'The Rover' by Aphra Behn

This blog task is assigned by Megha Trivedi Ma'am (Department of English, MKBU).

{getToc} $title={Table of Contents} $count={false}

Video Lecture on 'The Rover by Aphra Behn on YouTube/CEC: Click here.

Q.-1.|Angellica considers the financial negotiations that one makes before marrying a prospective bride the same as prostitution. Do you agree?

Ans.

1. Introduction

Aphra Behn’s 'The Rover' is a groundbreaking work of Restoration comedy that offers biting social commentary on gender roles, love, and economic transactions. Angellica Bianca, one of the play’s central figures, challenges societal norms by equating the financial negotiations of marriage with prostitution. Her assertion, rooted in her experience as a courtesan, raises profound questions about the commodification of women and the transactional nature of relationships. This answer explores whether Angellica’s comparison holds merit, contextualized within the play’s first part and the socio-economic dynamics of the 17th century.

2. Angellica’s Perspective: Marriage as Prostitution

Source: DALL·E 3 - Representational
Chains of Society: A metaphorical scene showing Angellica bound by chains made of gold, yet her expression is one of frustration and defiance.

Angellica Bianca’s worldview is shaped by her status as a courtesan, a woman who exchanges companionship and sexual intimacy for money. In her first encounter with the male characters, her portrait, a symbol of her commodification, is displayed with the price of

“a thousand crowns a month”

​

This establishes her role in the play’s commentary on transactional relationships.

When Angellica meets Wilmore, she becomes enamored with him, only to be abandoned when he pursues his libertine desires. Her bitter observation—

"Yet still had been content to’ve worn my chains,

Worn ’em with vanity and joy forever,

Hadst thou not broke those vows that put them on."

—highlights the hypocrisy of a society that condemns courtesans but condones marriages driven by financial alliances​. Angellica contends that in both prostitution and marriage, women’s value is measured through monetary worth, leaving little room for genuine emotion.

3. Social Commentary and Gender Dynamics

Angellica’s critique reflects Behn’s broader examination of women’s limited agency during the Restoration period. Women like Florinda are subjected to arranged marriages for political or financial gain, as seen in her father’s insistence on marrying her to the elderly Don Vincentio. This aligns with Angellica’s condemnation:

“For such it is, whilst that which is Love’s due is meanly barter’d for.”​

Behn critiques the commodification of women through Angellica’s anger and despair. While courtesans openly negotiate their worth, wives are confined within legal contracts, expected to provide loyalty and offspring in exchange for economic security. By exposing these parallels, Behn amplifies Angellica’s voice as a feminist critique of her era’s gender inequalities.

4. Contrasting Perspectives in the Play

While Angellica’s perspective is compelling, the play offers contrasting views through characters like Helena and Florinda. Helena, spirited and independent, mocks societal norms and actively chooses her romantic partner, Willmore, on her terms. In contrast, Florinda’s struggles against her forced marriage underscore the systemic lack of autonomy for women. These narratives suggest that while Angellica’s comparison has merit, not all marriages reduce women to commodities.

Wilmore, embodying the Restoration rake, trivializes women’s concerns. His disregard for Angellica after professing love reveals the double standards of libertine culture: men are free to pursue pleasure, while women bear the consequences of these liaisons. This dynamic supports Angellica’s claim that societal norms commodify women under different guises.

5. Satirical Critique and the Restoration Context

Behn employs satire to expose the socio-economic underpinnings of marriage and prostitution. By juxtaposing Angellica’s profession with the financial negotiations of dowries, Behn blurs the boundaries between the two institutions. In the 17th century, women were often bartered as commodities in marriages that secured alliances and wealth, a reality that Angellica’s critique brutally unveils.

The humor and irony of 'The Rover' amplify its critique. Scenes of male libertines pursuing women for conquest highlight the superficiality of their affections. Behn’s portrayal of Angellica’s vulnerability humanizes her, contrasting with the play’s comedic elements to underscore the serious implications of reducing relationships to transactions.

6. Conclusion: Is Angellica Right?

Angellica’s assertion that marriage resembles prostitution is a provocative indictment of her society’s gender and economic structures. While her perspective is shaped by her unique position as a courtesan, the play’s depiction of arranged marriages and libertine hypocrisy validates her critique. However, characters like Helena suggest the possibility of relationships based on mutual respect and choice, challenging Angellica’s cynicism.

