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SOURCE: Introduction, in The Novels of Mrs. Aphra Behn, George Routledge and Sons, Ltd., 1905, pp. vii–xxi.

[In the excerpt below, Baker argues that Oroonoko represents the ideal man, and that through her novel Behn condemns European civilization.]

It was the truth and power with which she recounted what she had herself witnessed in Surinam that has singled out for permanence the best of her novels, the story of the royal slave, Oroonoko. We need not give ear to the whispers of a liaison with the heroic black. A very different emotion inspires the tale, the same feeling of outraged humanity that in after days inflamed Mrs. Stowe. Oroonoko is the first emancipation novel. It is also the first glorification of the Natural Man. Mrs. Behn was, in a manner, the precursor of Bernardin de Saint-Pierre; and in her attempts to depict the splendour of tropical scenery she foreshadows, though feebly, the prose-epics of Chateaubriand. There is fierce satire in Oroonoko. Who would think that Astrea, who entertained the depraved pit at the Duke's Theatre, could have drawn those idyllic pictures of Oroonoko in his native Coromantien, of the truth and purity of the savage uncontaminated with the vices of Christian Europe, or have written such vehement invectives against the baseness and utter falsehood of the whites?

'These people represented to me,' she said, 'an absolute idea of the first state of innocence, before man knew how to sin: and 'tis most evident and plain that simple nature is the most harmless, inoffensive and virtuous mistress. 'Tis she alone, if she were permitted, that better instructs the world than all the inventions of man: religion would here but destroy that tranquillity they possess by ignorance; and laws would teach em to know offences of which now they have no notion. They once made mourning and fasting for the death of the English governor, who had given his hand to come on such a day to em, and neither came nor sent; believing when a man's word was past, nothing but death could or should prevent his keeping it: and when they saw he was not dead, they ask'd him what name they had for a man who promis'd a thing he did not do? The governor told them such a man was a lyar, which was a word of infamy to a gentleman. Then one of em replied, 'Governor, you are a lyar, and guilty of that infamy.'

It is said further on, 'Such ill morals are only practis'd in

Christian countries, where they prefer the bare name of religion; and, without virtue and morality, think that sufficient.'

Oroonoko is no savage, but the ideal man, as conceived by Mrs. Behn, the man out of Eden; and in him she has an absolute criterion by which to judge and condemn the object of her satire—European civilisation. His bravery, wisdom, chastity, his high sense of honour, are the idealisations of a sentimental young lady, carried away by her admiration for a truly heroic figure, and disgusted by the vicious manners of the colonists, whom she describes as 'rogues and runagades, that have abandoned their own countries for rapine, murder, theft and villainies.' 'Do you not hear,' says Oroonoko, 'how they upbraid each other with infamy of life, below the wildest savages? And shall we render obedience to such a degenerate race, who have no one human virtue left, to distinguish them from the vilest creatures?'

The story has the natural elements of drama. Southern wrote a very bad tragedy on the theme of Mrs. Behn's narrative, altering it slightly, and adding a great deal of foulness that is, happily, not in the original. Oroonoko loves the beautiful Imoinda, a maiden of his own race, not the child of a European who has adopted a savage life, as in Southern's play. But when they are on the brink of happiness, the old king, Oroonoko's grandfather, demands her for his harem. Imoinda acts the part of Abishag the Shunamite, and her lover that of Adonijah. The vengeful monarch discovers their attachment, and sells her into slavery. Oroonoko, soon afterwards, is kidnapped, and finds himself in Surinam, where Imoinda is already famous as the beautiful slave, as chaste as she is beautiful. They recognise each other...

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