Sibling Rivalry, (Dis)Inheritance and Politics in Aphra Behn’s The Younger Brother and Susanna Centlivre’s The Artifice

Behn and Centlivre used their comedies about the rivalry between an elder and a younger brother concerning an inheritance to make a political statement. Primogeniture was customary in early-modern England, and if an estate was entailed (rather than held in fee simple), it was difficult, though not impossible, to will it away to another person. The reasons meriting disinheritance were widely discussed, but in the two plays, the Tory fathers disinherit their Whig elder sons for political reasons. As The Younger Brother was staged posthumously and altered by Charles Gildon, it is arguable what Behn’s manuscript looked like, but there are indications that the elder brother was meant to be a downright republican and that Behn saw to it that the estate would go to the Tory younger brother, whose political stance she shared. In The Artifice, the father disinherits his upright elder son because he punished a Jacobite clergyman (whom the Whigs would have considered traitorous), but Centlivre—a zealous Whig herself—engineered an ending that reinstates the elder brother but also provides the younger with a comfortable income. Both dramatists also dealt with the inheritance prospects of women and the power of disposal they have over their portions.