Satire and Wit in The Way of the World

Satire and Wit in The Way of the World

William Congreve’s The Way of the World (1700) is one of the finest examples of Restoration comedy, a comedy of manners that reflects, criticizes, and ridicules the fashionable society of London. The play is full of wit and satire directed against social vices such as hypocrisy, greed, vanity, affectation, and false ideas of love and marriage. Congreve employs sharp dialogue, sparkling repartee, and dramatic situations to expose the follies of his age. Both the prologue and the epilogue, along with every act of the play, reinforce this satirical spirit. Congreve’s satire as Allardyce Nicoll remarks, “is aimed not at reform but at ridicule.” The audience is invited to laugh at the follies, hypocrisies, and vanities of fashionable society rather than to learn moral lessons. The wit, too, is polished and refined, giving the play its unique brilliance.

Satire in the Prologue and Epilogue:

The Prologue, spoken by Thomas Betterton, satirizes the critics of the theatre. It ridicules those who come to plays not to enjoy but to condemn, and those jealous playwrights who delight in others’ failure. The prologue mocks the fickle tastes of audiences and the malice of rival writers, setting the tone for the satirical spirit of the play.

The Epilogue, spoken by Mrs. Bracegirdle, continues the satire on critics. It lampoons spiteful reviewers who misinterpret satire as personal attack, or who imagine that every ridiculous character represents a real person. The epilogue compares satire to painting, showing how poets blend features from many people rather than attack individuals. Here, Congreve ridicules vanity, malice, and self-importance in critics and audiences alike.

Thus, both prologue and epilogue frame the play with satire on theatrical culture itself.

Satire in the Play:

Act I

The satire begins with Fainall and Mirabell discussing love, marriage, and affairs. Marriage is shown as a financial contract rather than a union of love. Lady Wishfort’s vanity, her obsession with appearing youthful, and her hatred of Mirabell are mocked indirectly. The act satirizes the artificiality of love and the mercenary basis of marriage in fashionable society.

Act II

Satire becomes sharper through Lady Wishfort’s portrayal. She is presented as ridiculous in her attempts to appear desirable, falling victim to her vanity and pretensions. Mrs. Marwood and Mrs. Fainall’s conversation exposes the hypocrisy of friendship and female rivalry. The act also mocks gossip and scandal as pastimes of the upper class.

Act III

This act satirizes the lack of morality in relationships. Fainall plots to control his wife’s fortune and threatens to use scandal as a weapon. The intrigues of the characters reflect greed, selfishness, and betrayal. Wit is used in lively exchanges, especially Mirabell’s, to ridicule empty manners and corrupt values.

Act IV

The “Proviso Scene” between Mirabell and Millamant is one of the greatest examples of Restoration wit. The lovers negotiate terms of marriage like a legal contract. The satire here lies in showing how marriage is reduced to bargaining for personal freedom instead of being sacred. Their sparkling wit exposes social expectations of gender roles and mocks conventional notions of marital duty.

Act V

In the climax, Fainall’s villainy is exposed and foiled by Mirabell’s cleverness. Satire falls heavily on greed and manipulation in marriage, as Fainall’s designs are defeated by legal wit. Lady Wishfort’s foolishness again comes under ridicule, but the resolution restores order through wit and intelligence.

The Function of Wit:

Congreve’s wit is not mere wordplay; it is an instrument of satire. Characters like Mirabell and Millamant employ wit to express intelligence and independence, while others like Petulant or Witwoud parody false wit and pretension. The sparkling repartee of Millamant shows refinement, while the crude boasts of Petulant reveal vulgarity. Wit here distinguishes true intelligence from shallow affectation. Congreve’s satire is sharp but sometimes accused of being more brilliant than realistic. Dr. Johnson admired Congreve’s “perpetual glitter of wit,” but also accused him of lacking “true delineation of life.”

Summing Up:

The Way of the World is both a mirror and a lamp: it mirrors the corrupt manners of Restoration society while shining a satirical lamp on its vices. Through the prologue and epilogue, Congreve mocks critics and audiences. Through the acts, he ridicules vanity, hypocrisy, greed, false friendship, and hollow ideas of marriage. The wit of Mirabell and Millamant represents Congreve’s ideal of refined intelligence, while the folly of Lady Wishfort, Fainall, Petulant, and others represents the targets of his satire. The play thus stands as a brilliant union of satire and wit and makes it a classic of the comedy of manners.