Way of the World - Revision history

WikiSysop: WikiSysop moved page Way of The World to Way of the World

2023-01-06T08:47:25Z

WikiSysop moved page Way of The World to Way of the World

← Older revision		Revision as of 08:47, 6 January 2023
(No difference)

Pankratz at 15:43, 5 January 2023

2023-01-05T15:43:27Z

← Older revision		Revision as of 15:43, 5 January 2023
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	Fourth and last comedy of [[William Congreve]], first performed in 1700. By modern critics, ''The Way of the World'' is regarded as Congreve’s best work, among other things because of its thematic complexity, its brilliant character creation and its stylistic grandeur. By his contemporaries, however, the play was received in a lukewarm way. It was far less successful than Congreve’s previous comedy ''[[Love for Love]]'' (1695).		Fourth and last comedy of [[William Congreve]], first performed in 1700. By modern critics, ''The Way of the World'' is regarded as Congreve’s best work, among other things because of its thematic complexity, its brilliant character creation and its stylistic grandeur. By his contemporaries, however, the play was received in a lukewarm way. It was far less successful than Congreve’s previous comedy ''[[Love for Love]]'' (1695).

	Disappointed with this comparably bad reception of the play, Congreve retired from his dramatic career. He continued writing libretti for opera, however, and was involved as theatre manager. Together with the death of [[John Dryden]], Congreve's silence ~~marked~~ the end of [[Restoration Comedy]] proper. ~~In the years to follow~~, the ~~genre was replaced~~ by [[~~Sentimental Comedy~~]], ~~where the focus is rather on moral values~~ and ~~sentimental feelings~~.		Disappointed with this comparably bad reception of the play, Congreve retired from his dramatic career. He continued writing libretti for opera, however, and was involved as theatre manager. Together with the death of [[John Dryden]], Congreve's silence seems to mark the end of [[Restoration Comedy]] proper and ushers in [[Sentimental Comedy]]. This notion, however, ignores the plays by [[George Farquhar]], [[John Vanbrugh]] and other 18th-century playwrights.

	Modern critics have ascribed the relative failure of ''The Way of the World'' to the fact that Congreve failed to adapt his own, personal wit to the various characters of the play. The witty, very polished language does not seem to fit some of the characters in the play, especially the Witwouds and Lackwits. Furthermore, the plot is confusing (see summary below) and the play plays with the expectation of the audience, springing surprising twists on them.		Modern critics have ascribed the relative failure of ''The Way of the World'' to the fact that Congreve failed to adapt his own, personal wit to the various characters of the play. The witty, very polished language does not seem to fit some of the characters in the play, especially the Witwouds and Lackwits. Furthermore, the plot is confusing (see summary below) and the play plays with the expectation of the audience, springing surprising twists on them.
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	== Sources ==		== Sources ==

	*Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793''. Manchester: Manchester UP, 1996.		Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793''. Manchester: Manchester UP, 1996.
	*Nettleton, George Henry. ''English Drama of the Restoration and Eighteenth Century (1642-1780)''. New York: Cooper Square, 1968.
	*Niederhoff, Burkhard. "''The Way of the World''". ''Kindlers Literatur Lexikon Online''. Ed. Heinz Ludwig Arnold. 2009. J.B. Metzler. ~~02. Dec~~. ~~2009~~. [~~http~~://~~kll-aktuell~~.~~cedion~~.de/~~nxt~~/~~gateway~~.~~dll~~/kll/c/k0141400.xml/k0141400_030.xml?f=templates$fn=index.htm$q=%5Brank,500%3A%5Bdomain%3A%5Band%3A%5Bfield,body%3Athe%20way%20of%20the%20world%5D%5D%5D%5Bsum%3A%5Bfield,lemmatitle%3Athe%20way%20of%20the%20world%5D%5Bfield,body%3Athe%20way%20of%20the%20world%5D%5D%5D$x=server$3~~.0#LPHit1 Link~~]		Nettleton, George Henry. ''English Drama of the Restoration and Eighteenth Century (1642-1780)''. New York: Cooper Square, 1968.

