Orsames, heir to the Dacian throne, has been kept in a castle from His infancy, never having seen any human being save his old tutor, Geron, owing to an Oracle which foretold great cruelties and mischiefs If he should be allowed to wear the crown. The Queen of Dacia designs Her daughter Cleomena as her successor, and with this intent gives her An Amazonian education. The Dacians and Scythians are at war, but Thersander, The Scythian prince, has joined the Dacians under the name Of Clemanthis, inasmuch as he loves the princess, who in her turn Becomes enamoured of him. He is recognized but not betrayed by Urania, a Scythian lady who, her lover Amintas having been previously captured, allows herself to be taken prisoner and presented to Cleomena. Amintas is confined in the old castle where Urania, visiting him, is accidently seen by Orsames. He is, however, persuaded by Geron that it is an apparition. Amintas is freed by Urania, who has gained Cleomena’s friendship. Honorius, the Dacian general, offers Thersander his daughter Olympia, and the young Scythian is obliged to feign acceptance. Cleomena hears Honorius telling the Queen his design and goes off enraged, only to see Thersander seemingly courting Olympia. She raves and threatens to kill him, but eventually parts with disdain, bidding him quit the place. Orsames is now brought from the castle during his sleep, crowned, seated on the throne and treated in every respect as King. His power is acknowledged, the Queen kneels before him, and Olympia entering, he falls violently in love with her. At a supposed contradiction he orders one courtier to instant execution and another to be cast into the sea. Immediately after, during a banquet, a narcotic is mingled with his wine and he is conveyed back to the castle whilst under its influence, leaving the Queen fearful that her experiment is of no avail as he has displayed so tyrannical and cruel a nature.

A battle between the Dacians and Scythians follows, in which the Latter are victorious owing to Thersander having, under his own name, Returned to their camp. The Dacian chiefs then challenge him to single Combat. He crosses over once again as Clemanthis and the lot falls upon himself. He thereupon dresses Amintas in the clothes of Clemanthis and arranges that in a pretended duel with him himself shall gain the upper hand. Meanwhile two rival princes to the hand of Cleomena post assassins in the wood to kill Thersander, and these, deceived by the garb of Clemanthis, mistake Amintas for the prince, and leaving him half dead on the ground and covered with blood and wounds, take their flight, imagining they have fully carried out their masters’ wishes. Amintas is just able to gasp the name ‘Thersander’, and Cleomena promptly concludes that Thersander has slain Clemanthis. She then herself assumes the attire of Clemanthis and goes out to the duel. She is wounded, her sex discovered, and she is borne from the field, whilst Thersander remains plunged in despair.

Meanwhile Orsames in his prison forces Geron to tell him the truth as to his adventure, whilst outside the populace are clamouring for him as king. Cleomena, disguised as a shepherd-boy, carries a letter to Thersander, and stabs him as he reads it. The Scythian king has her thrown into a dungeon, but Thersander obtains her release. Amintas meanwhile has been cured of his wounds by a Druid leech. Thersander is visited by Cleomena and reveals to her his identity with Clemanthis. They are at length united, and this event, with the arrival of Orsames, Who has been placed on the throne by the Dacians, joins the two countries in a lasting peace. It is explained that the Oracle is satisfied by his previous reign of a night.

SOURCE.

The plot of The Young King, which, as the Biograpbia Dramatitca well remarks, ‘is very far from being a bad one’, is taken from the eighth part of La Calprenède’s famous romance, Cléopatre. The adventures of Alcamenes (Thersander) and Menalippa (Cleomena) are therein related for the benefit of Cleopatra and Artemisa, temporarily imprisoned on shipboard. The narrative, which occupies some hundred pages, is n good example of those prolix detached episodes and histories peculiar to this school, which by their perpetual crossing and intertwining render the consecutive reading of a heroic romance so confused and difficult a task. Yet in this particular instance the tale is extraordinarily well told and highly interesting. Mrs. Behn has altered the names for the better. Barzanes in the novel becomes Honorius in the play; Euardes, Ismenes; Phrataphernes, Artabazes; Beliza, Semiris; whilst La Calprenède dubs the Scythian king, Arontes and the queen of Dacia, Amalthea.

