Introduction

The History of the Nun; Or, the Fair Vow-Breaker.

In the Epistle Dedicatory to Antony Hammond, Esq., of Somersham-Place, prefacing that pathetic tragedy, The Fatal Marriage; or, The Innocent Adultery (4to, 1694), Southerne writes: ‘I took the Hint of the Tragical part of this Play from a Novel of Mrs. Behn’s, call’d The Fair Vow-Breaker; you will forgive me for calling it a Hint, when you find I have little more than borrow’d the Question, how far such a Distress was to be carry’d, upon the Misfortune of a Woman’s having innocently two Husbands, at the same time’.

In the many collected editions of Mrs. Behn’s popular novels and histories, from the first, published under the auspices of Gildon in 1696, to the ninth (2 vols, 12mo, London, 1751), there appears, however, no such novel as The Fair Vow-Breaker, but on the other hand all contain The Nun; or, the Perjur’d Beauty. For over two hundred years then, critics, theatrical historians, bibliographers alike have laid down that The Fair Vow-Breaker is merely another title for The Nun; or, The Perjur’d Beauty, and that it is to this romance we must look for the source of Southerne’s tragedy. The slight dissimilarity of name was truly of no great account. On the title-page of another novel we have The Fair Jilt; or, The History of Prince Tarquin and Miranda; on the half-title of the same The Fair Hypocrite; or, The Amours of Prince Tarquin and Miranda (12mo, 1688). And so Thomas Evans in the preface to his edition of Southerne (3 vols, 1774), writing the dramatist’s life, says: ‘the plot by the author’s confession is taken from a novel of Mrs. Behn’s called The Nun; or, The Fair Vow-Breaker’. All the modern writers have duly, but wrongly, accepted this; and Miss Charlotte E. Morgan in her monograph, The English Novel till 1749, informs us in more than one place that The Fair Vow-Breaker (12mo, 1689) was the name of the editio princeps of The Nun; or, The Perjur’d Beauty.

A crux, however, was soon apparent. Upon investigation it is obvious that the plot of The Fatal Marriage; or, The Innocent Adultery has simply nothing in common with The Nun; or, The Perjur’d Beauty. Mrs. Behn’s Ardelia is a mere coquette who through her trifling with three different men is responsible for five deaths: her lovers’, Elvira’s, and her own. Isabella, Southerne’s heroine, on the other hand, falls a sad victim to the machinations of Carlos, her wicked brother-in-law. She is virtuous and constant; Ardelia is a jade capable of heartless treachery. Both novel and play end tragically it is true, but from entirely different motives and in a dissimilar manner. There is no likeness between them.

Whence then did Southerne derive his plot, and what exactly did he mean by the statement that he owed ‘the Hint of the Tragical part’ of his drama to a novel of Mrs. Behn’s?

Professor Paul Hamelius of Liège set out to solve the difficulty, and in a scholarly article (Modern Language Review, July, 1909), he marshals the facts and seeks a solution. ‘Among her [Mrs. Behn’s] collected novels’ he writes ‘there is one entitled The Nun; or, The Perjur’d Beauty and Mr. Gosse has kindly informed me that the story is identical with The Nun; or, The Fair Vow-Breaker which appears in the editio princeps of 1689 (inaccessible to me).’ Unfortunately he can find no analogy and is obliged to draw attention to other sources. He points to The Virgin Captive, the fifth story in Roger L’Estrange’s The Spanish Decameron (1687). Again: there is the famous legend of the lovers of Teruel as dramatized in 1638 by Juan Perez de Montalvan, Los Amantes de Teruel. An earlier comedia exists on the same subject written by A. Rey de Artieda, 1581, and yet another play by Tirso de Molina, 1635, based on Artieda. Hamelius was obviously not satisfied with his researches, and with a half-suggestion that Southerne may have merely intended to pay a compliment to his ‘literary friend Mrs. Behn,’ his conclusion is that ‘the question is naturally still open whether Southerne was not drawing from some more immediate source—possibly even from some lost version of the story by Mrs. Behn herself.’

In the course of my preparing the present edition of Mrs. Behn’s complete works, Mr. Gosse, adding yet another to innumerable kindnesses and encouragements, entrusted me with a little volume from his private library: The History of the Nun; or, The Fair Vow-Breaker (12mo, 1689, Licensed 22 October, 1688), and I soon found this to be the immediate source of Southerne’s tragedy, a totally different novel from The Nun; or, The Perjur’d Beauty, and one, moreover, which has never till now been included in any edition of Mrs. Behn’s works or, indeed, reprinted in any form. It were superfluous to compare novel and tragedy detail by detail. Many striking, many minor points are the same in each. In several instances the nomenclature has been preserved. The chief divergence is, of course, the main catastrophe. Mrs. Behn’s execution could ill have been represented on the boards, and Southerne’s heroine, the victim of villainies and intrigue, is, it must be confessed, an infinitely more pathetic figure than guilty Isabella in the romance.

