J. .-; . .x. ' - - - 3' r'.' ~H| ' ". ." ~ 3 R " .‘ ‘. n O -' .h. . . .~ ‘. . . \\" v32 ‘0. a k . . .- 'v 9 5 l ' - I s % '.. ° Q Q . ‘ ' k ‘ E: _ I . n . a t I .' . o‘- ‘ :9. . - . . , . . I ‘. I. s A .- ~ . -- A ' _ '. v _‘ ~ I I -. \ ' . .- - x o o ' . ‘ x ‘ 7' .' . .. ' . o‘ . ,. \ t. .‘ .rx ' A ‘ I |_‘ ‘ ' . 1 \ I 'r. I .. . . .I I g. - I I n. ‘ . _ c - .I . ' _\. ‘l'fllk - n . .-_ » I C . \I . .. l .1 ‘ ‘ ' o 1 ‘1 . . ' o \‘7‘4 a: .4” v . l ‘ ' ' U 1'. ' ' ‘. - I '0 I I t 'I‘-.' a‘ '\.l .' I: l Vt. t 1‘ A ‘i n} n ‘11,. ‘3}! ‘15 ‘OLO "‘ - 'O .‘7 ‘ - I . . ‘U C O ' ‘ . : , ‘ ‘ ‘ O .. n 2 ‘ ° ‘ ' I '. 3 o. \1 h‘ . . .1 I - - . ’d . x ‘ o 'r‘ ~ .‘__ r. r~ - - —\ . "- ‘ ‘ \ I}, -5 . .u - ..’ . a .a ’ ‘ i } ,u ' 4 -~.w.. -.. - g. \-...~{~¢ .-.. \. ‘2‘? ‘ ‘ 0“. g I. ;.: v’ _ -‘--M-- ,- ___- A‘m This is to certify that the thesis entitled The Creation of the Role of Sir Peter Teazle in Sheridan‘s The School for Scandal and an Analysis of the lctmngblms Involved presented by Frank V. Serresseque . has been accepted towards fulfillment of the requirements for _M._A._ degree in _Spaoch_ fWafiéé/ Major professor Date W 0-169 THE CREATION OF THE ROLE OF 8112 Pure TELZLE IN RICHARD BRINSLEY SHERIDAN'S THE SCHOOL FOR SCANDAL AND AN '— ANALYSIS OF THELACTING PROBLEMS INVOLVED By Frank V. Serresseque twp-1M.“ A THESIS Submitted to the School of Graduate Studies of Michigan State University of.Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech 1955 “ ml“ ‘ I‘l?‘,‘.m>l<‘" ACKNOWLEDGMENTS Grateful acknowledgment is made to Professor Donald 0. Buell, chairman of the author's thesis committee, for his generous donation of time and his patience in the guidance of this study. The author is also indebted to Professor Stuart C. Chenoweth, director of The School for Scandal, for his in- valuable assistance in the creation of the role. Gratitude is also expressed to Dr. David C. Ralph and.Dr. John.1. ‘Ualker for their inspiring assistance in this study. The author wishes to express his appreciation to the production staff for The School for Scandal, Hr.~Ralph W. Duckwall Jrg, for his splendid costumes, and Herbert L. Camburn, for his excellent set designs. Grateful appreciation is expressed to Robert T. Hazzard and Ralph L. Vanderslice, for their supervision of the construction of the set. Finally, the author wishes to express his gratitude to the cast of The School for Scandal, for their unfailing support and cooperation. ii ‘Pfiff3‘3“"r) k-‘txé'fl‘n‘u ‘1 THE CREATION OF THE ROLE OF SIR PETER TEAZLE IN RICHARD BRINSLEI SHERIDAN'S LEE SCHOOL FOR SCANDAL AND AN ANALYSIS OF THE ACTING PROBLEMS INVOLVED By Frank V. Serresseque AN ABSTRACT Submitted to the School of Graduate Studies of.Hichigan State University of Agriculture and.1pplied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech August 1955 fl) Approved r g7‘ iii ABSTRACT The creation of the role of Sir Peter Teazle involved several avenues of approach. A detailed analysis of the times current with the 1777 premiere of The School for Scandal was necessary since Sheridan 'was a playwright who wrote about his times and was, himself, a product of his times. In comparing the analysis of the period with the char- acters found in the play, the actor discovered that Sheridan drew his ideas of character from people he had actually known and to who: he had been exposed. This first-hand information, coupled with Sheridan's abilities to create character and situation plus his knowledge of the theatre, produced a play which ranks, today, as one of the outstanding dramatic contributions to come from the pen of the late eighteenth- centnry playwrights. ' From the analysis of the acting script, the actor determined several aspects of Sir Peter's character, namely, he is a man who is: (1) diaposed toward sentiment, (2) an enemy to scandal, (3) easily duped by Joseph and his sentiments, (h) self-pitying, (5) in love with his wife in spite of all their wrangling, (6) respectful of Rowley's fine character but not his opinions, (7) stubborn, (8) protective of his ego in.making a pretense to Sir Oliver, (9) able to find pleasure in wrangling with Lady Teazle, (10) not above rascality, (ll) intolerant when his opinions are not accepted, (12) jealous of Charles, and (13) inclined to quick changes of mood. This material was helpful in iv utilizing the formula established by Lajos Egri in creating a tri- dimensional character analysis of Sir Peter Teazle which dealt with the physiological, sociological, and psychological make-up of the character._ 'Hhen the character analysis was completed, the actor was then ready to enter the rehearsal phase. Throughout the rehearsal phase, the problems in creating the role arose. These fell mainly into three categories: interpretation, memorization, and movement. The movement and interpretation problems were generally solved by the time the fifth week of rehearsals was reached. Hemorization, however, eSpecially in the screen scene, remained a problem throughout the rehearsal phase and into the performance. ' The dress rehearsals brought an adjustment in characterization. In this phase, the actor had the feel of the costume, the adjustment to other characters in costume, and the adjustment of movement within the set and on the apron stage. The three-night performance phase revealed that the characteri- zation was successful. Also, during this phase, minor adjustments in.movement and interpretation were brought about by the lack of anticipated response from the audience of the first night's perform- ance. These adjustments proved successful in view of the positive reSponse to them in the two successive performances. As a result of undertaking this study, the actor learned that in moving from modern drama to the eighteenth-century comedy of manners, the actor must have complete faith in the director's ability to use a scholarly approach in determining movement and his ability to perceive the entire production, while the actor must concentrate his efforts on characterization. TABLE OF CONTENTS CHAPTER I A LOOK INTO THE TIMES CURRENT WITH THE MAY 8, 1777 PRODUCTION OF THE $HOOL FOR SCANDAL..................... The Historical Background for the Characters of Sir Peter and Lady Teazle.......................... The Drury Lane Theatre and the Audience of the Late Eighteenth Century II A BREAKDOWN OF THE ACTING SCRIPT AND A CHARACTER ”nix-318$ SIR PETE TMLEOOOOOOOOOOOOOOOOOCOOOOOOOOOO. A Breamown of the Acting scriPtOOOOOOOOOOO0.000...... A Character.Analysis of Sir Peter Teazle.............. The Script Analysis of Sir Peter Teazle............ PAGE 13 23 23 98 98 Sir Peter as Seen by the Other Characters.. ........ 101: Sir Peter as Seen by the Egri Analysis............. 106 III THE CREATION OF THE ROLE OF SIR PETER TEAZLE..........a.. 112 Iv WINDCONCLUSIONS.0.00.00.00.00.OOOOOOOOOOOOOOOOOO.13h BmLIOWi-Hooooeoo000.000.00000000000000000...0..00.000.000.000 139 vii CHAPTER I A LOOK INTO THE TIl'IES CURRENT WITH THE MAY 8, 1777 PRODUCTION OF THE SCHOOL FOR SCANDAL On the evening of May 8, 1777, a sudden roar was heard to come from the Drury Lane Theatre in London. The audience was wildly applauding and cheering the first performance of Richard Brinsley Sheridan's The School for Scandal. The tumbling of the screen in the fourth act of the play had set the crowd in a frenzy of excitement and assured Sheridan that his play was a success.1 Sheridan had, in 1776, acquired part ownership of Drury Lane, and no significant deveIOpments had come forth during the early'months of his new management. The plays_produced were taken from Garrick's Shelves and staged with no more than an occasional touching up, or per- haps an epilogue written by Sheridan. In February, 1777, Sheridan did, however, put on a play of his own choice. He chose Vanbrugh's The Relapse, ”expurgated and adapted in ‘ a accordance with the growing taste for decency.“ After the accession of George I and his Queen.Anne, the patronage of the theatre shifted. Previously, the nObility were the sole patrons 1 W. A. Darlington, Sheridan (New York: The Macmillan Company, 1933), pp. 66-67. a Darlington, leg, 22}, of the theatre; but now, with a king who understood no English, and a Queen who showed no interest, actors and managers had to turn, for the first time in theatre history, from royal patronage to that of the general public .3 The political, social, and economic changes which took place in England during the eighteenth century gained their impetus, in part, from one significant factor--the rise of the middle class. The up- surging of this group was not to express itself only in England. All of Europe was to be affected by this movement, a movement that was to express itself in a bloody and catastrophic manner in France. England, however, was not the scene of a bloody political revolu- tion. The monarchy was a stable, firmly established reality. The king, to be sure, enjoyed the love of his subjects and their firm support in the identical manner in which England's monarch does today. The eighteenth century in England, as on the entire continent, was a robust era. An entirely new class of wealthy merchants was es- tablished through the newly exploited trade potentialities in India and the West Indies. The class distinctions, heretofore characteristic of English society, were being destroyed by this group of wealthy merchants. The once impenetrable barriers of the upper classes were being torn down. “The tastes of this middle class had become supreme ," and —‘ 3 Alice Glasgow, Sheridan of Drug Lane (New York: Frederick A. Stokes 60., who), pp. 819. 4 Ibid., p. 10. Sheridan was to write his plays to please those tastes. This was an age when.puritan morals were ridiculed. Excessive drinking was the fashion. Even the ladies consumed great quantities of porter with their lobster, and gentlemen would sit for eight and ten hours at one session over claret, rock-punch and brandy, or port. Drunkenness was not a vice to conceal. Intoxication was Openly tolerated and sanc- tioned. The man who could consume uncommon quantities of Spirits found that achievement to be a great source of pride and vanity. Sheridan was himself a hardened drinker and expressed his views on the subject in his lines from The Duenna: 41 Bumper of good liquor Will and a contest quicker Than Justice, Judge or Vicar. This particular appetite seems to have been universally felt. It was not confined to the middle class but was represented in all classes: That drinking and getting drunk were therefore not only prerogative of courts, but were regarded as good form in bourgeois circles too, throws a definite light on the manners governing social intercourse in general.5 Card playing and gambling enjoyed equal esteem among the pOpulace. .As the century progressed, these pastimes even surpassed that of drinke ing: Not a single diversion known to the eighteenth century, however, was as pOpular as cards. An absolute craze for gambling seemed to possess these times. High and low, rich and poor, nobility; bourgeoisie, the man on the .0 Max von Boehn,.Modes and Manners (Philadelphia: J. B. Lippincott Comm, nod-o) Po 2800 street--one and all were devoted to cards; there was no party without its card-game, no circle without its sharper.