Through this fiction, Lovelace preempts the narrative and the right to narrate and to legitimate himself thanks to the circulating of stories. A hostage of speech, the patronym does not circulate any more than words do: all communication has become impossible due to the refusal of the circulation of the signifier.
The prevailing accents of Augustan writing suggest that defensiveness existed on a cultural scale. Nor the chestiest one is the absolute one, from the libertine women or the most chaste one they will be seen and judged according to these same codes To simplify, to be chaste or libertine we will always be judged by the others, the liberated women as sinner, impure, the chestiest one as a retrograded, not modern, Byron's suggestion is far of women nature, rationality and good thinking, because sexual liberty caused more misfortune and tragedy than happiness.
Langage et pouvoir symbolique. Wilde thus once more appears to be poised between a repetition of the same clichés and a satire on other plays which represent the current societal myths. In both cases, it is the male who is called upon to change his name—and not the female.
The fiction of the brother enables Lovelace to momentarily don himself with a legitimacy he has been lacking.