It is imperative that theater demands far more consideration regarding the intended audience than other literary forms, since ultimately a play is meant to be a performance. In drama and its theatrical performance, spectators experience the author's vision in a defined form, in contrast to what happens when they are made to read and rely on their own visualization and imagination. As a result, playwrights are often considered to incorporate popular tastes and perspectives when writing their screenplays. Whether they are truly influenced by them or simply commenting on them, objectively or not, the relationship between theater and the era in question is undeniable. Moreover, it is a mutual process, because just as natural as it is for the writer to be influenced by social factors, so it is inevitable that at some level the writer strives to return to society their own individual ideas about society. circumstances of the moment. The extent to which a writer can go to this end, apart from his own determination and character, depends on his assessment of his audience's capacity for perception, the general cultural atmosphere, and relevant restrictions such as that of censorship. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Therefore, for Aphra Behn, as a playwright in 17th-century England, it was inevitable that she would camouflage her subversions and polemical ideas under the guise of wit and comedy. While Behn's works in his day would generally have been understood as carefully written comedies incorporating the basics of Restoration drama, the discerning individual can discern subtle comments regarding notions of genre, property laws, structures class, etc. , or were integrated into his prose in a subconscious and concrete way, or whether they simply stand out in view of their retrospective analysis in the 21st century, is of course a question beyond the scope of this assignment. and also somewhat intangible. Although, in her own words, Behn reveals that she had to "write to please an age which repeatedly gave proof that it was compelled by this way of writing"; indicating that she was well aware of the limitations placed on her as a professional playwright. However, from the beginning of The Rover, it is clear that the main theme concerns restrictive social constructs towards women. The scene opens with a dialogue between the two sisters Florinda and Hellena, and at first glance it could be classified as a stereotypical conversation between two young girls on fanciful topics accompanied by a generous dose of wit and reprimand. A parallel could be drawn here with the conversations between Rosalind and Celia in As You Like It; even if, coming from a female writer, the Florinda-Hellena dialogue seems much more natural. Additionally, given these final scenes of mistaken identities and resulting comical situations, further connections could be made to Shakespearean drama. Nevertheless, the first joke itself provides a subtle indication that the play will tread subversive lines, as signified by the presumed nature of the female protagonist, Hellena: "What an impertinent thing a young girl brought up in a convent is!" How full of questions it is! Throughout the play, Hellena is seen to be constantly reminded of her impending life in a convent, and when her actions and speeches go against the perceived idea of ​​a nun, she is further reprimanded for that. Because the image itself is so strong that it dominates theremains of the individual's personality when perceived by others. A sober life of celibacy, austerity and renunciation – a complete contrast to Hellena's curious and lively nature, as could be justified by another line from Florinda: "Hellena, a servant designed for a nun should not pass by so curious in a speech of love” The light dialogue thus moves on to the subject of love and consequently to Florinda's predicament, where she must marry against her will even though she admires Belvile. However, Florinda seems aware of her own situation and the social nuances regarding marriage, as she states: "I understand better what is due to my beauty, my birth and my fortune, more to my soul, than to obey these unjust commandments.” One might find here an echo of Alisoun's mercantile vision of marriage, as seen in Chaucer's The Wife of Bath. The respective dilemmas of the two girls betray a careful characterization on Behn's part, possibly to comment on the patriarchal functioning of society. Marriage was (and still is in some areas) considered an essential support to the lives of "respectable" women, and more often than not, marriages were based on monetary interests. Apart from this, women had few options, with the convent being a common recourse. However, in Hellena's case, her decision was not voluntary. Taking this argument further, one could say that in the possible non-conformism of Florinda and Hellena, where they both refuse to adhere to the rules imposed on them by a patriarchal society, Behn herself was taking a position, in clearly tackling prevalent notions of gender. We can therefore consider her a pioneering feminist, even before the movement was formulated. As Virginia Woolf said in her famous essay A Room of One's Own: "All women together should let flowers fall on the grave of Aphra Behn, for it was she who earned them the right to speak." It might be added here that Behn was the first English woman to earn her living as an author. Behn then goes on to reveal the basic plot and characterization of the scene and what follows is an affirmation of Hellenda's will: "No, I am resolved to treat myself to this carnival, if there is still a nice boy of my humor. above ground”. This is the first mention of Carnival, which then remains a constant presence in the play. Critics argue that carnival should be seen as a hyperbolic metaphor for the general debauchery of the Restoration era, as it is seen as an atmosphere of uninhibited gallantry and libertinage through the convenience of disguise as part of the masquerade . However, whether Behn deliberately intended this to be so is obviously debatable; but Shyamala Narayan corroborates the historical context: "Charles' return to the throne brought about a deliberate reversal of Puritan ethics and created an atmosphere in which promiscuity and systematic frivolity became the norm." The dialogue then finally ends with a similar statement from Florinda: "I have I don't know what kindly pleading for him (Belvile) about my heart, and I will not allow anyone else to enter." » The debate on marriage is heated again with the entry of their brother Don Pedro, where both sides present their arguments with precision. As Florinda implores her brother, “I would not want a man as dear as my brother to follow the evil customs of our country and make his sister a slave,” Pedro continues to assert the common point of view: “But it is necessary to consider Don Vincentio's fortune and the joint that he will make to you”. To which Florinda again echoes her earlier sentiment: “That he considers.