The Feign'd Curtizans: A Night's Intrigue

By Aphra Behn

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.

• Language: English
• Publisher: Interactive Media
• Release date: Jul 26, 2016
• ISBN: 9781911495598

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.

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Aphra Behn

Aphra Behn

The Feign’d Curtizans

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LONDON ∙ NEW YORK ∙ TORONTO ∙ SAO PAULO ∙ MOSCOW

PARIS ∙ MADRID ∙ BERLIN ∙ ROME ∙ MEXICO CITY ∙ MUMBAI ∙ SEOUL ∙ DOHA

TOKYO ∙ SYDNEY ∙ CAPE TOWN ∙ AUCKLAND ∙ BEIJING

New Edition

Published by Sovereign Classic

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This Edition

First published in 2016

Copyright © 2016 Sovereign

All Rights Reserved.

ISBN: 9781911495598

Contents

ARGUMENT.

PROLOGUE,

DRAMATIS PERSONAE.

EPILOGUE.

ARGUMENT.

Marcella and Cornelia, nieces to Count Morosini and sisters to Julio, who is contracted to Laura Lucretia, a lady of quality, sister of Count Octavio, in order to avoid Marcella’s marriage with this nobleman, secretly leave Viterbo where they live, and accompanied only by their attendants, Petro and Philippa, come to Rome, and there pass for courtezans under the names of Euphemia and Silvianetta. Their beauty wins them great renown in the gay world, and Sir Harry Fillamour, who loves Marcella, and Frank Galliard, two English travellers, are keenly attracted by this reputation. Sir Harry, however, is anxious for matrimony, Galliard for an intrigue. Marcella in her turn is already enamoured of Fillamour whom she has met at Viterbo. Morosini and Octavio follow the fugitives to Rome, whilst Laura Lucretia, who loves Galliard, disguises herself in male attire and takes a house on the Corso next door to the supposed courtezans. Fillamour and Galliard encounter the two ladies in the gardens of the Villa Medici, and Fillamour takes Marcella for a courtezan, whilst Galliard engages with Cornelia. Octavio passing with his followers spies and attacks his rival. A general mêlée ensues. Julio, who has not seen his family for seven years, next appears, having taken Cornelia for a cyprian and followed her from St. Peter’s. Marcella, in boy’s attire, then gives Fillamour a letter from herself, signed under her own name, making an appointment for that night; but at the same time Galliard, claiming a former promise, drags his friend off to visit Euphemia. The intrigue is complicated by the ridiculous amours of two foolish travellers, Sir Signal Buffoon and Mr. Tickletext, a puritan divine, his tutor. These, unknown to each other, make assignations with the two bona robas by means of Petro, who dupes them thoroughly by his clever tricks, and pockets their money. Whilst Galliard and Sir Harry are serenading the ladies, Octavio, Julio and their bravos attack them. After the scuffle Laura Lucretia coming from her house leads in Julio, mistaking him for Galliard, and he her for Silvianetta. Next Sir Harry and Galliard arrive in safety at the sisters’ house, and Marcella, as a courtezan, tempts her lover, who, however, refuses to yield and leaves her, to her secret joy. Tickletext has been placed by Petro in bed to await, as he supposes, Silvianetta, when Galliard in error entering the room in the dark gropes his way to the bed and finding a man, closes with him. The tutor escapes, and Cornelia coming in in the course of her wooing by Galliard informs him she is not really a courtezan as he supposed. In anger her gallant departs. Whilst he is telling Sir Harry this tale Cornelia, dressed as a page, follows him and delivers Fillamour a challenge as from Marcella’s brother, Julio, summoning him to the Piazza di Spagna. Julio himself, newly come from Laura Lucretia, meeting Galliard relates to him how he passed the night with Silvianetta, which confirms the opinion the Englishman had already formed of her treachery and deceit. Laura Lucretia overhears and sends her maid to bring her Galliard; but whilst he is with her, Cornelia, who has jealously followed, feigning to be Julio’s page, gives the amorous dame a letter as from her betrothed. The trick fails, Cornelia is laughed at as a saucy lad, repulsed and obliged to retire. Sir Harry is then met by Marcella dressed as a man and calling herself Julio. Julio himself happens to be at the Piazza di Spagna and he interrupts the quarrel. Octavio and Morosini speedily join him, as Crapine has tracked the runaways to their lodging. All these hurry into the courtezans’ house, where they find Fillamour and Galliard. Mutual explanations follow. Octavio nobly renounces Marcella in favour of Fillamour who claims her hand, whilst Cornelia gives herself to Galliard in sober wedlock. Tickletext and Sir Signal are then discovered to be concealed in the room, and their mutual frailties exposed. It is promised that the money of which Petro has choused them shall be restored, and everything is forgiven, since ’twas but one night’s intrigue, in which all were a little faulty.

