b'T3 Journal - Student Writing in Drama, University of Exeter 2018-19Bacon and kill him but fail miserably. They are depictedsays in her article on The Widow Ranter that Behn creates as cowardly when they are approached with the task tosympathetic Indian characters who, by comparison with capture Bacon and are too scared to do so, Wellman: now,the corrupt colonists are diplomatic, refined, and, most gentlemen, here is a brave occasion for emulation- why writimportantly civil and royal (Lush 2014; 149). This poses not the master?, I see youre all base cowards, and herethe question of who are the real threat in the play? As the cashier ye from all commands and offices (Behn, Wellman,council mention they are more worried about Bacon and 3.2). This shows their cowardliness and by being so, theywhat his plans are more than the Indians; I do not look lose their status having all future commands taken awayupon our danger to be so great from the Indians, as from from them as they are not useful. Therefore, undeservingyoung Bacon (Behn, Dunce 1.2). The queens relationship of being members of the council and upper sort. Learningwith Bacon, symbolizes the established aristocratic class that there is a reward they then decide to take on the task(Lush 2014; 131). Becoming Bacons love interest would as it will make them the four greatest men in the colonysuggest that she is of high status because Bacon who is of (Behn, Timorous, 3.2). When Bacon comes in they oncenoble status sees her as a suitable partner and attractive, again get too scared and Bacon captures them. Resultinghow charming is the Queen (Behn, Bacon 2.1). I agree in the council folding to support Bacon, we ever lovd andwith Lushs statement that Behn has created Indians of honourd your honour (Behn, Whiff 3.2).high class as would Pulsipher who quotes Hendricks to make a similar point, that Behn creates a seemingly In this scene it is conveyed that the council membersfavourable overall portrayal of Indians as noble savages, are not brave and noble. They are inspired by moneyEnglish preconceptions of hierarchy created categories of and a good appearance, but when it comes to doing asgood and bad Indians (Hendricks in Pulsipher 2004; 46). they should they dont want to fight because they are tooThe audience are led to believe that the queen is a good afraid. This suggests that they dont have much courageIndian, because when looking at the tribe the natives and that they just conform to whatever is going to benefitare portrayed in a positive way to a restoration audience. them the most. Even though they are still regarded asAs they are using English society ideas, having a familiar council members, their status during this scene ishierarchical order, where the native rulers represent the knocked down, as they dont portray the ideal noble equivalent to English monarchs and running their tribeand upper sort Gentleman.with a similar political system. Therefore, the Indian characters are viewed through class and not race because The Widow Ranter conveys commitment to hierarchicalBehn has created a tribe that live very similarly to the social order. Behn does this not only through the colonistsEnglish, with the hierarchy being an important part of who have taken over Virginia but also through thetheir community, therefore they dont pose a threat to the Indian tribe. Karen Kupperman argues that the Englishother characters in the play, having a long term friendship have viewed Indians through class, not race (Pulsipherwith Bacon; nor to the audience because they are portrayed 2004; 45/46). I agree with this statement as it is shownin a positive light, being noble and a nice character; not throughout The Widow Ranter through the characters of thechallenging the ideals of the way English citizens lead Indian tribe that their arrangement of hierarchy and classtheir lives during the late 1600s. Class is important and is important; race not being seen as a dominant feature.an integral part of the restoration society. This is shown Particularly the king and queen who both hold a noblein the play Oroonoko. Dharwadker argues there are few status and are the head of their tribe; are shown asoutsiders to question or radically disrupt class boundaries of upper sort and not the opposite race, this is only(Dharwadker 2008; 150), however I disagree because this questioned when they come to battle. The battle howeveris challenged through the character Oroonoko. Oroonoko is more about who holds the upper status in Virginia andis a slave who has been brought over from Angola, the play not about excluding the Indian tribe. The queens royalbeing set in Surinam a colony in the West-Indies; who turns status is portrayed through her entering on stage without to be a prince. He comes to disrupt class boundaries ladies-in-waiting surrounding her each scene, all bowlater in the play when he organises a rebellion for all the to the idol (Behn, stage direction 4.1) and she uses herslaves. A substantial element of the black community of status throughout the play, particularly when in court tothe metropolis consisted of servants who had been brought make decisions. She is further shown as noble and loyalto Britain from the colonies by planters, military and naval through her relationship with Bacon (the queen being hisofficers, and colonial administrators (Russell 2001; 26), love interest) and not wanting to fight. Rebecca M. Lushwhilst not brought back to Britain, this happens at the 30'