WOMEN TREATMENT IN MAN OF MODE and unchaste, no man will want her as a wife and she will forever
and unchaste, no man will want her as a wife and she will forever remain tainted. On the other hand,
George Etherege's The Man of Mode is a play that u lizes humor, wit, and sa re to cri cize the
foolishness and vulnerability of women. In this illustra ve and vulgar play, Etherege examines the
mannerisms, dialogues, and behaviors of different female characters, such as Mrs. Loveit, Bellinda, and
Harriet, in order to develop the argument of female oppression and the inability for women to rise in
a society because of legal and social biases. By examining Mrs. Loveit's unbridled passion and ruthless
drive to win the affec ons of the protagonist, Dorimant, Etherege epitomizes women as slaves to their
own desires. By analyzing the means by which Dorimant treats Bellinda, Etherege disparages women
as easily manipulated and nonsensical. Lastly, by contras ng Dorimant to Harriet, Etherege manifests
to readers that women are only leveled with men if they possess quali es of wit and humor and the
ability to manipulate affec on. Even so, they will ul mately become objects or commodi es as they
surrender themselves into marriage. Therefore, by scru nizing the juxtaposi on and the treatment of
the female characters in this play, one can not only see the inequality between men and women with
regards to reputa on, social status, and the natural condi ons of women as oppressed commodi es,
one can also see the fu lity of women's a empts to defy social restric ons imposed by male figures
during the Restora on period.
From the incep on of the play, readers are introduced to the protagonist, Dorimant, an infamous
liber ne who juggles mul ple affairs simultaneously. As the play opens, Dorimant is found in his gown
and slippers, reci ng verses from a note to be given to Mrs. Loveit. He openly confesses to the audience
that the "dull, insipid thing is a billet-doux wri en in cold blood, a er the heat of the business is over"
(I. i.4-5). The harsh reality is that Dorimant is that is no longer interested in Mrs. Loveit now that he
has already conquered her. In addi on, Etherege not only presents Mrs. Loveit as a woman who is
quickly used and cast aside by Dorimant, but he also mocks her by naming her as Mrs. Loveit. The
name, clearly inten onal, not only suggests her love for sexual gra fica on, but also iden fies her as
a woman enslaved to sex. By molding Mrs. Loveit's name into her iden ty as a whore, Etherege
compels the readers to disrespect her reputa on. In addi on, Mrs. Loveit is fooled into a rage of
jealousy upon hearing that Dorimant has betrayed her affec ons by entertaining another woman at a
play. Unwilling to accept neglect and rejec on, yet acknowledging Dorimant's disloyalty, she curses
Dorimant for being a "faithless, inhuman, barbarous man - without sense of love, of honor, or of
gra tude" (II. ii. 161, 163). Mrs. Loveit serves as both a representa on of women being used as objects
of pleasure and the naïve and the foolish, believing jealousy to be "the strongest cordial we can give
to undying love" (III. iii. 213). At the conclusion of the play, it is Mrs. Loveit's unrestrained and
asser veness passion and love for Dorimant that repels his affec on for her. In hopes of winning a
man's affec on, Mrs. Loveit willingly relinquishes her reputa on. In hopes of rising above the male
gender, Mrs. Loveit loses her femininity, surrendering herself to the violence of her passion.Based on
the depic on of Mrs. Loveit, Etherege establishes the women as slaves to their lusts and passion, too
feeble and weak to control their body and their mind from the wit and charms of men like Dorimant.
Through the analysis of Dorimant's second mistress, Bellinda, the play con nues to exude a sense of
male superiority. Bellinda is first introduced to readers as a façade; she is the "lady masked, in a pre y
dishabille, whom Dorimant entertained with more respect than the gallants do a common vizard" (II.
ii. 88-90). Immediately, Bellinda voluntarily gives herself away as an object, allowing herself to be used
to deceive her friend. A er witnessing the abuse of Mrs. Loveit, Bellinda exclaims that "I wish I had
not seen him use her so" (II. ii. 301), but pathe cally assumes Mrs. Loveit's posi on of Dorimant's
mistress, only to "sigh to think that Dorimant may be one day as faithless and unkind to [her]" (II. ii.
304-305). Ul mately, Etherege emphasizes a woman's blinded love from excessive and obsessive
infatua on by having Bellinda come face to face with reality, admi ng that "I knew him false and
helped to make him so. Was not her ruin enough to fright me from the danger? It should have been,
but love can take no warning" (V. i. 330-333). By succumbing herself to Dorimant physically and
emo onally, Bellinda has simply become another one of Dorimant's conquests. In fact, she is even
more imprudent than his previous conquests because she s ll eagerly surrenders herself to Dorimant
despite having witnessed many incidents of infidelity and betrayal. In addi on, by examining the
dis nc on between Bellinda and Mrs. Loveit, Etherege dis nguishes the different forms of oppression
women are bound by.
Whereas Mrs. Loveit is bound to her unreasonable and illogical love for Dorimant, Bellinda is bound
to her reputa on in the society. At the end of the play, Bellinda tells the audience that "[Dorimant] is
tender to my honor, though he's cruel to my love" (V. ii. 303-304), which protects her from the disgrace
and dishonor of being labeled as an unchaste woman. From Bellinda's point of view, her reputa on
and honor are more important than her heart; as long as Dorimant does not expose her impuri es to
society, Bellinda will tolerate even the fear of heartache and jealousy. The emphasis on female honor
and virtue is significant because it manifests her purity and reputa on. Etherege uses this emphasis to
point out the double standards that exist between men and women. If a woman is found to be wild
CHARACTER OF FOPLING FLUTTER
Shameful Corporeality: fops and the conspicuous male body
The fop is a disturbing figure in the early eighteenth-century imagina on. His obsession with
appearance, fashion and demonstra ve displays of manners arouse intense emo on in those who view
him, especially shame. His body becomes a site of shame for those men who, in gazing upon him,
struggle to ignore that they are gazing upon mirrors of themselves. In an age where male authority is
symbolically endorsed and developed in wri ng, by the male authorial voice of the periodical for
example, the fop is the ul mate betrayal. Put simply, the fop is problema c for early-eighteenth
century society because he makes the male body so radically visible, and in doing so parodies the new
ideas of politeness and sociability that were vital to a changing environment. George Etherege’s
Restora on comedy The Man of Mode, a fop literature, outlines how the shameful body of the fop
says more about the society for which he formed a scapegoat than it ever does about the fop himself.
Firstly, he – for a fop is always male – complicates ideas of gender by being effeminate. The effeminacy
of the fop was believed to be caused by overindulgence in both material culture and the company of
women. This historical period marks one of the first mes in Bri sh history that men were actually
ac vely encouraged to socialize with women. However, it was also understood that there should be a
limit to this intercourse between the sexes. Too much me spent with women could only make a man
so , and although the bourgeois public sphere would not require a man necessarily to leap into ba le
with his sword, he was at least expected to be strong-wi ed enough to par cipate in business and
philosophical conversa on. The fop’s effeminacy, however, causes even modern historians and cri cs
problems when trying to pin down what exactly it says about him. Foppery was not necessarily
synonymous with sodomy; for them effeminacy meant something more social than sexual, it was in
fact ‘…a condi on which contemporaries believed to refer not just to the individual, but also to specific
social groups and to the na on at large’ . Effeminacy was therefore a malady that could infect the body
poli c as well as the gendered body. This goes some way to explaining why the fop was such a
universally derided figure at thus me.
George Etherege’s Restora on comedy The Man of Mode (1676), features one of the most
famous fops in English literature, Sir Fopling Flu er. So popular was this character with audiences at
the me that the play was also well known by the character’s name. The Man of Mode is a problema c
play in terms of its examina on of masculinity because rather than assert male authority by fixing its
gaze firmly upon the bodies of its female characters, the dialogue con nually invites us to gaze upon
the bodies of men. It features its hero, Dorimant, in states of undress twice, and discussions o en
centre around male characters’ clothing and what shape it gives to their bodies. The play must
therefore perform a delicate balancing act, a emp ng to maintain some male bodies as authorita ve,
and others as effeminate. Etherege achieves this by presen ng us with a binary of men: on the one
hand Dorimant, who is not just physically a rac ve but also possesses wit and a reasoning mind, and
on the other hand Sir Fopling Flu er, a man given to display but who has no interiority. Dorimant
appears on stage at the very beginning of The Man of Mode, dressed in his nightclothes and carrying
a le er he has just wri en to his occasional mistress, Mrs. Loveit. Meanwhile, he is reci ng verses. His
recep on of the orange-woman, his gossipmonger, and then his friend Medley shows that he is not
afraid to appear in what Sir Fopling later refers to as ‘dishabille’, a state not just of undress but also of
unpreparedness for scru ny. His carelessness is a sign of liber nism perhaps, but not of foppery. The
manipula on of Mrs. Loveit, and the verbal wit he displays in conversa on, are signs of a sharp mind,
as well as crucially not being a slave to popular opinion. Fops by contrast, were assumed to have a
mind almost empty of any wit or intelligence.
