The Man of Mode
56 pages • 1-hour read
George EtheregeThe Man of Mode
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Act VAct Summaries & Analyses
Act V, Scene 1 Summary
Mrs. Loveit and Perk discuss the annoying Fopling. Belinda arrives and Mrs. Loveit is immediately suspicious because she is brought by the footman who usually escorts Dorimant. She asks the footman where Belinda came from, noting to herself that women can lie just as much as men. Belinda lies, claiming to have been spending time with her Welsh acquaintances from the country, buying nosegays from the market to cover up the “stinks of the town” (5.1.31). Mrs. Loveit feigns belief as the footman appears and whispers in her ear. Though Belinda is annoyed, the footman confirms her lie. Mrs. Loveit seems to relax, believing that Belinda must be “innocent” (5.1.60). She blames herself for being so suspicious of her friend.
When Dorimant’s arrival is announced, Belinda turns pale. She fears that she will be found out. Pert, noticing Belinda’s change in appearance, helps her away to lie down, leaving Mrs. Loveit to prepare for Dorimant’s arrival. She wants to project a cold, unloving demeanor and receive him “with all the scorn and indignation he deserves” (5.1.79).
When Dorimant enters, he sarcastically apologizes for not being as charming as Sir Fopling. Mrs. Loveit launches an invective against men, which Dorimant asks her to explain to him. Mrs. Loveit tells him in simpler terms that there are “noisy fools” (5.1.99) who are mocked by Dorimant but who have good qualities. They sincerely admire women, she explains, rather than simply flatter them. These men are attentive and dutiful, to which Dorimant mockingly responds that they must be idle. Such men, Dorimant says, just praise women’s hair and play with their fans. Mrs. Loveit points out that she would rather laugh at other people than be laughed at herself.
As Mrs. Loveit and Dorimant swap barbed comments, she points out his many lies and criticizes him for spreading rumors about how he treated her poorly. Everyone believes that she is still in love with him, she says. She wants to know why he has come to her. Dorimant angers Mrs. Loveit by referring to her “growing infamy” (5.1.165). He mentions that she was seen walking with Fopling; rumors have spread that they are romantically involved. Mrs. Loveit accuses Dorimant of taking more pleasure in ruining the reputations of women than actually loving them.
Dorimant acts as though Mrs. Loveit’s association with Fopling hurts him. She defends herself, saying that Dorimant forced her to act. Since she seems too far gone in her emotions, Dorimant says, then they should part ways. This angers Mrs. Loveit further. She wants him to go away, claiming that her anger for him now matches any love she once felt for him. Dorimant jokes that his friends will incessantly remind him of this. Dorimant announces that he will meet with Fopling later to “justify [his] love to the world” (5.1.220). Taken aback, Mrs. Loveit refuses to shamelessly indulge his vanity.
Belinda returns with Pert. Belinda notes a guilty look about Dorimant, while Mrs. Loveit mentions that Belinda seems to have the fortune to always witness the ways she is mistreated by Dorimant. Asking why Dorimant is still there, Belinda criticizes him. Dorimant, aware that he must play his part, accepts these criticisms and insults. Belinda insists that she is upset on behalf of her friend.
As Pert begins to speak, Dorimant makes his excuses. Before he departs, he speaks privately to Belinda, claiming that he is “not so guilty” (5.1.269) of the accusations she has made against him. He plans to clear his name. Mrs. Loveit overhears his comment and invites him, angrily, to clear his name right now. Ignoring her, Dorimant leaves.
Mrs. Loveit swears to find the woman who caused this problem. She will expose the woman to the world. Belinda, privately, wishes that she could escape the situation. She swears that she will never do anything like this ever again. Aloud, she announces that she has grown tired. Mrs. Loveit, incensed, insists that she cannot sleep. She will make everyone else just as restless as herself. Mrs. Loveit storms out, leaving Belinda to sigh to herself and reflect on the consequences of her actions.
Act V, Scene 2 Summary
Lady Townley hosts Medley, Young Bellair, Emilia, and a chaplain named Mr. Smirk. Young Bellair and Emilia have just been married in secret by Mr. Smirk. Old Bellair enters and, spotting his son, enthuses about the upcoming marriage to Harriet. Lady Woodvill, Busy, and Harriet follow in with Old Bellair, who talks to his son about the wedding documents and the need for Medley to stand as a witness. He exits with his son, Medley, Lady Townley, and Lady Woodvill.