The story of a man returning after long absence and finding his spouse (or betrothed) wedded to another, familiarized to the generality of modern readers by Tennyson’s Enoch Arden, occurs in every shape and tongue. No. 69 of Les Cent Nouvelles Nouvelles is L’Honneste femme à Deux Maris. A more famous exemplar we have in the Decameron, Day IV, Novella 8, whose rubric runs: ‘Girolamo ama la Salvestra: va, costretto da’ prieghi della madre, a Parigi: torna, e truovala maritata: entrale di nascoso in casa, e muorle allato; e portato in una chiesa, muore la Salvestra allata a lui.’

Scenes of the amusing underplot of The Fatal Marriage which contain some excellent comedy, Southerne took directly from The Night Walker; or, The Little Thief (printed as Fletcher’s in 1640 and ‘corrected by Shirley’ in 1633 according to Herbert’s license). The purgatorial farce may be traced to the Decameron, Day III, 8. ‘Ferondo, mangiata certa polvere, è sotterrato per morto: e dall’ abate, chi la moglie di lui si gode, tratto dalla sepoltura, è messo in prigione e fattogli credere, che egli è in purgatoro; e poi risuscitato . . .’ It is the Feronde; ou, le Purgatoire of La Fontaine.

The Fatal Marriage; or, The Innocent Adultery long kept the stage. On 2 December, 1757, Garrick’s version, which omitting the comic relief weakens and considerably shortens the play, was produced at Drury Lane with himself as Biron and Mrs. Cibber as Isabella. The actual name of the tragedy, however, was not changed to Isabella till some years after. Mrs. Barry, the original Isabella, was acknowledged supreme in this tragedy, and our greatest actresses, Mrs. Porter, Mrs. Crawford, Miss Young, Mrs. Siddons, Miss O’Neill, have all triumphed in the rôle.

To the Most Illustrious Princess, The Dutchess of Mazarine.

Madam,

There are none of an Illustrious Quality, who have not been made, by some Poet or other, the Patronesses of his Distress’d Hero, or Unfortunate Damsel; and such Addresses are Tributes, due only to the most Elevated, where they have always been very well receiv’d, since they are the greatest Testimonies we can give, of our Esteem and Veneration.

Madam, when I survey’d the whole Toor of Ladies at Court, which was adorn’d by you, who appear’d there with a Grace and Majesty, peculiar to Your Great Self only, mix’d with an irresistible Air of Sweetness, Generosity, and Wit, I was impatient for an Opportunity, to tell Your Grace, how infinitely one of Your own Sex ador’d You, and that, among all the numerous Conquest, Your Grace has made over the Hearts of Men, Your Grace had not subdu’d a more entire Slave; I assure you, Madam, there is neither Compliment nor Poetry, in this humble Declaration, but a Truth, which has cost me a great deal of Inquietude, for that Fortune has not set me in such a Station, as might justifie my Pretence to the honour and satisfaction of being ever near Your Grace, to view eternally that lovely Person, and hear that surprizing Wit; what can be more grateful to a Heart, than so great, and so agreeable, an Entertainment? And how few Objects are there, that can render it so entire a Pleasure, as at once to hear you speak, and to look upon your Beauty? A Beauty that is heighten’d, if possible, with an air of Negligence, in Dress, wholly Charming, as if your Beauty disdain’d those little Arts of your Sex, whose Nicety alone is their greatest Charm, while yours, Madam, even without the Assistance of your exalted Birth, begets an Awe and Reverence in all that do approach you, and every one is proud, and pleas’d, in paying you Homage their several ways, according to their Capacities and Talents; mine, Madam, can only be exprest by my Pen, which would be infinitely honour’d, in being permitted to celebrate your great Name for ever, and perpetually to serve, where it has so great an inclination.

In the mean time, Madam, I presume to lay this little Trifle at your Feet; the Story is true, as it is on the Records of the Town, where it was transacted; and if my fair unfortunate VOW-BREAKER do not deserve the honour of your Graces Protection, at least, she will be found worthy of your Pity; which will be a sufficient Glory, both for her, and,

Madam,
Your Graces most humble,
and most obedient Servant,
A. BEHN.