Gender Roles and Sexual Behavior
In Love for Love, Congreve explores the restricted roles assigned to genders within upper-class society. Men can be portrayed as cuckolds, harsh masters, rakes, or provincials, while women can be seen as scheming meddlers, whores, or, less commonly, good wives. The key trait for women is their level of permissiveness in granting sexual favors. Men, however, are evaluated less on their sexual conduct and more on their "mastery" over aspects such as children, finances, servants, and love affairs.

For modern readers encountering Restoration drama for the first time, the most noticeable aspect is the "double standard" applied to sexual behavior. Men were encouraged to seduce virgins or other men’s wives, whereas women who were too sexually promiscuous were deemed disreputable. For example, Valentine is visited by the nurse of one of his illegitimate children and curses the mother for not killing the child to spare him the financial burden. Tattle and Scandal both brag about their success with women. However, the women in the play know to keep their experiences discreet. Ironically, in the comedies of this era, women’s promiscuity is portrayed as less severe and damaging than it would be in later periods. Following two decades of strict Puritan rule, which enforced conservative sexual behavior, the Restoration saw a return to more relaxed attitudes. The underlying joke in most comedies of this period is that men may not be engaging in sex but are always talking about it, while women are doing the opposite.

Dissembling / Role Playing
The Puritans, who took control of England in the 1640s, aimed to establish God’s rule on earth. A significant aspect of the Puritan ethic was a deep distrust of costumes, disguises, and appearances; for this and other reasons, theaters were closed during Puritan rule. Additionally, the Puritans were highly suspicious of the intrigues, game playing, and strategies that dominated court and upper-class life in the monarchical system. They wanted everything to be transparent and open to their scrutiny.

The Restoration of 1660 dramatically altered the cultural landscape. Eager to compensate for two decades of missed entertainment and intrigue, courtiers quickly revived the elaborate and sophisticated society they once enjoyed. Playwrights mirrored this resurgence by portraying these intrigues with irony and exaggeration. In Love for Love, only the provincial characters Miss Prue and Ben appear genuine. The urban characters all pretend to be something they are not for personal gain. Valentine’s feigned madness is the most conspicuous example of this deception, and his own "dissembling," or pretending to be what he is not, is matched by Angelica's. Other characters who engage in deceit include Jeremy (who misleads numerous characters with fake plans), Sir Sampson (who acts like a loving father to Ben but shirks his parental responsibilities), Mrs. Foresight (who is unfaithful to her husband), Tattle (who feigns interest in Miss Prue), and Mrs. Frail (who manipulates situations to marry into Sir Sampson’s estate). In Act 2, Mrs. Frail and Mrs. Foresight urge Miss Prue to behave contrary to her true feelings. Congreve illustrates that in this society, appearances are deceptive, and only the most adept manipulators achieve their goals.

Father/Son Relationships and Good Governance
Many critics have highlighted the potential political implications of Congreve’s play. The governance model exemplified by Sir Sampson, the father of Ben and Valentine, is a focal point. Critics argue that Congreve critiques government based solely on lineage and advocates for governance centered on the welfare of the people. Sir Sampson feigns concern for his subjects' well-being, but in reality, he is indifferent; he is quick to disown both sons...