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Noel Cuevas ENG 311 - This is a study of major British authors and literary works from the long 18th
University of Maryland Global Campus
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Running head: APHRA BEHN AND “THE ROVER” 1 Analysis and Impact of Aphra Behn and “The Rover” Noel Cuevas University of Maryland Global Campus
Aphra Behn is an important figure in seventeenth-century English literature. An anti- abolitionist writer and the first well-known female writer in England, Behn was not afraid to challenge gender stereotypes, the English society had regarding the place of a woman and her capabilities. Meanwhile, ‘The Rover,’ a Restoration comedy, is a way for the author to display her ideas about science, religion, and culture while challenging the genre of a Restoration comedy at the same time by adding new tropes and themes. The author of ‘The Rover’ is most known for being one of the female pioneers in Restoration literature. Born in 1640, the English playwright challenged gender stereotypes about women by earning money due to her literary activities. A feminist icon, Behn also served as a spy for Charles II in Antwerp. Later, she made a great career as a playwright. In total, Behn created 19 plays, 4 novels, and many other short stories along with poetry. Unfortunately, the author’s health was worsening due to poverty. In 1688, Aphra Behn died. The author played a great role in the development of British literature and society: she was the first anti-abolitionist writer, the first well-known female writer, and a woman who was not afraid to set a boundary between religion and morality. Behn supported Anglicanism, thus making her a follower of Tory politics. Ironically, Behn supported Whig’s ideals of freedom in her works without realizing it. Though the author considered Anglicanism as the best choice when it came to a state religion, or monarchy when it came to politics, her writings like ‘Oroonoko’ or ‘The Rover’ show her as a critic of religion and racism. The thinkers who influenced the author the most are John Locke, Francis Bacon, and
Restoration drama is a direct spectacle. The viewers were less preoccupied with the plot and morals while demanding more fun and visual shows. Considering the increasing number of musicians playing at the theatre and the improved lighting, Restoration drama was an upgraded genre to symbolize the revival of national theatres. First of all, in an attempt to renovate the theatre, Behn stopped idealizing the court and used laughter to mock the ideals in religion and culture, while letting the viewers be united at least during the performance. Further, Behn introduced the theme of inadequate personal relationships, which reflected the public lack of faith in each other, torn by wars and economic ups and downs. Secondly, Behn revolutionized the comedy of manners by introducing characters like Willmore, the rover who acted in opposition to upper-class ideals. Thirdly, Behn introduced burlesque and farce. No wonder Naples is the city Behn chose for her story. The mix of low and high-class humor is the epitome of carnival, in which anyone can change their identity and deceive others. In some way, the carnival represents the ideas, which the post-war society had about the upper class and the government. Another important change in the Restoration comedy is female acting. After 1660, women entered the theatre stage for the first time. However, displaying one’s body on a public stage was sinful, hence creating a strong association in the audience between acting and prostitution. No wonder female characters were created to satisfy one’s voyeurism, turning a Restoration comedy into ‘a comedy of female reputation,’ including many scenes of dressing and undressing. For instance, Helena is supposed to become a nun. However, the character dresses as
a gypsy and is free to tell jokes in an erotic context. Consequently, a traditional trope of a woman who cares about her chastity has been changed. Other tropes, which the play follows, are ‘the noble couple’ trope, the ‘rake’ trope, and the ‘rape’ trope. The first trope is well seen in the relationship between Florinda and Belleville. The characters cannot be together because Belleville is poor. Meanwhile, the ‘rake’ trope of the trickster trope can be found in Willmore who is a trickster, aiming to seduce as many women as he can and have fun with his male friends. The ‘rape’ trope is especially important since the Restoration audience loved scenes, which meant action and the revelation of female bodies. Half of the male characters in ‘The Rover’ are rapists and misogynists like Blunt. However, fate is on their side, and they never get caught. This is where the problem of feminism arises. Though Behn was not allowed to talk about rape as something serious, she used humor to make everyone see the inadequate gender relationship, making the entire play an exaggerated reflection of seventeenth-century English society. Conclusively, by creating ‘The Rover,’ Aphra Behn expanded the genre of a Restoration comedy in the seventeenth century. The author added a subtext of eroticism and explicit sexuality as well as the ‘carnival’ trope, which was a mixture of low and high-class humor, aiming to unite the post-war society. Behn’s work is important because for the seventeenth and eighteenth centuries, the play challenges not only the literary genre but the whole understanding of English history and culture.
Noel Cuevas ENG 311 - This is a study of major British authors and literary works from the long 18th
University: University of Maryland Global Campus
