Research has already proven that "The agreement" is “the earliest prolonged critique in English prose fiction of the wedding industry from a woman’s perspective” (Donovan 59). awareness has been attracted to the political references and allusions made in "The Contract", and to the gender concerns which are being raised within the novel.
Concerning the previous, Victoria Kahn has reminded us that romances have been used politically throughout the reign of Charles I and the Protectorate (527) and has emphasised the analogy among the wedding agreement and “the hierarchical, inequitable political family of sovereign and topic” (527). This analogy is mainly legitimate within the modern context of the engagement controversy (1649-1652), “when parliament sought to safe alliance to the hot govt of Cromwell after the execution of Charles I” and an announcement of engagement needed to be signed through all male voters (535). in response to her, "The agreement" increases questions on the validity (529), the different types of contracts, and the inducement of individuals to signal contracts (526). Kahn has proven that The agreement is a touch upon “contemporary debates approximately political obligation”, a remark that argues for a kind of political legal responsibility “that relies on love instead of on filial legal responsibility” (529), and which mockingly makes the royalist Cavendish “draw just about the parliamentarians’ conception of an unique and revocable agreement among the folks and their ruler” (530).
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