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English Pages 73 Year 1976
NOTES ON CHOSEN ENGLISH TEXTS GENERAL EDITOR: NORMAN T. CARRINGTON, M.A.
NOTES ON
THE PLAYS OF SHERIDAN 7142
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By J. M. EVANS , M .A .
JAMES BRODIE LHJ. BRODIE ~OUSE , QUEEN SQUARE , BATH , SOMERSET, ENGLAND
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NOTES ON CHOSEN ENGLISH TEXTS
General Editor: NORMAN T. CARRINGTON, M.A.
THE PLAYS OF
SHERIDAN 7142 0031
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(I) The Rivals, (2) The School for Scandal, (3) The Critic By
J. M. EVANS, M.A. Revised by NORMAN T. CARRINGTON, M.A. 1
JAMES BRODIE LTD. BRODIE HOUSE, QUEEN SQUARE BATH, SOMERSET, ENGLAND
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CONTENTS PAGE THE
A UTI !OR
Llfu Character and Personality
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-· ASPECTS OF SHERIDAN'S PLAYS
Dramatic Skill Style Names as Labels Sources of Certain Characters and Scenes Burlesque. Farce. Comedy The Eighteenth-Century Theatre Sheridan's Plays as a Mirror of EighteenthCentury Life . .
The Rivals Plot . . Characters Summaries of Scenes, Textual Revision Questions Q~estions The School for Scandal Plot . . Characters . . Summaries of Scenes, Textual Revision Questions Questions The Critic Plot . . Characters Summaries of Scenes, Textual Revision Questions Questions QUESTIONS ON THE THREE PLAYS
8 9 11 12 13 15 16
19 20 Notes
and 24 37
38 39 Notes
and 43 56
57 58 Notes
and 61 70 71
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SHERIDAN'S PLAYS THE AUTHOR
Life Richard Brinsley Sheridan, playwright and politician, was born in Dublin on Octo her 30tlt, 1751. His father was an actor-manager and a teacher of elocution, who counted among his friends the great Dr. Johnson. His mother, Frances Sheridan, was particularly talented as a playwright and novelist. At the age of fifteen she wrote a story called Eugenie and Adelaide, which was published after her death, and two of her plays, The Discovery and The Dupe, were produced at Drury Lane Theatre, the famous actor David Garrick taking a part in the former. At the age of eleven Sheridan went to Harrow, and during the six years he was there became very friendly with a youth named Halked. After leaving school Sheridan . lived at Bath and Halked went to the University of Oxford. They corresponded frequently and together they wrote a farce called Jupiter, which includes some of the devices afterwards worked out in The Critic, and they also translated some verses of a forgotten poet, Aristrenetus. In Bath the Sheridans became friendly with a musical family, the Linleys. Elizabeth Ann Linley, the daughter, was a famous singer and a very beautiful girl. She had many suitors, and one of these, Major Mathews, was so persistent in his attentions and caused her so much anxiety that Sheridan took her to France, married her in Calais, and placed her in a nunnery. He then returned to England, quarrelled with Major Mathews, and fought two duels with him, in neither of which, however, the combatants were seriously hurt. The young lady was brought back from France by her father, and she and Sheridan were married again in England and they settled in London. They had very little money, but Sheridan would not allow his wife to earn any by singing on the concert-stage, so he began to write plays in order to gain a livelihood. His first play was The Rivals, written when he was twenty-four 3
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years old and produced at Covent Garden Theatre. This was followed by St. Patrick's Day, and later by The Duenna, which proved a great success in its first season. In 1777 he produced A Trip to Scarborough, and this was followed by his brilliantly satirical play The School for Scandal. His next great work was The Critic in 1779, and after that Sheridan wrote no more plays, with the exception of the tragedy of Pizarro-a rather poor piece of work taken, with many alterations, from a German work by Kotzebue. His career as a dramatist, therefore, was finished at the early age of.28. At 29 he entered Parliament as Member for Stafford. In common with other candidates for a Parliamentary seat he dispersed money freely, and it is said that the price given to each burgess for voting for him was five guineas. His first Parliamentary speech, indeed, was to defend himself against the charge of bribery. As a politician, however, he was quite incorruptible and had the courage of his own opinions. He was given various offices, including those of Under-Secretary for Foreign Affairs in 1782 and Secretary to the Treasury in 1783. He was concerned in the trial of Warren Hastings, and in 1787 and again in 1794 he rose to marvellous flights of · oratory in demanding the impeachment of Hastings. His oratorical force and the rhythm of !!is prose may be seen in the following. Filial piety! It is the primal bond of society-it is the instinctive principle which, panting for its proper good, soothes, unbidden, each sense and sensibility of man!-it now quivers on every lip!-it now beams from every eye-it is an emanation of that gratitude, which, softening under the sense of recollected good, is eager to own the vast countless debt it ne'er, alas! can pay, for so many long years of unceasing solitudes, honourable self-denials, life-preserving cares!- · it is that part .of our practice where duty drops its awe!-where reverence refines into love!
When Burke denounced the French Revolution Sheridan joined with Fox in the idea of non-intervention. But when it was obvious that Napoleon was interfering in the affairs of neighbouring countries, he emplpyed his eloquence in 1794 in denouncing the French conqueror and urging the prosecution of the war and the support of the Spaniards, who rose against French tyranny. Many people thought
LIFE
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that he would be made leader of the Whigs on the death of Fox in 1806, but, although he was not successful in obtaining this appointment, he was made Treasurer of the Navy under the "Ministry of all the talents". In 1812, however, he failed to secure re-election as Member for Stafford, and his political career came to an end. Other disappointments as well as Parliamentary ones had come to Sheridan. His wife had died in 1792 and he lost his chief friend (Fox) in 1806. ~n 1776 he had purchased half of Drury Lane Theatre from Garrick and a few years later he completed the purchase, the whole costing him £80,000 (representing over half a million today). But in 1794 the theatre was declared to be unfit to accommodate large audiences and it had to be rebuilt. Then in 1809 it was burnt to the ground, and Sheridan became near-destitute. The building was insured for only a small part of its value and his career in the theatre world was now at an end. As a Member of Parliament he could not be imprisoned for debt, but when he lost his seat in 1812 he was pestered by his creditors and arrested. In spite of the help of his second wife, the daughter of the Dean of Winchester, whom he had married in 1795, the last , years of his life lingered out miserably until he died in 1816. Then all at once it was realised what a great man he had been, and he was buried with honour in Poets' Corner, Westminster Abbey, attended on his last journey by dukes and earls, the Lord Mayor and the Bishop of London, members of the government, and nearly all the performers of Drury Lane and Covent Garden. Character and Personality Notwithstanding his misfortunes Sheridan had many friends. Members of the royal family and of the highest ranks of the nobility found him a pleasant companion, and men in lower walks of life valued his friendship. "Sherry," as his friends called him, had not a tinge of malice in his composition, and his charity was unbounded. His manners were excellent; he had the true art of a gentleman, that of setting other people at their ease, and he would never allow anyone to be made uncomfortable on his account. When the Drury Lane Theatre was burning,
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the news was brought to Sheridan in the House of Commons; the other Members, sympathising with him, suggested that the House should be adjourned, but he declared that he would certainly not allow his private calamity to interfere with the public business of the country. He was even able to joke at adversity, for later in the evening, as he sat in a Coffee-House near the scene of the conflagration, he remarked to a friend who was commiserating with him, "A man may surely be allowed to take a glass of wine by his own fireside". He was capable of very deep attachment; his grief for the loss of his wife, and later of his little daughter, was of very long standing, ,and his relationship with his son Tom was a very happy one. Not without cause was Sheridan teased about his indolence. Two days before The Critic was announced to be played Sheridan had not finished the last scene, and everyone concerned in the production was afraid that it would not be completed in time. His father-in-law therefore suggested to him that they should stroll to the theatre in the evening; when they arrived, Sheridan was inveigled into a small room, provided with an excellent meal, plenty of pens, ink, and paper, and the unfinished copy of the play. He was then locked in and told that he would be a prisoner until the play was completed. Sheridan entered into the joke and wrote the ending to the play. · In politics he exhibited complete independence of spirit, differing very often from his own party, the Whigs, and he won the admiration of his political opponents. His powers of oratory caused his great adversary Pitt to acknowledge that some of his speeches surpassed all the eloquence of ancient or modern times, and Gibbon to give him unstinting praise in the Memoirs. Lord Byron's words found an echo in the minds of many of his contemporaries. "Whatever Sheridan has done or chosen to do, has been, par excellence, always the best of its kind. He has written the best comedy, The School for Scandal, the best opera, The Duenna, the best farce, The Critic, the best address, The Monologue on Garrick, and, to crown all, delivered the very best oration,-the famous Begum speech,-ever conceived or heard in this country."
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Though he was possessed of quick and unpremeditated wit and could produce sparkling dialogue apparently without thought, he was not without the virtues of perseverance and concentration, and many of his early manuscripts bear witness to the careful building up of plot and dialogue. His appearance was very pleasing; he had brilliant eyes and a winning smile; he dressed well, and his bearing was dignified. When he talked to people he made them feel that he was particularly interested in their conversation; he was able to cajole even his creditors into granting him privileges!
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ASPECTS OF SHERIDAN'S PLAYS Dramatic Skill
In his masterly control of situation and his crisp and lively dialogue Sheridan deserves a high place among dramatists. The School for Scandal is the best constructed of our three plays. Act I, Scene i starts with a piece of sparkling satiric humour and polished dialogue in the assembly of gossips and backbiters, and arouses interest in the chief persons of the play and in a natural way shows what has happened before their appearance. The audience is prepared for the quarrel between Sir Peter Teazle and his wife, which forms the chief topic of Act II, Sc. i and whose relations are referred to in Act I, Sc. ii. The end of Act I excites interest in the questions it poses at the fall of the curtain. The talk between Sir Peter and Rowley is a quieter scene before the quarrel scene between Sir Peter and Lady Teazle, and throws it up by contrast. In Act I, Sc. i the audience has heard something of the motives and methods of the members of the "School for Scandal". and in Act II, Sc. ii we are introduced to the graver issues which can arise from the mischief niade by the scandal mongers. Act II, Sc. iii introduces Sir Oliver, who will later play an important part in the plot. The Fourth Act contains two scenes of great dramatic strength, the "Auction" scene and the "Discovery" scene; in both the dramatic tension is well sustained and skill is shown in interposing a short and comparatively unimportant scene between these two (cf. Act I, Sc. ii). The last act in a play is often the most difficult to construct, as it is not so easy to keep up the interest after the climax has been reached. In this play Sheridan keeps the interest to the end; the denouement exposes Joseph, shows the futility of the gossip of the scandal-mongers and reconciles Charles and Maria, as well as Sir Peter and Lady Teazle. The plot of Sir Oliver and his nephews, and Sir Peter and Lady Teazle forms a skilful plot, with the "scandal-making college" as a background. As Puff says in The Critic, "A play is not to show
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occurrences that happen every day, but things just so strange, that though they never did, they might happen"! The Rivals is not quite such a well-constructed play as The School for Scandal; the whole plan is weaker, but some of the individual scenes are excellent. There is a tendency to stress the tag-names, to exaggerate, for example, the diction of Mrs. Malaprop and the "absolute" quality of Sir Anthony. Specially good scenes are Act IV, Sc. ii, and Act V, Sc. iii, and the encounters of Jack with his father prove very amusing. In this play Sheridan has used the more common device of servants' conversation for his exposition, and the "curtains" at the end of each act are not so good as in The School for Scandal. The love affair of the jealous Faulkland and the patient Julia forms a foil to that of Captain Absolute and the sentimental Lydia in the main plot. In The Critic Sheridan has shown up many of the faults of the earlier and contemporary drama, faults which he has skill enough to avoid in his own comedies. He is most satirical about the way in which dramatists manage the exposition of their plays; even Shakespeare resorts to conversation between servants or between first and second gentlemen to effect an introduction of his characters, and attention is drawn to this device by Dangle, "Mr. Puff, as he knows all this, why does Sir Walter go on telling him?" Through the mouths of the critics and the utterances of the actors in The Spanish Armada he criticises also the bombastic language of plays, the halting blank verse of tragedy, the glances at the pit given by those on the stage, the eavesdropping servants, the exaggeration of stage effects-"three morning guns," the mad heroine disappointed in love and her confidante, the underplot in "low life," ludicrous fighting on the stage, excess of processional scenes, and so forth. In this burlesque, as in his comedies, Sheridan was quick to seize the superficial manners of the stage and of society and exceedingly skilful in presenting them with force and wit. Style The enjoyment that we derive from Sheridan's style is intellectual. The apt expressions, the pointed wit, the
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little touches of humour that come even in ejµ.culations make his plays an intellectual pleasure. The plays are written in prose, but the song in The School for Scandal (III. iii) is known all over the English-speaking world, and Sheridan had a marvellous gift for burlesquing verse. There is a roll in the blank verse of The Spanish Armada which sounds quite majestic until one notices the- incongruity of the words. But, oh, thou champion of thy country's fame, There is a question which I yet must ask; A question which I never asked before.
He has delightful hits at Shakespeare and charming robberies from him. Tilburina's madness, of course, recalls that of Ophelia, and her catalogue of flowers is an echo of Perdita's lyrical description of Spring. The striped carnation and the guarded rose, The vulgar wallflower and smart gillyflower, The polyanthus mean-the dapper daisy, Sweet-william and sweet marjoram, and all The tribe of single and of double pinks!
