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

b 3