When the characters of romantic comedy, or at least the clever and wellborn ones, come out of the pastoral setting and into the drawing room, the result is comedy, a type of primarily associated with the Restoration period, but evident as early as Shakespeare in <Much Ado About Nothing> and as late as yesterday in the plays of Noel Coward and Philip Barry. Comedy of manners often is directed toward a satiric purpose, although not necessarily a harsh one. It holds up for our laughter the behavior of a fashionable leisure class, the class often associated with high comedy, which comedy of manners frequently is. In Moliere and Congreve, for example, comedy of manners is also distinctly high comedy, which turns on ideas, satire, character, and brilliant verbal wit. The classic examples of Restoration comedy of manners are Etheredge's The Man of Mode and Congreve's The Way of the World. Of course, comedy of manners does not necessarily exist only in the rarified world of ideas and satire, for many of the traditional elements of other kinds of comedy, from plot intrigue to obscenity, are abundantly present.

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