What do you think?
Rate this book
The Man of Mode: Or, Sir Fopling Flutter
The Man of Mode is another addition to the New Mermaids series. This is a revised reprint of the classic drama text that includes a new section on recent stage history and critical interpretation.
103 pages, Paperback
First published January 1, 1676
14 people are currently reading
390 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 65 reviews
November 21, 2021
I understood nothing but had fun
February 9, 2024
3.5 rounded down soz
September 4, 2023
(read for class) i am not sure what to make of it but i did laugh a few times and think about masculinity & money
January 12, 2023
Eerst geen grote fan, maar bij tweede keer lezen snapte ik eindelijk de mopjes haha
August 18, 2012
Reread: Aug-2012
With the first re-reading of this play along with the reading of William Wycherley’s The Country Wife before this, I am in the process of discovering the rich literary quality associated with the Restoration Theatre in the Great Britain. With striking similarities between the two plays on the level of plot lines, characterisation and milieu, my understanding of this genre in British Literature has been greatly enhanced, of which I shall talk about in the current review.
Firstly, both Wycherley and Etherage come up with dramatic prose and not the much popular dramatic verse of the bygone Elizabethan age. What is more interesting to note is that this prose that they make use of is more natural or colloquial rather than that which is meant for mere affectation, the manner in which it was sometimes use in the earlier periods of English literary history.
Next, the issue of identity surly can be studied by the emphasis that the age through its creative writers and philosophers placed on all the factors that could collectively be referred to as “good breading”. Perhaps this included, possession of a certain kind of “knowledge”; the art of presenting this knowledge among others in the society; the art of dressing up well but at the same time being able to keep oneself from crossing the line over towards foppery; the art of entertaining the opposite sex and so on. Other than this the issue of identity can also be studied in the way that characters are often encountered to complain of the changing or rather deteriorating trend in some or all the factors mentioned above. This perhaps could be see as part of either adhering strictly or breaking free entirely and in some cases adapting oneself into accepting some and rejecting some other qualities of both the past and the contemporary age.
Re-reading and visualising this play also make other things clear about the “long Eighteenth Century”. That the value attributed to morality and indigenous fashion was certainly not much becomes obvious. The drama reflects the former in the way each character tries to meet his or her own ends at the cost of others’ happiness or even well-being. The latter is evident in the fact that a lot of focus is seen to have been placed on fashion, not that, however, which had its origin in the native English society but that of France. Especially in The Man of Mode we find so many allusions to French manners, French music and dance, French dressing, French writers, French - the language, etc. (which culminates aptly in the creation of a character itself by Etherage, in addition to the rationale behind two titles of the play) that it makes the influence of the imported fashion on the English society very obvious.
Now, talking about what struck very obviously to me on the personal level has been something that I have observed even a few days/weeks back while reading Thomas Hardy’s Tess of the d’Urbervilles and also Saint-Exupery’s The Little Prince. It is the quality in works of literature that with the test of time are given the status of “classics”. This quality that I am talking about is something inherent in these classics that makes a reader, who is not in the same spacio-temporal plane with the author of these works, come very close, in fact so close to the world that these classics create that only after one comes out of the magically charming experience of being among the characters of these work, one is literally made to experience the sense of awe as to how the author could have thought something which we as modern readers think is possible to "create mentally" only in this age that we are living in and not back then in George Etherage’s or Thomas Hardy’s or Saint-Exupery’s time.
Even though it was my second reading of the play, the complexity of its plot kept me intrigued till the end. Superabundance of wit is clearly visible in the various scenes where the characters engage in long bouts of repartee. In fact, the sheer number of times the word “wit” is encounter, for instance, in the two restoration comedies mentioned above, makes it evident that that age was obsessed with this concept. This is especially true in context of the male members of the English society of that time, though in no way, the dramas suggests, that women – especially those interested – did not partake in using it themselves.
Lastly, the complex that the plot and characterisation forms in The Man of Mode does really qualify it to be a typical representative of its genre that abounds in aesthetics and reason both. With its various characters falling in and falling out of love (and good-will) with each other the plot, just within the span of five acts, achieves a remarkable unity of time, place and action. I was certainly left very entertained after this second reading of Sir George Etherage’s double titled Restoration Comedy.
With the first re-reading of this play along with the reading of William Wycherley’s The Country Wife before this, I am in the process of discovering the rich literary quality associated with the Restoration Theatre in the Great Britain. With striking similarities between the two plays on the level of plot lines, characterisation and milieu, my understanding of this genre in British Literature has been greatly enhanced, of which I shall talk about in the current review.
