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Of all the amazons of prose fiction who in a long struggle with neglect and disparagement demonstrated the fitness of their sex to follow the novelist's calling, none was more persistent, more adaptable, or more closely identified with the development of the novel than she. Mrs. Behn and Mrs. Manley must be given credit as pioneers in fiction, but much of their best work was written for the stage.
"I hope and I beg of God he may live to be a comfort to us both. They tell me there is nothing extraordinary in want of teeth at his age, but his weakness makes me very apprehensive; he is almost never out of my sight. Mrs. Behn says that the cold bath is the best medicine for weak children, but I am very fearful and unwilling to try any hazardous remedies. He is very cheerful and full of play."
The only hit is his scheme for a female university, with Mrs. Manly and Mrs. Afra Behn in the chair of literature. His summary of woman's character and occupations was given earlier, with more brevity and wit, and no less truth, by Pope. To Sophia's historical illustrations he opposes female types named Tremula, Bellnina, Novilia, etc.
Behn tells us, that she herself had often seen and conversed with that great man, and been a witness to many of his mighty actions, and that at one time, he, and Imoinda his wife, were scarce an hour in a day from her lodgings; that they eat with her, and that she obliged them in all things she was capable of, entertaining them with the lives of the Romans and great men, which charmed him with her company; while she engaged his wife with teaching her all the pretty works she was mistress of, relating stories of Nuns, and endeavouring to bring her to the knowledge of the true God.
Behn hence took her hint for the phantom of the living Erminia. It is noticeable that generations after Tobin borrowed not a few incidents from The Lost Lady for The Curfew, produced at Drury Lane, 19 February, 1807, a posthumous play. p. 358 Tiffany. A kind of thin silk gauze. cf. Philemon Holland's Plinie, Bk.
The passions, that of love especially, she was mistress of, and gave us such nice and tender touches of them, that without her name we might discover the author. To this character of Mrs. Behn may be very properly added, that given of her by the authoress of her life and memoirs, in these words.
He introduced the Play called the Younger Brother, or the Amorous Jilt; written by Mrs. Behn, but not brought upon the stage 'till after her decease. He made very little alteration in it. Our author's plays have not his name to them; and his fault lies generally in the stile, which is too near an imitation of Lee's.
Behn was a notability as well as a notoriety in her day; and when I have great leisure for the work, I mean to write her life and do her justice. The task would have been worthy of De Foe; but, with a little help from you, I hope to do it passably. Poor Aphra! poet, dramatist, intriguant strumpet! Worthy of no better fate, take my benison of light laughter and of tears! Then there is Mrs.
All this is worthy of note, if we are to follow the course of English fiction without prejudice. For it will be shown that the nineteenth century, with all its well-deserved pride in an advanced refinement and morality, has produced a large number of novelists, both male and female, whose works are as immoral as those of Mrs. Behn, without her excuse.
He was a big Norwegian named Behn, many of his colleagues are Scandinavians, and he had spent eighteen years in the Congo. He knew every one of the thousand nooks, turns, snags and sand-bars of the Lualaba. One of the first things that impressed me was the uncanny ingenuity with which all the Congo boats are navigated through what seems at first glance to be a mass of vegetation and obstruction.
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