Transforming to create a new sensory experience for Beauplaisir, Fantomina uses metaphorical sensual capital to confound Beauplaisir's literal and sexual capital. Haywood writes, "it must be confessed, indeed, that [Fantomina] has preserved an economy in the management of this intrigue beyond what almost any woman except herself has ever done" (233). Connecting the two tropes, Fantomina's sensual identity and the intrigue that accompanies it are capital to manage. Because it manages this identity through the manipulation of Beauplaisir's male gaze, the narrative positions the two characters as exchanging goods of equal value. Upon meeting, Beauplaisir "was transported to find such beauty and wit in a woman," while Fantomina "found much pleasure in conversing with him in this free and unrestrained manner" (228). Notably, they “spent their time throughout the game with equal satisfaction” (228). The “equal” satisfaction of their subsequent sexual intercourse is ambiguous, but after this episode the dynamics of desire is clear: Fantomina wishes to continue the sexual intercourse, while Beauplaisir's passion has cooled. After first meeting Beauplaisir, Fantomina recognizes that simply changing her appearance will not be adequate. Her transformation into Celia occurs on multiple sensual planes, the first of which serves to confuse Beauplaisir's hearing: "[A]ll the rest of her equipment responded to these and combined with a broad country dialect, a rude air and rude, which she, having been reared in these Parts, knew well to imitate” (234) Although sight is the most powerful trope of the narrative, Haywood presents Beauplaisir's sight as easily compromised by other sensual… medium of paper. .. "the appearance of a gentleman" (236). Then she teases him with a story, insisting that he "cannot, when you hear my Story, refuse that Assistance which it is in your power to give to an unhappy Woman , who without it, might be rendered the most miserable of all created Beings" (236). Furthermore, the reason why Beauplaisir concludes that the Widow Bloomer will be sexually responsive is his description of her previous marriage: “From that it is moved on to a description of the happiness of mutual affection; – the unspeakable ecstasy of those who meet with equal ardor; and he represented it in colors so vivid, and revealed by the gestures with which they accompanied it, and by the accent of his voice such a true feeling of what he said” (237). Distracting Beauplaisir with her visual appearance, Widow Bloomer replaces his masculine power through her own auditory power..