‘ ‘Hith all the moral laxness in constant evidence, this century presented a 'hey-day" for thieves and robbers: Ih.London no one went out without a weapon, for roughs attacked coaches in crowded streets in broad daylight, cut the thongs holding the body of the coach, and robbed the passengers of their valuables. The owners of Vaux- hall Gardens, which lay just within Vauxhall Gate, informed the public that the road as far as Hestminster Bridge would be lighted at night and guarded against robbers.7 The theatre audiences found no trouble in identifying themselves with the characters portrayed on the stage. The characters were a true representation of the times. Sheridan did not have to reach far for the subject of his School for Scandal. Alice Glasgow substantiates this fact by stating: It was an age of scandal, openly discussed and openly dis- seminated, in.many'cases openly invented. Privacy was the prerogative only of the humble and the Obscure. Newspapers depended for their circulation upon a restricted class of readers. They fed the insatiable and prurient curiosity of the middle classes by lurid hits of gossip from the Great Hbrld. The gentlemen or ladies of fashion recognized with a satisfied smile the names of his or her friends in the columns of some lying sheet; or perhaps he saw his own, and realized with horror that neither age nor sex nor position rendered one immune from the filthy fingers of the gossip- writers.a Sheridan in many instances presents I'lords," 'ladies,' and 'Sirs' in his plays. This, too, was in keeping with the times. Honey could buy C . Ibido, P. 2930 7 Ibid . ’ pp . 270-271 0 I Glasgow, 32. 93.33., p. 19. almost anything for its possessor, and the business of conferring titles had become vast and lucrative. ‘Within a period of thirteen years after his rise to power, Pitt had been instrumental in creating more than eighty new'peers. ‘Uhen his life finally came to its close, he had con- ferred almost one hundred and fifty coronets. The vast audiences could easily identify themselves with the char- acters on the stage, for they were truly all represented. Some were not pleased to see themselves caricatured, but then there was always fun to be had at the expense of someone else. The eighteenth century was an age, too, of oratory, both in parliament and on the stage. 'Words, as such, were unimportant. Rather the inflection given to the words had the greatest effect upon the listener.9 Parliament was the seat of many-a heated argument and long dissertation. This was the age of Pitt, Burke, and North. Sheridan, too, may be listed among these men. He was a member of the House of Commons for some thirty’years. Being a Whig, Sheridan was engrossed in many struggles on the side of the Crown. The French Revolution and the struggle for independence of the American.Colonies had the British parliament ablaze with.fervor and heated argument. In this parliament 'Sheridan sought recognition: ’ Sheridan looked upon.Drury Lane as a source of income, making possible a spectacular political career. The theatre and its problems was never permitted to interfere with.more important matters such as Speech making, gambling, drinking and the 9 . Ibid., p. 21. pursuit of political preferment. While Sarah Siddons, the Kembles, King, Pallaer, Dodd, Mrs. Abington, the lovely Farren, Dora Jordan, Queen of Comedy, and other brilliant stars filled the theatre, Sheridan drained the cash box for his own pur- poses, and even Siddons had to fight for her salary with a determination that gained her the one adverse criticism ever levelled against her--a reputation for avarice. Kemble, in his efforts to mount and costume his plays with some degree of dignity, was ever at odds with the Patentee, and only his great admiration for Sheridan made him bear with the situation for so many years. Finally, in 1802 he left Drury Lane for- ever.“ Sheridan was pleased to achieve recognition as a playwright, but he was more concerned that these successful plays should insure him a suffic- iently adequate income to keep him out of debtor's prison, in which he was later to languish, to permit him to continue to lead the luxurious life to which he had become accustomed, and to keep him free to pursue his career in parliament. Sheridan was extremely fortunate that while he was engrossed in the Warren Hastings trial he had such a capable and talented man as John Kemble to manage the Drury Lane Theatre for him. The unfortunate situation was, however, that Sheridan did not himself possess a greater sense of values which would have made him see 1.1 the worth of Kemble . Sheridan was, with his great talents and frailties, but a human being in the turbulent society of eighteenth century England. Not only were the problems of all classes in trade and politics his in parliament , but the whims of society and the ever-changing fashion in decorum and 10 Rosamond Gilder, 'Kemble Religion,“ Theatre Arts Monthly, XVII (February, 1933), M6. 11 Ibid., p. 115. dress concerned him in his writing. The new wealthy merchant paid for a seat in.Drury Lane, and the fOps and dandies were transformed into characters in Sheridan’s plays. The Historical Background for the Characters of Sir Peter and Lady'Teazle Since much of The School for Scandal_is concerned with the conster- nation of Sir Peter over his disappointment with.Lady Teazle because she has not met his standards as a proper wife, an examination should be made of Sir Peter's objections. According to the text, Sir Peter married a girl from the country with simple tastes so that he could be assured of a spouse who would not degenerate into the distasteful woman whom Sir Peter continually saw around him. There were two distinct and widely different modes of living in 1777: the country life of simplic- ity, and the city life of extreme affectation. London was separated from the country towns by a series of im- passable and treacherous roads. Throughout eighteenth century English history there are new accounts of journeys which, though of relatively few miles, took an exceedingly long time and caused no end of discom- fort to the travelers. In speaking of the country squire, Synge says: He seldom went further than his own country town, for a journey to London was still full of danger and discomfort, nor were these fears purely'imaginary. A journey from the North of England to the Capital was so hazardous that men shook their heads and made their wills before starting.12 1 s M; B. Synge, A Short Histo of Social Life in En land (New Iork: a. s. Barne' s"&"'c"'ompan"y":E,:[1'506), pp. 286-237”: ”fl‘" This reluctance to travel was not only felt by the country folk. The poor road conditions caused many hardships to the city dweller as well: 'At the end of the town (London): some part of the coach broke, and we were obliged to get out, and took shelter at an alehouse; in half an hour we jogged on, and about an hour after that, flap we went into a slough, not over- turned, but stuck. Well, out we were hauled again, and the coach with much difficulty was heaved outt'u I'Defoe speaks of a lady near Lewes whose coach had'to be dragged to church by six oxen, the road being too stiff for horses to attempt)? With the existing road conditions, the remoteness in general aspect of the rural areas of England was not hard to visualize: 0r, again, listen to a famous Birmingham bookseller visiting a village in Leicestershire, where the villagers set dogs on the strangers: "Surrounded with impassable roads ," he says, "no intercourse with man to humanise the mind, nor. comerce to smooth their rugged manners, they continue to be boors of nature.” ...True, the wandering pedlar who travelled from village to village would sometimes bring a stained and tattered newspaper, which was read and re-read to a gaping and ignorant set of country folk...Life was trivial and interests limited, centering for the most part around the monotonous. doings of the country squire.“5 ‘ Life for the daughter of the country squire was dull at best, and perhaps in many cases frustrating. Even into these remote areas of I England an occasional bit of news or scandal or of the latest fashion _ in London would penetrate. Given an opportunity to compare life in the country with that of the city, a fashion-minded daughter of a country squire might naturally feel discontent. 13 Ibid., p. 288. 14 Synge. .122. 9.43. is Ibid., p. 281:. The daintiness of a fashionable city dwelling was not to be found in the country home, and, indeed, the duties of a young girl in no way corresponded to those of the lady of fashion in the city: The interior of their houses was plain. Often enough the country gentleman had no carpet on his floor or curtains to his windows. He had no piano, but there might be found a harp, spinet, or virginal in the house of the smaller squire...Indeed, it was part of a woman's education at this time to take lessons in carving, so that she might perform her duty properly}-6 The country girl could, again, see a vivid contrast in the city life with her drab existence in comparing the men around her with the beau monde of London: The country squires , like Sir Charles Grandison of Richardson, were coarse, evil-smelling and brutal. They were accused of wearing their shirts half a week, of being gluttonous in the consumption of their food.1? The formaleducation of this girl was scant, if there was any at all. Parents were only concerned that she be trained in the arts of house- keeping. Occasionally she entered the realm of the finer arts by learn-' ing to play an instrument so that she might entertain her father and his guests: It was the custom of Squire Western every afternoon, as soon as he was drunk, to hear his daughter play the harpsichord.18 The domestic virtues, then, were encouraged in the country girl. The wide gulf between this life and that of the London lady of fashion 16 Ibid., p. 290. 17 Jay Barret Botsford,&1Lish Society in the Eighteenth Century (New York: The Macmillan Comany, 19211), p. 267 is Synge, 22. cit., p. 292. 10 was clearly illustrated in an amusing account of the day of a lady of fashion as given in the English Lady's Catechism: 'How do you employ your time now?‘ ':'I lie in Bed till Noon, dress all the Afternoon, Dine in the evening, play at Cards till Midnight!‘ 'How do you spend the Sabbath?‘ l'In chit chat'.‘ . '.'What do you talk of?“ 'New Fashions and NewPlays'." 'How often do you go to Church?‘ PTwice a year of oftener, according as my husband gives . me new Cloaths‘.‘ "Why do you go to Church when you have new Cloaths?‘ 'To see other PeOple's Finery, and to shew my own, and to laugh at those scurvy, out of fashion creatures that come for Devotion!‘ I"Pray, Madam, what Books do you read?‘I 'I read lewd Plays and winning Romances!“ I'Who is it you love?‘ . 'Myself'.‘ 'What, nobody else?‘ 'My Page, my Monkey, and my Lap Dog'.‘l 'Why do you love them?“ ' 'Why, because I am an English lady, and they are Foreign Creatures, my Page from Genoa, my Monkey from the East Indies and my Lap Dog from Vigot'19 The stigma attached to being a country girl spurred many such women to action. They endeavored by various means to come to London and to learn city ways: “Marjory Mushroom" was one of thousands who sought to escape the stimua of being termed a ”country girl,“ by coming to the metmpolis, and learning there the latest vagaries of the mode. Here she achieved the fashionable accomplishments of dancing, music and French. is a part of her education in social- life, the French friseur screwed up her hair, the shoemaker pinched her toes, and staymaker reduced the circumference of her waist to but a few inches. But she learned as well the manners of the tan, and such words as "ravishing, charming, divine.” 