Love in Excess

Alovisa is a significant secondary character. She marries D’elmont at the end of the first volume of the novel, but she also often functions as an antagonist because she frustrates D’elmont’s desires of having sex with first Amena, and then Melliora.

Alovisa is a beautiful, wealthy, and independent woman. She does not have any male guardian, which gives her significant freedom to pursue her own desires. Alovisa is also stubborn and assertive: Once she falls in love with D’elmont, she pursues him. It is notable that Alovisa writes to D’elmont, openly revealing her desire (albeit in an anonymous letter), and she actively conspires to win D’elmont for herself. Later, once she and D’elmont are married, Alovisa engages in a number of schemes and plans to figure out the identity of the woman D’elmont has fallen in love with.

Alovisa does not display character growth or development, but Haywood does portray her with some sympathy. Alovisa loves D’elmont obsessively, so it is crushing to her that he falls in love with another woman after they are married. Alovisa is also fiercely loyal to D’elmont when D’espernay tries to seduce her, which is ironic considering that her husband does not show the same loyalty towards her. Haywood connects the violence of Alovisa’s jealousy and rage to the intensity of her passion, explaining, “it is not to be wondered at, that she, so violent in all her passions, and agitated by so many, at once, committed a thousand extravagancies” (133). Alovisa dies a violent and chaotic death that reflects the tempestuous nature of her character. Her death might be considered a punishment for her manipulation and for the way she has harmed other women, but it also reveals that she is not successful at finding a way to assert her own desires.

Melliora is D’elmont’s love interest, and forms part of a love triangle with D’elmont and Alovisa. Melliora represents feminine ideals in the 18th century: She is beautiful, virtuous, capable of deep emotion, and sensitive.

When she is first introduced into the novel, Melliora is innocent, sheltered, and vulnerable. Meeting D’elmont awakens her emotions and desires, but also requires her to utilize integrity and strategy. Melliora longs to be with D’elmont, but she shows her integrity by refusing to become the mistress of a married man. Melliora’s experiences advance the conflict in the plot because she is torn between her sense of moral responsibility and her inner emotions and desires. Even after Alovisa dies and D’elmont is single again, Melliora displays a strong sense of moral responsibility by initially refusing to marry him.

Melliora’s character remains stable and consistent throughout the novel: She changes very little, despite the dramatic events that occur around her. Melliora experiences temptation, but she does not waver in her commitment to her values. At the end of the novel, Melliora is rewarded for her consistency and virtue. D’elmont proves his fidelity and devotion to her, and she finally feels comfortable becoming his second wife. In contrast to the many female characters who meet unhappy fates, Melliora is depicted as deservedly happy at the end.

Frankville appears in the latter part of the novel, after D’elmont has travelled to Rome. Frankville is Melliora’s brother and also functions as a foil to D’elmont, since the two of them are comparable in some ways: They are both young, handsome and wealthy aristocratic Frenchmen who are facing similar challenges in their romantic lives. Frankville is romantic and impulsive; he falls passionately in love with Camilla even though their relationship faces many obstacles.

However, Frankville is also somewhat fickle and insecure. He is very quick to doubt Camilla’s fidelity, and this doubt causes conflict in their relationship. Frankville is brave and stubborn, and puts a great deal of effort into winning back Camilla and eventually running away with her. As a result of these efforts, he ends up with a happy marriage to his beloved. Significantly, Frankville also remains loyal and devoted to Camilla even though she has sex with him before they are married. As he explains to D’elmont, “that what in others, palls desire, added fresh force to mine” (197). This perspective is different from many of the other male characters in the novel, who are somewhat repulsed by women who are assertive about their sexuality.

Amena forms part of a love triangle with D’elmont and Alovisa in the first section of the novel. Amena is a beautiful young woman who quickly falls for D’elmont after he begins wooing her. Amena is somewhat naïve in that she readily begins meeting D’elmont in secret, and seems to believe that D’elmont might consider marrying her while readers know that D’elmont has no intention of doing so.However, Amena is also somewhat cautious in that she is reluctant to have sex with D’elmont despite her desire for him.

Amena’s character develops significantly due to the conflict she encounters. She becomes more cautious after her father finds out about her trysts with D’elmont.When she learns that D’elmont and Alovisa have both been lying to her, Amena becomes somewhat cynical about Parisian society, and decides she wants to escape to an isolated life in a convent. Amena eventually takes vows to become a nun, showing that she has developed into a young woman who is jaded and does not trust men. Amena’s character development over the course of the novel shows the consequences for a young woman when she is treated carelessly and not given guidance or protection.