Critical Quotes for The Fair Jilt
Dramatic and Narrative Techniques in the Novellas of Aphra Behn - Joanne Fowler
‘I’ll prove to you the strong Effects of Love in some unguarded and ungovern’d Hearts;
where it rages beyond the Inspirations of a God all soft and gentle, and reigns more like
a Fury from Hell.’ Miranda has an ungoverned heart. Miranda is ‘liable to the greatest
Temptations.’ Fowler suggests that ‘Miranda is not only one of those women, but it is
indicated throughout the narrative, both explicitly and implicitly, that she is the ruthless
virago-like villain of the piece.’ Narrative techniques such as ‘intercalated narrative’ like
the story of Henrick as told by Miranda’s maid make Behn able to characterise how
Miranda is a villain as readers are forced to sympathize with Henrick for his wrongful
imprisonment. This type of technique is similarly found in French romances. The use of
the maid’s point of view emphasises the ruthlessness of Miranda.
Cambridge Companion to Aphra Behn - ‘Behn, Women, and Society’ - Susan Staves
Staves argues, ‘when Behn represents the body of her maximally desirable woman, she
offers an erotic fusion between a beautiful female body and an opulent display of wealth
in the form of sumptuous fabrics and dazzling jewels.’ Behn’s female characters often
have qualities of wealth and intelligence as opposed to portraying women of modesty
and self-control. Link to the descriptions of Miranda’s collection of jewels.
‘The Short Fiction (excluding Oroonoko)’ - Jaqueline Pearson
Pearson argues, ‘the long opening section [...] seems to begin not by moral criticism of
Miranda - as an attempted rapist and murderess an easy object for moralising comment
- but by the implicit defence of her as one whose actions are motivated by the
irrsesistable power of love.’ The attempted rape scene becomes more shocking due to
the fact that the opening of the novella suggests that her actions are driven by love.
Readers are forced to condemn Miranda themselves through her violation of the Friar.
The narration gives no further clear criticism of Miranda’s morals.
‘Miranda is a larger-than-life romantic figure fresh from the heroic play and conceived in
terms of exaggeration and overstatement.’ Link to the ‘charms of nature’ quote. Pearson
goes on to say, ‘her heroic status depends not on inner reality but on constant outer
display, which in the real world necessitates lavish resources.’ She attempts to retain
her status by convincing Tarquin to murder her sister.
Dramatic and Narrative Techniques in the Novellas of Aphra Behn - Joanne Fowler
‘I’ll prove to you the strong Effects of Love in some unguarded and ungovern’d Hearts;
where it rages beyond the Inspirations of a God all soft and gentle, and reigns more like
a Fury from Hell.’ Miranda has an ungoverned heart. Miranda is ‘liable to the greatest
Temptations.’ Fowler suggests that ‘Miranda is not only one of those women, but it is
indicated throughout the narrative, both explicitly and implicitly, that she is the ruthless
virago-like villain of the piece.’ Narrative techniques such as ‘intercalated narrative’ like
the story of Henrick as told by Miranda’s maid make Behn able to characterise how
Miranda is a villain as readers are forced to sympathize with Henrick for his wrongful
imprisonment. This type of technique is similarly found in French romances. The use of
the maid’s point of view emphasises the ruthlessness of Miranda.
Cambridge Companion to Aphra Behn - ‘Behn, Women, and Society’ - Susan Staves
Staves argues, ‘when Behn represents the body of her maximally desirable woman, she
offers an erotic fusion between a beautiful female body and an opulent display of wealth
in the form of sumptuous fabrics and dazzling jewels.’ Behn’s female characters often
have qualities of wealth and intelligence as opposed to portraying women of modesty
and self-control. Link to the descriptions of Miranda’s collection of jewels.
‘The Short Fiction (excluding Oroonoko)’ - Jaqueline Pearson
Pearson argues, ‘the long opening section [...] seems to begin not by moral criticism of
Miranda - as an attempted rapist and murderess an easy object for moralising comment
- but by the implicit defence of her as one whose actions are motivated by the
irrsesistable power of love.’ The attempted rape scene becomes more shocking due to
the fact that the opening of the novella suggests that her actions are driven by love.
Readers are forced to condemn Miranda themselves through her violation of the Friar.
The narration gives no further clear criticism of Miranda’s morals.
‘Miranda is a larger-than-life romantic figure fresh from the heroic play and conceived in
terms of exaggeration and overstatement.’ Link to the ‘charms of nature’ quote. Pearson
goes on to say, ‘her heroic status depends not on inner reality but on constant outer
display, which in the real world necessitates lavish resources.’ She attempts to retain
her status by convincing Tarquin to murder her sister.
