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“Poor Sherry,” said the prince of Wales, a line echoed by other noble contemporaries of Richard Brinsley Sheridan and even by Sheridan’s admirer Lord Byron. Unhappily, the verdict of the prince of Wales and his crowd still represents the official response to Sheridan, coloring understanding of his plays with an argumentum ad hominem. This official line runs something as follows: “Poor Sherry was motivated by overwhelming vanity and self-interest. That is why he entered the theater and why he left the theater to enter politics. A poor Irish actor’s son, he always wanted to hobnob with the rich and powerful, to be part of le beau monde, whose attitudes he reflects in his plays. There was something calculating, something insincere and insubstantial, about the fellow. Same thing about his plays.” This is the establishment Sheridan safely tucked away in the Poets’ Corner.

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There is also, however, an antiestablishment Sheridan—the penniless child suffering at Harrow, the spirited young man dueling for his girl, the member of Parliament sympathizing with the American and French revolutions, whose servants in his plays are smarter than their masters. True, Sheridan’s leading characters are usually gentry or better, and Sheridan usually exhibits the doings of le beau monde. In addition, he does not issue a clarion call for revolution and the institution of a republic. He was working within the restrictions of accepted traditions, theatrical tastes, and official censorship. Within those restrictions, however, he exhibited le beau monde as vain, money-grabbing, and scandalmongering. As a playwright, Sheridan enjoyed the satisfaction of seeing the fashionable world pay and applaud to see itself pilloried.

Sheridan lived in the midst of what one of his characters calls “a luxurious and dissipated age,” but the people enjoying the luxuries and dissipations were standing on the heads of a mass of poor people. He could not attack the upper classes directly, even though they offered big targets for satire. In particular, their illusions about themselves, their pretensions of nobility and gentility, made them vulnerable. Sheridan knew a whoring society when he saw one, and he satirized its illusions and pretensions relentlessly.

Sheridan’s satire is milder in tone, however, than that of cynical Restoration comedy or the savage attacks Alexander Pope and Jonathan Swift could deliver. The tone of Restoration comedy harks back to the dark, stinging satire of Ben Jonson, who presented the world as little better than a zoo. Such satire incorporates the conservative vision of the Great Chain of Being, wherein human nature is permanently flawed, half angel, half animal. The animal side must be cynically accepted or flogged into good behavior by Church, State, and satirists. Sheridan’s satire is more optimistic, softened by the influence of the sentimental mode that grew up in the eighteenth century as the main competitor of the satiric mode, especially in the novel and drama.

Originating in Nonconformist religious thought and maturing in Romanticism, sentimentalism rested on the revolutionary doctrine that human nature is essentially good. Stressing empathy and the humane emotions, sentimentalism was susceptible to hypocrisy. It also had a devastating effect on drama: Tragedy turned into melodrama, and comedy turned to provoking sympathetic tears. The two most notorious examples of sentimental literature, Henry Mackenzie’s novel The Man of Feeling and Richard Cumberland’s play The West Indian both came out in 1771, just before Sheridan began writing. Like his fellow countryman Oliver Goldsmith, Sheridan accepted the underlying doctrine of sentimentalism but reacted against its excesses. Not unnaturally, Goldsmith and Sheridan thought comedy ought to provoke laughter.

To produce “ laughing comedy,” Sheridan returned to the witty,...

(The entire section contains 5028 words.)

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Sheridan, Richard Brinsley