			Niederhoff, Burkhard. "''The Way of the World''". ''Kindlers Literatur Lexikon Online''. Ed. Heinz Ludwig Arnold. 2009. J.B. Metzler. 5 Jan. 2023. [https://link.springer.com/referenceworkentry/10.1007/978-3-476-05728-0_8270-1]

Pankratz at 15:36, 5 January 2023

2023-01-05T15:36:00Z

← Older revision		Revision as of 15:36, 5 January 2023
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	Disappointed with this comparably bad reception of the play, Congreve retired from his dramatic career. He continued writing libretti for opera, however, and was involved as theatre manager. Together with the death of [[John Dryden]], Congreve's silence marked the end of [[Restoration Comedy]] proper. In the years to follow, the genre was replaced by [[Sentimental Comedy]], where the focus is rather on moral values and sentimental feelings.		Disappointed with this comparably bad reception of the play, Congreve retired from his dramatic career. He continued writing libretti for opera, however, and was involved as theatre manager. Together with the death of [[John Dryden]], Congreve's silence marked the end of [[Restoration Comedy]] proper. In the years to follow, the genre was replaced by [[Sentimental Comedy]], where the focus is rather on moral values and sentimental feelings.

	Modern critics have ascribed the failure ~~in success~~ of ''The Way of the World'' to the fact that Congreve failed to adapt his own, personal wit to the various characters of the play. The witty, very polished ~~way~~ language does not seem to fit some of the characters in the play, especially the Witwouds and Lackwits. Furthermore, ~~putting~~ the ~~main focus of~~ the play ~~on wit seems to have led to a loss~~ of ~~naturalness in character, dialogue and also effectiveness of plot. Congreve’s polished~~, ~~graceful style of writing~~ on ~~the other hand has also been listed as one of the many strengths of the play~~.		Modern critics have ascribed the relative failure of ''The Way of the World'' to the fact that Congreve failed to adapt his own, personal wit to the various characters of the play. The witty, very polished language does not seem to fit some of the characters in the play, especially the Witwouds and Lackwits. Furthermore, the plot is confusing (see summary below) and the play plays with the expectation of the audience, springing surprising twists on them.

	== Plot ==		== Plot ==
	~~The gallant~~ Mirabell wants to marry the rich and attractive Millamant~~, but his goal is prevented by a row of~~ obstacles. Half of Millamant’s dowry depends on the consent of her aunt, Lady Wishfort. Lady Wishfort, however, is in love with Mirabell herself and refuses to consent to the marriage.		Mirabell wants to marry the rich and attractive Millamant and has to overcome some obstacles. Half of Millamant’s dowry depends on the consent of her aunt, Lady Wishfort. Lady Wishfort, however, is in love with Mirabell herself and refuses to consent to the marriage.
	In order to achieve his aim, Mirabell devises an intrigue: Lady Wishfort shall be manoeuvred into a false marriage, which will only be resolved, if she grants the lovers the dowry.		In order to achieve his aim, Mirabell devises an intrigue: Lady Wishfort shall be manoeuvred into a false marriage, which will only be resolved, if she grants the lovers the dowry.

	Fainall, Lady Wishfort’s son-in-law, however, informs Lady Wishfort about this plot and thus foils it. Furthermore, he wants to blackmail Lady Wishfort himself, by threatening to make public an affair that his wife, her daughter, had with Mirabell before getting married. Lady Wishfort shall grant him her entire fortune, which he wants to use in order to lead a comfortable life with his mistress Marwood.		Fainall, Lady Wishfort’s son-in-law, however, informs Lady Wishfort about this plot and thus foils it. Furthermore, he wants to blackmail Lady Wishfort himself, by threatening to make public an affair that his wife, her daughter, had with Mirabell before getting married. Lady Wishfort shall grant him her entire fortune, which he wants to use in order to lead a comfortable life with his mistress Marwood.
	After a number of intrigues and counter-intrigues between Mirabell and Fainall the conflict is finally resolved. It turns out that Mirabell is in the possession of a certificate in which his former mistress Mrs Fainall has ~~transcribed~~ her entire fortune ~~to him~~ – a measure of protection against the greedy Fainall. This means that Fainall is financially dependent on Mirabell and has to give up his intrigues against him and Lady Wishfort. Lady Wishfort, grateful to Mirabell for saving her daughter’s reputation, finally consents to his marriage to Millamant.
			After a number of intrigues and counter-intrigues between Mirabell and Fainall the conflict is finally resolved. It turns out that Mirabell is in the possession of a certificate in which his former mistress Mrs Fainall has put her entire fortune in his trust – a measure of protection against the greedy Fainall. This means that Fainall is financially dependent on Mirabell and has to give up his intrigues against him and Lady Wishfort. Lady Wishfort, grateful to Mirabell for saving her daughter’s reputation, finally consents to his marriage to Millamant.