19 A. E. Richardson, Georgian England (London: B. T. Batsford Ltd., 1931), p. 21. And most important of all, the new art of flirtation: When I meet a gentleman in our walks, I must look full at him as I can, to shew my teeth...flqurish my rattan, to shew my shapes. {And though in a room, I am to epeak as low and mumbling as I can, to look as if I did not care whether I was heard or not; yet in.a public place, I am to talk as loud and fast as possible, and call the men by their plain surnames and tell all about our last night's parties.2° Sir Peter Teazle,'beyond a doubt, was atypical of his class. The fashionable society of men in London could never practice the admirable restraint indulged in by Sir Peter. As has been previously stated, the men of eighteenth century England were a pleasure-loving lot. London was characterized by the nebility, the tradesmen and merchant princes, and the lower classes. What Sir Peter's occupation.may have‘been is purely a matter of speculation. ‘Urban society was clearly pictured in the following account by Plumb: At the head of urban society were the merchant princes, with whom few lawyers and high civil servants could associate on terms of equality both in wealth and social standing. Towards the end of their careers, these merchants often bought up great estates to endow themselves with the social prestige which went with land ownership and which could enable their sons and daughters to marry into the aristocracy or to acquire a title in their own right. These were the men who controlled the Bank of England and the great chartered companies and jealously pro- tected their privileges. They had close financial ties with the government and it is not surprising that in Politics they tended to support‘walpole and call themselves Whigs; but of course to tham'Whiggery was not a radical creed. It meant, quite simply, the Hanoverian dynasty, with toleration to dis- senters and the preservation of things as they were. In habits of life, the merchant princes differed little from the noble- men; they lived in equal state, built as grandly, and.spent as prodigiously on furniture, food, and servants. But not all merchants were merchant princes. The great majority were middling peOple, mildly prosperous because of their industry so Botsford, 22, 233., p. 277. 12 and thrift which bred a distinctive ethos. Among these, the ordinary'merchant and prosperous shopkeepers, the traditions of seventeenth-century life were stronger. They were still attached to the puritan attitude...31 Sir Peter's adherence to puritanical attitudes may class him with this latter category. He appeared, though, to be a.man of more than modest means. Hhere his title came from is, again, only a matter for specu- lation. Botsford states that the orders of knighthood were, at times, bestowed upon the wealthy merchant class: Peerages were occasionally conferred on bankers and Anglo- Indians, but George III clung closely to his policy that no man engaged only in trade, however large his fortune, should ,be created a British peer. All that the most wealthy traders and manmfacturers could expect, accordingly, was knighthood or a baronetcy.22 During this period in England there was a great levelling of the social classes. .13 the merchant class gained in numbers and in wealth, they naturally began to affect the manners and way of life of the. nubility: The extravagances and other shortcomings of the nouveaux riches should not blind one to the levelling of social classes and the higher standard of living followed in the wake of the influx of wealth. People of lesser importance profited by the prosperity of the nabobs and of the rich merchant aristocracy. The latter group was gradually over- coming time-old prejudice towards its character, and was winning the respect of Englishmen and foreigners.33 21 J. H. Plumb, Env and in the Eighteenth Century (Harmondsworth, Middlesex: Penguin Books, Ltd., 1951) , p. 11;. as Botsford, pp. 213., p. 151. 23 Ibid., p. 261;. 13 Since the occupation of Sir Peter Teazle is not mentioned in the script, his classification is difficult. He exhibits characteristics of several classes. His apparent wealth would tend to class him with the wealth- ier merchants, while his puritanical attitude places him with the ordinary merchant and prosperous sh0pkeeper. Owing to his title, how- ever, the former group would seem more apprOpriate . Nevertheless, he was a man of the fashionable London group in spite of the fact that he did not adhere to its pleasure-loving existence. Lady Teazle, the daughter of a plain country squire, came, as has been noted, from a vastly different background. But like the girl who would be rid of the stigma attached to being classed as a country girl, she soon learned the feibles and idiosyncrasies of the London lady of fashion. The Drury Lane Theatre and the Audience of the Late Eighteenth Century The Drury Lane Theatre was one of two theatres built under patents from Charles II. Thomas Killigrew, the patentee, built and opened the theatre on May 7, 1663. It was divided into Boxes, which cost hs. , Pit, 23.6d., Middle Gallery, ls.6d., and Upper Gallery, ls. The pit benches were covered with green cloth, and the floor was steeply raked so that people at the back of the pit could converse with the occupants of the bones behind. There were six proscenium doors and an apron stage. The lighting was by chandeliers. There was a glazed cupola over the pit, and windows. A French visitor who went to the theatre soon after its Opening says it was the best he had ever seen, with a finely equipped and most ingenious stage; he was especially chamed by the decoration and arrangement of the boxes and tiers, and the gilded leather of the upholstery.24 The theatre was burned in 1672 and rebuilt in 16714. In many ways the second Theatre Royal was a great improvement on the first. The stage now projected in a semi-oval right up to the front row of the pit, there were side wings instead of stage boxes, and the whole action of the play took place beyond'the proscenium pillars . The orchestra played above instead of below the stage.“5 From this time forward, Drury Lane‘was the home of many distinguished managers and actors. In 17176, David Garrick went into partnership with James Lacy in the management of Drury Lane. Garrick introduced many reforms, in- sisted on order and decency as well as proper rehearsals, excluded the public from the stage-u-although that took time», introduced new light- ing, founded a Pension Fund which still functions, and surrounded him- self with a wonderful company including Spranger Barry, Mrs. Pritchard, Mrs. Theophilus Cibber, Peg Woffington, and Kitty Clive.2 The drama was essentially English in nature, though it was not without Continental influences in certain forms: ...its chief sources of inspiration are to be discoveredin the works of Shakespeare and of his successors. There is an unquestioned French, German, and Italian influence on this period, but after all the foundation of the dramstic work is Phyllis Hartnoll, ed. ,The Oxford Companion to the Theatre (Londfm: Geoffrey Cumberlege, Oxford University Press, 1951), p. 201. as Hartnoll, log. git. as Ibid. , p. 203. 15 to be sought for, not in continental, but in previous filglish emplo...tragedy held still that low position which it occupied in previous years. Every season there were revivals of serious dramas and the production of new tragedies, but these were hOpelessly outnumbered by the inmnnerable farces, comic Operas and entertainments Of the time. One thing is plain, too. Tragedy of the pseudo-classic sort was not pOpular. It was put on the stage through conventional produ- dice, but the audiences manifestly preferred, as well, the romantic enthusiasm of the melodrama.” The Drury Lane Theatre was the scene of many types of drama, including interludes, farces, comic Operas, comedies, tragedies, operatic farces, and melodramas. Sheridan is credited with being the last I'literary' dramatist until the later nineteenth century, and after The School for Scandal new dramatic literature was found only in closet drama. Since there were numerous writers of the time, the question arises as to why Sheridan was singled out as a significant landmark ineighteenth century dramatic writing. 1 look at the trend in repertory gives a satisfactory answer to this question: Before 1777 the seasonal repertoire had included along with several Shakespearean dramas, a few other revived plays written before about 1730, and the new dramatic efforts of the year-quite a large number of plays of the year before or of ten or twenty years before. That is, dramas had been written throughout the mid-century that were substantial enough (even if mediocre in a literary sense) to maintain their places in the repertory. The repertory continued to be representative, therefore, Of mid-century dramatic effort. But later in the century the situation changed. Besides the Shakespearean and other revivals from the sixteenth and seventeenth centur- ies, the repertory had become unrepresentative of all but current dramatic activity. The desire for novelty, the ‘ A a? Allardyce Nicoll, XVIII Century Drama 1750-1800 (Cambridge: University Press, 1927), p. 55. 16 increasingly scornful attitude many writers had for the stage, the increased size of theatres-these and many other factors played a part in bringing about this change. But the fact that the actable plays themselves had become little more than directions for the actors (and for scene ainters, stage carpenters, musicians, and choreographers tended to perpetuate the changed situation, so that repertories ever after-~even during the recent dramatic renascence--have not been arranged along the well-established lines that were followed in the eighteenth century. In short, except for dramatists like Sheridan who combined literary skill with an effective knowl- edge of the theatre, the actors and managers, instead of adding to their permanent fame by authorship, had, by composing new pieces only for immediate use of their stages, written them- selves into dramatic oblivion.28 The proclivity'of the eighteenth century audience for superficial and non-enduring drama was paramount. Yet, in spite of this super- ficiality, a play such as The School for Scandal was highly successful: The records of theatrical performances prove that such pieces as those of Garrick, Townley, Sheridan, and Foote...were highly successful. This success can be explained in part at least by the perennial desire of audiences to laugh at the absurd, particularly when.absurdity can be identified as the exclusive possession, not.of themselves,'but of their acquaint- ances or enemies.29 The trend in dramatic taste of the audience was moving rapidly to the predominance of overlybsentimental comedy, a brand of comedy that was rapidly reaching the proportions of the comedic larmoyant, or I'Weeping' comedy, so pOpular in France. The desire to fight against this deterioration of comedy inspired Sheridan and Goldsmith to produce some of the few lasting works of the period: as James J. Lynch, Boz5_?it, and Gallery (Berkeleyv The University of California Press, 1953), p. 180. 29 Ibid., pp. 22h-22S. l7 Sheridan is therefore the exceptional dramatist among that large group of writers who had other connections with the theatre. He shared with them the propensity for farcical situation and caricature; but he went beyond them in provid- ing the stage with "literary“ drama. Equally skillful in creating effective stage business, he surpassed them in that he was able, by gaining a detachment impossible in senti- mental comedy, to Open out his plays on larger horizons. Nevertheless, Sheridan supplied only two enduring dramas; and these, in Spite of their merit, could do little more than point the way for other professional theater men. But the time was late. By 1777, the date of The School for Scandal, the professionals had largely turned to melodrama, musical farce, and comic Opera. Actorbauthors and manager- authors thereafter largely confined their efforts to the furnishing of bare scenarios, of mere outlines, which made possible the exploitation of maximum "sound and shew.“3° Sheridan's thorough knowledge of the Stage and stagecraft aided him immeasurably in creating such a play as The School for Scandal. He was dealing with a society that he knew well; During the time he spent at Bath, the fashionable resort, he encountered.many "Lady Sneerwell's' and "Mrs. Candeur‘s.‘ The spirit which animated The School for Shandal was similar to the Restoration writings Of Wycherley and Congreve. So much is the spirit of these earlier writers involved in Sheridan’s work that in it can be seen the failings of these writers as well: His plot is so involved that only a brilliant tour de force in the screen scene--so brilliant that it has become a kind of locus classicus for comic invention-enables him to un- weave the web he has so closely entangled round his char- acters.