By Kate Aughterson
ISBN-10: 023062944X
ISBN-13: 9780230629448
ISBN-10: 0333963199
ISBN-13: 9780333963197
Aphra Behn: The Comedies presents scholars with an approachable and interesting research of Behn's dramaturgical talents, displaying rather how she makes use of comedian and dramatic conventions to radical ends. Kate Aughterson indicates how the playwright forces her viewers to interact with matters approximately gender and sexuality, when carrying on with to put in writing witty and available performs.
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Extra resources for Aphra Behn: the Comedies (Analysing Texts)
Example text
What is the significance of their views on Carnival and their plans? Consider the ways Act 1, scene ii is an explicit contrast to Act 1, scene i (such as setting, characters, language, themes). What are the effect and importance of the relationship between these two opening scenes? The Feigned Courtesans How does the rest of Act 1, scene i reinforce or contrast with our conclusions about the first part? We are introduced to additional characters: does this change or extend our views of the gallants?
27 tilism and for the aristocratic status quo. Additionally, such character contrasts help produce a dynamic plot, doubling intrigues and conflicts, and giving the audience different perspectives on such conflict. Themes of sexual and marital politics, views on arranged marriages, and gendered language and behaviour are foregrounded from the plays’ very first lines and action. Such themes are common in comedies, of course; however, it is also clear that in Behn’s plays such themes are presented in non-conventional ways: either from a woman’s viewpoint on stage, or by making the audience critical of conventional masculine language, views or behaviour.
Cornelia holds centre stage for a mere twenty lines, a much shorter resolution than the Laura plot before the opening of this extract. There are two themes discussed in these twenty lines: the question of her uncle’s approval and views, and the question of her identity within marriage. Her uncle Morosini is surprisingly muted in their exchange. Although he calls her a ‘baggage’ and a ‘wicked contriver of mischief ’ (l. 141), such views do not inform his actions. He acquiesces in the common approval of her choice of partner (l.
Aphra Behn: the Comedies (Analysing Texts) by Kate Aughterson
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