Aphra Behn and Ecofeminism

One example of why I feel Aphra Behn’s work is conducive to ecocritical studies and worthy of ecocritical attention, comes from her poem The Disappointment. In fact, I believe it fits admirably into a specific area of Ecocriticism known as Ecofeminism. In this related genre, the same male dominance that has lead to the suppression of women is seen to pose destruction, or at least, repression to nature. In an interesting book called Introducing Ecofeminist Theologies, Heather Eaton, explains how “Ecofeminism claims that there is a historical and contemporary connection between women and the natural world, that is both empirical and cultural-symbolic.” She goes on to claim “this women-nature link is one of the causes of the pervasive domination of woman and the destruction of the earth, and their mutual oppressions are interlocked” (37). Again, she is saying that women and nature are akin, and the treatment of one often reflects the cultural treatment of the other.


Returning to The Disappointment, I feel Aphra Behn’s pertinence to Ecofeminism can be aptly seen, in an examination of her poem. This piece describes a near rape situation that takes place on a mossy bed, in a lonely thicket. While this poem is focused a great deal on desires, both of the male Lysander, and the female Cloris, I would argue that in the poem, the body of “fair Cloris” could be also read as a metaphor for the earth. She loves Lysander, and gives him affection and care. At first, she even wants to yield to his desires. “She do's her softest Sweets dispence,/ Offring her Virgin-Innocence” (66-67). This is consistent with the way the earth yields up bounty for humans, as the earth provides for its living inhabitants, and gives them the means of life with such features as water and oxygen. Yet though she loves him and cares for him, and begins to feel helpless against his persuasion, a change comes over her, when she realizes the full situation. Then she pleads with him not to take her “dearer honour,” even as those who speak for the protection of the earth remind us not to soil, waste, or degrade her pure and natural commodities. In the last two lines of stanza four, we hear “All her unguarded beauties lie—the spoils and trophies of the enemy.” To me, this represents the idea of nature, in all its pristine unharmed beauty, balanced in a way to preserve and promote the well-being of its inhabitants, made victim by those who would mine, drill, and chop, those the unguarded beauties and resources she possesses. This idea of laying hold of the earth and its treasures is further expanded in stanza five, which describes him about to ravage Cloris:

And now without respect or fear,

He seeks the object of his vows,

(His love no modesty allows)

By swift degrees advancing where

His daring hand that altar seized,

Where gods of love do sacrifice:

That awful throne, that paradise

Where rage is calmed, and anger pleased,

That fountain where delight still flows,

And gives the universal world repose.

Cloris is the alter—indeed, nature is the alter—and he seizes it with daring hand. In doing so, he messes with paradise, and I would read that dually, as also pertaining to earthly paradise. At the beginning, it shows him without respect or fear, which can reflect the way modern consumerism leads to intense and thoughtless reaping of Nature’s bounty. An example might be mountain top removal mining, which destroys mountains, ecosystems, rivers, and various species’ habitat, all to obtain modern conveniences for humans. Additionally, Cloris, as a woman, is capable of producing and nurturing life. So is the earth, though on a much larger scale. Thus linking them together seems quite reasonable.

Near the end of the poem, a line reads “nature’s support…itself now wants the art to live.” At the poems conclusion, we are left without ravishment. Lisander is unable to follow through with his intentions. This seems to indicate hope. If humans will stop their assault upon the earth, we can preserve it and keep it pure. I see this poem as possessing a tone that is very protective of the earth. Truly, in its topic, and approach, The Disappointment displays how Aphra Behn’s work fits nicely into the Ecofeminist niche.

References

Behn, Aphra. The Disappointment.

Eaton, Heather. Introducing Ecofeminist Theologies. New York: T&T Clark International, 2005.