Dorimant’s ac ons in the play, in par cular his treatment of women such as Mrs. Loveit and another
mistress, Bellinda are somewhat unpalatable to modern audiences, sugges ng as they do a form of
misogyny. Sir Fopling, by contrast, maintains a less threatening but ul mately laughable rela onship
if a man has a reputa on to be an unfaithful lover, as represented by Dorimant, women will s ll flock
to him.Etherege seems to put women on higher pedestals of maintaining virtues, showing that men
and women will never achieve equality with regards to their social reputa ons. From a patriarchal
Restora on society, women must adhere to the values of chas ty in order to maintain an acceptable
social status. In a patriarchal society, men are the only characters capable of pursuing the liber ne
lifestyle without condemna on. Women, who not only have to uphold their reputa on, also have to
seek marriage as a means to secure economic statuses. If Bellinda's unchaste behaviors are revealed,
she will lose all prospects for marriage. Therefore, bound by social and legal restric ons, Etherege can
only present women as weak and immobile, fully dependent on men for economic and social security.
The last female character posi oned to stand against Dorimant is the "fine, easy, clean shape" (1. i.
138) Harriet. Though her beauty is natural and pleasing to all eyes, she, unlike the other female
characters, also possesses the rare quality of wit as "more than is usual in her sex, and as much malice"
(I. i. 149). Harriet is unlike the commonly represented, feminine, virtuous, and obedient women; she
does not follow the crowd into being fooled by Dorimant and she is able to detect and even mimic
Dorimant's true nature. In fact, Harriet appears to be a representa on of hope for the failure and
defeat of the other women in the play. Whereas Mrs. Loveit has to contrive schemes to avenge
Dorimant, Harriet observes Dorimant as an outsider and simply mimics him. Whereas Bellinda's
ac ons are self-decep ve and rooted in fear of society's disdain, Harriet's decisions are bold and
courageous, free from "hoods and modesty, masks and silence, things that shadow and conceal" (III. i.
25-26). When her mother, Lady Woodvill, insists that she marries Young Bellair, Harriet outwardly
refuses by proclaiming, "Shall I be paid down by a covetous parent for a purchase? I need no land. No,
I'll lay myself out all in love" (III. i. 71-73). Harriet is able to control her emo ons by disguising them;
as she becomes more and more infatuated with Dorimant, she feels "great a change within, but he
shall never know it" (III. iii. 65). In addi on, she is able to shape and mold Dorimant's thoughts and
ac ons by ac ng as his mirror, reflec ng the wit and abuse Dorimant uses in his treatment of Bellinda
and Mrs. Loveit. When Dorimant tries to confess his love for her, she gives him a taste of his own
medicine by saying, "do not speak it if you would have me believe it. Your tongue is so famed for
falsehood, 'twill do the truth an injury" (V. ii. 131-132). By withholding herself from Dorimant's
seduc on and mimicking his wit, Harriet insists on a fair treatment of all women. Etherege gives Harriet
a chance to rise above Dorimant by equalizing their rhetorical freedom. Unfortunately, though
Etherege contrasts this free-spirited, independent woman from all the other female characters in the
play, she too eventually becomes another one of Dorimant's possessions. At the end of the play,
though Dorimant renounces "all the joys l have in friendship and in wine" and "sacrifice to [Harriet] all
the interest I have in other women" (V. ii. 152-154), he will s ll have Harriet in his hands. Because
Harriet's greatest fear is that Dorimant will hate her and dispose of her as he has done to the other
women, exclaiming that to be "a curse that frights me when I speak it" (V. ii. 183-184), her great love
for him prevents her from further scru ny of the earnestness and sincerity of his mo ves.
Although Etherege leaves the marriage of Dorimant and Harriet vague and unse led, he subtly
confirms Harriet's final form of surrender as she willingly submits to the values of marriage by
confessing that she "would, and never will marry any other man" (V. ii. 348). Consequently, Etherege
takes away the slightest bit of hope from even the women who have wit to achieve equality with men
by exposing the uncertainty of Dorimant's love for Harriet. In addi on, he reaffirms the an -feminist
argument that women do not have a place in society apart from men. At the end of the play, there is
s ll evidence that Dorimant has not fully repented from his mistakes and that his feelings are not
founded on genuine devo on and unselfish ambi ons. A er the final confronta on with Mrs. Loveit,
Dorimant, and Bellinda, Dorimant turns to Bellinda and says, "We must meet again" (V. ii. 321). As a
result, Dorimant becomes the model for every man. The infamous liber ne exits the stage with his
prize in his arms and quite possibly another mee ng with his mistress; not once does he express regret,
not once does he experience heartache.
George Etherege's The Man of Mode, therefore, portrays women as inferior objects used primarily for
self-gra fica on. In addi on, Etherege depicts characters like Mrs. Loveit, Bellinda, and Harriet, to
show that equality between men and women cannot exist. In order to prevent women from climbing
the social ladder, Etherege shows the confinement of women in their respected realms. The role of
women, no ma er how intelligent or wealthy, is to serve men. A wife must always be submissive to
her husband; a woman always in servitude to a man. The once asser ve Mrs. Loveit is now ba ered
to an uncontrollable woman who wears her emo ons on her sleeves. The seemingly controlled and
conniving Bellinda ends up being an object to Dorimant and is forever enslaved to her self-decep on.
Lastly, the honorable and wi y Harriet, the representa ve of hope for the female characters, loses to
Dorimant by ul mately yielding herself to a society where only marriage can sustain a woman's social
and economic reputa on. By presen ng The Man of Mode as an an feminist play, Etherege, in
essence, is following the patriarchal Restora on society that does not support the equality of men and
women in the social world. Due to societal and legal biases, women can only be delineated as mere
objects, easily manipulated, used, and discarded..
with women, as exemplified by his bumbling compliments delivered to Emilia, whom he has
overlooked in order to embrace Dorimant when Sir Fopling first appears onstage in Act III, Scene ii:
SIR F: A thousand pardons, madam. Some civility’s due of course upon the mee ng a long absent
friend. The éclat of so much beauty, I confess, ought to have charmed me sooner.
EMILIA: The brillant of so much good language, sir, has much more power than the li le beauty I can
boast.
SIR F: I never saw anything pre er than this high work on your point d’Espaigne. (ll. 162-8)
Sir Fopling’s overuse of French bons mots, here subtly mocked by Emilia, and his inability to discuss
Emilia’s bodily beauty marks him out instantly as a fop. As Michele Cohen among others has show,
many in late seventeenth and early eighteenth-century Britain saw France as a source of effeminacy
and delicacy. This was in contrast to an enduring self-percep on by the Bri sh of themselves as
educated but stoical and governed by reason. In other words, the Bri sh gentleman should preserve
the body but prize the mind and Sir Fopling’s greatest mistake is to be all body. Unlike Dorimant,
however, whose gaze rests almost exclusively on women – Mrs. Loveit, Bellinda, Harriet – Sir Fopling’s
gaze is turned repeatedly on himself, drawing a en on to his own body. Soon a er his compliments
directed at Emilia’s clothing, he directs conversa on towards his own:
SIR F: A slight suit I made to appear in at my first arrival – not worthy your considera on, ladies. (ll.
190-1)
Sir Fopling’s transparent demand for a en on is indulged by the others, with comments paying
par cular homage to the effect of the clothing on his physical form:
DORIMANT: The pantaloon is very well mounted.
SIR FOPLING: The tassels are new and pre y.
MEDLEY: I never saw a coat be er cut.
SIR FOPLING: It makes me show long-waisted, and I think slender.
DORIMANT: That’s the shape our ladies dote on.
MEDLEY: Your breech, though, is a handful too high, in my eye, Sir Fopling.
SIR FOPLING: Peace, Medley, I have wished it lower a thousand mes; but a pox on’t, ‘twill not be! (ll.
192-200)
The narcissism evident in this exchange is so evident as to hardly need analysis. The compliments in
this exchange revolve around Sir Fopling’s body, with the clothes being ‘well mounted’ and well cut.
Sir Fopling is concerned to appear ‘long-waisted’ and ‘slender’, to which Dorimant responds with a
phrase which marks out the ambiguity of the fop’s gender presenta on: ‘That’s the shape our ladies
dote on’. He leaves it unclear whether he means that they dote on this shape where it appears in men,
or that they desire to have this shape themselves. Sir Fopling’s vanity induces him to see only the first
meaning, while Medley seems to pick up on the second, sugges ng Sir Fopling is displaying himself
too much, ‘Your breech…is a handful too high’. The fop’s excuse, that he has ‘wished it lower a
thousand mes’ underscores not just his vanity but also his reliance on his clothing for a sense of self;
‘wishing’ sugges ng that, like his gendered body, he has very li le power over it. A er his departure,
Dorimant and Medley highlight his faults, labelling him ‘a fine-me led coxcomb’, ‘brisk and insipid’,
and ‘pert and dull’ (ll. 242-3). Here, it is underscored for us, in case we have missed it, that Dorimant
and Medley have been consciously othering Sir Fopling in order to shore up their own sense of
abstracted masculine authority.
 This shaming of Sir Fopling occurs not to his face, but a er his performance is over; at no point
in the play, in fact, is the fop shamed in a way that would allow him to defend himself. This is because,
of course, the sa re of The Man of Mode relies on the fop’s ignorance of his foppishness. Throughout
Restora on and early eighteenth-century literature, there is no indica on of a self-aware fop. It seems
that foppery is an iden ty placed upon a trangressive male body, rather than one adopted by the body
itself, as in the case of the liber ne or dandy. These la er men are iden fiable most clearly through
their love of display and can be labelled as effeminate, but they also convey a sense of interiority
through their adherence to an aesthe c praxis. Fops, meanwhile, only exist through ignorance,
through an absence of a self-defining iden ty. Caught up in the manic novelty of fashion, they become
visible only through a series of embarrassing performances that rely on exteriors – their bodies and
the ways in which they clothe and perform with them. Sir Fopling’s conversa on with Mrs. Loveit in
the Mall in Act III, Scene iii, both aligns him with her own flawed, wanton femininity and severs him
from the men he thinks are his equals, for example Dorimant. Whilst Dorimant succeeds in The Man
of Mode by reading minds and an cipa ng people’s mo va ons, Sir Fopling can only read surfaces and
so his talk is all of bodies and exteriors. He cannot recognize, therefore, when he is being mocked, and
neither can he see the shame which resides in his own body. Mostly, that is because the shame does
not belong to him – it is placed there by others, by almost all in fact who gaze upon him in The Man of
Mode.
