Rearing, Renaming, & Reproduction in Fantomina: or, Love in a Maze (1724) & Oroonoko: or, the Royal Slave. A True History (1688) A cunning, beautiful, and swift European young lady at a London play house gazes at prostitutes and men that are being seduced. She is mesmerized by them enough to decide to become a prostitute herself. A stunning, charming, beautiful African princess in a village enchants the heart of a prince. The prince and princess fall in love but originally are not allowed to be together. These are the two manners in which the reader is introduced to Fantomina, from Fantomina: or, Love in a Maze (1724) by Eliza Haywood, and Imoinda, from Oroonoko: or, the Royal Slave. A True History (1688) by Aphra Behn. Even though it may
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Their mothers are either in the country or never mentioned. Imoinda’s mother is never mentioned. Imoinda’s mother absence gives Imoinda some room to fashion herself. Where does Imoinda get her charm from? In place of their mothers, other females serve a mother-like role for Fantomina and Imoinda but cannot keep them safe from the patriarchal system. The neglect of these characters in raising and catering to Imoinda and Fantomina cause the plot to continue. In Fantomina, the aunt is supposed to be watching and taking care of Fantomina but she is completely absent for the most part. She is careless in her protection of Fantomina’s adolescence. I am not arguing that Fantomina would have not had relations with Beauplaisir if her aunt was more active; however, I am arguing that her aunt’s greater presence could have lessened the extent of Fantomina’s performance. In Oroonoko, once Imoinda moves to the court, Onahal becomes somewhat like a step-in mother for Imoinda. Behn describes Onahal as “a former old Wife of the King's, who now had Charge of Imoinda,” (Behn 302). Onahal allows Oroonoko unauthorized access to Imoinda which is due to her selfish desire for Aboan. Onahal’s neglect of Imoinda is a major contributor to Imoinda and Onahal being sent into slavery because Onahal does not prevent it when she had authority to do so. …show more content…
Fantomina renames herself as she creates different performances to attract the attention of Beauplaisir. Fantomina goes from being Fantomina-the prostitute, to Celia-the country maid, Mrs. Bloomer-the widow, to Incognita- the lady in the mask. Each time Fantomina uses her agency to rename herself and recreate herself in order to keep Beauplaisir’s interest. Not only does she rename herself, she also changes her vocal inflections, clothes, and
Their mothers are either in the country or never mentioned. Imoinda’s mother is never mentioned. Imoinda’s mother absence gives Imoinda some room to fashion herself. Where does Imoinda get her charm from? In place of their mothers, other females serve a mother-like role for Fantomina and Imoinda but cannot keep them safe from the patriarchal system. The neglect of these characters in raising and catering to Imoinda and Fantomina cause the plot to continue. In Fantomina, the aunt is supposed to be watching and taking care of Fantomina but she is completely absent for the most part. She is careless in her protection of Fantomina’s adolescence. I am not arguing that Fantomina would have not had relations with Beauplaisir if her aunt was more active; however, I am arguing that her aunt’s greater presence could have lessened the extent of Fantomina’s performance. In Oroonoko, once Imoinda moves to the court, Onahal becomes somewhat like a step-in mother for Imoinda. Behn describes Onahal as “a former old Wife of the King's, who now had Charge of Imoinda,” (Behn 302). Onahal allows Oroonoko unauthorized access to Imoinda which is due to her selfish desire for Aboan. Onahal’s neglect of Imoinda is a major contributor to Imoinda and Onahal being sent into slavery because Onahal does not prevent it when she had authority to do so. …show more content…
Fantomina renames herself as she creates different performances to attract the attention of Beauplaisir. Fantomina goes from being Fantomina-the prostitute, to Celia-the country maid, Mrs. Bloomer-the widow, to Incognita- the lady in the mask. Each time Fantomina uses her agency to rename herself and recreate herself in order to keep Beauplaisir’s interest. Not only does she rename herself, she also changes her vocal inflections, clothes, and