An element of tragedy is added to the whole equation as Mrs. Loveit comes into the picture, breaking her fans and acting hysterically. The fans, which were supposed to hide a flush of passion or embarrassment, no longer offer her any protection. She is defenseless against Dorimant's cruel words and the all too realistic facts of life; there can be no doubt that she is a tragic side effect of the game of love. Having long since lost interest in her, Dorimant continues to lead her on, giving her hope, but leaving her in despair. In the end, her unrequited love only brings her ridicule, teaching society that if you are going to play at the game of love, you'd better be prepared to get hurt. Indeed, Loveit comes to the realization that "There's nothing but falsehood and impertinence in this world. All men are villains or fools," before she parades out.
By the end of the play, we see one marriage, as expected, but it is between Young Bellair and Emilia, who broke with tradition by marrying secretly, without Old Bellair's consent. But in a comedy, all must be forgiven, so Old Bellair forgives him. While Harriet sinks into a depressing mood, thinking of her lonely house in the country and the poignant noise of the rooks--"kaw, kaw, kaw," Dorimant admits his love to her, saying "The first time I saw you, you left me with the pangs of love upon me; and this day my soul has quite given up her liberty."
Congreve's "The Way of the World" (1700)
In Congreve's "The Way of the World" (1700), the trend of restoration continues, but marriage becomes more about contractual agreements and greed, then about love. Millamant and Mirabell iron out a pre-nuptial agreement before they agree to marry. Then Millamant, for an instant, seems willing to marry her cousin, Sir Willful, so that she can keep her money. "Sex in Congreve, " Mr. Palmer says, "is a battle of the wits. It is not a battlefield of emotions." In that way, "The Way of the World" can be likened to Shakespeare's "Much Ado About Nothing," where Beatrice and Benedict play at love in their battle of wits.
It's comical to see the two wits going at it, but, when we look deeper, there is a edge of seriousness behind their words. After they list conditions, Mirabell says, "These provisos admitted, in other things I may prove a tractable and complying husband." Love may be the basis of their relationship, as Mirabell appears honest; however, their alliance is a sterile romance, devoid of the "touchy, feely stuff," which we hope for in a courtship. Mirabell and Millamant are two wits perfect for each other in the battle of the sexes; nevertheless, the pervading sterility and greed reverberates as the relationship between the two wits becomes much more confusing. But then, that is the way of the world.
Confusion and deception are the "way of the world," but compared to "The Country Wife" and other earlier drama, Congreve's play shows a different kind of chaos--one marked with contracts and greed instead of the hilarity and mix-up of Horner and other rakes. The evolution of society, as mirrored by the plays themselves is apparent.
