Love in Excess

“Tho’ he was not very vain, yet he found it no difficulty to persuade himself to an opinion that it was possible for a lady to distinguish him from other men.”

This quotation occurs when D’elmont first receives the anonymous letter from Alovisa declaring her love for him. At this point, D’elmont has not yet realized the effect he tends to have on women, but he immediately accepts that it is reasonable for a woman to become consumed with desire after setting eyes on him, introducing the theme of The Power of Passion. This quotation shows that D’elmont is confident, and potentially even egotistical; it also sets the stage for the pattern of virtually every woman who meets D’elmont falling wildly in love with him.

“Not that he was in love with her, or at that time believed he could be touched with a passion which he esteemed a trifle in itself, and below the dignity of a man of sense.”

This quotation describes D’elmont’s attitude towards Amena, and his overall perspective on love at the start of the novel. D’elmont enjoys flirting with Amena and aspires to have sex with her, but he does not love her. His flippancy reflects the tensions between Fickleness Versus Unchanging Love in the novel. Up until he meets Melliora, D’elmont is not even interested in falling in love. D’elmont’s disdain towards romantic love sets the stage for him to eventually have to reckon with what it means to lose his heart to someone.

“An ill use […] have you made of my indulgence, and the liberty I have allowed you! Could neither the considerations of the honour of your family, your own reputation, nor my eternal repose, deter you from such imprudent actions.”

Amena’s father, Sanseverin, says this to his daughter when he learns that she has been secretly meeting with D’elmont. Sanseverin accuses Amena of abusing the trust and freedom he gave her, arguing that her behavior has consequences for the family reputation. This quotation reveals the social attitudes towards women’s agency and sexuality in the 18th century, revealing the Constraints on Feminine Desire and highlighting that Amena is much likelier than D’elmont to suffer consequences for their meetings.

“‘Twas now this inconsiderate lady found her self in the greatest strait she had ever yet been in; all nature seemed to favour his design, the pleasantness of the place, the silence of the night, the sweetness of the air, perfumed with a thousand various odours […] completed the most delightful scene that ever was.”

D’elmont and Amena meet after he coaxes her into slipping into a public garden alone with him at night, introducing the important motif of gardens (See: Symbols & Motifs). D’elmont tries to persuade Amena to have sex with him, and she is tempted to consent; the quotation makes it clear that the seductive atmosphere makes her even more tempted to concede. The emphasis on a picturesque setting reveals the role that aesthetics can play in desire, and how the novel offers romantic and idealized fantasies to its readers.

“Ambition was certainly the reigning passion in his soul, and Alovisa’s quality and vast possessions, promising a full gratification of that, he ne’er so much as wished to know, a farther happiness in marriage.”

This quotation describes D’elmont’s rationale when he decides to marry Alovisa. At this time, D’elmont has still not had the experience of falling in love and primarily cares about advancing his financial and social position. He approaches marriage with a pragmatic lens, and he subsequently ends up paying for this mistake. This quotation is somewhat cautionary, implying that characters who believe they are immune to falling in love will eventually uncover their mistake.

“After the follies I have been guilty of, nothing is so dreadful as the sight of him, and who would […] wish to stay in a world so full of falsehood.”

Amena says this when she explains to Alovisa that she actually welcomes the idea of entering a convent. As soon as Amena finds out that Alovisa is her rival, she accepts that D’elmont is not going to marry her, and she also realizes that he has been manipulating her. Amena’s trust has been betrayed, and she no longer wants to live in what she views as the corrupt world of Parisian society. Amena’s decision to withdraw to a convent reflects how deeply hurt she is, and shows the destructive consequences of D’elmont and Alovisa’s behavior.

“For now it was that this insensible began to feel the power of beauty, and that heart which had so long been impregnable surrendered in a moment, the first sight of Melliora gave him a discomposure he had never felt before.”

When D’elmont’s meets Melliora, he immediately begins to fall in love with her, experiencing to the full The Power of Passion. Even though he has not been moved by any other woman, D’elmont quickly understands what it means to fall in love. This is a crucial moment in the plot and in the development of D’elmont’s character, because much of the action that follows will revolve around his desire to be with Melliora.

“She had heard a most passionate declaration of love from a married man, and […] could look on his designs no otherwise than aimed at the destruction of her honour, and was fired with a virtuous indignation.”

