The cavaliers of the rover represented the gentlemen and nobles who were exiled along with Charles II when his father was executed. Because their money went further in towns like Naples, they were able to live out a fantasy life of adventure there with little expense.
The carnival setting of “The Rover” makes an ideal context for costume and disguise. Attention is blatantly drawn to costume from scene one when Pedro puts on his “masking habit” and the sisters are “dressed like gypsies”. At the beginning of the play, Hellena and Florinda are ready to enter into the carnivals spirit after learning about their arranged futures. Hellena says “ Nay, I’m resolved to provide myself this carnival, if there be e’er a handsome proper fellow of my humour above ground, though I ask first”. She has resolved to find her own man at the carnival and to initiate a new relationship, to provide her with experience of love and life. Likewise, Florinda has already determined to defy their father and refuses to marry “the elderly don vincentio”
The carnival setting may have appealed to restoration audiences because of its emphasis on sexual freedom, and to Aphra Behn because it extended this freedom to women as well as men. Masks and costumes are means by which characters can hide their identity, and much of the dealings between the two sexes are carried on in the comic convention of mistaken identity. Belvile never sees through Florinda’s disguise. However, the principal with the disguise is that the audience always knows who the characters really are and what the real situation is, whereas at least one of the characters is being deceived. When the characters lose control of their state of dress, as in the case of Blunt and later Florinda, who escapes to the garden “in an undress”, their vulnerability is apparent. Florinda’s disguise means that she is mistaken for a “harlot” and is constantly fending off attempted rape. Hellena, however, always appears to have the situation in hand and makes successful transitions from gypsy costumes to the boy’s clothes she is wearing Willmore agrees to marry her.
For Hellena and Florinda, disguise is a means of liberating the character from inhibition. In other instances it helps to develop intrigue and fun. A high point of intrigue occurs in Act 4 scene 2 when Pedro enters to duel with Belvile. Pedro is in his “masking habit” and unknown to Belvile; Belvile is dressed as Antonio and unknown to both Pedro and Florinda. “Tis not Belvile, half my fears are vanisht”.
The moment of recognition is always one of high comedy in the theatre.
I think the carnival setting allows for freedom of movement for the female characters as they are able to hide their indentity. At the beginning of the play, Hellena is destined to become a nun, whilst Florinda is forced into marriage. At this time society was male dominated, and women had little opportunity to do as they wished. The carnival setting allows the women to disguise themselves, and to cause confusion and mayhem amongst the males. It also allows the opportunity to break down social and moral parameters, as well as restrictions imposed by gender. The carnival allows Hellena to meet Willmore, whom she believes is a perfect match for her and so does not go to live in a convent. Likewise, Florinda is able to marry Belvile. This world, where women can take the initiative, is the world of the carnival. It is a time of misrule; everything is turned upside down; prohibitions are temporarily removed, and priviledges and ranks suspended. Everyone, however different, can be integrated by joining in.