SOURCE.

The plot of The Feign’d Curfezans; or, A Night’s Intrigue is wholly original. It is one of those bustling pieces, quick with complicated intrigue, of the Spanish comedias de capa y espada school, which Mrs. Behn loved, and which none could present more happily or wittily than she. To quote the Biographia Dramatics, ‘the play contains a vast deal of business and intrigue; the contrivance of the two ladies to obtain their differently disposed lovers, both by the same means, viz. by assuming the characters of courtezans, being productive of great variety.’ Some incidents, indeed, recall The Rover; and the accident of Tickletext being discovered in bed by Galliard is similar to that when Carlo comes upon Fetherfool in the same circumstance, Rover II, Act iv, iv. On the whole, however, The Feign’d Curtezans is the better play, and may not unjustly claim to be, if not Mrs. Behn’s masterpiece (a title it disputes with The Rover, Part I, and The Lucky Chance), at least one of the very best and wittiest of her sparkling comedies.

THEATRICAL HISTORY.

The Feign’d Curtezans; or, A Night’s Intrigue was produced at the Duke’s Theatre, Dorset Garden, in 1679. The cast was a star one, and Downes remarks that it was ‘well acted’; but though favourably received it does not, for some unaccountable reason, seem to have met with the triumphant success it certainly deserved. It continued to be played from time to time, and there was a notable revival on 8 August, 1716, at Lincoln’s Inn Fields. Galliard was acted by J. Leigh; Sir Harry, Smith; Sir Signal, Bullock; Tickletext, Griffin; Pedro, Spiller; Julio, Bull jun. Cornelia, Mrs. Cross; Marcella, Mrs. Thurmond; Laura Lucretia, Mrs. Spiller. It was performed three times that season, but soon after disappears from the repertory.

TO MRS. ELLEN GUIN.

Madam,

‘Tis no wonder that hitherto I followed not the good example of the believing Poets, since less faith and zeal then you alone can inspire, had wanted power to have reduc’t me to the true worship: Your permission, Madam, has inlightened me, and I with shame look back on my past Ignorance, which suffered me not to pay an Adoration long since, where there was so very much due, yet even now though secure in my opinion, I make this Sacrifice with infinite fear and trembling, well knowing that so Excellent and perfect a Creature as your self differs only from the Divine powers in this; the Offerings made to you ought to be worthy of you, whilst they accept the will alone; and how Madam, would your Altars be loaded, if like heaven you gave permission to all that had a will and desire to approach ‘em who now at distance can only wish and admire, which all mankinde agree to do; as if Madam, you alone had the pattent from heaven to ingross all hearts and even those distant slaves whom you conquer with your fame, pay an equall tribute to those that have the blessing of being wounded by your Eyes, and boast the happiness of beholding you dayly; insomuch that succeeding ages who shall with joy survey your History shall Envy us who lived in this, and saw those charming wonders which they can only reade of, and whom we ought in charity to pity, since all the Pictures, pens or pencills can draw, will give ‘em but a faint Idea of what we have the honour to see in such absolute Perfection; they can only guess She was infinitely fair, witty, and deserving, but to what Vast degrees in all, they can only Judge who liv’d to Gaze and Listen; for besides Madam, all the Charms and attractions and powers of your Sex, you have Beauties peculiar to your self, an eternal sweetness, youth and ayr, which never dwelt in any face but yours, of which not one unimitable Grace could be ever borrow’d, or assumed, though with never so much industry, to adorn another, they cannot steal a look or smile from you to inhance their own beauties price, but all the world will know it yours; so natural and so fitted are all your Charms and Excellencies to one another, so intirely design’d and created to make up in you alone the most perfect lovely thing in the world; you never appear but you glad the hearts of all that have the happy fortune to see you, as if you were made on purpose to put the whole world into good Humour, whenever you look abroad, and when you speak, men crowd to listen with that awfull reverence as to Holy Oracles or Divine Prophesies, and bears away the precious words to tell at home to all the attentive family the