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ANTI-SENTIMENTAL COMEDY IN
Introduction
early life he gained a reputation for wildness and stupidity. Though unconcerned with
learning he managed to take a degree from Trinity College, Dublin and then proceeded
poverty and tried the church, the bar and medicine showing his incompetence in all.
London in 1756 and began the life of a hack-writer. For some time he was an assistant to
the famous novelist Richardson. Life in London was drudgery for him. During the period
from 1764 to1773 Goldsmith wrote all his important works-two poems, a novel and two
plays. His main contribution to English prose is the group of essays entitled the citizen of
the world published in (1760-1762). Goldsmiths friendship with Dr. Johnson began in
1761. They had a warm relationship in spite of their differing nature and temper.
Goldsmith, known for his simplicity bordering on stupidity, was loved by men like
Burke and Reynolds. Goldsmith was vain Burke and Reynolds. Goldsmith was vain,
unwise, and poor but was so large-hearted, human and sympathetic to the poor that his
faults were often overlooked Johnson called him gentle master. In Goldsmiths
temperament both melancholy and mirth lay side by side. He was a poet of talent and his
prose shares several of his poetic qualities like fancy, imagination and rhythm his
whimsical nature helped him to observe the peculiarities of human nature and he
presented a number of charters in his plays and essays with great sympathy, humor and
humanism.
2
Goldsmith wrote two comedies the good nature man and she stoops to conquer.
character, croaker, and many laughable scenes. Yet it was a failure on the stage. She
Stoops to conquer was not only sentimental but also moral and not only moral but also
comedies .In his preface to the play, Goldsmith condemns the genre of the sentimental
comedy as a mawkish drab of spurious breed. This play inordinate craving for the latest
dressing fashions of London, are realistically drawn. And so is Tony Lumpkin. With his
Hard castle, with his loved of old values and fashions, is somewhat moralistic.
But his inability to keep abreast of changing times makes him a ridiculous figure. The
play bristles with improbabilities, this aspect make it a farce. Marlows bashfulness in
the presence of aristocratic ladies is quite understandable. He had been brought of high-
born women. Naturally, he becomes nervous when confronted with such women. Mrs.
Hard castles coveting Constances jewels and plotting to marry her worth lesson in
order to grab all her jewels-these are quite understandable. But her moving round and
round the garden and believing herself to be far away from home is highly improbable.
And so is Marlows mistaking hard castles house for an inn. The drama turns on this
highly improbable incident. Since the play is replaced with improbabilities it can be
termed a farce or a slapstick comedy. The dialogue is very humorous. Mrs. Hard castle
spitting fire like a Catherine wheel when she discovers that Constances jewels are
humorous. Tony rollicking in the inn, Constances jewels being restored to Mrs. Hard
castle through Marlows stupidity, Hastingss letter being casually handed over to
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namely Mrs. Hard castle being terrorized in the garden at night all these highly
humorous situations.
Tony Lumpkin plays a pivotal role in the play. It is he who makes Marlow look
upon hard castles house as an inn. This mistake leads Marlow to treat Kate Hard castle
as barmaid. Toneys mischievous act sets the play in motion. Tony Lumpkin is a
miniature Falstaff. Like Falstaff in east heap, Tony reigns supreme in the inn, The Three
pigeons, where he celebrates a gag life with his boon companions. Tony is not an
intellectual. He is interested only in drinking ale and running after the country girl, But
Bouncer; He hates the very sight of Constance whom his mother wants him to marry for
her jewels. In order to cheat Mrs. Hard castle Constance fondles him and tracks to him.
But Tony scolds her in public and evades her. Tony is determined to promote the
Constance Hastings love. He steals Constances Jewels from his mothers bureau and
hands them over to Hastings. He drives his mother in a chaise round and round the dark
garden and makes her believe that she has travelled forty miles away from home. What
is worse he tires his mother by getting her stack up a dirty pond. She frightens that
murderers are paroling her. He makes her look upon her own husband as a robber.
Coming to know from his father that he has attained majority Tony disowns Constance
His two well-known comedies that give death-knell to the sentimental comedy
are-The story of the play thus follows. Mr. Honey wood is an open hearted good natured
by foolish young man. He gives away to the importunate what he owes to his creditors.
His uncle Sir William decided to teach him a lesson by having him arrested for debt and
to make him know who his true friends are. Young Honey wood loves Miss Richland but
responsible for his release from arrest. But it is Miss Richland who has secured his
4
release. Honey wood finally understands his folly and gets married with Miss Richland.
Within the main plot there runs also a sub-plot. In the prologue Goldsmith declared with
a touch of sarcasm that he had preferred the older laughing comedy to the sentimental
type. There are many weakness in the plot, much of the dialogues are stilted.