Sir Fopling, in other words, does not exist as a desiring agent in the way that Dorimant or even
Mrs. Loveit do. Instead, he becomes a useful site for projec ng shame from more self-conscious
bodies. Dorimant in par cular ‘others’ Sir Fopling, construc ng in the foppish body a displaced and
therefore contained image of his own shame. This becomes clearer only in flashes – for example, when
Emilia points out in Act III, Scene ii that, ‘However you despise him, gentlemen, I’ll lay my life he passes
for a wit with many’ (ll. 245-6). Dorimant seems to deflect this challenge to his othering of Sir Fopling
fairly easily, retor ng, ‘That may very well be. Nature has her cheats, stums a brain, and puts
sophis cate dullness o en on the tastelessness mul tude for true wit and good humor. – Medley,
come’ (ll. 247-9). However, in responding like this, Dorimant’s usual verbal wit breaks down into a
parro ng of conven onal moralizing on the dangers of the fop, and his sudden urge to leave, ‘Medley,
come’, gives further indica on of his frustra on at having Sir Fopling suddenly brought closer to him
by being labelled a wit. As Eve Sedgwick has argued, shame can be transferred from one body to
another, and Emilia’s comment places Sir Fopling close enough to Dorimant for the shame the la er
situates in the fop to be passed back to him. Shame here creates fear, disgust, abjec on.
This comes back with a vengeance in the scene at the Mall, where Dorimant’s plot to shame
Mrs. Loveit by making her the object of Sir Fopling’s advances backfires because Mrs. Loveit an cipates
him and pretends to enjoy the fop’s company, shu ng Dorimant out en rely. For the first and only
me in the play, Dorimant finds himself in a posi on of abjec on, and can only resort to angry denial:
‘I know she hates Fopling and only makes use of him in hope to work me on again. Had it not been for
some powerful considera ons which will be removed tomorrow morning, I had made her pluck off
this mask and show the passion that lies pan ng under’ (ll. 306-10). The violent and emo onal imagery
of Dorimant’s asser on mark an interes ng affec ve shi ; the fact that Dorimant is in fact right about
Mrs. Loveit’s mo va ons is not important at this moment. Sir Fopling has operated as pawn in both
their games, and to one par cipant at least, appears to have gained the upper hand. He has, in other
words, suddenly become horrifyingly visible to Dorimant in a way the la er never imagined he could
be. Sir Fopling has here become the exorbitant inside or outside – or at least, that is where Dorimant
must locate the threat in order to reassure himself it does not come from his own self.
In a text from a later period, par cularly from the later eighteenth century, this experience of
abjec on might ini ate a moral reforma on in Dorimant. The experience of loss of control, of
embarrassment, is an opportunity for reflec on and development, in other words, it marks the entry
point of shame, an iden ty-forming affect if ever there was one. This displacement of self occurs within
The Man of Mode at this very moment, but as it is a Restora on comedy, the experience of abjec on
THEMES
Affecta on
Nearly all of the characters in the play are well versed in affecta on, meaning that they disguise their
true feelings, emo ons, mannerisms, and beliefs behind a wall of ar fice. This is done to conform to
society's expecta ons that their outer appearances does not match their inner life; thus, roiling
emo ons, immodest inclina ons, bouts of anger or despair, or anything else that may be considered
improper to air to one's companions are kept submerged. It is a veritable game that the characters
must play. Those who are skilled at it, such as Dorimant, are admired, while those who do not quite
understand what is expected of them, like Sir Fopling, whose affecta on is bombas c, are ridiculed.
Etherege generally supports this reality of his day, but through Harriet also demonstrates how being a
li le more authen c is both possible and laudable.
Marriage:- The play generally has a posi ve view of marriage, but it takes awhile for it to manifest
itself. Young Bellair and Emilia want to marry, and we largely understand and support their desire to
do so, but the protagonist, Dorimant, spends most of the play ridiculing the ins tu on and reveling in
his affairs and exploits. He does not want to be trapped by oath or claim or contract, and with women
such as Mrs. Loveit, that makes sense. However, the play becomes much more tradi onal by the end
when Dorimant meets his match in Harriet and decides that he is indeed the marrying kind. The play
ends with one marriage (Bellair and Emilia) and an engagement, which shows Etherege conforming to
a posi ve view of marriage, but also demonstra ng that marriage is best when it is entered into freely
and with wisdom and discernment.
Manners and Decorum:- Every character in this play seems to be obsessed with their ac ons and the
ac ons of others. They cri que, complain, and monitor each other; some mes they try to do the same
for themselves (but not as o en, of course). Sir Fopling's manners and decorum come under the
greatest of scru ny; he is certainly mannered and decorous, but has taken that to an excessive level.
He is called "insipid" and "pert" by the circle, although they do admit that his manners are polished
enough that he may fool others, who might therefore consider him a great wit. Mrs. Loveit, by contrast,
has few manners. She is also ridiculed, mostly because she cannot control herself or exercise restraint
or decorum. Her rages and tantrums reveal her as a woman lacking modesty and class, and that,
according to Etherege and contemporary audiences, is a grosser offense than being a fop or a fool.
Tradi on vs. Modernity
A few of the characters represent tradi on, while others represent modernity. In their views on
marriage and modesty, as well as their way of conduc ng themselves, Old Bellair and Lady
Woodvill represent a more tradi onal, old-fashioned worldview. Mrs. Loveit also represents this, as
she has an outmoded view of love and courtship. Young Bellair and Emilia represent a middle
perspec ve, as they value tradi onal marriage but are open-minded to new modes of
behavior. Medley, Dorimant, and Harriet are more modern because they are completely open and/or
accep ng of the new norms of sexual behavior and marriage as a match of equals.
Folly and Foppishness
The play's great strength comes from its wi ness in exposing and cri quing folly and foppishness.
While all of the characters have some degree of undesirable characteris cs (Dorimant is a
womanizer; Belinda is self-interested; Harriet is cruel), Sir Fopling Flu er is the main target of censure.
He certainly knows a lot about dress, but that is it. He has no substance, no inner being. He tells
Dorimant he needs more mirrors, and comments tellingly "In a glass a man may entertain himself" .
His affecta on is all there is to him.
Social Class
While this theme is not as obvious as others in the play, it is s ll there lurking beneath the surface.
Comedy in the Restora on era used the exploits of the rich as the basis for its plot, reveling in the
gli ery, amusing milieu in which these men and women operated and schemed. Their follies and
mistakes were fodder for cri que and commentary, and, of course, humor. However, there are also
lower-class characters in this play too: the orange-woman, the shoemaker, and the wai ng
women Busy and Pert. Etherege gives the wai ng women some clever lines and amusing moments,
and allows the orange-woman to perform the crucial act of introducing Harriet to the story, but overall
they are not significant to the drama. Etherege's is the world of the rich rake, the masked woman, the
tled fop, the prudish Lady, and the beau ful heiress.
Disguise
Nearly all of the characters use disguises of a sort. Belinda is introduced as a masked woman, and she
lies to Mrs. Loveit and says Harriet was as well. Feelings are hidden and masked, such as Harriet's true
feelings for Dorimant, Belinda's role in the plot to embarrass Mrs. Loveit, Dorimant's plans for his lady
loves. Even the "pure" love of Emilia and Young Bellair is hidden, and he and Harriet play their role as
a beso ed betrothed couple. Fopling wears a mask to one of the gatherings as well, but as he has
nothing to hide because he has no inner life, he is encouraged to take off the mask. Everyone else,
though, wears their masks almost all the me, and it takes a special occasion, such as Harriet finally
ge ng Dorimant to be authen c with her, for them to drop them.
must be immediately rehabilitated. This occurs through the ritualized humilia on of those who
transgress, and we are presented with a series of set pieces in which Sir Fopling and his effeminate
body is reinstated as the object of shame.
This happens notably at Lady Townley’s gathering, during which the fop arrives with his re nue
of French retainers, all equipped in masquerade. The very purpose of masquerade, of course, is to
obscure the iden ty of the par cipants, but this is not the case for Sir Fopling. Instantly recognized by
the other partygoers, he marks himself out as a notorious body:
MEDLEY: Make him own himself; a fool is very troublesome when he presumes he is incognito (ll. 179-
80).
Sir Fopling’s misrecogni on of his own body – believing it to be more malleable in its visibility than it
is – marks out once again his inability to understand the implicit rules of politeness. No one else at the
gathering is in masquerade dress; in fact the whole evening was meant to be a private affair and Sir
Fopling has not been invited. The body of the fop causes trouble in the form of embarrassment not
just because of its inappropriate a re but also because of its presence. It becomes clear at this point
that there has in fact been no point in the play at which Sir Fopling has been welcome – he is tolerated
only to receive the shame of others who gaze upon him. In the laughter we direct towards him as an
audience, we hear the uncertain note of shame, as he becomes the body upon which we project our
insecuri es about a whole range of issues, from appearance to gender performance.