The ingenuity of Puff's defence of his use of Othello's words, "Perdition catch my soul, but I do love thee" is observed p. 60. Almost every minute there is humour. Tilburina's madness is ludicrous, not pathetic, but not more so than the Justice's sanity, I am thy father, here's thy mother, there Thy uncle-this thy first cousin, and those Are all your near relations!
or Puff's suggestion to the votaries of Mars, "You could not go off kneeling, could you?" In The Rivals the words of Mrs. Malaprop have a humour of their own. There is much humour of situation also, owing to the disguise of Captain Absolute as the evanescent Beverley. The conversation of the servants adds to the humour of The Rivals and The School for Scandal. The quarrel scenes, the scenes in which Sir Oliver practises his wiles on his nephews and the "Discovery" scene are particularly amusing· in The School for Scandal, often owing to the "double entendre" in the speeches. · The use of "asides" to help the audience to understand the real
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feelings of the characters is a very frequent feature of Sheridan's style, and often their point adds much to the humour. Sheridan's style is made more lively and picturesque by the use of figures of speech, such as metaphor and simile, and the student should gather a few examples. Joseph explains in The School for Scandal (V. i) that "The silver ore of pure charity is an expensive article in the catalogue of a man's good qualities; whereas the sentimental French plate I use instead of it.1 makes just as good a show, and pays no tax", and there are countless other examples in the plays of apt and effective metaphor and simile. The student will find also many examples of ironical speech and of dramatic irony in the plays. The disguises of Captain Jack Absolute and of Sir Oliver Surface lend themselves to dramatic irony. So Sir Anthony describes to Jack the beauty of Lydia (III. i) without knowing that Jack is already in love with her. Meanwhile, in the subplot, Faulkland declares that nothing on earth can give him a moment's uneasiness (II. i), and spends the rest of his time pestered by his jealousy. The Carousal Scene, the Auction Scene and the Discovery Scene afford many examples of dramatic irony in The School for Scandal. In The Critic Sir Fretful Plagiary's fear that a dexterous plagiarist "might take out some of the best things in my tragedy and put them into his own comedy" is ludicrous dramatic irony. Alliterative phrases which claim attention will also be noted from time to time, e.g. "the signors and signoras calling here, sliding their smooth semibreves, and gargling glib divisions in their outlandish throats-with foreign emissaries and French spies, for aught I know, disguised like fiddlers and figure-dancers!" (The Critic, I. i). Names as Labels The custom of attaching representative names to characters in plays dates from very early times. In the Morality plays the virtues and vices could often be utilised to represent living people; they were not simply abstractions. Ben Jonson's names invariably suited his "humours", and even in some of our modern plays and novels the suggestion
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of the character of a person is sometimes given by a name. Dickens and Thackeray very often adopted this device. In each of Sheridan's plays the names given to the characters are "ticket" names, and even when people are mentioned only once the name given to them is a "tag" name. In The Rivals the names really refer to "humours", in the Jonsonian sense of the term as "peculiarities" or "special traits". It is inevitable that with such names there is a tendency to stress these qualities to the exclusion of others, to exaggerate Mrs. Malaprop's incorrect use of words, the "languishing" of Lydia Languish, the "absolute" nature ·of Sir Anthony Absolute, so sure that he is always right, Sir Lucius O'Trigger longing for a duel, and Bob Acres the "complete" countryman. Sir Peter Teazle who worries himself, and Lady Teazle who exasperates others are typical "ticket" names in The School for Scandal. The three Surfaces are "superficial" in different ways; Sir Oliver in the deceit he practises upon each of his nephew~, Joseph in his morality, Challes in his lack of responsibility. Crabtree is harsh and crabbed, Sir Benjamin Backbite malicious, Lady Sneerwell bitter, Mrs. Candour outspoken, and Snake is a contemptible secret enemy. Sheridan has &hown much skill in the selection of names for those people who are attacked by the scandt\1-mongers, e.g. Miss Vermillion, Lady Stucco, Mrs. Evergreen, Miss ·Simper, Mrs. Purser, "my cousin Ogle" and the rest. The names in The Critic are particularly appropriate. We have Sneer the venomous critic (cf. Lady Sneerwell in The School for Scandal) and Dangle the time-server, Puff with his laudatory remarks and Sir Fretful Plagiary whose speeches show that his character is in perfect accord with both his names. · Sources of Certain Characters and Scenes When the pendulum had swung in the opposite direction to the licentious plays of the Restoration dramatists, the tendency was for rather mawkish sentiment, and we find Steele writing The Tender Husband. Sheridan made use of both these types of earlier plays; the first kind he used as a model for certain scenes, the second for burlesque.
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In Congreve's Double Dealer there is a screen scene in which the double-dealer (Maskwell) is exposed, which may have given Sheridan the idea for a similar scene in The School for Scandal. The sentimental comedy is certainly burlesqued in The Spanish Armada, especially in the part where the Justice and the Lady meet their son and "faint alternately in each other's arms", and when Tilburina and her confidante both become mad. Sheridan was probably indebted for certain ideas to Fielding's Tom Jones, which was written as a burlesque of Richardson's sentimental novel Clarissa Harlowe. Fielding has the lovable rake, Tom Jones, for his hero and a very sentimental hypocritical character, Blifil, for his villain, and there certainly seems to be a connection here with Charles and Joseph Surface. It is possible that Fielding's Life and Death of Tom Thumb the Great, as well as the Duke of Buckingham's Rehearsal, suggested the idea of burlesquing a play to Sheridan. At any rate, the second of these plays is to some extent the prototype of the tragedy ridiculed in The Critic, for in Buckingham's play the supposed author Bayes, a poet laureate, is supposed to take two of his friends to see a rehearsal, and he often interrupts the actors to discuss stage matters with them. It is generally considered that Sir Fretful Plagiary is a caricature of Richard Cumberland, a writer of sentimental comedies, and it is possible that the character of Bob Acres is based on that of the braggart Bobadill in Ben Jonson's play, Everyman in his Humour, while a foretaste of Mrs. Maiaprop's "malapropisms" can be seen in the speeches of Dogberry in Shakespeare's Much Ado about Nothing. Burlesque. Farce. Comedy
A BURLESQUE calls attention to the foibles of the time by caricaturing them. Among the chief dramatic burlesques of the eighteenth century we find Buckingham's Rehearsal, to which Sheridan was indebted for the idea of his The Critic or A Tragedy Rehearsed. In this burlesque Sheridan ridiculed many tragedies which have perished, but the names of certain people to whom he referred are well known. In The School for Scandal he satirised ladies of fashion, but in The Critic he turned his attention to literary
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critics. Dangle and Sneer were caricatures df the hypercritical people who' searched for flaws in every play; Sir Fretful Plagiary was a caricature of the poetaster Richard Cumberland (1732-1811), author of a number of sentimental comedies, such as The West Indian and The Brothers. In Puff we see an excellent burlesq!Je of the modern public relations officer. The whole farce included in The Critic under the name of The Spanish Armada is a brilliant piece of farcical burlesque. The Duke of Buckingham's Rehearsal strings together parodies of passages taken from other works, but Sheridan invents an original and an equally ridiculous plot. The word FARCE comes from a French word meaning "stuffing", and originally referred to matter added to the liturgy, after which it was applied to the "gags" which actors used to put in to arouse laughter. It has therefore now come to mean a dramatic work designed solely to amuse. In farce it is the situation which counts-the characters are of little interest. None of the characters in Puff's play, for example, has any individuality. Very often the incidents are quite impossible-such incidents occur in the "recognition" scene in The Spanish Armada and also in the presentation of the Thames. Absurdities such as the heroine "going mad in white satin" and her maid following her. example "in white linen" add to the farce. In farce there is often a good deal of what might be called "knockabout energy". Thus we have the Justice, the Lady, and the son fainting in each other's arms, the nieces fighting for the love of Whiskerandos, the duel between the Beefeater and Whiskerandos, and the flourishing of trumpets and of drums. Farce includes exaggeration; we have, for example, in The Spanish Armada, three morning guns instead of one, two people going mad, the episodes of the prayer to Mars, and of the combat with swords and daggers, the silence of Burleigh, and an unusual number of "cuts". Topical dialogue and literary allusions are characteristic of farce, and there are references in Puff's "tragedy" to military and naval matters, to statesmen and politics, as well as excerpts lifted bodily from plays of earlier times. In farces mistakes arise through misunderstanding; this happens when the "foreigners"
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are unintelligible to Mrs. Dangle, and when the farcical play is so unscrupulously "cut". Comical situations-a necessity of farce-arise on many occasions in The Spanish Armada, and the diction enhances the comic effect. Crude farces existed from the thirteenth century, and in the fifteenth century clerks connected with the Law Courts used to concoct this type of comic play with "knockabout" scenes and no sustained plot for their amusement. Cor.rnoY. There is generally a certain amount of farce in comedy, but it is in the background. Burlesque may be present and particular follies shown up, but they will be those follies which are permanent. It is in fact this permanent quality which distinguishes true comedy. Comedy is a mirror not of one special time but of all times, and that is why comedies are of permanent interest. The word is taken from the singer in the old Greek Chorus, and signifies a play of a light and amusing type which has a happy ending. The characters and incidents invariably give rise to laughter. The School for Scandal and The Rivals are comedies, and the first act of The Critic is a comedy rather than a farce, because the individual characters are quite well developed. In Sheridan's other works the plot is elaborate, the characterisation strongly marked, and those follies which are ridiculed are of a permanent type. There can be poignant as well as amusing situations in comedy, as can be observed by the "Auction Scene" and the "Discovery Scene" in The School for Scandal. The Eighteenth-Century Theatre
There has been a tendency to belittle the eighteenthcentury theatre, but we must not forget that it gave us two great dramatists, Goldsmith and Sheridan, and some excellent actors and actresses, among them David Garrick and Mrs. Siddons. Gay's Beggars' Opera, too, belongs to this century, and some of the songs from that and from Sheridan's Duenna have remained favourites until the present day. Some of the Restoration comedies had been frankly immoral, and as a natural reaction from this there was a tendency to produce sentimental "domestic" dramas (see p. 12). One such play was The London Merchant, by George
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Lillo; it was not a well-constructed play but one of the first in which the hero was a figure in humble life. A few other plays with a decidedly sentimental touch were produced and then a change was inaugurated again by the satirical comedies of Samuel Foote, such as The Devil upon two Sticks, and those of the two playwrights who remain as the chief representatives of the theatre of that era, Goldsmith and Sheridan. Goldsmith's She Stoops to Conqller (1773) is still a great favourite with playgoers after two centuries, owing to the humour in the situation, the wit of the dialogue and its healthy spirit devoid of all sentimentality, and Sheridan's plays are still not infrequently performed. Goldsmith and Sheridan redeemed the drama from the mawkish sentimentality, the didactic dialogues, the grotesquely happy endings and various stage-tricks which had come to be typical of the contemporary English stage. Sheridan's Plays as a Mirror of Eighteenth-Century Life All the plays considered in these Notes give a clear but not a comprehensive idea of the life of Sheridan's time; it is one limited to the life of the wealthy leisured classes and their servants. There are references to theatres, of which only three existed in London at that timeCovent Garden, Drury Lane and the Haymarket. It appears from Puff's tragedy that there was a tendency for plays to be very spectacular. Indeed, the popularity of the pantomime dates from this period. Reference is made in The Critic to famous actors of the time, Mr. Dodd, Mr. Palmer and Mr. King, and also to Mr. de Loutherbourg, who was responsible for the painting of many stage scenes at the Drury Lane Theatre. The reading material of the time is shown by the discussion about library books between Lydia and her maid in The Rivals and by various allusions in The Critic. The School for Scandal mentions The --Town and Country Magazine, first published in London in 1769, a society paper often containing items of scandal, and in The Critic, The Morning Chronicle, The Morning Post, The Morning Herald and The Public Advertiser are men-
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tioned. That authors still relied to some extent on patrons can be seen from The Critic, where Dangle is taunted with the remark that he is trying to be a "Maecenas" (I. i), and the literary critics of the day are typified by him and by Sneer. Other ways of passing the time open to people of rank and fortune besides play-going and reading were evidently conversaziones and charades, card-playing, various forms of gambling, concerts, balls and dancing (French dances were very popular) and, occasionally and privately, duelling. Contemporary dress is shown by Tripp's discussion of his master's wardrobe-"the French velvet", "the blue and silver", "the point ruffles", and by Lucy's references to her rewards in various conspiracies-"gowns, hats, ruffles, caps", as well as "a black padusoy", in satin or in linen according to station. Wigs are going out of fashion (The Rivals, I. i), but cosmetics retain their popularity (The School for Scandal). Fag and Trip ape their masters in dress and in other ways. The relationship of father to child and guardian to ward was apt to be strained occasionally as the older person had the power of behaving authoritatively; this is seen in the case of Mrs. Malaprop and Lydia, Sir Anthony Absolute and his son, and Sir Peter Teazle and Maria. In those days there were many more children under guardianship as life was shorter and more uncertain and children were deprived of parents more frequently. Life in town and country was in stronger contrast than in our day. Notice the difference in the appearance of Bob Acres in the country and in town (The Rivals, II. ii), and he affects the latest fashion in swearing, for "Damns have had their day". There is a big difference in the activities of Lady Teazle when she has a similar change (The School for Scandal, II. i). Sedan chairs and Bath chairs were fashionable in the town. Witty speech was cultivated, especially in the town, and in aping their masters the servants seem to speak as wittily as their masters, indeed Puff is censured by Sneer for allowing this to happen in his play. There are more topical references in The Critic than in the other two plays. They are therefore grouped here.
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Pcriodicals.-The Morning Chronicle (I. i, ii), The Morning Post, The Morning Herald and The Public Advertiser (I. ii). Military.-State of the Army (I. i) and the Navy (I. ii), the possibility of invasion (I. i), the War of American Independence (I. ii). Political.-Lord North (I. i) and Charles Fox (I. ii). Buildings,-Theatres. Drury Lane and the Opera HouseCovent Garden (I. i). Prison. The Marshalsea (I. ii). Law Courts. The Old Bailey (I. i). Dramatic.-Contemporary actors (I. ii). Many references to Shakespeare in various parts of the play, and some to Restoration dramatists (I. i).