She Stoops to Conquer or The Mistakes of a Night was produced in 1773. The
principal characters are Hard castle, who loves everything thats old; old friends, His
father, Sir Charles Marlow, has proposed a match between young Marlow and Miss Hard
castle, and the young man and his friend, Hastings, accordingly travel down to pay the
Hard castle a visit. Losing their way they arrive at night at the Three Jolly Pigeons,
where Tony Lumpkin directs them to a neighboring inn, which is in reality the hard
castles house. The fun of the play arises largely from the resulting misunderstanding,
Marlow treating hard castle as the landlord of the supposed inn, and making violent love
to Miss Hard castle, which he takes for one of the servants. This contrasts with his
bashful attitude when presented to her in real character. The arrival of Sir Charles
Marlow clears up the misconception and all ends well, including a subsidiary love-affair
between Hastings and Miss Hard castles cousin, Miss Neville, whom Mrs. Hard castle
The prologue of the play gives the conception of comedy of Goldsmith. It is also
a direct satire on sentimental comedy. Moreover, he has explained his ideas about the
comic art in the dedication to Samuel Johnson. In the play, he has ironically attacked
Act II: Indeed, I have often been surprise how a man of sentiment could ever admire
those light air pleasures, where nothing reaches the heart. Again Tony says in the same
Act: I have often seen her and sister cry over a book for an hour together; and they said
they liked the book the better the more it made them cry.
5
She Stoops to conquer is a comedy play written by Oliver Goldsmith. It has been
loved since it was written. When it was first performed, some people did not approve of
it as it attacked the normal sort of play style at the time, which was sentimental comedy.
Even without reading the play, the irony of the title is obvious, since the "she" in
virtuous, and whose trials were too easily resolved, they were nonetheless accepted by
audiences as truthful representations of the human predicament. The 15th and 21st
She Stoops to Conquer described about the comedy movement in this play,
according to this play impressed me through the minor character Tony Lumpkin.
Because he is the comedy character of this play. Apart from that he also conning toughly
comedy. Tony plays tricks in She Stoops to Conquer. He is the most essential character of
the play. He is son of Mrs. Hard castle. Tony is a mischievous, uneducated playboy. Mrs.
Hard castle has no authority over Tony, and their relationship contrast with that between
hard castle and Kate. He is promised in marriage to his cousin, Constance Neville, yet he
despises her and thus goes to great effort to help her and Hastings in their plans to leave
the country. He cant reject the impending marriage with Neville, because he believes
hes not of age. Tony takes an interest where he joyfully sings with members of the
lower-classes. It is Tonys initial deception of Marlow, for a toke, which sits up the plot.
The author says that we should treat life as a game and we should not take it
seriously. We should not attach too much importance to anything in life. Such an
6
attachment brings only misery. The ideal things are to take everything lightly and keep
laughing even in the teeth of difficulties. We should remember at would better with a
song; better the world with a blow in the teeth of wrong. We should laugh because the
time is brief a thread the length of a span. Hence we should laugh and be merry. Useful
Sentimental comedy had its roots in early 18th century, which had a vein of
morality similar to that of sentimental comedy but had loftier characters and subject
matter than sentimental comedy. Writers of sentimental comedy included and, with their
respective plays Loves Last Shift (1696) and The Constant Couple (1699). The best-
known sentimental comedy is Sir Richard Steeles (1722), which deals with the trials and
tribulations of its penniless heroine Indiana. The discovery that she is an heiress affords
the necessary happy resolution. Steele, in describing the affect he wished the play to
have, said he would like to arouse a pleasure too exquisite for laughter.
Oliver Goldsmiths She Stoops to conquer (1773) and Richard Brinsley Sheridans The
Rivals (1775) until the sentimental genre waned in the early 19th century. In France
example of the genre. Sentimental comedy, a kind of that achieved some popularity with
respectable middleclass audiences in the 18th century. In contrast with the aristocratic
cynicism of English, it showed virtue rewarded by domestic bliss; its plots, usually
Pioneered by Richard Steele in The Funeral (1701) and more fully in The Conscious
Lovers (1722), it flourished in midcentury with the French comedies larmoyante (tearful
The pious moralizing of this tradition, which survived into 19thcentury, was
opposed in the 1770s by Sheridan and Goldsmith, who attempted a partial return to the
Sentimental comedy a kind of comedy that achieved some popularity with respectable
middle class audience in the 18th century. In contrast with the aristocratic cynicism of
English restoration comedy. It showed virtue rewarded by domestic bliss: its plots.
than humor. Pioneered by Richard steel in the funeral (1701) and more fully in the
larmoyante (tearful comedy) and in such plays as Hugh Kellys False Delicacy 1768.
