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The Works of Aphra Behn Volume IV   By: (1640-1689)

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[Transcriber's Note:

This e text comes in two forms: Latin 1 and ASCII 7. Use the one that works best on your text reader. In the Latin 1 version, French words like "étude" have accents and "æ" is a single letter. If you see any garbage in this paragraph and can't get it to display properly, use the ASCII 7 or rock bottom version. All necessary text will still be there; it just won't be as pretty.

In the printed book, all notes were grouped at the end of the volume as "Notes on the Text" and "Notes: Critical and Explanatory". For this e text, notes have been placed after their respective plays. The Notes as printed give only page and line numbers; act and scene designations shown between marks were added by the transcriber. Labels such as "Scene IIa" refer to points where the scene description changes without a new scene number.

The critical notes include a few cross references to other volumes of the Complete Works. Where appropriate, these texts are quoted after each play's Notes, before the Errata. The "N.E.D." of the Notes is now generally known as the OED.

Except in the Errata lists, all brackets are in the original.

Typographic note: In the printed book, all references to plays give the Act in lower case Roman numerals and the Scene in small capital Roman numerals; the two look identical except for the dots over the i's. For this plain text version, the conventional "IV.iv" sequence was used instead.]

THE WORKS

of

APHRA BEHN

Edited by MONTAGUE SUMMERS

VOL. IV

Sir Patient Fancy The Amorous Prince The Widow Ranter The Younger Brother

[Illustration: (Publisher's Device)]

LONDON: WILLIAM HEINEMANN STRATFORD ON AVON: A. H. BULLEN MCMXV

CONTENTS. Page

Sir Patient Fancy 1 The Amorous Prince 117 The Widow Ranter 215 The Younger Brother; Or, The Amorous Jilt 311 Notes 401

SIR PATIENT FANCY.

[Transcriber's Note:

Entrances and bracketed stage directions were printed in italics , with proper names in roman type. The overall italic markup has been omitted for readability.]

ARGUMENT.

Sir Patient Fancy, a hypochondriacal old alderman, has taken a second wife, Lucia, a young and beautiful woman who, although feigning great affection and the strictest conjugal fidelity, intrigues with a gallant, Charles Wittmore, the only obstacle to their having long since married being mutual poverty. However, the jealousy and uxoriousness of the doting husband give the lovers few opportunities; on one occasion, indeed, as Lady Fancy is entertaining Wittmore in the garden they are surprised by Sir Patient, and she is obliged to pass her visitor off under the name of Fainlove as a suitor to her step daughter, Isabella, in which rôle he is accepted by Sir Patient. But Isabella has betrothed herself to Lodwick, a son of the pedantic Lady Knowell: whilst Lucretia Knowell loves Leander, the alderman's nephew, in spite of the fact that she is promised by her mother to Sir Credulous Easy, a bumpkinly knight from Devonshire. Lodwick, who is a close friend of Leander, has been previously known to Sir Credulous, and resolving to trick and befool the coxcomb warmly welcomes him on his arrival in town. He persuades him, in fine, to give a ridiculous serenade, or, rather, a hideous hubbub, of noisy instruments under his mistress' window. A little before this Lady Knowell with a party of friends has visited Sir Patient, who is her next neighbour, and the loud laughter, talking, singing and foppery so enrage the precise old valetudinarian that he resolves to leave London immediately for his country house, a circumstance which would be fatal to his wife's amours... Continue reading book >>


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