- The.wit, too, colours all of the dialogue and, scintillating as it is, it seems to Obscure the personality Of the various dramatisgpersonae. Everyone in this world of refined manners is able to say something that is bril- liant. Never for a moment does the sparkle disappear; so that sometime we are inclined to be surfeited with too much of these intellectual fireworks. ‘we pine occasionally for 30 Ibid., pp. 179-180. 18 some Of Goldsmith's I'humor" and homely ”nature," feeling that this comedy of Sheridan's possesses that ”High” tone against which the former did battle. In.many ways, indeed, The School for Scandal is to be related to contemporary comedies. The very satire of scandal-mongering is a picture of that age which so many Of the semi-sentimental dramatists loved to depict, and, although in spirit Sheridan looks back over a period of eighty'years, he is in touch in this way with his own time. The School for Scandal is not, as so many critics have implied, entirely a miracle in the year 1777. 31 The audiences of this period felt no reluctance in expressing themselves openly, If a play was bad, everyone, including the actors, soon knew about it. The history'of audience reactions in this period was laden with accounts of riots, jeerings, catgcalls, and the hurling of objects at the actors. Not only was the audience expressive during the play, but before it as well: The riot and struggle for places can scarcely be imagined... Though a side box close to where we sat was completely filled, we beheld the door burst Open, and an Irish gentleman attempt to make entry,‘!i_ et armis--”Shut the door, boxkeeper'" loudly cried some of the party--"There's room by the pow‘rs" cried the Irishman, and persisted in advancing. On this, a gentleman in the second row'rose, and exclaimed, I"I‘urn out that black- guard!‘ 'Oh, and is that your mode, honey?‘ cooly retorted the Irishman, "come, come out, my dear, and give me satisfaction, or I'll pull your nose, faith, you.coward, and shillaly you through the lobby" This public insult left the tenant in possession, no alternative; so he rushed out to accept the challenge; when, to the pit's general.ammsement, the Irishman.jumped into his place, and having deliberately seated and adjusted himself, he turned round, and cried, ”I'll talk to you after the play is over.'az . Theatre managers tried in vain to suppress the vocal utterings and physical actions of the audience. After'the famous riot in the 81 _ Nicoll, pp. _c_i_t_., pp. 161-162. 32 Ibid., p. 9. l9 Haymarket in 1738, a court of law declared that the public had a legal right to express its dislike of any'particular play or of any'particur lar player, and that “the judicature of the pit had been acquiesced in, time immemorial. For a number of years any managerial change of as custom was the signal for a riot.“ This sort Of crowd apparently accepted The School for Scandal_with much pleasure, judging from the tremendous ovation the play received. Contemporary criticism yields two distinct points of view. Charles Lamb, who expressed one viewpoint, stated: Amidst the mortifying circumstances attendant upon growing old, it is something to have seen the School for Scandal in its glory.34 ’ Lamb highly praised the original cast of the play and expressed his regret that, to his way of thinking, no other cast had reached the high degree of skill achieved by the original. Through the eyes of the critics on the other side of the fence, as it were, another type of criticism is encountered, stemming from the puritanical attitude toward the theatre and the drama: In January, 1777 appeared an article deploring its immorality and reminding the theatres of their commanding duty to combat vice and support the cause of virtue. The comedy is “as de- fective in morality as abundant in wit. More dangerous to the manners of society than it can possibly tend to promote its pleasure.” Referring presumably to Joseph Surface the writer remarks that “however odious hypocrisy'may'be, it is for the interests of virtue that some attention should be paid to 33 'Walter 8. Scott, The Georgian Theatre (London: ~John westhouse, “(1., 19116) pp. 16-17. 34 E. H. W} Tillyard, Lamb's Criticism (Cambridge: ‘University Press, 1923), p. 87. 20 appearances,“ and further says that Charles is more dangerous to morality than his brother because he is made attractive. He concludes by saying that Sheridan probably wrote the play to assist in destroying a taste for the sentimental comedy of Cumberland, but the latter "has judiciously exerted the whole duty of an author, which is, not only to paint nature, but to paint such parts of it as every good.man would wish to see imitated.36 Contemporary criticism of the play was neither unanimously in favor nor in disfavor. Only the test of time has shown the true worth of The School for Scandal. One fact, however, is significant: among all the contemporary writers of dramatic literature, Sheridan stands alone, rivaled only by Goldsmith, in the creation of plays of literary merit as well as good, lasting theatre. The School for Scandal comes down through the years to the modern theatre audience as an indispensible link between' modern society and its glittering past. The play'not only has provided audiences with.pleasure, but has provided for the actor a challenging task. The variety of interpretations of the role of Sir Peter Teazle seems not to have affected the popularity of the play. The role was created originally by Thomas King in the May 8, 1777 premiere: King reached the climax of his reputation in 1777, when he creat- ed the part of Sir Peter Teazle in "The School for Scandal.” His style of acting was much less maniere than was usual at the time; he was at ease and familiar in his acting, and was one of the first actors to give naturalistic and life-like performances rather than the highly stylized representations with which the audiences of the day had hitherto been familiar, and which were the common theatrical fare until the days of Kean.36 as Newell H. Sawyer, The Comedy of Manners From Sheridan to Hugh“ (Philadelphia: University of Pennsylvania—Press, 1931) , PP. 19-20. , 3 6 Scott, 22. 9331., pp. 61-62. 21 An actor did not have to have the attributes of King to be success- ful in the role of Sir Peter. In the experience of Richard 'Wroughton, who performed the role at Drury Lane in 1787 , may be seen that King's advantages were not shared: '1 stirling, sound, and sensible performer .'.' Despite the natural disadvantages under which he laboured, being knock- kneed, with an inexpressive face and an uninteresting voice, he was able in a great measure to overcome his defects, and gained a large measure of appreciation from public and managements alike.” In 1818 William Farren first appeared in London at Covent Garden as Sir Peter Teazle: .. .always one of his finer parts. Vandenhoff, writing of him in this role said: 'I have never seen any representation of Sir Peter that could compare with him in animation, ease, naturalness of manner and piquancy of effect.'sa William Warren, a fine actor of old men's roles, was especially success- 39 ful as Sir Peter Teazle in 18147 with the Boston Museum Stock Company. The notable actor John Drew also included Sir Peter in his repertory. - 40 In 1923 he performed the role with Ethel Barrymore as his Lady Teazle. The memorable performances of these fine actors in the role of Sir Peter Teazle have, along with the genius of Sheridan, given The School for Scandal an undisputedly lofty niche in the realm of dramatic literature . :7 Ibid., p. 106. as Hartnoll, 22. pit.” p. 256. 39 John Mason Brown and Montrose J. Moses, The American Theatre (New York: W. H. Norton & Company, 1931:), p. 37h. 40 Ibid., p. 335. 22 To say that Sheridan was thoroughly appreciated in his times would be committing a gross error. In spite of the high esteem in which he is now held, he was the victim of much calumny and mud-slinging. In the July and August numbers of the 1816 Gentleman's Magazine is found an article occasioned by the death of Sheridan in July of that year: It is to be lamented that the author did not apply himself with more care to improve the heart and stimulate the public mind to the cultivation of morality....Mr. Sheridan on this occasion appears in a great measure to have forgotten the legitimate and of dramatic composition and not to have been sufficiently sensible that whatever is intended for the amuse- ment of society at large should also be capable of communicating solid instruction and producing real amendment.“ ' Lord Byron wrote a final fitting tribute to Sheridan in his poem, 'Honodyl': Long shall we seek his likeness--long in vain And return to all of him which may remain, Sighing that Nature formed but one such man, And broke the die-win moulding Sheridan. The eighteenth century of Sheridan's England was fraught with many changes from the previous century. Perhaps, 'of these changes, the most clearly evidenced was the tremendous advance made toward the levelling of social class distinction, a change brought about largely by a newly rising and powerful class of wealthy merchants. The conscientious endeavors of this class to ape the aristocracy in mode of living and dress gave rise to a new consciousness of fashion on a large scale which had hitherto been enjoyed only by a few. The assumption of theatre patronage by this new class had a profound effect upon the drama of the period. To please the taste of the vast middle class audiences, The School for Scandal was born. ‘1 Samar, 22. a: p. 21- CHAPTER II 1 BREAKDOWN OF THE.ACTING SCRIPT AND l.CH1RACTER ANALYSIS OF SIR PETER TEAZLE A Breakdown of the Acting Script Prologgg: Sir Peter Teazle Blockbng Enter stage Right. Cross to down center, Bow, then begin. Ioice characteri- zations for lady Nor-wood and Lisp. Lisp with a Cockney accent. Mime reading the paper. 23 Script 1 School for Scandal! tell me, I beseech you, Needs there a school this modish art to teach you? No need of lessons now, the know- ‘ing think; we might as well be taught to eat and drink. Caused by'a dearth of scandal, should the vapours distress our fair ones-~let them read the papers; Their powerful mixtures such disorders hit; Crave what you.will--there's Quantum sufficit. "Lord!” cries my Lady Wormwood (who loves tattle, . And puts much salt and pepper in her prattle,) Just risen at noon, all night at cards when threshing Strong tea and scandal--'Bless me, how refreshing! . Give me the papers, LiSp--how bold and free! Last night Lord L. (sips) 31s caught with Lady D. . For aching heads what charming sal volatile! Nile reading the paper. Bow to audience-- Emit Right. 