411:
were symbolically sacrificed for the sinful hypocrisy between
American values and practices at the time. At the play's conclusion Ben Hassan is the only character beyond redemption, lacking the empathy that makes people human. Also by the play's end, the interracial and interfaith romances are all abandoned. Though Algiers is transformed by the American plan, Gross feels there is a call for distinct national and racial boundaries which leaves Jews with no place to go. The stateless Jews, Gross reasons, are equated with the enslaved Africans and "beyond the boundaries of human feeling."
204:
Fetnah concocts a story of
Frederic rescuing her from plunderers. Escaping that danger, Frederic overhears Ben Hassan requesting an urgent audience with the dey. Frederic convinces Ben Hassan that a servant has betrayed him and that he must be rid of any evidence or suffer the dey's wrath. Meanwhile, in her apartment, Fetnah obtains clothing of the dey's son and thinks to use them to escape.
334:
voice themselves over men. However, Rowson did not advocate for equal rights. She wanted women to realize that they could have larger roles in society, but she never stated that women had to be equal to men. She even made a note that women had to appear proper and respectable. Rowson simply advocated for women to have a more public lifestyle than they had at that time.
357:, many of the new country's citizens questioned the values of the country and its people. In this play, Rowson portrays Christians as righteous freedom fighters. It implies that these characters are the morally right and good characters and that their religion and belief were a reason for their survival. With this play, many new Americans who were early Christians and
410:
The play also exhibits xenophobia and anti-Semitism. American
Studies professor Andrew Gross holds that the Jewish character, Ben Hassan, symbolizes the cruel side to commerce and "served as scapegoat for the American discomfort with its own failures", notably regarding the African slave trade. Jews
199:
At the Dey's apartments, Zoriana and Olivia discuss an escape plan. Zoriana has fallen in love with Henry and smuggled valuables to buy his freedom; they agree to meet him. Henry meets
Zoriana and Olivia in the garden. He reunites with Olivia, and though Zoriana feels pangs of jealousy she takes the
114:
While the play is not considered to have great literary merit, it is discussed for its complex mix of political agendas, which offer insight into its period of early US history. It expresses an early feminism, desires for
American imperialism in the Islamic world, and uses antisemitism to excuse the
230:
Sebastian would have Muley put in chains but
Frederic refuses to enslave another, and Rebecca states that Christian law forbids slavery. For profiting on the misery of others, Ben Hassan would be left to the mob, but Fetnah stays by her father in need. Muley asks them to stay with him and teach him
226:
Olivia is reunited with the prisoners before the ceremony. Rebecca enters and tries to buy Olivia's freedom but Muley refuses. Rebecca shares her story and the family is reunited. As
Rebecca invites Muley to let his vengeance fall upon them, a slave uprising strikes Algiers. Muley's slaves hesitate
222:
The dey's palace is alerted due to Fetnah and Olivia's disappearances, and Muley's guards capture
Constant's rescue party. Muley orders them put to lengthy torture, but Olivia enters and claims total responsibility, offering her life for theirs. Muley swears to Mohammad to give them life, freedom,
195:
has not arrived and suggests she become another of his wives; she refuses, remaining steadfast to her values and her faith in her countrymen. Ben Hassan is then approached by
Frederic, who represents a number of slaves and has an agreement with Ben Hassan to buy their freedom and a sailing vessel.