THE RIVALS Written in 1775 and produced many times at Drury Lane Theatre, The Rivals was an amazingly mature work for such a young man. Wh'en it was first performed at Covent Garden Theatre it was not very successful because the actor who took the part of Sir Lucius O'Trigger was very feeble, but when a different actor was substituted audiences became enthusiastic. Plot
The plot deals with an intricate love-affair. Captain Absolute is in love with Lydia Languish, a very romantic young lady, and in order to gain her affection he pretends to be an ensign called Beverley. Lydia will lose two-thirds of her fortune if she marries without the consent of her aunt and guardian, Mrs. Malaprop, who naturally does not consider an ill-paid ensign a sufficiently good match. Bob Acres seems a more promising suitor to her, but when Sir Anthony Absolute arrives in Bath and suggests his son as a husband for Lydia Mrs. Malaprop is delighted, and the connection with Acres no longer appeals to her. Lydia, however, determines to have nothing to do with Captain Absolute but is set on marrying "Beverley". Meetings are arranged between the young people in which amusing states of confusion appear. Eventually Bob Acres is encouraged by a fiery old gentleman, Sir Lucius O' Trigger, to challenge his rival to a duel. Absolute is also implicated in proposals for a duel. The ladies arrive in time to stop any duelling, and Lydia, having received a thorough fright, forgives her lover for having deceived her and promises to marry him. Another love-story, that of the patient Julia and the jealous Faulkland, provides a sub-plot which provides a foil to the main love-story.
19
20
THE 'PLAYS OF SHERIDAN
Characters Mrs. Malaprop Select words so ingeniously misapplied.
The character of Mrs. Malaprop (Fr. "mal a propos") is admirably drawn. Her "logic" is remarkable. "What business have you, Miss, with preference and aversion?" she asks, adding, "They don't become a young woman; and you ought to know, that as both always wear off, 'tis safest in matrimony to begin with a little aversion." Her ideas on what a girl should know (I. ii) throw light upon her own character as well as providing humour. Her chief characteristic is, of course, her aptitude for misapplying long words. Numerous instances of this occur throughout the play. It is noticeable that some of her remarks have been handed down to the present day and serve almost as cliches, e.g. "I own the soft impeachment". She has foolish ideas of her own importance and of her own attractiveness and is very susceptible to flattery. Her desire for a lover is ludicrous; she sends letters to Sir Lucius and signs herself "Delia", believing firmly that she is an attractive personality. She shows her lack of discernment in another way too; she feels quite sure that Lucy is a "simpleton" (I. ii), and she takes a long time to see in "the new light" that Captain Absolute must have written the rude remarks about her that she has already made him read (IV. ii). Still, she is without malice; she forgives Absolute (IV. ii) and she obviously will never fall in with Sir Anthony's suggestion that Lydia should be clapped "under lock and key" (I. ii). She is very worried when she hears of the prospect of a duel. "Have they drawn poor little dear Sir Lucius into the scrape?" she asks (V. i), and is ready at once to rush to save the situation. Even when her hopes of being married to Sir Lucius are quashed she is . not resentful, and only says rather ruefully to Sir Anthony, "Men are all barbarians" (V. iii). Like all Sheridan's characters she should not be taken .too seriously, however. All are caricatures rather than characters, and ridicule, rather than consistent characterdrawing, is Sheridan's aim.
THE RIVALS-CHARACTERS
21
Sir Anthony Absolute He has too summary a method of proceeding in these matters.
Sir Anthony Absolute is a caricature of a man who wants his own way in everything. He is quick to anger and quick to calm down. Julia seems to find him rather boring-"If we meet he]! detain me, to show me the town" (I. ii). He evidently has strong views on the upbringing of girls, as on everything else. He objects to much of their reading matter (I. ii), and is quite ready to punish his son for being self-willed (I. ii)! Jack Absolute prepares himself for a "parental lecture" (II. i), and evidently tries to propitiate his father at their first meeting. Sir Anthony has very little patience, and his inconsistency when he, with a great excess of anger, declares that he is "cool-quite cool" (II. i) is matched only by his lack of sense when he declares that his love-affair was most romantic (III. i), having previously been chiding his son for not being willing to consider a "marriage of convenience". He is obviously very fond of his son, however, and hurries off (in spite of his gout!) to attempt to prevent his being involved in a duel (V. ii). He can appreciate his son's joke, even when it is played against himself. "I'm glad you have made a fool of your father you dog-I am" (IV. iii) is his final comment on the "Beverley" episode, and he can put aside his aversion to duelling when it is in support of his own wishes. "Well said, Jack, and I'll stand by you, my boy," is his decision when his son says that he will support his claim to Lydia with his sword. At the end of the play he is in excellent spirits, accepting Bob Acres' generosity to "drink a health to the young couples, and a husband to Mrs. Malaprop". Captain Absolute She won't mind me-only tell her Beverley.
Jack Absolute is a warm-hearted young man who loves a good joke and a bit of intrigue. He is evidently a good master; Fag seems devoted to him and models his conduct on that of the Captain. He is not without worldly wisdom; he wishes to gain Lydia, indeed, but not without her fortune in full-"What and lose two-thirds of her fortune?" But
22
THE l'LA YS OF SHERIDAN,
there is something to be said for him when he protests that her accusations wrong him (IV. ii). He fails to realise how his action in keeping her miniature has softened her feelings, and, indeed, won her heart. To Faulkland and in his first conversation with his father (II. i) he is dignified and sensible, though when he is upset by his father's anger the way he vents his ill-feeling on Fag has little to recommend it (although it is very humorous and common to human nature). He enjoys irritating his father (Ill. i) as well as Mrs. Malaprop (III. iii) and Bob Acres (IV. i). He has fixed ideas of honour and is ready to fight Sir Lucius since he has been challenged by him, even though he is unaware of the reason for the challenge. Bob Acres Valour will come and go.
I
d,
Bob Acres is a stock stage character-the country bumpkin come to town. Lydia could never abide his country dres's, but in Bath he is revelling in his freedom from the control of his mother ("ancient madam"). He fancies his town clothes, he has his hair "in training", he learns the latest_ dances, though he retains "an odd kind of a new method of swearing" invented by "a commander in our militia", for "Damns have had their day". Bob is a simple soul, without a mind of his own. He is very open to suggestion, first by Sir Lucius O'Trigger to fight and then by David to the dangers if he does. In spite of his endeavours to establish a reputation as "Fighting Bob", his courage soon "oozes away". He is relieved when Beverley turns out to be his friend Jack Absolute for that gives him an excellent excuse not to fight-he cannot quarrel with his friend. At the end, when he sees that he has no chance of winning Lydia, he becomes the one whose generosity provides a festive conclusion to the events of the play. Lydia Languish Lydia is romantic, devilish romantic.
, Lydia Languish is of such a romantic disposition that she builds castles in the air, picturing herself as the heroine
THE RIVALS-CHARACTERS
•I
23
of an elopement which throws worldly wisdom to the winds and brings the reward of "such paragraphs in the newspapers". That would be "something like being in love". Her choice of library books shows the same inclination, which is in turn fostered by it. She has sufficient determination to oppose her aunt, however, and to be thoroughly annoyed at having been made a dupe, though when the lover who "deserves the punishment of fraud" says that in any event he cannot part with her miniature he wins her heart. So she is thoroughly frightened by the idea of his being in a duel and, mistaking Sir Lucius, she confesses her love with dignity-"Your reproof bids me offer this gentleman my hand, and solicit the return of his affections".
Sir Lucius O'Trigger What the devil signifies right, when your honour is concerned!
Sir Lucius is a caricature of the sort of testy old gentleman who is never happy unless he is concerned in a quarrel (one who is always ready for a kiss from a pretty girl like Lucy). He adds a great deal to the humour of the play by his methods of stirring up the valour of Bob Acres, and, as the time of the duel draws near, casually mentioning the possibility of an "unlucky bullet" and thereafter the "snug lying in the Abbey".
Faulk/and By heavens! Faulkland, you don't deserve her!
Faulkland is enough to make angels weep. His "captious, unsatisfied temper" applies a long drawn out agony to himself, and he sees a thousand grounds for apprehension where Absolute cannot see one. His jealous nature makes him feel annoyed that Julia is on holiday enjoying herself, and he is upset when she appears to be unhappy, so that he is troubled both ways. He blames women in general for his trouble, not himself for his peevish suspicions. It takes him a long time to realise Julia's patient nature, but at length the "awful resolution in her manner" (V. i) convinces him that he has gone too far, and suing for what he so little deserves he pleads that "Hope is the
\
'
24
THE PLAYS OF SHERIDAN
child of Penitence" (V. iii). Jack Absolute's censure of his maudlin doubts is very sound, and he gives him good advice to "love like a man". In the structure of the play Faulkland is a contrast to Absolute, of course, and his niggling suspicions a foil to the more happy-go-lucky intrigues of Absolute, who is content to take the world as he finds it. Julia I know your gentle nature will sympathise with me, though your prudence may condemn me!
With neither caprice nor romance, and the epitome of patience, Julia is a corresponding contrast to Lydia. Her love for Faulkland has grown out of gratitude for the saving of her life, and the desire to carry out the wishes of her father (contrast Jack Absolute and Lydia). She is not, however, blind to his faults and ultimately gives him a salutary lesson when he tests her love by deluding her into believing that he must fly the country (V. i). At the end of the play her· patience and loyalty are rewarded (if the possession of Faulkland for a husband can be counted a reward), and Faulkland confesses that she has "by her gentleness and candour, reformed the unhappy temper of one, who by it made wretched whom he loved most, and tortured the heart he ought to have adored". The language of Julia and Faulkland is absurdly formal throughout the play.
SUMMARIES OF SCENES AND TEXTUAL NOTES PROLOGUE
The scene is supposed to be laid in a law-court. The attorney, or solicitor, is "pleading" the cause of the play .before the serjeant-at-law (barrister). He wishes for a good verdict and feels sure that the audience acting in the capacity of jury will give a favourable one. The Serjeant at-law will be the more inclined to judge leniently, as he is well paid.
THE RIVALS-SUMMARY AND NOTES
25
Mr. Woodward. Took the part of Captain Absolute in the play, and Mr. Quick that of Dob Acres. Dibble. (Connected with "dabble".) "To dip" as in angling. The attorney is paying money into the hands of the barrister who finds his sight wonderfully improved as the amount of money increases. sons of Phrebus in the courts. Phrebus Apollo was the god of poetry. The speaker means that the barrister himself is interested in poetry and perhaps even a poet himself and that there are others like him in the Law Courts. fifty sons of Phrebus in the Fleet! The Fleet was the debtors' prison. The Serjeant means that poets are usually very poor and therefore many are imprisoned for bankruptcy. decent sprig Of bays. Poets used to be crowned in classical times with a wreath of bay-leaves. The whole speech means that a judge or a barrister need not be worse than others at his profession because he happens to be a poet as well. Full-bottom'd heroes ... in a grove of curl. It would be very curious if a barrister were to advertise his profession by showing a picture of a barrister's large wig on which was the poet's laurel-wreath. A full-bottomed wig belongs to a judge, or to a highly-qualified barrister. This wig is warmer than a bush of bays, i.e. one can make more money by the law than by poetry. brief. The statement by a barrister of a client's case. damn'd in equity, escape by flaw. Equity is really moral justice and can be applied when, if the rigid rules of law were kept, great hardship might be endured. The barrister means that when some people should be condemned by moral law, they escape through some legal flaw. . Writ of error. If a litigant applies to a Court of Appeal against an error in the judgment which has been passed in a lower court, the latter gives a written record of such error. Drury-lane. See p, 5. Costs of suit. When a litigant loses his case he generally has to pay the costs of the Court. PROLOGUE, SPOKEN ON THE TENTH NIGHT
The actress begs the audience to realise that the play is a Comedy and therefore its function is to produce enjoyment, not to point a moral or to arouse great feeling. The sentimental muse. The Muse that sets out to teach morality. Both Goldsmith's and Sheridan's plays were a reaction from the sentimental comedies that had previously been written. Pilgrim's Progress. The allegory which John Bunyan started while in prison. rue. Symbolising repentance. her sister. Melpomene, the muse of Tragedy. Dunstal took the part of David, Quick that of Bob Acres, Ned Shuter that of Sir Anthony Absolute, Madame Barsanti that of Lydia Languish, and Mrs. Green that of Mrs. Malaprop.
..._,
26
TJIE PLAYS OF SHERIDAN
ACT I. SCENE I As in many plays the opening scene is a conversation between servants, which gives the situation and prepares the audience for the main characters. The remarks of Fag and Sir Anthony's coachman show that Lydia Languish has romantic ideas, that Captain Absolute is posing as an ensign in order to gain her affection, that he has never met Mrs. Malaprop, the "old tough aunt", and that servants do not find Bath a very lively place. At the end of th~ scene Lydia's maid Lucy is seen accepting money from Captain Absolute.
Odd's life. A corruption of "God's life". The oath was originally curtailed owing to an act of James I's reign forbidding the blasphemous use of the name of God on the stage. Cf. "Zounds!" (God's wounds) and "Zooks!" (short for "Gadzooks!", though in this case the "zooks" is an exclamation without meaning) later in the scene. Ensign. The lowest rank of army officer, corresponding to Second Lieutenant. a masquerader ... Jupiter, i.e. disguises have always been used in Jove. Jupiter disguised himself as a bull when he wished to carry off Europa, and when she climbed on the supposed animal's back he dashed off with her to Crete. Notice that in the eighteenth century servants were commonly unable to read. whips, i.e. horse-drivers. ton, fashion. Wigs were very fashionable in the time of Queen Anne and George I & II, but during the reign of Geroge III the fashion declined. on the bar. the box. Among barristers. Coachmen. There is a pun here, since a coachman had to step on to a bar to reach his seat on the box. carrots, i.e. carroty-coloured hair. bob. A wig cut short and straight along the bottom. severally, separately, by different ways. ACT
I.
SCENE II
This scene shows· at the outset Lydia's love of "romantic" novels, and her "romantic" ideas are later disclosed to her friend Julia. It is learnt that Julia has a lover who once saved her life but is rather exacting and difficult. Mrs. Malaprop and Sir Anthony Absolute agree to the marriage of Captain Absolute and Lydia, and the scene ends with Lucy's disclosure of the bribes she obtains by doublecrossing the various lovers, including Sir Lucius O'Trigger, who imagines that he is corresponding with Lydia but whose love-letters are really taken to Mrs. Malaprop .
