The Secret Life Of Aphra Behn

'All women together ought to let flowers fall upon the tomb of Aphra Behn; for it was she who earned them the right to speak their minds,' said Virginia Woolf. Yet that tomb, in Westminster Abbey, records one of the few uncontested facts about this Restoration playwright, poet, novelist and spy: the date of her death, 16 April 1689. For the rest secrecy and duplicity are almost the key to her life. She loved codes, making and breaking them; writing her life becomes a decoding of a passionate but playful woman. Janet Todd draws on documents she has rediscovered in the Dutch archives, and on Behn's own writings, to tell a story of court, diplomatic and sexual intrigue, and of the rise from humble origins of the first woman to earn her living as a professional writer. Aphra Behn's first notable employment was as a Royal spy in Holland; she had probably also spied in Surinam. It was not until she was in her thirties that she published the first of the 19 plays and other works which established her fame (though not riches) among her 'good, sweet, honey-candied readers'. Many of her works were openly erotic, indeed as frank as anything by her friends Wycherley and Rochester. Some also offered an inside view of court and political intrigues, and Todd reveals the historical scandals and legal cases behind some of Behn's most famous 'fictions'.

'Fascinating scholarship. Todd conveys Behn's vivacious character and the mores of the time' New York Times 'All women together ought to let flowers fall upon the tomb of Aphra Behn; for it was she who earned them the right to speak their minds,' said Virginia Woolf. Yet that tomb, in Westminster Abbey, records one of the few uncontested facts about this Restoration playwright, poet of the erotic and bisexual, political propagandist, novelist and spy: the date of her death, 16 April 1689. For the rest secrecy and duplicity are almost the key to her life. She loved codes, making and breaking them; writing her life becomes a decoding of a passionate but playful woman. In this revised biography, Janet Todd draws on documents she has rediscovered in the Dutch archives, and on Behn's own writings, to tell a story of court, diplomatic and sexual intrigue, and of the rise from humble origins of the first woman to earn her living as a professional writer. Aphra Behn's first notable employment was as a royal spy in Holland; she had probably also spied in Surinam. It was not until she was in her thirties that she published the first of the nineteen plays and other works which established her fame (though not riches) among her 'good, sweet, honey-candied readers'. Many of her works were openly erotic, indeed as frank as anything by her friends Wycherley and Rochester. Some also offered an inside view of court and political intrigues, and Todd reveals the historical scandals and legal cases behind some of Behn's most famous 'fictions'. Janet Todd, novelist and internationally renowned scholar, was president of Lucy Cavendish College, Cambridge, and a Professor at Rutgers, NJ. An expert on women's writing and feminism, she has written about many writers, including Jane Austen, the Shelley Circle, Mary Wollstonecraft, and Aphra Behn. 'Ground-breaking it reads quickly and lightly. Even Todd's throwaway lines are steeped in learning' Women's Review of Books 'A major biography; of interest to everyone who cares about women as writers' Times Higher Education Supplement

Aphra Behn (1640-89) was both successful and controversial in her own lifetime; her achievements are now recognized less equivocally and her plays, often revived, demonstrate wit, compassion and remarkable range. This edition brings together her most important comedies in a single volume: The Rover, her best-known play; The Feigned Courtesans, a lively comedy of intrigue; The Lucky Chance, a comedy with a bitter edge, which takes a satirical look at marriage customs; and the dazzling and popular farce, The Emperor of the Moon. All the plays have been newly edited and are presented with modernized spelling and punctuation.

"Strange and haunting, a gothic novel with a modern consciousness." —Philippa Gregory "A haunting, sophisticated story about a woman discovering the truth about herself and the elusive, possibly illusive, nature of genius." —Sunday Times "Mesmerizing, haunting, imbued with a complete sense of historical verisimilitude" —Times Literary Supplement "A psychologically haunting and disturbing tale as full of mystery, exotic foreign places, and questions of parentage as any penned by her protagonist." —Library Journal "Thrilling and heartbreaking, a gothic novel with emotional heart and depth." —Foreword Reviews "A darkly mischievous novel about love, obsession and the burden of charisma, played out against the backdrop of Venice's watery, decadent glory." —Sarah Dunant "A mesmerizing story of love and obsession in nineteenth-century Venice: dark and utterly compelling." —Natasha Solomons Set in bustling Regency England and decaying Venice, A Man of Genius portrays a psychological journey from safety into secrecy and obsession. After a troubled childhood, Ann achieves independence earning her living as an author of Gothic novels. Within a group of male writers, she meets and is enthralled by the supposed poetic genius, Robert James. They become uneasy lovers. Ann and Robert travel from London through a Europe exhausted by the Napoleonic Wars. They arrive in a Venice of spies and intrigue, where their relationship becomes tortuous and Robert descends into near madness. Forced to flee with a stranger, Ann delves into her past to be jolted by a series of revelations about her lover, her parentage, the stranger, and herself.

It would be easy for the modern reader to conclude that women had no place in the world of early modern espionage, with a few seventeenth-century women spies identified and then relegated to the footnotes of history. If even the espionage carried out by Susan Hyde, sister of Edward Hyde, Earl of Clarendon, during the turbulent decades of civil strife in Britain can escape the historiographer's gaze, then how many more like her lurk in the archives? Nadine Akkerman's search for an answer to this question has led to the writing of Invisible Agents, the very first study to analyse the role of early modern women spies, demonstrating that the allegedly-male world of the spy was more than merely infiltrated by women. This compelling and ground-breaking contribution to the history of espionage details a series of case studies in which women — from playwright to postmistress, from lady-in-waiting to laundry woman — acted as spies, sourcing and passing on confidential information on account of political and religious convictions or to obtain money or power. The struggle of the She-Intelligencers to construct credibility in their own time is mirrored in their invisibility in modern historiography. Akkerman has immersed herself in archives, libraries, and private collections, transcribing hundreds of letters, breaking cipher codes and their keys, studying invisible inks, and interpreting riddles, acting as a modern-day Spymistress to unearth plots and conspiracies that have long remained hidden by history.

When Prince Oroonoko’s passion for the virtuous Imoinda arouses the jealousy of his grandfather, the lovers are cast into slavery and transported from Africa to the colony of Surinam. Oroonoko’s noble bearing soon wins the respect of his English captors, but his struggle for freedom brings about his destruction. Inspired by Aphra Behn’s visit to Surinam, Oroonoko (1688) reflects the author’s romantic view of Native Americans as simple, superior peoples ‘in the first state of innocence, before men knew how to sin’. The novel also reveals Behn’s ambiguous attitude to African slavery – while she favoured it as a means to strengthen England’s power, her powerful and moving work conveys its injustice and brutality.

Aphra Behn was England's first professional woman writer, but her status as a major author has only recently become clear. Between the seventeenth and nineteenth centuries, Behn was denigrated for her 'unwomanly' subject matter and intellectual immodesty. In the twentieth century she has been increasingly viewed as an important dramatist and poet of the Restoration and a founder of the English novel. This book sets Behn firmly in an historical context of political factions, theatre developments and colonial encounters, and includes chapters on each of the genres in which she wrote: drama, fiction, poetry and translation, and on other aspects of her life, from her publishing struggles to her involvement in American slavery. It is an important resource for those studying seventeenth-century English literature and drama, and to those interested in the development of women's writing.