Cléopatre, commenced in 1646, was eventually completed in twelve volumes. There is an English translation of the eighth part by James Webb (8vo, 1658), which he terms Hymen’s Praeludia, or, Love’s Masterpiece, and dedicates with much flowery verbiage to his aunt, Jane, Viscountess Clanebuy. A translation of the whole romance, by Robert Loveday, was published folio, 1668.

The story, however, is not original even in La Calprenède, being taken with changed names from Il Calsandro smascherato di Giovanni Ambrogio Marini (Part 1, Fiorenza, 1646; Part 2, Bologna, 1651), a French version of which, by Georges de Scudéri, appeared in 1668.

Some critics have seen a resemblance between the character of the young prince Orsames and that of Hippolito, ‘one that never saw woman,’ in Dryden and Davenant’s alteration of The Tempest (1667).[1] But the likeness is merely superficial. Mrs. Behn has undoubtedly taken the whole episode of Orsames directly from Calderon’s great philosophic and symbolical comedia, La Vida es Sueño (1633).[2] That Mrs. Behn had a good knowledge of Spanish is certain, and she has copied with the closest fidelity minute but telling details of her original. Calderon himself probably derived his plot from Rojas’ Viaje Entretenido. Basilio, King of Poland, to thwart the fulfilling of a horoscope, imprisons his son Segismundo from infancy in a lonely tower. The youth is, however, as a test of his character, one night whilst under the influence of a soporofic conveyed from his prison and wakes to find himself in a sumptuous apartment amidst crowds of adulating courtiers. He shows himself, however, a very despot, and throws an officious servant, who warns him to proffer greater respect to the infanta Estella, his cousin, clean out of window; he nearly kills his tutor Clotaldo, who interrupts his violent wooing; and, in fine, is seen to be wholly unfit to reign. A potion is deftly administered, and once more, asleep, he is carried back to the castle. The populace, however, rise and set him on the throne, and eventually the astrological forecast comes true; but at the same time he proves himself a worthy sovereign. All these details are to be found in The Young King, as well as Calderon’s scene where Rosaura, in pursuit of her lover, accidently encounters Segismundo in his prison.

The story itself is, of course, world-wide with a thousand variants. Oriental in origin, it is familiar to all readers of the Thousand and One Nights, when Abou Hassan is drugged by Haroun al Raschid, and for one day allowed to play the caliph with power complete and unconfined. The same trick is said to have been tried upon a drunkard at Bruges by Philip the Good, Duke of Burgundy, during his marriage festivities, 1440. Christopher Sly, well drubbed by Marian Hacket and bawling for a pot of small ale, will at once occur to every mind. Richard Edwardes has the same story in his Collection of Tales (1570); the old Ballad of the Frolicsome Duke sings it; Sir Richard Barckley repeats it in his Discourse of the Felicitie of Man (1598); and Burton found a niche for it in his Anatomy of Melancholy (1621). Simon Goulart included it in the Tresor d’histoires admirables et memorables (circa 1600), whence it was Englished by Grimeston (1607). In fact it is a common property of all times and all nations.

Although Mrs. Behn confessedly does not attain (nor was such her intention) the deep philosophy and exquisite melody of the great Spanish poet, she has produced a first-rate specimen of the romance drama, rococo perhaps, and with quaint ornaments, but none the less full of life, incident and interest.

FOOTNOTES:

1. This version of Shakespeare, and particularly the part of Hippolito, belong to Davenant, for, as Dryden says in the preface, Sir William ‘to put the last hand to it, design’d the counterpart to Shakespeare’s plot, namely that of a man who had never seen a woman.’.

