13. The Widow Ranter; or the History of Bacon in Virginia, a Tragi-Comedy, acted by the King's company, and printed 1690. It is uncertain where she had the history of Bacon; but the catastrophe seems founded on the story of Cassius, who died by the hand of his freed man. This play was published after Mrs. Behn's death by one G.I., her friend. 14. The Feigned Courtezan; or a Night's Intrigue, a Comedy, acted at the duke's theatre, and printed in 4to. 1679. It is dedicated to the famous Ellen Gwyn, King Charles IId's mistress, and is esteemed one of Mrs. Behn's best plays. 15. Emperor of the Moon, a Farce, acted at the Queen's theatre, and printed 4to. 1687. It is dedicated to the Marquis of Worcester. The Plot is taken from an Italian piece translated into French, under the title of Harlequin Empereur, Dans le Monde de la Lune, and acted at Paris above eighty nights without intermission. 16. The Amorous Prince; or the Curious Husband, a Comedy, acted at the duke of York's theatre, and printed in 4to. 1671. The plot is borrowed from the novel of the Curious Impertinent in Don Quixote. 17. The younger Brother; or the Amorous Jilt; a Comedy, published after her death by Mr. Gildon. It was taken from a true story of colonel Henry Martin, and a certain lady. Mrs. Behn's plays, all but the last, were published together in two volumes 8vo. But the edition of 1724 is in four volumes 12mo. including the Younger Brother. The following is an account of her novels, and histories, They are extant in two volumes 12mo. Lond. 1735, 8th edition, published by Mr. Charles Gildon, and dedicated to Simon Scroop, Esq; to which is prefixed the history of the Life and Memoirs of our authoress, written by one of the fair sex. 1. The History of Oroonoko, or the Royal Slave: This was founded on a true story, the incidents of which happened during her residence at Surinam. It gave birth to Mr. Southern's celebrated play of that name; who in his dedication of it, speaking of his obligation to Mrs. Behn for the subject, says, 'She had a great command of the stage, and I have often wondered that she would bury her favorite hero in a novel, when she might have revived him in the scene. She thought either, that no actor could represent him, or she could not bear him represented; and I believe the last, when I remember what I have heard from a friend of her's, that she always told a story more feelingly than she writ.' 2. The Fair Jilt; or the Amours of Prince Tarquin and Miranda. This is likewise said to be derived from a true story, to a great part of which she tells she was an eye witness; and what she did not see, she learned from some of the actors concerned in it, the Franciscans of Antwerp, where the scene is laid. 3. The Nun, or the perjured Beauty, a true novel. 4. The History of Agnes de Castro.