Firstly, both Wycherley and Etherage come up with dramatic prose and not the much popular dramatic verse of the bygone Elizabethan age. What is more interesting to note is that this prose that they make use of is more natural or colloquial rather than that which is meant for mere affectation, the manner in which it was sometimes use in the earlier periods of English literary history.
Next, the issue of identity surly can be studied by the emphasis that the age through its creative writers and philosophers placed on all the factors that could collectively be referred to as “good breading”. Perhaps this included, possession of a certain kind of “knowledge”; the art of presenting this knowledge among others in the society; the art of dressing up well but at the same time being able to keep oneself from crossing the line over towards foppery; the art of entertaining the opposite sex and so on. Other than this the issue of identity can also be studied in the way that characters are often encountered to complain of the changing or rather deteriorating trend in some or all the factors mentioned above. This perhaps could be see as part of either adhering strictly or breaking free entirely and in some cases adapting oneself into accepting some and rejecting some other qualities of both the past and the contemporary age.
Re-reading and visualising this play also make other things clear about the “long Eighteenth Century”. That the value attributed to morality and indigenous fashion was certainly not much becomes obvious. The drama reflects the former in the way each character tries to meet his or her own ends at the cost of others’ happiness or even well-being. The latter is evident in the fact that a lot of focus is seen to have been placed on fashion, not that, however, which had its origin in the native English society but that of France. Especially in The Man of Mode we find so many allusions to French manners, French music and dance, French dressing, French writers, French - the language, etc. (which culminates aptly in the creation of a character itself by Etherage, in addition to the rationale behind two titles of the play) that it makes the influence of the imported fashion on the English society very obvious.
Now, talking about what struck very obviously to me on the personal level has been something that I have observed even a few days/weeks back while reading Thomas Hardy’s Tess of the d’Urbervilles and also Saint-Exupery’s The Little Prince. It is the quality in works of literature that with the test of time are given the status of “classics”. This quality that I am talking about is something inherent in these classics that makes a reader, who is not in the same spacio-temporal plane with the author of these works, come very close, in fact so close to the world that these classics create that only after one comes out of the magically charming experience of being among the characters of these work, one is literally made to experience the sense of awe as to how the author could have thought something which we as modern readers think is possible to "create mentally" only in this age that we are living in and not back then in George Etherage’s or Thomas Hardy’s or Saint-Exupery’s time.
Even though it was my second reading of the play, the complexity of its plot kept me intrigued till the end. Superabundance of wit is clearly visible in the various scenes where the characters engage in long bouts of repartee. In fact, the sheer number of times the word “wit” is encounter, for instance, in the two restoration comedies mentioned above, makes it evident that that age was obsessed with this concept. This is especially true in context of the male members of the English society of that time, though in no way, the dramas suggests, that women – especially those interested – did not partake in using it themselves.
Lastly, the complex that the plot and characterisation forms in The Man of Mode does really qualify it to be a typical representative of its genre that abounds in aesthetics and reason both. With its various characters falling in and falling out of love (and good-will) with each other the plot, just within the span of five acts, achieves a remarkable unity of time, place and action. I was certainly left very entertained after this second reading of Sir George Etherage’s double titled Restoration Comedy.
February 20, 2012
This is another selection that I had to read for one of my classes. I think that my expectations were a little high after reading The Country Wife. I was expecting something more farcical than this. Upon further research, I discovered that it is considered a comedy of manners. The plot fit that style perfectly, but I think it was probably funnier to those people where were alive at the time.
Dorimant is completely unlikeable. Bellinda is one of those types of women who helps a betraying man out of his current relationship all the while expecting him to be true to her. She's amazed when he ends up forsaking her. Medley had promise, but his wit quickly fizzled out. I am sure at the time he was hilarious, but I couldn't see it. Sir Fopling was humorous, but mostly because his mannerisms were so affected. He seemed like the clown of the play. Overall, it was not my favorite play ever.
Dorimant is completely unlikeable. Bellinda is one of those types of women who helps a betraying man out of his current relationship all the while expecting him to be true to her. She's amazed when he ends up forsaking her. Medley had promise, but his wit quickly fizzled out. I am sure at the time he was hilarious, but I couldn't see it. Sir Fopling was humorous, but mostly because his mannerisms were so affected. He seemed like the clown of the play. Overall, it was not my favorite play ever.
August 12, 2018
Mr. Dorimant, an impulsive libertine with a good nature, is determining to abandon his current mistress, Mrs. Loveit, without compromising his plans to gain the favors of her close friend, Bellinda. His strategy involves placing Mrs. Loveit in a compromising situation, but a newcomer, the attractive, witty Harriet appears to rattle Dorimant like nothing before.