Left with Emilia, Harriet says that she has no interest in marrying someone she “[does] not care for” (5.2.36-37). Emilia suggests that she discuss the matter with someone; she suggests Dorimant. Harriet claims to never think of Dorimant, criticizing his character in spite of Emilia’s praise. Busy sings the same song that Harriet has been singing about Dorimant, much to Harriet’s annoyance.
Dorimant appears in time to sing the song’s final line. Harriet is embarrassed and overwhelmed by love for Dorimant; she tries to hide her blushing as he teases her. Dorimant offers a whispered congratulations to the newly married Emilia, but she tells him to focus his attention on Harriet. Dorimant turns back to Harriet, offering his help to “rescue” (5.2.109) her from her marriage. She responds that many young women must turn to him to escape a marriage.
Harriet states that she has no interest in lies. She knows that people hide their true emotions. When Dorimant points to the blush in her cheeks, she says that it is difficult to discern genuine repentance in men’s faces. Dorimant claims to renounce everything to show his love for her. He must be a fanatic, she claims, and she wonders whether he could give up life in the city and live in the country to be with her. Dorimant claims that he would willingly “sacrifice” (5.2.135) his life in London because he loves her so much. Harriet will believe this when they are actually in the country. When he asks her to offer her assurances of love, she responds that he must show the sincerity of his love through his actions and this will dictate her feelings about him.
Busy speaks to Harriet; she claims that Dorimant evidently loves her and encourages Harriet to admit that the feeling is mutual. Harriet refuses, as this would be immodest. As the women speak, Dorimant turns to Emilia. She offers to speed up the courting, so asks Harriet about her apparently imminent marriage to Young Bellair. Harriet insists that she will not go through with the marriage.
Lady Townley enters, at which point Mr. Smirk steps out from the closet. This shocks Harriet. Old Bellair, Young Bellair, Medley, and Lady Woodvill return. Old Bellair greets the parson and announces that it is time for the wedding. Mr. Smirk, smiling, reveals that he has already performed his duty. Old Bellair is shocked as his son kneels beside Emilia. Lady Townley is amused, encouraging her brother to bless his son and his new daughter- in-law.
Taken aback, Old Bellair insists that he has been “cheated” (5.2.203). Lady Woodvill is also angry. She tells Harriet to leave. Belinda and Mrs. Loveit enter, much to the distress of Dorimant. He quickly asks Harriet how she feels about Mrs. Loveit, admitting to her that Mrs. Loveit was formerly one of his mistresses. Harriet looks down on the fake personas adopted by the other women.
Mrs. Loveit asks whether the marriage is for Dorimant. The question destroys the pretense, so Lady Woodvill learns that Mr. Courtage is actually Dorimant in disguise. She feels shocked and betrayed. Harriet tries to comfort her, without success. Mrs. Loveit reveals next that Harriet is a wealthy heiress, to which Dorimant responds that he must abandon his romantic pursuits. He refuses to reveal his plan with Belinda, much to her relief. Instead, he tells Mrs. Loveit that he is giving up his life as a womanizer because he plans to marry Harriet. He turns to Belinda, who assures him that she cannot hate him but tells him not to talk to her.
Medley, Harriet, and Old Bellair inform Lady Woodvill that Dorimant is a gentleman who is a suitable match for her daughter. Lady Woodvill, however, refuses to allow her daughter to marry someone with such a terrible reputation. While Harriet’s fortune may not be in the control of her mother, Harriet’s “person” (5.2.306) certainly is. Lady Woodvill is taken aback by her daughter’s desire to marry Dorimant; Harriet claims that she will not marry anyone else, though she will not marry without her mother’s consent. This display of respect and affection melts Lady Woodvill’s heart. She agrees to the marriage. Medley, meanwhile, tells Old Bellair that there is no way he cannot consent to this marriage, to which Old Bellair agrees.
Fopling enters with his page, hoping that his wig has not been disturbed by the wind. Approaching Mrs. Loveit, he reveals that her servants told him to find her in this place. She responds snootily, suggesting that her servants should direct him elsewhere next time. Her cold demeanor perturbs Fopling, especially when she criticizes herself for entertaining him the previous night.
Turning to Dorimant, Lady Woodvill announces that widespread praise of his character has softened her opinion of him. This irritates Mrs. Loveit, who complains to Belinda that Dorimant (like all men) is being false. Harriet mocks Mrs. Loveit, suggesting that she saw him as a God for so long and that the time has now arrived to find someone new to worship. Offended, Mrs. Loveit announces that she will never leave her house again. Harriet continues to mock her, suggesting that she join a nunnery. Oblivious to this discussion, Fopling asks for Mrs. Loveit’s hand. She runs away, leaving him to think that she is “stark mad” (5.2.376).