Despite the obvious duplicity which abounds in the treatment of Sir Fopling by his fellows, we as an
audience are not moved to sympathy for him. This is because he func ons merely as a site of ridicule,
of manipula on, of discomfort, for all those around him. Like many of the play’s female characters, we
are seduced by Dorimant’s crea vity and resourcefulness, whatever his moral inconsistency. Therefore
we side with him over Sir Fopling, because the la er clearly has nothing more to offer than his
effeminate corporeality. His body reveals nothing of its interior, and instead we are le with mere
surface. We look to Dorimant for ac on and agency; we look at Sir Fopling to see all that is wrong with
an effeminate culture. For this reason, Sir Fopling cannot be labelled camp, with all of the sa sfyingly
knowing ar fice that offers. He is a product instead of the terrors of his mes: an increasingly
prosperous commercial na on seemingly unbridled by tradi onal hierarchies, where gender
performance is increasingly in flux and par cipa on in material culture is becoming more widely
available. As a fop, Sir Fopling performs all of these paranoias in one body. A shame-carrier for a whole
culture, it is unsurprising that The Man of Mode remained popular well into the middle of the
eighteenth century, allowing audiences to laugh again and again at their own embodied fears.
RESTORATION COMEDY
With the Restora on of King Charles came the restora on of the theatre a er its ban of nearly twenty
years. It is not un l some eight or ten years a er the Restora on that a theatre of new characteris cs
can be said to have truly developed. The poli cal drama c sa re of the years immediately following
the Interregnum, led in the course of some years to the development of a new form of cri cal
expression, i.e. the Comedy of Manners.
The Comedy of Manners was more immediately cri cal and it aimed at universality through the
individual that was painted as a "full man, moved by inconsistencies, urged by conflic ng passions".
This kind of comedy spared no class in its cri cal intent, though, as stated above, its form of cri cism
was more immediate than enduring. The actual individuals that became the objects of the analy cal
strain of such cri cism were of various characteris cs. The would-be modish gallants, the uncouth
country-dwellers visi ng London, the vulgar court frequenters affec ng courtly manners were all
exposed overtly on stage, while the zealous Puritan middle-class town-dweller was con nually laughed
at by the implica ons which the newly-advocated lax rela onship between the sexes had, i.e. that
every husband was a poten al cuckold. Thus, cri cism was inflicted in different ways. The main tool
used by the characters in order to perform their humorous cri cism on their fellows was the wi y
repartee. Charles set the tone for the Court Wits and the Court Wits set the tone if not for all the
literature of the period at least for a certain segment of it, notably drama c comedy". Sir George
Etherege was also a member of the Court circle of wits and wrote to amuse himself. Dorimant, the
hero of his comedy The Man of Mode (1676) is the most perfect and most celebrated wi y gallant of
the whole Restora on period
The play follows the womanizer Dorimant as he tries to win over the young heiress Harriet and to
disengage himself from his affair with Mrs. Loveit. Despite the sub tle, the fop Sir Fopling is only one
of several minor characters; the rake Dorimant is the protagonist.
In Etherege's The Man of Mode, the ridiculed would-be gallant, would-be wit, would-be elegant and
refined member of the Court circle is Sir Fopling Flu er. His quota of Frenchified language is taken for
granted, since he is just arrived from France; but the a ributes made a point of are his fashionable
a re and equipage, and his narcissism and affecta on of manners. Being as much foolish and
ridiculous as Dorimant is wi y and elegant, Sir Fopling is a perfect foil for this most accomplished
gallant in Restora on Comedy; therefore he is the most accomplished fop –and the most famous,
indeed. He is first characterised by such remarks as Young Bellair's "He thinks himself the pa ern of
modern gallantry" (I, i), and Dorimant's "He is indeed the pa ern of modern foppery" (I, i). His
manners, gestures and behaviour are o en compared to those of women, insofar as he gives vent to
his effeminate concerns, i.e. fashion, clothes, tex le materials and the like, or when he expresses his
admira on for Dorimant, praising him, seeking his company and even kissing him, which he does three
mes throughout the three acts of the play in which he appears. Medley says of him, "He was yesterday
at a play, with a pair of gloves up to his elbows, and a periwig more exactly curled than a lady's head
newly dressed for a ball" (I, i), and later he adds, "His head stands, for the most part, on one side, and
his looks are more languishing than a lady's when she lolls at stretch in her coach or leans her head
carelessly against the side of a box i' the playhouse" (I, i). At his first appearance on the stage Sir Fopling
fails to pay due respect to Emilia and, instead, addresses Dorimant with excessive enthusiasm crying
"Dorimant, let me embrace thee!" (III, ii), and then begging "Prithee, let thee and I be in mate" (III, ii).
At this, Lady Townley calls his a en on upon his disregard of Emilia and, a er u ering some
commonplace formula acknowledging the girl's presence and beauty, Sir Fopling falls to praising her
lace, saying, "I never saw anything pre er than this high work on your point d'Espagne" (III, ii), and
then, to Emilia's remark that "'Tis not so rich as point de Venise" (III, ii), he responds, "Not altogether,
but looks cooler and is more proper for the season" (III, ii); an exchange which hardly sounds
appropriate outside the boundaries of the female sex. Again, in the last act, Sir Fopling behaves not
unlike an hysterical lady whose hairdo has been undone by the wind when she says, "'Tis a dammed
windy day –Hey, page, is my periwig right?... Pox o' this apartment! It wants an antechamber to adjust
oneself in" (V, ii). Sir Fopling is, therefore, a very colourful comic character, nay, he is one of the most
laughable fools in English drama. His presence in the play helps to highlight Dorimant's a ributes; his
natural elegance, his virility, his wit; and, also, helps to enlarge the list of the hero's many admirers and
lovers.
In The Man of Mode we find three characters recently arrived at London from the country; they are
Old Bellair, Lady Woodvill and her daughter Harriet, the heroine of the play. The only recognisable
stock character here is Old Bellair, whose language and manners are visibly uncouth and unrefined.
Old Bellair is almost a caricature of a country squire, and he affords a great deal of humorous passages
throughout the play. Possibly the most successful of these are his comments upon his encounters with
Sir Fopling Flu er. Old Bellair is completely mys fied by the sudden appearance of Sir Fopling at Lady
Townley's and he fails to understand what this strange creature is. Lady Woodvill, as well as Old Bellair
to a certain extent, is mainly characterised by her steadfast determina on on marrying her daughter
conveniently and by her rejec on of the laxity of the urban social life. But Harriet, being the heroine
of the play, is far from being a representa ve product of all the alleged evils of country breeding. On
the contrary, she, like Palmyra and Leonidas in Marriage à la Mode, is the most virtuous character in
the play, and her presence and status in it prove the extent to which the avowed contempt for the
country in the Comedy of Manners was li le more than a comic conven on, however real this
sen ment might have been among the affected members of the Court circle. Harriet's most
outstanding quality being modera on, she becomes the perfect foil for those town-ladies who are but
the vic ms of their own excesses, i.e. Loveit and Bellinda. And her triumph over these two in winning
Dorimant's love for herself can be taken, perhaps, as a stroke of poe c jus ce aimed at the whole Town
and its vain life-style.
Wit and wi y repartee tend to appear everywhere in the comedies of the Restora on, though certain
exchanges are par cularly tuned up to display both the cri cal and humorous powers of this device.The
wi y characters in The Man of Mode are Dorimant, Medley, Harriet and, to a lesser extent, Young
Bellair. The former's wit is put to the test by a series of very different characters, who, eventually, help
to render a fairly accomplished picture of the hero. These are, apart from Dorimant's own servants,
who constantly elicit their master's worst-humoured remarks, an orange-woman, who provides him
with fresh news from the Town; a shoemaker, by whom Dorimant reveals his skillful handling of
characters from all social levels; Medley, who seconds him in his plots; and Loveit and Bellinda, who
are constantly ensnared by Dorimant's physical a ributes and more o en deceived by his wit. A
dynamic exchange of wit passes between Harriet and Dorimant during their first encounter in the Mall.
Young Bellair has said of Harriet that "her wit is be er than her face," (III, i) when she falls to firing at
Dorimant on account of his well-known gallantry. Dorimant, in turn, accuses her of being "greedy of
the praises of the whole Mall" (III, i), in an a empt to offer her a sample of his mely demonstra ons
of cruelty. This la er skill of Dorimant’s is seen more clearly in his argument with Loveit during the
second act, though, for all its intensity, it is not as accomplished an instance of wi y exchange as the
dialogue that takes place between Harriet and Dorimant at Lady Townley's drawing-room in the fourth
act. Here Dorimant praises Harriet's beauty and advises her to show herself at Court, "where the cri cs
of the Circle will surely pass their judgement favourably" (IV, i). But Harriet answers, "Beauty runs as
great a risk exposed at Court as wit does on the stage, where the ugly and the foolish all are free to
censure", which is, perhaps, one of the wisest statements ever u ered in the play.
