The use of intrigue, deceit, conspiracy and disguise therefore allowed Behn to create a play that questions appearance but at the same time remains in tune with the genre of Comedy of Manners. At the same time playwrights framed or rather brought together character from every strata of the society in other to experiment with the social relationships. We, therefore, have Sancho and Lucetta from the dregs of the society, Pedro and Antonio as the representation of aristocracy, country squire in Blunt, sophisticated courtesan in Angellica, the Aristocratic-virgin Florinda who needs protection. The inclusion of all the social hierarchies becomes very important as it enables the writer to formulate interplay between class and gender.
Charles II brought home from exile a craze for operas and heroic romances in rhymed couplets. The Rover, a product of its age therefore, exhibits all these characteristics: heroic language with sporadic rhyming couplets, songs, masquing scenes of carnival and dancing, and the tragicomic antipathy between the ideal and the pragmatic. .
Elaborating more on the genre, one of the important features of restoration comedy is its stock characters or the Mall-Rats of its time. In the tradition of medieval morality plays and Tudor interlude, restoration comedy characters name personify them, fixing them in one dimension. Therefore Wilmore is a character who is never satisfied (will-more). Belvile (Beautiful Town) is stands for civilized lover. Blunt lacks the sophistication of being a true villain, therefore he is blunt both of brain and blunt in manners. The Block University in their paper on Aphra Behn write that contrasted with other restoration comedies, The Rover bear personified names but at the same time many of them demonstrate recognizable types from the Italian travelling comedy troupes of Commedia dell- Arte. For example .
Helena is the saucy, uppity girl who provides the britches role in the play.