Old Bellair invites the characters to stay and celebrate the wedding. Dorimant is invited to the country to visit Harriet and Lady Woodvill, prompting Harriet to joke about the isolated nature of the country in comparison to the city. Dorimant insists that he is a changed man and that he has no concerns about giving up his city life. The scene ends with music and dancing.
Act V, Epilogue Summary
In a short Epilogue, a fictionalized depiction of the poet laureate John Dryden notes that “most modern wits” (5.Epilogue.1) may seem unrealistic, but he assures the audience that Sir Fopling’s portrayal resounds so well because it mirrors something in everyone. Wherever Fopling goes, Fopling picks up something from those around him and increases those qualities, as though he were a snowball being rolled along the ground.
Act V Analysis
Young Bellair and Emilia marry in secret, bringing an end to Desire as a Social Game by their assertion of sincerity and mutual regard. The wedding is one of the play’s few demonstrations of sincere, mutual romance, as both Emilia and Young Bellair are dedicated to one another. They are neither interested in playing games, in the style of Dorimant, nor doubtful about their own feelings, as sometimes affects Harriet. Fittingly, in a play in which desire is turned into a social game, such a sincere declaration of love takes place off-stage. There is no space in The Man of Mode for actual romance, as the play is centered on the insincere, foppish games played in the name of love but which are hostile toward love itself.
The wedding is one of the ways Young Bellair distinguishes himself from Dorimant, as he is determined that his love for Emilia should not be treated lightly. The wedding is a declaration of love, but also a demonstration of the importance of sincerity. The significance of the wedding is also seen in the effect it has on Dorimant. Though he spends much of the play extravagantly broadcasting his nonchalance, Young Bellair’s wedding—and the way it makes both Bellair and Emilia happy—is a source of inspiration for Dorimant, motivating him to make a similar declaration of his own to Harriet. While they may not be married, they are brought together by Dorimant’s willingness to abandon his immature, foppish games and his desire to demonstrate his sincerity.
Dorimant’s newfound commitment to Harriet is a blow to Mrs. Loveit, once again revealing The Fragility of Women’s Social Standing. Though she has gone to war with Dorimant and tried to provoke his jealousy, her actions were motivated by a lingering romantic desire for Dorimant himself. As much as he may have angered her, she still held out hope that they may be together. Her attempts to make Dorimant jealous can be read as an attempt to endear herself to Dorimant by playing him at his own games. In the end, she has failed to win Dorimant back and failed in her execution of her plan, so much so that Dorimant’s affection for Harriet is a rebuke of everything Mrs. Loveit has done.
Mrs. Loveit’s reaction illustrates the strength of her frustration, but also the inequality of the game she has tried to play. When she is furious with Dorimant, she lashes out with vague curses and invocations, none of which are able to harm Dorimant’s reputation in any way. He is able to impugn her name with an implication. This is evident in the other characters’ reactions: Rather than sympathize with Mrs. Loveit, they dismiss her as “stark mad” (5.2.376) and praise Dorimant. Her display of sincere, authentic emotion—in this case rage—is seen as a mental health crisis, whereas similar displays of emotion by men are regarded as inconsequential. Mrs. Loveit is frustrated at losing a game which was stacked against her from the beginning.
In spite of Dorimant’s professed transformation and renunciation of The Performance of Masculinity, the play ends on an uncertain note. Dorimant and Harriet signal that they want to be together, yet there is still no actual wedding. In seeking to establish whether Dorimant has actually changed, Harriet asks whether he would be willing to move to the country with her. By moving to the country, Dorimant would be giving up his libertine lifestyle. As a rake, he is deeply immersed in the social scene of London, as well as the ideas about etiquette, decadence, and romance that the city and its social scene represent. To give up the city would be for Dorimant to surrender part of his identity, but he claims that he is willing to do this in the name of love.
At the same time, however, Harriet is beginning to soften her mood toward London. While she may still be acrimonious to the social scene, there are plenty of other aspects to life in the capital that she has come to appreciate. Thinking about the sad, familiar sounds of the country, she speaks about how she has managed to find “music in the worst cry” (5.2.400) in London. Just as Dorimant is in a state of change, so is Harriet. They fell in love with older versions of themselves; they are not the same people who fell in love, nor can they be sure that each will love who they have become. In this state of flux, the play ends on a sincere but unenforceable affirmation of love. While Emilia and Young Bellair have committed to one another by marriage, Harriet and Dorimant have only each other’s word.
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