Abstract
Abstract This article assesses Mary Pix’s tragedy Ibrahim (1696) at the transition from traditional heroic drama to pathetic she-tragedy. Considering the coexistence of different ‘heroic modes’ towards the turn of the century, Pix’s tragedy can be placed between Dryden’s heroic drama The Indian Queen (1665; revived 1696) and Manley’s she-tragedy The Royal Mischief (1696). Ibrahim made use of traditional, popular theatre practices such as an oriental set and the incorporation of rape as stage spectacle; yet with the increased presence of women on the Restoration stage, Pix attributed a double function to the raped Morena as a reward for the male hero and as a heroine in her own right, thus mitigating the focus of earlier heroic plays on male heroship.
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