At first glance, honor seems to be in short supply in School for Scandal. The gossipers are entirely devoid of it; Lady Teazle considers abandoning the values of honor she learned in the countryside; Joseph is eager to betray his brother for a wealthy marriage; and Charles is heavily indebted to moneylenders. Even Sir Oliver, who should be the epitome of honor, uses disguises to test his nephews' integrity.

By the conclusion of the play, it becomes clear that only the gossipers are truly lacking in honor. Lady Teazle grows to appreciate her husband and realizes she has more honor than her peers assumed. Despite being reckless with gambling and finances, Charles is honorable. He repays his debts, albeit gradually, and is willing to help a poor relative without being asked. Sir Oliver's scheme reveals Joseph's hypocrisy. Furthermore, the moneylender Moses turns out to be so honorable that he assists Charles in managing his debts.

Sheridan encourages his audience to examine societal morals in this play. Gossip about neighbors, acquaintances, and friends serves as a form of entertainment. There is little genuine concern for the truth, and even less for the damage such gossip can cause.

In the initial scenes of School for Scandal, the individuals being gossiped about are unfamiliar to the audience, making it impossible to verify the comments made by Lady Sneerwell and Mrs. Candour. However, by the final act, it's evident that these gossipers don't require any truth to spin their stories. The revelation of the screen in Joseph's library—and the ensuing confrontation—remains vividly in the audience's mind. This earlier scene sharply contrasts with the rumors and insinuations that occupy the gossipers. While comedic, the play imparts a moral lesson to its viewers.

School for Scandal is widely regarded as a critique of the sentimental drama that was prevalent on the London stage before and during Sheridan's era. Sentiment was lauded as a remedy for the excesses of Restoration comedy, yet it often led to bland and uninspired stories. The protagonists were frequently portrayed as so virtuous that they became uninteresting. In Sheridan's play, Joseph Surface is highly praised for his sentimentality. On the other hand, his brother Charles is censured for lacking the same sentiment: "He is a man of sentiment … there is nothing in the world so noble as a man of sentiment." The irony of Sir Peter's compliment, given that Joseph is neither noble nor admirable, underscores Sheridan's critique of this eighteenth-century tradition.

Uncovering the truth is a key theme in Sheridan's play. Lady Sneerwell and Snake are heavily involved in deception, while Joseph twists the truth for his own benefit. When Sir Oliver, disguised as the elderly Stanley, requests financial assistance from Joseph, Joseph lies effortlessly, insisting he has no funds. He even shifts the blame onto his brother, Charles, accusing him of extravagant spending that allegedly left Joseph broke. The gossips, however, are uninterested in the truth; their primary goal is to amuse each other with outrageous rumors. In contrast to their sensational stories, reality—and the truth—appears mundane.

Wealth plays a crucial role in the play. The impoverished people of London were so focused on meeting their basic needs for food and shelter that they couldn't engage in leisurely activities such as gossip or gambling. Wealth distinguishes the play's characters from the rest of society. For instance, Sir Peter complains about his wife's extravagant spending on silk dresses and out-of-season flowers. Charles wastes his money on gambling and drinking with his friends, enriching moneylenders due to idle young men like him. Joseph's interest in Maria is purely motivated by her wealth, and Sir Oliver's concern for his nephews' morals stems mainly from his intention to bequeath them his fortune.