	As confusing as the constellation of characters and actions may seem at first glance, the underlying structure of ''The Way of the World'' is actually quite simple. Mirabell and Fainall both put pressure on Lady Wishfort in order to gain money for a comfortable life with the woman they love. Because of the several intrigues, mysteries and withheld pieces of information that only become clear during the course of the play, however, ''The Way of the World'' is experienced as confusing by many first-time watchers.		As confusing as the constellation of characters and actions may seem at first glance, the underlying structure of ''The Way of the World'' is actually quite simple. Mirabell and Fainall both put pressure on Lady Wishfort in order to gain money for a comfortable life with the woman they love. Because of the several intrigues, mysteries and withheld pieces of information that only become clear during the course of the play, however, ''The Way of the World'' is experienced as confusing by many first-time watchers.

	== Main Themes ==		== Main Themes ==
	One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role [[Contract Theory\|contracts]] play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his philosophical treatise ''[[Leviathan]]'' in which he postulates a contract in society as the means of taming the inherently hostile human nature. [[John Locke]] had further specified the nature of the contract (and the nature of society this contract secures) in his seminal ''Two Treatises on Government'' (1689). In ''The Way of the World'' Congreve takes an ambivalent position towards ~~contract theories~~. In the ~~play~~, ~~contracts~~ are ~~on the one hand~~ depicted as means of protecting one’s own interests against the greed of others (in the case of the Fainalls). On the other hand they are seen as a means of blackmailing and exploiting others (in the case of Lady Wishfort and her stipulations for Millamant). The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.		One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role [[Contract Theory\|contracts]] play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his philosophical treatise ''[[Leviathan]]'' in which he postulates a contract in society as the means of taming the inherently hostile human nature. [[John Locke]] had further specified the nature of the contract (and the nature of society this contract secures) in his seminal ''Two Treatises on Government'' (1689). In ''The Way of the World'' Congreve takes an ambivalent position towards contracts. On the one hand, they are depicted as means of protecting one’s own interests against the greed of others (in the case of the Fainalls). On the other hand, they are seen as a means of blackmailing and exploiting others (in the case of Lady Wishfort and her stipulations for Millamant). The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.

WikiSysop: /* Sources */

2019-01-16T10:39:56Z

Sources

← Older revision		Revision as of 10:39, 16 January 2019
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	*Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793''. Manchester: Manchester UP, 1996.		*Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793''. Manchester: Manchester UP, 1996.
	*Nettleton, George Henry. ''English Drama of the Restoration and Eighteenth Century (1642-1780)''. New York: Cooper Square, 1968.		*Nettleton, George Henry. ''English Drama of the Restoration and Eighteenth Century (1642-1780)''. New York: Cooper Square, 1968.
	*Niederhoff, Burkhard. "''The Way of the World''". ''Kindlers Literatur Lexikon Online''. Ed. Heinz Ludwig Arnold. 2009. J.B. Metzler. 02. Dec. 2009. [http://~~tinyurl.com/WayOfTheworld Link]<nowiki> <http://web13~~.cedion.de/nxt/gateway.dll/kll/c/k0141400.xml/k0141400_030.xml?f=templates$fn=index.htm$q=~~[rank~~,500%3A~~[domain~~%3A~~[and~~%3A~~[field~~,body%~~3Away~~%20of%20the%20world~~]]][sum~~%3A~~[field~~,lemmatitle%~~3Away~~%20of%20the%20world~~][field~~,body%~~3Away~~%20of%20the%20world~~]]]~~$x=server$3.0#LPHit1~~> </nowiki>~~		*Niederhoff, Burkhard. "''The Way of the World''". ''Kindlers Literatur Lexikon Online''. Ed. Heinz Ludwig Arnold. 2009. J.B. Metzler. 02. Dec. 2009. [http://kll-aktuell.cedion.de/nxt/gateway.dll/kll/c/k0141400.xml/k0141400_030.xml?f=templates$fn=index.htm$q=%5Brank,500%3A%5Bdomain%3A%5Band%3A%5Bfield,body%3Athe%20way%20of%20the%20world%5D%5D%5D%5Bsum%3A%5Bfield,lemmatitle%3Athe%20way%20of%20the%20world%5D%5Bfield,body%3Athe%20way%20of%20the%20world%5D%5D%5D$x=server$3.0#LPHit1 Link]

