Literary Characters - The Fop and the Macaroni

If one strips away the wit and hypersexuality of the rake one is left with the fop. The fop is the flat, shallow and superficial counterweight to the rake. He is very in touch with the fashions of the day, wearing the latest from Paris and updated on the gossip of the town. This veneer, however, conceals his lack of masculinity and wit as well as his shortcomings with women and are but vague imitations of the rakish style.

Although the fop's gentleness and domesticity gave him access to female company and thus represented a challenge to the rake (particularly in Rochester's Dictionary of Love and Richardson's Clarissa), he is generally a character of ridicule. Like the rake's association with the sword and tongue (as well as penis), the fop is associated with the mirror, emphasising his effeminacy and superficiality. Indeed, in Joseph Addison's Specatator 275, he and his lesser versions the Beau and the Pretty Fellow are described as nothing but artificiality and pretense. Thus, the fop is fundamentally unnatural as opposed to the rake being, if possible, too natural.

The macaroni, an exaggerated fop.
Notice the presence of a mirror...

In the 18th century the fop came to be regarded less as a risible figure and increasingly as a dangerously subversive one. Initially, the danger was no more than uselessness. Women, who it was thought could not penetrate the outer, effeminate layer, would end up with a useless man. By the mid-eighteent century, however, this sexual ambiguity was increasingly seen as threatening. As cross-dressing women, often called travesties or Tommies, imitated the foppish style and effeminacy lost its former meaning of "liking women" and took on the modern interpretation of "being like women", being a fop was increasingly linked to being homosexual. The distinctions between the fop, the cross-dressing man (the "Molly") and the homosexual were becoming blurred as foppishness was interpreted as outwards signs of internal perversion. Many of these perceptions can still be found in modern attitudes towards homosexualities.

Furthermore, Britain's cooling relationship to the Catholic Continent and especially France gave the fop a political aspect. With his links to French fashion and customs the fops were seen as French fifth colonists, amongst others by Samuel Foote in his An Englishman in Paris which adds "the French disease" or syphilis to the charges. Here, the fop is joined by the macaroni, an exaggerated fop who imitated foreign speech and customs to excess (and were precursors to the dandies). Both were seen as corrupting influences on British mentality and masculinity and this is witnessed in the rebirth of the risible fop in the shape of the foppish soldier thought unfit for war.

Source: Elaine M. McGirr, Eighteenth-Century Characters: A Guide to the Literature of the Age (Houndsmills: Palgrave Macmillan, 2007)

Literary Characters - The Rake

The witty, womanising man of the world has appeared in fiction both before and after the heyday of the rake, from Shakespeare to Fleming, but he was never so popular and clearly defined as in the shape of the rake. An elite character, the rake used his sharp tongue, his sword and his wealth to dominate the lower classes and bed the ladies.

His ascendancy came with the English Restoration. The English had suffered through some years of strict Puritan government under Cromwell and when "the merry monarch", Charles II, opened the theatres and started spawning illegitimate offspring the time was ripe of the libertinistic rake to increase his appearance. As theatres introduced women on stage the rake would figure as a role model of enterprising masculinity on stage in the many restoration comedies. The rake reflected the king in many ways; he represents a force above the puritan society, one who presents a wild, primitive force in a polite, civilised dressing. The rake would be, as McGirr puts it, a-social (above society) rather than antisocial (opposed to it).

John Wilmot, 2nd Earl of Rochester,
the model for Dorimant, the rake in George Etherege's Man of Mode

Like in many modern societies, male honour was what mattered for the rake. This should always be present and defended, and so the rake would disregard debts to the rising middle classes, fight offenders wither with wit or sword and ravish women. The three weapons of the rake would therefore be intimately tied to his masculinity, the phallus and the phallic sword and tongue.

However, the appeal of the rake lessened towards the end of the 17th century. Charles failed to produce a legitimate heir and the capital was struck by plague and fire. John Wilmot, 2nd Earl of Rochester (portrayed by Johnny Depp in The Libertine), famous for his rakish lifestyle, died of alcoholism and a number of venereal diseases. Thus the tragic aspects of the rake became more apparent and the reformation of the rake became the agenda of the day. Although Mary Davy's The Accomplish'd Rake and Hogarth's series Marriage a la Mode suggested that the rake would have to be forced into reform, die or go mad Colley Cibber's Love's Last Shift and Samuel Richardson's hugely popular Pamela illustrate the contemporary idea that the rake could be reformed by a virtuous woman and would then be the best possible husband.

Of course there were more damning depictions of the rake throughout the 18th century. In Richardson's Clarissa the rake Lovelace is killed in a duel and in Sir Charles Grandison and Pope's mock-epic Rape of the Lock the rakes are subjected to ricidule before they end up inconsequential. With the extended focus on morality and the rise of the cult of sensibility towards the end of the 18th century the rake had been reformed and rewritten from the personification of the aggressive, conquering masculinity to that of a failed one on the margins of society.

Source: Elaine M. McGirr, Eighteenth-Century Characters: A Guide to the Literature of the Age (Houndsmills: Palgrave Macmillan, 2007)