“Dwindling Down to Farce”?: Aphra Behn’s Approach to Farce in the late 1670s and 80s.

Abstract

In spite of her criticism against farce in the paratexts of The Emperor of the Moon (1687), Aphra Behn makes an extensive use of farcical elements not only in that play and The False Count (1681), which are actually described as farces in their title pages, but also in Sir Patient Fancy (1678), The Feign’d Curtizans (1679), and The Second Part of The Rover (1681). This article contends that Behn adapts French farce and Italian commedia dell’arte to the English Restoration stage mostly resorting to deception farce in order to trick old husbands or fathers, or else foolish, hypocritical coxcombs, and displaying an impressive, skilful use of disguise and impersonation. Behn also turns widely to physical comedy, which is described in detail in stage directions. She appropriates farce in an attempt to please the audience, but also in the service of her own interests as a Tory woman writer

A pesar de sus críticas a la farsa en los paratextos de The Emperor of the Moon (1687), Aphra Behn utiliza frecuentemente elementos farsescos no solo en esa obra y en The False Count (1681), que se describen como tales en sus títulos, sino también en Sir Patient Fancy (1678), The Feign’d Curtizans (1679) y The Second Part of The Rover (1681). Este artículo sostiene que Behn adapta la farsa francesa y la commedia dell’arte italiana al teatro inglés de la Restauración principalmente recurriendo a la farsa de engaño para entrampar a viejos maridos o padres, o a personajes necios e hipócritas, exhibiendo una impresionante destreza en el uso de disfraces, y recurriendo a menudo a la comedia física, que aparece descrita detalladamente en acotaciones. Behn se apropia de la farsa para intentar agradar a la audiencia pero también para servir a sus propios intereses como escritora Tory.