The third and most controversial aspect of the Comedy of this period is the way in which decorum,
decency and poe c jus ce operate on the stage and their different treatment from that which had
hitherto been taken to be the only acceptable one. Etherege, as a true Court Wit, is long concerned
with limita ons of any sort, and Dorimant in The Man of Mode is allowed to openly own his amorous
adventures with Loveit and Bellinda, besides the six beau es Sir Fopling meets upon the mat under
the canopy at Whitehall , and the le er-wri ng pros tute Molly; and even to declare his inten ons of
debauching Emilia once she has married Young Bellair . Dorimant's frailty is that he likes women,
par cularly if they are beau ful and young. Nevertheless, Dorimant, in spite of his liveliness as a
character, is also an inhabitant of the wish-fulfilment world created by the drama sts of the 1660's
and 1670's in that he embodies the ideal rake and wit that Etherege and his courtly friends would have
liked to be. Women fall in love with him as if spellbound, and Loveit, even on the verge of losing
Dorimant's favour, cannot help but acknowledging, ‘‘I know he is a devil, but he has something of the
angel yet undefaced in him, which makes him so charming and agreeable that I must love him, be he
never so wicked‘‘ (II, ii). Conversely, Dorimant's love of female beauty is absolutely real, and this, in a
world of affecta on of which Sir Fopling is not the only exponent in the play if we consider the quali es
of such gentlemen as Loveit's banished suitor, Mr. Insofar as Loveit's and Bellinda's reputa ons are
dubious and as they are ready to give in to their passion for such a famous rake as Dorimant, they are
as modish as they could wish to be, but then they should not claim for themselves the right to demand
any constancy from their lover or, much less, the privilege of exclusiveness. Harriet, the country
heroine, a vindicatress of local virtue and unaffectedness, is the perfect foil for the abovemen oned
town-ladies and would by no means submit to the loose game of fashion. Yet, she is beau ful, young
and intelligent enough to become the perfect match for Dorimant. However, Harriet is, above all,
moderate and knows that she cannot expect much from Dorimant right away, so she decides to put
him to the test by making him leave the Town and go into the country. On the other hand, Dorimant
becomes the execu oner of jus ce on the do ng ladies of dubious moral-sense, in the first place by
driving them to the verge of hysteria by means of jealousy and deceit, secondly by forsaking them
altogether, and finally, in the case of Loveit by exposing her to ridicule by encouraging her affair with
Sir Fopling. Dorimant is also the instrument for the punishment of 'fops' in general, insofar as he
cri cises them openly throughout the play and he even prompts Sir Fopling to indulge in the most
extravagant display of folly that ever trod the English stage. The first one is whether Dorimant is
actually in love with Harriet or is, instead, in fact broke and wants to marry her for her fortune. The
second one is the actual fulfilment of his promise to follow Harriet into the country and to pay her a
visit there, an ac on which would eventually alienate him forever from the town-life, and whose
comple on will always remain beyond the scope of the comedy's plot. As regards the first point, the
idea that Dorimant has more interest in Harriet's fortune than in her person is hinted at twice in the
play. The first men on of it is at the end of the second scene of the fourth act, where Dorimant remarks
that were he to marry Harriet like Young Bellair is about to do Emilia ‘‘The wise will find a difference in
our fate; you wed a woman, I a good estate‘‘ (IV, ii).
Therefore this play is set in Restora on London and it portrays successfully all the contents of a
manners of comedy by truly reflec ng the Restora on society and is a perfect example of restora on
comedy.
A Satirical Critique: Analyzing the Prologue to "The Man of Mode"
This prologue to Sir Car Scroope's "The Man of Mode," a Restoration comedy, employs sharp wit and biting satire
to critique the audience's influence on the quality of plays. Through a series of vivid metaphors and rhetorical
devices, Scroope unveils the detrimental impact of popular taste upon the artistic integrity of playwrights.
Central Argument and Genre:
The passage hinges on the central argument that the audience's penchant for superficial entertainment directly
contributes to the decline of artistic merit in theatrical productions. This critique aligns squarely with the genre
of Restoration comedy, often characterized by its social commentary and witty barbs directed at contemporary
trends and societal norms.
Literary Techniques and Their Significance: Scroope masterfully wields several literary devices to effectively
deliver his scathing critique:
 Metaphor: Playwrights are likened to "Dancers on the Ropes," highlighting the precariousness and
potential pitfalls of their profession. Similarly, a "Muse" is compared to a "young Wench newly entic’d
to Sin," symbolizing the initial purity of artistic expression corrupted by audience approval.
 Simile: The fleeting success of low-quality plays is compared to the allure of gambling with the line
"Like a lucky hand or two... tempts ’em on."
 Repetition: The repeated use of "you shou’d" emphasizes the audience's pivotal role in shaping the
theatrical landscape.
 Rhetorical Questions: Questions like "Why shou’d we fetch the scum... When we can be so richly
serv’d at home?" challenge the audience's preference for foreign influences over domestic sources of
entertainment.
Analysis of the Critique:
The prologue opens with a negative portrayal of poets, suggesting their constant struggle and the inherent
dangers associated with their artistic pursuit. Scroope criticizes playwrights for succumbing to the allure of
immediate success by crafting "gawdy Nonsense and to dull Grimace," sacrificing genuine wit and "Nature well
drawn" for cheap entertainment.The core of the critique, however, targets the audience's taste. Scroope labels
them "Foppish" and accuses them of favoring "Foreign Wares" like "Dances" and "Shows" over homegrown
"Wit." He further emphasizes the audience's role by comparing their "Follies" to "manure" that fertilizes the
theatrical ground, implying that these very flaws provide ample material for playwrights.The metaphor of
"Physicians" and "Diseases" extends the critique. Just as physicians rely on diseases for their livelihood,
playwrights depend on the audience's poor taste for their success, highlighting a parasitic relationship
detrimental to artistic integrity.The concluding lines employ sarcastic wit. By asking, "Since each is fond of his
own ugly Face, Why shou’d you, when we hold it, break the Glass?" Scroope exposes the audience's hypocrisy,
suggesting that they admire in themselves the very flaws they criticize in the play.
This satirical prologue serves as a powerful critique of the audience's influence on Restoration comedy. Through
sharp wit and literary devices, Scroope highlights the detrimental impact of popular taste on artistic expression,
serving as a cautionary tale for audiences to be mindful of their role in shaping the art they consume.
The Absurdity of Fashionable Fools: An Analysis of Dryden's Epilogue to "The
Man of Mode"
John Dryden's epilogue to "The Man of Mode" is a scathing satire aimed at the
fashionable fools of his time, particularly the play's central character, Sir Fopling
Flutter. Through sharp wit and biting sarcasm, Dryden critiques the superficiality,
pretentiousness, and lack of originality prevalent among these individuals.
The Degeneration of Wits: The opening lines set the tone: "Most modern wits such
monstrous fools have shown, They seem'd not of heaven's making, but their own."
(lines 1-2) Dryden establishes the central theme, presenting "wits" – a term typically
associated with intelligence and wit – as "monstrous fools." This paradox immediately
throws the reader into a world turned upside down, where traditional values are
subverted. He further emphasizes their artificiality by suggesting they are not
"heaven's making" but "their own," highlighting their self-constructed and shallow
personas.
The Farcical and the Substantial: Dryden differentiates between two types of fools:
"Those nauseous harlequins in farce may pass, But there goes more to a substantial
ass;" (lines 3-4). While he acknowledges the existence of "harlequins" – comedic
performers in farces – he deems them merely passable. He reserves his true scorn
for the "substantial ass," a figure who embodies a more profound and consequential
form of foolishness. This distinction suggests that superficial entertainment may be
tolerated to an extent, but the "substantial ass" poses a greater danger due to their
perceived influence and potential to mislead others.
The Deceptive Allure of Sir Fopling: The epilogue then introduces Sir Fopling, who
embodies the "substantial ass." Dryden describes his deceptive charm: "Sir Fopling is
a fool so nicely writ, The ladies would mistake him for a wit" (lines 7-8). Sir Fopling's
outward appearance and mannerisms are carefully crafted, allowing him to deceive
others, particularly women, into believing he possesses wit and intelligence. This
highlights the dangers of superficiality and the ease with which appearances can be
misleading.
The Construction of a Fool: The following lines delve deeper into Sir Fopling's
artificiality: "From each he meets he culls whate'er he can; Legion's his name, a people
in a man." (lines 13-14). Dryden portrays him as a "Legion," a collective entity
borrowing traits and mannerisms from various individuals he encounters. This
emphasizes the inauthenticity of his identity, his lack of any original qualities, and his
reliance on imitation.
The Spread of Absurdity: The passage concludes with an unsettling image: "His
bulky folly gathers as it goes, And, rolling o'er you, like a snowball grows." (lines 15-
16). Sir Fopling's foolishness is not confined to him alone; it grows and spreads like a
snowball, threatening to engulf everyone around him. This final image serves as a
stark warning about the potential for the spread of superficiality and the dangers of
succumbing to societal pressures that encourage conformity and the emulation of
empty trends.
Conclusion: Through satire and vivid imagery, Dryden's epilogue exposes the
absurdity of fashionable fools like Sir Fopling. He critiques their lack of originality,
dependence on external validation, and the potential for their influence to negatively
impact society. By highlighting the dangers of superficiality and the importance of
remaining true to oneself, the passage serves as a timeless commentary on the follies
of human nature.
DORIMANT CHARACTER
The Enduring Influence of Dorimant: A Rake's Journey in "The Man of Mode"
The character of Dorimant in George Etherege's "The Man of Mode" transcends the play's historical
context to hold significance as a multifaceted embodiment of human desire, social criticism, and the
complexities of morality. His influence extends beyond the Restoration comedy genre, offering a
timeless perspective on love, deception, and the pursuit of pleasure.
Dorimant: The Epitome of the Rake
On the surface, Dorimant is the quintessential rake, a charming, witty, and manipulative womanizer.
