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    She Stoops To Conquer

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    She Stoops to Conquer (1773) is a stage comedy written by Oliver Goldsmith that uses techniques of the old "Comedy of Manners" style to challenge the popular sentimental comedies of the time. It generates humor through verbal wit, absurd situations, and exposing foolish or ridiculous behavior. Specifically, it satirizes notions of class and how characters like Marlow feel constrained by social expectations related to class. Through disguises and mistaken identities, the characters are able to overcome these constraints and move toward romantic partnerships by the end of the play.

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    She Stoops To Conquer

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    She Stoops to Conquer (1773) is a stage comedy written by Oliver Goldsmith that uses techniques of the old "Comedy of Manners" style to challenge the popular sentimental comedies of the time. It generates humor through verbal wit, absurd situations, and exposing foolish or ridiculous behavior. Specifically, it satirizes notions of class and how characters like Marlow feel constrained by social expectations related to class. Through disguises and mistaken identities, the characters are able to overcome these constraints and move toward romantic partnerships by the end of the play.

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    She Stoops to Conquer

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    She Stoops to Conquer (1773) is a stage comedy written by Oliver Goldsmith that uses techniques of the old "Comedy of Manners" style to challenge the popular sentimental comedies of the time. It generates humor through verbal wit, absurd situations, and exposing foolish or ridiculous behavior. Specifically, it satirizes notions of class and how characters like Marlow feel constrained by social expectations related to class. Through disguises and mistaken identities, the characters are able to overcome these constraints and move toward romantic partnerships by the end of the play.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
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    502 views27 pages

    She Stoops To Conquer

    Uploaded by

    xsgt
    She Stoops to Conquer (1773) is a stage comedy written by Oliver Goldsmith that uses techniques of the old "Comedy of Manners" style to challenge the popular sentimental comedies of the time. It generates humor through verbal wit, absurd situations, and exposing foolish or ridiculous behavior. Specifically, it satirizes notions of class and how characters like Marlow feel constrained by social expectations related to class. Through disguises and mistaken identities, the characters are able to overcome these constraints and move toward romantic partnerships by the end of the play.

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    The passage provides an overview of Oliver Goldsmith's life and works, particularly focusing on his famous comedy play She Stoops to Conquer. Some of the key themes examined in the play include class, love, and the use of disguise.

    She Stoops to Conquer is a comedy play written by Oliver Goldsmith in 1773 that follows a young man named Marlow who is awkward around women of high social class. It examines themes of class, love, and the use of disguise.

    The play examines the notion of class through various episodes and characters, particularly how Marlow is awkward around women of a certain social class due to the restrictions of the class system at the time regarding marriage between different classes.

    She Stoops to Conquer (1773)

    Oliver Goldsmith

    Oliver Goldsmith (1730-1774)


    Oliver Goldsmith was born into a lower middle class Anglo-Irish family. He worked his way through Trinity College, Dublin, studied medicine in Edinburgh, and toured parts of Europe before taking up a life of writing in London. In 1761, he met Samuel Johnson, become an important member of his literary circle. He is best known for a comic novel, The Vicar of Wakefield, a poem about urbanization, The Deserted Village, and a stage comedy, She Stoops to Conquer.

    Goldsmith, by Joshua Reynolds, ca. 1773

    By reputation, Goldsmith was brilliant but insecure, and well-meaning and good-natured, but often foolish or gauche in social situations.

    The Plays the Thing . . .


    In many regards, a play is a very different beast than most other forms of literature. What are the primary differences between drama, and (say) novels and poems?

    Drama is PERFORMANCE!!!!
    As a performance, Drama occurs in three dimensions, and unfolds in real time. The presence of the author is usually almost entirely effaced. How did your experience of this play differ from your reading of the play?

    Theatre and Society


    Westminster, site of the Court The City, financial and business hub of London

    The 18th-century theatre district, in the fashionable Town

    Southwark, site of the Elizabethan theatres.