In conclusion, Behn’s 'The Rover' uses Angellica’s plight to question societal norms, inviting audiences to reflect on the economic and emotional dimensions of relationships. Angellica’s comparison, though extreme, forces us to reconsider the morality of practices that commodify women, whether in the guise of marriage or otherwise.

Q.-2.|“All women together ought to let flowers fall upon the tomb of Aphra Behn, for it was she who earned them the right to speak their minds.” Virginia Woolf said so in ‘A Room of One’s Own’. Do you agree with this statement? Justify your answer with reference to your reading of the play ‘The Rover.’

Ans.

1. Introduction

In 'A Room of One’s Own,' Virginia Woolf famously stated that

“All women together ought to let flowers fall upon the tomb of Aphra Behn, for it was she who earned them the right to speak their minds.”

This tribute highlights Behn’s revolutionary role in enabling women to assert their voices in literature and society. Woolf’s admiration stems from Behn’s boldness as one of the first professional female playwrights, challenging societal constraints placed on women. Behn’s work, particularly 'The Rover,' offers a window into how her female characters defy patriarchal norms and express their autonomy. This answer explores Woolf's statement by analyzing Behn’s depiction of women in 'The Rover,' the themes of the play, and the feminist legacy that Behn left behind.

2. Woolf’s Tribute: Analyzing the Quote

Woolf’s tribute underscores Behn’s pioneering contribution to women’s literary autonomy. In a time when women were largely excluded from the public literary and intellectual spheres, Behn carved a space for herself, becoming the first Englishwoman to earn a living from her writing. Woolf suggests that Behn’s work—marked by its bold, unrestrained female characters—helped pave the way for future generations of women to claim their voices, not just in literature, but in all aspects of life.

Behn’s contribution lies in her portrayal of women as multifaceted, assertive individuals capable of challenging the rigid gender roles of the Restoration period. 'The Rover,' though comedic, delves into serious themes of love, autonomy, and social expectations, allowing its female characters to express themselves with remarkable agency. Through characters like Angellica, Florinda, and Hellena, Behn critiques the limitations imposed on women, making her work a revolutionary call for self-expression and gender equality.

3. Women’s Voices in 'The Rover'

Video Lecture on The Rover on YouTube/English at Royal Holloway (TeacherHub.English): Click here.

In 'The Rover,' Behn portrays female characters who assert their autonomy and navigate their desires despite the societal constraints of their time. The characters’ dialogues and actions reflect Behn’s vision of women who are not passive recipients of male attention, but active agents in shaping their own lives.

3.1. Angellica Bianca: The Courtesan Who Seeks Love

Angellica is a courtesan who challenges the expectation that women’s value lies solely in their beauty and sexual availability. She commands a high price for her company, yet her deep emotional vulnerability surfaces when she falls in love with Willmore. In a pivotal scene, she criticizes Willmore for betraying her trust, saying:

“Thou, perjur’d Man, didst this, and with thy Oaths,

Which on thy Knees thou didst devoutly make,

Soften’d my yielding Heart—And then, I was a Slave.”

Angellica’s outrage at Willmore’s deception reflects Behn’s exploration of the commodification of women, where love and emotion are reduced to transactions. By giving Angellica the ability to articulate her hurt and express her frustrations, Behn not only critiques a society that devalues women’s emotional needs but also allows her character a voice of power and agency in the face of betrayal.

3.2. Florinda: The Noblewoman Who Rejects Forced Marriage

Florinda, a noblewoman, is another strong example of Behn’s portrayal of female autonomy. She actively resists an arranged marriage to the elderly Don Vincentio, a decision that reflects her desire for personal choice in a time when women’s lives were often controlled by family and societal expectations. Florinda’s desire to marry the man she loves, Belvile, and her resistance to the commodification of women through dowries, offers a pointed critique of the patriarchal system that uses marriage to forge alliances and accumulate wealth. Florinda’s courage to assert her wishes—

“I had rather see her in the Hostel de Dieu, to waste her Youth there in Vows, and be a Handmaid to Lazers and Cripples, than to lose it in such a Marriage.”

—embodies the spirit of defiance that Behn imbues in her female characters.

3.3. Hellena: The Independent Woman Who Chooses Her Own Path

Hellena, Florinda’s sister, is perhaps the most outspoken character in 'The Rover.' She is a woman who refuses to be confined by traditional gender roles. Hellena expresses her desires openly, asserting her independence in her pursuit of Willmore, and challenges the social conventions that restrict her.