He engages in multiple affairs, readily discarding his conquests when his attention shifts. His pursuit
of pleasure appears to be his sole driving force, exemplifying the carefree hedonism associated with
the Restoration era.
However, Dorimant's character goes beyond mere caricature. His wit is undeniable, his charm
irresistible, and his social prowess unmatched. He navigates the complex world of Restoration London
with ease, displaying an understanding of human nature and the games people play. His success, albeit
temporary, lies in his ability to manipulate social norms and exploit societal expectations.
A Mirror to Society: Flaws and Contradictions
Through Dorimant, Etherege satirizes the hypocrisy and double standards prevalent in Restoration
society. Dorimant thrives on his duplicity, maintaining multiple relationships while projecting a façade
of sincerity. His actions expose the societal acceptance of male infidelity while condemning female
transgressions.
Furthermore, Dorimant's ultimate failure in securing the hand of the virtuous Harriet serves as a subtle
critique of the superficiality of social aspirations. His desire to elevate his social standing through
marriage exposes the shallowness of a society obsessed with appearances and titles.
Beyond the Rake: An Exploration of Morality
While initially presented as a morally ambiguous figure, Dorimant undergoes a subtle evolution
throughout the play. He faces moments of self-reflection, questioning his manipulative behavior and
the consequences of his actions. His genuine affection for Harriet reveals a depth of character beyond
his initial portrayal as a callous rake.
This internal conflict underscores the play's exploration of morality. Dorimant exists in a moral gray
area, defying easy categorization. He challenges the rigid societal expectations and invites the
audience to consider the complexity of human desire and the interplay between individual choices
and societal influence.
Dorimant's Legacy: A Timeless Appeal
Dorimant's enduring significance lies in his multifaceted nature. He embodies human flaws, societal
contradictions, and the ongoing struggle with morality. His story resonates with audiences across
time, offering a glimpse into the complexities of human nature and the pursuit of happiness in a world
fraught with societal expectations and conflicting desires.
While some may criticize Dorimant's character for his moral transgressions, his impact lies in the
conversation he sparks. He compels us to confront societal norms, question our own values, and
acknowledge the complexities of human behavior.
In conclusion, Dorimant serves as a captivating anti-hero, a symbol of both societal flaws and the
complexities of human experience. His lasting influence lies in his ability to entertain, challenge, and
provoke thought, ultimately making him a significant figure in the landscape of theatrical history.

MR. MEDLEY
Mr. Medley, though not playing a central role in "The Man of Mode," serves several key functions in
the play:
1. Social Commentary: As a witty and well-informed gossip, Mr. Medley acts as a commentator on
the social scene. He relays the latest gossip and scandals, offering the audience a glimpse into the
lives and behaviors of the characters and the broader society they inhabit. This adds depth and context
to the play, reflecting the social norms and concerns of the Restoration era.
2. Comic Relief: Through his witty observations and cynical humor, Mr. Medley provides moments of
comic relief in the play. His satirical remarks often target the follies and hypocrisies of other
characters, adding a layer of humor and social commentary.
3. Exposition: Mr. Medley's conversations with other characters help expose details and plot points
to the audience. He relays information about past events, relationships, and motivations of other
characters, filling in the narrative gaps and enhancing the audience's understanding of the story.
4. Reflects Audience: Mr. Medley's presence can be seen as a reflection of the audience itself. His
focus on gossip, social trends, and witty banter mirrors the popular tastes of the Restoration
theatergoers. This connection serves to engage the audience and invite them to participate in the
social commentary embedded within the play.
Mr. Medley plays a significant role in enriching the play's social commentary, adding humor, and
reflecting the audience's own interests and perspectives.
YOUNG BELLAIR
While Young Bellair may not be the central character in Etherege's "The Man of Mode," his presence
holds significant importance in shaping the play's themes, satirizing societal norms, and offering a
contrasting perspective to the dominant libertine culture. Here's a closer look at his contribution:
1. Exposing the Superficiality of Society:
Young Bellair embodies genuine love and affection, contrasting sharply with the manipulative and self-
serving relationships prevalent in the play. His genuine love for Emilia stands in stark contrast to the
cynical and flippant attitudes of Dorimant and his coterie. He prioritizes his love over societal
expectations and even risks disinheritance to pursue his desires. This genuine emotion exposes the
shallowness of the society that prioritizes social status and wealth over genuine connection.
2. Highlighting the Constraints of Societal Structures:
Young Bellair's struggle against the preordained marriage arranged by his father showcases the rigidity
of the social structure. His inability to defy his father's wishes emphasizes the patriarchal power
dynamic that restricts individual freedom and reinforces social hierarchy. This struggle serves as a
commentary on the limitations imposed by societal expectations and the lack of agency individuals
possess within the established order.
3. Offering a Voice of Reason and Morality:
While Young Bellair is not entirely without flaws, he exhibits a certain level of moral grounding
compared to the other characters. He does not indulge in the promiscuity and manipulation that
define the play's central characters. His frustration and disapproval of his peers' behavior, particularly
Dorimant's treatment of women, offer a counterpoint to the dominant libertine culture. This serves
as a subtle critique of the moral decay and lack of genuine emotional connections within this specific
social circle.
4. Adding Depth and Complexity to the Play:
Young Bellair's presence adds depth and complexity to the play by showcasing not one, but various
approaches to relationships and societal expectations. His struggle and his contrasting values broaden
the thematic landscape of the play beyond just satire and offer a glimpse of an alternative perspective,
one that prioritizes genuine affection and challenges the established norms.
5. Providing a Cautionary Tale:
While Young Bellair eventually succumbs to societal pressure and accepts the arranged marriage, his
initial defiance serves as a cautionary tale. His experience highlights the consequences of conforming
to societal expectations, even when such conformity compromises personal desires and values. This
element adds a layer of tragicomedy to the play, reminding the audience of the sacrifices individuals
make in the face of societal pressures.
6. Offering Comic Relief:
Young Bellair's interactions often provide comic relief amidst the play's satirical commentary and
dramatic elements. His naivety and earnestness are often targets of humor, contributing to the
lighthearted and playful atmosphere that characterizes Restoration comedies. This allows for
moments of laughter and lightens the overall tone of the play.
In conclusion, Young Bellair's character, despite his limited presence, plays a significant role in
enriching the complexity and thematic depth of "The Man of Mode." He serves as a foil to the
dominant libertine culture, exposes the constraints of societal structures, and offers a voice of reason
amidst the play's satirical commentary. His presence adds layers of depth, complexity, and humor,
making him a noteworthy character within the play's framework.
OLD BELLAIR
While not the central figure in "The Man of Mode," Old Bellair plays a significant role in the narrative,
contributing to the play's themes, plot development, and exploration of social dynamics within
Restoration society. Here's a closer look at his importance:
1. Exposition and Social Satire:
 Old Bellair serves as a window into the social hierarchy and outdated values of Restoration
society. His obsession with outdated notions of honor and rigid adherence to arranged
marriages clash with the more free-spirited and materialistic younger generation, represented
by Dorimant and Harriet. This clash exposes the changing social landscape and highlights the
hypocrisy of valuing appearances over genuine connections.
2. Contrast and Conflict:
 His character acts as a foil to other characters, particularly his son Young Bellair. Their
contrasting views on love and marriage create conflict and drive the plot forward. While Old
Bellair champions duty and arranged marriages, Young Bellair seeks love based on genuine
affection, ultimately aligning with the play's underlying critique of outdated societal norms.
3. Symbol of Obsolescence:
 Old Bellair embodies the fading values of the past. His insistence on arranging his son's
marriage and disapproval of Young Bellair's love for Emilia reflects a patriarchal and outdated
view. His character serves as a symbol of the need for societal change and a reminder of the
potential consequences of clinging to rigid and outdated social norms.
4. Source of Humor:
 Despite his more serious role, Old Bellair's obliviousness to his own shortcomings and his
attempts to maintain a youthful image provide comic relief. His ridiculous pursuit of Emilia, a
woman significantly younger than him, exposes the folly of clinging to past glories and the
disconnect between his self-perception and reality.
5. Exploration of Themes:
 His character contributes to the exploration of various themes within the play. His attempts
to control his son's life and his own romantic folly highlight the themes of freedom and choice
versus duty and societal pressure. Additionally, his interactions with Emilia raise questions
about age, power dynamics, and manipulation.
6. Dramatic Irony:
 Old Bellair represents dramatic irony. He remains oblivious to his son's love for Emilia, the
very woman he pursues himself. This creates a sense of comedic tension and underscores the
disconnect between his perception and reality.
7. Audience Reflection:
 Old Bellair's character potentially serves as a mirror to the audience. His outdated views and
hypocritical behavior might prompt viewers to reflect on their own biases and societal norms.
In conclusion, Old Bellair, though not the central protagonist, plays a vital role in "The Man of Mode."
He exposes societal tensions, highlights the play's themes, and contributes to the overall humor and
dramatic tension. Through his character, Etherege critiques outdated social norms, explores the
complexities of love and choice, and encourages audiences to examine their own biases and societal
influences.
LADY TOWNLEY CHARACTER
Lady Townley: A Force Beyond Frivolity in Etherege's "The Man of Mode"
While the Restoration comedy "The Man of Mode" seemingly revolves around the witty exploits of the rakish
protagonist, Dorimant, a closer examination reveals the crucial and multifaceted role of Lady Townley. Often
overlooked amid the play's surface-level frivolity, she transcends the stereotypical portrayal of a society wife,
emerging as a catalyst for the plot, a subtle critic of societal norms, and a reflection of the play's underlying
themes.