406:
Myles notes that the rhetoric shows a shared dream across the breadth of US history, in which "the world will become an empire of liberty under the leadership of the United States". Myles states that the message of equality "never escapes or contradicts the play's imperialism", that flaunting the
333:
during her lifetime. Using this work and her other writings, she helped transform the idea of women's participation in public and society. She went so far as to address the women in the audiences at the end of this play's performances to ask for their opinions on the show, giving them a forum to
203:
The next morning, Frederic is in the garden, having become lost while trying to follow Henry and lamenting his ill fortune at love. Fetnah enters and
Frederic mistakes her for Zoriana, which she exploits in hopes of being freed. The dey arrives with servants and is about to arrest Frederic when
211:
Sebastian leads a party of armed slaves to Ben Hassan's house. Fearing violence, Rebecca and Augustus flee to the garden while Ben Hassan disguises himself as a woman, his face concealed. Mistaking Ben Hassan for Rebecca, the rescue party carry him away. Rebecca returns and finds Ben Hassan's
368:
genre, a classic American war fantasy in which the liberation of prisoners is used as a metaphor for American righteousness. The genre is frequently evoked in calls to war, and the play shows the deep-seated desires for American imperialism in the Islamic world. In the journal
397:
Bush: America is a strong nation and honorable in the use of our strength. We exercise power without conquest, and we sacrifice for the liberty of strangers. Americans are a free people, who know that freedom is the right of every person and the future of every nation.
207:
Sebastian takes Frederic, Henry and the slaves to a grotto where they can hide. Fetnah arrives in disguise and the slaves first want to kill her, but Frederic protects her when she is revealed. Fetnah tells Frederic that she loves him and begs that Rebecca be saved.
439:
US President Thomas Jefferson owned slaves while waging war to free white slaves in North Africa, and in the same year he ordered the invasion of Tripoli he refused to recognize Haiti, the second new-world republic which had gained independence through a slave
270:
or would have remained in their captivity for over ten years. The number of Americans in captivity was raised to roughly 120 when eleven American ships were seized by the Algerians in 1793. News of these captures took the interest of the American public.
218:
At the grotto, Sebastian declares his adoration for Rebecca and lifts the veil to bestow a kiss. Exposed, Ben Hassan claims to be an old woman held many years in captivity, which Sebastian accepts and allows the dignity of replacing the veil.
259:. Twenty-one American sailors and passengers were taken hostage and worked as slaves. Often the hostages would be subject to daily labor and servitude, and in few cases also worked as advisors to ranking officials such as the dey.
317:(1763–1835) condemned the play, dismaying that so inspired, women might one day hold office in Congress. A consensus of modern scholars is that the play lacks literary merit but holds value in capturing the politics of its time.
510:
388:
Olivia: Long, long may that prosperity continue–may Freedom spread her benign influence thro' every nation, 'til the bright Eagle, united with the dove and the olive branch, waves high, the acknowledged standard of the
223:
and transportation to their homelands if Olivia will convert and become his wife. Olivia agrees, but plans to spare herself from shame by killing herself immediately after the marriage ceremony.
599:
231:
to overcome his ancestral traditions and personal faults. Henry and Olivia praise their native land, wishing it to spread liberty and prosperity to every nation through peace or through force.
200:
Christian path and wishes their happiness. After Henry leaves, however, Olivia decides to remain and placate the dey's anger, insisting that Zoriana take her place with Henry and her father.
498:
763:
Tarantello, Partricia. "Insisting on Femininity: Mercy Otis Warren, Susanna Rowson, and Literary Self-Promotion." Routledge, Women's Studies, 46.3, 2017, pp. 181–199. Web.
854:
910:
301:, Pennsylvania, on June 30, 1794. It then saw occasional performances in Baltimore and New York City. The play was revived in 1816 in Boston, following the
716:
212:
pocketbook with a small fortune in bills of exchange – including that of her own ransom – and rejoices that she can now free many slaves.
191:, Fetnah tells her maid how she feels trapped and yearns for the freedom described by Rebecca. Meanwhile, Ben Hassan lies to Rebecca that her
905:
593:
325:
In several moments of the play, female characters are shown being just as capable and intelligent as their male counterparts. Playwright
547:
339:"...the sons and daughters of liberty , take justice, truth, and mercy, for their leaders, when they list under her glorious banners."
227:
to execute the family, and his palace is overtaken by Frederic, Augustus, Sebastian, and armed slaves, who have Ben Hassan with them.
215:
Zoriana has misgivings about Olivia and Henry's mutual love being squandered. Henry arrives, and she leads him to Constant's prison.
386:
Henry: where liberty has established her court–where the warlike Eagle extends his glittering pinions in the sunshine of prosperity.