    Theatre Audiences
    The shift in the locale of the London theatres after 1660 signals a change in the composition of the audience, which in turn had important effects on drama in performance. Given the new proximity to the fashionable Town and the Court, what changes might we expect to see?

    Covent Garden Theatre, ca. 1808

    What might part of the attraction of the theatre for the fashionable world of the beau monde be?

    New Theatre Designs


    The most important innovation was the introduction of a new design for playhouses. Elizabethan theatres had been Circular Open air With all action occurring on a thrust stage With minimal stage props, scenery, or special effects. The new theatres, by contrast, were in many respects far more recognizably modern in their design . . .

    Reconstruction of the Globe Theatre, ca. 1599

    New Stages
    Proscenium arch Flats (movable scenery boards)

    Back stage (raked)

    The Pit, the favoured area for fashionable spectators


    Scene from the Restoration opera Ariane, performed at Drury Lane Theatre.

    Forestage

    New Stages (contd)


    Flats (movable scenery boards) Proscenium arch

    Back stage (raked upwards)

    Onstage boxes for seating


    Modern reconstruction of the stage layout for the Restoration production of Ariane at Drury Lane Theatre.

    Forestage

    Using the Stage


    The eighteenth-century stage was divisible into two clear parts, defined by the proscenium. Productions of comedy and tragedy tended to use these stage spaces differently. Given that tragedy was usually about larger-than-life figures in exotic settings, how might you stage it here? Comedy is about people whose status and lifestyle reflects the social nature of the audience. How might you stage comedy?

    English Theatre in Decline


    English theatre had been in the doldrums since 1737, when the Licensing Act closed down all but two officially-sanctioned theatres, and imposed strict government censorship on all plays. This move had driven many of the best playwrights (most notably the future novelist Henry Fielding) away from the theatre.
    From an advertisement for The Golden Rump, a threatened satirical play of 1737

    Sentimentalism on Stage
    At the same time, the rise of sentimentalism in drama since at least the 1720s emphasized weeping over laughing, and overt moralizing over the subtle exploration of ideas. Satire was largely neglected in favour of feel-good comedies in which unquestionably virtuous people suffered pitiably before triumphing over one-dimensional depictions of wickedness, usually by reforming the wicked.

    Maria and her dog Silvio, 1781

    Comedy vs. Tragedy


    For Goldsmith, the excellence of laughing comedy, and the inferiority of sentimental comedy, derived from the distinctions between comedy and tragedy.

    What distinguishes these two genres?

    Comedy and Ridicule


    In An Essay on the Theatre; or, A Comparison between Laughing and Sentimental Comedy (1773), Goldsmith lays out the true purpose of dramatic comedy:

    Comedy is defined by Aristotle to be a picture of the frailties of the lower part of mankind, to distinguish it from tragedy, which is an exhibition of the misfortunes of the great. ... If we apply to authorities, all the great masters in the dramatic art have but one opinion. Their rule is, that as tragedy displays the calamities of the great, so comedy should excite our laughter by ridiculously exhibiting the follies of the lower part of mankind.

    Laughing Comedy
    In An Essay on the Theatre, Goldsmith argued that sentimental comedy was really a form of bastard tragedy:

    Distress, therefore, is the proper object of tragedy, since the great excite our pity by their fall; but not equally so of comedy, since the actors employed in it are originally so mean that they sink but little by the fall.

    The actor and playwright David Garrick torn between comic and tragic muses, by Sir Joshua Reynolds.

    A Return to Old Forms


    In the 1770s, two playwrights, Goldsmith and Richard Brinsley Sheridan, challenged the format of sentimental comedy by using the older Comedy of Manners, which dates originally from the Restoration a century or so before, as the model for their comedies. Goldsmiths play is implicitly aligned with this older form by David Garrick in his Prologue to the play.
    William Hogarth: The Laughing Audience, 1733

    Excuse me sirs, I pray I cant yet speak -- . . . (She Stoops xxvi)

    A Laughing Comedy?
    Has Goldsmiths attempt to produce a laughing comedy succeeded? Do we laugh? What do we tend to find funny here?