1. Orchestrating the Intrigue:
Beyond the confines of direct romantic involvement, Lady Townley functions as a pivotal force propelling the
narrative forward. She serves as a safe haven for her niece, Emilia, and friend, Harriet, allowing them to confide
their anxieties and frustrations regarding their romantic entanglements. Her veiled yet insightful advice subtly
influences their decisions. Moreover, her intricate understanding of society's inner workings and her established
connections allow her to discreetly manipulate situations. For example, she facilitates crucial meetings between
Young Bellair and Emilia, fostering a connection that ultimately defies societal expectations. Through her shrewd
maneuvering, Lady Townley becomes an indispensable cog in the intricate machinery of the plot.
2. A Voice of Subtle Subversion:
While seemingly adhering to the societal expectations of a lady, Lady Townley engages in a subtle critique of the
very norms she navigates. Her sharp wit and insightful observations, often directed towards the self-assured
Dorimant, highlight the hypocrisy and absurdity prevalent within the aristocratic circles she inhabits. Her
willingness to engage in witty banter demonstrates an intellect that rivals his and subtly challenges the
assumption of female inferiority. While rarely explicitly voiced, her disapproval of Dorimant's treatment of
women reflects an awareness of the societal limitations placed upon them. By navigating these constraints with
a keen sense of self-preservation and engaging in veiled resistance, Lady Townley defies the stereotypical
passivity often associated with female characters in Restoration comedies.
3. Reflecting the Play's Discourse:
Lady Townley's character serves as a microcosm of the play's central themes. The pursuit of pleasure and self-
interest, a defining characteristic of the Restoration era, finds expression in her actions, albeit with a layer of
pragmatism and self-awareness. She navigates her world with calculated shrewdness, maneuvering within a
society governed by social expectations. Her interactions with Dorimant highlight the prevailing theme of power
dynamics and gender roles. While acknowledging societal constraints, she subtly disrupts them, reflecting the
evolving expectations surrounding women in the post-Restoration era.
4. Beyond the Stock Character:
It is essential to recognize that Lady Townley is not merely a stock character fulfilling the role of confidante or
socialite. Her complexity lies in the subtle nuances and contradictions she embodies. She adeptly portrays the
facade expected of a woman in her position, yet beneath it lies a sharp intellect and a keen sense of agency. She
skillfully navigates the societal landscape, utilizing the existing system to her advantage while subtly challenging
its norms. Her character transcends the stereotypical Restoration woman, offering a glimpse into the potential
for women to assert their voice and influence, even within the confines of a patriarchal society.
Within the seemingly frivolous world of "The Man of Mode," Lady Townley emerges as a figure of understated
significance. Her multi-faceted role as a narrative catalyst, a subtle critic of societal norms, and a reflection of
the play's themes elevates her beyond the realm of a mere supporting character. She embodies a complexity
rarely seen in the typical portrayals of women during the Restoration period, making her analysis crucial to
understanding both the play's social commentary and the evolving role of women in the literary and historical
landscape.
MRS LOVEIT CHARACTER
The Enduring Significance of Mrs. Loveit in "The Man of Mode"
Within George Etherege's Restoration comedy, "The Man of Mode," Mrs. Loveit initially appears as a
familiar archetype: the discarded mistress of the notorious rake, Dorimant. However, a closer
examination reveals an unexpected depth and complexity to her character. Mrs. Loveit transcends the
limitations of her initial portrayal, emerging as a crucial element that contributes significantly to the
play's thematic exploration, plot development, and nuanced social commentary.
Challenging the "Cast-Off Mistress" Trope: Unlike the passive acceptance of rejection often displayed
by discarded mistresses in Restoration comedies, Mrs. Loveit actively confronts Dorimant, voicing her
disapproval and attempting to manipulate the situation. This defiance subverts the societal
expectation of female submissiveness and highlights the complexities of female desire and agency
within the Restoration context.Her reaction stands in stark contrast to that of Dorimant's other
conquests, such as Belinda, who readily accepts his abandonment. Mrs. Loveit's resistance
complicates Dorimant's image as an irresistible charmer, showcasing his vulnerability and hinting at
the potential consequences of his philandering ways. Additionally, her refusal to conform to the
expected behavior of a cast-off mistress adds an element of realism to the satirical portrayal of
Restoration society, where power dynamics between the sexes were demonstrably imbalanced.
Satirizing Social Mores and Hypocrisy: Mrs. Loveit's relationship with Dorimant serves as a potent
satire of the double standards prevalent in Restoration society. While Dorimant enjoys social
acceptance despite his numerous affairs, Mrs. Loveit faces scorn and ostracization for the very same
transgression. This stark disparity exposes the inherent hypocrisy of a society that chastises women
for pursuing sexual fulfillment while simultaneously celebrating male promiscuity.
Furthermore, Mrs. Loveit's desperate attempts to manipulate Dorimant can be interpreted as a subtle
critique of the societal expectations placed upon women. Trapped in a society offering limited options
beyond marriage and dependence on men, Mrs. Loveit engages in socially unacceptable behavior due
to her lack of agency and limited access to power and security.
Highlighting the Depths of Female Desire: In contrast to the portrayal of many female characters in
Restoration comedies, often characterized as calculating and cunning, Mrs. Loveit's emotional
vulnerability provides a nuanced perspective on female desire. Her unabashed expression of jealousy
and anger challenges the stereotypical view of female emotions as frivolous or manipulative.
Mrs. Loveit's passionate nature contrasts significantly with the calculated approach of Harriet,
Dorimant's eventual pursuit. By presenting a range of female characters with diverse desires and
expressions of love, the play invites the audience to consider the complexity of female emotions
beyond the limitations imposed by societal expectations.
Fueling Plot Development:
Mrs. Loveit plays a crucial role in propelling the plot forward in several ways. Her initial confrontation
with Dorimant sets the stage for the exploration of his philandering nature and its consequences.
Additionally, her desperation to win him back leads her to interact with Dorimant's friends, providing
crucial information and contributing to the advancement of the plot. Her presence also creates tension
and conflict, hindering Dorimant's pursuit of Harriet and forcing him to navigate a complex web of
relationships.
Enhancing the Play's Moral Ambiguity:
While many Restoration comedies offer clear-cut heroes and villains, "The Man of Mode" presents a
morally ambiguous environment. Mrs. Loveit, initially portrayed as sympathetic in her rejection, is
shown to be manipulative and potentially hypocritical in her attempts to win Dorimant back. This
ambiguity underscores the play's satirical nature, leaving the audience to grapple with the moral
complexities of the characters and the societal landscape they inhabit.Mrs. Loveit transcends the
limitations of a stereotypical discarded mistress in "The Man of Mode." She challenges societal norms,
satirizes hypocrisy, reveals the depths of female desire, fuels plot development, and reinforces the
play's morally ambiguous nature. Through her multifaceted role, Mrs. Loveit contributes significantly
to the play's richness, prompting the audience to question societal expectations and engage with the
complexities of human nature.
LADY WOODVILL CHARACTER
The Unyielding Moral Compass: Unveiling Lady Woodvill's Importance in "The Man of Mode"
While the spotlight of "The Man of Mode" undeniably rests on the flamboyant Dorimant and the
captivating Harriet, Lady Woodvill, the seemingly peripheral figure of a strict mother, holds an
understated yet crucial position within the play's narrative tapestry. Her presence serves as a moral
counterpoint to the world of rakish indulgence and social frivolity, subtly shaping the plot and
influencing character development.
1. A Bastion of Morality: In a world where wit often masks deceit and appearances dictate societal
standing, Lady Woodvill embodies unwavering principles. She serves as the voice of reason and
morality, readily offering insightful observations about the characters' motivations and the
consequences of their actions. Her sharp wit and biting sarcasm pierce through the superficial charm
of Dorimant's world, exposing the shallowness and potential dangers of their lifestyle.
2. Protecting Her Daughter: Lady Woodvill's primary motivation stems from her fierce love and
protectiveness towards her daughter, Harriet. She recognizes the allure of Dorimant's charisma and
understands the potential pitfalls of his charm. Her initial skepticism towards him, fueled by his
notorious reputation, stems from a genuine concern for Harriet's well-being. Throughout the play, her
actions and interventions often aim to safeguard her daughter from potential emotional manipulation
and societal harm.
3. A Catalyst for Growth: Although stern, Lady Woodvill's actions ultimately contribute to Harriet's
personal growth. Her watchful eye and cautious nature force Harriet to confront the complexities of
love and deception within the context of Restoration society. While Harriet initially resists her
mother's disapproval, their interactions lead to self-reflection and a deeper understanding of
Dorimant's character.
4. Highlighting Social Commentary: Lady Woodvill's presence, particularly her resistance to the
prevailing social norms, serves as a subtle critique of the moral ambiguity prevalent within Restoration
society. Her disapproval of Dorimant's behavior and the frivolous lifestyle of the characters subtly
highlights the potential consequences of unrestrained pursuit of pleasure and societal hypocrisy.
5. A Foil to Dorimant: Lady Woodvill stands in stark contrast to Dorimant, the play's protagonist. Their
contrasting worldviews and personalities create a dynamic tension that fuels the narrative. While
Dorimant thrives on wit and manipulation, Lady Woodvill relies on honesty and steadfastness. Their
interactions offer a compelling exploration of opposing values and force the audience to question the
true meaning of wit, love, and social success.
