The plot in "The Man of Mode" depends on deception and pretense, "affectation" and "veneer," with the occasional praise of a character such as Emilia for being genuine. Lying is such a matter of course in the play that Young Bellair and Harriet get along famously in their partnership to deceive both their parents. Is the play commenting on a lack of genuineness in how late 17th c. londoners interacted with an related to one another? What are other possibilities for the centrality of deception in the play?
Harriet and Mrs. Loveit seem to be the only two characters who see through Dorimant's charades. Harriet concedes that Dorimant is "agreeable and pleasant," though insists he is false: "he does so much affect being so, he displeases me" (124). Mrs. L. recognizes D.'s contrived jealousy, which he uses to have reason to distance himself from her: "he is not jealous, but I will make him so, and be revenged a way he little thinks on" (129). What enables these womens' insights to D's true nature, while others have the wool pulled over their eyes?
No comments:
Post a Comment