When early modern science collided with theatrical spectacle, few playwrights exploited the absurdity of intellectual obsession quite like Aphra Behn. In her 1687 Restoration farce, Behn skewers the blind gullibility of pseudo-intellectualism while delivering a fast-paced romantic comedy driven by trickery and illusion.
Aphra Behn’s The Emperor of the Moon is a 17th-century Restoration farce centered on Doctor Baliardo, an eccentric philosopher convinced that an advanced civilization inhabits the moon. Desperate to wed their chosen suitors despite the doctor’s insistence on celestial husbands, his daughter and niece stage an extravagant lunar masquerade. This play is ideal for fans of classic comedy, theatrical history, and satire; readers seeking serious science fiction or grounded realistic drama may prefer to skip it.
| Author | Aphra Behn |
|---|---|
| First Performed | 1687 (Restoration Era) |
| Genre | Restoration Farce / Commedia dell’Arte Comedy |
| Format | Three-Act Stage Play |
| Central Themes | Scientific Delusion vs. Reality, Patriarchal Authority, Romantic Intrigue, Satire of Intellectual Vanity |
| Target Audience | Enthusiasts of classic theatre, Restoration literature, early female playwrights, and satirical comedy |
Plot Overview & Premise
Doctor Baliardo, a Neapolitan scholar, has become thoroughly consumed by his telescopic observations of the moon. His obsession leads him to a radical delusion: he believes the lunar orb is fully inhabited by a glorious cosmic civilization. Convinced of his own elite standing among world scholars, Baliardo refuses to allow his daughter Elaria and niece Bellemante to marry earthly suitors, insisting instead that they must be wed to celestial beings from the moon.
The young women, however, are deeply in love with Don Cinthio and Don Charmante, two earthbound noblemen who happen to be nephews of the Viceroy. To bypass the old man’s fanatical stubbornness, the lovers join forces with the cunning servants Scaramouch and Harlequin. Together, they orchestrate an elaborate scheme to exploit Baliardo’s madness. By staging a grand theatrical trick—complete with elaborate costumes, mock celestial ceremonies, and pretending that Cinthio and Charmante are the Emperor of the Moon and the Prince of the Sun—the suitors attempt to trick the philosopher into approving their marriages.
Key Themes & Literary Analysis
Aphra Behn’s work stands out as a clever adaptation of Italian commedia dell’arte stock figures—such as Harlequin and Scaramouch—blended into a distinctly English Restoration farce. Behn uses Baliardo’s obsession to critique the dogmatic credulity that often accompanied the early Scientific Revolution. Rather than valuing empirical truth, the doctor projects his own fantastical desires onto the stars, demonstrating how intellectual pride can lead to complete foolishness.
Gender dynamics and patriarchal control form another critical layer. In keeping with Restoration theatrical tropes, young women assert agency against restrictive patriarchs through wit, theatrical disguise, and strategic deceit. Behn highlights how tyrannical parental expectations force children into absurd deceptions simply to secure personal freedom and happiness.
Who Should Read This?
Recommended For:
- Readers interested in early female writers and 17th-century theatrical history.
- Fans of fast-paced physical comedy, mistaken identity, and theatrical trickery.
- Students of Restoration literature seeking a lighter, satirical counterpoint to traditional period tragedies.
May Not Be Suitable For:
- Readers looking for authentic science fiction or serious astronomical commentary.
- Those who disfavor traditional play scripts with heavy reliance on stage business and farce conventions.
Frequently Asked Questions
Is this work a prose novel or a play?
The Emperor of the Moon is a three-act stage play written in verse and prose. It belongs to the Restoration farce genre and was designed primarily for theatrical performance rather than quiet reading.
What inspired Aphra Behn to write this farce?
Aphra Behn adapted the play from French and Italian commedia dell’arte traditions, specifically borrowing elements from the French farce Arlequin Empereur dans la Lune. She adapted these source materials to suit English stage tastes and contemporary intellectual debates.
What are the primary themes of the play?
The main themes include the foolishness of obsessive intellectual vanity, the triumph of youthful romance over strict patriarchal authority, and the power of theatrical illusion to expose human folly.