Pankratz at 08:18, 25 October 2011

2011-10-25T08:18:45Z

← Older revision		Revision as of 08:18, 25 October 2011
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	~~''The Way of the World'' (1700) is the fourth~~ and last comedy of [[William Congreve]]. By modern critics, ''The Way of the World'' is regarded as Congreve’s best work, among other things because of its thematic complexity, its brilliant character creation and its stylistic grandeur. By his contemporaries, however, the play was received in a lukewarm way. It was far less successful than Congreve’s previous comedy ''[[Love for Love]]'' (1695).		Fourth and last comedy of [[William Congreve]], first performed in 1700. By modern critics, ''The Way of the World'' is regarded as Congreve’s best work, among other things because of its thematic complexity, its brilliant character creation and its stylistic grandeur. By his contemporaries, however, the play was received in a lukewarm way. It was far less successful than Congreve’s previous comedy ''[[Love for Love]]'' (1695).

	Disappointed with this comparably bad reception of the play, Congreve retired from his dramatic career. He continued writing libretti for opera, however, and was involved as theatre manager. Together with the death of [[John Dryden]], Congreve's silence marked the end of [[Restoration Comedy]] proper. In the years to follow, the genre was replaced by [[Sentimental Comedy]], where the focus is rather on moral values and sentimental feelings.		Disappointed with this comparably bad reception of the play, Congreve retired from his dramatic career. He continued writing libretti for opera, however, and was involved as theatre manager. Together with the death of [[John Dryden]], Congreve's silence marked the end of [[Restoration Comedy]] proper. In the years to follow, the genre was replaced by [[Sentimental Comedy]], where the focus is rather on moral values and sentimental feelings.
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	In order to achieve his aim, Mirabell devises an intrigue: Lady Wishfort shall be manoeuvred into a false marriage, which will only be resolved, if she grants the lovers the dowry.		In order to achieve his aim, Mirabell devises an intrigue: Lady Wishfort shall be manoeuvred into a false marriage, which will only be resolved, if she grants the lovers the dowry.
	Fainall, Lady Wishfort’s son-in-law, however, informs Lady Wishfort about this plot and thus foils it. Furthermore, he wants to blackmail Lady Wishfort himself, by threatening to make public an affair that his wife, her daughter, had with Mirabell before getting married. Lady Wishfort shall grant him her entire fortune, which he wants to use in order to lead a comfortable life with his mistress Marwood.		Fainall, Lady Wishfort’s son-in-law, however, informs Lady Wishfort about this plot and thus foils it. Furthermore, he wants to blackmail Lady Wishfort himself, by threatening to make public an affair that his wife, her daughter, had with Mirabell before getting married. Lady Wishfort shall grant him her entire fortune, which he wants to use in order to lead a comfortable life with his mistress Marwood.
	After a number of intrigues and counter-intrigues between Mirabell and Fainall the conflict is finally resolved. It turns out that Mirabell is in the possession of a certificate in which his former mistress Mrs. Fainall has transcribed her entire fortune to him – a measure of protection against the greedy Fainall. This means that Fainall is financially dependent on Mirabell and has to give up his intrigues against him and Lady Wishfort. Lady Wishfort, grateful to Mirabell for saving her daughter’s reputation, finally consents to his marriage to Millamant.		After a number of intrigues and counter-intrigues between Mirabell and Fainall the conflict is finally resolved. It turns out that Mirabell is in the possession of a certificate in which his former mistress Mrs Fainall has transcribed her entire fortune to him – a measure of protection against the greedy Fainall. This means that Fainall is financially dependent on Mirabell and has to give up his intrigues against him and Lady Wishfort. Lady Wishfort, grateful to Mirabell for saving her daughter’s reputation, finally consents to his marriage to Millamant.

