There is not much happening at these last pages but universal rejoicing, declarations of unending love from Mirabell etc. Sir Wilfull says, let’s have some dancing so that those who are not the Official Couple can have some fun too. Fortunately the dancers who were invited to entertain “Sir Rowland” are still in the house, so there is another dance. Lady Wishfort expresses some misgivings about whether Fainall will not have his revenge, but Mirabell assures her he won’t dare. He gives back to Mrs Fainall the deed of trust, saying that if well managed, it may help them live quite easily together, presumably because now Fainall is against entirely dependent on the fortune of his wife.
After that, there is nothing more to say but the Epilogue, delivered by Mrs Bracegirdle, the most popular actress of her era, who played Millamant. In the tradition of comedy epilogues, it pre-emptively describes all the kinds of criticism this play may incur. Firstly, there are those splenetic critics who are never pleased, and it would take a supernatural power to make somebody satisfied if this person doesn’t want to be. Secondly, there are all these bad and jealous poets. Finally, there are those who keep on looking for real-life models for every character in the play. The just punishment for them would be to identify themselves in the foolish characters, if they are so narcissistic that they think they can provide enough material for a scene. The poet is like a painter painting an ideal face, compiling in one image the best features of many real-life faces.
Thus ends the play. I must say that like many comedies, it is (presumably) funnier in an actual stage production, although the language is not that easy to follow. The main dilemma of Millamant, namely that she has to play extremely hard to get, despite all her love for Mirabell, seems quite alien to me. This being said, some scenes like Mirabell and Millamant’s marriage negotiations, are quite charming. As you can see, I am not exactly bowled over, but I appreciate the craft.