“I care not, I had rather be a Nun, than be oblig’d to marry as you wou’d have me, if I were design’d for’t.”

she declares, rejecting the submissive role women were expected to play in romantic pursuits. Hellena’s independence and refusal to conform to the expectations of marriage and gender norms make her a clear reflection of Behn’s own desires for women to reclaim their right to self-expression.

4. Behn’s Writing Style and Feminist Themes

Behn’s writing in 'The Rover' is marked by wit, humor, and sharp social commentary. She uses comedy not only to entertain but also to highlight the complexities of gender, power, and autonomy. By giving her female characters such vibrant, multifaceted personalities, Behn elevates them from mere romantic objects to subjects with their own desires and voices.

In her portrayal of female sexual autonomy, Behn challenges the conventional representation of women in Restoration comedies. Angellica, in particular, represents a progressive view of female sexuality—she is both empowered by her ability to control her body and victimized by a society that reduces her to her physical appeal. This duality speaks to Behn’s broader feminist concerns: she critiques a world in which women’s sexual and emotional labor is commodified while simultaneously offering them the agency to challenge and resist such limitations.

5. Behn’s Feminist Legacy and Historical Context

In the 17th century, when 'The Rover' was first performed, women were largely excluded from positions of power and expression. Behn’s work, however, brought women’s voices into the literary world. By creating female characters who question societal norms and assert their independence, Behn pushed against the boundaries of her time. As the first woman to earn a living through writing, Behn’s success was an unprecedented feat, and it set the stage for later feminist voices.

The historical context of Behn’s writing—the Restoration period—was one in which women’s roles were largely confined to the private sphere. Behn’s portrayal of women who engage in the public, political, and sexual spheres offered a radical break from these norms. Her work opened the door for later feminist writers to continue to challenge and critique gender dynamics, contributing to the broader movement for women’s rights and equality.

6. Conclusion

I agree with Virginia Woolf’s statement that all women owe a debt of gratitude to Aphra Behn for earning them the right to speak their minds. Through 'The Rover,' Behn created a literary space where women could articulate their desires, frustrations, and aspirations, challenging the patriarchal structures that sought to silence them. Behn’s portrayal of independent, assertive female characters like Angellica, Florinda, and Hellena shows that women can resist societal pressures and claim their autonomy. By presenting female sexual autonomy, power, and agency, Behn laid the groundwork for future feminist writers. In a world where women’s voices were often marginalized, Behn not only gave her characters the power to speak but also set the stage for women’s self-expression in literature for generations to come.

Q.-3.|Which female character best represents the playwright, Aphra Behn? Consider the characteristics and beliefs of each female character, and make an argument that relates these distinctive attributes to what you know about Behn.

Ans.

Source: Course Hero

1. Introduction

Aphra Behn, a trailblazing figure in 17th-century literature, holds a unique place as one of the first professional female writers in English. Her work, particularly 'The Rover,' offers profound insights into the challenges and aspirations of women in a patriarchal society. 'The Rover' is a vibrant Restoration comedy that critiques societal norms and explores themes of love, autonomy, and gender roles. Among the play’s female characters—Angellica, Florinda, and Hellena—each embodies a facet of Behn’s own life and philosophy. This answer argues that Hellena, with her wit, defiance of societal norms, and pursuit of personal freedom, best represents the spirit and legacy of Aphra Behn.

Aphra Behn c. 1670

2. Angellica: The Courtesan's Plight

Angellica Bianca, a courtesan, reflects Behn’s exploration of female sexuality and the commodification of women. Angellica’s life mirrors some of Behn’s own struggles as a woman navigating a male-dominated world. Angellica critiques the hypocrisy of men who desire her beauty yet scorn her status:

"How many poor believing fools thou hast undone;

How many hearts thou hast betray’d to ruin!"

This line captures her indignation at Willmore’s betrayal and the societal double standards imposed on women. Angellica’s independence and sexual autonomy parallel Behn’s bold defiance of societal expectations as a playwright. However, Angellica’s vulnerability in love contrasts with Behn’s self-assured persona, suggesting that while Angellica represents one aspect of Behn’s experience, she lacks the resilience that defines Hellena.