	As confusing as the constellation of characters and actions may seem at first glance, the underlying structure of ''The Way of the World'' is actually quite simple. Mirabell and Fainall both put pressure on Lady Wishfort in order to gain money for a comfortable life with the woman they love. Because of the several intrigues, mysteries and withheld pieces of information that only become clear during the course of the play, however, ''The Way of the World'' is experienced as confusing by many first-time watchers.		As confusing as the constellation of characters and actions may seem at first glance, the underlying structure of ''The Way of the World'' is actually quite simple. Mirabell and Fainall both put pressure on Lady Wishfort in order to gain money for a comfortable life with the woman they love. Because of the several intrigues, mysteries and withheld pieces of information that only become clear during the course of the play, however, ''The Way of the World'' is experienced as confusing by many first-time watchers.

Pankratz at 11:04, 8 December 2009

2009-12-08T11:04:54Z

← Older revision		Revision as of 11:04, 8 December 2009
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	== Main Themes ==		== Main Themes ==
	One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role contracts play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his philosophical treatise ''[[Leviathan]]'' in which he postulates a contract in society as the means of taming the inherently hostile human nature. John Locke had specified the nature of the contract (and the nature of society this contract secures) in his seminal ''Two Treatises on Government'' (1689). In ''The Way of the World'' Congreve takes ~~a more critical~~ position towards contract theories. In the play, contracts are on the one hand depicted as means of protecting one’s own interests against the greed of others. On the other hand they are seen as a means of blackmailing and exploiting others. The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.		One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role [[Contract Theory\|contracts]] play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his philosophical treatise ''[[Leviathan]]'' in which he postulates a contract in society as the means of taming the inherently hostile human nature. [[John Locke]] had further specified the nature of the contract (and the nature of society this contract secures) in his seminal ''Two Treatises on Government'' (1689). In ''The Way of the World'' Congreve takes an ambivalent position towards contract theories. In the play, contracts are on the one hand depicted as means of protecting one’s own interests against the greed of others (in the case of the Fainalls). On the other hand they are seen as a means of blackmailing and exploiting others (in the case of Lady Wishfort and her stipulations for Millamant). The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.

Pankratz at 08:58, 3 December 2009

2009-12-03T08:58:46Z

← Older revision		Revision as of 08:58, 3 December 2009
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	== Main Themes ==		== Main Themes ==
	One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role contracts play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his philosophical treatise ''[[Leviathan]]'' in which he postulates a contract in society as the means of taming the inherently hostile human nature. In ''The Way of the World'' Congreve takes a more critical position towards contract theories. In the play, contracts are on the one hand depicted as means of protecting one’s own interests against the greed of others. On the other hand they are seen as a means of blackmailing and exploiting others. The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.		One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role contracts play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his philosophical treatise ''[[Leviathan]]'' in which he postulates a contract in society as the means of taming the inherently hostile human nature. John Locke had specified the nature of the contract (and the nature of society this contract secures) in his seminal ''Two Treatises on Government'' (1689). In ''The Way of the World'' Congreve takes a more critical position towards contract theories. In the play, contracts are on the one hand depicted as means of protecting one’s own interests against the greed of others. On the other hand they are seen as a means of blackmailing and exploiting others. The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.

