By Kate Aughterson

Aphra Behn: The Comedies offers scholars with an approachable and interesting research of Behn's dramaturgical skills, displaying really how she makes use of comedian and dramatic conventions to radical ends. Kate Aughterson exhibits how the playwright forces her viewers to interact with matters approximately gender and sexuality, while carrying on with to write down witty and available performs.

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The time of the opening is also critical: dawn was paradoxically a time of hope and of doom. Belmour’s language plays with both the literal physical setting (the half-light of dawn) and the metaphorical meanings implicit in the lightness/darkness opposition. The conceptual and physical actions of the whole play continue and deepen this opposition, as we shall see. Having opened in this ambiguous manner, Belmour must retreat to one side of the stage as the musicians enter beneath the balcony. The musicians, using the language of the ‘mechanicals’, offer a musical tribute to the bride.

What else does it do (look at content, setting and theme)? Act 1, scene iii is a key scene in the play. It is the first time we really meet many of the characters we have glanced at in scene i. Comment on the characterisation of Leticia and her relationship to the audience. How does the setting and framing of the scene (a marriage celebration) contribute to the scene’s overall meaning? Your analyses of these scenes will further illuminate and extend our conclusions on the immediate openings of the plays.

Willmore. Faith, sir, I can boast of nothing but a sword which does me right where’er I come, and has defended a worse cause than a woman’s; and since I loved her before I either knew her birth or name, I must pursue my resolution, and marry her. Pedro. And is all your holy intent of becoming a nun, debauched into a desire of man? Hellena. Why, I have considered the matter, brother, and find, the three hundred thousand crowns my uncle left me, and you cannot keep from me, will be better laid out in love than in religion, and turn to as good an account.

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Aphra Behn: the Comedies (Analysing Texts) by Kate Aughterson
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