2h If Mrs. B. will still continue flirtin', we hope she'll DREW, or we'll UNDRAW the curtain. Fine satire, tho in.public all abuse it. But by ourselves (sips) our praise we can't refuse it. Now Lisp, read you-there, at that dash and star." "Yes, ma'am—-A certain Lord had best beware, ‘— Who lives not twenty miles from Grosvenor Square; For should he Lady‘w. find willin', Wormwood is bitter"-- 'Oh! that's me, the villain! ' Throw it behind the fire, and never more Let that vile paper come within my door." Thus at our friends we laugh, who feel the dart; To reach our feelings, we ourselves must smart. Is Sheridan so young, to think that he Can stop the full spring-tide of calumny? Knows he the world so little, and its trade? Alas! the devil's sooner raised than laid. So strong, so swift, the monster there's no gagging. Cut Scandal's head off, still the tongue is wagging. But Sheridan bids our players to be brave, And seek the monster, Scandal, in her cave. For your applause and laughter, too-- We'll fight-tonight--like cavallieros true, Till every dr0p of blood-tor scandal is spilt for you. 25 Act One, Scene One: Lady Sneerwell's DressingRoom. Lady Sneerwell Snake Pert Joseph Surface Maria Hrs. Candour Crabtree Sir Benjamin Backbite In this Opening scene appear the characters who may be called the "faculty' of The School for Scandal: Lady Sneerwell, Hrs. Cundour, fizake, Crabtree, and Sir Benjamin Backbite, whose sole interest in life is making their friends and acquaintances the victims of calumny. Lady Sneerwell makes clear her mission in life by stating: ...and I am no hypocrite to deny the satisfaction I reap from the success of my efforts. Wounded myself, in the early part of my life, by the envenomed tongue of slander, I confess I have since known no pleasure equal to the reducing of others to the level of my own injured reputation. In the dialogue between alake and Lady Sneerwell, Sir Peter is revealed as a man well disposed ‘toward sentiment--the tendency to be influenced by emotions rather than reason, and whose thoughts, opinions, and Judg- ments are colored with emotion. Snake, in speaking of Joseph Surface says : Yes: yet Sir Peter vows he has not his equal in England; and above all, he praises him as a man of sentiment. Joseph Surface makes clear his intentions: to dupe Sir Peter into thinking him a man of sentiment, and to win Maria for himself. Hrs. Candour, Crabtree, and Sir Benjamin Backbite advance the air of scandal-mongering with their petty, but somewhat amusing stories of 26 their acquaintances. Mrs. Candour points out the marital problems of Sir Peter: I own I was hurt to hear it, as I indeed was to learn from the same quarter, that your guardian, Sir Peter, and Lady Teazle have not agreed lately as well as could be wished. In raking several people over the coals, the scandalous group reveal Charles Sirface's character as that of an extravagant libertine. Maria, who hates scandal and scandal-mongers, is unable to listen further to the scandal and leaves. The scene closes as Lady Sneerwell states that she is now going to plot mischief while Joseph studies sentiment. 27 ‘Act One. Scene Two: .A'Room in Sir Peter Teazle's House. Sir Peter Teazle Rowley Enter Left, Sir Peter: pause , look back through door, then at audience. Cross to apron center, then begin soliloquy. Strut along apron Right. Cross'back to apron center. Begin cross to exit Left door. Rowley: Cross Right Sir Peter: toward Rowley. Rowley: When an old bachelor marries a young wife, what is he to expect? 'Tis now six months since Lady Teazle made me-~the happiest of men--and I have been the lost miserable dog ever since! we tift a little going to church, and fairly quarrelled before the bells had done ringing. I was more than once nearly choked with gall during the honeymoon, and had lost all comfort in life before my'friends 'had done wishing me joy. ‘Iet I chose with caution--a girl bred wholly in the country, who never knew luxury beyond one silk gown, nor dissipation above the annual gala of a race ball. Yet now she plays her part in all the extra- vagant fopperies and fashions and the town, with as ready a grace as if she never had seen a bush or a grass-plot out of Grosvenor Square! I an sneered at by all my acquaintance, and paragraphed in the newSpaper. She dissipates my fortune, and contradicts all my humors; yet the worst of it is, I know I love her, or I should never bear all this. However, I'll never be weak enough to own it. (Enter Rowleybqfiight) Oh! Sir Peter, your servant: How is it with you, sir? Very bad, Master'Rowley, very bad. I meet with nothing but crosses and vexations. What can have happened since yesterday? Sarcastically. Strongly. Cross below Rowley, down Right. Turn and cross Left to Rowley. Sir Peter: Rowley: Sir Peter: Rowley: Sir Peter: Rowley: Sir Peter Rowley: 28 .1 good question to ask a married man! Nay, I'm sure, Sir Peter, your lady can't be the cause of your uneasiness. ‘Why, has anybody told you she was dead? Come, come, Sir Peter, you love her not withstanding your tempers don't exactly agree. But the fault is entirely hers, Master Rowley. I am, myself, the sweetest-tempered man alive, and hate a teasing temper; and so I tell her a hundred times a day. Indeed! *Aye and what is very extraordinary, in all our disputes, she is always in the wrong! But Lady Sneerwell, and the set she meets at her house, encourage the perverseness of her diaposition. Then, to complete my vexation,lMaria, my ward, whom I ought to have the power of a father over, is detenmined to turn rebel too, and absolutely refuses the man whom I have long resolved for her husband; meaning, I suppose, to bestow herself on his profligate brother. You know, Sir Peter, I have always taken the liberty to differ with you on the subject of these two young gentlemen. I only wish you may'not be deceived in your Opinion of Charles. My life on't, he will retrieve his errors yet. Their worthy father was, at his years, nearly as wild a spark; yet, when he died, he did not leave a more benevolent heart to lament his loss. Inspired at Sir Peter: the thought of "sentiment.” Pace Right, pause, cross Left. Rowley: Pause, turn Sir Peter: to Rowley, surprised. Rowiey: Quickly. Sir Peter: Rowley: Sir Peter: Rowley: Turn away. Sir Peter: Turn to Rowley. 29 You are wrong, Master Rowley. Joseph is indeed a model for the young men of the age. He is a man of sentiment, and he acts up to the sentiments he professes; but, as for Charles, take my word for't, if he had any grain of virtue by descent, he has dissi- pated it with the rest of his inheritance. Ah! my old friend, Sir Oliver, will be deeply morti- fied when he finds how part of his bounty has been.misapplied. I am sorry to find you so violent against the young man, because this may be the most critical period of his fortune. I came hither with news that will sur- prise you. What! let me hear. Sir Oliver is arrived, and at this moment in town. How! you astonish me! I thought you did not expect him this month. I did not; but his passage has been remarkably quick. Egad, I shall rejoice to see my old friend. 'Tis sixteen years since we met. ‘we have had many a day together: but does he still enjoin us not to inform his nephews of his arrival? IMost strictly. He means, before it is known, to make some trial of their dispositions. Ah! There needs no art to discover their merits-~however, he shall have his way; but, pray, does he know I am married? Rowley: Turn to Sir Peter: audience. Rowley: Sir Peter: Glancing at Left door. Rowley: Sir Peter: Exit Left. 30 Yes, and will soon wish you joy. 'What, as we drink health to a friend in consumption! ‘Ah, Oliver will laugh at me. 'we used to rail at matrimony together, but he has been steady to his text. Well, he must soon be at my house, though-- I'll instantly give orders for his reception. But, Master Bowley, don't drOp a word that Lady Teazle and I ever disagree. By no means. For I should never be able to stand Noll's jokes; so I'll have him think, Lord forgive me! that we are a very happy couple. I understand you:--but then you must be very careful not to differ while he is in the house with you. Egad, and so we must-~and that's impossible. Ah! Master Rowley, when an old bachelor marries a young wife, he deserves--no-- the crime carries its punishment along with it. (Exits) (Rowiey shakes his head and exits Right .) 31 Act Two, Scene One: A Room in Sir Peter Teazle's House. Sir Peter Teazle (Enter Sir Peter and Lady Teazle) Lady Teazle Busy Enter Left-- Sir Peter: Lady '1'. followed By Sir Peter. Cross to Down Lady T.: Center. Sir Peter: Lady '1' . : First line to Sir Peter: audience , wiping brow. Take flower from basket and throw it on floor. Lady T.: Sir Peter: Cross Down, Left of center to apron. Lady Teazle, Lady Teazle, I'll not bear it! Sir Peter, Sir Peter, you may bear it or not, as you please; But I ought to have my own way in everything, and what's more, I will too. Though I was educated in the country, I know very well that women of fashion in London are accountable to nobochr after they are married. Very well, ma'am, very well; so a husband is to have no influence, no authority? Authority! No, to be sure:--if you wanted authority over me , you should have adopted me, and not married me: I am sure you were old enough. Old enough!--ay, there it is! Well, well, Lady Teazle, though my life may be made unhappy by your temper, I'll not be ruined by your extravagance! Hy extravagance! Iim sure I'm not more extravagant than a woman of fashion ought to be. No, no, madam, you shall throw away no more sums on such unmeaning luxury. 'Slife! to spend as much to furnish your dressing-room with flowers in winter as would suffice to turn the Pantheon into a green- house, and give a garden party in February . Lady 13.: Hold head. Sir Peter: Shake finger at her. Lady T.: Cross up center Sir Peter: to chair and sit. Pleasantly. Has calmed down. Lady T.: (Sir Peter nods in remembrance.) Sir’Peter: Lady T.: 32 And.am I to blame, Sir Peter, because flowers are dear in cold weather? You should find fault with the climate, and not with me. For my part, I'm sure I wish it was Spring all the year round, and that roses grew under our feet! tens! madamp-if you had been'born to this, I shouldn't wonder at your talking thus; but you forget what your situation was when I married you. No, no, I don‘t; 'twas a very disagreeable one, or I should never have married you. Yes, yes, madam, you were then in somewhat a humbler style-~the daughter of a plain country squire. Recollect, Lady-Teazle, when I saw you first sitting at your embroid- ery, in a pretty figured linen' gown, with a bunch of keys at your side, your hair combed smooth over a roll, and your apartment hung round with fruits in worsted, of your own working. Oh, yes! I remember it very well, and a curious life I led, My daily occupation to inspect the dairy, superintend the poultry, make exp tracts from the family receipt- book, and comb my aunt Deborah's lapdog. Yes, yes, ma'am, 'twas so indeed. And then, you know, my evening amusements! To draw patterns for ruffles, which I had not the materi-' ale to make up; to play cards with the Curate; to read a sermon to my aunt; or to be stuck down to an old spinet to strum my father to sleep after a foxpchase. Rise, cross to fireplace. Step closer to her. To audience. Cross down Right. Turn to her, imitating her voice on "elegant expenses}I Sir Peter: Lady T.: Sir Peter: Lady T.: Sir Peter: Lady T.: Sir Peter: Lady'T.: Sir Peter: Lady T.: 33 I am glad you have so good a memory. Yes, madam, these were the recreations I took you from; but now you.must have your coach- and three powdered footmen before your chair; and, in the summer, a pair of white ponies to draw you to Kensington Gardens. No recollec- tion, I suppose, when you were content to ride double, behind the butler, on a docked coach-horse? No--I swear I never did that; I deny the butler and the coach-horse. This, madam, was your situation; and what have I done for you? I have made you a woman of fashion, of fortune, of ranke-in short, I have made you.my wife. 'Hell, then, and there is but one thing more you can make me to add to the obligation, that is-- Hy'widow, I suppose? Hem! hem! I thank you, madam-but don't flatter yourself; for, though your ill conduct may disturb my peace of mind, it shall never break:my heart, I promise you; however, I an equally obliged to you.for the hint. Then why will you endeavor to make yourself so disagreeable to me, and thwart me in every little ele- gant expense? 