Pankratz at 08:56, 3 December 2009

2009-12-03T08:56:04Z

← Older revision		Revision as of 08:56, 3 December 2009
Line 1:		Line 1:
	''The Way of the World'' (1700) is the fourth and last comedy of [[William Congreve]]. By modern critics, ''The Way of the World'' is regarded as Congreve’s best work, among other things because of its thematic complexity, its brilliant character creation and its stylistic grandeur. By his contemporaries, however, the play was received in a lukewarm way. It was far less successful than Congreve’s previous comedy [[''Love for Love'']] (1695).		''The Way of the World'' (1700) is the fourth and last comedy of [[William Congreve]]. By modern critics, ''The Way of the World'' is regarded as Congreve’s best work, among other things because of its thematic complexity, its brilliant character creation and its stylistic grandeur. By his contemporaries, however, the play was received in a lukewarm way. It was far less successful than Congreve’s previous comedy ''[[Love for Love]]'' (1695).

	Disappointed with this comparably bad reception of the play, Congreve retired from his dramatic career. ~~This withdrawal from~~ theatre~~, together~~ with the death of [[John Dryden]], marked the end of [[Restoration Comedy]]. In the years to follow, the genre was replaced by [[Sentimental Comedy]], where the focus is rather on moral values and sentimental feelings.		Disappointed with this comparably bad reception of the play, Congreve retired from his dramatic career. He continued writing libretti for opera, however, and was involved as theatre manager. Together with the death of [[John Dryden]], Congreve's silence marked the end of [[Restoration Comedy]] proper. In the years to follow, the genre was replaced by [[Sentimental Comedy]], where the focus is rather on moral values and sentimental feelings.

	Modern critics have ascribed the failure in success of ''The Way of the World'' to the fact that Congreve failed to adapt his own, personal wit to the various characters of the play. The witty, very polished way language does not seem to some of the characters in the play. Furthermore, putting the main focus of the play on wit seems to have led to a loss of naturalness in character, dialogue and also effectiveness of plot. Congreve’s polished, graceful style of writing on the other hand has also been listed as one of the many strengths of the play.		Modern critics have ascribed the failure in success of ''The Way of the World'' to the fact that Congreve failed to adapt his own, personal wit to the various characters of the play. The witty, very polished way language does not seem to fit some of the characters in the play, especially the Witwouds and Lackwits. Furthermore, putting the main focus of the play on wit seems to have led to a loss of naturalness in character, dialogue and also effectiveness of plot. Congreve’s polished, graceful style of writing on the other hand has also been listed as one of the many strengths of the play.

	== Plot ==		== Plot ==
Line 11:		Line 11:
	After a number of intrigues and counter-intrigues between Mirabell and Fainall the conflict is finally resolved. It turns out that Mirabell is in the possession of a certificate in which his former mistress Mrs. Fainall has transcribed her entire fortune to him – a measure of protection against the greedy Fainall. This means that Fainall is financially dependent on Mirabell and has to give up his intrigues against him and Lady Wishfort. Lady Wishfort, grateful to Mirabell for saving her daughter’s reputation, finally consents to his marriage to Millamant.		After a number of intrigues and counter-intrigues between Mirabell and Fainall the conflict is finally resolved. It turns out that Mirabell is in the possession of a certificate in which his former mistress Mrs. Fainall has transcribed her entire fortune to him – a measure of protection against the greedy Fainall. This means that Fainall is financially dependent on Mirabell and has to give up his intrigues against him and Lady Wishfort. Lady Wishfort, grateful to Mirabell for saving her daughter’s reputation, finally consents to his marriage to Millamant.

	As confusing as the constellation of characters and actions may seem at first glance, the underlying structure of ''The Way of the World'' is actually quite simple. Mirabell and Fainall both put pressure on Lady Wishfort in order to gain money for a comfortable ~~live~~ with the woman they love. Because of the several intrigues, mysteries and withheld pieces of information that only become clear during the course of the play, however, The Way of the ~~Wojrld~~ is experienced as confusing by many first-time watchers.		As confusing as the constellation of characters and actions may seem at first glance, the underlying structure of ''The Way of the World'' is actually quite simple. Mirabell and Fainall both put pressure on Lady Wishfort in order to gain money for a comfortable life with the woman they love. Because of the several intrigues, mysteries and withheld pieces of information that only become clear during the course of the play, however, ''The Way of the World'' is experienced as confusing by many first-time watchers.

