justify her plagiarisms. Sir Timothy Treat-all himself is, of course, Shaftesbury almost without disguise. There are a thousand telling hits at the President of the Council and his vices. He was also bitterly satirized in many other plays. In Nevil Payne's The Siege of Constantinople (1675) he appears as The Chancellor; 1680 in Otway's Shakespearean cento cum bastard classicism Caius Marius some very plain traits can be recognized in the grim Marius senior; in Southerne's The Loyal Brother (1682) Ismael, a villainous favourite; in Venice Preserved (1682) the lecherous Antonio; in the same year Banks caricatured him as a quite unhistorical Cardinal Wolsey, Virtue Betray'd; or, Anna Bullen; in Crowne's mordant City Politics (1683) the Podesta of a most un-Italian Naples; the following year Arius the heresiarch in Lee's Constantine the Great; in the operatic Albion and Albanius (1685), Dryden does not spare even physical infirmities and disease with the crudest yet cruellest exhibition, and five years later he attacked his old enemy once more as Benducar in that great tragedy Don Sebastian.

THEATRICAL HISTORY

The City Heiress; or, Sir Timothy Treat-all was produced at the Duke's House, Dorset Garden, in 1682. Downes specially mentions it as having been 'well acted', and it was indeed an 'all star' cast. It had a tremendous ovation but in spite of its great merit did not become a stock play, probably owing to the intensely political nature of much of its satirical wit, a feature necessarily ephemeral. It seems, however, to have been presented from time to time, and there was a notable revival on 10 July, 1707, at the Haymarket, for the benefit of Husband and Pack. Sir Timothy was played by Cross; Tom Wilding, Mills; Sir Anthony, Bullock; Foppington, Pack; Lady Galliard, Mrs. Bradshaw; Charlot, Mrs. Bicknall; Clacket, Mrs. Powell. It met with a very favourable reception.

To the Right Honourable Henry Earl of Arundel, and Lord Mowbray.

MY LORD,

'Tis long that I have with great impatience waited some opportunity to declare my infinite Respect to your Lordship, coming, I may say, into the World with a Veneration for your Illustrious Family, and being brought up with continual Praises of the Renowned Actions of your glorious Ancestors, both in War and Peace, so famous over the Christian World for their Vertue, Piety, and Learning, their elevated Birth, and greatness of Courage, and of whom all our English History are full of the Wonders of their Lives: A Family of so Ancient Nobility, and from whom so many Heroes have proceeded to bless and serve their King and Country, that all Ages and all Nations mention 'em even with Adoration: My self have been in this our Age an Eye and Ear-witness, with what Transports of Joy, with what unusual Respect and Ceremony, above what we pay to Mankind, the very Name of the Great Howards of Norfolk and Arundel, have been celebrated on Foreign Shores! And when any one of your Illustrious Family have pass'd the Streets, the People throng'd to praise and bless him as soon as his Name has been made known to the glad Croud. This I have seen with a Joy that became a true English heart, (who truly venerate its brave Country-men) and joyn'd my dutiful Respects and Praises with the most devout; but never had the happiness yet of any opportunity to express particularly that Admiration I have and ever had for your Lordship and your Great Family. Still, I say, I did admire you, still I wish'd and pray'd for you; 'twas all I cou'd or durst: But, as my Esteem for your Lordship daily increased with my Judgment, so nothing cou'd bring it to a more absolute height and perfection, than to observe in these troublesome times, this Age of Lying, Peaching, and Swearing with what noble Prudence, what steadiness of Mind, what Loyalty and Conduct you have evaded the Snare, that 'twas to be fear'd was laid for all the Good, the Brave, and Loyal, for all that truly lov'd our best of Kings and this distracted Country. A thousand times I have wept for fear that Impudence and Malice wou'd extend so far as to stain your Noble and ever-Loyal Family with its unavoidable Imputatious; and as often for joy, to see how undauntedly both the Illustrions Duke your Father, and your Self, stem'd the raging Torrent that threatned, with yours, the ruin of the King and Kingdom; all which had not power to shake your Constancy or Loyalty: