Historical Context
The England of Sheridan's time was markedly different from that of earlier British playwrights. The mid-seventeenth century saw the German House of Hanover ascend to the English throne. The first two King Georges spoke minimal English and showed no inclination to support the arts. Royal patronage, which had previously sustained numerous writers, ceased. By the time George III became king in 1760, England's focus had shifted to colonization and reform rather than the arts.
As the British solidified their control over Canada and India, American colonists grew increasingly dissatisfied with British rule. England had always perceived itself as a military power, but when colonial unrest escalated into the American Revolutionary War, which Britain ultimately lost, George III was deeply affected. Additionally, George III, who had always been popular with his subjects, was ill and vulnerable to the machinations of his son, who continually schemed to usurp the throne.
Simultaneously, England's industrialization exacerbated the divide between social classes. While industrialization brought significant wealth to the nation, very little of it reached the working class or the impoverished. In fact, the poor were left with even less than before. The Enclosure Act displaced the lower class from rural areas, stripping them of a simple existence where they could grow food and trade for necessities.
With nowhere else to turn, these displaced individuals flocked to London. The city offered scant shelter and even fewer employment opportunities. However, cheap gin was readily available, leading to rampant public drunkenness. Public executions provided grim entertainment for the poor, and debtors' prisons awaited those unable to pay their debts. For the wealthy, there was tobacco and opium. Coffeehouses, where tea was more commonly served than coffee, became popular gathering spots for men to drink, converse, and read newspapers.
Women were generally excluded from these social activities but still made efforts towards social integration and suffrage (the right to vote). Gambling was deemed an appropriate pastime for gentlemen, as was visiting brothels. While it was acceptable for men to pay for sex or maintain mistresses, women were held to a different standard. Eighteenth-century ladies were expected to remain chaste, with early marriage encouraged to ensure this; girls could marry as young as twelve. No such moral constraints, however, impeded men's behavior.
By the latter half of the eighteenth century, drama had nearly vanished from the theatre. Despite the presence of many great actors, few playwrights were producing notable works. There was little motivation for quality writing, as playwrights only earned profits from the third, sixth, and occasionally (if the play endured) ninth night of performances. Theatre owners and actors, on the other hand, amassed substantial earnings. Nevertheless, theatre thrived, and several of London's prominent drama houses, including Sheridan's own Drury Lane Theatre, were established during the 1700s.
Surrounding the theaters were brothels, reflecting the city's dual nature. London was a complex metropolis, mirroring the chaos within the royal family. Large stores imported exquisite items from around the globe, and the streets buzzed with artisans and street performers. The municipality made efforts to keep the streets clean and build sewers. However, coal dust blackened the buildings and covered everything in its path. On the fringes of this civility, slums existed. Sewage was dumped into the River Thames, and the poor relied on outdoor privies and slept in doorways. Entire families often shared a single room—if they could afford it.
The city teemed with life and energy, presenting two distinct worlds. One was the rigidly structured society where social conventions dictated behavior. This is the world depicted in Sheridan's School for Scandal . The other world lay just outside the...
(This entire section contains 620 words.)
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theater's doors, filled with dark, downtrodden, and often twisted lives, which would not become subjects of plays until the following century.
Literary Style
Act
A primary division within a drama. In Greek plays, sections of the performance
indicated by the chorus were typically split into five acts. This structure was
standard for most serious dramas from the Greeks to the Romans and Elizabethan
playwrights like William Shakespeare. The five acts represent the framework of
dramatic action: exposition, complication, climax, falling action, and
catastrophe. This five-act format persisted until the nineteenth century, when
Henrik Ibsen (A Doll's House) transformed dramatic structure by merging
elements into fewer acts.
School for Scandal is a five-act play. The exposition happens in the first act, where the audience learns about Lady Sneerwell and Joseph's scheme to disrupt Charles and Maria's romance, and also meets the gossipers. By the end of Act II, the complication is established as the audience meets Sir Oliver and discovers his plan to test his nephews' integrity. The climax occurs in the third act when Charles encounters his uncle, disguised as a moneylender, and agrees to sell him the family portraits.
The conflict between Maria and her guardian, Sir Peter, is exposed when she refuses his wish for Joseph to court her. Several near misses occur as various characters, including Lady Teazle, her husband, Charles, and Lady Sneerwell, visit Joseph's place. As Lady Teazle and her husband hide in different spots and secretly observe the events, the screen ultimately provides the falling action. The catastrophe unfolds in the final act when Sir Oliver's arrival restores order, reconciling Sir Peter with Maria and Charles.
Plot
This term refers to the sequence of events in a story. Typically, plots should
have a beginning, middle, and end, though they can also be a series of
connected episodes. Essentially, the plot allows the author to delve into
primary themes. Students often confuse plots with themes; however, themes
explore underlying ideas, while plots straightforwardly narrate what
happens.
