George Etherege's The Man of Mode is a play that uses humor, wit, and satire to criticize the stupidity and vulnerability of women. In this illustrative 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 women's inability to rise in society due to legal and social prejudices. By examining Mrs. Loveit's unbridled passion and ruthless drive to win the affections of the protagonist, Dorimant, Etherege embodies women as slaves to their own desires. In analyzing the ways in which Dorimant treats Bellinda, Etherege denigrates women as easily manipulated and absurd. Finally, by contrasting Dorimant with Harriet, Etherege demonstrates to readers that women are only on the level of men if they possess qualities of wit and humor and the ability to manipulate affection. Even so, they will eventually become objects or commodities as they surrender to marriage. Therefore, by examining the juxtaposition and treatment of female characters in this play, one can not only see the inequality between men and women in regards to the reputation, social status and natural conditions of women as oppressed goods, but also the futility of women's attempts to defy the social restrictions imposed by male figures during the Restoration period. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Early in the play, readers are introduced to the protagonist, Dorimant, a notorious libertine who juggles several affairs simultaneously. As the play begins, Dorimant finds himself in her dress and slippers, reciting verses from a note to deliver to Mrs. Loveit. He openly admits to the public that “the boring and insipid thing is a billet-doux written in cold blood, once the heat of the matter has passed” (I. i.4-5). The harsh reality is that Dorimant is no longer interested in Mrs. Loveit now that he has already won her over. Additionally, Etherege not only presents Mrs. Loveit as a woman who is quickly used and discarded by Dorimant, but he also mocks her by calling her Mrs. Loveit. The name, clearly intentional, not only suggests her love of sexual gratification, but also identifies her as a sex-enslaved woman. By incorporating Ms. Loveit's name into her identity as a whore, Etherege forces readers to disrespect her reputation. Additionally, Mrs. Loveit is thrown into a rage of jealousy upon learning that Dorimant has betrayed her affections by entertaining another woman at a play. Unwilling to accept neglect and rejection, while recognizing Dorimant's disloyalty, she curses Dorimant for being an "unfaithful, inhuman and barbaric man – without a sense of love, honor or gratitude" (II. ii. 161, 163). Mrs. Loveit serves as both a representation of women used as objects of pleasure and of the naive and foolish, believing that jealousy is "the strongest cordial we can give to an everlasting love" (III. iii. 213). By the end of the play, it is Mrs. Loveit's unbridled and assertive passion and love for Dorimant that repulses his affection for her. Hoping to win a man's affections, Mrs. Loveit willingly gives up her reputation. In the hope of rising above the masculine gender, Mrs. Loveit loses her femininity and abandons herself to the violence of her passion. Based on the portrayal of Mrs. Loveit, Etherege establishes women as slaves to their lusts and passion, too weak and feeble to control theirbody and mind thanks to the spirit and charms of men like Dorimant. Through the analysis of Dorimant's second mistress, Bellinda, the play continues to exude a sense of male superiority. Bellinda is first presented to readers as a facade; it is the “masked lady, in a pretty negligee, whom Dorimant received with more respect” than gallants do a common vizard” (II. ii. 88-90). Immediately, Bellinda voluntarily gives herself as an object, allowing herself to be used to deceive her friend. After witnessing Mrs. Loveit's mistreatment, Bellinda exclaims, "I wish I hadn't seen him use her like that" (II. ii. 301), but pathetically assumes Mrs. Loveit's position of Dorimant's mistress, to "sigh at the thought that Dorimant could one day be so unfaithful and unkind to [her]" (II. ii. 304-305). Ultimately, Etherege emphasizes a woman's love blinded by excessive, obsessive infatuation by confronting Bellinda with reality, admitting that "I knew it was wrong and I helped make it that way." Was not its ruin enough to frighten me of danger? This should have been the case, but love cannot accept any warning” (V. i. 330-333). By succumbing physically and emotionally to Dorimant, Bellinda simply became another of Dorimant's conquests. In fact, she is even more reckless than her previous conquests as she still eagerly surrenders to Dorimant despite witnessing numerous incidents of infidelity and betrayal. Additionally, by examining the distinction between Bellinda and Mrs. Loveit, Etherege distinguishes between different forms of oppression that women are subjected to. While Mrs. Loveit is linked to her unreasonable and illogical love for Dorimant, Bellinda is linked to her reputation in society. At the end of the play, Bellinda tells the audience that "[Dorimant] is tender to my honor, though he is cruel to my love" (V. ii. 303-304), which protects her