374:
837:
920:
885:
786:
452:, the US consul general to Tunis (1797–1803) stated that "Barbary is hell—So, alas, is all America south of Pennsylvania."
895:
107:) in Philadelphia, Pennsylvania, on June 30, 1794. A three-act play interspersed with songs, it is a response to the
278:
was published, in part, toward raising some of the one million dollars used to free the actual US captives in 1796.
262:
The newly founded United States, severely lacking in its treasury and naval resources, denied ransom payment to the
354:
627:
880:
860:
449:
407:
freedom of American women was—and remains—a means of claiming America's superiority over the Islamic world.
294:
104:
57:
743:
Captives and Their Monsters: Use of captivity narratives in the construction of the imagined Muslim monster
915:
196:
Ben Hassan intends to betray them, but Frederic knows of his character and threatens death for treachery.
890:
746:
708:
427:
900:
103:
in 1794. It is her first and only surviving play, first staged at the New Theatre (later renamed the
875:
782:"Commerce and Sentiment in Tales of Barbary Encounter: Cathcart, Barlow, Markoe, Tyler, and Rowson"
365:
350:
313:
Critical response to the play, both historical and modern, has been generally negative. Journalist
75:
805:
652:
302:
252:
833:
644:
589:
574:
Reed, Peter P. (2009). "Algerians, Renegades, and Transnational Rogues in Slaves in Algiers".
240:
481:
Slaves in Algiers; or, A struggle for freedom: a play, interspersed with songs, in three acts
827:
795:
709:"Slaves in Algiers, Captives in Iraq: The Strange Career of the Barbary Captivity Narrative"
636:
581:
535:
293:'s first and only surviving play. It was first staged at the New Theatre (later renamed the
267:
314:
108:
326:
290:
263:
256:
100:
32:
869:
809:
575:
298:
171:
373:, Anne G. Myles compares the play's conclusion with US President George W. Bush's
750:
677:
Captives and Countrymen : Barbary Slavery and the American Public, 1785–1816
243:(1801–1805). These events begin in 1785 with the American merchant ships, the
648:
479:
826:
Rowson, Susanna Haswell (2001). Margulis, Jennifer; Poremski, Karen (eds.).
585:
640:
358:
330:
800:
781:
656:
251:, which were captured along the North African coast by seamen from the
239:
Rowson's play is a story based on events of the period that led to the
86:
361:
felt justified in their beliefs and morals, and proud to be American.
266:
for the hostages who, in most cases, would have either died from the
192:
183:
As performed at the New Theatres in Philadelphia and Baltimore, 1794.
188:
128:
379:
146:
426:
Bush's speech was given less than two months before the
625:: Race, Republican Genealogies, and the Global Stage".
170:Zoriana: The daughter of Dey, princess, convert to
81:
71:
63:
53:
38:
28:
23:
713:Common Place: The Journal of Early American Life
621:Dillon, Elizabeth Maddock (September 1, 2004). "
844:(Annotated classroom edition with introduction)
493:
491:
337:
856:Slaves in Algiers; or, A Struggle for Freedom
702:
700:
698:
696:
694:
692:
690:
688:
686:
127:Ben Hassan: British-born Jew who converts to
8:
829:Slaves in Algiers; or A Struggle For Freedom
679:. Baltimore: Johns Hopkins University Press.
538:Slaves in Algiers; or A Struggle for Freedom
501:Slaves in Algiers, or A Struggle for Freedom
155:Olivia: The daughter of Rebecca and Constant
96:Slaves in Algiers, or A Struggle for Freedom
24:Slaves in Algiers, or A Struggle for Freedom
745:(M.A. thesis). San Diego State University.
