Aphra Behn wrote at least eighteen plays for the Restoration stage, predominantly comedic. Her humor features classic misunderstandings of language and perception as in Gayman and Belmour's opening exchange from The Luckey Chance, quoted above. Gayman attempts to bring confusion to a close by asking his friend “‘Do I speak English now, Sir?’” The most significant word in this bit of dialogue is that small word, Sir, Behn's most frequent semantic word in the drama corpus, and one that creates shifts in social dynamics disproportionate to its small size. Behn's comedies also feature classic love plots structured around at least two couples who encounter familiar impediments to fulfilling their destinies. Behn incorporates the love language and cycle of passions refined in her poetry, but her drama also demonstrates love more frequently as an action in service to the stage conditions of drama. As a female dramatist—the only woman writing regularly for the Restoration stage—Behn critiques restrictive codes of gender through her independent female characters, such as Celinda quoted above from The Town-Fopp. Celinda replies cheekily to her would-be suitor who has queried if she is able to love: “Oh yes, Sir, many things; I love my Meat, I love abundance of Adorers, I love choice of new Cloaths, new Playes, and like a right Woman, I love to have my Will.” Her reversal of expectations confuses Sir Timothy and demonstrates Celinda's wit, and Behn threads a subversive streak in her reference to women's love of agency. As in her poetry, Behn creates strong, rational female characters in her dramas who confront the moral dilemmas of seduction, the consequences of which play out on stage. Through both of these strategies, the use of small words, like Sir, and the creation of rational female characters, Behn questions the assumptions of patriarchal privilege in her plays and presents challenges to the subordinate status of women.