    Verbal Wit Situational Humour Low farce (including physical comedy) The vicious or foolish made ridiculous.

    Wit and Verbal Jousting


    Consider the examples of verbal wit we have in the play. What is the function of wit? What does it do? How does it produce meaning?

    Hard[castle]: And I love it. I love everything thats old . . . (She Stoops 2-3)

    One function of wit is to reveal the way in which language can disguise the truth.

    Situational Humour
    Humour is frequently generated through the creation of particularly absurd situations. This is the way the modern sitcom (think Seinfeld) functions. What examples of situational comedy do we find in this play?

    Miss Hard[castle] (after a pause): But you have not been wholly an observer, I presume . . . (She Stoops 27-29)

    What is the function of this kind of scene?

    Ridicule
    As the function of comedy is, in theory, to expose to ridicule the vicious or the foolish, it should feature a fair amount of satiric ridicule. What examples of ridicule do we find in the play? Hard[castle]: Im mistaken, or I heard voices of people in want of help . . . (She Stoops 69-71) How is Mrs. Hardcastle satirized here?

    Disguise
    We notice the prevalence of images of disguise, of things not being what they seem, in all of these situations. One of the primary functions of comic satire is to expose false appearances. And this is why disguise is so important to dramatic comedy.

    What examples of disguise are featured in this play?

    Marl[ow]: No, no, I tell you. (Looks full in her face) Yes, child, I think I did call . . . (She Stoops 43-45).

    Marlows Disguise
    To what degree can we say that Marlow is disguised in this play? Marlows awkwardness around ladies of a certain social class does not, in a conscious sense, constitute a disguise. Yet one of the central movements of the play involves revealing his truer, more forthright nature. His disguise is a disguise in that it is artificial, a result of social conditioning and the expectations and assumptions about class that pervade the play.

    Class
    Class is an omnipresent and vitally real part of the way in which society functioned in the 18th century. The play, in some ways, is about class. How, and in what episodes, does the play examine the notion of class? Second Fel[low]: O he takes after his own father for that. To sure old Squire Lumpkin was the finest gentleman I ever set my eyes on. For winding the straight horn, or beating the thicket for a hare, or a wench, he never had his fellow. It was a saying in the place, that he kept the best horses, dogs, and girls in the whole country. (She Stoops 9)

    Class and Love


    Why is Marlow so awkward around ladies of a certain social class? The class system did not, generally, permit marriage between people of different classes. Marl[ow]: Tho prepared for setting out, I come once more to take leave . . . (She Stoops 72-74) How is class depicted in this scene?

    Class and Disguise


    In fact, as is demonstrated in this scene, class is another kind of disguise. It is when Marlow learns this that he becomes liberated from his own awkwardness.

    Kates Disguise
    Is disguise is bad, what do we make of Kates assumption of it to win over Marlow? Comedies represent battlegrounds between good and bad, and, most particularly, between young and old. Conventionally, the young employ the weapons of wit as a means to an end in attaining victory. This is how Kates disguise functions. There is the sense that the end justifies the means.

    Danger, Will Robinson!


    How real is the threat and danger faced by the young protagonists in this play? Goldsmiths villains here are not very villainous, and the threat posed even my Mrs. Hardcastle not very worrisome. Why not? Goldsmith is avoiding the representation of the kind of dangers that might push the play towards the tragic, because he sees this as a characteristic of sentimental comedy.

    A Sentimental Laughing Comedy?


    At the same time, the absence of a real threat is in concord with the sentimental view of a world that sees people as fundamentally good, and evil as susceptible to reform. In this sense, Goldsmiths play is actually quite sentimental in its world view. This is most apparent in the passage in which Marlow is at last won over entirely by the poor relation that Kate is pretending to be. While the play attacks the dramatic form of sentimental comedy, it affirms the basic notion that sentiment can heal and reform.

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