1) Angellica
and Willmore have quite an exchange in 4.2 and in 4.3. See especially lines
like “Pox o’this whining; my business is to laugh and love” (219), or “By
heaven, there’s no faith in anything he says” (224). What is at the root of
their difference here?
or
2) There is
more threatened violence against Florinda in 4.5, so again, feel free to skip
this bit if you think it might be too disturbing. If not, you might consider
what Blunt says about prostitution, and / or to what effect Florinda makes her
arguments and offers her diamond ring.
or
3) Act 5 is
one long scene of final developments and revelations. Does anything surprise
you in this scene? If so, what? Here are some potential moments for discussion:
- “Do not let people know what despised cullies we English are; to be cheated and abused by one whore, and another rather bribe thee than be kind to thee, is an infamy to our nation.” (234)
- “One thou hast injured, and who comes to kill thee for’t.” (237)
- “Let most voices carry it: for heaven or for the captain?” (245)
- “Do not let people know what despised cullies we English are; to be cheated and abused by one whore, and another rather bribe thee than be kind to thee, is an infamy to our nation.” (234)
- “One thou hast injured, and who comes to kill thee for’t.” (237)
- “Let most voices carry it: for heaven or for the captain?” (245)
or
4) Discuss
another part of today’s reading that seems to be in need of exploration,
elucidation, or comment.
We have got to talk about the rape-magnet that is Florinda. Is it supposed to be comedic that this woman was nearly raped in Naples, in her own garden, and again in a supposed safe-house? Is is supposed to be indicative of her weak character that she is most defined by being saved by men, or one man in particular, multiple times? Her name, meaning "flower," is a not at all subtle commentary on her virtue being the primary distinguishing aspect of Florinda's character. It is remarkable to encounter the highly contemporary issue of sexual assault and rape being so explicitly handled in this period, but is it a positive, healthy representation? On reading the first acts of the play, it seemed that this is a uniquely constructed drama that gives women agency -- who would think! -- but by the play's end, the power seems to lie once again in the hands of the men. Yes, Pedro's wishes are denied by his sisters, but, honestly, he was never a formidable character that inspired much hope in his leading a particularly strong patriarchy. Helena never even pretended to respect his word. Yet, though Florinda marries who she wants, her choice of Belvile is defined by the fact that he saved her, repeatedly, from being raped. Chivalrous...romantic...okay...but also fitting of the fairy-tale like construct. Florinda's attraction is defined by Belvile being her savior. Most disturbingly -- and I know, this is not a psychologically accurate play, and one cannot mine that question to deeply because it will always be disappointing, but bare with me for a second -- both Florinda and Belvile do not ultimately find Willmore entirely reviling, contemptible, horrific. Florinda is going to let her only sister go off and be with this piece of flaming trash! So, if Florinda's "win" of marrying Belvile such a victory for a female in a male-dominated world, or is this choice also predetermined for her, by men? And again, what on earth is the intent in having this woman be repeatedly raped or sexually assaulted?
ReplyDeleteRegarding female agency, the Florinda complex holds true for the others: Helena and Angelica end up with or without the man as they choose, but those choices are so heavily guided by the men. And Angelica repeatedly states how broken she is by this man who leaves her. She ends up not being a figure of female strength, independence... In fact, those things are what have been destroyed in her by this man; she no longer finds herself able to resist love(etc) because of what Wilmore did to her. Is the comedy's suggestions that this is how it "Should be," the prostitute is broken, sees the errors of her ways, the deviance of her life. Same with Helena: she is not going to the convent, but her future is no far far far far bleaker than anything she would have found in a nunnery. She is going to be stuck and reliant on Wilmore now forever, indefinitely? Is this also what she deserves, because she had given herself to him, now the only structurally sound move, the move that would reinstate order, would be to bind her to this man?
The end may have been entertaining (innuendo, turning doors, soap opera levels of melodrama) but it wasn't really satisfying.
Feminism. This play screams feminism. Florida and Hellena are unusually assertive and outspoken considering the time period of the play. Both are a slight shock to the system from the first scene. By the end they have been through a lot in terms of relationships and love and they ultimately get what they hope for. Hellena gets to marry Willmore (not sure why she wants to, he's a jerk) and Florida gets to marry her prince charming - Belville. Hellena manages to escape a miserable life in a monastery and Florida escapes a passionless marriage. The story ends happily for both women who successfully overcome the predetermined fates that their brother has chosen for them. Aside from the strong female characters who are the manifestation of feminism, the male characters are portrayed in a less than favorable light. It seems that Behn was also trying to make a statement condemning the behavior of men in that time. I did find it confusing that the genre of the play is intended to be comedy, however, the attempted rape scenes could hardly be described as funny. They were fairly disturbing for a comedy. My understanding of this seemingly odd juxtaposition of wit and sexual harrassment is that comedy must have been the only means through which Aphra Behn could have gotten her desired message across. I don't believe that this is pure comedy - I think there are some very real issues that are being fleshed out. She is encouraging women to reevaluate societal confines that restrain their capacity to achieve personal happiness and to rebel against conformity to prescribed roles. Specifically in Act 5, when Angelica confronts Fillmore with a pistol and threatens to kill him, the tables have turned and instead of the male being in control, the female actively seeks personal justice. Although she is unsuccessful, the male characters are not particularly successful either. the scoreboard is pretty much even.
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