O. Henry explores the contrast between new money and old money, as well as the influence of wealth. Anthony symbolizes new money, having built his fortune independently, unlike New York's old millionaires who inherited theirs. Despite this distinction, Anthony chooses to live among the old wealthy in the city: ‘‘His neighbour to the right—the aristocratic clubman, B. Van Schuylight Suffolk-Jones—came out to his waiting motor-car, wrinkling a contumelious nostril, as usual, at the Italian renaissance sculpture of the soap palace’s front elevation.’’ Anthony is not embraced by this high-society neighborhood, yet he ignores the social gap, using his wealth to secure his position among the elite. Although he recognizes that he may never be truly accepted into the aristocratic circle, he remains hopeful that Richard can. He tells Richard that due to his efforts, Richard is now a gentleman: ‘‘They say it takes three generations to make one. They’re off. Money’ll do it as slick as soap grease.’’ Anthony believes that his considerable wealth, comparable to that of the old millionaires, can effectively buy Richard a place among them. Additionally, the soap-manufacturing background that keeps Anthony out of the aristocratic club is not a problem for Richard. As Anthony remarks, ‘‘You’ve got the money and the looks, and you’re a decent boy. Your hands are clean. You’ve got no Eureka soap on ’em.’’

Dating customs in the early 1900s were drastically different from what we experience today. This was especially evident among the aristocracy, where rigid and formal dating protocols prevailed. Anthony, not being born into this social class, is unaware of these traditions, as Richard explains: "You don’t know the social mill, dad. She’s part of the stream that turns it. Every hour and minute of her time is arranged for days in advance." Miss Lantry is a member of the social elite, and her schedule is carefully organized. Men who wish to court her cannot simply drop by her home; they need to secure permission first. Richard emphasizes this point to Anthony when discussing his plans to meet Miss Lantry: "She’s at Larchmont now at her aunt’s. I can’t go there. But I’m allowed to meet her with a cab at the Grand Central Station to-morrow evening at the 8:30 train." From the station, Richard will accompany Miss Lantry in a carriage to the theatre, providing him with only a brief opportunity during the ride to speak with her. Richard’s Aunt Ellen is aware of these societal conventions and agrees with Richard that he has missed his chance to propose to Miss Lantry. She tells Anthony, "If he only had spoken earlier! She could not have refused our Richard. But now I fear it is too late. He will have no opportunity to address her."

Deception plays a crucial role in the narrative. Anthony misleads both Richard and Ellen by secretly engineering the traffic jam, without ever revealing his involvement. When Aunt Ellen visits him, she eagerly shares that love has provided Richard the opportunity to propose to Miss Lantry. Anthony pretends to be unaware and subtly suggests he had a part in it by saying, "I’m glad the boy has got what he wanted. I told him I wouldn’t spare any expense in the matter if—." Aunt Ellen, confused, interrupts to question how Anthony could have possibly contributed, but he brushes her off, insisting he wants to continue reading his story. In the end, only Anthony, Kelly, and the drivers of the rented vehicles are aware of Anthony's role in causing the traffic...

Money versus Love The term "Mammon" in the title stands for wealth or money, indicating from the beginning that financial matters will play a significant role in the narrative. Right from the start, Anthony Rockwall is portrayed as someone who staunchly believes that money can buy anything. He tells his son, Richard, "I’m for money against the field. Tell me something money won’t buy." In contrast, Richard, along with his Aunt Ellen, believes that money cannot buy love. Richard is particularly skeptical about using money to gain the time he needs to propose to Miss Lantry, who is about to leave the country in a few days. He tells his father, "No, dad, this is one tangle that your money can’t unravel." Ellen agrees with Richard and criticizes Anthony's unwavering faith in wealth, saying, "I wish you would not think so much of money. Wealth is nothing where a true affection is concerned. Love is all-powerful."

This conflict between money and love plays out throughout the story. On the side of money, Anthony uses his wealth to create a traffic jam, ensuring that Richard and Miss Lantry are delayed long enough for Richard to propose. On the side of love, Aunt Ellen gives Richard a ring that belonged to his late mother, saying, "Good luck in love she said it brought. She asked me to give it to you when you had found the one you loved." During the carriage ride, Richard accidentally drops the ring, prompting the driver to stop so Richard can retrieve it. Meanwhile, Anthony’s planned traffic jam comes into effect.

