Class/status OR identity in ‘The Rover’
For identity- change ‘class’ for ‘identity’ and talk about Willmore’s ability
to manipulate his identity as the Rake
In ‘The Rover’, Behn presents freedom from the restrictions of class and
status in the backdrop of Carnival, which allows women to participate in
Carnivalesque activities typically reserved for libertine men. Having
rejected the designs of Don Pedro, Hellena, Florinda and Valeria enter the
male-dominated sphere of Carnival ‘dressed like gipsies’, a disguise which
frees them from the markers of their class as noblewomen. As such, the
suspension of their real status allows for their adoption of a new one.
Hellena’s witty saying of ‘nunnery walls’ demonstrates her capacity to
transcend the societal expectation for her to be a chaste nun, as she
manipulates the idea of ‘nunnery’ by conflating it with sexual innuendo,
displaying how Hellena is able to deconstruct the virgin-whore dichotomy
under the guise of Carnival so to match Willmore’s wit as the Rake and
retain her sense of power. Hellena’s capacity to stand her ground against
Willmore here in Act 1.2 is evidenced by the stichomythic dialogue Behn
employs, displaying their evenly matched bawdy verbal sparring- ‘Can you
storm?’ ‘Oh most furiously.’ Behn’s presentation of female agency in the
suspension of class restrictions is furthered by the fact it allows Florinda to
pursue Belvile in an unconventional reverse of typical courtship, as
‘[Florinda hands over her letter to Belvile]’, which is then passed around
between the other Cavaliers. Taking the letter as symbolic of her chastity
in preservation for Belvile, Behn’s stagecraft of passing the letter around
is an ironic subversion of her expected innocence and virginity, as its
collective handling by other men carries the connotations of prostitution.
Therefore, much like that of Hellena, Florinda’s disguise renders the virgin-
whore dichotomy (the means of categorising women in the 17th century)
obsolete, as virtuous women are able to enact and enjoy the prerogatives
of prostitution free from societal expectation they are subjected to as a
result of their class, allowing them a greater sense of agency in
relationships with male counterparts.
Conversely, Behn outlines the dangers associated with the Carnivalesque
obscuring of female class and status through Florinda, whose female
disguise makes her desirability more apparent to male aggressors. In her
constant changing of costume, Florinda’s aristocratic status is hidden,
which puts her at the mercy of male sexual danger. Willmore justifies his
attempted rape of Florinda given he perceived her to be the epithet
For identity- change ‘class’ for ‘identity’ and talk about Willmore’s ability
to manipulate his identity as the Rake
In ‘The Rover’, Behn presents freedom from the restrictions of class and
status in the backdrop of Carnival, which allows women to participate in
Carnivalesque activities typically reserved for libertine men. Having
rejected the designs of Don Pedro, Hellena, Florinda and Valeria enter the
male-dominated sphere of Carnival ‘dressed like gipsies’, a disguise which
frees them from the markers of their class as noblewomen. As such, the
suspension of their real status allows for their adoption of a new one.
Hellena’s witty saying of ‘nunnery walls’ demonstrates her capacity to
transcend the societal expectation for her to be a chaste nun, as she
manipulates the idea of ‘nunnery’ by conflating it with sexual innuendo,
displaying how Hellena is able to deconstruct the virgin-whore dichotomy
under the guise of Carnival so to match Willmore’s wit as the Rake and
retain her sense of power. Hellena’s capacity to stand her ground against
Willmore here in Act 1.2 is evidenced by the stichomythic dialogue Behn
employs, displaying their evenly matched bawdy verbal sparring- ‘Can you
storm?’ ‘Oh most furiously.’ Behn’s presentation of female agency in the
suspension of class restrictions is furthered by the fact it allows Florinda to
pursue Belvile in an unconventional reverse of typical courtship, as
‘[Florinda hands over her letter to Belvile]’, which is then passed around
between the other Cavaliers. Taking the letter as symbolic of her chastity
in preservation for Belvile, Behn’s stagecraft of passing the letter around
is an ironic subversion of her expected innocence and virginity, as its
collective handling by other men carries the connotations of prostitution.
Therefore, much like that of Hellena, Florinda’s disguise renders the virgin-
whore dichotomy (the means of categorising women in the 17th century)
obsolete, as virtuous women are able to enact and enjoy the prerogatives
of prostitution free from societal expectation they are subjected to as a
result of their class, allowing them a greater sense of agency in
relationships with male counterparts.
Conversely, Behn outlines the dangers associated with the Carnivalesque
obscuring of female class and status through Florinda, whose female
disguise makes her desirability more apparent to male aggressors. In her
constant changing of costume, Florinda’s aristocratic status is hidden,
which puts her at the mercy of male sexual danger. Willmore justifies his
attempted rape of Florinda given he perceived her to be the epithet
