Introduction
When professional actresses entered upon the English stage for the first time in 1660, their appearance marked a profound change in theatrical activity in Restoration England under Charles II.
During the Protectorate (1642-1660), Charles II and his court had been in France and when they returned, French influence was brought onto the theatre stage. One of these influences was the introduction of actresses. Although women had already been acting before the Interregnum, they had done so only in the privacy of the court. Charles II, returned to England, supported the public theatre and because the "Restoration spectators were ... exc1usively aristocratic..., favoured the court and shared its attitudes and interests", actresses were easily accepted. Thus, by 1661, actresses were a regular part of the English Restoration stage. It also became a law that exc1usively "women should play women's parts".
Although actresses were now an accepted feature of the stage, their status within a company and within theatrical activity was still inferior to that of male actors. This inferiority included lower wages and only few roles with actua1 speaking parts. Women were rather asked to look beautiful and "to do no more than pose... to be gazed upon and desired by male characters in the play and ... by male spectators". In fact, the Restoration theatre aimed at attracting larger audiences by showing
Table of Contents
1. Introduction
2. Different manners of speech of different characters
2.1 Hellena, the female rake
2.2 Willmore, the male libertine
2.3 Angellica Bianca, the courtesan
2.4 Florinda, the virtuous woman
2.5 Blunt, the fool
3. Language and sexual domination
3.1 The female rake meets the male libertine
3.2 The male libertine meets the virtuous woman
3.3 The male libertine meets the courtesan
3.4 The fool meets the virtuous woman
4. Conclusion
Objectives and Research Focus
This paper examines how Aphra Behn uses language as a tool to manifest and resist sexual domination in her Restoration comedy, The Rover. The research explores how different character types—libertines, courtesans, virtuous women, and fools—utilize discourse to assert power, manipulate others, and navigate the rigid social constraints placed upon gender during the 17th century.
- The role of female playwrights and actresses in Restoration society.
- The linguistic strategies of the "female rake" versus the "male libertine."
- The impact of gendered social status on interpersonal power dynamics.
- The function of masquerade and disguise in subverting traditional modesty.
- The manifestation of male aggression and violence through language.
Auszug aus dem Buch
3.1 The female rake meets the male libertine
Willmore and Hellena represent the "gay couple" in the play. Making up a gay couple means that both potential partners want to maintain their individual freedom but are nevertheless attracted to each other. At their first encounter, Hellena is disguised as gypsy, a member of a lower class that enables her to flirt openly and shamelessly because gypsies have a reputation of being sexually available and easily seduced. Therefore, the masked Hellena attracts Willmore and has him soon engaged in a very seductive conversation, full of sexual allusions as both characters have the same libertine thoughts.
Willmore approaches Hellena addressing her as "dear, pretty" and "young devil" and introducing himself as "an amorous stranger" (1.2.144-145). He also refers to her as "child", "dear creature", "sweetheart" and "my dear pretty creature" throughout the play. The use of such adjectives also applies to Willmore' s witty female counterpart Hellena. She addresses him as "Sir" and "good Father Captain". Behn lets both characters address each other in this way to show their straightforwardness in gaining pleasure. With their usage of these adjectives they try to establish directly an intimacy that allows them to manipulate one another and hence, satisfy each other's desires. Willmore's interest in their encounter is of course to seduce Hellena in order to have sex with her, while Hellena's aim is to flirt and to display all her advantages, and then eventually to find a man to love and to marry. Behn also uses questions to underline the intimacy. Willmore asks, "cannot you divine what other things of more value [than of money] I have about me, that I would more willingly part with?" (1.2.157-159).
Summary of Chapters
1. Introduction: This chapter provides historical context regarding the emergence of actresses on the Restoration stage and discusses the social challenges faced by women in the theater, specifically focusing on Aphra Behn.
2. Different manners of speech of different characters: This section profiles the play's key characters, analyzing how their specific speech patterns and behaviors reflect their roles, such as the female rake, the male libertine, and the virtuous woman.
3. Language and sexual domination: This chapter examines the power dynamics between different characters during their encounters, demonstrating how language serves as a primary tool for asserting dominance or seeking freedom.
4. Conclusion: This chapter synthesizes the findings, arguing that while Behn introduces empowered female figures, the societal structure of the Restoration period ultimately grants greater freedom and dominance to the male characters.
Keywords
Aphra Behn, The Rover, Restoration Theatre, Language, Sexual Domination, Libertinism, Female Rake, Gender Roles, Power Dynamics, Courtesan, Modesty, Seduction, Social Constraints, Discourse, Masculinity.
Frequently Asked Questions
What is the core focus of this research?
The research explores the intersection of language, gender, and power in Aphra Behn’s The Rover, specifically how characters use discourse to either enforce or challenge sexual domination.
What are the primary themes discussed?
Key themes include the subversion of traditional gender roles, the behavior of the "rake" and "virtuous woman," the impact of social reputation on women, and the use of language to negotiate sexual desire and personal freedom.
What is the main objective of the study?
The primary goal is to determine whether a direct relationship exists between the language employed by the characters and the sexual domination present in the play.
Which academic methodology is used?
The author employs a literary analysis approach, focusing on character discourse, stage directions, and historical context regarding the status of women in the Restoration era.
What does the main body cover?
The main body investigates specific encounters between pairs of characters—such as the female rake and the male libertine—to illustrate how language defines their power balance.
Which keywords best characterize this work?
Significant keywords include Aphra Behn, The Rover, libertinism, sexual domination, female rake, and Restoration theatre.
How does Hellena challenge the traditional female role?
Hellena defies the expectation of modesty and chastity by actively pursuing her own desires, using wit and disguise to control her interactions with men, and ultimately choosing her own partner.
Why is Willmore considered the dominant force in the encounters?
Willmore, as a typical rake, possesses the societal freedom to move between sexual partners without losing his reputation, whereas the female characters face significant social consequences for similar behaviors.
- Quote paper
- Maria Gottschall (Author), 2006, The relationship between language and sexual domination in Aphra Behn's "The Rover", Munich, GRIN Verlag, https://www.grin.com/document/76675
