The Man of Mode
56 pages • 1-hour read
George EtheregeThe Man of Mode
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Symbols & Motifs
Deception
Deception is a prominent motif in the play, reflecting Desire as a Social Game. Most of the main characters end up deceiving one another at some point in the play, even though some do it out of deliberate manipulation while others resort to it out of necessity.
Dorimant is the prime example of a character who uses deception knowingly and without caring if it causes harm to others. When he decides to break things off with Mrs. Loveit, he forgoes admitting that he is now attracted to Belinda and instead concocts an elaborate game of both rejecting Mrs. Loveit and seeking to manipulate her emotions by feigning jealousy over her supposed new fling with Sir Fopling. He involves Belinda in his schemes, with Belinda deceiving Mrs. Loveit by pretending she disapproves of Dorimant’s behavior, all the while hoping to win him for herself.
Other characters resort to deceit out of necessity. Young Bellair and Harriet deceive their parents by initially pretending to go along with their arranged marriage, buying time for themselves to maneuver towards the relationships they actually want. Harriet also resorts to deception when dealing with Dorimant for most of the play: While she realizes she has fallen in love with him, she tries to deceive him by appearing indifferent to the games of love and impervious to his charm. This deception enables Harriet to test Dorimant’s feelings for her, only revealing her true feelings when she believes it is safe to do so. In these ways, even characters who are otherwise sincere in their motives must occasionally resort to deception to achieve their aims, as their society does not reward honesty or vulnerability.
Hair and Costume
The hair and costumes of the characters in The Man of Mode are a key motif used to signify conformity. In this society, manner of dress is very important, so much so that Dorimant is introduced to the audience in Act 1, Scene 1 as he prepares himself for the day. He needs his servant Handy to ensure that his clothing is perfect. He defends the importance of being “well dressed” (1.1.232) as more than just a personal preference: Being well- dressed demonstrates how well he conforms to the social understanding of what a gentleman should be. As a gentleman, Dorimant wishes to signal to the world that he is a model of etiquette and clothing is the most visual metaphor for this kind of conformity.
In the opening scene, the gentlemen discuss the imminent arrival of Sir Fopling Flutter from Paris. Fopling is, in many ways, an exaggerated version of Dorimant and this is especially true of his manner of dress. Whereas Dorimant has a manservant to help him dress for society, Fopling is attended by a large retinue of people to ensure that he is always extravagantly and fashionable dressed. The characters mock Fopling’s outlandish manners, but there is also a constant sense of intrigue and curiosity surrounding his access to the latest fashions from France. Fopling recognizes this fashion envy and points out each of his items of clothing, declaring each one to be the epitome of fashion.
In contrast to the men who strive to show off their fashionable appearance, Harriet signals her distaste for conformity by her reluctance to tame her hair. In Act 3, Scene 1, Harriet’s servant Busy urges her mistress to untangle her hair and make it acceptable for society, while Harriet resents that she must do so. This is a mirror to the scene in which Dorimant defended his sense of fashion to his own servant, representing the difference in worldview between Harriet and Dorimant. He strives for perfection in his appearance while Harriet views such perfection as a demonstration of conformity to a set of social rules she rejects. Harriet’s untamed hair becomes a symbol of her broader attitude toward society and etiquette, as she resentfully allows herself to be made presentable while acknowledging the symbolic significance of her appearance.
Mirrors
Mirrors symbolize superficiality and The Performance of Masculinity in the play. When Fopling enters a room, his first instinct is to seek out a mirror. He is a vain and egocentric character who is obsessed with outward appearance. The search for a mirror is a physical manifestation of Fopling’s obsession with himself. He is so focused on the way he looks to others that he must check the way he looks at every possible opportunity. At the same time, he regards mirrors as a form of amusement. His obsession with his own reflection is, on a literal level, a symbol of narcissism. Since Fopling himself is a satire of the rakes and fops of the era, his narcissism becomes a critique of these figures.
Fopling inquires about mirrors in every room because there are some rooms that do not have them. The absence of a looking glass is notable for Fopling, who is astounded that other people are not so obsessed with their own reflections. Even Dorimant is found wanting in this regard. Though Dorimant is the male character most like Fopling, his ego and his narcissism are seemingly not quite on Fopling’s level. In this way, the absence of the mirror from Dorimant’s lodging symbolizes the limits on his self-regard. Dorimant, for all his flaws, is not as deserving of criticism as Fopling, the play suggests. The lack of mirrors in Dorimant’s home shows that even his ego is not quite so domineering, helping to add definition to the contours of his character and foreshadowing his eventual change at the play’s end.
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