530:
528:
20:
799:
67:Barbary piracy, American Christian values
861:Evans Early American Imprints Collection
775:
773:
771:
769:
670:
668:
666:
349:Her play also helped fuel the growth of
736:
734:
473:
471:
469:
467:
463:
419:
569:
567:
565:
142:Henry: American slave, Olivia's fiancé
499:"Susanna Haswell Rowson (1762–1824),
124:Augustus: Son of Rebecca and Constant
7:
787:European Journal of American Studies
719:from the original on October 4, 2021
602:from the original on October 4, 2021
550:from the original on October 4, 2021
513:from the original on October 4, 2021
344:– Rebecca, act 1, scene 2
133:Constant: Rebecca's British husband
136:Fetnah: The daughter of Ben Hassan
14:
780:Gross, Andrew S. (Summer 2014).
911:Algeria–United States relations
375:2003 State of the Union Address
158:Rebecca: Zealous American slave
509:. Trustees of Boston College.
478:Rowson, Susanna (March 2005).
152:Mustapha: Servant in the harem
1:
906:Antisemitism in Pennsylvania
675:Peskin, Lawrence A. (2009).
167:Selima: Servant in the harem
832:. Copley Publishing Group.
353:and nationalism. After the
937:
741:Stout, Mary Ellen (2016).
164:Sebastian: Spaniard sailor
161:Sadi: Servant in the harem
16:1794 American comedic play
628:American Literary History
383:
364:The play belongs to the
139:Frederic: American slave
115:failings of capitalism.
109:Barbary captivity crisis
58:Philadelphia New Theatre
586:10.1057/9780230622715_3
507:Boston Literary History
295:Chestnut Street Theatre
105:Chestnut Street Theatre
42:June 30, 1794
395:
341:
101:Susanna Haswell Rowson
99:is a play written by
921:American imperialism
886:Captivity narratives
544:jennifermargulis.net
366:captivity narrative
355:American Revolution
351:American patriotism
76:Captivity narrative
896:Slavery in Algeria
801:10.4000/ejas.10358
641:10.1093/alh/ajh022
580:. pp. 53–77.
577:Rogue Performances
303:Second Barbary War
235:Historical context
149:(ruler) of Algiers
85:Late 18th century
623:Slaves in Algiers
595:978-1-349-37466-3
404:
403:
329:was considered a
287:Slaves in Algiers
276:Slaves in Algiers
253:Algerian province
241:First Barbary War
92:
91:
928:
843:
814:
813:
803:
777:
764:
761:
755:
754:
738:
729:
728:
726:
724:
704:
681:
680:
672:
661:
660:
618:
612:
611:
609:
607:
571:
560:
559:
557:
555:
532:
523:
522:
520:
518:
495:
486:
485:
475:
453:
447:
441:
437:
431:
424:
390:
380:
345:
321:Social relevance
184:
49:
47:
21:
936:
935:
931:
930:
929:
927:
926:
925:
866:
865:
859:– full text at
851:
840:
825:
822:
820:Further reading
817:
779:
778:
767:
762:
758:
740:
739:
732:
722:
720:
707:Myles, Anne G.
706:
705:
684:
674:
673:
664:
620:
619:
615:
605:
603:
596:
573:
572:
563:
553:
551:
534:
533:
526:
516:
514:
497:
496:
489:
477:
476:
465:
461:
456:
448:
444:
438:
434:
428:US invaded Iraq
425:
421:
417:
400:
392:
387:
385:
347:
343:
323:
315:William Cobbett
311:
284:
237:
182:
180:
121:
54:Place premiered
45:
43:
17:
12:
11:
5:
934:
932:
924:
923:
918:
913:
908:
903:
898:
893:
888:
883:
881:American plays
878:
868:
867:
864:
863:
850:
849:External links
847:
846:
845:
838:
821:
818:
816:
815:
765:
756:
730:
682:
662:
635:(3): 407–436.