This quotation reflects Melliora’s feelings after D’elmont openly confesses his love for her. Even though she also loves him in return, Melliora is offended that he would try to pursue her: Since D’elmont is already married, he cannot have any honorable intentions, as there were no legal options for divorce at this time in either France or England. Her awareness that he could be “aim[ing] at the destruction of her honour” emphasizes the reputational risks she would run if she engaged in an illicit affair, reflecting the Constraints on Feminine Desire.

“What could’st thou think if I should leave thee? How justly would’st thou scorn my easie tameness; my dullness, unworthy of the name of lover, or even of man!”

D’elmont says this to Melliora after he enters her bedroom and begins forcefully kissing and fondling her. Melliora objects, but D’elmont claims that she will lose respect for him if he stops. The quotation reveals how toxic stereotypes about masculinity and sexuality create dangerous situations. The scene strongly implies that, were they not interrupted, D’elmont would rape Melliora, or pressure her into having sex when she has already made it clear that she doesn’t want to. D’elmont rationalizes his behavior by connecting it to stereotypes about romantic heroes.

“Can’st thou, I say, believe a woman, blest as Alovysa has been, can e’re blot out the dear remembrance and quit her hopes of regained paradise in his embrace for certain hell in thine?”

Alovisa (the spelling varies throughout the text) speaks this quotation to D’espernay when she explains why she has no interest in having sex with him. Alovisa not only insists on wanting to remain faithful to her husband, she also explains that D’elmont has made all other men unattractive to her. Even though Alovisa and D’elmont’s marriage has become unhappy, she does not want to give up hope. Alovisa’s desperation to win back her husband invokes Fickleness Versus Unchanging Love, as she cannot bear to be unfaithful to him even though he is trying to be unfaithful to her.

“Her ill genius, or that devil curiosity, which too much haunts the minds of women, still prevented her.”

This quotation describes Alovisa’s inability to give up her efforts to know who D’elmont is in love with. After the first failed attempt to catch him with another woman, Alovisa knows she will have to strike a dangerous bargain with D’espernay if she wants this information. Alovisa tries to reconcile herself with accepting that she won’t know the identity of her rival, but finds it impossible to do so.

“Melliora looked on herself as the most guilty person upon earth, as being the primary cause of all the misfortunes that had happened.”

Melliora feels personally responsible after the accidental deaths of Alovisa and D’espernay. Melliora is not involved in either of these deaths, but she is haunted by guilt because she knows that she was the cause of the jealousy that was tormenting Alovisa. This reveals that Melliora is a character with integrity and a strong sense of moral responsibility; however, she blames herself when arguably D’elmont is more to blame for these events, which once more emphasizes the power imbalance between the men and women.

“Melantha […] had the good fortune not to be suspected by her husband, though she brought him a child in seven months after her wedding.”

This passage hints that Melantha may have become pregnant as a result of her encounter with D’elmont. Regardless of who the father is, Melantha definitely conceived a child as a result of illicit sexual activity, but was able to avoid the stigma of being an unmarried mother by quickly marrying someone who is willing to claim the child as his own. This quotation shows that there are pragmatic aspects to the exploration of sexuality depicted in the novel, but also shows a woman who successfully navigates the consequence of illicit sexuality and the Constraints on Feminine Desire without harming her reputation.

“Liking is a flashy flame, which is to be kept alive only by ease and delight. Love, needs not this fewel [fuel] to maintain its fire, it survives in absence, and disappointments, it endures, unchilled, the wintry blasts of cold indifference and neglect, and continues its blaze.”

This quotation occurs as part of a narrative digression after D’elmont has left France to travel to Rome. At this time, it seems that he may never see Melliora again. However, he vows to love her faithfully no matter what, which leads to a discussion of the difference between “liking” and loving, or Fickleness Versus Unchanging Love. The narrator praises love which can endure in spite of hardships and obstacles.

“I rave—I burn—I am mad with wild desires—I dye, Brione, if I not possess him.”

When D’elmont eavesdrops on a woman (later revealed to be Ciamara), he hears her describing her love and desire for him. Ciamara speaks to her servant, Brione. Ciamara uses metaphors comparing her desire to fire, fever, and madness, incorporating traditional descriptions of The Power of Passion. The quotation shows that Haywood depicts women openly experiencing love and also physical desire. Ciamara also uses the language of “possession,” depicting herself as the individual with agency and D’elmont as the one to be seduced.

