ABSTRACT Aphra Behn composed two plays which dramatise Christian–Muslim encounters. Centred upon the contact zone of the Iberian peninsula and the Maghreb, Abdelazer (1676) and The False Count (1681) employ Spanish settings and draw upon a dynamic history of imaginative associations generated by real and fictional encounters with the Muslim world. The eponymous hero of Abdelazer is a dispossessed Moroccan prince who plots revenge against the usurping Spanish royal family. Behn significantly alters her source material, the Elizabethan revenge tragedy Lust’s Dominion, to emphasise Abdelazer’s regal status: his blood, after all, is “as red, and Royal as the best”. In The False Count, Behn invokes the familiar bogeyman of the Ottoman, albeit in parodic fashion. In the play’s central episode, a counterfeit “Grand Signior”, commanding a galley of entirely spurious “Turks”, comically exposes the hypocrisy and apostasy of the Christian protagonists. Spanning the five years from Exclusion Crisis to the discovery of the Popish Plot, between them these plays raise provocative questions of succession, conversion, captivity, and allegiance entirely germane to the English political scene. Reading them alongside relevant contemporary sources enables a more nuanced appreciation of their significance in the wider context of Anglo-Islamic encounters of the period.

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“Puritan Mahumetans”：阅读 Aphra Behn 的 Abdelazer 和 The False Count 中的盎格鲁穆斯林语境

摘要 阿芙拉·贝恩 (Aphra Behn) 创作了两部戏剧化的基督教与穆斯林相遇的戏剧。Abdelazer（1676 年）和 The False Count（1681 年）以伊比利亚半岛和马格里布的接触区为中心，采用西班牙背景，并借鉴了与穆斯林世界的真实和虚构相遇所产生的富有想象力的动态历史。Abdelazer 的同名英雄是一位被剥夺权利的摩洛哥王子，他密谋报复篡夺篡位的西班牙王室。贝恩显着改变了她的原始材料，伊丽莎白时代的复仇悲剧色欲的统治，以强调阿卜杜拉泽的帝王地位：毕竟，他的血统“和最好的一样红，皇家一样”。在 The False Count 中，Behn 援引了熟悉的奥斯曼帝国的妖怪，尽管是以戏仿的方式。在该剧的中心情节中，一个冒牌的“大领主”，指挥一群完全虚假的“土耳其人”，滑稽地揭露了基督教主角的虚伪和叛教。从排外危机到波普斯阴谋发现的五年间，这些戏剧引发了与英国政治舞台完全密切相关的继承、皈依、囚禁和效忠等挑衅性问题。将它们与相关的当代资源一起阅读，可以更细致地了解它们在该时期盎格鲁-伊斯兰相遇的更广泛背景下的重要性。效忠于英国政治舞台。将它们与相关的当代资源一起阅读，可以更细致地了解它们在该时期盎格鲁-伊斯兰相遇的更广泛背景下的重要性。效忠于英国政治舞台。将它们与相关的当代资源一起阅读，可以更细致地了解它们在那个时期盎格鲁-伊斯兰相遇的更广泛背景下的重要性。