![]() The tradition of stage adaptations of Oroonoko, most of them keyed to Southerne's drama rather than to Behn's initial novella, clearly shows the responsiveness of this series to studies of authorship, gender, genre and theatricality, class, race, and, especially, the British response to the Atlantic slave trade, and, thus, to the enduring relevance of these plays in modern literary and historical scholarship. Two decades later, she used these experiences to write Oroonoko, the story of a prince kidnapped from West Africa, enslaved and taken to a British colony in South America. All texts are supplemented by original paratextual commentary, if that is known, and prefaced by a brief editorial commentary setting out pertinent biographical, bibliographical, theatrical, and historical context not covered in the general introduction. Oroonoko: Historical and political contexts As a young woman, Aphra Behn was a spy for Charles II's government in Antwerp and probably in South America. It then presents seven 18th-century versions of the play and one poem, ending with 'Biyi Bandele's late 20th-century drama. The volume begins with a general introduction. ![]() The seventeen-year-old Oroonoko becomes the new general, and returns to court an elegant and intelligent young man. One day, during an intense battle, Imoinda’s father takes a fatal arrow in the eye and saves Oroonoko’s life. ![]() ![]() ![]() With the aim of examining the postcolonial applications of Aphra Behn's re-entry into the literary canon, the editor presents this edition as a collection representing the nexus of very specific articulations of literary, cultural, and political tropes produced by various writers and adapters from 1695 through 1999. Oroonoko has grown up away from the court, and has been trained to be a great military leader by Imoinda’s father. ![]()
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