THE JUVALS-SUMMARY AND NOTES
27
what have you brought me? Among the books mentioned the only ones ever heard of now are Peregrine Pickle, an amusing tale of a spendthrift, by Tobias Smollett (1751); Humphrey Clinker, a sentimental story in which a boy from the workhouse finds rich relations, also by Smollett (1771); The Sentimental Joumey, an account of Laurence Sterne's travels in France (1768); The Whole Duty of Man, a devotional work which had enormous popularity for over a century (1658). blonds, pieces of white lace. rout, party. hide these books. Roderick Random, another story by Smollett (1748), where a young Scotsman gets into various difficulties; The Ma11 of Feeling, a series of sentimental sketches by Henry Mackenzie (1771); of the books to be left i11 sight, Mrs. Chapone refers to her Letters 011 the Improvement of the Mind (1773); Fordyce's Sermons to Sermons addressed to Young Women (1765); and Lord Chesterfield's Letters to a collection of moral letters called Letters to my Son (1774). marble covers! i.e. marble designs on their covers. Huxions. The Newtonian calculus. Gemini! The twins (referring to Castor and Pollux in Roman mythology-if Lucy only knew what her oath meant!). padusoy, A silk garment (from Padua). Hibernian, Irishman. '' MALAPROPISMS''
illiterate (obliterate), extirpate (extricate), controvertible (incontrovertible), intricate (obstinate), misanthropy (misanthrope), laconically (ironically), progeny (prodigy), fluxions (fluctuations), paradoxes (paradigms), inflammatory (informatory), artifice (art), supercilious (superficial), geometry (geography), contagious (contiguous), orthodoxy (orthography), reprehend (comprehend), superstitious (superfluous), illegible (ineligible), intuition (tuition), artificial (artful), malevolence (benevolence), locality (loquacity). REVISION QUESTIONS ON ACT I I. Pass a few comments on Lydia's reading. 2. What do you gather of Lydia's romantic nature from this Act? 3. Give Julia's defence of Faulkland's character.
r
ACT II. SCENE I Captain Absolute and Fag decide on a "reason" for their presence in Bath; Faulkland enters and clearly shows the jealous nature of his affections for Julia Melville, but is overjoyed at hearing that she too is in Bath. His enjoyment is cut short, however, by Bob Acres' account of her robust health and good spirits when away from
28
THE PLAYS OF SHERIDAN
him. Sir Anthony comes on the scene with "plans for Jack's marriage, but his son, not knowing the lady's name, refuses to concur, and Sir Anthony leaves him in a temper. Here the two gentlemen lovers meet, corresponding to the two ladies in the previous scene. whips. See p. 26. not a syllable, upon my veracity! See Act I. Sc. i. disbanded chairmen, unemployed men whose trade it was to wheel people in Bath chairs or carry them in sedan-chairs. . minority waiters, young men under 21 waiting for their inheritance and taking any job meanwhile. indorsements. When one endorses a bill one writes on the back of it (Lat. dorsum) as a record that one is responsible for it. gentleman, i.e. servant. farrago, medley. the Mall. A fashionable part of London (from "pall-mallet", a game played there). Cf. also Pall-Mall. . the German Spa. A town (now in Belgium) famous for its mmeral springs, a name since added to that of other towns seeking popularity for the same reason. harpsichord. A musi_cal instrument, predecessor of the pi~n9. squallante, rumblante, and quiverante. The words are comic mventions of Bob Acres (or of Sheridan!). . is not music the food of love? A reminiscence of the first lme of Shakespeare's Twelfth Night, "If music be the food of love, play on", purling-stream airs, i.e. sentimental songs. palming, holding hands. managed, i.e. well-trained. looby, fool, cf. "lubber". cashier, dismiss, i.e. get rid of (my country clothes). by Jove •.• by Pallas! Oaths by gods of ancient Rome or Greece. "the oath .•• the sense." A parody of a line in Pope's Essay 011 Criticism, "The sound must seem an echo to the sense". Let her foreclose. If you do not keep your pledge, let her get rid of you and do as well as she can. If money is lent on security (e.g. of land or a house) and is not repaid on the due date the lender can. sell the security in order to recoup himself and this is called foreclosing the loan. · the bull's in Cox's Museum. That of a stuffed animal-in a museum of curiosities. the poor turnspit. "The cook's dog", which was unable to get away from a small treadmill and was used in a kitchen to turn the spit on which the meat was cooked. triumvirate! a council of three men, here of three puppies. ACT . II. SCENE II Lucy's skill in intrigue is further shown in her conversation with Sir Lucius O'Trigger. She makes him believe
.... I
THE RIVALS-SUMMARY AND NOTES
29
that Lydia is in love with him. She also tells Fag the news that Sir Anthony Absolute has suggested his son as a husband for Lydia. I
dear Dalia. Lucy is mocking Sir Lucius's Irish accent. Gemini. See note p. 27. habeas corpus. The Habeas Corpus ("have the body") Act was drawn up in 1679 to ensure that prisoners could not be imprisoned without trial and had the right to be present at their own trial. Sir Lucius means that the words pressed into service in Mrs. Malaprop's letter would be set free from their servitude by any court in Christendom. nice, particular, discriminating. call him out, i.e. to a duel. Fag is suspicious that Sir Lucius is a rival of his master. "MALAPROPISMS''
incentive (instinctive), induction (attraction), commotion (emotion), superfluous (superficial), punctuation (punctiliousness), infallible (ineffable). REVISION QUESTIONS ON ACT II I. Discuss the lack of consistency in the characters of (a) Faulkland, (b) Sir Anthony Absolute. 2. What part is played by servants in this Act? ACT III. SCENE I Having learnt from Fag that the lady whom his father wishes him to marry is none other than Lydia, Captain Absolute effects a reconciliation with his father.
at twelve years old. A comic exaggeration. a marching regiment, i.e. a· regiment destined for service abroad. onr country, i.e. our part of the country.
nice. See note above stock, post, "block" of wood. be the Promethean torch, i.e. bring down the fire (of love). Prometheus stole fire from the gods in order to bring it to mankind. ACT III. SCENE II In conversation with Julia, Faulkland shows his captious nature, full of jealousy and distrust; Julia behaves with forbearance but eventually cannot stand any more of his cross-questioning and leaves the stage in tears.
veering but a point, i.e. a point of the compass. in this vain article. Pointing to his (or her) face.
30
THE PLAYS OF SHERIDAN
!Ethiop, coloured man (in Sheridan's time. the general word for a coloured person from any country). when love receives .. , of its birth, i.e. when love is prudent discriminating people will wonder if it is real. ACT III. SCENE Ill Captain Absolute calls on Mrs. Malaprop, who shows him his own last letter to Lydia, little thinking that she is showing it to the writer. She insists on his reading it aloud, rather to his discomfiture, and he proposes that she should connive at the elopement and that he should rescue the infatuated young lady from Captain Beverley. Mrs. Malaprop thinks this a good idea. Jack Absolute requests permission to see Lydia, and when the young lady enters alone she is surprised to find "Beverley". Mrs. Malaprop, eavesdropping before she enters, overhears part of the conversation, which, however, does not convey the real truth to her. She sends Lydia to her room and takes an amiable f~rewell of her visitor.
stroller, i.e. strolling vagabond. sel'erally. See note p. 26. "MALAPROPISMS''
accommodation (recommendation), ingenuity (ingenousness), ineffectual (intellectual), pine-apple (pinnacle), exploded (exposed), conjunctions (injunctions), preposition (proposition), particle (article), hydrostatics (hysterics), persisted (desisted), interceded (intercepted), reprehend (comprehend), oracular (vernacular), derangement (arrangement), epitaphs (epithets), allegory (alligator), graceless (graceful). ACT III. SCENE IV Bob Acres is very pleased with his new clothes, which are totally unlike his usual country outfits, and he enjoys the compliments of his man, David. When Sir Lucius O'Trigger enters he expresses his chagrin at being dismissed from his pursuit of Lydia as another rival (Beverley) has come on the scene. Sir Lucius encourages him to send . a challenge to this rival. The irony of it is that Sir Lucius O'Trigger is paying his addresses to "dear Dalia", whom he imagines to be the young lady of seventeen. (See Lucy's speech at the beginning of 11. ii.)
I become it, i.e. it becomes me. monkerony, macaroni, a contemporary term for a dandy.
THE RIVALS-SUMMARY AND NOTES
31
pri:1t~shops. Shops selling prints, sketches, maps, etc.
an, 1f. .f Tester, a bed-canopy (the name suggesting a chamber-maid). Oons! A contraction of "Zounds", see note on "Odd's life", p. 26. hold a gallon, bet a gallon. balancing, and chasing, and boring. Sink, slide-coupee. Dancing
terms.
tabors! Small drums. valued, i.e. thought difficult. allemandes. An allemande was a German dance resembling a waltz. pas,
step (Fr.)-"paw", according to Bob Acres!
anti-Gallican, anti-French. Cupid's Jack-a-lantern, Love's will-o-the-wisp.
Roman god of love.)
(Cupid was the
Achilles. Alexander the Great. A mythological and an actual example of ancient conquest. pans. Part of a contemporary gun. in the militia! Bob Acres has to qualify his boast-in the homeguard, not in the regular army. the milk of human kindness. A phrase from Macbeth (I. v). as the man in the play ... deeds! Probably another Shakespearian reference (if Sheridan has any actual allusion in mind) in which case the thought could be paralleled in the words of Hamlet, King Lear or Hotspur. The very fact that Bob Acres says "the man in the play" is meant to emphasise his lack of education. compose. Punning on the word (calm yourself, or write). King's-Mead-Fields. On the west side of Bath. let, i.e. even if. call him out. See note p. 29. Notice the humorous antithesis with "fall in". REVISION QUESTIONS ON ACT
III
I. Give a clear account of the third scene from the moment when Lydia enters. 2. Write out the contents of the letter which Mrs. Malaprop gives Absolute to read. 3. In spite of their pretensions, how in this Act do Bob Acres and Sir Lucius O'Trigger show themselves to be fools? 4. How far do the soliloquies in this Act help in the working out of the plot? ACT IV. SCENE I Bob Acres' courage, which has been raised by Sir Lucius O'Trigger, becomes diminished when his man, David, points out the perils of the situation, but he determines
32
THE PLAYS OF SHERIDAN
to send the challenge to Beverley. Captain Absolute promises that, as he knows the gentleman, he will deliver the challenge, but he refuses to act as Acres' "second" in the duel. He agrees to supplement the challenge with a report of what "a determined dog" Acres is. cormorants. Cormorants have a reputation for voracity. quarter-staff, or short-staff. Weapons used in rustic duels-a
long staff (held in the middle and at one of the quarters) or a short staff. · sharps and snaps, swords and pistols. I go to the worms . .. to my enemy. Falstalf's view of honour in King Henry IV, Part I. double-barrelled swords ... pistols! The comic transfer of adjectives shows David's consternation. I would't lend . .. stable. Perhaps a reminiscence (by Sheridan -not one intended to be carried over to David) of Sir Andrew Aguecheek's gift to get out of a duel in Twelfth Night. St. George and the dragon. St. George, the legendary conqueror of a fierce dragon, is the patron saint of England. it would not be quite so proper. Since he is supposed to be "Beverley's" friend. ACT IV. SCENE II As Mrs. Malaprop is praising Captain Absolute to Lydia, the gentleman and his father are announced. Lydia turns her back on everybody until she hears her lover's voice, when she turns round exclaiming that she is listening to Beverley. Absolute then has to explain the situation; his father is quite amused and succeeds in making Mrs. Malaprop forgive him for the letters in which he has been uncomplimentary to her. Lydia and Absolute are left alone, but she, feeling that all the romance has gone from her love, refuses to forgive him for his deceit. Sir Anthony rather misunderstanding the situation, on his re-entry suggests that Mrs. Malaprop must try to reconcile the lovers. "Hesperian Curls ••• Harry Mercury, new-"
The correct quotation
(Hamlet, lll. iv, 56-9) is:--'Hyperion's curls; the front of Jove himself; An eye like Mars, to threaten and command; A station like the herald Mercury New-lighted on a heaven-kissing hill.
their regimentals, i.e. the uniform of their regiments, their regin'tental dress. side-front, i.e. side-view.
J
THE RIVALS-SUMMARY AND NOTES
33
~edlam. A contraction of "Bethlehem". St. Mary of Bethlehem's Pnory, Moorgate, was a mental hospital from 1547. The name "Bedlam" soon came to be used of mad people generally. "Youth's the season made for joy," A line from Gay's Beggar's
Opera, Cupid's calendar, i.e. the history of their love. Cf. note on "Cupid's
Jack-a-Lantern", p. 31. ' Cerberus. The three-headed dog which, in Classical mythology, guarded the gates of Hades. "MALAPROPISMS"
.caparisons (comparisons), physiognomy (phraseology), similitude (s1m1le), affluence (influence), compilation (appellation), anticipate (be retrospective about), retrospection (anticipation), analysed (paralysed). ACT IV. SCENE Ill As Absolute is walking along, feeling very discontented at Lydia's treatment of him, he is accosted by Sir Lucius O'Trigger, who enters into a quarrel with him without stating any reason. Being in an ill-humour Absolute accepts Sir Lucius's challenge to a duel and arranges to meet him in King's Mead Fields. Faulkland arrives and relates his troubles in love. He is given a note from Julia in which she forgives him for his late treatment of her, but still unable to trust absolutely in her selflessness he determines to "try" her still further by an idea started in his head by Absolute's duel.
I wonder ..• hides himself! See Sir Lucius's last speech but one in Act III, Sc. iv. a bit of red cloth, i.e. a soldier's uniform. pretty small-sword light .. , long shot, i,e. light enough to fight at close quarters with small swords, but not to take range with pistols. REVISION QUESTIONS ON ACT IV 1. Contrast Acres' attitude to a duel in the presence of Sir Lucius at the end of Act III with that before David in the present act, and show the power of either of them to influence him. 2. Discuss the references to honour in Act III, Sc. iv and in Act IV, Sc. i, showing in what way they reflect different attitudes to life. 3. Retell, in your own words, the main events of Sc. ii.
