The Rover

The Rover was written by a woman during an era when female playwrights were exceedingly rare. Is Behn’s perspective as a woman reflected in the play? Would you consider the play’s commentary to be feminist or proto-feminist? Why or why not?

The Rover includes major tropes in roles written for the novelty of women acting onstage, such as the rape scene and the “breeches” role. Research these tropes and explain how they function in the play. How do they function within the narrative? Are they egregious or do they integrate well?

The protagonist is the character whose action drives forth the action of the play, and the antagonist is the character who tries to stop the protagonist. Based on these definitions, who do you think is the protagonist of the play and why? The antagonist?

The Rover was one of the most popular Restoration Comedies of its time, and it is still performed today. Imagine that you are working on a contemporary production. Identify three moments that you think would be a problem to stage for a contemporary audience. How might you change the text or educate audiences to make those moments work?

Consider how masking and identity functions in the play. How do characters use masks to construct or deconstruct identity? What are some of the advantages and limitations of these acts of identity-making?

The literary trope of the Carnival is a common plot device by which social norms are inverted and briefly set on their heads. How does the Carnivalesque function in The Rover as setting, symbol, and/or theme?

Hellena, Florinda, and Angellica all attempt to assert their agency in a society that often constrains them. What is the relationship between gender and agency in The Rover? Do the women succeed in seizing agency? Why or why not?

Consider the instances of love and lust in the play. Which characters are motivated by each element? Is there a way to reconcile these two elements in the play? Why or why not?