'Slife, madam, I say, had you any of these little elegant expenses when you married me? Lud, Sir Peter! would you.have me be out of the fashion? Agitated . First line to audience. Sir Peter grimaces. Cross Right. Cross in to Right of center. Sir Peter: Lady'T.: Sir Peter: Lady T.: Sir Peter: Lady T.: Sir Peter: Lady T.: Sir Peter: Lady T.: 3h The fashion, indeed! what had you to do with the fashion before you married me? For my part, I should think you would like to have your wife thought a woman of taste. Ay--there againp-taste! Zounds! madam, you had no taste when.you married me! That's very true, indeed, Sir Peter! and, after having married you, I should never pretend to taste again, I allow, But now, Sir Peter, since we have finished our daily jangle, I presume I may go to my engagement at Lady Sneerwell's? .Ay, there's another*precious circumstance-a charming set of acquaintance you have made there! Nay, Sir Peter, they are all people of rank and fortune, and remarkably tenacious of reputation. Yes, egad, they are tenacious of reputation with a vengeance; for they don’t choose anybody should have a character but themselves! Such a crew! Ah! many a wretch has gone to the gallows who has done less mischief than those utterers of forged tales, coiners of scandal, and clippers of reputation. what, would you restrain the freedom of speech? Ah! they have made you just as bad as any one of the society. Why, I believe I do hear a part with a tolerable grace. But I vow I bear no malice against the people I abuse: when I say an ill-natured thing, 'tis out of pure good humor; and I take it for granted they deal Sir Peter: Lady T.: Cross down to Sir Peter: apron center. Pleasantly . Exit Left shaking head. 35 exactly in the same manner with me. But, Sir Peter, you know you promised to come to Lady Sneerwell's too. Well, well, I'll call in just to look after my own character. Then, indeed, you must make haste after me or you'll be. late. So good-bye to ye. ' (Exit) So-~I have gained much by w intended expostulation! Yet with what a charming air she contradicts everything I say, and how pleasantly she shows her contempt for my authority! Well, though I can't make her love me, there is great satisfaction in quarrelling with her; and I think she never appears to such an advantage as when she is doing everything in her power to plague me. (Exit) a“ I! I: R:V‘ 1M .uu nu S. - P 36 Act Two,_Scene Two: .1 Room in Lady Sneerwell's House. Lady Sneerwell Joseph Surface Sir Benjamin.Backbite Crabtree ‘Hrs. Candour Lady Teazle Maria Sir Peter Teazle Part Lady Sneerg: Mrs. Can.8 Sir Ben.: Crab.: Sir Ben.: Crab.: Mrs. Can.: Sir Ben.: ~— Nay, positively, we will hear it., Yes, yes, the epigram,'by all means. 0 plague on't, uncle! 'tis mere nonsense. No, no; 'fore Gad, very clever for an extempore! But, ladies, you should be acquaint- ed with the circumstance. Ibu.must know, that one day last week, as Lady Betty Chariot was taking the dust in Hyde Park, she desired.me to write some verses on her ponies; upon which, I took out my pocket- book, and in one moment produced the following:-- Sure never were seen . Two such beautiful ponies; Other horses are clowns, But these macaronies: To give them this title I am sure can't be wrong. Their legs are so slim, And their tails are so long. There, ladies, done in the smack of a whip, and on horse#back, too. A very Apollo, mounted--indeed, Sir Benjamin! Oh dear, lady! --trif1es--trifles-- (Enter Lady Teazle and Maria) Mrs. Can.: Lady &1eer. : Lady T . : Lady Sneer . : Maria : Lady T . 3 Mrs. Can.: Lady T.: Mrs. Can.: Lady Sneer.: Crab.: Mrs. Can.: Lady T.: Mrs. Can.: Lady T.: Sir Ben.: 37 I must have a cOpy. Lady Teazle, I hepe we shall see Sir Peter. I believe he'll wait on your ladyship presently. Maria, my love, you look grave. Come, you shall sit down to piquet with Mr. Surface. I take very little pleasure in cards--however, I'll do as your ladyship pleases. (Aside) I am surprised Mr. Surface should sit down with her; I thought he would have embraced this oppor- tunity of speaking to me before Sir Peter came. Now, I'll die; but you are so scandalous, I'll forswear your ecciety. What's the matter, Hrs. Candour? They'll not allow our friend Miss Vermillion to be handsome. Oh, surely she is a pretty woman. I am very glad you think so, Ma'am. She has a charming fresh color. . Yes, when it is fresh put on. Oh, fie! I'll swear her color is natural: I have seen it come and got I dare swear you have, ma'am: it goes off at night and comes again in the morning. True, maw'am, it not only comes and goes; but, what's more, egad, her maid can fetch and carry it! Mrs. Can.: Crab.: Mrs. Can.: Sir Ben.: Lady Sneer.: Sir Ben.: Crab.: Mrs. Can.: Sir Ben.: Lady T.: 38 (Laughing) How I hate to hear you talk so! But sure now, her sister is, or was, very handsome. ‘Who? Mrs. Evergreen? 0 Lord! she's sixeand-fifty if she's an hour! Now positively you wrong her; fifty-two or fifty-three is the utmost-and I don't think she looks more. ' - Ah! there's no judging'by her looks, unless one could see her face. Well, well, if Hrs. Evergreen does take some pains to repair the ravages of time, you.must allow she effects it with a great ingenuity; and surely that's better than the careless manner in which the widow Ochre caulks her wrinkles. Nay, now, Lady Sneerwell, you are severe upon the widow. Come, come, 'tis not that she paints so ill-- but, when she has finished her face, she joins it on so badly to her neck, that she looks like a mended statue, in which the connoisseur may see at once that the head's modern, though the trunk's antique! Ha! ha! ha! ‘Well said nephew! Ha! ha! ha! Well, you make me laugh; but I vow I hate you for it. What do you think of Miss Simper? Why, she has very’pretty teeth. Yes, and on that account, when she is neither speaking nor’laughing (which seldom happens), she never absolutely shuts her mouth, but leases it always on ajar, as it were-- thus. (Shows her teeth) Enter Right, bow, cross up Left. Stuffy. Sir Peter is surprised. Cross down Right. Front to audience. Mrs. Can.: Lady '1‘ . : Lady Sneer.: Lady T.: Sir Peter: Mrs. Can.: Sir Peter: Hrs. Can.: Lady T.: Mrs. Can.: Lady Sneer.: 39 HOW can you be so ill-natured? Nay, I allow even that's better than the pains Mrs. Prim takes to conceal her losses in front. She draws her mouth till it positively resembles the aperture of a collec- tionebox, and all her words appear to slide out edge-wise, as it were-- thus: How do you do, madam? Yes, madam. Very well, Lady Teazle; I see you can be a little severe. In defense of a friend it is but justice. (Enter Sir Peter Teazle) But here comes Sir Peter to spoil our pleasantry. Ladies your most obedient. (Asidej Mercy on.me, here is the whole set! a character dead at every'word, I suppose. I am rejoiced you are come, Sir Peter. They have been so censor- ious--and Lady Teazle as bad as any one. That must be very distressing to you, Mrs. Candour, I dare swear. ' Oh, they will allow good qualities to nobody; not even good nature to our friend Mrs . Pursy. ‘Hhat, the fat dowager who was at Hrs. Quadrille's last night? Nay, her bulk is her misfortune; and, when she takes so much pains to get rid of it, you ought not to reflect on her. That's very true, indeed. ho Lady T.: Yes, I know she almost lives on acids and small whey; laces her- self by pulleys; and often, in the hottest noon in smnmer, you may see her on a little pony, with her hair plaited up behind Sir Peter grimaces. like a drummer's and puffing round Hyde Park on a full trot. Mrs. Can.: I thank you, Lady Teazle, for defending her. To Mrs. Can. Sir Peter: Yes, a good defense, truly. Mrs. Can.: Truly, Lady Teazle is as censorious as Miss Sallow. Crab.: Yes, and she is a curious being to pretend to be censorious--an awkward gawk-y, without any one good point under heaven. Mrs. Can.: Positively you shall not be so very severe. Miss Sallow is a near relation of mine by marriage, and, Shows much dis- as for her person, great allowance pleasure during these is to be made; for, let me tell you, bits of gossip. a woman labors under many disadvan- tages who tries to pass for a girl of six-and-thirty. Lady Sneer.: Though, surely, she is handsome still--and for the weakness in her eyes, considering how much she reads by candle-light, it is not to be wondered at. Mrs. Can.: True; and then as to her manner, upon my word I think it is particu- larly graceful, considering she never had the least education; for you know her mother was a Welsh milliner, and her father a sugar- baker at Bristol. Sir Ben.: Ah! you are both of you too good- natured! Agitated. Aside to audience. Cynically. Sir Peter becomes in- creasingly horrified. Cross down Left . Sir Peter: Mrs. Can.: Sir Peter: Sir Ben.: Lady'T.: Mrs. Can.: Crab.: Sir Bon;: Crab.: Sir Ben.: Crab.: Sir Ben.: Crab.: Sir Ben.: Yes, damned good-natured! This their own relation! (Aside) For my part, I own I cannot bear to hear a friend ill-spoken of. No, to be sure. Oh! you are of a moral turn. Hue. Candour and I can sit for an hour and hear lady Stucco talk sentiment. Nay, I vow Lady Stucco is very ‘ well with the dessert after dinner; for she's just like the French fruit one cracks for mottoes-- made up of paint and proverb. Hell, I will never join.in ridi- culing a friend; and so I constantly tell my cousin Ogle, and you all know what pretentious she has to be critical on beauty. Oh, to be sure! she has herself the oddest countenance that ever was seen; 'tis a collection of features from all the different creatures of the globe. So she has, indeed-—a bullfrog front-- Nanny-goat nose-- Lamb's-wool locks-- Lizard Lips-- Complexion of a crocodile-- And tortise-shell teeth- In short, her face resembles a congress at the close of a general war--wherein all the members, even to her eyes, appear to have a different interest, and her nose and chin are the only parties like to join issue. Herrified. Cross up Right. Sarcastically. Sir Peter is again irritated. Turn to Lady T. Give lines vehemently. Mrs. Can.: Sir Peter: Lady Sneer.: Mrs. Can.: Sir Peter: Lady Sneer.: Sir Peter: Lady T.: Sir Ben.: Lady T.: Sir Peter: L2 Ha! ha'. ha'. (Aside) Mercy'on.my life!--a person they dine with twice a week! Go-—go--you are a couple of provoking Toads . Nay but I vow you shall not carry the laugh off so--for give me leave to say'that Mrs. Ogle- Madam, madam, I beg your pardon-- but there's no stopping these good gentleman's tongues. But when I tell you, Mrs. Candour, that the lady they are abusing is a particu- lar friend of mine, I hope you'll not take her part. Well, said, Sir Peter! but you are a cruel creature-~too phleg- matic yourself for a jest, and too peevish to allow wit in others. .Ah, madam, true wit is more nearly'allied to good nature than your ladyship is aware of. True, Sir Peter: I believe they' are so near akin that they can never be united. Or rather, madam, I suppose them man and wife, because one seldom sees them together. But Sir Peter is such an enemy to scandal, I believe he would have it put down'by parliament. 'Fore heaven, madam, if they were to consider the sporting with re- putation of as much importance as poaching on manors, and pass an act for the preservation of fame, I believe many would thank them for the bill. Bitterly. Cross up center . Cross Right. Turn to Lady S. Bow and exit Left. Lady Sneer.: Sir Peter: Lady Sneer.: Mrs. Can.: Sir Peter: Crab.: Lady Sneer.: Sir Peter: Lady Sneer.: Sir Peter: Sir Ben.: h3 O Lud! Sir Peter; would you deprive us of our privileges? .Ay, madam; and then no person should be permitted to kill character and run.down reputations, but qualified old maids and disappointed widows. Go, you monster! But, surely, you would not be quite so severe on those who only'report what they hear? Yes, madam, I would have the indorsers liable, too, for the principals debts; and in all cases of slander currency, whenever the drawer of the lie was not to be found, the injured parties should have a right to come on any of the indorsers. well, for my'part, I believe there never was a scandalous tale with- out some foundation. Come, ladies, shall we sit down to cards in the next room? (Enter Pert, who whispers to Sir Peter) (To Part) 1'11 be with them directly. (Exit Port) (Aside) I'll get away unperceived. Sir Peter, you are not going to leave us? Your ladyship must excuse me; I'm called away by particular business. But I leave my character behind me. (Exit) well--certainly, Lady Teazle, that lord of yours is a strange being: I could tell you some stories of him would.make you laugh heartily .if he were not your husband. M4 Lady T.: Oh, pray don't mind that; come, do let's hear them. (Exit all) The remainder of the scene is concerned with Joseph Surface, Maria, and Lady Teazle. Joseph and Maria have been left alone in the room. Maria protests against all the scandalous gossip she has just witnessed, and Joseph, in his best hypocritical manner, agrees fully with her and adds a few of his own sentiments on the subject. Joseph chooses this time to mildly chastise Maria for being unkind to him and showing favoritism for his brother, Charles. He is pleading on his knees with Maria not to leave him as Lady Teazle enters. To cover this embarrassing situation, Joseph shifts the gist of his plea and, after Maria is sent out, explains to Lady Teazle that he was trying to persuade Maria not to inform Sir Peter of his attachment to Lady Teazle. Lady Teazle is a bit skeptical at this and states: "Indeed‘. but you seemed to adopt a very tender mode of reasoning-wdo you usually argue on your knees?" Joseph immediately shifts the conversation and asks Lady Teazle when she is coming over to see his new library. Lady Teazle states that though she has admitted him as a lover, it would be unwise to visit him alone at his home . She exits and Joseph sums up his situation: 'A curious dilemma, truly, my politics have run me into!