Thus, the plot of School for Scandal revolves around Joseph and Lady Sneerwell's attempts to deceive their way to their desires, while a parallel plot follows Sir Oliver's quest to uncover the truth about his nephews. The themes include falsehood (manifested as malicious gossip), honesty, true love, and the rejection of sentiment as a virtue.
Setting
The setting encompasses the time, place, and culture in which the play's action
occurs. Elements of the setting may include geographic location, physical or
mental environments, prevailing cultural attitudes, or the historical period of
the action. Sheridan's play is set in eighteenth-century London, specifically
in its affluent areas. While no precise time markers are given, the action
unfolds over a brief period.
Character
A character in a dramatic work is a person whose actions drive the story. The
concept of character also encompasses an individual's moral stance. Characters
can range from simple, stereotypical figures to complex, multi-dimensional
individuals. They may be identified by their personality traits, such as a
rogue or a damsel in distress. "Characterization" refers to the process of
creating a realistic person from an author's imagination. To achieve this, the
author imbues the character with distinct personality traits that define who
they are and how they will act in various situations.
School for Scandal features two types of characters: traditional heroes and villains, as well as a vulnerable young woman. Some characters are also defined by their names. For example, Lady Sneerwell aptly sneers at others with contempt, and Backbite lives up to his name. The nature of Charles and Joseph is suggested by their surname, Surface, indicating they are somewhat superficial characters interested in appearances.
Genre
Genres are categories used to classify literature. The term "genre" is French
for "kind" or "type." It can refer to various literary categories such as
tragedy, comedy, epic, poetry, or pastoral. It also includes contemporary forms
like drama, novels, or short stories. Additionally, it encompasses specific
types of literature such as mystery, science fiction, comedy, or romance.
School for Scandal is most commonly classified as a comedy of manners, though it is also accurately described as social satire and anti-sentimental drama.
Comedy of Manners
A "comedy of manners" is a type of play that portrays the highly artificial
manners and conventions of society. Characters in these plays are typically
types rather than individuals, with their names often reflecting their "type."
The dialogue is witty and is generally more engaging to the audience than the
plot, which mainly serves as a vehicle for delivering humorous lines. This
genre is closely associated with the Restoration period of the late seventeenth
century. However, due to their focus on illicit love affairs and lack of
morality, these plays eventually fell out of favor. Sheridan revived the genre
in the late eighteenth century.
Satire
Satire aims to combine social commentary with comedy and humor. It typically
targets institutions rather than individuals, intending to expose issues and
spark debate that may lead to solutions. In School for Scandal, Sheridan
satirizes a society so superficial that gossip and slander—and the resulting
destruction of reputations—serve as entertainment.
Compare and Contrast
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1777: The Continental Congress agrees to accept the services of the Marquis de Lafayette, who will lead a division in the American Revolutionary War. Despite being forbidden by King Louis XVI of France, Lafayette aids the American Colonies. For nearly two years, France has secretly supported the American war effort.
Today: The United States views England as one of its closest allies and strongest supporters. Both nations frequently collaborate on economic, military, and cultural initiatives.
-
1777: The victory at Saratoga marks a pivotal moment in the Revolutionary War. For the first time, the British realize they might not defeat the Americans. Parliament urges George III to negotiate peace and end the war, but he refuses to consider it.
Today: The English monarchy holds little political power and cannot declare or sustain a war without parliamentary approval.
-
1777: Wolfgang Amadeus Mozart is actively composing, and his Concert No. 9 for Pianoforte and Orchestra in E flat major premieres in Salzburg. Europe remains a hub for great music, with London more renowned for its theatre than its musical composers.
Today: Since the 1960s, England has been a significant influence in popular music, producing iconic bands like the Beatles, the Rolling Stones, and Led Zeppelin.
-
1777: Disease poses a significant threat to longevity, with ailments like tuberculosis causing widespread suffering and death. George Washington secures approval to inoculate his troops against smallpox.
Today: Advances in medical technology have led to treatments, preventions, or cures for diseases such as tuberculosis and polio. Smallpox is considered eradicated, and vaccination is no longer necessary.
Setting
In Richard Brinsley Sheridan's play, the various settings not only provide backdrops for the characters' interactions but also serve to illuminate societal norms and personal dynamics of the time. The play opens in an unconventional space: Lady Sneerwell’s dressing room. Though the stage direction suggests it is merely a place for personal grooming, it is, in fact, a grand room reserved for intimate conversations with trusted guests. This room serves a dual purpose, much like the traditional library in a gentleman's house, where Lady Sneerwell engages in private dialogues with her ally, Snake. Such settings highlight the importance of discretion and the hidden machinations of the characters.
Transitioning from the intimate to the public, the drawing room in Lady Sneerwell’s house plays a pivotal role in the development of the plot. In act 2, scene 2, this room hosts the infamous "school for scandal," where the characters gather to indulge in gossip and rumors. The drawing room serves as a social hub, a space designed explicitly for hosting and receiving guests. Its ample size accommodates a large assembly of scandalmongers, reflecting the societal fascination with scandal and the public nature of their private intrigues. The room's function underscores the performative aspect of social interactions during this period, where appearances were as significant as the conversations themselves.
