The Way of the World as a Comedy of Manners ( Restoration Comedy)

Introduction

William Congreve’s The Way of the World (1700) is often regarded as the finest example of the Restoration comedy of manners. The play captures the spirit of the Restoration age—a period marked by the reopening of theatres after the Puritan ban, the influence of French elegance, and a fascination with aristocratic life. Restoration comedy, particularly the comedy of manners, satirized the fashionable world of the upper classes, exposing their hypocrisy, vanity, and pursuit of pleasure. In this tradition, Congreve’s play stands out for its refinement, sharp wit, and balance between satire and morality.

Critic John Palmer described Congreve as “the acknowledged master of the comedy of manners,” and The Way of the World as his crowning achievement, blending social criticism with polished wit.

Characteristics of Comedy of Manners and The way of the World

1. Satire of Aristocratic Society:

Comedy of manners portrays the elite society of London—its parties, intrigues, and scandals. Beneath the glitter, however, it reveals selfishness, infidelity, and hypocrisy. The focus is not on deep emotion but on how men and women manipulate appearances.

In The Way of the World, Congreve satirizes Lady Wishfort, who pretends to uphold virtue but is foolishly desperate for marriage. Mirabell himself is clever but manipulative, using deception to secure his marriage with Millamant. The play unmasks the shallow pursuits of the fashionable world. Edmund Gosse observes that Congreve’s genius lay in “polishing the follies of the town till they glittered.” He did not condemn society outright but exposed its vanity with elegance.

2. Use of Wit and Sparkling Dialogue:

The most celebrated feature of Restoration comedy is witty conversation. Characters engage in repartee, clever exchanges, and playful banter. Dialogue becomes a weapon of attraction, flirtation, and even social survival.

A striking example occurs in the “Proviso Scene” (Act IV) where Mirabell and Millamant negotiate the terms of marriage. Their sparkling dialogue reveals wit as well as equality of spirit:

Millamant: “I hate to be thought cunning. I hate to make use of an art.”

Mirabell: “You are no longer to admire me only for my wit.”

Millamant: “Nor you me only for my beauty.”

Here wit does not merely entertain but dramatizes the sophistication of love. The dialogue reflects the Restoration spirit—love is not romantic surrender but a battle of wit and independence. George Meredith praised Congreve’s dialogue as “fine talk, fencing with language itself,” where wit “became the poetry of manners.”

3. Treatment of Love and Marriage as Social Contracts:

In comedy of manners, marriage is not simply an affair of the heart but a financial and social arrangement. Love is mixed with calculation, and much of the humor comes from negotiations over dowries, inheritances, and conditions.

William Hazlitt noted that Congreve’s characters “play at love as at a game of skill, where the prize is fortune as well as affection.”

In The Way of the World, the entire plot revolves around Mirabell’s desire to marry Millamant with her full fortune. The famous Proviso Scene again illustrates this, as the lovers agree to terms almost like a business contract:

Millamant: “I’ll never marry, unless I am first made sure of my will and pleasure.”

Mirabell: “You shall be sole empress of your own will and pleasure.”

The sharpness of their negotiation highlights the Restoration tendency to rationalize relationships rather than sentimentalize them.

4. Intrigue and Deception:

Restoration comedies thrive on plots of trickery, disguises, and schemes. Characters manipulate one another to gain love or wealth.

In The Way of the World, Mirabell and Foible conspire to trick Lady Wishfort into approving Mirabell’s marriage with Millamant. Deception is central to the play’s humor as well as its satire of social maneuvering.

Example of witty deception:

Foible (to Lady Wishfort): “Madam, he [Sir Rowland, actually Waitwell in disguise] adores you; he rails at Mirabell and swears he would rather be in your favor than be master of the universe.”

Such intrigue is both absurd and entertaining, exposing the gullibility of Lady Wishfort.

5. Exposure of Hypocrisy and Vanity:

Comedy of manners thrives on characters who preach morality but practice vice. Lady Wishfort pretends to uphold virtue but is desperate for flattery and marriage; Fainall pretends to be a gentleman but is actually selfish and treacherous.

Lady Wishfort’s vanity is ridiculed in Act III when she prepares herself with exaggerated makeup for Sir Rowland:

“Well, is my wig powdered? … I will not be made a mock of. Foible, I will have some more paint.”

The humour lies in the overdone concern with appearance, exposing the superficiality of fashionable society.

Conclusion:

The play shows how Restoration drama transformed the stage into a comedy of intrigue and wit. It is both a satire on its age and a timeless exploration of human vanity and desire. Congreve’s play refines these elements to their highest point and gives us not only laughter but also an understanding of the social games of the Restoration world. Edmund Gosse aptly remarks that “Congreve’s comedies are less moral lessons than portraits of an age, but in those portraits lies their enduring value.”