The pious moralizing of this tradition, which survived into19th century melodrama, was
opposed in the 1770 by Sheridan and Goldsmith, who attempted a partial return to the
comedy of manners.
Comedy that addresses itself to the spectators love of goodness rather than to his
sense of humor and emphasize the moral aspects of its situations and the virtues of its
characters.
disproportionate to the situation at hand, (and thus to substitute heightened and generally
uncritical feeling for normal ethical and intellectual judgments), and a heightened reader
a literary situation "Sentimentalist", wrote is one who desires to have the luxury of an
emotion without paying for it., Stephen Devalues sends Buck Mulligan a telegraph that
reads "The sentimentalist is he who would enjoy without incurring the immense debtor
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ship for a thing done." considered that 'Sentimentality, the ostentatious parading of
excessive and spurious emotion, is the mark of dishonesty, the inability to feel...the mask
of cruelty'.
The sentimental comedy did not last long. The sentimental soon degenerated in
replace wit and immorality in the comedy. In this sentimental comedy of Colley Cibber
and Steele there was conventional morality and sentimentality in place of grossness of
the restoration comedy. These dramatists dealt with the problems, of conduct, family and
marriage in a tone that will no longer shock decorum and by virtue of tears they cause to
flow, they contributed to the edification of souls. These dramatists aimed at preaching
some moral lessons by restoring suffering innocent virtue to happiness and converting
rogues into good characters. Thus these comedies lost the true spirit of comedy. There
are no gaiety and innocent mirth created by wit and fun. Instead, these plays served the
The seventeenth and eighteenth centuries were both turbulent and polite; it was
romanticism. It witnessed the rise of the novel, the birth of the modern encyclopedia, the
cult of sensibility and the crafting of some of the sharpest satire in English. The long
Restoration to the era of Revolutions and Romanticism. Our research encompasses some
of those dichotomies: Dr. McGuire works on Colley Cibber, while Professor Hawley is
writing on his enemies, the Scribblers Club. We are also collaborating on a major
interdisciplinary project which aims to cover and revive the practice of private theatricals
and amateur performance in domestic spaces. Other specialism includes Spencer, Scott
and sculpture.
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We welcome applications for PhDs in most areas of study in the long eighteenth
century, especially gender, politics, theatre history, romanticism, aesthetics, learning and
literature and literary coteries. Goldsmith completed the play in 1773. It was first
performed at Covent Garden Theatre in London on March 15 of that year. It was well
received. Over the last two centuries, it has become one of the most popular comedies in
English literary history. It is still performed often today throughout the English-speaking
world.
She stoops to conquer was first produced in London in 1773, and was a massive
success. The play is often published with a sub-title as stoops to conquer or the Mistake
of Night. The sub-title was originally its working title, but perhaps due to evoking too
strongly Shakespeares Amid summer Night dream goldsmith re-titles the play. It was
reputed to have created and applause that way yet unseen in the London theater, and
Within a decade it had traveled both throughout the European continent and to
the united stat. This was particularly significant considering the lake of success
Goldsmith had with his previous comedy. The Good-Natured man. This play, which
explores similar themes without the same well mad play frame, performed very poorly
when first produced. There are many reasons for this was She Stoops to Conquer feels
natural.
The good natured man can seem stage and freed the complicated plot is far less
accessible than in She Stoops To Conquer, and the deliberate exploration of the
convection of sentimental comedy are less sharp in the earlier work. However what
perhaps influenced goldsmith most about its failure was the audience reaction to a scene
of low behavior in which the hero is accosted by buffoonish bailiffs. The near universal
disdain for the scene led it is cut from future performance. While the work of a colleague
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Hugh Kellys false delicacy, was immensely popular. Owing to his jealous nature and
disdain for gentle comedy, goldsmith seems to have swam he would avenge his loss with
a hit play that skewered the very problem that he blamed for the failure of the good
natured man. As time has proved he accomplished his gold with she stoops to conquer.
move with girl of his social station. He is therefore, very shies towards them and is bold
and forward only with low-class women. To set him right, his father sir Charles Marlow
sends him from London to his friend hard castle in the village. Marlows friend Hastings
accompanies him to the village in order to sustain him in times of need. In the village
Hard castle is conservative and old fashioned but Mrs. Hard castle is crazy after
the dressing fashion prevalent in London. Their daughter Keats strikes a via media
between these two extremes by dressing fashionably in the forenoons and modestly in
the afternoons. Mrs. Hard castles niece Miss. Neville is in love with Hasting. Being
motherless she is taken care of by Mrs. Hard castle her jewels are in the possession of
Mrs. Hard castle. Mrs. Hard castles son Tony (born to her first husband Lumpkin)is a
good for nothing booby, reveling with his boon companions in the tavern, The Three
Pigeons, Mrs. Hard castle wants Neville to Mary Tony so that her fortune will circulate
within her family itself. Tony directs Marlow to the Decayed house of the hard castle.
