Virgin/whore dichotomy in ‘The Rover’:
LOAS:
1- Carnival masquerade renders this dichotomy obsolete for both
Hellena and Florinda
2- Manipulated by Angellica in her self-commodification
3- Dangers of blurring dichotomy through Florinda
In ‘The Rover’, the backdrop of Carnival and disguise allows for the
advancement of female agency and power, given the deconstruction of
the virgin/whore dichotomy (the means of categorising women in the 17th
century), allowing 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 identity as noblewomen and virginal figures. As such, the
suspension of their real identity allows for their adoption of a new one.
Hellena’s witty saying of ‘nunnery walls’ demonstrates her capacity to
transcend the expectation for her to be a chaste nun figure, 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 through
the absence of this dichotomy through disguise 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 obsolete, as virtuous women are free
to enact and enjoy the prerogatives of prostitution, allowing them a
greater sense of agency in relationships with male counterparts.
Behn further presents an inversion in the virgin/whore dichotomy through
Angellica, who is able to manipulate it as a means of gaining sexual power
through the withholding of her sexual chastity. In setting her price at a
thousand crowns a month, Angellica wilfully makes herself unattainable,
LOAS:
1- Carnival masquerade renders this dichotomy obsolete for both
Hellena and Florinda
2- Manipulated by Angellica in her self-commodification
3- Dangers of blurring dichotomy through Florinda
In ‘The Rover’, the backdrop of Carnival and disguise allows for the
advancement of female agency and power, given the deconstruction of
the virgin/whore dichotomy (the means of categorising women in the 17th
century), allowing 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 identity as noblewomen and virginal figures. As such, the
suspension of their real identity allows for their adoption of a new one.
Hellena’s witty saying of ‘nunnery walls’ demonstrates her capacity to
transcend the expectation for her to be a chaste nun figure, 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 through
the absence of this dichotomy through disguise 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 obsolete, as virtuous women are free
to enact and enjoy the prerogatives of prostitution, allowing them a
greater sense of agency in relationships with male counterparts.
Behn further presents an inversion in the virgin/whore dichotomy through
Angellica, who is able to manipulate it as a means of gaining sexual power
through the withholding of her sexual chastity. In setting her price at a
thousand crowns a month, Angellica wilfully makes herself unattainable,
