wounded with her beauty and needs her portrait as a healing salve. Angelica tries to give him the portrait, but again Antonio fights Willmore over it. Belvile and Frederick enter to help Willmore. Angelica's servants separate them as Angelica and Moretta mourn the money that could have been made before the ruckus began. Willmore manages to calm Angelica with flattery, and she demands that he enter and explain himself. His friends urge him to run, but Willmore continues inside. Frederick's explanation is that "the Rogue's stark mad for a Wench."

Scene two follows with Willmore inside Angelica's house where Angelica asks him why he has been so insolent. Willmore accuses her of entrapping mortals with her beauty and her infernal price. Taken aback, Angelica asks Moretta to bring a looking glass so that Willmore can survey his own charms. Moretta insults him under her breath, but Angelica calls him a "poor Creature." Willmore then tries to bargain, saying he will give a pistole (a gold coin) and would like the treatment for a few minutes, proportional to what he would get if he had 1,000 crowns and paid for a month. When they tell him that Angelica is only available for all or nothing, Willmore says he will find friends to each pay a share and then take turns for the month. Strangely, Angelica finds herself remaining calm. She keeps her composure even when Willmore calls himself a gentleman and says he would never sell himself, that she is beautiful but it is beyond comprehension that she sells herself. He holds her for a moment and gazes into her eyes and rapturously tells her how beautiful she is, and then releases her.

Angelica is moved by Willmore's apparent honesty, but nevertheless sends him away. Willmore calls out more lewd half-compliments, and Moretta mutters that Angelica must be "bewitched" to listen to such "saucy railing," and she orders Willmore away. Angelica agrees but asks Willmore why, before marriage, every man wants to know the fortune a wife would bring him. Willmore condemns such behavior as much as prostitution. Rapt, Angelica professes adoration of Willmore's soul and offers to be his lover. Maddened by what he perceives as a whore's machinations, Willmore turns away, and Angelica wonders aloud if her first vows of love are to be scorned. Pride forces Angelica away from Willmore, but he catches her and holds her, demanding that she show her love with her body.

With love declared both ways, Angelica demands a price be paid. Willmore cries that she has spoiled his worship of the divine with material matters. Angelica responds that it was only love that she wanted in exchange. They exit together still vowing love. Moretta is left alone, cursing love for ruining a perfectly good venture, and the love of a "Pirate-Beggar," not even a rich man.

Analysis
In the second Act, Behn expands upon the theme of women's power. Angelica's beauty turns the men to idiots, and her outrageous price illustrates the lure of a beautiful woman. However, Willmore's fiercely negative assessment of any form of prostitution, including the practice among men of finding out a woman's worth before agreeing to marry her, seems to suggest that love should depend on characteristics other than inheritance. Thus, Angelica's falling in love with Willmore despite his lack of money makes her business partner Moretta angry, but his poverty cannot keep her from loving him. Love transcends money. It is conversation and unconventional ideas that woo Angelica, not wealth or power. The life Angelica has created out of her own imaginative use of her inherent traits, and Moretta's fearful cursing of love for interfering with prostitution, shows that money and love can be in direct opposition to one another.

Paired with Florinda's situation in the first Act, Angelica's circumstance is an interesting inverse of the trap of being a woman. If the hunt for money was cold-blooded, it would be easy to marry a rich, old man for his fortune, just as it would be easy to continue a life of successful prostitution. However, other desires take precedent. The desire to love, to express love freely, and to make one's own choices, for instance, trumps the desire of financial security. The Rover criticizes arranged and loveless marriages, and the polarity between the lovers (the underdogs) and the men who try to define the lives of the women (the watchdogs) is an important part of the play.

Behn herself modeled an unconventional lifestyle. When her husband died in 1666, she took the extremely unusual step of turning to writing to earn a living. At the time, an upper-class woman living alone and working was uncommon enough, but to sell her ideas and her words was tantamount to prostituting herself. Thus, Behn imagined a way out of being dependent on a man, but at the cost of her reputation. Her writing was considered scandalous at the time simply because she was a woman.

By setting her play in Italy during Carnival, Behn allows her female characters to use their imagination and intuition to invent new lives for themselves, outside of what society had intended for them, without ruining their reputations. Hellena and Florinda participate in the excesses of the Carnival along with the rest of the city. They do not lose their honor by dressing in costumes, pursuing men or even by disobeying their brother and father. Instead, they are given freedom to act because the circumstances allow such otherwise outrageous behavior, even from women. Carnival embraces and accepts the blurring of class and gender lines while encouraging people to act out of their base desires. Thus, the choice of Carnival would have allowed the British audience to feel distanced enough from the subject matter to be more able and willing to accept the behavior of the characters.