Describing it as an inn where he and hasting can spend the night comfortably. Reaching
that place, Marlow views hard castle as the inn keeper and orders him about. Hard castle
is aghast But Marlow talks haltingly with the well-dressed Keats, not even looking at her
face. But when she appears as the barmaid he takes liberties with her and even tries to
taste what he considers the nectar of her lips. Hard castle is stunned by his impudence
and asks him to leave the inn at once. In the meantime, Tony steals the casket containing
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Nevilles jewels and hands it over to Hastings. He passes it on to his friend Marlow who
in turn entrusts it to the landlady (who is none other than Mrs.Hard castle) for safety.
Mrs. Hard castle scents the plane of Neville to elope with Hastings to France. She
decides to take Neville, to her harsh aunt pedigrees Tony gets the better of his mother by
riding her round and round the house and makes her believe that she is forty miles away
from home. She is rescued by hard castle. Sir Charles visits hard castle, the two men
hide behind a screen and watch Marlow kneel before Kate, thinking her a barmaid, and
propose marriage to her the two fathers tell the truth about Keats to Marlow and decide
to marry the lovers then and there. Hard castle allows Neville also to marry Hasting,
The two marriages, Marlow with Keats and Hastings with Neville, Mrs. Hard
castle, Tony are very happy because he is free to enjoy the company of his sweetheart
Bet Bouncer. The second epilogue is cute and would likely be a fun was out of the play,
but does little to significantly further the play's theme. It certainly can be used as
argument for the centrality of Tony to the themes, but at best, it offers the audience a
reminder that 'good taste' should come from a spirit of liveliness and not moral
sanctimony or given assumptions about proper breeding and education, since Tony in
most ways lacks those two qualities. However, the first epilogue is a nice summation of
the goal Goldsmith set out for himself in his "Essay on the Theatre."
Though it's not explicitly stated, the barmaid whose life he describes is likely
meant to represent the theatre itself. She learned to confront her audience and demand
things of them, then was brought to high society, where she grew pretentious and lost her
edge(regressing into "sentimental comedy"), and now sits docile, waiting for someone
like Goldsmith ("the doctor" from the prologue) to see where he can lead her. He wants
tore capture her bawdy charm from her younger days, and he hopes he can "conquer" his
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audience by doing so. So the epilogue here serves as a challenge to the audience - did he
succeed? Did he conquer them into accepting the low and bawdy nature of comedy
class audience in the 18th century. In contrast with the aristocratic cynicism of English
restoration comedy, its plots usually involving unbelievably good middle class couples,
Pioneered by Richard Steel in the Funeral. And this pious moralizing of the
tradition, which survived into melodrama, was opposed in the 1770s by Sheridan and
led astray through bad example. By an appeal to his noble to his sentiments, a man could
be reform and set beckon the path of virtue. Although the plays contained characters
whose natures seemed overly virtues, and whose trails were too easily resolved, they
predicament. Sentimental comedy had its roots in early 18th century tragedy, which had
a vein of morality similar to that of sentimental comedy but had loftier character and
subject matter than sentimental comedy. The best-known sentimental comedy is Richard
Steels the conscious Lovers, which deals with the trials and tribulations of its penniless
heroine.
circles of society, where appearance count for more than true moral character. Its plot
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usually revolves around intrigues of lust and greed, the self-interested cynicism of the
Conquer and Richard Brinkley Sheridans The Rivals& School for Scandal are from the
Anti-sentimental comedy.
Oliver Goldsmiths The Vicar of Wake field and The Deserted Village are
respectively in the front rank of 18th century novels, poems and plays. Mr. and Mrs.
Hard castle live in an old house that resembles an inn, and they are waiting for the arrival
of Marlows son of Mr.Hardcastlesold friend and a possible suitor to his daughter Kate.
Kate is very close to her father, so much so that she dresses plainly in the evenings (to
suit his conservative tastes) and fancifully in the mornings for her friends.