from shame and of the dishonor of being labeled. like an immodest woman. From Bellinda's point of view, her reputation and honor are more important than her heart; as long as Dorimant does not expose his impurities to society, Bellinda will tolerate even the fear of heartbreak and jealousy. The emphasis on female honor and virtue is significant because it manifests her purity and reputation. Etherege uses this emphasis to highlight the double standards that exist between men and women. If a woman proves to be wild and shameless, no man will want her as a wife and she will forever remain defiled. On the other hand, if a man has a reputation for being an unfaithful lover, as Dorimant depicts, women will always flock to him. Etherege seems to place women on higher pedestals to uphold virtues, showing that men and women will never achieve equality. regarding their social reputation. Coming from a patriarchal society of the Restoration, women must adhere to the values ​​of chastity in order to maintain an acceptable social status. In a patriarchal society, men are the only people capable of leading a libertine life without condemnation. Women, who must not only maintain their reputation, must also marry to obtain economic status. If Bellinda's immodest behavior is exposed, she will lose all prospects of marriage. Therefore, bound by social and legal restrictions, Etherege can only present women as weak and immobile, entirely dependent on men for their economic and social security. The last female character positioned to confront Dorimant is the “fine, easy, clean form” (I. i. 138) Harriet. Although her beauty is natural and pleasing to all eyes, she, unlike othersfemale characters, also possesses the rare quality of wit "more than usual in her sex, and as much wickedness" (I. i. 149). Harriet does not resemble the women commonly portrayed as feminine, virtuous and obedient; she does not follow the crowd to be fooled by Dorimant and she is able to detect and even imitate Dorimant's true nature. In fact, Harriet seems to be a representation of hope in the face of the failure and defeat of the other women in the play. While Mrs. Loveit must come up with plans to avenge Dorimant, Harriet observes Dorimant as a stranger and simply imitates him. While Bellinda's actions are deceptive and rooted in fear of society's contempt, Harriet's decisions are bold and courageous, free from all "the hoods and modesty, the masks and silence, the things that overshadow and hide” (III. i. 25-26). When her mother, Lady Woodvill, insists that she marry young Bellair, Harriet openly refuses, proclaiming: "Am I to be paid by a greedy relative for a purchase?" I don't need land. No, I will expose myself completely in love” (III. i. 71-73). Harriet is able to control her emotions by disguising them; as she falls more and more in love with Dorimant, she feels “a great inner change, but he will never know it” (III. iii. 65). Additionally, she is able to shape and shape Dorimant's thoughts and actions by acting as his mirror, reflecting the wit and abuse that Dorimant uses in his treatment of Bellinda and Mrs. Loveit. When Dorimant tries to confess his love to him, she gives him a taste of her own medicine by telling him, "Don't talk about it if you want me to believe it." Your tongue is so famous for lying that it will do harm to the truth” (V. ii. 131-132). By restraining herself from Dorimant's seduction and imitating his spirit, Harriet insists on fair treatment of all women. Etherege gives Harriet a chance to rise above Dorimant by equalizing their rhetorical freedom. Unfortunately, although Etherege contrasts this free-spirited and independent woman with all the other female characters in the play, she too ends up becoming another possession of Dorimant. At the end of the play, though, Dorimant renounces "all the joys I have in friendship and in wine" and "sacrifices to [Harriet] all the interest I have in other women" ( V. ii. 152-154), he still has Harriet in his hands. Because Harriet's greatest fear is that Dorimant will hate her and get rid of her like he did other women, exclaiming that it's "a curse that frightens me when I say it" (V. ii. 183-184), her great love for him prevents her from further examining the seriousness and sincerity of his motivations. Although Etherege leaves Dorimant and Harriet's marriage vague and unstable, he subtly confirms Harriet's final form of abandonment as she willingly submits to the values ​​of marriage by confessing that she would "marry and never marry a another man” (V. ii. 348). Therefore, Etherege takes away the slightest hope from even women who have the spirit of achieving equality with men by exposing the uncertainty of Dorimant's love for Harriet. Furthermore, it reaffirms the anti-feminist argument that women have no place in society apart from men. At the end of the play, there is still evidence that Dorimant has not fully repented of his mistakes and that his feelings are not based on true dedication and altruistic ambitions. After the final confrontation 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 libertine leaves the stage with his prize in his arms and very.