A subtle criticism of Oroonoko when reading Oroonoko, it may be easy to miss criticism of European culture. However, after studying the novel, this cleverly criticized criticism became very clear. An important consideration is that the author and the talker are not actually the same. The author wants to criticize the culture and values ​​of Europe, but she does not intend to interpret it through the talker. This criticism is mainly through non-direct form, non-European personality, most commonly through Oroonoko, and through comparison with culture and the person's character. Throughout the novel, Behn agrees with Oroonoko's strength, courage, and wisdom, but it is also included in the same classification of the European high-power structure. For example, in Albert Rivero's "Oroonoko" of "Aphra Behn" and "The Blank of a Colonial Novel", the author offered Oroonoko a background of more colonial novels. Rivero expressed Behn's novel as "noble and romantic mood". The multilayered component of Behn's publication is similar to the stereotypical change of racial tension through the novel. As a two-way narrator, Bain is obscured by her racial and economic status and her support for abolition. Courtship and marriage are always one of the themes used in Aphra Behn's "The Rover" and "Oroonoko". Not only the plot but also the written letters are emphasized. In "The Rover", Aphra Behn criticizes the idea of ​​married arrangements that are not stereotypes of women and they should propose to men of any highland. She also depicts romance through prostitution, and the virgin gives her a distinct meaning of strife with the phrase "maugree hir heed". Such planned violence not only contradicts the status of young people but also seems to be related to the courtyard character of the story. This rape is against the story of the Cavaliers that reminds us that we have never heard of Joe's male perspective, but my wife's point of view - this view has empirical grounds. Certainly, this experience The relationship between the novel and the tradition of Afra Bain transcends that formal tragedy. Oroonoko's content itself provides sufficient elements to regard Aphra Behn as the originator of other traditions, ie philosophical fiction. These events are explained by the first person. The narrator 's character claims to have a place in the plot by presenting the situation and then providing comments (as a prelude to interpretation). The philosophical character of the novel is in the technique of this story. The theme of the novel shows politically a particularly tense relationship with an external context. White superiority is an ideological basis such as colonialism and its abuse, such as slavery. By comparing homology with ordinary European residents, these three concepts are questioned through Orlooko

Analysis of Oroonoko's Darkness Catherine Gallagher believes that "Oroonoko" has three layers in her article "The Oroonoko's Darkness". These levels are the Oroonoko kingdom, Oroonoko's black and black ink relationship, and Oroonoko's commercialization. Gallagher believes that the darkness of Orono not only illuminates the text itself but also the existence of the author. She wrote that "... the shining black of the hero of the same name corresponds to the height of the narrator" (DeMaria, BL Critical Reader, 88). The main role of the narrator is to make audiences and readers think Oroonoko as a person. She did this by associating Oronoko as "European Black", tying Oronoko to the reader and pointing out his moral values ​​and his pain and loss. The narrator did this, unlike Aphra Behn, because she was struggling with the idea of ​​slave trade, or at least the way she saw it. First of all, Orlook narrator means reliability. "I am the witness of most of what you have found here, and I can not testify on it.The hero who received from the leading role in history gave us to him. All in the youth Trading "(Norton 2176). In this statement, the narrator shows her ability to talk about her authority on the subject and the story of Orleoko. Imoinda, the love for Oroonoko 's life, is a beautiful African woman sold as a slave after Oroonoko tried to help her. When Orlooko meets Imoinda, they will soon fall in love. In her first encounter with her she is "a beautiful, attractive and subtle, like her, a virtue that depicts her real woman, a beautiful black Venus for the beautiful aristocracy of our young Mars" (Behn, 9). Oroonoko was fascinated by her, asked her to get married soon, and did not hesitate to agree. The tradition of multiple wives in Africa was still popular in this era, but Oroonoko assured Imoinda that he would never accept another wife. In the novel, it is clear that each other's love of Oruoko and Imonida is unconditional. Grandfather Oroonoko's grandfather heard the beautiful rumors of Imoinda, he became hard to make her her lady Starting with a novel, Oroonoko has a radiance that goes beyond any male or female character in the novel. Even if he suffers from terrible death, he will never lose his peace and dignity. In addition to his role, the speaker shows the greatness of the prince through his physical characteristics. In her article, Laura Brown detailed the analysis of the physical characteristics of Oroonoko by Aphra Behn, distinguishing him from other slaves. I explained that the speaker has another European character "native" that has been revived as an European aristocrat for Oroonoko. In a personal account of Aphra Bhen's Oroonoko, she said, "His face is brown, rusty black, mostly not national, but perfect ebony, or polished Jett" Rome, not African peace "