Meanwhile, Mrs. Hard castles niece Constance is in the old woman's care, and
has her small inheritance (consisting of some valuable jewels) held until she is married,
hopefully to Mrs. Hard castles spoiled son from an earlier marriage, Tony Lumpkin The
problem is that neither Tony nor Constance loves the other, and in fact Constance has a
beloved, who will be traveling to the house that night with Marlow. When Marlow and
Hastings arrive, they are impertinent and rude with hard castle, whom they think is a
landlord and not a host.ThenHardcastle and Kate each confused with the side of Marlow
seen only modesty. At the end the truth coming to light, and everyone happy. Sir Charles
has arrived, and he and Hastings laugh together over the confusion young Marlow was
in. Marlow arrives to apologize, and in the discussion over Kate, claims he barely talked
to Kate.
Hard castle accuses him of lying, since hard castle saw him embrace Kate and
Marlow reveals his truly good character, and after some discussion, everyone agrees to
the match. Allure happy and the "mistakes of a night" have been corrected.
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She Stoops to conquer is not a pure sentimental comedy, but it was produced and
published in the 17th century when sentimentalism first appeared. Therefore, it has few
simplicity in describing the good and bad characters. Those are the three elements that
are existed in the sentimental plays. However, Goldsmith didn't like sentimental comedy
and considered it hypocrisy and so he shows his attitude through criticizing it throughout
the play. Other than this, you can classify it as a comedy of manners, farce, romantic
comedy and satirical. One of the first things is making sure the play reaches out to a
The play was written in 1771 with the first performance in 1773 and its
important to make sure that we deliver a production of this play that honors where the
play has come from, that acknowledges what the play is, and that reaches out to a
contemporary audience. The language is a couple of hundred years old; its closer to that
of the Restoration period than modern English. Its a more heightened prose than
contemporary writing, so theres the challenge of getting our mouths and our minds
round the text to release it for a modern audience. We also need to make sure that we
understand the period and where the play has come from well enough to do it justice
the manners, the etiquette and the protocol of the time. Were doing the production in
period, so its about understanding the period well enough in order to release the play.
There isnt one global question at the heart of the play, although what are clear
are the individual needs and desires of the characters. For example, Mrs. Hard castle
wants refined pleasures; she wants to transcend the rambling mansion that she lives in
and to refine it, and she wants her husband to be more refined. She wants the world she
lives in to be more fashionable. Marlow wants to find a peace in his life, and to find a
match and the pressure that hes put under is one of the obstacles to his achieving this.
15
Theyre all after something Mr. Hard castle wants peace as well. He wants people to stop
making demands on him. The type of comedy which She Stoops to Conquer represents
has been much disputed. However there is a consensus amongst audiences and critics
that the play can also be seen alone of the following comedy types. When the play was
first produced, it was discussed as an example of the revival of laughing comedy over
the sentimental comedy seen as dominant on the English stage since the success of,
written by in 1722.
In the same year, an essay in a London magazine, entitled "An Essay on the
sentimental comedy, a false form of comedy, had taken over the boards from the older
Some theatre historians believe that the essay was written by Goldsmith as a puff
piece for She Stoops to Conquer, as an exemplar of the laughing comedy which
Goldsmith had touted. Goldsmith's name was linked with that of, author of and, as
standardbearersfor the resurgent laughing comedy. The play can also be seen as a, where,
set in polite society, the comedy arises from the gap between the characters' attempts to
preserve standards of polite behavior, that contrasts to their true behavior. It also seen by
some critics as a, which depicts how seriously young people take love, and how foolishly
it makes them behave; in She Stoops to Conquer, Kate's stooping and Marlows
ludicrous or eccentric. Such a comedy might leave the impression that the characters are
either too foolish or corrupt to ever reform, hence Mrs. Hard castle.
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misunderstandings, hence Marlow and Hastings believing the Hard castles' house is
toConquer.This is the one Unity that Goldsmith does not rigorously follow; there is the
inclusion of the Constance-Hastings eloping sub-plot that distracts from the main
narrative of the play. However, it shares similar themes of relationships and what makes
the best ones. Furthermore, the sub-plot disinter-weaving with the main plot, for
example, when Hastings and Marlow confront Tony regarding his mischief making. The
alternative title of Mistakes of the Night illustrates that the Unity of Time is carefully
observed. With all of the events occurring in a single night, the plot becomes more
stimulating as well as lending more plausibility to the series of unlucky coincidences that
Whilst some may question whether She Stoops to Conquer contains the Unity of
Place after all, the scene at the The Three Pigeons is set apart from the house but
the similarity between the alehouse and the "old rumbling mansion, that looks all the
world liken inn" is one of close resemblance; enough that in past performances, the
scenes have often doubled up the use of the same set backdrop. Also, there is some
debate as to whether the excursion to "Crack skull common" counts as a separate setting,
but since the truth is that the travelers do not leave the mansion gardens; the Unity of
Place is not violated. The title refers to Kate's ruse of pretending to be a barmaid to reach
her goal.