	== Main Themes ==		== Main Themes ==
	One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role contracts play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his ~~work~~ [[''Leviathan'']] in which he postulates a contract in society as the means of taming the inherently hostile human nature. In The Way of the World Congreve takes a more critical position towards contract theories. In the play, contracts are on the one hand depicted as means of protecting one’s own interests against the greed of others. On the other hand they are seen as a means of blackmailing and exploiting others. The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.		One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role contracts play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his philosophical treatise ''[[Leviathan]]'' in which he postulates a contract in society as the means of taming the inherently hostile human nature. In ''The Way of the World'' Congreve takes a more critical position towards contract theories. In the play, contracts are on the one hand depicted as means of protecting one’s own interests against the greed of others. On the other hand they are seen as a means of blackmailing and exploiting others. The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.

WikiSysop at 13:28, 2 December 2009

2009-12-02T13:28:36Z

← Older revision		Revision as of 13:28, 2 December 2009
Line 4:		Line 4:

	Modern critics have ascribed the failure in success of ''The Way of the World'' to the fact that Congreve failed to adapt his own, personal wit to the various characters of the play. The witty, very polished way language does not seem to some of the characters in the play. Furthermore, putting the main focus of the play on wit seems to have led to a loss of naturalness in character, dialogue and also effectiveness of plot. Congreve’s polished, graceful style of writing on the other hand has also been listed as one of the many strengths of the play.		Modern critics have ascribed the failure in success of ''The Way of the World'' to the fact that Congreve failed to adapt his own, personal wit to the various characters of the play. The witty, very polished way language does not seem to some of the characters in the play. Furthermore, putting the main focus of the play on wit seems to have led to a loss of naturalness in character, dialogue and also effectiveness of plot. Congreve’s polished, graceful style of writing on the other hand has also been listed as one of the many strengths of the play.



	== Plot ==		== Plot ==


	The gallant Mirabell wants to marry the rich and attractive Millamant, but his goal is prevented by a row of obstacles. Half of Millamant’s dowry depends on the consent of her aunt, Lady Wishfort. Lady Wishfort, however, is in love with Mirabell herself and refuses to consent to the marriage.		The gallant Mirabell wants to marry the rich and attractive Millamant, but his goal is prevented by a row of obstacles. Half of Millamant’s dowry depends on the consent of her aunt, Lady Wishfort. Lady Wishfort, however, is in love with Mirabell herself and refuses to consent to the marriage.
	In order to achieve his aim, Mirabell devises an intrigue: Lady Wishfort shall be manoeuvred into a false marriage, which will only be resolved, if she grants the lovers the dowry.		In order to achieve his aim, Mirabell devises an intrigue: Lady Wishfort shall be manoeuvred into a false marriage, which will only be resolved, if she grants the lovers the dowry.
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	As confusing as the constellation of characters and actions may seem at first glance, the underlying structure of ''The Way of the World'' is actually quite simple. Mirabell and Fainall both put pressure on Lady Wishfort in order to gain money for a comfortable live with the woman they love. Because of the several intrigues, mysteries and withheld pieces of information that only become clear during the course of the play, however, The Way of the Wojrld is experienced as confusing by many first-time watchers.		As confusing as the constellation of characters and actions may seem at first glance, the underlying structure of ''The Way of the World'' is actually quite simple. Mirabell and Fainall both put pressure on Lady Wishfort in order to gain money for a comfortable live with the woman they love. Because of the several intrigues, mysteries and withheld pieces of information that only become clear during the course of the play, however, The Way of the Wojrld is experienced as confusing by many first-time watchers.





	== Main Themes ==		== Main Themes ==


	One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role contracts play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his work [[''Leviathan'']] in which he postulates a contract in society as the means of taming the inherently hostile human nature. In The Way of the World Congreve takes a more critical position towards contract theories. In the play, contracts are on the one hand depicted as means of protecting one’s own interests against the greed of others. On the other hand they are seen as a means of blackmailing and exploiting others. The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.		One of the most crucial questions Congreve deals with in ''The Way of the World'' is which role contracts play in personal relationships, particularly in marriage. In 1651 [[Thomas Hobbes]] had published his work [[''Leviathan'']] in which he postulates a contract in society as the means of taming the inherently hostile human nature. In The Way of the World Congreve takes a more critical position towards contract theories. In the play, contracts are on the one hand depicted as means of protecting one’s own interests against the greed of others. On the other hand they are seen as a means of blackmailing and exploiting others. The position that Congreve seems to take is that successful relationships between human beings depend on mutual trust as much as on contracts.


