Published Paper Details:

William Congreve's play The Double Dealer published in 1694, stands as a remarkable work of Restoration comedy, distinguished by its incisive satire and sophisticated critique of aristocratic society. While the play adheres to the formal conventions of the comedy of manners, its deeper function lies in its sharp dissection of the hypocrisy, moral ambiguity, and performative behavior of the elite class in late 17th-century England. This article explores the satirical dimensions of The Double Dealer, focusing on how Congreve uses wit, irony, and theatrical deception to expose the moral contradictions of his time. At the center of the satire is the character of Maskwell, a master manipulator who exemplifies the duplicity of the social order. Through his calculated betrayals, Congreve satirizes a culture in which success is achieved not through virtue but through deception. The play also targets the pretensions and vanity of the aristocracy, particularly through characters like Lady Plyant and Lady Touchwood, whose exaggerated behaviours reveal the absurdities of class-based social expectations and gender roles. The article examines the way Congreve critiques the institution of marriage, portraying it as a transaction governed more by property and inheritance than by love or compatibility. Female characters, though often constrained by patriarchal norms, also become vehicles of satire as they subvert or conform to social expectations in revealing ways. The play's meta-theatrical elements reinforce its satire by highlighting the performative nature of identity and truth in elite society. The Double Dealer emerges as a complex satire that not only entertains but interrogates the values of its cultural moment. Congreve's biting wit and strategic use of deception position the play as both a product of and a commentary on the Restoration ethos, making it a timeless reflection on human duplicity and societal performance.