34
THE PLAYS OF SHERIDAN
\
V. SCENE I Faulkland carries out his intention and tells Julia that he has been drawn into a quarrel, that his "life is forfeited" and he must "fly the kingdom". She is at once ready to help him by fleeing from the country with him; he then tells her that he has deceived her in order to prove her love. At this she loses patience and assures him that she will never marry him or anyone else; he realises, when she has gone, the rightness and dignity of her behaviour and has the grace to be ashamed of himself. Thus he goes to the duelling appointment feeling that he would prefer to be a principal in it rather than a second. Meanwhile Lydia sees Julia and confesses her chagrin at Absolute's treatment of her; but Julia explains that she has already learnt of Beverley's real identity and counsels her friend not to despise the love of a good man. David and Fag have brought the news of the duel to Mrs. Malaprop, she enters with them in much excitement and the three ladies hasten with Fag to King's Mead Fields, while David rushes along to tell Sir Anthony Absolute. ACT
sister, i.e. girl-friend. a mere Smithfield bargain, i.e. a wife with terms about settlements, etc., agreed by parents or guardians. Smithfield market was then the chief cattle market in London. Conscious moon, i.e. by ·night-only the moon a witness of their elopement. Scotch parson, i.e. at Gretna Green. clerk, i.e. parson. the Fields, King's-Mead-Fields. See III. iv. Philistine, i.e. unbeliever, persecutor, from the name of the chief enemies of the Israelites in the time of David and Saul. Derbyshire petrifactions, i.e. the stalactites and stalagmites in the Derbyshire Peak district. Mrs. Malaprop gets this word right! "MALAPROPISMS"
paracidc (parricide-here used for murder in general), simulation (dissimulation), antistrophc (catastrophe), enveloped (disclosed), perpendiculars (particulars), participate (precipitate), felicity (velocity), exhort (escort}, precede (proceed).
ACT V. SCENE II Captain Absolute, hiding a sword under his great-coat, unexpectedly meets his father on the South Parade. He tries to disclaim acquaintance but is not successful, and
THE RIVALS-SUMMARY AND NOTES
35
his father discovers that he is carrying a sword. Jack manages to deceive his father as to his reason for this (to pretend to impress Lydia that if she refuses to forgive him he will commit suicide!). No sooner has the young man gone than David rushes up to Sir Anthony with a confused story of the impending duel. A sword ... a mad dog. .Beau Nash, who ruled Bath socially in the first half of the eighteenth century had banned the wearing of swords in Bath. Their actual use had been illegal for fifty years. ACT V. SCENE III Bob Acres' courage keeps oozing away as the hour of the duel approaches, in spite of the attempts of Sir Lucius to bolster it up. Absolute and Faulkland arrive and Sir Lucius thinks that Faulkland must be Beverley and that the Captain is going to act as "second" for his friend before entering on his own duel. Acres, however, explains that Faulkland is a friend of his. Sir Lucius is disappointed and suggests that Faulkland should fight, as he happens to be present, and Faulkland seems ready to do so. However, Acres refuses to fight with him, and Jack Absolute then reveals the whole truth. Acres, secretly very relieved, refuses to fight his friend Absolute, and bears all the taunts of Sir Lucius with equanimity. Sir Lucius is certainly not going to forego his own duel, so he calls on Absolute to draw his sword. At this moment the others enter and Sir Lucius agrees to explain the reason for his grievance. He accordingly shows a letter which Lucy has brought him and which Mrs. Malaprop immediately claims, stating that she is the "Delia" with whom he has been corresponding. Matters are thus cleared up: Lydia offers her hand to Captain Absolute, alias Ensign Beverley, and Julia and Faulkland are reconciled. But Mrs. Malaprop is left without a lover!
quietus, release (from the troubles of life). Hamlet (Hamlet, III. i) · speaks of gaining a "quietus" with a "bare bodkin". the Abbey. Bath Abbey, a beautiful sixteenth-century abbeychurch. side-front. See note p. 32. I serve his majesty, i.e. I cannot decline a challenge. called me out. See note on "call him out", p. 29. tabors. See note p. 31.
•
36
THE PLAYS OF SHERIDAN
the New Rooms. As indeed they were in 1775, when they had been open only four years. They were later known as the Assembly Rooms. In 1942 they were burnt out as a result of enemy action, and were reopened, after rebuilding, in 1962. ''MALAPROPISMS''
delusions (allusions), dissolve (solve, or resolve), illuminate (elucidate), Vandyke (vandal), EPILOGUE
The actress points out that the only moral that can be drawn from the play is "Love gilds the scene and women guide the plot". She gives illustrations from various walks of life to show the influence of women on citizen, countryman, squire, "jolly toper", statesmen, peasant, sailor and soldier, and ends by saying that wise men, while appreciating beauty in a woman, also value "sense and merit". damn'd, i.e. as a failure on the stage. cit, citizen . .John Trot, i.e. country fellow (as opposed to the citizen). blade, dashing young fellow. Bacchus. Roman god of wine. kisses Chloe ... brim! i.e. in his drunkenness he sees the face of his
lady in the sparkle of the wine. in scenes of humbler life. Notice the contrast with farm-workers in the welfare state today. tar, sailor. fairly, i.e. justly.
J. REVISION QUESTIONS ON ACT
V
1. How is the true character of each of the duellists shown in the moment of crisis in Scene iii? Give quotations to support your remarks. 2. Briefly describe the e'ncounter of the Rivals at King'sMead-Fields and relate the consequences. 3. Do you consider the "moral" speeches at the end in keeping with the tone of the rest of the play? 4. Does the ending of the play show signs of hurry or is the denouement a good example of stagecraft?
THE RIVALS-SUMMARY AND NOTES
37
The Rivals l. Name the rivals in Sheridan's play, explain the reasons for their rivalry .and trace its course through the play until their reconciliation at the end. 2. How do Lucy's manoeuvres complicate the plot of The Rivals? 3. Take any three characters in The Rivals and show how their names fit their characters. 4. Write a brief account of the part played by Mrs. Malaprop in The Rivals. Quote three or four of her "malapropisms" (adding the correct word also). 5. What do the Julia and Faulkland episodes contribute to The Rivals? Illustrate your answer from the play. 6. "The characters of The Rivals are so entertaining that the slightness of the plot is overlooked." Consider this opinion with reference to two of the following characters:Sir Anthony Absolute, Mrs. Malaprop, Bob Acres. 7. Contrast the characters . of Lydia and Julia, and of Captain Absolute and Faulkland. 8. "Hasty in everything." Show that this is true of Sir Anthony Absolute. 9. How do (a) Lydia, (b) Faulkland provoke the people they love? 10. Compose a letter, supposed to be written by Julia to an old friend (not Lydia) who has advised her not to marry Faulkland. QUESTIONS ON
TJIE SCHOOL FOR SCANDAL The School for Scandal was produced in 1777. It was really inspired by the slanders which had been suffered by Sheridan himself under the fashionable and pleasureloving society of Bath five years before he wrote the play. It is a brilliant comedy of manners, full of satirical hits at sham benevolence, with the usual contrast between the careful humbug and the wild good-hearted rake. The play was advertised to be "Performed but once ... this present Friday, the 9th of May, 1777", but in the event it excelled The Rivals and ran for twenty nights. Plot In it two brothers are strongly contrasted (variants of Captain Absolute and Faulklanc!) the hypocritical Joseph and the good-natured but extravagant Charles, who is in love with Maria, the ward of Sir Peter Teazle. Joseph would like to marry Maria for her money but makes love to Lady Teazle, the young wife of the fifty-year-old Sir Peter. Lady Teazle's diversions are quarrelling with her husband and listening to the gossip of various scandalmongering acquaintances. Sir Oliver Surface, the rich uncle of Joseph and Charles, comes back unexpectedly from India, and, since he hears disquieting reports about the character of Charles, he tests both his nephews by presenting himself to Joseph as a poor relation and to Charles as a money-lender. The latter disconcerts him by selling him all the family portraits, except one of the uncle himself-"that ill-looking little fellow over the settee". Joseph, having Lady Teazle in his room, hides her behind a screen when Sir Peter suddenly arrives. Later, on the arrival of Charles, Sir Peter hides of his own free-will. Thus Lady Teazle overhears how well Sir Peter means to treat her, and Sir Peter realises that certain suspicions of his concerning Charles and Lady Teazle have been unfounded. A little later still the screen is thrown down and Joseph's perfidy is exposed. His hypocrisy too is revealed to his uncle when the latter visits him as the poor 38
nm SCHOOL FOR SCANDAL-CHARACTERS
39
relation, Mr. Stanley, and at the end of the play the "college" of scandal is shown to be contemptible, Charles and Maria arrange to marry, and Sir Peter and Lady Teazle are re-united. The plot is cleverly constructed and the "picturegallery" scene and "screen" scene are delightful. Characters Sir Peter Teazle I was never mistaken in my life.
Sir Peter Teazle is the traditional stage "old" husband. (A teazle is a plant with a large prickly head formerly used in dressing cloth.) He "teases" himself continually by worrying about one thing and another, and is quite unable to understand the light-hearted kind of "teasing" employed by his wife and by Charles. It is for this as much as for their extravagance that he finds fault with both of them. He is frightened of being laughed at-"I should never be able to stand Noll's jokes" (I. ii), and "when it is known that we are reconciled people will laugh at me ten times more" (V. ii), and it is this fear of losing his dignity that makes him so irascible. Sometimes he tries to conceal this fear by sarcasm-"! think being a standing jest for all one's acquaintance a very happy situation" (V. ii), but at the end of the play he has sufficient good-sense to agree to the suggestion made by Rowley, "Let them laugh, and retort their malice only by showing them you are happy in spite of it" (V. ii). His soliloquies show that he is genuinely attracted to his wife-"with what a charming air she contradicts everything I say, and how pleasantly she shows her contempt for my authority" (II. i), "the worst of it is, I doubt I love her or I should never bear all this" (I. ii). His delight when the letters written apparently by her to Charles are proved to be forgeries makes him speak reasonably gently to Snake. "Well, well, you have made atonement by a good deed at last." He certainly has some cause for his ill-temper because his wife is extravagant and spends her time with ill-chosen companions, and when Maria too seems determined to flaunt his authority it is no wonder that he complains
40
THE PLAYS OF SHERIDAN
"Was ever man so crossed as I am? everything conspiring to fret me!" (III. i). Much of his trouble, though, certainly comes from his own belief that he is always right. His attitude towards many people was similar to that adopted towards his wards-"Of course, no person could have more opportunities of judging their hearts, and I was never mistaken in my life." His honest, though dogmatic character, is entirely opposed to that of the scandal-mongering acquaintances of his wife; he criticises them openly and says as he leaves their company, "I leave my character behind me" (II. ii).
Lady Teazle I ought to have my own way in everything, and what's more, I will, too_.
Lady Teazle, young and feather-headed, is an example of the way in which an unsophisticated country girl can become involved in excesses of various kinds when plunged into the world of fashion. Her remarks are just as scandalous and pointed as those of her friends; it is she who makes such "acid" personal remarks about Miss Vermilion, Miss Simper and Lady Stucco. Indeed, Mrs. Candour compliments her on this by saying, "Truly Lady Teazle is as censorious as Miss Sallow"; and that the young wife means her words to be unkind is illustrated by her retort to her husband who thinks that true wit can be allied to good nature, "I believe they are so near akin that they can never be united" (II. ii). Her life before she was married was so narrow that it is not strange that she plunged into riotous gaiety when she had the opportunity, and her innocence is shown by the manner in which Joseph coul~ so easily hoodwink her. But she still remembers the modesty and goodness of her country nurture, and when Joseph hypocritically states that he is too honourable to wish her to do anything she thought would be wrong, she retorts swiftly, "Don't you think we may as well leave honour out of the question?" (IV. iii). She is easily moved by her husband's generosity, and it would be difficult to find a more sincere expression of affection
THE SCHOOL FOR SCANDAL-CHARACTERS
41
than her statement, "the tenderness you expressed for me, when I am sure you could not think I was a witness to it, has penetrated so to my heart, that had I left the place without the shame of this discovery, my future life should have spoken the sincerity of my gratitude" (IV. iii). She is, fundamentally, so lovable, that though we feel quite sure she will tantalise Sir Peter sometimes, her husband's words to Charles and Maria seem prophetic, "May you live as happily together as Lady Teazle and I intend to do" (V. iii). Maria Wit loses its repect with me, when I see it in company with malice.
Maria has a firm and dignified character. Though she does not often appear, the remarks made of her by other people are illuminating. She speaks her mind to the women who delight in scandal. "I am very sorry, ma'am, the town is not better employed", "'Tis strangely impertinent for people to busy themselves so" (I. i). Her sensitive nature is hurt by their words and she finally has to plead illness in order to hasten away from their suggestive remarks. She estimates character better than many of the people in the play; she is not misled by Joseph's apparent morality, she abhors Sir Benjamin Backbite's attentions and realises the genuine qualities of Charles. She is not afraid of Sir Peter's truculence, though she bows to his authority as a guardian. "You know I have obeyed you in neither seeing nor corresponding with him," she says in connection with his commands concerning Charles, yet she upholds her own dignity, " 'Tis true, by my father's will, I am for a short period bound to regard you as his substitute; but must cease to think you so, when you would compel me to be miserable" (III. i). When she really thinks, owing to the forged letters, that Charles and Lady Sneerwell care for one another, she is generous and singularly lacking in any jealous feelings. "I shall rejoice to hear that he is happy; for me-whatever claim I had to his affection I willingly resign to one who has a better title" (V. iii). Indeed, it would not have been difficult to find a better husband for her than Charles. :
42
THE PLAYS
or
SHERIDAN
Joseph S111face That s111ooth-tongucd hypocrite.
