55 pages • 1 hour read
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Over the course of the plot, virtually every woman who meets Count D’elmont falls wildly in love with him. How does he conform to the 18th-century literary trope of “the rake” in the early part of the novel, and how does he complicate this trope as the text progresses?
Alovisa and Melantha are distinguished as bold women who openly assert their desires, yet they meet very different fates. How are these two women different or similar in their personalities, situations, and/or experiences? What is the significance of these similarities and contrasts in Haywood’s exploration of feminine agency?
Haywood repeatedly creates love triangles, in which two rivals compete for the affection of a single individual. How does this device impact the structure and themes of the novel? What common features tend to repeat in the different love triangles? How and why?
Haywood is considered an important contributor to amatory fiction (See: Background), alongside her fellow female writers, Aphra Behn and Delarivier Manley. Compare Love in Excess to one of Behn’s or Manley’s major amatory texts. What themes, approaches, and/or techniques do the works have in common? What does such a comparative analysis reveal about the female literary culture of the time?
Love in Excess’s female characters have to navigate a complex web of both familial and social expectations throughout the novel. How are these expectations depicted and explored? What do they reveal about the roles and status of women in 18th-century Europe?
Eliza Haywood was an English writer, but she sets Love in Excess in locations in France and Italy. How does Haywood use these geographic settings to enhance the mood and themes of her novel? What opportunities do these settings create for her?
How does Haywood explore the issues surrounding sexual desire and consent? How do gendered stereotypes influence notions of consent within the world of the novel?
What is the role of subplots and minor characters in the novel? Choose one or two examples and analyze them closely. What role does this subplot/minor character play, and what is their significance to the main plot?
Contrast the fates of the “good” characters who are rewarded with happy marriages, and the “bad” characters (Alovisa, D’espernay, Ciamara, etc.), who tend to die sudden or violent deaths. What factors influence which character gets a happy or tragic ending? How do these differing endings illustrate the novel’s key themes and ideas?
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