6. Adding Depth and Complexity: Lady Woodvill's character, despite a limited stage presence, adds
depth and complexity to the play. Her presence prevents the narrative from becoming a one-
dimensional exploration of the frivolous world of Restoration London. She introduces a sense of
grounded morality and consequence, reminding the audience of the human cost associated with
unchecked desires and societal pressures.
7. Sparking Audience Reflection: While the play concludes without a definitive resolution for Lady
Woodvill's conflict with Dorimant, her presence sparks reflection within the audience. They are left to
ponder the role of morality in a world driven by superficiality and the potential consequences of
societal expectations.
8. Beyond Stereotypes: Although Lady Woodvill initially appears to fit the stereotypical role of the
controlling mother in a comedic play, her character transcends this categorization. Her actions are
motivated by genuine concern for her daughter's future and a firm belief in the importance of integrity
and honesty, making her a more complex and relatable figure.
Conclusion:
Despite her limited stage presence, Lady Woodvill occupies a vital space within the narrative
framework of "The Man of Mode." Her unwavering moral compass acts as a silent anchor, offering a
necessary counterpoint to the world of unchecked desires and societal posturing. As a protective
mother, a source of insightful commentary, and a foil to the protagonist, Lady Woodvill plays a crucial
role in shaping the narrative and prompting the audience to engage in critical reflection on the play's
themes. While the play ultimately celebrates wit and societal success, Lady Woodvill's presence
ensures that the audience does not lose sight of the potential dangers and moral complexities lurking
beneath the surface of this seemingly glamorous and witty world.
BELINDA CHARACTER
The Enduring Allure of Deception: Belinda's Significance in "The Man of Mode"
Within the tapestry of George Etherege's witty Restoration comedy, "The Man of Mode," Belinda,
though seemingly a minor character, plays a surprisingly multifaceted and crucial role. Beyond serving
as a mere love interest for the notorious rake, Dorimant, Belinda's presence intricately intertwines
with several themes and character arcs, ultimately contributing significantly to the play's depth and
enduring intrigue.
1. Exposing the Hypocrisy of Social Norms: Belinda's position as Dorimant's latest mistress, existing
alongside his more established affair with Mrs. Loveit, throws a spotlight on the hypocrisy prevalent
in Restoration society. While Mrs. Loveit embodies the ostracized "kept woman," Belinda, due to her
wealth and social standing, enjoys a degree of acceptance within the same circles. This disparity
exposes the arbitrary nature of societal judgments and highlights the double standards faced by
women, particularly those navigating the complexities of love and desire.
2. A Foil to Harriet: Belinda acts as a foil to the play's central female character, Harriet. While Harriet
embodies the youthful innocence and societal expectations placed upon women, Belinda represents
the consequence of defying these expectations. Through Belinda's vulnerability and eventual
disillusionment, the play explores the emotional costs associated with societal pressures and the
potential pitfalls of pursuing forbidden love.
3. A Reflection of Dorimant's Character: Belinda's unwavering affection for Dorimant, despite his
obvious lack of commitment, reflects on his own character flaws. Her persistence exposes his
manipulative nature and inability to form genuine emotional attachments. Additionally, her eventual
disillusionment underscores the hollowness of Dorimant's charm and ultimately serves as a
consequence for his callous treatment of women.
4. A Voice of Reason (and Unreason): Though ultimately succumbing to Dorimant's charms, Belinda
exhibits moments of shrewdness and self-awareness. She recognizes the potential dangers of her
involvement with him, stating, "I sigh to think that Dorimant may be / One day as faithless and unkind
to me" (Act II, Scene ii). However, her initial skepticism eventually succumbs to her passionate desires,
showcasing the complex interplay between reason and emotion that governs human behavior.
5. A Catalyst for Plot Development: Belinda's presence directly impacts the play's plot in several ways.
Her secret rendezvous with Dorimant creates tension within his other relationships, particularly with
Mrs. Loveit and Harriet. Additionally, her eventual disillusionment and public declaration of
Dorimant's deceit serve as a turning point in the play, ultimately contributing to his public downfall
and loss of control over the narrative.
6. A Symbol of Female Agency (and its limitations): While Belinda initially displays a certain degree
of agency by pursuing her desires independently, her actions ultimately reinforce the limitations faced
by women in this social context. She ultimately remains trapped within the confines of societal
expectations, sacrificing her own happiness in the pursuit of an unattainable love.
7. Adding Complexity to the Theme of Love: Through Belinda's character, Etherege explores the
complexities of love in the play. Her attraction to Dorimant transcends the superficiality of his charm,
hinting at a deeper understanding of his character. However, her naivety blinds her to his true nature,
highlighting the dangers of blind devotion and the potential for manipulation within romantic
relationships.
8. A Representation of Female Vulnerability: Belinda's vulnerability serves as a reminder of the
emotional toll associated with societal pressures and unfulfilled desires. Her experience resonates
with audiences by prompting an empathetic reflection on the challenges faced by women in navigating
the complexities of love and societal expectations.
9. A Spark for Audience Interpretation: While seemingly a victim of circumstance, Belinda's final
choice to remain silent during Dorimant's public humiliation leaves the audience with a sense of
ambiguity. This open-endedness sparks multiple interpretations, allowing audiences to ponder her
true motivations and the extent of her agency in shaping her own narrative.
10. A Timeless Character: Belinda's appeal transcends the specific social context of the Restoration
era. Her character resonates with audiences across generations due to the universal themes of societal
expectations, the complexities of relationships, and the struggle between reason and emotion.
In conclusion, Belinda's presence in "The Man of Mode" extends far beyond a mere love interest. Her
multifaceted character serves as a powerful tool for exposing societal hypocrisy, revealing Dorimant's
self-serving nature, and prompting reflection on the complexities of love, desire, and agency,
solidifying her as a significant and enduring element within the play's dynamic landscape.
Harriet: A Subversive Spark in Etherege's "The Man of Mode"
Within the tapestry of George Etherege's witty Restoration comedy, "The Man of Mode," the
character of Harriet stands out as a figure of complexity and multifaceted agency. Beyond her role as
a potential love interest for the charismatic protagonist, Dorimant, she emerges as a critical element
in the play's exploration of gender dynamics and societal constrictions. This essay analyzes the
multifaceted significance of Harriet, highlighting her unique position as a challenger to the status quo,
a master of subversive tactics, and potentially, a catalyst for transformation.
1. Countering Societal Expectations:
Unlike her female counterparts readily accepting the societal pressure to marry and often succumbing
to male manipulation, Harriet exhibits a refreshingly independent spirit. She voices her disinterest in
the conventional marriage arrangements of the time, stating, "No, I'll lay myself out all in love" (Act
III, scene i, line 73). This explicit defiance of societal expectations immediately positions her as a
nonconformist, challenging the prevailing norms surrounding female agency and
fulfillment.Furthermore, Harriet possesses a sharp intellect and wit that allow her to see through
Dorimant's façade of charm. She readily identifies his insincerity and manipulative tactics, refusing to
be merely another conquest in his string of affairs. This ability to resist his allure disrupts the
established power dynamic, where men like Dorimant typically hold the upper hand in romantic
pursuits.
2. Weaponizing Wit and Mimicry:
Rather than passively accepting Dorimant's advances, Harriet adopts a unique and empowering
strategy. She utilizes wit, sarcasm, and feigned indifference, turning the tables on him and exposing
the absurdity of his self-serving behaviors. This "war of wit" serves as her weapon, allowing her to
defend herself and subtly critique the gender roles prevalent in their society.For instance, when
Dorimant attempts to serenade her with empty compliments, she playfully mocks him, stating, "Fie,
Mr. Dorimant, you are an absolute courtier in love" (Act III, scene iii, line 47). By mirroring his tactics,
she not only highlights his superficiality but also subtly critiques the shallowness of the courtship
rituals employed by men like him.
3. A Catalyst for Change, or a Reflection of the Times?
Harriet's influence on Dorimant is undeniable. Her resistance and witty defiance force him to confront
the consequences of his actions and question his own motivations. He finds himself drawn to her
because she genuinely challenges him, compelling him to adapt his usual methods and even
contemplate changing his ways.However, the play's ending leaves the question of Dorimant's sincerity
open to interpretation. While he confesses his love for Harriet and agrees to her unconventional terms
for marriage, one cannot be sure if this is a genuine change of heart or simply another calculated ploy
to secure his desired conquest.
4. Reflecting on Etherege's Intentions:
Scholars have engaged in ongoing debate regarding the extent to which Harriet embodies Etherege's
own viewpoint on women and their societal roles. While the play undoubtedly satirizes the
hypocritical norms of the Restoration era, it remains unclear whether Harriet stands as a clear
advocate for female empowerment or simply represents an anomaly within the established system.It
is crucial to consider the historical context. Despite exhibiting remarkable independence and wit, the
play ultimately concludes with Harriet conforming to the societal expectation of marriage. This may
suggest that even Etherege himself, despite highlighting the limitations placed upon women,
ultimately hesitated to challenge them completely.
5. A Legacy of Complexity and Enduring Impact:
Regardless of the author's intent, Harriet's character remains significant for her multifaceted portrayal
and her contribution to the play's enduring themes. She compels audiences to question the power
dynamics between men and women, and the superficiality of social conventions within Restoration
society.Despite the ambiguity surrounding her true purpose and ultimate fate, Harriet's presence in
"The Man of Mode" sparks a conversation about gender roles, societal expectations, and the potential
for individual agency within a seemingly rigid social system. Her character, in all its complexity, serves
as a testament to the enduring power of literature to provoke thought and challenge the status quo.