왕정복고 희극의 정치학: 아프라 벤의『떠돌이』를 중심으로
The Politics of Restoration Comedies: A Case Study of Aphra Behn’s The Rover
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This paper attempts to explain the reasons for the popularity of Aphra Behn’s The Rover among the Royalists when it was originally performed in 1677. By noting how the theater taste of Charles II and his followers at the royal court dictated the development of Restoration drama, the paper focuses on the historical context that would allow the audience to view the play favorably. To be more specific, instead of employing feministic theory, which has become a dominant discourse tool to analyze Behn’s plays, this paper approaches The Rover by focusing on how the dynamic between the audience and a work of art could be an important key to unlock otherwise hidden aspects of the play. In the conclusion, it argues that the Royalists' enthusiastic endorsement of the play partly derives from the pleasure of visual entertainment due to the technical innovations that Restoration theater had brought with it. More importantly, however, the popularity primarily lies in the Royalists’ nostalgic glance toward their young adulthood and the affirmation of their masculinity through the identification of the rake-heroes' victory over other contenders for winning the hearts of Spanish noble women and their wealth.
Abstract
This paper attempts to explain the reasons for the popularity of Aphra Behn’s The Rover among the Royalists when it was originally performed in 1677. By noting how the theater taste of Charles II and his followers at the royal court dictated the development of Restoration drama, the paper focuses on the historical context that would allow the audience to view the play favorably. To be more specific, instead of employing feministic theory, which has become a dominant discourse tool to analyze Behn’s plays, this paper approaches The Rover by focusing on how the dynamic between the audience and a work of art could be an important key to unlock otherwise hidden aspects of the play. In the conclusion, it argues that the Royalists' enthusiastic endorsement of the play partly derives from the pleasure of visual entertainment due to the technical innovations that Restoration theater had brought with it. More importantly, however, the popularity primarily lies in the Royalists’ nostalgic glance toward their young adulthood and the affirmation of their masculinity through the identification of the rake-heroes' victory over other contenders for winning the hearts of Spanish noble women and their wealth.
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