The Seagull, though not in mood or theme, has some similarities to a comedy of manners, those amoral drawing-room pieces of the English stage in the eighteenth century. In them, love intrigues are the principal focus of both the dramatists and his characters, and adultery is at least condoned if not actually practiced. Some characters, often libertines, are caught in triangular relationships that impose dilemmas that must be resolved through wit and clever stratagems, even reformation of character. In them, clever young rakes manage to satisfy the heart while also replenishing an empty purse.