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55 pages 1 hour read

Eliza Haywood

Love in Excess

Fiction | Novel | Adult | Published in 1719

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Part 3, Pages 217-269Chapter Summaries & Analyses

Part 3, Page 217-269 Summary

The next day, Frankville shows D’elmont the letter he received from Camilla. Camilla professes her love and fidelity to him, explaining that she has found a new servant willing to transport letters between them. However, she is soon going to be forced to marry Cittolini. Frankville writes back coldly, explaining that he no longer wants to see her.

The two men are interrupted when D’elmont receives a shocking letter: It turns out that he has been tricked. Ciamara (Cittolini’s sister, and Camilla’s stepmother) is the woman who has been pursuing D’elmont. When her servants reported that D’elmont was at the house asking to meet with Camilla, Ciamara posed as Camilla and met with him instead. Since D’elmont had never seen Camilla and had never learned the name of the anonymous Roman woman who was pursuing him, he fell for the trick, believing that Camilla was unfaithful. In the letter, Ciamara explains what she did, and pleads with D’elmont to return her feelings.

D'elmont and Frankville are both delighted to learn that Camilla is not unfaithful. They decide to leverage Ciamara’s desire for D’elmont in the hopes of getting Frankville access to Camilla—this is especially urgent because he needs to explain the cold letter he sent to her. D’elmont writes back to Ciamara, explaining that he will come and see her, and is going to bring a servant with him. The next day, Frankville disguises himself as a servant, and both he and D’elmont go to Ciamara’s home.

D’elmont is ushered into Ciamara’s private rooms, where she continues trying to seduce him while he politely declines. D’elmont eventually begins to be aroused by Ciamara’s beauty and sexual overtures. Meanwhile, Frankville has forced a servant to take him to Camilla. When Camilla sees Frankville, she is initially enraged, because he has seemingly rejected her. While Frankville is pleading with Camilla, Ciamara’s servant cries for help, claiming that Camilla is being abducted. She attracts the attention of other servants and neighbors, and then rushes into Ciamara’s rooms, where she interrupts Ciamara and D’elmont.

The servant exclaims that D’elmont has tricked them by bringing Frankville to the house. D’elmont rushes to help Frankville fight off the household servants, and the two men escape together. Frankville is devastated, and fears that Camilla will never forgive him. A few days later, Frankville receives a letter from Violetta. Violetta has been Camilla’s confidante throughout, and tells Frankville that Camilla still loves him, even though she feels hurt and betrayed. However, Camilla is so upset that she is planning to go to a convent. Violetta tells Frankville that if he can give her a letter, she will deliver it to Camilla. She also warns D’elmont to be very careful, since Ciamara is furious with him for deceiving her and may try to poison him.

D'elmont and Frankville are relieved to have Violetta’s help; they had feared that she might be unwilling to help Camilla, since it was originally planned for her (Violetta) to marry Frankville. They decide that Camilla will only forgive Frankville for rejecting her if they reveal the whole story, detailing how Ciamara’s deceit led them to mistakenly believe that Camilla was unfaithful. Frankville writes a long letter, and D’elmont adds a note attesting to the truth of everything in the letter. They contrive to secretly pass the note to Violetta. During this interaction, Violetta hints that she might be partially motivated by love for D’elmont, which worries him.

Violetta writes to inform them that Camilla is coming close to forgiving Frankville. The two young women are going to be visiting a convent, and she urges Frankville and D’elmont to meet them there so that Frankville and Camilla can speak in private. Just before the meeting, D’elmont receives a letter from his brother: Brillan informs him that Melliora has been abducted from the convent where she was staying. It is not known who took her, or where, but some people are accusing D’elmont of having orchestrated the abduction and arranging for Melliora to be taken to Rome. D’elmont wants to rush back to France and attempt to find out what happened but Frankville persuades him to stay until after the meeting with Camilla.

At the meeting, Camilla and Frankville finally reconcile. She agrees to go to France with him and D’elmont. Meanwhile, D’elmont praises Violetta’s kindness and virtue but gently reminds her that he will never fall in love with anyone except Melliora. When the group parts ways, Violetta seems sad. On the night that the group plans to secretly flee from Rome, a handsome young man named Fidelio comes to D’elmont bearing a letter from Violetta. The letter asks D’elmont to accept Fidelio as his page and bring him along to France. D’elmont, Fidelio, Camilla and Frankville ride away from Rome and begin their journey. After several days, they reach the border of France and Italy.

