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- W2767138511 abstract "For Stuart loyalists of the 1660s and 1670s, the genre of comedy provided opportunities for the representation and celebration of a new political order overthrowing an outdated parliamentarianism. Political loyalty to the restored Stuart monarchy was often expressed through the analogy of social and sexual transgression. As Jessica Munns puts it: ‘By the late sixties and seventies, many comic heroes express a libertine skepticism with regard to matters social and, above all, matters sexual. Indeed sexual idiom and innuendo often shaped the social and political discourse of loyalty, liberty, rights, and obligations, expressed in terms of family life, personal inclination, potency and impotence’ (90). Aphra Behn, as Stuart loyalist and libertine advocate, is no exception to this promotion of a sceptical attitude to sexual and social regulation. However, as one of the few female members of a libertine circle, she also recognized that such licence for men was often won at the expense of women and their reputations. The contrast between Behn's Restoration comedy of The Rover (first performed and published in 1677) and its source, Thomas Killigrew's Thomaso, or The Wanderer, composed during the Commonwealth years and apparently never produced for the stage, may serve to illustrate both her proto-feminist critique of Restoration libertinism and her Stuart loyalism as well as those points at which the two positions come into tension." @default.
- W2767138511 created "2017-11-10" @default.
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- W2767138511 date "2017-09-08" @default.
- W2767138511 modified "2023-10-16" @default.
- W2767138511 title "Aphra Behn, <i>The Rover</i>" @default.
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- W2767138511 doi "https://doi.org/10.1002/9781405165327.ch17" @default.
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