‘ I wanted, at first, only to ingratiate myself with Lady Teazle, that she might not be my enemy with Maria; and I have, I don't know how, become her serious lover. Sincerely I begin to wish I had never made such a point of gaining so very good a character, for it has led me into so many cursed rogueries that I doubt I shall be exposed at last." hS Act Twp, Scene Three: .1 Room in Sir Peter Teazle's Reuse. Sir Oliver Surface Rowley .Sir Peter Teazle Sir Oliver: Rowley: Sir Oliver: Rowley: Sir Oliver: (Enter Sir Oliver and Rowley Stage Left) (Laughing) So my old friend is married, hey?--a young wife out of the country. (Laughing) That he should have stood bluff to old bachelor so long, and sink into a husband at last! But you must not rally him on the subject, Sir Oliver; 'tis a tender’point, I assure you, though he has been married only seven months. Then he has been Just half a year on the stool of repentance!-- Poor Peter: But you say'he has entirely given up Charles- never sees him, hey? His prejudice against him is astonishing, and I am sure greatly increased by a jealousy of him with Lady Teazle, which he has industriously'been led into by a scandalous society in the neigh- borhood, who have contributed not a little to Charles' ill name. Whereas the truth is, I believe, if the lady is partial to either of them, his brother is the favor- ite. .1y, I know there are a set of malicious, prating, prudent gossips, both male and female, ‘who murder characters to kill time, and will rob a young fellow of his good name before he has ‘ years to know the value of it. But I am not to be prejudiced Enter Right, cross Left to Sir Oliver. Elated. Slapping him on the back. Sir Peter is apprehensive at “married.” Rowley: Sir Oliver: Rowley: Sir Oliver:. Sir Peter: Sir Oliver: Sir Peter: Sir Oliver: 16 against my nephew by'such, I promise you! No, no; if Charles has done nothing false or mean, I shall compound for his extrav- agance . Then, my life on't, you will reclaim him. .Ah, sir, it gives me new life to find that your heart is not turned against him. What! Shall I forget, Master Rowley, when I was at his years myself? Egad, my'brother and I were neither of us very prudent youths. Sir, 'tis this reflection gives me assurance that Charles may'yet be a credit to his family. But here comes Sir Peter. Egad, so he does! Mercy on.me, he's greatly'altered, and seems to have a settled married look! One may read husband in his face at this distance! (Enter Sir Peter Teazle) Ha! Sir Oliver-any old friend. welcome home again! Thank you, thank you, Peter! and i'faith I am glad to find you well, believe me! Oh! 'tis a long time since you left-~fifteen.years, I doubt, Noll, and many a cross accident in the time. 1y, I have had.my share. But, what! I find you are married, hey, my old boy? ‘Well, well, it can't be helped; and so- ‘wish you joy with all my heart! Surprised . Sir Peter grimaces. Becoming excited. Calms down. Surprised. Fondly. Sir Peter is alarmed at this attitude. Sir Peter: Sir Oliver: Rowley: Sir Oliver: Sir Peter: Sir Oliver: Sir Peter: Sir Oliver: Sir Peter: Sir Oliver: h? Thank you, thank you, Noll.-- Yes, I have entered into-- the happy state; but we'll not talk of that now. True, true, Peter; old friends should not begin on grievances at first meeting. No, no, no. (To Sir Oliver) Take care, sir. ‘we11, so one of my nephews is a wild rogue, hey? ‘Wild! 1h! my old friend, I grieve for your disappointment there; he's a lost young man, indeed. However, his brother will make you amends; Joseph is, indeed, what a youth should be-everybody in the world speaks well of him. I am sorry to hear it; he has too good a character to be an honest fellow. Everybody speaks well of him! Psha! then he has bowed as low to knaves and fools as to honest dignity of genius and virtue. What, Noll! do you blame him for not making enemies? Yes, if he has merit enough to deserve them. 'Well, well—~youlll'be convinced when you know him. 'Tis edification to hear him converse; he professes the noblest sentiments . Oh, plague of his sentiments! If he salutes me with a scrap of morality in his mouth, I shall be sick directly. But, however, don't mistake me, Peter; I don't mean to defend Charles! errors: But, before I form my Judgment of either vehemently. Cross Left to Sir 0. Take him around shoulders and begin to exit Left. Pause. Begin to exit again Left. Rowley: Sir Peter: Sir Oliver: Sir Peter: Sir Oliver: 118 of them, I intend to make a trial of their hearts; and my friend Rowley and I have planned something for the purpose. And Sir Peter shall own for once he has beenimistaken. Oh, my'life on Joseph’s honor! Hell--come, give us a bottle of good wine, and we'll drink the lad‘s health, and tell you our scheme. Allons, then! And don't, Peter, be so severe against your old friend's son. Odds my life! Imam not sorry that he has run out of the course a little: for my part, I hate to see prudence clinging to the green suckers of youth; Ftis like ivy round a sapling, and spoils the growth of the tree. .Lct Three,_Scene One: action. Sir Peter Teazle Sir Oliver Surface The same as the_previous scene. 119 A continuous Rowley Hoses Maria Lady'Teazle Busy (Enter Busy) Busy: .1 Gentleman to see you, sir. Sir Peter Sir Peter: Hell, then, we will see this pauses, then fellow first, and have our wine turns to Busy. afterwards. But how is this, Master Rowley? I don't see the point of your scheme. Rowley: Why, sir, this Mr. Stanley, whom Sir Peter is sur- prised at this revelation. Sir Oliver: Concerned. Sir Peter: Rowley: I was speaking of, is nearly related to them by their mother. He was once a merchant in Dublin, but has been ruined by a series of undeserved misfortunes. He has applied, by letter both to Mr. Surface and Charles: from the former he has received nothing but evasive promises of future service, while Charles has done all that. his extravagance has left him power to do; and he is, at this time, endeavoring to raise a sum of money, part of which in the midst of his own distresses, I know he intends for the service of poor Stanley. Ah, he is my brother's son. ‘Hell, but how'is Sir Oliver personally to-- ‘Why, sir, I will inform Charles and his brother that Stanley has obtained permission to apply personally to his friends; and, Resignedly. Sir Peter: Rowley: Sir Peter: Rowley: Sir Peter: Rowley: Sir Oliver: Sir Peter Moses: crosses down to apron.Left. 50 as they neither of them have ever seen him, let Sir Oliver assume his character, and he will have a fair Opportunity of judging, at least, of the benevolence of their dispositions. well, well, make the trial, if you please. But where is the fellow whom you brought for Sir Oliver to examine, relative to Charles! affairs? Below, waiting his commands, and no one can give him better in- telligence.-4This, Sir Oliver, is a friendly’moneylender, who, to do him justice, has done everything in his power to bring your nephew to a proper sense of his extravagance. Pray, let us have him in. (Calls to Busy) Desire Mr. Moses to walk upstairs. But, pray, why should you suppose he will speak the truth? Oh, I have convinced him that he has no chance of recovering a certain sum advanced to Charles but through the bounty of Sir Oliver, who he knows is arrived. (Enter Moses) Here is the honest moneylender. --This is Sir Oliver. Sir, I understand you have lately had great dealings with.my nephew Charles. Yes, Sir Oliver, I have done all I could for him; but he was ruined before he came to me for assistance. Sir Peter listens intently. Quickly. Snaps fingers. Cross Right to Oliver Take him down Left. Brightly. Sir Peter smiles at Oliver's pleasure. Sir Oliver: Moses: Sir Oliver: Moses: Sir Peter: Moses: Sir Peter: Moses: Sir Peter: Sir Oliver: Sir Peter: Rowley: 51 That was unlucky, truly; for you have had no opportunity of showing your talents. None at all; I hadn't the pleasure of knowing his distresses till he was some thousands worse than mothing. Unfortunate, indeed! But I suppose you.have done all in your power for him? Yes, he knows that. This very evening I was to have brought him a gentleman from the city, who does not know him, and will, I believe, advance him some money. What, one Charles has never had money from before? Yes,.Mr. Premium, formerly a broker. Egad, Noll, a thought strikes me! --Char1es, you say, does not know Mr. Premium? Not at all. Now then, Noll, you may have a better opportunity of satisfying yourself than.an old romancing tale of a poor relation: go with my friend Moses, and pretend you are Premium, and then I‘ll answer for it, you'll see your nephew in all his glory. ‘Egad, I like this idea better than the other, and I may visit Joseph afterwards as old Stanley. True, so you may. ‘we11, this is taking Charles rather at a disadvantage to be sure. However, Moses, you under- stand Sir Peter, and will be faithful. 0Y5 Sir Peter looks- over Sir Oliver. To audience . Turn to Moses. Sir Peter, facing front, registers shock. Turn to Sir Oliver. Moses: Sir Oliver: Rowley: Moses: Sir Oliver: Sir Peter: Moses: Sir Oliver: Moses: Sir Oliver: Hoses: Sir Peter: 52 You.may depend on me.--(Looks at watch) This is near the time I was to have gone. I'll accompany’You as soon.as you please, Moses-éBut hold! I have forgot one thing-~how the plague shall I be able to pass for a moneylender? Is Sir Oliver too smartly dressed to look like a moneylender, Hoses? Not at all; 'twould not be out of character. 'Well, but how“must I talk? There's certainly some cant of usury and mode of treating that I ought to know. Oh, there's not much to learn. The great point, as I take it, is to be exorbitant enough in your demands. Hey, Moses? Yes, that's a very great point. I'll answer for't I'll not be wanting in that. I'll ask him eight or ten per cent on the loan, at least. If you ask him no more than that, you'll be discovered immediately. Hey! what, the plague! how much then? That depends upon the circumstances. If he appears not very anxious for the supply, you should require only forty or fifty per cent; but if you.find him in great distress, and want the moneys very bad, you may ask double. A good honest trade you're learning, Sir Oliver! Sir Peter listens. Bows to Oliver on "Premium." Looking at Moses. Sir Oliver: Moses: Sir Oliver: Moses: Sir Oliver: Moses: Sir Oliver: Sir Peter: Moses: Rowley: Hoses: Sir Oliver: Sir Peter: Sir Oliver: 53 Truly I think so--and not unprofit- able. Then you know, you haven't the moneys yourself, but are forced to borrow them for him of a friend. Oh! I borrow it of a friend, do I? And your fiend is an unconscion- able dog; but you can't help that. Hy friend an unconscionable dog, is he? Yes, and he himself has not the moneys by him, but is forced to sell stocks at a great loss. He is forced to sell stocks at a great loss, is he? Hell, that's very kind of him. I'faith, Noll--Mr. Premium, I mean,--you'll soon be master of the trade. But Moses! would not you have him rail a little against the protective laws? That would be in character, I should think. Very much. And lament that a young man now .must be at years of discretion before he is suffered to ruin himself? ' Ay , a great. pity! So, so-—Moses shall give no further instruction as we go together. You.will not have much time, for your nephew'lives close by. Oh, never fear! my tutor appears so able, that though Charles ' lived in the next street, it must Cross up Sir Peter: center, sit. Rowiey: Irritated. ' Sir Peter: Seated. This speech given directly to audience. Maria: Pleasantly. Sir Peter: Maria: Sh be my'own fault if I am not a complete rogue before I turn the corner. (Exits with Hoses) So, now I think Sir Oliver will be convinced; you are partial, Rowley, and would have prepared Charles for the other plot. No, upon.my word, Sir Peter. I have also another evidence in my power, one Snake, whom I have detected in a matter little short of forgery, and shall shortly pro- dues to remove some of your pre- judices, Sir Peter, relative to Charles and Lady Teazle. I have heard too much on that subject. 