The Role Played by Humour in The Rover (1677) and The Rape of the Lock (1717)

Abstract

This essay discusses the ways in which Aphra Behn and Alexander Pope employ humour within their respective texts, with each of them exploring gendered hierarchies. Behn evokes the chaos of Naples' Carnival setting and critiques arrogant and lascivious male characters like Willmore (alluding to the exploits of exiled royalist soldiers during the English Civil War), making full dramatic use of the Restoration stage. Through witty dialogue, dramatic irony, and situational humour, she challenges the transactional nature of prostitution and creates a tension between comedy and morality by highlighting the dangers of sexual violence. Pope, on the other hand, dramatises a real-life family squabble on a galactic scale, crafting a mock-heroic poem which hyperbolically satirises the pretention of the aristocracy. His use of elevated classical imagery, as well as caricatured characterisations of those involved in the scandal, serves to trivialise the seemingly innocuous cutting of a lady's lock of hair whilst also making comparisons to the loss of female virginity. Despite their differences, each writer also embraces their authoritative role as playwright and poet. Behn subtly compares herself to Angelica Bianca, a fierce and witty courtesan, whilst Pope takes the opportunity to ensure the immortality of his verse.