This comedy of manners also has an unexpectedly serious side. It made me love the play and I hope to see it on the stage as soon as possible.
This comedy of manners also has an unexpectedly serious side. It made me love the play and I hope to see it on the stage as soon as possible.
February 10, 2018
Meh. Perhaps if I had read this through instead of setting it aside periodically, I'd feel less puzzled by it, but by the end of the last act, I wasn't entirely sure who was even married to whom. Lots of cynical wit, lots of double-dealing, some disguise, but not much in the way of memorable characters or plot.
May 23, 2010
[This note was made in 1983:]. Read for exams. Dorimant, Harriet Woodvil, and Sir Fopling Flutter. I do like Harriet -she's the most human heroine so far in these 17th-century comedies.
September 13, 2019
Pretty hard to read considering the use of a lot of archaic colloquial language and occasional reference to English pop culture of the time. I tried a few versions which had endnotes but it was super annoying having to flip back to the endnotes just to look for a phrase, only to have a 50% chance of it being there. The best version I found was published by Cambridge in the Plays by Renaissance and Restoration Dramatists series, which used extensive footnotes which explain 99% of the stuff I didnt get.
I like the constant use of wit from all the characters, especially Dorimant, Medley, and Harriet. It makes for a lot more fun read than farcical commedies where the majority of the humor is derived from obsurd and unrelaistic situations. The obsurdity and unrealisticness is very minimal in this play, and mostly word play and witty responses (sometimes back to back to back to back almost unendingly) are what made this a very funny read for me. I would recommend this if you like laughing out loud.
I like the constant use of wit from all the characters, especially Dorimant, Medley, and Harriet. It makes for a lot more fun read than farcical commedies where the majority of the humor is derived from obsurd and unrelaistic situations. The obsurdity and unrealisticness is very minimal in this play, and mostly word play and witty responses (sometimes back to back to back to back almost unendingly) are what made this a very funny read for me. I would recommend this if you like laughing out loud.
November 8, 2024
nope. boring.
November 30, 2024
letto per un corso all’università. noioso, per niente divertente e a tratti incomprensibile.
March 13, 2023
Funny but confusing
July 31, 2024
Dorimant you CHEEKY BOY! 🤣 I lied I hate you stupid evil man stupid things only want one thing and they’ve always wanted one thing even since the RENAISSANCE PERIOD mate piss off
Read
March 6, 2015The above excerpt from this 17th century play sounds like it could have come out of the mouth of Lady Macbeth, however, writing over half a century later, the playwright Etherege had quite a number of different aims in his portrayal of the scorned women. The political climate of Etherege's writing was one of libertinism. Charles 1 had been killed and a spirit of puritanism had entertained the interregnum, but with the Restoration seeing Charles II put on the throne, a period of somewhat licentious behaviour ensued. Charles II was known for his many mistresses, and if you've ever read any of Rochester's poetry, you'll know how, let's say "saucy" Restoration literature can be!
Dorimant, a man of wit, convinces the town that through the contraction of a venereal disease he has become impotent. In this way he can allow men to let him have access to their wives, believing that he can do them no harm (the rogue!). Mrs Loveitt is one of the first to fall under his wiles and realise that she desires him. After this, women seem to keep falling into his trap. Sir Fopling Flutter on the other hand, as his name suggests, is the foppish laughing stock of the play - misplaced attempts at wit, unfashionable clothing and outdated speech make him far less desirable to the women. The real question of the play is: will Dorimant's trickery be discovered? And by the men or the women of the play?
This play really made me think about how restrictive Victorian literature has been on the notion of sexuality, especially female sexuality. All of the women in this play display some level of sexual desire, even if it is misplaced in this man of supposed impotence. However, Mrs "Loveitt"s name in particularly gives a slightly negative outlook upon the notion of women chasing after men they desire. The complex natures of the women were also interesting as again, in later English literature this seems to have disappeared a tad. Here the women are at once devious, loving, skeptical, chaste and yet sexual creatures.
Dorimant, a man of wit, convinces the town that through the contraction of a venereal disease he has become impotent. In this way he can allow men to let him have access to their wives, believing that he can do them no harm (the rogue!). Mrs Loveitt is one of the first to fall under his wiles and realise that she desires him. After this, women seem to keep falling into his trap. Sir Fopling Flutter on the other hand, as his name suggests, is the foppish laughing stock of the play - misplaced attempts at wit, unfashionable clothing and outdated speech make him far less desirable to the women. The real question of the play is: will Dorimant's trickery be discovered? And by the men or the women of the play?
