The Rake’s Evolution in 18th Century Literature
The Rake in Restoration and 18th Century Literature
The aim of this essay is to analyze and identify the role of the character of the rake and its evolution through eighteenth-century literature. The rake is a seductive, witty, and arrogant character that represents a flattering type of male prowess and drive, much admired in court circles. Through the rake, the plays explore the possibility of sexual freedom, which was simply not possible in London society at large but was more than tolerated at court.
Origins in the Comedy of Manners
This character has its origins in the comedies of manners, where marriage is the main line of argument as it gives an opportunity to talk about infidelity and make fun of the cuckolds. They deal with men and women in a very stereotypical way by describing women as unfaithful and evil, and describing men as simple-minded and stupid. Sometimes, there are male characters that are womanizers who often see women as their victims; they are kind of a hunter, and women are a trophy for them or the means of acquiring money. Indeed, the latter are the rakes aforementioned. Moreover, in the comedies of manners, a lot of characters are related to the rakes, as the fops are the ones who try to imitate them (and so, failing in the attempt), the widows are women used by the rakes quite often, and the typical young woman is the object of true interest of the rake. Given the foregoing, it is demonstrated that the rake was an important character in these comedies as it is important for the development of more characters, being at the center of the plot.
The Rake’s Transformation in the 18th Century
However, theatre suffered a major change in the eighteenth century, marking the beginning of a new era in English theatres. The drama, little by little, becomes more and more moralistic but also more satirical because the beginning of the 18th century is known as the time of satires. Along with these changes, the character of the rake was also altered. Colley Cibber was one of the first authors to deal with the term of the ‘reformed rake,’ which is a rake completely changed by a virtuous woman. William Congreve also uses the reformed rake in The Way of the World. In this play, the rakes are Mirabell and Fainall, and the one who ends up being reformed by a virtuous woman is Mirabell when he falls in love with Millamant. In fact, at the beginning of the play, it can be seen how Mirabell is not like Fainall, and he truly loves Millamant (p. 2232 Mirabell: “[…] for I like her […] like ‘em as well.”). This concept is of utmost importance in epistolary novels, like, for example, Pamela by Samuel Richardson. The themes in them were social conflicts and virtue, which is rewarded and reform the rakes. These letters help us to understand the unconscious feelings of the characters, as women are attracted to the rakes and, at the end, the rake really falls in love with her and is completely transformed by this. Another author that used the concept of the ‘reformed rake’ was Henry Fielding. This character can be found in one of the three interpolated tales of Joseph Andrews, more precisely in Wilson’s story. Wilson’s story is fundamental in the novel as it speaks about Joseph Andrews’ origins, and the story is about a typical story of a rake who is reformed by meeting a virtuous woman. It is important as it is going to situate Joseph in a different position: from servant to someone very well situated.
The Rake in Opera: The Beggar’s Opera
In this period, the rake was also important in the opera, which was the big obsession of the English, but they later turned it into a vernacular opera, like The Beggar’s Opera by John Gay. In it, it can be seen that Macheath fulfills the role of rake. Gay injects a profound sense of consumption, criminality, and hybridity into Macheath that significantly influences the development of the rake and the evolving British masculinity he represents. His attitude as a rake is seen mostly in the way he treats women. To begin with, he promises Polly that he loves her more than anything as if she was the only woman in his life (p. 2625 Macheath: “Suspect my honor […], forsake thee!”; p. 2626 Macheath: “Is there any […] is impossible!”; p.2626 Macheath: “If you doubt it, let me stay 一 and be hanged”). However, he is married to Lucy (p. 2635 Macheath: “[…]to see a husband in these circumstances?”), who is pregnant (p. 2635 Macheath: “[…] these violent passions may be of ill consequence to a woman in your condition”), and his relationship with Polly is an affair (p. 2635 Lucy: “Insinuating […] eyes out!”). Meanwhile, he is also spending time with prostitutes (p. 2630 Macheath: “Dear Mrs. Coaxer […] so fond of”). It is important to take into account that, although John Gay portrayed the rake in its original way, in the eighteenth century the reformed rake was much more famous than the original rake, as it was explained above.
Conclusion: The Evolving Rake
In conclusion, the original rake has evolved alongside society’s values and mindset. Thus, the concept of the rake has gone from a seductive, arrogant, womanizing, megalomaniacal character to a character that is like this at the beginning but learns, by meeting the right woman, that these characteristics are not right and end up being a faithful, virtuous, and moralistic character.