"SCHOOL FOR SCANDAL, THE" (RICHARD SHERIDAN).   Term Paper ID:24397 Click to get this paper

Essay Subject: Examines uses of disguise to develop characters & theme of evils of scandalmongering.... More...

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Paper Abstract: Examines uses of disguise to develop characters & theme of evils of scandalmongering. Paper Introduction: The Use of Disguise in "The School for Scandal" The School for Scandal is a play about the destructive nature of the desire to spread a scandal. Beyond that, however, it also addresses the willful desire to lie and deceive if such behavior will create a scandal. It concludes that good nature never seeks to be disguised but is always simple and apparent on the surface. Sheridan cleverly uses a series of disguises for his players to reveal that innate good nature can never be disguised. First, he disguises his characters by their names. Of course, in the case of many, such as Lady Sneerwell and Mr. Snake, their name in fact reveals their character. However, in the case of Joseph Surface, the name reveals not the true character but the character he chooses to portray. Second, Sheridan allows his characters to disguise themselves to discover the true Text of the Paper: The entire text of the paper is shown below. However, the text is somewhat scrambled. We want to give you as much information as we possibly can about our papers and essays, but we cannot give them away for free. In the text below you will find that while disordered, many of the phrases are essentially intact. From this text you will be able to get a solid sense of the writing style, the concepts addressed, and the sources used in the research paper. Thecomedy arose mainly from situations building to comic embarrassments, asdemonstrated by the "portrait scene" and the "screen scene". He urges her to commit"a trifling faux pax" to make herself more careful of social convention. Rather, he created comedy by exposing folly while reaffirmingbasic human benevolence (Durant 1 2). New York: Ungar, 1978.Durant, Jack D. The school for scandal seduced Lady Teazle, and onlywhen its true nature is revealed in the screen scene can she revert to herprevious and true character and work on her marriage. Morrell. Of course,in the case of many, such as Lady Sneerwell and Mr. Snake, their name infact reveals their character. 378). Charles Surface and Maria, for example, are infact revealed by their names. p. He argues to Lady Teazle that her self-conscious innocenceabout the scandal circulated about her and Charles makes her appear in factguilty: "'[T]is this very conscious innocence that is of the greatestprejudice to you. Maria, of course, hints at the innocence of the Virgin Mary. Nelson argues that Sheridan was aware thatcritics were often blinded to the comedy of a play by its surfacebrilliance, so Sheridan created comic situations involving disguisedpersons, mistaken identities, hiding scenes, and discovery scenes. Beyond that, however, it also addresses thewillful desire to lie and deceive if such behavior will create a scandal.It concludes that good nature never seeks to be disguised but is alwayssimple and apparent on the surface. However, in the case of Joseph Surface, thename reveals not the true character but the character he chooses toportray. Theessentially good-natured characters such as Charles and Maria do notdisguise themselves. Edited by J.M. Oliver Goldsmith & Richard Brinsley Sheridan. 322).Thus, Joseph's name disguises his true character while at the same timehinting that what he seems to be is only on the surface. The fall of the screen is the climax of the scene. The play opens with a clear example of scandalmongering, as LadySneerwell and Snake describe their destructive plans for the Surfacebrothers. 321) and denouncing his traitorousnature immediately upon Mr. Snake's removal from the room (I.i. Charity and basichuman benevolence relate in the play to spontaneity, directness, andsimplicity (Durant 1 3). Heprovokes her to respond: "So, so; then I perceive your prescription is,that I must sin in my own defense, and part with my virtue to preserve myreputation?" (IV.iii. The comeuppance of Joseph, however, is another matter. Nelson argues that, conventionally, laughter in Sheridan's comediesresults from a comic anagorisis (the moment of recognition) in which thecharacter duped ultimately discovers a truth known all along by theaudience (Durant 1 2). Durant argues that, because Sheridan was tuned to the moral scruplesof his audience, he did not compromise the religious doctrine of goodnature. Morwood states that the screen sceneprovides the finest example of reversal simultaneous with recognition inEnglish drama (81). The Use of Disguise in "The School for Scandal" The School for Scandal is a play about the destructive nature of thedesire to spread a scandal. 378). Her character is revealed as good-natured and open.Charles Surface's character is also exactly as it appears to be on thesurface--good-natured if somewhat extravagant. The screen is the image for the hiding anddeception in the play. Thus, Sheridan demonstrates that, whiledisguises can be used to reveal other disguises, they cannot serve todisguise bad nature. First, he disguises his characters by their names. p. Ascomic dupe, then, he provokes joyful, sympathetic laughter, but neverridicule (Durant 1 5). Joseph, who isthe most deceptive character in the play, loses in the end. However, it takes Sir Oliver indisguise to reveal Charles's true nature. p. The difference between false and genuine, appearances and realitypermeates the play (Danziger 128). p. In her discussionwith Sir Peter in Act II, Scene I, Lady Teazle reveals herself to have beena quiet, unassuming woman before she married Sir Peter and joined townsociety and the scandal set. Durant arguesthat, through the conflict between complexity and simplicity, Sheridancontrols the comic and moral implications of the play (Durant 1 3). In the scene, Charles's dialoguereveals that he is simple and direct: "plain dealing in business I alwaysthink best" (III.iii. Premium, the