2. Life is a Dream. English translation by John Oxenford, Monthly Magazine, Vol. XCVI; by Archbishop Trench, 1856; by Denis Florence Mac-Carthy, 1873; by FitzGerald (a private edition), ‘Such Stuff as Dreams are Made Of’. It has also been excellently edited by Norman Maccoll, Select Plays from Calderon (1888).

THEATRICAL HISTORY.

The earliest sketch of The Young King; or, The Mistake was written by Mrs. Behn whilst she was still a young girl at Surinam. Upon her return to England the rhyming play had made its appearance, and soon heroic tragedy was carrying all before it on the London stage. Influenced no doubt by this tremendous vogue, she turned to her early MS. and proceeded to put her work, founded on one of the most famous of the heroic romances, into the fashionable couplets. Traces of this may be found in the scene between Cleomena and Urania, i, II; in Orsames’ speech, iv, III, and elsewhere. Whilst she was busy, however, The Rehearsal was produced at the King’s Theatre, 8 December, 1671, and for the moment gave a severe blow to the drama it parodied. Accordingly, Mrs. Behn with no little acumen put her tragi-comedy on one side until the first irresistible influence of Buckingham’s burlesque had waned ever so slightly, and then, when her dramatic reputation was firmly established by the triumphant success of The Rover, the applause that had been given to Sir Patient Fancy and half-a-dozen more of her plays, she bethought of her earlier efforts, and after subjecting The Toung King to a thorough revision, in which, however, it retained marked traces of its original characteristics, she had it produced at the Duke’s Theatre in the spring of 1679. Mr. Gosse goes so far as to say that she had previously offered it to the theatres and publishers, but could find neither manager nor printer who would accept it. This, which he deduces from her dedication to Philaster, seems to me unwarrantable, and is not borne out by the play itself, which, baroque as it may appear to us, is certainly equal to, and indeed far better, than the rank and file of Restoration tragi-comedy. There is no record of its performance, and it never kept the boards. But although we have no direct evidence of its success, on the other hand it would be rash to suggest it was in any sense a failure. Indeed, since two editions were published we may safely assert its popularity. The actors’ names are not preserved, but Mrs. Mary Lee doubtless created Cleomena; Mrs. Barry, Urania; Betterton, Thersander; and Smith, Orsames.

TO PHILASTER.

’.is the glory of the Great and Good to be the Refuge of the Distress’d; their Virtues create ‘em troubles; and he that has the God like Talent to oblige, is never free from Impunity, you, Philaster, have a Thousand ways merited my Esteem and Veneration; and I beg you wou’d now permit the effects of it, which cou’d not forbear, though unpermitted, to dedicate this youthful sally of my Pen, this first Essay of my Infant-Poetry to your Self: ‘Tis a Virgin-Muse, harmless and unadorn’d, unpractis’d in the Arts to please; and if by chance you find any thing agreeable, ‘tis natural and unskill’d Innocence. Three thousand Leagues of spacious Ocean she has measured, visited many and distant Shores, and found a welcome every where; but in all that vast tract of Sea and Land cou’d never meet with one whose Person and Merits cou’d oblige her to yield her ungarded self into his protection: A thousand Charms of Wit, good Nature, and Beauty at first approach she found in Philaster; and since she knew she cou’d not appear upon the too-critical English Stage without making choice of some Noble Patronage, she waited long, look’d round the judging World, and fix’t on you. She fear’d the reproach of being an American, whose Country rarely produces Beauties of this kind: The Muses seldom inhabit there; or if they do, they visit and away; but for variety a Dowdy Lass may please: Her youth too should attone for all her faults besides; and her being a Stranger will beget civility, and you that are by nature kind and generous, tender and soft to all that’s new and gay, will not, I hope refuse her the Sanctuary I am so sensible she will have need of in this loose Age of Censure. You have goodness enough to excuse all her weaknesses, and Wit enough to defend ‘em; and that’s sufficient to render her Estimable to all the World that knows the generous and excellent Philaster; whilst this occasion to celebrate you under this Name, is both a Pleasure and Honour to. ASTERA.

