Masks, both literal and metaphorical, are important in the play. When Alithea suggests that Margery wear a mask to go out into the city to appease Pinchwife’s desperation to keep her unseen, Pinchwife exclaims, “A mask makes people but the more inquisitive. […] No, I’ll not use her to a mask, ‘tis dangerous; for masks have made more cuckolds than the best faces that ever were known” (89). The mask is titillating because it hides something underneath. The Fidget ladies wear masks to Horner’s house to enjoy a masquerade party, but Horner, who has already seen what is under the masks, is no longer intrigued. Margery’s breeches outfit, which stands in for a mask, both hides what is underneath and, as Pinchwife feared a mask alone would, shows “her shape, stature” (89) clearly. A mask allows Margery to trick her husband into believing that she is Alithea because she not only covers her face but also hides her body in Alithea’s clothing.

Figuratively, the characters mask themselves and their intentions with both lies and physical disguises. Horner’s lie about impotence masks his sexual desire and the danger he poses to other men’s marriages. Harcourt’s non-disguise as his own twin masks him as a threat to Sparkish and Alithea’s wedding.