It originates in the poetry of, which Goldsmith may have seen misquoted bin
Chesterfield's version, the lines in question read: "The prostrate lover, when he lowest
She Stoops to conquer was written by Oliver Goldsmith in 1773. Goldsmith was
very critical of the then current vogue for sentimental comedy and the prejudice against
laughter, and She Stoops to Conquer was his response - and hugely successful it was,
and still is. We thought the comment in the programme about Goldsmith and the 'new
reality' was a little misleading. Yes, he was reacting against the fashion of the day, but
'realism' has the wrong connotations - he was setting his comedy inane unfashionable,
rural milieu, an 'everyday story of country folk, but the style is still very artificial.
Formal language brings its own problems, but more of this later. The course of truelove
never runs smoothly, and the plot revolves around the fortunes of two pairs of
loversandan avaricious aunt and stepmother, Mrs. Hard castle, who is also the doting
mother of a very boorish and illiterate son from her first marriage, Tony Lumpkin. It is
he however, who is the engine for the plot, both when it goes seriously wrong and when
it has to be set on track again. Of course, all ends happily for the lovers and the only sour
conversation can be formal and rather artificial-sounding to modern ears: we felt at the
start of the play that some of the cast were not always comfortable with this highly
structured dialogue.
Occasionally they spoke too fast or did not enunciate clearly enough, thereby
missing some of the sparkle of the exchanges. They could perhaps have emphasized the
artificiality, particularly in the early scenes, thereby helping the momentum of the play.
In the second half, with the plot moving forward into further complications, the action
speeded up and the cast seemed more at home and confident with the conversational
style of the 1770's. ChristineMackinven, however, had no problems at all with the 'period
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piece' language. She wassplendidas Mrs. Hard castle, a terrible example of vanity and
When, as a result of another of her son's little schemes, she thought herself
confronted by ahighwayman on Crack skull Common (it was, in fact, her bemused
husband in their own garden) she launched into a marvelously comic scene of
exaggerated hysteria. Mike New bold as her husband gained dramatic force as his anger
and frustration rosebud in his opening scene with his wife we felt the director could have
provided more domestic movement and detail - perhaps smoking a pipe, or sitting,
getting up and moving towards hears she became more irritating, even pacing the room
or putting his feet up on the table assume sort of challenge to this wife of his!
Richard Delahey was suitably lumen and churlishMr. Hard castle was
imminently expecting the arrival of the diffident son of his best friend, Sir Charles
Marlow. The young man was to pay court to young Kate Hard castle, the apple of her
father's eye, but was duped into arrogantly treating the hard castle home as a common
inn and his host as the innkeeper. The author of this piece of mischief was Mrs. Hard
castles son, Tony Lumpkin - Richard Delahey wassuitablylumpen and churlish, but he
He was very convincing as the awkward, oafish and spoilt son, with none of the
intelligence and sparkle of his step- sister, but an audience does need to hear all his
grumbles and complaints! He also needed more room on the stage, which was not helped
by having several flats set at angles to provide exits. Much useful space was therefore
To draw his 'basket' (his sword), but there would never have been room for such
tantrum! The two young lovers, young Charles Marlow and his friend George Hastings
(Andy Kittle and Charles Watts respectively) handled their roles well but we did wonder
19
whether these two male leads could, with benefit, have been changed round. Charles
Marlow has to portray the well-known double standard of differing attitudes to women:
total awkwardness an inability to relate to young women of social standing but absolute
freedom to fumble any barmaid or kitchen wench who came his way! We hope Charles
Watts will not regard it as a slur on his character when we say that we felt he might have
been happier in the role of 'young man sows his wild oats', while Andy Kittle could have
been his solid and dependable friend. However, Andy managed the 'split personality' of
the character of Charles Marlow very credibly and to comic effect though he needed to
bring some variety to his depiction of total shyness when talking to Kate.
Just looking at his boots or turning sideways became too repetitious - there are
other ways of avoiding eye contact. A further small point - the wigs did cause us some
concern. One can accept that old Mr. Hard castle might have a rather ragged and
unfashionable wig, but the young and supposedly elegant Charles looked as though he
was imminently about to lose his and it seemed to be coming apart in places. Such
details are important in a costume play: we found this wig worryingly distracting.