THE YOUNG KING; or, The Mistake.

PROLOGUE.

Beauty like Wit, can only charm when new; Is there no Merit then in being true? Wit rather should an Estimation hold With Wine, which is still best for being old. Judgment in both, with vast Expence and Thought, You from their native Soil, from Paris brought: The Drops that from that sacred Sodom fall, You like industrious Spiders suck up all. Well might the French a Conquest here design, Were but their Swords as dangerous as their Wine. Their Education yet is worse than both; They make our Virgins Nuns, unman our Youth. We that don’t know ‘em, think ‘em Monsters too; And will, because we judge of them by you. You’ll say this once was so, but now you’re grown So wise t’invent new Follies of your own: Their slavish Imitations you disdain; A Pox of Fops that purchase Fame with Pain: You’re no such Fools as first to mount a Wall, Or for your King and Country venture all. With such like grinning Honour ‘twas perchance, Your dull Forefathers first did conquer France. Whilst they have sent us, in Revenge for these, Their Women, Wine, Religion, and Disease. Yet for Religion, it’s not much will down, In this ungirt, unblest, and mutinous Town. Nay, I dare swear, not one of you in seven, E’er had the Impudence to hope for Heaven. In this you’re modest— But as to Wit, most aim before their time, And he that cannot spell, sets up for Rhyme: They’re Sparks who are of Noise and Nonsense full, At fifteen witty, and at twenty dull; That in the Pit can huff, and talk hard Words, And briskly draw Bamboo instead of Swords: But never yet Rencounter cou’d compare To our late vigorous Tartarian War: Cudgel the Weapon was, the Pit the Field; Fierce was the Hero, and too brave to yield. But stoutest Hearts must bow; and being well can’d, He crys, Hold, hold, you have the Victory gained. All laughing call— Turn out the Rascal, the eternal Blockhead; —Zounds, crys Tartarian, I am out of Pocket: Half Crown my Play, Sixpence my Orange cast; Equip me that, do you the Conquest boast. For which to lie at ease, a Gathering’s made, And out they turn the Brother of the Blade. —This is the Fruit of Idleness and Ease: Heaven bless the King that keeps the Land in Peace, Or he’ll be sweetly served by such as these.

DRAMATIS PERSONAE.

DACIANS.

Queen of Dacia. Orsames, her Son, kept from his Infancy in a Castle on a Lake, ignorant of his Quality, and of all the World besides; never having seen any human thing save only his old Tutor. Cleomena, his Sister, bred up in War, and design’d to reign instead of Orsames; the Oracle having foretold the bloody Cruelties should be committed during his short Reign, if ever suffered to wear the Crown. Honorius, General of the Army, and Uncle to Orsames and Cleomena. Olympia, his Daughter, young and beautiful. Ismenes and | Two Rival Princes in love with Cleomena. Artabazes, | Geron, the old Tutor to Orsames. Pimante, a Fop Courtier. Arates, a Courtier. Semeris, Woman to Cleomena. Vallentio, a Colonel of the Army. Gorel, a Citizen. Keeper of the Castle. A Druid.

SCYTHIANS.

King of Scythia. Thersander, his Son, under the Name of Clemanthis, when on the Dacian side. Amintas, a young Nobleman, belov’d by Thersander, and Lover of Urania. Lysander, Page to Thersander. Urania, in love with Amintas. Lyces, a Shepherdess. Pages and Attendants, Courtiers (men and women), Officers, Guards, Soldiers, Huntsmen, Shepherds, Shepherdesses, Assassins, and all a Rabble of the Mobile.

Act 5 — THE YOUNG KING; OR, THE MISTAKE.

ARGUMENT.