The group eventually receives an update on what has happened in Rome. Both Cittolini and Ciamara were furious and attempted legal action, claiming that Camilla was abducted—since Ciamara is Camilla’s legal guardian, she can demand that Camilla be returned to her. However, Ciamara was more distressed by the loss of D’elmont and ended up consuming poison and dying by suicide. Cittolini realizes that Violetta (his daughter) has also mysteriously disappeared and falls ill from stress and rage, dying a short time later.

The news of these deaths is mostly a relief to the group of travelers, but Fidelio seems strangely distressed and falls ill. The group continue to travel onwards to Paris. They encounter a dangerous and violent storm, and Fidelio makes strange claims that the storm has been sent to punish him. They end up taking shelter at the estate of the Marquess De Saguillier and decide to stay for a few days to see if Fidelio recovers. However, D’elmont is also growing increasingly anxious to find out what happened to Melliora. That night, D’elmont wakes up to find a woman in his room; he is surprised and confused, but then realizes that she is Melliora. The two lovers blissfully reunite.

Melliora then explains everything that has happened to her. After Alovisa died, she entered a convent and became friends with a young woman residing there, named Charlotta D’Mezray. Charlotta was engaged to the Marquess de Saguillier, and when the Marquess came to visit his fiancée, he became more and more interested in Melliora. Then, out of the blue, Saguillier begins expressing suspicions that Charlotta is unfaithful. He secretly sends a note to Melliora, explaining that he is in love with her and that is why he is trying to break off the relationship with Charlotta. Melliora firmly rejects him, but a few days later, she is tricked into stepping outside of the convent garden and abducted. She is taken to the estate of Saguillier, who tries to justify abducting her by claiming that he is in love; he has not raped or harmed her, but he refuses to let her go.

After some time, Charlotta arrives at the estate, disguised as a servant. She is able to spend time with Melliora, since no one knows who she is. When Melliora was abducted, Charlotta was the only one to suspect that Saguillier might be responsible. She made up a reason for leaving the convent, travelled to Saguillier’s estate, disguised herself, and gained access. She believes that Melliora was taken against her will and does not love Saguillier. When D’elmont and his companions arrive, Charlotta reports this news to Melliora, and Melliora has now snuck in to see her lover, delighted to be reunited. After a few hours together, Charlotta comes to summon Melliora to leave. Melliora tells D’elmont that she and Charlotta have a plan, and that he must not tell Frankville anything.

The next morning, Saguillier summons D’elmont, Frankville, and Camilla. He explains that he is deeply in love and has resorted to abducting his beloved, but has now won her over. His beloved has finally agreed to marry him, and Saguillier wants his guests to witness the wedding. Saguillier proudly introduces Melliora, but is astonished to find that his guests are Melliora’s brother (Frankville) and guardian (D’elmont). Melliora announces that since these men are present, they must give their consent before she can marry Saguillier, and obviously neither Frankville nor D’elmont are going to do so. It seems that the men are going to come to blows, but Melliora reveals that Charlotta is present: Charlotta announces that she is willing to forgive Saguillier for everything he has done. Saguillier quickly repents, gives up his hopes of Melliora’s love and decides to renew his relationship with Charlotta.

Fidelio continues to grow sicker, and Frankville notices that Camilla is tending to him very lovingly. He begins to grow suspicious and jealous, but Camilla reveals that Fidelio is actually Violetta in disguise. Violetta is dying of unrequited love for D’elmont, and asks to see D’elmont before she dies. She knows that D’elmont has reunited with Melliora, but wishes to have a final glimpse of him. D’elmont and all the others assemble at her bedside. Violetta speaks of her deep love for D’elmont and says that she can die at peace knowing that he is happy. Melliora assures Violetta that she is not jealous and would be happy if Violetta recovers, but Violetta says it is better for her to die. She dies peacefully in D’elmont’s arms.

Eventually, after a period of mourning for Violetta, a triple wedding is celebrated: Frankville marries Camilla, Saguillier marries Charlotta, and D’elmont marries Melliora. When Frankville and D’elmont return to Paris with their wives, they are welcomed by Brillan and Ansellina, and the negative gossip about D’elmont dies down now that he is happily married. All of the couples enjoy long and happy marriages.

Part 3, Pages 217-269 Analysis

While trying to help repair the relationship between Frankville and Camilla, D’elmont ends up meeting with Ciamara. This encounter ends up undermining his apparently unwavering resolve to stay faithful to Melliora. D’elmont “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” (225). Had he and Ciamara not been interrupted, “it is not altogether improbable, that he might not entirely have forgot himself” (225). This episode adds nuance to the theme of Fickleness Versus Unchanging Love: D’elmont’s devotion doesn’t change, but he is shown to still be capable of experiencing desire for someone else. Interestingly, D’elmont is simultaneously perturbed by Ciamara’s aggressive sexuality and yet also aroused by it. Much like Alovisa before her, Ciamara ends up experiencing negative consequences for her intense and obsessive fixation on D’elmont: She dies by suicide after realizing that he has fled from Rome.

