Abstract
This paper examines how one of the distinctive features of Restoration comedy is the figure of the rake as romantic hero. The image of the rake-hero is of a witty, cynical, calculating, and self-serving man who pursues his own pleasure above all other considerations. It looks at the significance of the rake-hero as a symbol of social disorder by considering three plays, "The Careless Lovers" (1673) by Edward Ravenscroft, "The Man of Mode" (1676) by George Etherege, and "Love's Last Shift" (1696) by Colley Cibber.

Outline
Introduction
The Rake and his Times
Careless in ?The Careless Lovers?
Dorimant in ??The Man of Mode?
Loveless in ?Love?s Last Shift?
Conclusions

From the Paper
"The character of Dorimant can be regarded with a similar ambivalence as that of Careless. If he is intended to act as a warning against libertine behaviour and to fit into the character of the "penitent rake" he does not do so very successfully, for as Robert Hume has observed, he is "too glamorous and successful." Dorimant is undeniably glamorous "he has wit, spirit, an amorous temper, charm for women" and he provokes "a combination of fascination and disapproval" (Hume (1976), 93, 95). His conduct is hardly estimable; he rids himself of one mistress, Mrs Loveit, by exploiting Bellinda, whom he seduces in the process, before apparently falling in love with the heiress Harriet Woodvil. It is perhaps only because he meets his effective match in Harriet that he can be viewed with indulgence. It is she who seemingly brings about his reformation."

Tags:careless, lovers, edward, ravenscroft, george, etherege, colley, cibber