This paper investigates the emergence of new codes of male propriety, taking Amelia as a type of contemporary disciplinary discourse of manners which began to appear against the backdrop of the new urban consumerism. The novel deals with the story of a family undergoing a financial, emotional crisis in the metropolis after they run away from their home in the country due to snowballing debt. The initial financial difficulty draws the Booths deeper into the abyss of moral and emotional distress. The narrow bounds within the verge of the court, in which Captain Booth is substantially and symbolically locked up, stands opposed to the world of lavish diversion and luxurious consumption represented by the Opera House and Vauxhall Gardens. This contradictory picture of city life is presented in congruence with different modes of male behavior in Amelia. Fielding represents male characters in such a way that the tension between the traditional and the contemporary paradigm of behavior is acutely exposed. The character of Captain Booth is torn between such radically differing codes of manners. His pursuit of gallant masculinity puts not only himself but his family at risk since he does not have any means to satisfy his ideals except his own valor. Amelia’s endless devotion and self-motivation only allow her to maintain their home as a sanctuary despite Booth’s rash actions and infidelity. His eventual conversion, in both religious and reformative senses, signals the disciplining power of Amelia’s private virtue. It is her identity as a domestic heroine that brings about his moral redemption as well as financial restoration at the closure of the novel. The terminus of the narrative at Amelia’s country estate as well as the eponymous title of the novel implies that Booth’s masculinity is finally confined within the realm of intimate domesticity, which takes charge of moral, ethical regulation. The new models of the male self-identity represented in Amelia lead to the fashioning of strict domestic regulations.