In contrast, Joseph Surface’s library offers a more secluded and intimate setting, contributing to the play’s dramatic tension. Historically, libraries were male-dominated spaces, reserved for personal meetings between men. Yet, in a significant deviation from tradition, Joseph Surface uses this room to meet Lady Teazle, adding layers of intrigue and subterfuge. The choice of setting for their clandestine encounter highlights the breach of societal norms and the underlying duplicity of the characters. The library, typically a sanctuary of knowledge and camaraderie, becomes a haven for secrecy, accentuating the theme of deception that permeates the narrative.
Each setting in "School for Scandal" is meticulously chosen to enhance the thematic elements of the play, reflecting the social customs of the era while providing insight into the personal relationships and moral ambiguities of its characters. Whether in the private confines of Lady Sneerwell’s dressing room, the public spectacle of the drawing room, or the clandestine corners of Joseph Surface’s library, these spaces serve as more than mere backdrops; they are integral to understanding the intricate dance of appearance and reality that Sheridan masterfully explores.
Media Adaptations
School for Scandal was videotaped in 1965. The 100 minute-long black and white film, taped during a stage performance of the play, stars Joan Plowright and Felix Aylmer. The Hal Burton production is available from Video Yesteryear.
Bibliography and Further Reading
Sources
Morrow, Laura. "Television, Text, and Teleology in a School for
Scandal," in Shakespeare on Film Newsletter, Vol. 11, no. 2, 1987,
p. 3.
Morwood, James, and David Crane. "On Producing Sheridan: A Conversation with Peter Wood," in Sheridan Studies, edited by Morwood and Crane. Cambridge University Press, 1995, pp. 178-88.
Rump, Eric. "Sheridan, Congreve, and School for Scandal," in Sheridan Studies, edited by James Morwood and David Crane. Cambridge University Press, 1995, pp. 58-70.
Snider, Rose. "Richard B. Sheridan," in Satire in the Comedies of Congreve, Sheridan, Wilde, and Coward, 1937, reprint by Phaeton Press, 1972, pp. 41-73.
Taylor, Richard. '"Future Retrospection': Rereading Sheridan's Reviewers," in Sheridan Studies, edited by James Morwood and David Crane. Cambridge University Press, 1995, pp. 47-57.
Wiesenthal, Christine. "Representation and Experimentation in the Major Comedies of Richard Brinsley Sheridan," in Eighteenth-Century Studies, Vol. 25, no. 3, 1992, pp. 309-30.
Further Reading
Auburn, Mark S. "Richard Brinsley Sheridan," in Dictionary of Literary
Biography, Volume 89. Restoration and Eighteenth-Century
Dramatists, edited by Paula R. Backscheider. Gale, 1989, pp. 298-322.
Auburn provides a comprehensive overview of Sheridan's plays and his life.
de Selincourt, Aubrey. "Sheridan," in Six Great Playwrights: Sophocles, Shakespeare, Molière, Sheridan, Ibsen, Shaw. Hamish Hamilton, 1960, pp. 105-31. This essay explores the construction of several of Sheridan's plays, with a brief examination of his character development.
Hay, Douglas, and Peter Linebaugh, Eds. Albion's Fatal Tree: Crime and Society in Eighteenth-Century England. Pantheon, 1975. This book investigates the legal challenges faced by different social classes, including numerous detailed studies.
Hogan, Robert. "Plot, Character, and Comic Language in Sheridan," in Comedy from Shakespeare to Sheridan, edited by A. R. Braunmiller and J. C. Bulman. University of Delaware Press, 1986, pp. 274-85. Hogan compares Sheridan's use of plot and comedic language in School for Scandal and The Rivals.
Kronenberger, Louis. "School for Scandal," in Restoration and Eighteenth-Century Comedy, edited by Scott McMillin. W. W. Norton, 1973, pp. 558-63. Kronenberger discusses the strengths and appeal of School for Scandal, focusing on its themes and its contrasts with Restoration comedy.
Jarrett, Derek. England in the Age of Hogarth. Hart-Davis, MacGibbon, 1974. Jarrett presents a social history of the eighteenth century, utilizing diaries and letters to lend authenticity to his insights.
Mikhail, E. H., Ed. Sheridan: Interviews and Recollections. St. Martin's Press, 1989. Mikhail offers an engaging examination of the private Sheridan through letters and recollections from the period, presenting a different biography of Sheridan with previously unpublished information.
Porter, Roy. English Society in the Eighteenth Century. Penguin, 1982. Porter provides a comprehensive overview of eighteenth-century English life, detailing various aspects of social life from small country towns to London.
Stone, Lawrence. The Family, Sex, and Marriage in England 1500-1800. Penguin, 1977. Stone's exploration of family life and the interplay between family, state, and law is accessible and engaging. Stone provides examples to back up his account of social history. This work clearly illustrates the evolution of family structures and values over three centuries of political and social change.