Andy managed the 'split personality' of the character... very credibly Young
himself to win the land of Kate, who intelligently keeps up the subterfuge of being the
barmaid at the inn. Kate and her cousin, Constance Neville, were well-portrayed by
Vanessa Braithwaite andRosSaint-Clare respectively but again, as with the young men,
we felt the girls could well have switched roles. Vanessa had the cool reserve and
demureness that would have suited Constance, while Ross could have brought the
'spikiness' and mercurial element to Kate's character. Claire McCabe was the long-
Richard Jenkins doubled as the landlord of The Three Pigeons, which was Tony
With regard to the set, apart from the use of flats at the sides of the stage, upon
which we have already commented, we were unhappy with the rather modernist, abstract
design and felt that no effort had been made to turn it into a comfortable, middle-class
eighteenthcenturyinterior. We realize that space is a problem and one would not want a
cluttered, fussiest, but less timbering, less Mondrian-style geometry and perhaps some
She stoops to conquer a beautifully constructed play where love conquers all,
despite the combined efforts of a greedy woman, her inept son and an unfortunate case
of 'pedestalisation of women' in the young male lead! As the program reader pointed out,
and even with the reservations we have made, the play can still delight an audience 200
Independent Shakespeare Co. bookends its 2013 season with two witty
terrifyingly intense and bloody version of Macbeth during this summer's Griffith Park
years, they are perfect literary companions for an ISC summer festival. Both share a
As befits this comedy of manners, mistaken identities provide rich fodder for
laughs when Charles Marlow, the senior, sends his son Charles Marlow, the junior, to
woo his old friend Mr. Hard castles (Danny Campbell) daughter Kate (Claudia de
Vasco). But before hand his traveling companion, Mr. Hastings (Nikhil Pay), can arrive
at their destination, they are met and misled by Kate's mischievous half-brother, Tony
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Lumpkin (Andr Martin), into believing that the Hardcastlecountry home is actually an
inn.Marlow mistakes Mr. Hard castle for the innkeeper and proceeds to break every rule
of etiquette imaginable, much cottonys delight. Hard castle is at a loss as to why his old
friend's son is behaving so badly bathe too has created a minor deception by having his
farm hands pose as refined servants. These-up is an open invitation for physical comedy
and the ISC gang is game for it from theoutset.When it comes time for Marlow to meet
Kate we see his funniest flaw. He can do Littlemore than stutter with nervousness and
stare at the ground in the company of a lady like Miss Hard castle but his behavior does
a complete 180 when he later mistakes her for a lowly servant and pursues her like a
wanton playboy.
Meanwhile, Tony is engaged to his cousin, Constance Neville (Erika Soto), but
hed rather be partying with Betty Bouncer (Julia AKs) at the local bar.
Constance is in love with Mr. Hastings and when he unexpectedly finds her
staying attheHardcastles, they make plans to run away together. An elaborate scheme
involving the theft of Mrs. Hard castles jewels adds even more hilarity, and all the while
the audience is in the fun. Directed by the company's savvy artistic director, and
alive with jaunty delight. Melvilles Marlow is full of awkward extremes and his ability
to recover from every foible is a true delight. De Vasco is charming as the independent
heroine who takes her future into her own hands and Martin's playboy is an unrestrained
joker who wins the audience over through his own exuberant enjoyment of his pranks.
Plus, he's got some great hair, thanks to costumer Bishops styling for She Stoops To
Conquers a fantastic combination of 70s glam rock and18th century finery. The looks are
bright, sexy and full of figure-flattering details that are particularly beautiful on the
Griffith Park outdoor stage. Soto is luscious in pink, Paidashingin a deep magenta
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waistcoat; Melville's arrival hat and coat will make you laugh the minute he enters the
The design for Mrs. Hard castle (Bernadette Sullivan) is such a perfect match to
her over-the-top personality that she is instantly recognizable as the overbearing, greedy
but ever so-polite doyenne of the dysfunctional family. Her two-foot high wig, which
only becomes more elaborate by the play's end, is a marvel, as is the detail in her over-
sized Marie Antoinette gown. Sullivan has never been better and she'll make you love
the oblivious old broad with every booming order she spouts.
Mistaken identities, curious situations, and a delicious resolution make the plays
journey to a happy end a most satisfying romp in the park. In my book, this is the way to
celebrate a summer night. Pictured above: Bernadette Sullivan as Mrs. Hard castle and
Tony is the son of his mothers first husband, Lumpkin. After his fathers death,
heist ken care of by his step-father Hardcastlewho is a stickler for discipline. He calls
Tony good for nothing booby. The more Tony is criticized, the more rebellious he grows.