This play really made me think about how restrictive Victorian literature has been on the notion of sexuality, especially female sexuality. All of the women in this play display some level of sexual desire, even if it is misplaced in this man of supposed impotence. However, Mrs "Loveitt"s name in particularly gives a slightly negative outlook upon the notion of women chasing after men they desire. The complex natures of the women were also interesting as again, in later English literature this seems to have disappeared a tad. Here the women are at once devious, loving, skeptical, chaste and yet sexual creatures.
This entire review has been hidden because of spoilers.
November 11, 2016
For those who decide to read this Restoration comedy, allow me to suggest also reading The Libertine, a play originally written and performed in the 1990s. The two both center on fictional portrayals of the 2nd Earl of Rochester, with The Man of Mode opting for a more comedic portrayal.
Dorimat, the womanizing protagonist, is so manipulative and conniving that it’s difficult to cheer for him. The supporting cast all come across as vaguely idiotic and a bit overly naïve, doubly so for being players in London Society. While some of this obtuseness is necessary to make the play work, it also makes Dorimat that much more unlikeable. It’s a bit like watching a tiger toy with a kitten.
The play sticks to a common formula for Restoration plays, but the resolution (due to aforementioned quirks) felt surprisingly unsatisfying and a bit of a joke.
This is not a play that wears its age especially well. But it is worth reading if also reading The Libertine. Quasi-recommended.
Dorimat, the womanizing protagonist, is so manipulative and conniving that it’s difficult to cheer for him. The supporting cast all come across as vaguely idiotic and a bit overly naïve, doubly so for being players in London Society. While some of this obtuseness is necessary to make the play work, it also makes Dorimat that much more unlikeable. It’s a bit like watching a tiger toy with a kitten.
The play sticks to a common formula for Restoration plays, but the resolution (due to aforementioned quirks) felt surprisingly unsatisfying and a bit of a joke.
This is not a play that wears its age especially well. But it is worth reading if also reading The Libertine. Quasi-recommended.
November 24, 2015
I really did not expect to like this as much as I did... the first act somehow does not fit to the rest of the play and since it is the FIRST one, to read the beginning was rather difficult and exhausting. But the rest was funny and the people really came to life on the page. Loved the witty dialogues!
February 16, 2015
Read for Restoration module.
As always I loved the pacing, characters and themes of this play. What I love about Early Modern plays I cannot quite pinpoint but there is certainly something about them that makes me keep coming back to them. Particularly in THE MAN OF MODE I loved Dorimant's character and his interactions with our characters in the play.
As always I loved the pacing, characters and themes of this play. What I love about Early Modern plays I cannot quite pinpoint but there is certainly something about them that makes me keep coming back to them. Particularly in THE MAN OF MODE I loved Dorimant's character and his interactions with our characters in the play.
April 4, 2016
Second play I read for a Restoration lit class and so far, the plays are okay but not great. They are one-note sex romps about libertines that can occasionally offer a laugh here and there. Once again, the alienation effect is strong as I felt nothing for any of the characters. When I don't care for them, there are no meaningful stakes, which makes the plot complications insignificant.
April 11, 2009
This play has no plot. It's a restoration comedy about romantic intrigues, but it's impossible to keep up with who's who. Supposedly the main character, a rake named Dorimant, is based on Wilmot, Earl of Rochester. That's about the most interesting aspect of this work.
December 15, 2007
a silly 16th century play with a fop and all! good entertainment and expansion of one's vocabulary.
June 7, 2008
One of the best plays ever written.
October 20, 2008
Another play for Plays, Players, Playgoers: London 1600-1700.
It's good, but it's not The Country Wife.
It's good, but it's not The Country Wife.
October 16, 2008
Another typical Restoration play. Love triangles. Rogues and Fops. Wit and Artifice. An all too convenient ending. Nothing special.
Read
November 21, 2009None
Want to read
May 11, 2012Wilson, John Harold
Six Restoration Plays
In compilation only.
Six Restoration Plays
In compilation only.
May 16, 2012
I didn't like it...
March 12, 2015
Saw this performed many years ago (no - not the 1600's!) in Milton Keynes.
Greatly enjoyed reading it and catching a few more of the word plays than I did at the time.
Greatly enjoyed reading it and catching a few more of the word plays than I did at the time.
February 21, 2013
This was the first play we read for my Restoration lit class, and while it was entertaining in its scandalousness, it didn't do much for me otherwise.
July 4, 2016
If I didn't have to read this for university, I probably would have given up on it in the second act.
Displaying 1 - 30 of 65 reviews