Joseph Surface is from first to last a sly hypocrite, all things to all men. He cannot be natural and sincere even with Lady Sneerwell, who reminds him that he need not trouble to be "moral" as he is among friends. He is outwardly polite to Snake, but denounces him to Lady Sneerwell in his absence (I. i). His attitude to Maria, whom he wants to marry for her money, is calculated to please her; he agrees with her apparently whole-heartedly in her denunciation of those who "propagate a malicious truth wantonly", and he obviously talks to Sir Peter in the same strain. His attitude to Lady Teazle is despicable and he well merits her description of him as a "smoothtongued hypocrite''. (IV. iii). He is ingratiating even to people of weak character. His- uncle observes this trait when he says, "He has bowed as low to knaves and fools as to the honest dignity of genius and virtue", and before the end of the play more than one person echoes Sir Oliver's retort, "Oh! plague of his sentiments!" (II. iii). He is thoroughly mean in money matters also, and refuses to help Mr. Stanley, stating untruthfully that his uncle from India has not been generous towards him, merely giving him "a few presents now and then" (V. i). This mean quality is considered by him as a subject for pride. "The silver ore of pure charity is an expensive article in the catalogue of man's good qualities; whereas the sentimental French plate I use instead of it makes just as good a show and pays no tax" (V. i). He tries to injure others by underhand means to the very end. He pretends that Charles and Lady Sneerwell are lovers, and when this attempt at revenge is foiled he goes out with a moral remark upon his lips, causing Sir Peter to exclaim, "Moral to the last drop!".
Charles Surface I'll make no promises.
Charles Surface is a stock character in fiction, the heedless, extravagant young man whose heart is golden. He is ,always ready to help a man "down on his luck".
\
THE SCHOOL FOR SCANDAL-SUMMARY AND NOTES
43
Trip and the other servants consider him a good master, even though their wages are "sometimes a little in arrear" (III. ii). The sincerity of his gratitude to Sir Oliver is evinced by his refusal to sell the picture of the "ill-looking little fellow over the settee", even though he is offered "as much for that as for all the rest". When he is to be married to Maria and he declares that he will make no promises about reforming, we feel with him that we can take that as a proof that he "intends to set about it", though his logic is not clear. SUMMARIES OF SCENES AND TEXTUAL NOTES PROLOGUE
The great actor. See p. 5. the vapours, hypochondria. quantum sufficit, enough to suffice (for a cure). Lisp, i.e. her maid. poz, positively. Proud .•• bcstow'd, i.e. on The Rivals. Don Quixotc, i.e. Sheridan, under the name of Cervantes' hero, who was engaged in absurd adventures in the satirical romance of that name. hydra. A snake in Greek mythology whose many heads grew again when cut off. The destruction of this snake was one of the labours of Hercules. cavalliero, i.e. cavalier. Mr. Garrick.
ACT I. SCENE I Lady Sneerwell confesses to Snake that she would like to put an end to the attachment between Charles Surface, a very gay young man, and Maria, the ward of Sir Peter Teazle, because she herself is in love with Charles. Joseph Surface, the brother of Charles, enters, and the three conspire to spread scandal about Charles and see that it reaches the ears of Maria. When Snake goes out to write letters Joseph suggests that he is disloyal to his two confederates. (Whoever the person, once he is out of earshot his character has gone.) Maria enters hurriedly, declaring she is avoiding Sir Benjamin Backbite, who, however, soon appears with Mr. Crabtree, following another scandal-monger, Mrs. Candour. They all spread infinite scandal, among their stories being the rumour that Charles Surface is utterly ruined financially.
44
THE PLAYS OF SHERIDAN
Discovered, i.e. revealed as the curtain is withdrawn. in as fine a train, i.e. arranged as well. close, secret. maintenances. What we now call "maintenance orders". tete-d-tete, i.e. what purported to be a confidential interview. jolnture, income (used of the income of a widow). sentiment, i.e. moral sentiment. Seep. 55. this century? As we say, "It's ages since I saw you". diligence, coach. rebus. Representation of words by pictures, figures or arrangement of letters. conversazione, meeting for conversation, discussion, etc. Petrarch's Laura, or Wailer's Sacharissa. Petrarch was an Italian poet of the fourteenth century, nearly all of whose sonnets are to Laura. The seventeenth-century poet Edmund Waller addressed many poems to Dorothea Sidney, a daughter of the Earl of Leicester, under the name of Sacharissa. Old Jewry. A street in London where many Jews used to live. tontine. A financial arrangement invented by an Italian, Laurence Tonti, and employed in France in the seventeenth century. A number of people paid in sums of money to a common fund on condition that at a certain age each received an annuity. As each member died, his annuity went back into the common stock and was shared among those left, so that the last survivor had a very large sum of money. securities, people who have gone security for his debts. an officer, i.e. a bailiff (employed as a waiter). penchant, inclination, preference (Fr.). The use of French terms was very .fashionable among the "smart set" in the late eighteenth century, until the outbreak of the war against France in 1793. another opportunity, i.e. at another opportunity. ACT I. SCENE II Sir Peter's soliloquy and his conversation with Rowley show that he and his young wife do not agree very well. He discloses the fact that he would like his ward Maria to marry Joseph Surface, but she is determined to turn rebel too, and to marry his brother Charles. Rowley suggests that Charles's faults are due only to youth and that his character will improve, and proceeds to give Sir Peter the news that the uncle of the two young men, Sir Oliver Surface, has arrived. Sir Peter fears he may have to stand some teasing about his marriage from his old friend Sir Oliver.
tifted a little, had a little tiff. Grosvenor Square. In a fashionable part of London. humours, moods, inclinations. doubt, fear.
/
THE SCHOOL FOR SCANDAL_;._SUMMARY AND NOTES
45
crosses, i.e. opposition. sentiment. See p. 55. REVISION QUESTIONS ON ACT
I
1. "Their malice is intolerable." Illustrate this from the talk of one of the men and one of the women in Scene i. 2. What characteristic skill do you see in Joseph's conversation in this scene? 3. Give an account of Sir Peter Teazle's troubles in life, in so far as he reveals them in Scene ii. ACT II. SCENE I Sir Peter and Lady Teazle quarrel, mainly about the latter's extravagance and her friends. They are partially reconciled, however, and leave one another in fairly good humour, promising to meet at Lady Sneerwell's, and, in a soliloquy, Sir Peter shows how greatly he is really attracted to his young wife, who "never appears to such advantage as when she is doing everything in her power to plague me".
'Slife. Cf. note on "Odd's Life", p. 26. Pantheon. A large concert hall built in London in 1772.
fete-cltampetre, garden-party. Pope Joan. A card game, from the name of an imaginary woman pope credited to the ninth century. chair, i.e. sedan-chair, a kind of conveyance much used in the eighteenth century. cats, i.e. Shetland ponies. clippers of reputation. As people clipped silver coins before they were made with milled edges (in the seventeenth century). . ACT II. SCENE II In Lady Sneerwell's house Sir Benjamin Backbite is very easily induced to read his own verses, and thereafter much scandal is spread about absent acquaintances. Sir Peter enters and expresses his disgust with the remarks of the company. When he leaves, the others decide to play cards in another room, except Joseph Surface and Maria. Joseph makes love to Maria but is interrupted by Lady Teazle, much to the young man's consternation. He tries to extricate himself from the embarrassing situation by
46
THE PLAYS OF SHERIDAN
stating untruthfully that Maria had threatened to tell Sir Peter of his love for that old gentleman's wife, and when he is alone explains in a soliloquy that he wanted to "ingratiate himself" with Lady Teazle because she could help him to marry Maria, but he has come to be regarded as her "serious lover". Curricle. A curricle was a light carriage drawn by two ponies. duodecimo, i.e. very small. A duodecimo page of a book is a very small one. macaronies, i.e. dandies. See note on "monkerony", p. 30. tails. Punning on "tales". Phrebus. The Roman sun-god. caulks her wrinkles, i.e. fills up her wrinkles. "Caulks" are strips of wood forced into the seams of a ship to prevent water getting in. the Ring. A part of Hyde Park used for riding. The present name is Rotten Row. sugar-baker, i.e. sugar manufacturer. front, forehead. a la Cl1i11ois, like a Chinese (Fr.). Spa. See note p. 28. I hope. , . part, i.e. your taking her part would mean an injury to her reputation. law merchant, i.e. the practice of commercial law. The "drawer" of a cheque is the person who signs it and draws the amount out of his account, and the indorser one who cashes it for the payee (who may not have a bank account) and to do so has to sign his own name on the back in order to have the amount paid into his own account. In metaphorical terms here-the originator of the lie and the one who passes it on. We are reminded that Sheridan was entered as a student at the Middle Temple in 1773. Cf the law terms in the Prologue to The Rivals. , platonic cicisbeo. The name-given in Italy originally-for the lover of a married woman. politics, i.e. schemes. , ACT II. SCENE III Sir Oliver tells Rowley that he will judge his nephews' characters for himself, without the young men recognising him, and gratifies the old servant by refusing to listen to any scandalous tales about Charles. He speaks in a similar manner to Sir Peter, after rallying his friend a· little on the married state.
bluff, firm (like a cliff). jealousy, suspicion. compound for, condone, take no notice of. Allons, let us go (Fr.).
/
/
THE SCHOOL FOR SCANDAL-SUMMARY AND NOTES
47
II 1. Give the substance of the quarrel between Sir Peter and Lady Teazle. 2. What are Sir Peter's views on scandal-mongering? 3. How did Lady Teazle spend her life before she married Sir Peter? 4. What estimate have you formed of Sir Oliver's character in the short scene in which he appears? REVISION QUESTIONS ON ACT
ACT Ill. SCENE I Rowley explains to Sir Oliver and Sir Peter that Charles has done his best for a poor relation, Mr. Stanley, while Joseph has merely put him off with promises, and suggests that Sir Oliver should gauge the brothers' characters by pretending to be Mr. Stanley, whom neither of them has seen. Sir Peter has another suggestion, which is that Sir Oliver should present himself as a certain Mr. Premium, a broker who is going to visit Charles in connection with a financial transaction. A Jew named Moses who visits them instructs Sir Oliver in the attitude he should take up on this occasion, and Sir Oliver is quite pleased with the idea. Rowley proves helpful to Sir Peter also by asserting that he has detected Snake in crime and that the criminal will soon be willing to confess to the old gentleman that Charles and Lady Teazle are not in love with each other. Maria comes in and Sir Peter tries to dissuade her from caring for Charles and force her into a union with Joseph. She is dignified and deferential but quite firm in her refusal to listen to his commands. Sir Peter is still distressed at this flouting of his authority when Lady Teazle appears and their usual quarrel takes place.
jet, gist. to apply personally to his friends, i.e. for loans, so that he may try
to avoid imprisonment for debt. our immortal bard. A hackneyed periphrasis for Shakespeare (unfortunately still in use). The passage quoted is from II Henry IV, (IV. iv. 31)-"a tear for pity ... " worse than nothing, i.e. overdrawn, as we say "in the red". Crutched Friars. A street in London. An order of Friars living in a monastery in this district had crosses embroided on their garments. ("Crutch" = cross.)
48
THU !'LAYS OF SHERIDAN
principal. A pun upon the man who lends the money and the money itself, and perhaps upon "principle" also. cant of usury, i.e. money-lending terms (of which Sheridan was fully aware). Annuity Dill. In 1777 a bill was passed by which minors (i.e. those under the age of twenty-one) were not allowed to enter into contracts for annuities. Annuities were not quite what we understand by the term, but were lump sum Joans to be repaid by annual instalments. undone by coming into possession. Owing to the claims made against the estate, i.e. the loans made upon the security of the estate. Seal me a bond. my note of hand. Notice Sheridan's knowledge of legal terms. In his youth he was entered at the Middle Temple as a barrister. ACT III. SCENE II Trip, the servant of Charles Surface, gives Sir Oliver a very poor impression of his master's household by his pertness and by his financial enquiries of the moneylending Jew, Moses, obviously in a manner caught from his master. This scene is an introductory scene to those in which Charles Surface appears.
bought it of Mr. Joseph. Joseph would inherit it as the elder brother. bags and bouquets. Bags were silk purses used for tying up the back hair of men's wigs, and bouquets refers to ornaments of any kind. ·very often a number of precious stones were fastened together to look like a posy of flowers. bastinadoes, beatings (with a stick). The occasion of Sir Oliver's exclamations is the way footmen ape their masters. bill. A written undertaking to repay a sum of money raised on credit by a certain date. Trip is asking Moses if he has found anyone to accept the bill and lend the money. duns. Creditors who were impatient (lit. "noisy") about getting their money (cf. "din"). · indorsed. See note on "indorsements", p. 28. nothing capital, i.e. no clothes which could be turned into money. a mortgage ••• clothes, i.e. borrow money on his winter clothesthe loan to be repaid, and the clothes redeemed, before November! reversion. post-obit. ·It shall come (revert) to you on my master's death, or ("post-obit") it shall be repaid on my master's death. point ruffies, lace ruffies. collateral security, lit. accompanying security, one side by side with those already mentioned, i.e. extra security. ACT III. SCENE III While Charles and his companions are drinking a toast to Maria, Moses and Sir Oliver, the latter disguised as
--~
THE SCHOOL FOR SCANDAL-SUMMARY AND NOTES
49
Premium, enter. They do not take much part in the jollity, and Charles's friends, disgusted with their abstemiousness, retire to the next room to gamble, leaving "Premium", Moses and Charles to discuss means ofraising money. As Charles has already disposed of the plate and the library, the pictures are the only objects of value that remain to be sold. Careless, one of the friends, is therefore called in to act as auctioneer. hazard regimen, i.e. a diet which helps him to win at hazard. Charles thinks that one has a better chance of winning (or of not feeling one's losses) if one is "a little merry". bumpers, large glasses of wine (Fr. "bombard"). she that floats atop, i.e. the supposed image of a lady in the sparkle of the wine. Cf. note on "kisses Chloe ... brim!" p. 36. canonized vestals. Vestals were virgins consecrated to the goddess Vesta (in classical mythology) whose duties included keeping the sa~re~ temple fires burning. To be canonised is to, be declared a samt m the Catholic Church. quean, impudent, ill-behaved woman, prostitute. bough-pots, flower-pots. post-obit. See note p. 48. dun. See note p. 48. Shylock in the play. The Jewish money-lender who demanded his "pound of flesh" in The Merchant of Venice. appraiser, valuer (here to decide the value of the pictures). REVISION QUESTIONS ON ACT Ill l. What lessons does Moses teach Sir Oliver about money-lending? 2. · What do we learn of the friends of Charles in this act? Give an account of the scene in which Sir Oliver arrives at the merrymaking of Charles and his friends. 3. Mention anything said in Charles's favour in this act and state by whom it was said. ACT IV. SCENE I Careless acts as auctioneer and Sir Oliver buys the ancestral pictures of the Surface family. He asks the price of his own, but Charles refuses to part with it, even when offered as much for that as for all the rest. Sir Oliver is secretly delighted. Charles is not anxious to pay his debts with the money but he immediately instructs Rowley to send a hundred pounds to "old Stanley".
