The valuable half of this drama, which is the tragic part, is founded neither upon fictitious characters nor events. Such an African prince, as Oroonoko, stolen from his native kingdom of Angola, was actually brought to an English settlement in the West Indies, and sold for a slave.²

This pitiable occurrence took place in the reign of Charles II. at the time that Mrs. Behn, the well-known dramatic writer, whom Pope has honoured by a satire,³ resided at Surinam with her family; her father having been appointed lieutenant general of that settlement, and of thirty neighbouring islands.⁴

It was at Surinam, that Mrs. Behn, not only saw, but became intimately acquainted with the unfortunate, but still proud and dignified, Oroonoko. She was witness to his bravery and skill in arms, upon the occasion of some danger threatening the island: and she beheld his humility and moderation, when all his martial feats were performed, and tranquility restored. She knew his Imoinda,⁵ and saw with delight their rapturous affection for each other.

On the return of Mrs. Behn to England, she published the memoirs of those ill-fated lovers; from
b 2[Page 4] which publication, Southern has selected materials for this pathetic tragedy.

Whether the comic characters are taken from persons in real life, or from the poet's fancy, is not known: nor is it of much consequence from whence they came, as they can do no great degree of honour to their birth-place.

The repulsive qualities of some of those characters, joined to the little which has been allotted for the heroine to perform, have been obstacles to the attraction of this drama, and it is seldom acted. Yet, some years past, Mr. Pope,⁶ in his very first appearance upon any stage, encountered, and triumphantly overcame, all impediments to the favourable reception of Oroonoko; and made the play so impressive, by his talents in the representation of that character, that for many nights it drew to the theatre a crowded audience. His acting was remarkably fine in the last scene; whilst his youth, person, deportment, and even features, gave an accurate portraiture of one of Africa's princely sons.

But could the ancient Roscius ascend from his grave to personate the hero of this piece, there is a great mercantile town in England, whose opulent inhabitants would not permit the play to appear in their magnificent theatre. The tragedy of "Oroonoko" is never acted in Liverpool, for the very reason why it ought to be acted there oftener than at any other place—The merchants of the great city acquire their riches by the slave trade.⁷

If any defect can be attributed to Southern in the[Page 5] tragic fable, either of this play or of "Isabella," it is, that in the one, his first male character wants importance, and in the other, his principal female. Still, in both plays, he makes his tale, a tale of woe, though only a single personage becomes the object of deep concern.

That the poet Gray was an admirer of this tragedy, is seen in a letter of his to Horace Walpole, dated, Burnham in Buckinghamshire, 1737; wherein he says, "We have old Mr. Southern, at a gentleman's house a little way off, who often comes to see us. He is now seventy years old, and has almost wholly lost his memory; but is as agreeable an old man as can be; at least, I persuade myself so, when I look at him, and think of Isabella and Oroonoko."⁸

Southern is an exception from most poets, in having been wealthy; but he procured some of his wealth by a means, which all poets should rather submit to poverty than employ: he printed tickets on his benefit nights as an author, and even urged their sale among his noble and distinguished friends. Thus, vilely reducing himself to dependence, in order to become rich; in lieu of honourably seeking riches, that he might become independent.⁹