plain state of thematter is this: I am an extravagant young fellow who wants to borrow money"(III.iii. Charles reveals his character in the portrait scene, in which he sellshis family portraits. Furthermore, the fact that he will not sell Sir Oliver's picturereveals that he can only sell the others because he feels no personal tiesto them. But perhaps thehighlight of the scene is Joseph's discussion with Lady Teazle aboutreputations. In the end, however, Charles Surface and Maria, who never sought todisguise their character, are revealed to be truly good-natured. However, Mrs. Candour is anything butfrank and candid. Now, she is false and fashionable; inessence, her true character is disguised by the veneer of town culture.Not until the screen scene, when all is revealed, will she be able toreturn to her former character. Durantargues that Sheridan liked to be thought of as the latter-day Congreve,but, instead of the rationalistic Restoration morality reflected inCongreve's comedy, Sheridan's work reflected "open Christian benevolism"(1 2). Sir Peter can nowperceive his wife through changed eyes and base his future relationshipwith her upon their recognition of the truth (Morwood 81). Sheridan cleverly uses a series ofdisguises for his players to reveal that innate good nature can never bedisguised. Falsehoods and appearances mislead mostof the good characters, especially the Teazles, who must emerge fromdeception and confusion to knowledge and clarity of vision, largely abouteach other but also about themselves (Danziger 128). He portrays himself as a man of strong sentiment and goodintentions, and he is able to fool Sir Peter and Lady Teazle. Thus, Maria being named after the mother of Jesus Christ isprobably no mistake. Joseph has been disguising his character in manydifferent ways to many different players, including Lady Teazle, Sir Peter,Maria, and Sir Oliver. Charles is, in effect, selling off his family for personal gain.However, the audience forgives Charles because he is direct about hismotives. Boston: Twayne, 1975.Morwood, James. 315-414. Sheridan, therefore, uses the disguises perpetuatedby town society and the school for scandal to criticize bad nature. Sir Oliverremoves his disguise, and now Joseph's true character is revealed, and hehas nothing to fall back on. Aristotle, talking of tragedy, stated that theanagorisis is "most beautiful" when it happens at the same time as that ofreversal (peripeteia) (Morwood 81). Edinburgh: Scottish Academic P, 1985.Sheridan, Richard B. New York: Penguin, 1974. In addition, Joseph Surface is at once revealing anddeceptive. But, in thefirst scene, he reveals his ability to speak falsely by praising Mr.Snake's loyalty in his presence (I.i. He arguesthat the concept of scandalmongering as an art of fabrication and asmalicious destructiveness is a rich image for the falseness andheartlessness the play associates with town society (Danziger 125).Sheridan offers Lady Teazle as a clear example of the falseness of townsociety, as represented by Lady Sneerwell and her set. What is it that makes you negligent of forms, andcareless of the world's opinion" (IV.iii. Danziger argues that Charles's directness makes him acomic dupe when he offers Sir Oliver's fortunes in security for his debts.However, the portraits are more than stage props; they are symbolic of theSurface clan (Danziger 113). Danziger notes the scandalmongers "cultivate slander as an art formthat requires design, coloring, invention and talent" (125). Life and Works of Richard Brinsley Sheridan. For example, Lady Sneerwell and Mr. Snake are aptly namedfor their destructive behavior. The "screen scene," however,reveals through Joseph's character that deviousness is always complicatedand cannot be simplified. Charles's throwing down of the screen finally revealsto the audience and the characters themselves the disguises under whichthey have all labored, and their true natures are brought into focus(Morwood 81). Here as always, his virtueexpresses itself through the uncomplicated immediacy of his conduct. The screen, like Charles's family portraits, not only was a stage propbut also had symbolic meaning. Durant argues that malice and uncharity relate todeviousness, deceit, and complexity (1 3), and this is what Sheridan'sportrayal of Joseph reveals. He reveals his essential good nature by being loyal to Sir Oliverand sending a large portion of the money he has just made for Mr. Stanley.Durant argues that, in refusing to sell Sir Oliver's picture, Charles"cancels the complications of this brilliant scene" by asserting hisessential good nature, which he really never compromises, and retainingabsolute control of events (Durant 1 5). Throughout the play, the scandalmongers warn theaudience of Charles's bad character. Durant refers to a doctoral essaytitled "The Laughing Comedy of the Eighteenth Century," written by David A.Nelson, in which Nelson describes techniques Sheridan used to strike hiscomic posture (Durant 1 2). In this first act, the audience begins to realize thatSheridan's choice of names for his characters is revealing and deceptive atthe same time. p. 364). 364), he says to Sir Oliver, who is posing asPremium, the Christian moneylender: "Mr. p. Danziger argues that her reasoning reflectsthe ultimate complexity of Joseph's deviousness, a complexity by which viceparades as the primary agent of virtue (Danziger 1 6). Second, Sheridan allows his characters to disguise themselves todiscover the true character of others, as in the case of Sir Oliverdisguising himself to determine which of the Surface brothers is the betterman. Works CitedDanziger, Marlies K. Richard Brinsley Sheridan. "The School for Scandal." Four English Comedies. Thus,despite the complication of Sir Oliver's disguise in the portrait scene,Charles simplifies the action by identifying Sir Oliver as a man he willnot betray and by sticking to his belief. If this paper is not what you are looking for, you can search again: Search for: or Click here to request an essay written just for you.

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