50
THE PLAYS 01.' SHERIDAN
vol1111tier grace, affectation (Fr.). your modern Raphaels. Raphael was a famous Italian painter (1483-1520). Much of the decoration of the Vatican was done by him. Charles means here that the paintings of his ancestors are quite realistic and true to life, not like the works of great modern painters (e.g. Reynolds and Gainsborough which were idealistic in character). ex post facto parricide! kilJing a relation after death ("after the act has been done", Lat.). the Duke of Marlborough's wars. A great general who won famous victories in the early part of the eighteenth century. Dlenheim Palace was his reward for the victory of Dlenheim (1704); Malplaquet was won in 1709. not cut out ... captains arc, i.e. in his full regimental dress, not in a service uniform. Kneller. A celebrated court painter at the time of Marlborough. a shepherdess feeding her flock, i.e. in the- likeness of a shepherdess -a French fashion in Sheridan's time. the woolsack. The name given to the seat occupied by the Lord Chancellor in the House of Lords. It was a sack of wool in the sixteenth century in order that the members of the House might be continually reminded how greatly England was indebted to wool for her wealth. the first time ... bought or sold. Cutting sarcasm, i.e. it is extraordinary that these members of Parliament never took bribes. do let us deal wholesale, The dramatic reason for this, of course, is to save the scene getting tedious. nabob. Originally a governor of an Indian province, formed from a Hindustani word meaning "governor". Here Charles is using the word of his rich uncle in India. beldame. The word is used ironically to mean the opposite of what it says-"lovely lady" (Fr. belle dame). ACT IV. SCENE ll Sir Oliver is in high glee because Charles will not part with his picture and is still more pleased when in his character of Mr. Stanley he is given striking proof of his nephew's generosity. The behaviour of Trip leads him to make some remarks on the failings of modern servants. · He plans to go as the poor "Mr. Stanley" to Joseph. ACT IV. SCENE III Lady Teazle visits Joseph Surface and in her conversation reveals her weariness at her husband's ill-nature, her annoyance that he is jealous of her friendship with Charles, her desire that Charles and Maria shall marry, and her petulance at the untrue scandalous stories that are being
//
THE SCHOOL FOR SCANDAL-SUMMARY AND NOTES
51
circulated about her. She is in the mood to speak and act rashly, but when Joseph, taking advantage of it, makes love to her, she shows him that she realises how dishonourably he is behaving. At this moment the arrival of Sir Peter is announced and Lady Teazle hides behind a screen. Sir Peter confides in Joseph that he fears his wife is in love with Charles and the latter pretends to be deeply hurt by his brother's dishonour. Sir Peter also mentions his desire to live on friendly terms with his wife and states the sums of money he has determined to settle on her. He then wishes to discuss the proposed marriage of Joseph with Maria, and just as his companion is trying to lead him away from the subject, Charles Surface is announced. Sir Peter suggests that he shall hide and that Joseph shall gather from his brother the true relationship between him and Lady Teazle. Joseph remonstrates, but Sir Peter is insistent and tries to hide behind the screen. He is prevented by Joseph's assertion that he has a "little milliner" already hidden there, and takes refuge in a cupboard. An amusing scene then occurs in which Joseph tries to keep both quiet. Charles clears himself from any connection with Lady Teazle but embarrasses his brother by suggesting that he was her favourite. To save further revelations Joseph explains that Sir Peter is present and Charles insists on his coming out. A friendly interview takes place, in the middle of which notice of the arrival of another visitor is brought to Joseph. Frightened of what might happen Joseph goes out of the room to see the new visitor. Then Sir Peter tells Charles about the "little milliner". They throw down the screen, revealing Lady Teazle just as Joseph re-enters. Charles leaves with a gibe at his brother, and Joseph tries to exonerate himself, but Lady Teazle exposes his hypocrisy and tenderly expresses to her husband her gratitude for his consideration for her welfare. temper, temperament. jealous, suspicious. faux pas, mistake ("false step", Fr.). plethora, excess of blood. receipt, recipe. coxcomb, fool (from "cock's comb", the traditional ornament of a jester's head-dress).
52
THE PLAYS OF SHERIDAN
frail, i.e. in morals. for the man who can break ... pest of society. Notice the irony here, as, keeping up his mask of '.'sentiment", Joseph speaks his own detraction. ' trepan, trap. · · . an absolute Joseph. Like the Bible Joseph who refused to commit adultery with the wife of the captain of Pharoah's guard. See Exodus, XXXIX, 7-10. tax him home, accuse or censure him to the full. incog, i.e. incognito. anchorite, hermit. REVISION QUESTIONS ON ACT IV 1. Give a careful account of the "auction" scene or the "screen" scene. 2. Mention one or two of the portraits sold, with the comments that were passed upon them. 3. It is generally considered that Act IV is the best in the play. Is that your opinion? Give your reasons. 4. Show carefully how the character of Joseph Surface is shown in its true light in the "screen" scene. 5. Discuss the nature of the comedy in any other scene (than the "screen" scene) in this act. ACT V. SCENE I In his role of Mr. Stanley Sir Oliver calls upon Joseph and is received with great politeness but with a refusal of any money and with assertions of the rich uncle's avarice. He leaves with a full knowledge of his nephew's character and then Rowley brings in the news that Sir Oliver has arrived and will shortly call at Joseph's house.
temper. See note p. 51. policy, craftiness, caution. humour. See note p. 44 .. speculative, i.e. in theory. doubt. See note p. 44. complaisance. Here means "unction". pagodas. A pagoda was an Indian silver coin, worth about 7/-. congou tea. A black Chinese tea. avadavats. Indian birds. Indian crackers. Paper matches . . French plate. Articles merely coated with silver, instead of solid silver.
\
THE SCHOOL FOR SCANDAL-SUMMARY AND NOTES
53
ACT V. SCENE II / The whole "school" of scandal-mongers call at Sir Peter's house to hear and discuss the latest news and they bring garbled versions of the "screen scene". They take Sir Oliver to be the doctor, and just as they are describing Sir Peter's wounds to him, Sir Peter enters and drives them in anger from his house. Sir Oliver learns his friend's opinion of Joseph and invites him to be present at his disclosure of the "rich uncle's" identity. Lady Teazle is observed to be crying in the next room, and Rowley encourages Sir Peter to effect a reconciliation with her.
gall!lnt. With the accent on the second syllable, a man markedly attentive to women. hartshorn, smelling salts (ammonia, for which harts' horns were formerly the chief source). a thrust in second. A fencing term. thorax, chest. taxed. See note on "tax him home", p. 52. Salthill ... the Montem. Salthill was a hill not far from Eton where the Eton boys held an antic highway robbery in fitting costume (what modern boys would calJ a "rag") every three years. Every person who passed by the hill ("ad montem" (Lat.), to the hill), or who went to see the fun was urged to contribute a sum of money called "salt-money", after the salt-money paid to Roman soldiers (whence our word "salary"). The money collected went to help certain old boys at Cambridge. a double letter. Postage was paid on letters according to weight. One of double the usual amount would be expensive. deny him, i.e. say that he is not in the house, deny his presence. faculty, i.e. the medical faculty. (In a university there are different departments called "faculties", e.g. of Arts, Science, Medicine, etc.) ACT V. SCENE III Lady Sneerwell and Joseph plot to make Sir Peter and Sir Oliver believe that Charles has asked Lady Sneerwell to marry him. Letters forged by Snake are to be used for this purpose. When Lady Sneerwell leaves, Sir Oliver comes in again, and Joseph, thinking he is dealing with Mr. Stanley, tries to get him from the room. On entering, Charles is surprised to find Premium there, but, realising that it would not be good for his uncle to meet a broker there, assists Joseph to remove the gentleman, who is only saved from being roughly handled by the appearance of Sir Peter, Lady Teazle, Maria and Rowley. The truth
54
THE PLAYS OF SHERIDAN
is now clear and Sir Oliver gives his opinion of Joseph and of Charles. Sir Oliver is about to give his blessing on the marriage of Charles and Maria, but here a difficulty arises. Maria has heard that Charles and Lady Sneerwell are engaged, and Joseph corroborates this. However, Snake is brought in by Rowley, and he confesses that all such mischief-making slanders, as well as letters which are supposed to have passed between Charles and Lady Teazle, are sheer forgeries. Charles and Maria are therefore re-united, and while Charles makes no promises of reform he takes that to be a proof that he intends to set about it. diffidence. Here means "distrust". A. B. at the coffee-house. As we say, "Mr. X". The coffee-houses were the "clubs" of the eighteenth century. Sometimes when private transactions had to be carried on the people concerned would arrange to meet at such places under assumed names or letters such as "A. B." I am so confounded. See the beginning of the scene! licenciate, the holder of a diploma, thereby licensed to practise an art or profession. EPILOGUE
Bayes. The name under which Dryden was ridiculed in Buckingham's Rehearsal. It was taken from the bay laurel, sprigs of which were woven into a wreath to crown a poet. pounded, put in a pound until claimed, like lost cattle ("impounded"). Joo. A round card game. vole. The winning of all the tricks (what we call a "grand slam"). Seven's the main. In a game of hazard the number seven called by the caster before the dice are thrown. Should the competitor throw a seven he wins. (''Main" = hand, Fr.). hot cockles. A game in which a person blindfolded had to guess who struck him. · Farewell the tranquil mind ... occupation's o'er. A parody of a speech of Othello in Shakespeare's play (III, iii. 349-55). Spadille-odd trick-pam-basto. Terms in ombre, a card game very popular in Sheridan's day. REVISION QUESTIONS ON ACT
V
I. Give a clear account of the scene in which Sir Oliver, disguised as Mr. Stanley, meets Joseph. 2. What different accounts of the "screen" scene were given by the scandal-mongering community? 3. Show how all the strands of the plot are gathered together in the last scene.
THE SCHOOL FOR SCANDAL-SUMMARY AND NOTES
I
55
4. Does any character (or do any characters) change essentially in the last act? If so, how is this shown in the play'!
The School for Scandal Sentimental comedy was not in favour in the time of Goldsmith and Sheridan. It had been adopted in England as a contrast to the licentious Restoration plays but it had degenerated into mere sentimentality-a means of arousing the sorrowful emotions. It is interesting therefore to note that the people of this time used the word with very varied meanings; usually it has the eighteenthcentury meaning it had acquired of being swayed by emotions rather than guided by intellect, but Lady Snecrwell (1. i) speaks of Joseph as "a sentimental knave", having just referred to him as "artful, selfish, and malicious," and later at the end of the scene suggests that he should study "sentiment," which is obviously here the art of playing upon other people's feelings. Sir Peter suggests (I. ii) that Joseph acts up to the "sentiments" he professes, meaning the moral sentiments, but when (II. ii) Lady Stucco's remarks are said to be connected with "sentiment" the word is not connected with morals. Maria uses the word simply as a synonym for "feelings" (II. ii), but Sir Oliver and Sir Peter consider it to mean "opinions", especially those of a moral type, when they are discussing Joseph's character (II. iii). When Charles encourages Moses and Mr. Premium to join in his merry company, he says, "Come, Mr. Premium, I'll give you a sentiment", meaning the subject of a toast. The Latin derivation is "sententia", meaning "thought", and it is in this sense that Joseph uses the word when he says (II. ii), "It has always been a sentiment of mine that to propagate a malicious truth wantonly is more despicable than to falsify from revenge". USE OF THE WORD "SENTIMENT" IN
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THE PLAYS OF SHERIDAN
The School for Scandal I. "The Scho;l for Scandal is a. co!lie~f w1:1ich reli.es on situation rather than on charactensat10n. Discuss this. 2. lllustrate from The School for Scandal Sheridan's gift for devising effective comic situations. 3. The School for Scandal been. criticised for _its total absurdity. Refer to any mcidents m the play which might give rise to such a criticism. 4. What is meant by the "Comedy of Manners"? Show that The School for Scandal can be regarded as such a comedy. 5. Illustrate from The School for Scandal either the ingenuity of the plot or the wit of the dialogue. 6. Sheridan said, "The scope and immediate object of a play is to please a mixed company in representation." Do you think that he has achieved this object in The School for Scandal? lllustrate your answer as fully as possible from the play. 7. Give an estimate of the characters of Charles and Joseph Surface and analyse the part which they play in The School for Scandal. 8. Describe briefly three incidents in The School for Scandal which show the hypocrisy of Joseph Surface. _9. "F~r my part, I own, madam, wit loses its respect with me, when I see it in company with malice." Illustrate this from Maria's conduct in the play. 10. What part does (a) Rowley, (b) Snake take in the play? 11. !oseph says of the scandal-mongers, ,"They appear more ill-natured than they are; they have no malice at heart." Prove or disprove this statement. 12. From The School for Scandal show that it is not only the scandal-mong"rs who can be witty. QUESTIONS ON
Irn~
THE CRITIC !lie Critic has many of the constituents of a farce, but it 1s more than a farce; it is a burlesque. Some parts of the play are not farcical at all but are pure comedy, and just as both The Rivals and The School for Scandal contain some elements of farce, so Act I of The Critic can be classed as comedy. The play was produced in 1779 and was Sheridan's last, for in the following year he took up his Parliamentary career. It is as enjoyable today as when it was first acted because the burlesque is so amusing. In the manner of The Rehearsal, written by the Duke of Buckingham a century before, Sheridan satirised the sentimental drama of his time and the literary critics who, with very little knowledge of the drama, were most caustic in their remarks. From beginning to end_ the play is full of sparkling wit. · Sheridan was naturally indolent and inclined to put off doing things until the last minute. He could never be relied on to keep an appointment. Two days before the first performance of The Critic was due the last act was still unfinished, to the great anxiety of the cast. To save the situation Sheridan's father-in-law (who held some shares in Drury Lane) suggested to him an evening stroll to the theatre. When they arrived Sheridan was made a prisoner in a small room, his unfinished play was set before him, together with pen, ink and paper, and he was told that he would not be set free until he had finished it. He entered into the fun of the thing, and it was under these circumstances that he brought Thames with his banks into his play. Plot At the beginning we find two very unpleasant literary critics, Dangle and Sneer, who are joined by Sir Fretful Plagiary, a writer who "borrows" from other people, and Puff, who -has reduced the practice of "puffing" to a science. Puff has written a tragedy called The Spanish Armada, of which he is very proud, to a rehearsal of which 57
TIIE PLAYS OF SHERIDAN
58
he invites Sneer and Dangle. In this "tragedy," which is full of ridiculous situations, the Armada is supposed to be approaching, and Sir Walter Raleigh, Sir Christopher Hatton, and the Earl of Leicester discuss their plan of action while Burleigh spends some time in silent consideration of matters of State. Unfortunately the actors have "cut" most of the dialogue, so the argument is rather difficult for Sneer and Dangle to follow. Much of it is concerned with Tilburina, the daughter of the Governor of Tilbury Fort, who is in love with one of her father's Spanish priso_ners, Don Ferolo. Whiskerandos, an.d ple~ds in vain for his release. There 1s also a sub-plot m which a justice discovers his long-lost son. Later Don Whiskcrandos is killed by a disguised Beefeater, who turns out to be an old lover of Tilburina's who had been captain of the privateer which had taken Whiskerandos prisoner. Tilburina becomes mad "in white satin", while her confidante follows her example "in white linen". After a battle at . sea, with "drums-trumpet&-cannon, etc.," the farce ends with a processional scene in which "Thames", after getting a little confused about his position, is warned always to go "between his banks". Puff sums up his work by stating that it is "pretty well-but not quite perfect"! Characters Dangle Why should you affect the character of a critic?
