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Aphra Behn's career in the Restoration theatre extended over nearly two full decades, and encompassed a remarkable generic range and diversity. The plays in this volume, published and performed between 1676 and 1678, include comedies set in London and Naples (The Town-Fopp and Sir Patient Fancy; The Rover), and two anonymously published plays long associated with Behn's name (The Counterfeit Bridegroom and The Debauchee). Collectively, Behn's plays of this period exemplify her skills in writing for individual performers, and exhibit both the topical political engagement with and sophisticated response to Restoration libertinism for which she is renowned. They also bear witness to Behn's popularity with theatre audiences during the politically difficult years of the 1670s. The present edition draws on recent scholarship on Restoration literary, theatrical and political history, and is also informed by the most up-to-date research in the field of computational attribution.
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This study focuses on the 1670–71 season in the Restoration playhouses, an exciting and formative moment in theatrical and political history. The year proved to be difficult and damaging to King Charles II, as political, religious, and personal matters provoked controversy and disquiet, and the country teetered on the brink of major constitutional problems. My research sets drama against this backdrop. Theatrical records for this period are patchy and, for the most part, frustratingly incomplete: this book does not attempt to reconstruct the day-to-day operations of the playhouses, but rather it uses the available evidence of the extant new and revived plays we know (or believe) to have been performed in the 1670–71 theatrical season, and argues that this was the period in which serious and far-reaching political and dramatic questions began to be seriously asked and (tentatively) answered.