613:
594:
561:
524:
487:
462:
460:
457:
455:
454:
442:
432:
418:
416:
413:
402:
401:
393:
336:
327:Susanna Rowson
322:
319:
310:
307:
291:Susanna Rowson
283:
280:
274:The script of
264:Dey of Algiers
257:Ottoman Empire
236:
233:
179:
176:
175:
174:
168:
165:
162:
159:
156:
153:
150:
143:
140:
137:
134:
131:
125:
120:
117:
90:
89:
83:
79:
78:
73:
69:
68:
65:
61:
60:
55:
51:
50:
40:
39:Date premiered
36:
35:
33:Susanna Rowson
30:
26:
25:
15:
13:
10:
9:
6:
4:
3:
2:
933:
922:
919:
917:
916:Protofeminism
914:
912:
909:
907:
904:
902:
899:
897:
894:
892:
889:
887:
884:
882:
879:
877:
874:
873:
871:
862:
858:
857:
853:
852:
848:
841:
835:
831:
830:
824:
823:
819:
811:
807:
802:
797:
793:
789:
788:
783:
776:
774:
772:
770:
766:
760:
757:
752:
748:
744:
737:
735:
731:
718:
714:
710:
703:
701:
699:
697:
695:
693:
691:
689:
687:
683:
678:
671:
669:
667:
663:
658:
654:
650:
646:
642:
638:
634:
630:
629:
624:
617:
614:
601:
597:
591:
587:
583:
579:
578:
570:
568:
566:
562:
554:September 30,
549:
545:
541:
539:
531:
529:
525:
517:September 30,
512:
508:
504:
502:
494:
492:
488:
483:
482:
474:
472:
470:
468:
464:
458:
451:
450:William Eaton
446:
443:
436:
433:
429:
423:
420:
414:
412:
408:
399:
394:
391:
382:
381:
378:
376:
372:
367:
362:
360:
356:
352:
346:
340:
335:
332:
328:
320:
318:
316:
308:
306:
304:
300:
296:
292:
288:
281:
279:
277:
272:
269:
265:
260:
258:
254:
250:
246:
242:
234:
232:
228:
224:
220:
216:
213:
209:
205:
201:
197:
194:
190:
185:
177:
173:
169:
166:
163:
160:
157:
154:
151:
148:
145:Muley Moloc:
144:
141:
138:
135:
132:
130:
126:
123:
122:
118:
116:
112:
110:
106:
102:
98:
97:
88:
84:
80:
77:
74:
70:
66:
62:
59:
56:
52:
41:
37:
34:
31:
27:
22:
19:
891:Barbary Wars
855:
828:
791:
785:
759:
742:
721:. Retrieved
712:
676:
632:
626:
622:
616:
604:. Retrieved
576:
552:. Retrieved
543:
537:
515:. Retrieved
506:
500:
480:
445:
435:
422:
409:
405:
396:
384:
371:Common Place
370:
363:
348:
342:
338:
324:
312:
299:Philadelphia
286:
285:
282:Performances
275:
273:
261:
248:
244:
238:
229:
225:
221:
217:
214:
210:
206:
202:
198:
186:
181:
178:Plot summary
172:Christianity
113:
95:
94:
93:
18:
901:Orientalism
876:1794 plays
870:Categories
839:1583900144
751:1811622514
723:October 4,
606:October 4,
459:References
440:rebellion.
119:Characters
46:1794-06-30
29:Written by
810:159872339
649:0896-7148
309:Reception
747:ProQuest
717:Archived
600:Archived
548:Archived
511:Archived
359:Puritans
331:feminist
305:(1815).
247:and the
657:3568058
255:of the
249:Dauphin
87:Algiers
82:Setting
64:Subject
44: (
836:
808:
749:
655:
647:
592:
389:world.
268:plague
193:ransom
806:S2CID
794:(2).
653:JSTOR
415:Notes
297:) in
245:Maria
189:harem
187:In a
129:Islam
72:Genre
834:ISBN
725:2021
645:ISSN
608:2021
590:ISBN
556:2021
519:2021
796:doi
637:doi
582:doi
289:is
147:Dey
872::
804:.
790:.
784:.
768:^
733:^
715:.
711:.
685:^
665:^
651:.
643:.
633:16
631:.
598:.
588:.
564:^
546:.
542:.
527:^
505:.
490:^
466:^
377::
111:.
842:.
812:.
798::
792:9
753:.
727:.
659:.
639::
610:.
584::
558:.
540:"
536:"
521:.
503:"
484:.
430:.
48:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.