Later that evening, Aunt Ellen informs Anthony that Richard and Miss Lantry are engaged, crediting their success to the ring Richard dropped. "Money is dross compared with true love, Anthony," Ellen tells her brother. However, Anthony is convinced that his traffic jam secured the engagement. He asks his assistant, Kelly, if he noticed Cupid: "You didn’t notice . . . anywhere in the tie-up, a kind of a fat boy without any clothes on shooting arrows around with a bow, did you?" Anthony is pleased to hear there was no sign of Cupid, the emblem of love, and remarks, "I thought the little rascal wouldn’t be on hand."

O. Henry’s narrative, set in the bustling backdrop of turn-of-the-century New York, vividly explores the enduring contest between the forces of love and wealth. In "Mammon and the Archer," this age-old rivalry is embodied by a cunning old millionaire and his kind-hearted, sentimental sister. Each character holds a staunch belief in their own guiding principle regarding how Richard should pursue his dreams: Mammon, symbolizing wealth, in the father's eyes; and Cupid, symbolizing love, in the aunt's perspective.

The author skillfully constructs a tale that allows both perspectives to claim victory, ingeniously intertwining them to craft a felicitous conclusion. The story hinges on the serendipitous interplay of both love and money. The seemingly minor detail of the gold ring, which distracts Richard momentarily, delays his journey just enough to prevent him from arriving too early. This delay is crucial, as it causes him to encounter a massive traffic jam—an event orchestrated by his father’s wealth, showcasing the power of the Rockwall fortune to manipulate circumstances.

Had it not been for this intervention, Richard's transit would have been swift, robbing him of the chance to spend precious time with Miss Lantry. It is the convergence of these two forces—wealth arranging the setting and love seizing the moment—that ultimately grants Richard the opportunity to win her affection. The narrative masterfully demonstrates that both love and money can be instrumental in achieving one's desires, and when combined, they create an unexpected harmony where each principle finds its place in the story's happy resolution.

The narrative intricately weaves together the stereotypes of masculine and feminine characteristics through its characters' actions and beliefs. On one side, we have Anthony Rockwall, whose approach is quintessentially masculine—strategic, assertive, and meticulously orchestrated. He devises a plan to buy time for his son, Richard, aiming to secure his romantic success. This plan involves a practical and logistical feat: creating a traffic jam through a convoy of hired vehicles, underscoring his reliance on structured planning and financial resources. Anthony’s scheme is executed with precision as he gathers essential details about the time and place to ensure everything unfolds seamlessly.

In contrast, Aunt Ellen embodies the stereotypically feminine approach, more intuitive and reliant on tradition rather than concrete evidence. Her contribution to Richard's romantic pursuit comes in the form of an old promise kept to her sister-in-law—a mystical love token, a ring. Despite its sentimental value, the ring is practically insignificant to Richard, being too small for him to wear as a charm. Aunt Ellen's gesture lacks the elaborate planning evident in Anthony's scheme. She simply hands over the ring, unaware of its impracticality and its potential to alter events.

The contrast between these approaches is stark. Anthony's method is methodical and resource-dependent, focusing on external manipulation of circumstances. Aunt Ellen's, however, is more whimsical, relying on the unforeseen impact of a simple gesture. Richard's inadvertently dropping the ring during a carriage ride may seem trivial, yet it becomes crucial. The brief delay it causes—a mere minute—proves pivotal, illustrating that sometimes the smallest, seemingly insignificant actions can tip the scales of fate.

This story thus exemplifies how different approaches, rooted in stereotypical masculine and feminine traits, converge to shape the outcome. The calculated machinations of Anthony and the serendipitous intervention of Aunt Ellen both play essential roles, suggesting that both strategy and chance are integral to life's unpredictable course.

Examining the unfolding of events in the story reveals the critical interplay between the father and the aunt in orchestrating Richard's happiness. Neither could have succeeded in their efforts independently. The narrative illustrates how the forces represented by Mammon and Cupid collaboratively steer the young couple towards bliss. This partnership of practicality and romance underscores the necessity of both material wealth and emotional connection in achieving true happiness.