3. Florinda: The Noblewoman’s Struggle

Florinda, a noblewoman, represents the constraints of societal expectations placed on women of her class. Her resistance to a forced marriage highlights her desire for personal agency:

"I had rather see her in the Hostel de Dieu, to waste her Youth there in Vows, and be a Handmaid to Lazers and Cripples, than to lose it in such a Marriage."

Florinda’s struggle reflects Behn’s critique of the commodification of women through marriage, a theme she revisits across her works. Despite Florinda’s courage, her character operates within the boundaries of societal norms, seeking love and marriage on her own terms rather than rejecting the institution entirely. This makes her less representative of Behn, who consistently challenged such conventions in both her life and writing.

4. Hellena: The Independent Spirit

Hellena, the younger sister of Florinda, emerges as the character most aligned with Behn’s life and values. Hellena’s wit, independence, and refusal to conform to societal expectations resonate strongly with Behn’s own defiance of gender roles. From her first appearance, Hellena challenges her brother’s authority, declaring:

"Shall I so? You may chance to be mistaken in my way of devotion—A Nun! yes I am like to make a fine Nun!"

This line encapsulates Hellena’s playful yet determined nature, as she seeks adventure and love on her own terms. Hellena’s rejection of a convent life—

"I care not, I had rather be a Nun, than be oblig’d to marry as you wou’d have me, if I were design’d for’t."

—parallels Behn’s own rejection of societal constraints that sought to confine women to passive roles.

Hellena’s pursuit of Willmore demonstrates her agency in matters of love and desire. Unlike Angellica, who is ultimately betrayed by Willmore, Hellena navigates the complexities of love with confidence and humor. Her playful declaration—

"I profess myself the gay, the kind, and the inconstant—the Devil’s in’t if this won’t please you"

—reflects Behn’s wit and her refusal to adhere to societal expectations of female propriety.

5. Aphra Behn’s Biographical Context

Behn’s life as a playwright, spy, and independent woman in the 17th century informs her portrayal of Hellena. Behn’s courage in pursuing a literary career despite the challenges of a male-dominated field mirrors Hellena’s bold defiance of societal norms. Behn’s wit and intelligence, evident in her works, are embodied in Hellena’s sharp dialogue and clever maneuvering.

Behn’s ability to navigate the Restoration’s libertine culture while maintaining her autonomy resonates with Hellena’s playful yet calculated pursuit of love. Both women reject the passive roles assigned to them, instead carving out spaces for their voices to be heard.

6. Feminist Context and Modern Perspectives

Hellena’s character challenges 17th-century gender roles, offering a progressive portrayal of female autonomy. Behn critiques the societal constraints that limit women’s choices, using Hellena’s wit and independence as tools of resistance. Hellena’s actions resonate with modern feminist ideals, emphasizing women’s right to self-determination in matters of love, career, and identity.

While Angellica critiques the commodification of women and Florinda fights for her right to love, Hellena embodies the full spectrum of autonomy, humor, and defiance that defines Behn’s feminist legacy. Her character demonstrates that women can assert their desires and navigate societal expectations without losing their individuality.

7. Conclusion

Hellena best represents Aphra Behn among the female characters in 'The Rover.' Her wit, independence, and rejection of societal constraints align with Behn’s life and values as a pioneering female writer. While Angellica and Florinda highlight important aspects of women’s struggles, Hellena’s boldness and humor capture the essence of Behn’s spirit. Through Hellena, Behn not only critiques the limitations imposed on women but also celebrates their ability to challenge and transcend these boundaries. Hellena stands as a testament to Behn’s vision of a world where women, like herself, could claim their right to speak, act, and live freely.

References

1. Behn, Aphra. The Works of Aphra Behn, Volume I. Project Gutenberg, 2020, www.gutenberg.org/cache/epub/21339/pg21339-images.html.

2. Britannica, The Editors of Encyclopaedia. “Aphra Behn.” Encyclopedia Britannica, 12 Apr. 2024, www.britannica.com/biography/Aphra-Behn. Accessed 16 Nov. 2024.

3. Pacheco, Anita. “Rape and the Female Subject in Aphra Behn’s ‘The Rover.’” ELH, vol. 65, 2, 1998, pp. 323–45. JSTOR, www.jstor.org/stable/30030182.

4. Woolf, Virginia. A Room of One’s Own. Penguin Classics, 2020.

Thank you!