Love in Excess; or, The Fatal Enquiry

[3] The first part of the novel details the rivalry between Alovisa and Amena, two upper-class young women, for the Count D'Elmont's attention.

During one of their secret meetings, the pair are compromised by the intervention of Alovisa's servant, Charlo, who awakens Amena's household.

[5] The Baron D'Espernay, a close friend of D'Elmont, helps him plot to seduce Melliora—in part because he desires Alovisa for himself.

Alovisa, certain that D'Espernay can help her discover the identity of her husband's lover, agrees to trade sexual favors for this knowledge.

Later, D'Elmont intervenes to rescue a stranger from certain death, killing a masked bravo, or "hired murderer", and narrowly escaping with his own life.

Attempting to rectify this confusion, D'Elmont presents himself to Ciamara as a decoy long enough for Frankville to forcibly gain access to Camilla's quarters.

En route to Paris, the travelers—burdened by Fidelio who has fallen ill—take shelter from a storm with a wealthy gentleman, the Marquess D'Saguillier.

"[4] Like Aphra Behn and Delarivier Manley, Haywood uses love triangles to illustrate the different roles women can play.

Holly Luhning explains the publication history of Love in Excess, which was one of the most successful popular novels in the eighteenth century, through the prefatory poems.

[11] In the first part of the book, Chetwood included a dedicatory letter by the famous actress Anne Oldfield, instead of indicating that Haywood was the author.

The poems flatter Haywood's narrative skills and her ability to present "the power of physical and emotional love".