In contrast with Ciamara’s fiery intensity, Violetta becomes a significant secondary character who displays patience, loyalty, and an unfailing willingness to help. Violetta is perhaps the only character in the novel who freely acts in ways that do not promote her own self-interests: She does everything in her power to facilitate a reunion between Frankville and Camilla, even though Frankville was initially supposed to be her betrothed. There are clear hints that Violetta has continued the novel’s pattern by falling in love with D’elmont, and D’elmont and Frankville both suspect this to be the case. Violetta’s disguise as Fidelio (whose name references the Latin word for “loyalty”) alludes to a literary tradition of female characters disguising themselves as young men in order to remain closer to a beloved, or to gain a more accurate perception of a situation. Violetta’s name might allude to the character of Viola in Shakespeare’s Twelfth Night, in which Viola spends a significant portion of the plot in male disguise.

Violetta’s long-term goal in disguising herself as Fidelio and fleeing Rome is unclear, because she is insistent on not imposing herself on D’elmont. Her dilemma contributes to the theme of the Constraints on Feminine Desire, as she longs for D’elmont but cannot have him. Violetta’s fatal illness seems initially triggered by guilt upon learning that Cittolini and Ciamara have both died: She faints upon hearing the news and later laments, “by my shameful flight, I was the murderer of my father” (264). Her sense of guilt and responsibility suggest that she sees pursuing her own desires as antithetical to the social norms surrounding daughterly duty and female restraint.

Violetta is an unusual character because she presents her love for D’elmont as entirely chaste, and also because she is not jealous and does not resent Melliora for being D’elmont’s beloved. From her deathbed, Violetta explains, “I loved, ‘tis true,” but denies that “one unchast wish, or an impure desire, e’re stained my soul” (264). She even articulates her happiness that Melliora and D’elmont have been reunited. Violetta thus offers a different model of love, one that is unselfish and self-abnegating. However, there is still no place for this model of love in the world of the novel, and as Violetta explains, “life, after this shameful declaration, would be the worst of punishments” (265). In referring to speaking openly about her love for D’elmont as a “shameful declaration,” Violetta once more implies that she feels uneasy for defying social expectations of women and propriety.

Melliora, by contrast, experiences a much happier and more straightforward fulfillment of her desires. In a melodramatic coincidence, Melliora and D’elmont are reunited because she has been abducted and is being forcibly concealed in the Marquess Saguillier’s home. Their reunion is an inversion of previous encounters because this time Melliora is the one unexpectedly sneaking into D’elmont’s bedchamber. Melliora and D’elmont enjoy an enthusiastic reunion in which she “dissolved in love, and melting in his arms, at last she found no words to form denials” (258). This implied consummation grants Melliora a successful resolution to her sexual desires, while also taking place entirely through her own agency instead of under pressure or duress.

While the scene is a joyful one, the plotline that makes it possible continues to illustrate the dark side of male desire. Even though he is betrothed to Charlotta, Saguillier becomes infatuated with Melliora: The obsessive intensity with which men fall for Melliora shows that she is truly D’elmont’s ideal counterpart. The scene in which Melliora is forcibly abducted is terrifying for her, and she describes how she “struggled, shrieked, and cried to heaven for help” (254). This abduction is treated mostly as a plot device to allow Melliora and D’elmont to cross paths again, and to move her out of her insistence on remaining closeted at the convent. Once she sees D’elmont, her resolve weakens, and by rescuing her, D’elmont conclusively demonstrates his right to claim her as his second wife.

After the convenient resolution of Saguillier reuniting with Charlotta and Violetta dying, the novel ends with a traditional comic conclusion in which three weddings are celebrated. The genre of amatory fiction (See: Background) was often associated with depicting the unhappy conclusions to intense and passionate love, but while Love in Excess does depict some tragic fates, most individuals end up in happy marriages. Melliora and Charlotta seem like typical virtuous characters who would be rewarded with a happy conclusion, but much more ambiguous characters like Frankville, Camilla (who has freely enjoyed sex before marriage), and even D’elmont himself are given equally happy fates. In the world of the novel, individuals and their relationships are given nuance and complexity, even while behaving rashly and excessively under the influence of strong emotion. 

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By Eliza Haywood