He spends almost as his time in the tavern, the three pigeons, carousing and singing with
his boon companions. He often talks of a sex bomb by name Bet Bouncer who, he says,
loves him and is loved by him. The fact that she never appears leads the reader to suspect
that she is imaginary, not real. Tony is like modern teenagers going into raptures over
film actresses whom they can never get at. In order to cheat her aunt Mrs.Hardcastle,
Tony co-operates with Neville and pretentiously reciprocates her overtures. What
isomer, he steals the casket containing Nevilles precious jewels and passes it on to
Hastings, facilitating him to elope with her to France. But Hastings stupidly hands it over
to Marlow and Marlow, the stupidest man in the play, entrusts it to Mrs. Hard castle,
23
thinking her the innkeepers wife. Thus Tonis plan is wrecked. But he does not lose
heart. He sabotages Mrs.Hardcastles evil plan to take Neville, to the autocratic pedigree.
What he does towards this end is to drive Mrs. Hard castle round and round her home in
the dark, making her believe that she has travelled forty miles from home. The greatest
service rendered by Tony is to reject Neville, when he knows that he has come of age
and marry her off to Hastings. He rejoices in doing this because he is free now to cohabit
with his dream girl, Bet Bouncer. The prologue to she stoops to conquer makes it clear
sententious statements and moralistic twists and turns. The Shakespearean comedy is
heavily loaded with threadbare devices such as mistaken identity, songs villains turning
virtuous suddenly, etc. goldsmith does not quit deviate from this set pattern.
Hardcastle for an innkeeper and ordering him around is the first comic incident in the
play his mistaking Kate for a barmaid and trying to embrace her and kiss her nectarous
lips, causing consternation to her father, is another hilarious scene. The way the casket of
jewels passes from hand to hand and ultimately reaches the original owner, Mrs. Hard
castle, to her immense relief, is memorable comic scene. Tony driving Mrs. Hard castle
in the dark round and round her own house and making her believe that she has travelled
forty miles away from home, and leading her to mistake her own husband for a
cornucopia of comedy.
songs that Tony and his boon companions sing in the tavern express their Epicureanism
and aversion to bookish learning. Tony project himself as an unabashed hedonist in this
scene."Let school-masters puzzle their brain, with grammar, and nonsense, and learning;
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Good liquor, I stoutly maintain, gives genius a better discerning."Tony Lumpkin's song,
Act I, Scene. II pg. 12This opening to Tonis song helps to establish one of Goldsmith's
aims to properly appreciate low behavior. Here, Tony sets two different lifestyles in
opposition: proper life versus base life. While the play has a conservative streak that
keeps it from entirely embracing baseness as the key to life, it does propose that
moderation ought accept that a life of good liquor can grant us a perspective into
human absurdity and folly, whereas a life solely dedicated to proper education would not
provide such insight. In all comedy Gordionknots are cut and felicity reigns supreme at
the end, with villains turning virtuous. Thishappens in she stoops to conquer also. Tony
comes of age and celebrates this by uniting Neville and hasting in wedlock and going
back to his sweetheart Bet Bouncer. Hardcastlecompletes the cup of joy of the lovers by
restoring the jewels to theme. The only person to mar this pleasant mood is the morose
Mrs. Hard castle who does not at all like her son Tony generosity.
Tony is an adept at running with the hare and hunting with the hound. He tells his
mother that he will help her to reach pedigrees house before dawn. But what he does is
toride her and Neville in the dark round and round her own house and delude her that she
travelled forty miles away from home. He has led them through many puddles and pits
and nearly broken their bones. He stops them at a particular place and frightens them by
telling them that the place is haunted by robbers. The Hardcastlcoming out of his house
for his routine nightly stroll is presented by Tony as a highwayman. Mrs. Hard castle
comes out other hiding place, thinking that the highwayman might kill Tony first and her
later. Only oncoming closer does she discover that the man in the dark is her own
husband. She flies into towering rage and vows to take revenge on Tony who has proved
Goldsmith's style is wry, witty, and simple but graceful. From beginning to end,
the play is both entertaining and easy to understand, presenting few words and idioms
that modern audiences would not understand. It is also well constructed and moves along
rapidly, the events of the first act in particular, references to Tony Lumpkin's childhood
propensity for working mischief and playing practical jokes foreshadowing the events of
the following acts. There are frequent scene changes, punctuated by an occasional
appearance of character alone on the stage souls in the stage directions reciting a brief
account of his feelings. In modern terms, the play is a page-turner for readers. Goldsmith
observed the classical of time and place, for the action of the play takes place in single
Works Cited
Madurai.2009.Print.
www.gr.adesaver.com/she-stoops-to-conquer/study-guide/section-7.
www.gr.adesaver.com/she-stoops-to-conquer/study-guide/section-1.
http:/Andhariadarshangi012011Blogspot.in/2012/11/antisentimentalcomedy.ht
ml.