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The Rover and Aphra Behn’s Revision of the Restoration Comedy
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As the first professional female playwright, Aphra Behn(1640-1689) provides radically different perspective from those of her male counterparts on feminity. While most critics now acknowledge that Behn was one of the most artistically as well as commercially successful playwrights of the Restoration period, the nature and significance of her achievement and vision remain matters of debate. This article uses Aphra Behn’s best known play, The Rover(1677), to argue that Behn neither reveals ‘a more masculine set of values’ than male dramatists of the period, nor envisions and applauds ‘a female libertine’ as the new ideal of a woman. It makes a close comparison between Behn’s The Rover and its source play, Thomas Killigrew’s Thomaso: or, the Wanderer (1654), which, like the other Restoration comedies, can be said to embody the compensatory fantasy for the waning Restoration aristocracy and the male fantasy of feminity, and examines how Behn transforms the source play into a totally different play by shifting the experiential centre of her play from masculine wit to female ingenuity. This article argues that even as Behn criticizes the antifeminism endemic to a patrilineal society, she reminds her audiences that women have very limited options and the definition of feminity available in her times is either ‘a chaste commodity’ of their fathers or ‘a whore’, all bad news for women.
Abstract
As the first professional female playwright, Aphra Behn(1640-1689) provides radically different perspective from those of her male counterparts on feminity. While most critics now acknowledge that Behn was one of the most artistically as well as commercially successful playwrights of the Restoration period, the nature and significance of her achievement and vision remain matters of debate. This article uses Aphra Behn’s best known play, The Rover(1677), to argue that Behn neither reveals ‘a more masculine set of values’ than male dramatists of the period, nor envisions and applauds ‘a female libertine’ as the new ideal of a woman. It makes a close comparison between Behn’s The Rover and its source play, Thomas Killigrew’s Thomaso: or, the Wanderer (1654), which, like the other Restoration comedies, can be said to embody the compensatory fantasy for the waning Restoration aristocracy and the male fantasy of feminity, and examines how Behn transforms the source play into a totally different play by shifting the experiential centre of her play from masculine wit to female ingenuity. This article argues that even as Behn criticizes the antifeminism endemic to a patrilineal society, she reminds her audiences that women have very limited options and the definition of feminity available in her times is either ‘a chaste commodity’ of their fathers or ‘a whore’, all bad news for women.
참고문헌 (30)
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