Analysis of Gallagher 's dark Oronoko is an attractive text, full of explanations about the interrelationships and the complex relationships among them. The attitude and behavior of Aphra Behn and his personality can be extensively analyzed from many ways of action, but the level of the story is more than the mainstream ethnic theme. In fact, in the "blackness of Oruokono", Catherine Gallagher said that the abnormally dark complexion of the hero is actually representative of the royal right, commercialization, and the extent to which he and the author embody it in the work believe. Imoinda, the love for Oroonoko 's life, is a beautiful African woman sold as a slave after Oroonoko tried to help her. When Orlooko meets Imoinda, they will soon fall in love. In her first encounter with her she is "a beautiful, attractive and subtle, like her, a virtue that depicts her real woman, a beautiful black Venus for the beautiful aristocracy of our young Mars" (Behn, 9). Oroonoko was fascinated by her, asked her to get married soon, and did not hesitate to agree. The tradition of multiple wives in Africa was still popular in this era, but Oroonoko assured Imoinda that he would never accept another wife. In the novel, it is clear that each other's love of Oruoko and Imonida is unconditional. Grandfather Oroonoko's grandfather heard the beautiful rumors of Imoinda, he became hard to make her her lady The old king tells Oroonoko that Imoinda was executed and thought his grandchild would allow his punishment earlier than selling Oroonoko's lover to slaves. The king pleaded for forgiveness to Oruokonoko, and Orwinoko was awarded to him. After General Orlookoro brought victory over his troops, Orlooko returned to court just as a British ship arrived at the harbor. Oroonoko knows that the captain sold slaves to him - Oroonoko accepted it without hesitation when the captain advised the young prince and his friend to eat on board. After serving the wine to the guest, the captain in the UK suddenly signaled that the young African were hit by the irons surrounded. They were enslaved Captain British came to Coramantien, Oroonoko received him as a royal guest. However, the captain doubled Oroonoko and encouraged him to board his ship, then kidnapped him and the hundred Oroonoko waiter. The captain took Oroonoko across the Atlantic to Suriname where he sold him to a smart, excellent slave named Trefry. Trefry named Oroonoko "Caesar" and promised to help him free one day. Trefree also reunited Cesar and Imoinda without knowing, and Tremory called it "Clemen." Finally, in spite of bad circumstances, "Caesar" and "Clementine" came up with children and interacted with white aristocrats.

Country Wife - Written by William Wycherley in 1675 - is a resurrected comedy based on aristocratic life. Restoration of comedy is a dramatic style popular in the late 17th century. It refers to the era when Britain 's King Charles II was appointed head of the British Empire. The life of Charles II was regarded as hedonism. People were moved by happiness. These moral virtues represent the decline of society, sexual exposure and obscenity ("Charlie II"). William Wycherley's "The Country Wife" "Resurrection comedy is like a comedy movie of the 18th century; it's fun (MacKenzie," Behn ") But the two types of similarity are their similar entertainment For example, the cast of a rehabilitated comedy 'country wife' of William Withers consists of several core figures remarkably similar to the actors of modern comedine Seinfeld. Harry Horner of "The Country Wife" and George Costanza of Seinfeld all follow the "smart" role type of men. One of the main focus of William Wycherley's comedy "The Country Wife" is to respect the camouflage and false concepts during marriage, in particular disguising during the repair period and its existing Puritans Rule rebellion. Traditional values ​​of love, loyalty, and confidence in marriage are distorted by strong emotions and desires. The play only gives a dramatic satire to humor by exposing ignorance to traditional fools and can not make a fool of the unethical qualities of marriage. However, the more general inference is the critical criticism of their hypocrisy of "respected" people and their attitude toward marriage. William Wycherley Wycherley (1640-1716) is a British playwright whose works include "Love in the Woods", "Country Wife", "Plain Dealer". Samuel Pepys Samuel Pepys (1633-1703) is a civil servant and writer living in the UK. His famous diary is an important source of English lifestyle and history. Aphra Behn Behn (1640-1689) is a British novelist, a playwright, the first woman who wrote lively. Some of her works include Oroonoko, Forced Marriage, Rover and Lucky Chance.

Imagine a child sitting in front of the TV watching Oz wizard. For them, it is a land full of various colors, various magical creatures, wonderful places. They do not describe it as meaningful than normal fairy tales. On the other hand, gender / feminist critics were able to analyze the wizard and evil of Oz to find a more subtle meaning behind the story. They discussed discrimination and masculinity by gender, and issues behind the story about the book itself and characters. He has just finished reading the book (about Roger Galbraith). These events are the reasons for the existence of feminist literary criticism theory. Feminist literary criticism is defined as "literary analysis from feminist, feminist, and / or feminist political views" (Napikoski). Feminist literary theory has many goals. One is to teach the readers to look at things from the perspective of female characters in sentence works. Feminist literary critiques can introduce tools for other important academic disciplines: historical analysis, psychology, linguistics, sociological analysis, and economic analysis. Feminist criticism will also focus on cross-sectoralism and may consider how factors such as race, sexuality, physical ability, class, etc., are involved. Drawing less well-known, marginalized or underestimated female writers is sometimes called spreading or criticizing the classics - a list of normal 'important' writers and works . A review of Zora Neil Hurston's work by Alice Walker is one example. Another example: I improved the contribution of the early playwright Aphra Behn and showed that she treated differently than a male writer of my era. In the early stages of feminist criticism, critics examined the depreciation of male novelists and the marginalization of the role of women. The first wave of feminist criticism included books like Marry Ellman's "Thinking Woman" (1968), Kate Millet's "Sex Politics" (1969) and Germaine Greer's "Female Eunuch" (1970) . An example of the first wave of feminist literature analysis is criticism of Catherine's trainer's abuse against Petriki by William Shakespeare. Elaine Showalter first developed feminism in her book "Own Literature" (1977) and developed it. There are three main aspects of female criminalism. The first is the research of female writers and their status in literary history. The second is to consider the handling of female characters in books by male and female writers. The third and most important aspect of feminism is the discovery and exploration of a series of literary works written by women, with the aim of feminism being adapted to the literary tradition of women.