How does Aphra Behn use imagery in The Rover?

It is not surprising that, when in 1790 playwright John Kemble revised The Rover to remove its distasteful elements for the more prudish audiences of a later century, he renamed the piece Love in Many Masks. Many of the characters, but especially the roving females, wear masks in The Rover to hide their identity and allow them to move freely in a different environment. Characters in masks may cross social boundaries with ease and play-act different social roles from their usual ones. Thus, the character may live out a fantasy or intrude upon a scene to which he or she would otherwise be denied.