Aphra Behn
Aphra Behn, (born 1640?, Harbledown?, Kent, Eng.—died April 16, 1689, London) English dramatist, fiction writer, and poet who was the first Englishwoman known to earn her living by writing.
Her origin remains a mystery, in part because Behn may have obscured her early life. One tradition identifies Behn as the child known only as Ayfara or Aphra who traveled in the 1650s with a couple named Amis to Suriname, which was then an English possession. She was more likely the daughter of a barber, Bartholomew Johnson, who may or may not have sailed with her and the rest of her family to Suriname in 1663. She returned to England in 1664 and married a merchant named Behn; he died (or the couple separated) soon after. Her wit and talent having brought her into high esteem, she was employed by King Charles II in secret service in the Netherlands in 1666. Unrewarded and briefly imprisoned for debt, she began to write to support herself.
Behn’s early works were tragicomedies in verse. In 1670 her first play, The Forc’d Marriage, was produced, and The Amorous Prince followed a year later. Her sole tragedy, Abdelazer, was staged in 1676. However, she turned increasingly to light comedy and farce over the course of the 1670s. Many of these witty and vivacious comedies, notably The Rover (two parts, produced 1677 and 1681), were commercially successful. The Rover depicts the adventures of a small group of English Cavaliers in Madrid and Naples during the exile of the future Charles II. The Emperor of the Moon, first performed in 1687, presaged the harlequinade, a form of comic theatre that evolved into the English pantomime.
Though Behn wrote many plays, her fiction today draws more interest. Her short novel Oroonoko (1688) tells the story of an enslaved African prince whom Behn claimed to have known in South America. Its engagement with the themes of slavery, race, and gender, as well as its influence on the development of the English novel, helped to make it, by the turn of the 21st century, her best-known work. Behn’s other fiction includes the multipart epistolary novel Love-Letters Between a Nobleman and His Sister (1684–87) and The Fair Jilt (1688).
Behn’s versatility, like her output, was immense; she wrote other popular works of fiction, and she often adapted works by older dramatists. She also wrote poetry, the bulk of which was collected in Poems upon Several Occasions, with A Voyage to the Island of Love (1684) and Lycidus; or, The Lover in Fashion (1688). Behn’s charm and generosity won her a wide circle of friends, and her relative freedom as a professional writer, as well as the subject matter of her works, made her the object of some scandal.
Alexander Pope
In the Spring of 1688, Alexander Pope was born an only child to Alexander Edith Pope. The elder Pope, a linen-draper and recent convert to Catholicism, soon moved his family from London to Binfield, Berkshire in the face of repressive, anti-Catholic legislation from Parliament. Described by his biographer, John Spence, as “a child of a particularly sweet temper," and with a voice so melodious as to be nicknamed the “Little Nightingale," the child Pope bears little resemblance to the irascible and outspoken moralist of the later poems. Barred from attending public school or university because of his religion, Pope was largely self-educated. He taught himself French, Italian, Latin, and Greek, and read widely, discovering Homer at the age of six.
At twelve, Pope composed his earliest extant work, Ode to Solitude; the same year saw the onset of the debilitating bone deformity that would plague Pope until the end of his life. Originally attributed to the severity of his studies, the illness is now commonly accepted as Pott’s disease, a form of tuberculosis affecting the spine that stunted his growth—Pope’s height never exceeded four and a half feet—and rendered him hunchbacked, asthmatic, frail, and prone to violent headaches. His physical appearance would make him an easy target for his many literary enemies in later years, who would refer to the poet as a “hump-backed toad.”
Pope’s Pastorals, which he claimed to have written at sixteen, were published in Jacob Tonson’s Poetical Miscellanies of 1710 and brought him swift recognition. Essay on Criticism, published anonymously the year after, established the heroic couplet as Pope’s principal measure and attracted the attention of Jonathan Swift and John Gay, who would become Pope’s lifelong friends and collaborators. Together they formed the Scriblerus Club, a congregation of writers endeavoring to satirize ignorance and poor taste through the invented figure of Martinus Scriblerus, who would serve as a precursor to the dunces in Pope’s late masterpiece, the Dunciad.
1712 saw the first appearance of the The Rape of the Lock, Pope’s best-known work and the one that secured his fame. Its mundane subject—the true account of a squabble between two prominent Catholic families over the theft of a lock of hair—is transformed by Pope into a mock-heroic send-up of classical epic poetry.
Turning from satire to scholarship, Pope in 1713 began work on his six-volume translation of Homer‘s Iliad. He arranged for the work to be available by subscription, with a single volume being released each year for six years, a model that garnered Pope enough money to be able to live off his work alone, one of the few English poets in history to have been able to do so.
In 1719, following the death of his father, Pope moved to an estate at Twickenham, where he would live for the remainder of his life. Here he constructed his famous grotto, and went on to translate the Odyssey—which he brought out under the same subscription model as the Iliad—and to compile a heavily-criticized edition of Shakespeare, in which Pope “corrected” the Bard’s meter and made several alterations to the text, while leaving corruptions in earlier editions intact.
Critic and scholar Lewis Theobald’s repudiation of Pope’s Shakespeare provided the catalyst for his Dunciad, a vicious, four-book satire in which Pope lampoons the witless critics and scholars of his day, presenting their “abuses of learning” as a mock-Aeneid, with the dunces in service to the goddess Dulness; Theobald served as its hero.
Though published anonymously, there was little question as to its authorship. Reaction to the Dunciad from its victims and sympathizers was more hostile than that of any of his previous works; Pope reportedly would not leave his house without two loaded pistols in his pocket. “I wonder he is not thrashed," wrote William Broome, Pope’s former collaborator on the Odyssey who found himself lambasted in the Dunciad, “but his littleness is his protection; no man shoots a wren.”
Pope published Essay on Man in 1734, and the following year a scandal broke out when an apparently unauthorized and heavily sanitized edition of Pope’s letters was released by the notoriously reprobate publisher Edmund Curll (collections of correspondence were rare during the period). Unbeknownst to the public, Pope had edited his letters and delivered them to Curll in secret.
Pope’s output slowed after 1738 as his health, never good, began to fail. He revised and completed the Dunciad, this time substituting the famously inept Colley Cibber—at that time, the country’s poet laureate—for Theobald in the role of chief dunce. He began work on an epic in blank verse entitled Brutus, which he quickly abandoned; only a handful of lines survive. Alexander Pope died at Twickenham, surrounded by friends, on May 30, 1744.
Since his death, Pope has been in a constant state of reevaluation. His high artifice, strict prosody, and, at times, the sheer cruelty of his satire were an object of derision for the Romantic poets of the nineteenth century, and it was not until the 1930s that his reputation was revived. Pope is now considered the dominant poetic voice of his century, a model of prosodic elegance, biting wit, and an enduring, demanding moral force.