Dangle is really an impostor who "dangles" after theatrical celebrities. He acts as a sort of chorus to Sneer. He qualifies his agreement with Sneer's censure of Sir Fretful Plagiary by adding "though he's. my friend", and adds to this meanness by suggesting to Sneer, "Make out something", when they are pressed by Sir Fretful to give the contents of a (supposed) newspaper criticism of him. He pretends that he has linguistic ability, and could understand foreigners if only "they would not talk so damned fast". He imagines himself to be a critic of music. Sneer. But I thought you had been a decided critic in music, as well as in literature. Dang. So I am-but I have a bad ear.
THE CRITIC-CHARACTERS
59
Dangle tries to act the "complete critic" when watching Puff's play by making such remarks , as "antithesis of persons is a most established figure", br by an assumed appreciation of mime on the stage; such commendation as "That's very true, upon my word", "Excellently contrived!" is calculated to make it an agreeable meeting. We feel that his criticism of the play when discussing it later with Sneer will not be so kindly disposed. Sneer Sneer can't even give the public a good word!
Sneer, as his name stamps him, is far from kindly disposed. He expresses his opinions without any of Dangle's qualifying statements, which are the sign of an unsure critic, for they can always be used to avoid discomfiture. "You think it execrable, don't you?" he says to ,Dangle concerning Sir Fretful's play, and he enjoys torturing the conceited Sir Fretful. His acrimonious remarks seem to be directed.at everyone. He is interested in Puff's methods of making money, and one feels that he will use his information later to the detriment of his informer.-"Most obligingly communicative indeed; and your confession, if published, might certainly serve the cause of true charity, by rescuing the most useful channels of appeal to benevolence from the cant of imposition." His remarks on Puff's play, though often illuminating, are invariably satirical-"A very cautious conjecture that!" "His has been a most disinterested curiosity," "A very orthodox quintello." When Dangle is overcome at Tilburina's distress and declares with emotion, "Oh !-'tis too much," Sneer laconically adds his sarcasm, "Oh! it is, indeed". His criticism is often very apt, however, and altogether one feels that he is certainly a better critic than Dangle. Sir Fretful Plagiary He ... shrinks like scorched parchment from the fiery ordeal of true criticism.
Sir Fretful Plagiary is the type of author who flinches under adverse criticism. He is the dupe of flatterers and
60
THE PLAYS OF SHERIDAN
the butt of ill-natured critics, for he believes any compliment, however fulsome, and resents the slightest implication that his work does not reach perfection. Sneer's gibe at him is not entirely without foundation, "Where a base and personal malignity usurps the place of literary emulation, the aggressor deserves neither quarter nor pity." The psychology shown by Sheridan in the delineation of this character is admirable. Sir Fretful protests "that there is not a passion so strongly rooted in the human heart as envy" and that he is "never so well pleased as when a judicious critic points out any defect" in his work, and yet as soon as suggestions for the betterment of his play are made he is angry, while pretending merely to be amused. Much given to plagiarism he is therefore ready to accuse others of the same crime. "He might take out some of the best things in my tragedy and put them 'into his own comedy," is his ·comment on a theatre manager (see note on "Writes himself!", p. 63). To pass unnoticed is worse than to be condemned, and "he is so covetous of popularity, that he had rather be abused than not mentioned at all". Puff I know I am luxuriant.
Puff provides much of the humour in the play by his account of his methods of making money, his analysis of the types of "puff" in his present profession and by his own "tragedy" rehearsed in the presence of Dangle and Sneer. There is much truth in his remarks on the effect of the different kinds of "puff", and he is frank enough to disclose the secrets of his profession. Like Sir Fretful Plagiary he would sooner be noticed in a doubtful profession than, not noticed at all. He keeps his temper much better than Sir Fretful Plagiary, and he evidently is a hardworking, if not a very successful, playwright. His defence of episodes in his play is often very ingenious as of his plagiarism, e.g. the appearance of Othello's words in his tragedy.-"All that can be said is, that two people happened to hit on the same thought-and Shakespeare made use of it first, that's all." He is a good-natured
THE CRITIC-CHARACTERS
61
producer and does not worry t~e actors unnecessarily, and is, indeed, very tolerant of Sneer's remarks during the play's rehearsal. (The dramatic reason for the actors' cutting Puff's play, was, of course, to keep its length suitable for Tlze Critic.) Mrs. Dangle I have no patience with you.
The purpose of Mrs. Dangle in the play is to throw up Dangle's pretensions and thereby to add a scene of domestic badinage. She drops out after Act I, but in the short time in which she is present shows herself to be a strong-minded woman who sees that her husband is merely laughed at by his acquaintances for his endeavour to be regarded as a patron of the theatre. Her barbs at his expense are very pointed, especially when she suggests that if a French invasion were to take place her husband's first inquiry would be whether a theatrical troupe accompanied the invaders. She has her own ideas on the theatre and on individual plays. She likes sentimental comedy in general. Sir Fretful Plagiary is a favourite of hers, "because everybody else abuses him". Her objection to the length of his comedy is undoubtedly sound criticism, however. She is downright in her mode of speech, decisive in her manner and unambiguous in her meaning. She greets Sneer without any of the expansiveness of her husband, openly tells Sir Fretful Plagiary that the other men are laughing at him, and makes no pretence at understanding foreign languages as her husband does. SUMMARIES OF SCENES AND TEXTUAL NOTES PROLOGUE
The speaker points out that Tragedy in earlier times had been heart-rending and Comedy had been licentious. Therefore both the Tragic and the Comic Muses had lost their adherents. Trying to win back the favour of the audience, playwrights had written insipid tragedies and dull comedies. The present play, says the speaker, is an attempt on the part of an author who is "not quite a
/
62
THE PLAYS OF SHERIDAN
novice in his trade" to correct these mistakes and to give the audience something that will please and interest them. He thinks the dramatic critics will perhaps be rather scathing but asks for the support of the audience against their strictures. nichard FitzPatrick. The speaker of the Prologue, who was a great friend of Sheridan and Charles Fox. He was a politician and a soldier besides taking a great interest in the theatre. The Sister Muses. Melpomene, the Muse of Tragedy ("The Tragic Queen" of 1.7) and Thalia, the Muse of Comedy ("Her Comic Sister", 1.11). When Villiers criticiz'd what Dryden ,uit. George Villiers, Duke of Buckingham, wrote The Rehearsal in 1671, and in it he criticised the plays of Dryden, referring to him as "Bayes" in his capacity as PoetLaureate (see note p. 54). Dryden's chief plays were All for Love and The Conquest of Granada. . over-nice. See note on "nice", p. 29. ACT I. SCENE I Mrs. Dangle points out that Dangle wastes time and money in attempting to be a dramatic critic, and in addition makes her life unpleasant. Sneer enters, and an acrid discussion ·on the drama ensues, in the midst of which Sir Fretful . Plagiary is announced. Both critics have decided that they do not like Sir Fretful's work, but when he comes in they pretend to praise his latest play, at the same time managing to convey to him most ill-natured criticisms of it by supposing that such remarks have already been circulated in the newspapers. Sir Fretful Plagiary cannot help showing his chagrin, to the malicious delight of those who have baited him. Some musicians are announced by appointment.
Brutus to Lord North. The famous "letters" of Junius appeared between 1769 and 1,772, making attacks upon the Government in which Lord North was Prime Minister. 1he name "Junius" is supposed to have been taken from the Roman "Lucius Junius Brutus", and it is the middle part of the name that is used here. L dash D of the A dash Y. L-d of the A-y, Lord of the Admiralty. St. Kitts. An island in the British West Indies. "Coxheath Intelligence." News from Coxheath, near Maidstone, Kent, where a militia force (a force for home defence, like the territorials or the Home Guard) was stationed, in preparation against a French invasion. Cf "the Westminster associations", referred to later in the scene. Sir Charles Hardy was in command of the Channel Fleet, the nation's corresponding defence at sea against invasion.
I
THE CRITIC-SUMMARY AND NOTES
63
the Afomi11g Chronicle. your Gazette. The Jvfoming Chronicle devoted more space to theatrical matters than the London Gazette, "all politics". Quidnunc, interviewer, enquirer, would-be know-all (Lat. what now?) Maecenas. A Roman patron of literary men. He was especially helpful to Horace. 'Change. Exchange, as the Royal Exchange is the meeting-place of business men. Juliets and Dorindas, Pollys and Ophelias. "Misses" in Shakespeare's Romeo and Juliet, Farquhar's The Beaux' Strategem, Gay's Beggar's Opera and Shakespeare's Hamlet respectively. Richards. "Ranting" characters like Shakespeare's Richard Ill. the Opera House. Covent Garden. Jn 1778 the managers of Drury Lane and Covent Garden allowed their actors and actresses to be interchanged, but the arrangement lasted only a short time. it docs not signify, it does not matter. "the mirror of Nature" ••. of the time". Quotations from Hamlet (III, ii. 21-3 and 503 respectively). · with orders to support it, i.e. with people with complimentary tickets conditional upon their applause. double entendre, ambiguous meaning (one meaning usually indecent). Vanbrugh and Congreve. Restoration dramatists (as were Farquhar and Gay). Sheridan remodelled Vanbrugh's comedy The Relapse under the title A Trip to Scarborough. He refers to this in the "bungling reformation". gibbeting, hanging on the gallows. The bodies of people who had been hanged remained on the "gibbets" after death as a public warning. the Old Bailey. Still a famous London criminal court. Sir Fretful Plagiary. See pp. 59-60. Writes himself! Sir Fretful is implying that Sheridan, the proprietor of the Drury Lane theatre, rejects good plays because he would be envious if the plays of others outshone his own, and also that he would be tempted to steal their ideas. Sheridan could enjoy a joke against himself. Melpomene. See note on "The Sister Muses", p. 62. he, you know, never-. Sneer was going to say, "Never writes anything except comedies". Then I am sure , •• obliged to me. Because I rid you of something that has no value. as tambour sprigs ..• linsey-woolsey, i.e. as rich or delicate embroidery would a coarse foundation material. the mimicry of FalstalI's page. Jn Henry IV, Part II (Act II, Sc. ii). assimilating. Jn the eighteenth century the construction "being assimilated" was not yet used. Lady Rondeau and Mrs. Fuge. Sheridan has made use of musical terms (now usually "rondo" and "fugue"). Gadso! A corruption of "By God, is that so?" complaisance, civility.
64
THE PLAYS OF SHERIDAN
ACT I. SCENE II Italian singers enter with an interpreter whose French is as strange a language to Mrs. Dangle as the Italian of the visitors. Dangle, too, finds it impossible to understand either, but listens to the singers! Puff, the "practitioner in panegyric" enters and explains how he formerly obtained his living by fraud, and also the different kinds of "puff" he uses in his present profession. He promises to take Dangle and Sneer to a rehearsal of his new play.
Harpsichord. See note, p. 28. discovered. See note, p. 44. Translation of Italian speeches in order of their occurrence: (i) Ah, my Lady, we beg you to favour us with your protection. (ii) My Lady, do us this kindness. (iii) Yes, my Lady. (iv) This gentleman will explain. (v) The Countess Rondeau is our patron. (vi) Yes, Father, and my Lady Fugue. (vii) Your lordship is so renowned for your knowledge and for your influence with the dire