			== Sources ==

	~~----~~		*Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793''. Manchester: Manchester UP, 1996.
	~~References:~~		*Nettleton, George Henry. ''English Drama of the Restoration and Eighteenth Century (1642-1780)''. New York: Cooper Square, 1968.
			*Niederhoff, Burkhard. "''The Way of the World''". ''Kindlers Literatur Lexikon Online''. Ed. Heinz Ludwig Arnold. 2009. J.B. Metzler. 02. Dec. 2009. [http://tinyurl.com/WayOfTheworld Link]<nowiki> <http://web13.cedion.de/nxt/gateway.dll/kll/c/k0141400.xml/k0141400_030.xml?f=templates$fn=index.htm$q=[rank,500%3A[domain%3A[and%3A[field,body%3Away%20of%20the%20world]]][sum%3A[field,lemmatitle%3Away%20of%20the%20world][field,body%3Away%20of%20the%20world]]]$x=server$3.0#LPHit1> </nowiki>
	Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793''. Manchester: Manchester UP, 1996.

	Nettleton, George Henry. ''English Drama of the Restoration and Eighteenth Century (1642-1780)''. New York: Cooper Square, 1968.

	Niederhoff, Burkhard. "''The Way of the World''". ''Kindlers Literatur Lexikon Online''. Ed. Heinz Ludwig Arnold. 2009. J.B. Metzler. 02. Dec. 2009. <http://web13.cedion.de/nxt/gateway.dll/kll/c/k0141400.xml/k0141400_030.xml?f=templates$fn=index.htm$q=[rank,500%3A[domain%3A[and%3A[field,body%3Away%20of%20the%20world]]][sum%3A[field,lemmatitle%3Away%20of%20the%20world][field,body%3Away%20of%20the%20world]]]$x=server$3.0#LPHit1>

Vfroehlich at 13:02, 2 December 2009

2009-12-02T13:02:00Z

← Older revision		Revision as of 13:02, 2 December 2009
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	References:		References:

			Black, Jeremy. ''An Illustrated History of Eighteenth-Century Britain: 1688-1793''. Manchester: Manchester UP, 1996.

	Nettleton, George Henry. ''English Drama of the Restoration and Eighteenth Century (1642-1780)''. New York: Cooper Square, 1968.		Nettleton, George Henry. ''English Drama of the Restoration and Eighteenth Century (1642-1780)''. New York: Cooper Square, 1968.

	Niederhoff, Burkhard. "''The Way of the World''". ''Kindlers Literatur Lexikon Online''. Ed. Heinz Ludwig Arnold. 2009. J.B. Metzler. 02. Dec. 2009. <http://web13.cedion.de/nxt/gateway.dll/kll/c/k0141400.xml/k0141400_030.xml?f=templates$fn=index.htm$q=[rank,500%3A[domain%3A[and%3A[field,body%3Away%20of%20the%20world]]][sum%3A[field,lemmatitle%3Away%20of%20the%20world][field,body%3Away%20of%20the%20world]]]$x=server$3.0#LPHit1>		Niederhoff, Burkhard. "''The Way of the World''". ''Kindlers Literatur Lexikon Online''. Ed. Heinz Ludwig Arnold. 2009. J.B. Metzler. 02. Dec. 2009. <http://web13.cedion.de/nxt/gateway.dll/kll/c/k0141400.xml/k0141400_030.xml?f=templates$fn=index.htm$q=[rank,500%3A[domain%3A[and%3A[field,body%3Away%20of%20the%20world]]][sum%3A[field,lemmatitle%3Away%20of%20the%20world][field,body%3Away%20of%20the%20world]]]$x=server$3.0#LPHit1>