Title - The Way of the World

Introduction:

William Congreve’s The Way of the World (1700) is regarded as the last great Restoration Comedy. The title itself is suggestive, ironic, and deeply connected with the theme of the play. It does not simply name the story but reflects a broader truth: the way society functions, the way human relationships are shaped, and the way love, marriage, and money are intertwined. The phrase “the way of the world” means the common habits, manners, hypocrisies, and realities of worldly life. By tracing the intrigues of Mirabell, Millamant, Lady Wishfort, Fainall, and others, Congreve offers a sharp satire on the artificiality and corruption of his age. Hazlitt observed that Congreve presents a “mirror of society, showing its falsehood, vanity, and wit with precision.”

 A World of Schemes and Intrigue:

The very first Act sets the tone of the “world” Congreve presents. Mirabell and Fainall are shown discussing their romantic and financial interests. Marriage here is not merely about love but also about property and inheritance. We learn that Mirabell wants to marry Millamant but must secure Lady Wishfort’s approval to gain her fortune. On the other hand, Fainall plots to use his marriage with Lady Wishfort’s daughter to control her wealth.
This reveals the way of the world—where love and wealth are inseparable, and personal relationships are governed by selfish motives.

The Masks of Society:

In Act II, set in St. James’s Park, we see gossip, deception, and witty conversations among Mrs. Fainall, Mrs. Marwood, and others. The act highlights the culture of backbiting, secret love affairs, and social masks. Petulant pretends to be sought after by women; Witwoud displays shallow wit. These characters reflect the vanity and pretentiousness of the fashionable world.
The “worldly way” here is the obsession with appearances, wit, and gossip rather than sincerity.

The Struggle for Power and Wealth:

In Act III, Congreve exposes the moral corruption of the world more clearly. Fainall plots to blackmail Lady Wishfort and seize her property. Mrs. Marwood betrays secrets for her selfish ends. Here, the pursuit of wealth, power, and security takes precedence over honesty or loyalty.
The title is justified, since the “way of the world” is not about justice but about manipulation and control. Dobree remarked that the title indicates “man as he is, not as he should be.” The play presents reality, not morality.

The Proviso Scene and Realism in Love:

The most famous part of the play occurs in Act IV: the Proviso Scene. Mirabell and Millamant negotiate the terms of their marriage almost like a contract. Instead of surrendering to blind passion, they openly discuss their conditions—Millamant wants freedom from unnecessary duties of a wife, and Mirabell agrees but also asserts his expectations.

This shows another “way of the world”—marriage as a practical arrangement rather than a purely romantic union. It reflects the realistic, worldly side of love in Restoration society.

The Resolution and Exposure:

The final act ties the threads together. Fainall’s schemes are exposed by Mirabell’s clever planning, and Lady Wishfort is forced to accept Mirabell in order to save her reputation. Justice is restored, but not in a moral or idealistic sense—rather through wit, trickery, and negotiation. The ending demonstrates that in the world Congreve depicts, victory comes not through virtue but through intelligence and strategy.

This is the ultimate revelation of “the way of the world.”

Summing up:

The title The Way of the World is perfectly suited to Congreve’s comedy. Modern critics also note that the title captures the timeless nature of human weakness and worldly pragmatism. It captures the essence of Restoration society—its intrigues, hypocrisies, and obsession with wealth and status. From Act I to Act V, every scene reflects how human relationships are shaped by worldly considerations. Love is conditional, friendship is strategic, and morality is flexible. Congreve does not moralize but simply holds up a mirror to life. The play, therefore, is not just about its characters but about society itself, and its title remains a universal comment on human nature: this is the way of the world.