“Gone,—left the monastery unknown—and then again—false—false woman?—Wretched—wretched man! There’s no such thing on earth as faith—Is this the effect of all her tender passion?”

D’elmont speaks this quotation when he first learns that Melliora has disappeared from the convent. He immediately assumes that Melliora has run away with a new lover, and begins to bewail his unhappiness. The quotation shows D’elmont jumping to conclusions, revealing that although he loves Melliora, he has limited trust in her. This reaction foreshadows Frankville subsequently being equally quick to believe that Camilla is unfaithful to him.

“The soft, the trembling fair, dissolved in love; yielded without reserve, and met my transports with an equal ardor; and I truely protest to your lordship, that what in others, palls desire, added fresh force to mine.”

Frankville admits to D’elmont that he and Camilla have been having sex, even though they are not married. Significantly, he also explains that he values and loves her even more as a result. The novel portrays a number of models of female sexuality, including examples where women refuse illicit sexual activity (Melliora and Amena), examples where women aggressively pursue sex (Melantha and Ciamara), and this example, where a woman intentionally consents to sex with a man she loves. However, Frankville’s comment also shows that many men would assume he would grow bored with Camilla after she consented—thus, this was a risky decision on her part, reflecting some of the Constraints on Feminine Desire.

“Does nothing but your friendship to Frankville prevent my wishes?”

Ciamara (at this time, disguised as Camilla) asks this of D’elmont when he first declines her overtures. D’elmont is surprised and confused that a woman whom he believes to be engaged to his friend (Frankville) is trying to seduce him. Ciamara’s comment reveals that she does not value loyalty, and is surprised that D’elmont is reluctant to sleep with her. This also sets the stage for the misunderstanding between Camilla and Frankville, since the latter winds up believing that Camilla is unfaithful.

“Is this an hour to preach of virtue?—Married,—betrothed,—engaged by love or law, what hinders but this moment you may be mine.”

Ciamara speaks this quotation to D’elmont, after he explains to her that he remains devoted to Melliora. Ciamara surprises D’elmont by telling him that she doesn’t care about any of his bonds with other women, and wants to have sex with him anyway. This perspective is an ironic inversion of D’elmont’s own former mindset when he strove to seduce Melliora even while already being married. While this mindset is presented as somewhat forgivable for a male character, it is presented as shocking for a woman to articulate it.

“Yet, he was still a man! And ‘tis not to be thought strange, if to the force of such united temptations, nature and modesty a little yielded.”

As Ciamara fondles D’elmont, trying to arouse and seduce him, D’elmont begins to feel tempted. While D’elmont intends to remain faithful to Melliora, he eventually becomes aroused and considers having sex with Ciamara. This quotation connects masculinity to robust sexuality, presenting D’elmont’s temptation in forgiving and rationalized terms. It also reveals that while D’elmont is initially repulsed by Ciamara’s aggressive sexual overtures, they end up being effective, reflecting The Power of Passion.

“Thus insolent in imagination, to dare to hope I were that mean souled wretch, whose easy tameness, and whose doating love, with joy would welcome your return, clasp you again in my deluded arms.”

Camilla rebukes Frankville for being quick to believe that she was unfaithful to him, and also because he was arrogant and entitled, believing she would quickly forgive him. While many characters in the novel display all-consuming love, this quotation provides an example of a character displaying boundaries and integrity. Camilla does eventually forgive Frankville, but she insists on him acknowledging his error first.

“The experience he had of the too fatal influence of his dangerous attractions, gave him sufficient reason to fear this young lady was not insensible of them.”

D’elmont begins to suspect that Violetta might be falling in love with him. By this point, D’elmont has seen so many women fall in love with him that he can quickly detect the signs. Interestingly, D’elmont perceives this trend in negative terms, seeing himself as a kind of danger; he feels some regret and shame that desire tends to have negative consequences for the women around him, reflecting his character development and emotional maturation.

“All women may be won by force or stratagem.”

Saguillier makes this claim as he is recounting the story of pursuing Melliora. At this point, he believes he is going to succeed in his goal, since she has seemingly agreed to marry him. Therefore, Saguillier believes that his actions of abducting Melliora and detaining her on his estate are justified. This quotation reveals a perspective shared by a number of male characters in the novel, including at times D’elmont.