'Well, go bring me this Snake, and I'll hear what he has to say'presently. .lnd pray, tell Maria I want to speak with her. (Exit Rowley) I should be glad to be convinced my suspicions of Lady'Teazle and Charles were unjust. I have never yet cpened my mind on this subject to my'friend Joseph--I am deter- mined I will do it--he will give me his opinion sincerely. (EnterlMaria) So, child, has Mr. Surface returned with you? No, sir; he was engaged. ‘well, Maria, do you not reflect, the more you converse with that amiable young man, what return his partiality for you deserves? Indeed, Sir Peter, your frequent importunity on this subject dis- tresses me extremely--you compel Surprised and irritated. Dognatically. Points to door.Right in anger. Shake finger at her. Slap knee, rise, cross down apron center Sir Peter: Maria: Sir Peter: Maria: Sir Peter: Maria: Sir Peter: 55 me to declare, that I know no man who has ever paid.me a particular attention whom I would not prefer to Mr. Surface . So--here's perverseness! No, no, Maria, 'tis Charles only whom you would prefer. 'Tis evident his vices and follies have won your heart. This is unkind, sir. ‘You know I have obeyed you in neither seeing nor corresponding with him: I have heard enough to convince me that he is unworthy'my'regard. Yet I cannot think it blameworthy, if while my understanding severely condemns his vices, my'heart suggests pity'for his distresses. ‘Hell, well, pity him as much as you please; but give your heart and hand to a worthier object. Never to his brother! Go, perverse and obstinate! But take care, madam: you have never yet known what the authority of a guardian is: don't compel.me to inform you of it. ' I can only say, you shall not have just reason. 'Tis true, by my'father's will, I am for a short period bound to regard you as his substitute; but must cease to think so, when you would compel me to be miserable. (Exit) ‘Was ever a man so crossed as I am, everything conspiring to fret me! I had not been involved in.matrimony a fortnight, before her father, a hale and hearty man, died, on purpose, I believe, for the pleasure of plaguing me with Look at door Right. Calms down, becomes more pleasant. Lady T.: Cross Right. Sir Peter: Chucks her under chin. Lady T.: Grinaces-- Sir Peter: front to audience. Gently. Bend dowl.and purse lips to receive kiss. Lady T.: Lady T. extends her hand. Taking her hand. Sir Peter: Lady T.: 56 the care of his daughter.-- (Lady Teazle sings without) But here comes my helpmate! She appears in great good humor. How happy I should be if I could tease her into loving me, though but a little. (Enter Lady Teazle) Ludl Sir Peter, I hepe you haven't been quarreling with Maria? It is not using me well to be ill humored when I am not by. nth, Lady Teazle, you.might have_ the power to make me good humored at all times. I an sure I wish I had; for I want you to be in a charming sweet temper at this moment. Do be good humored now, and let me have two hundred pounds, will you? Two hundred pounds; what, an't I to be in a good humor without paying for it! But speak to me thus, and i'faith there's nothing I could refuse you. You shall. have it; but seal me a bond for the repayment. 0h, no--there-dmy note of hand will do as well. (Offering her hand) 1nd.you shall no longer reproach me with not giving you an indepen- dent settlement. I mean shortly to surprise you; but shall we always live thus, hey? If you.please, I'm sure I don't care how soon we leave off quarrelling, provided you'll own you were tired first. 57 Glowingly. Sir Peter: Hell-then let our future contest be, who shall be most obliging. Lady T.: I assure you, Sir Peter, good nature becomes you. 'You.look:now as you did before we were married, Take her hand. Start when you used to walk with.me to stroll slowly Left. under the elms, and tell me stories . of what a gallant you were in your youth, and chuck me under the chin, you would: and ask me if I thought I could love an old fellow, who would deny'me nothingb-didn't you? Pause. Sir Peter: Yes, yes, and you were as kind and attentive-- Strolling Left Lady T.: .ly, so I was, and would always again. take your part, when.ny acquain- tance used to abuse you, and turn you into ridicule. Pause, sur- Sir Peter: Indeed! prised, to audience. Lady'T.: .Ay, and when.my cousin Sophy. has called you a stiff, peevish old bachelor, and laughed at me for thinking of marrying one who might be my father, I have always defended you, and said, I didn't . think you so ugly by any'means, Pleased. , and that youfid.make a very good sort of a husband. Sir Peter: And you prOphesied right; and we ~ . shall be the happiest couple- Lady T.: .lnd never differ again? . Sir Peter: No, never,--though at the same Moving closer time , indeed, my dear Lady Teazle, to her. you.must watch your temper very seriously; for in all our little quarrels, my dear, if you recollect, my love, you.always began first. Lady T.: I beg your pardon, my dear Sir Peter indeed, you always gave the provocation. Still pleasantly. Irritated on 'There nowb-on" Gently. Becoming irritated. More irritated. cross Left. Becoming angry. Cross Right to her. Angry. They both turn back to back. Turning head to her. Sir Peter: Lady T.: Sir Peter: Lady T.: Sir Peter: Lady T.: Sir Peter: Lady T.:_ Sir Peter: Lady-T.: Sir Peter: Lady T.: Sir Peter: Lady T . : Sir Peter: 58 Now, see, my angel! take care-- contradicting isn't the way to keep friends. Then don't you begin it, my love! There, now! you-~you are going on. You don't perceive, my life, that you are just doing the very thing which you know always makes me very angry. Nay, you know you will be angry without any reason, my dear- There! now you want to quarrel again! No, I'm sure I don't: but, if you will be so peevish-- There now! who begins first? Why, you, to be sure. I said nothing-~but there's no bearing your temper. No, no, madam: the fault's in your own.temper. ‘ly, you are just what my cousin Sephy said you would be. Your cousin Sophy is a forward, impertinent gipsy. You are a great hear, I an sure, to abuse my relations. Now'may all the plagues of marriage be doubled on me, if ever I try to be friends with.you any more! So much the better. No, no, madam; 'tis evident you never cared a pin for me, and I was a madman to marry you--a pert, rural coquette, that had refused Sir Peter grimaces. Turn head to her. Sir Peter grimaces on I'broke his neck." Slaps thigh. Turn to her. Cross up and around Lady'T. slowly. Point finger at her. Turn from her. To audience. Bow to her. Peter is seething with anger. Lady T.: Sir Peter: Lady T.: Sir Peter: Lady T.: Sir Peter: Lady T.: 59 half the honest squires in the neighborhood! 1nd I am sure I was a fool to marry you-~an old dangling bachelor, who was single at fifty, only because he never could meet with any one who would have him. Ay, ay, madam; but you were pleased enough to listen to me: you never had such an offer before. No, didn't I refuse Sir Tivy Terrier, who everybody said would have been a better match? For his estate is just as good as yours, and he has broke his neck since we have been married. I have done with you, madam! Yen are an unfeeling, ungrateful- but there's an end of everything. I believe you capable of everything that is bad. Yes, madam, I now believe the reports relative to you and Charles, madam. Yes, madam, you and Charles are, not without grounds-- Take care, Sir Peter! you had better not insinuate any such thing! I'll not be suspected without cause, I promise you. Very well, madam! very well! a separate maintenance as soon as you please. Yes, madam, or a divorce! I'll make an example of myself for the benefit of all old bachelors. Let us separate, madam. Agreed! agreed! And now, my dear Sir Peter, we are of a mind once more, we may be the happiest couple, and never differ again, you know! (Laughs)‘well, you are Hove quickly to Sir Peter: apron center. Shake finger at audience. Exit Left. going to be in a passion, I see, and I shall only interrupt you-- so, bye! bye'. (Exit) Plagues and tortures! can't I make her angry either! Oh, I am the most miserable fellow! But I'll not hear her presuming to keep her temper: no! she may break my heart, but she shan't keep her temper. (Exit) 61 .Act Threg, Scene Two: Before Charles Surface's House. Trip Hoses Sir Oliver Surface In this scene, Sir Oliver, posing as Mr. Premium, and Moses en, counter Trip, the French valet to Charles Surface. Trip is indeed not like the average servant. He is dressed almost as any fop would be. His manners are those of the gentry, evidenced by the refined manner in which he takes snuff. Trip's willingness to put up his master's clothes as security for a loan he, Trip, wants to secure from Moses adds a comic touch which.makes this role interesting and challenging to the actor assuming it. Through the lavishness displayed by the servant Trip, Sir Oliver comes into actual contact with.Char1es' extravagance. After this brief encounter, all three exit to enter the house. Sir Oliver exp presses his opinion of the encounter in his final aside: If the man be a shadow'of the master, this is the temple of dissipation indeed! 62 Act Three, Scene Three: Another Room in Charles Surface's House. Charles Surface Careless Sir Medley Sir Harry Bumper Trip Sir Oliver Surface Hoses The scene opens and discovered are Charles Surface and his friends engrossed in drinking and song. Trip enters and announces Moses and a Hr. Premium. Charles is delighted to see the man who is to lend him honey. Sir Oliver (Premium) is somewhat bewildered at what he sees. The house has been divested of almost every moveable thing of value. In a very short time, Sir Oliver finds himself faced with great quanti- ties of drink which he must consume to be sociable. Soon, Charles' friends leave the room: to play dice so that he may conduct his business with Mr. Premium. Sir Oliver learns that there is nothing left of the family prOperty to serve as security for a loan, with the exception of the family paintings. Sir Oliver is livid at this prospect. He is convinced that Charles is indeed a lost soul. The scene ends as Charles, Careless (who is to act as auctioneer), Hoses (the appraiser), and Sir Oliver exit to enter the picture room of the house . H _ £OQS‘. “ 0‘!“ Si!" Hose Care Bowl Trig Jose 63 .Aet'lour, Scenes One and Two: .1 Picture Gallery;in.Charles Surface's House. Charles Surface Sir Oliver Surface Hoses Careless ROWley Trip Charles, Careless, Sir Oliver, and Moses have entered and the auctioning of the portraits begins. One by one the ancestors are sold. it each.individual sale, Sir Oliver becomes more enraged. Finally, after all the others have been sold, the portrait of Sir Oliver comes up for sale. To the amazement of Sir Oliver, Charles refuses to part with the picture of Sir Oliver: No, hang it! I'll not part with.poor Noll. The old fellow has been very good to me, and, egad, I'll keep his picture while I've room to put it in. This final piece of sentiment places Sir Oliver in a better frame of mind. He is now ready to forgive Charles everything. Sir Oliver and Moses exit as Rowley enters. Charles asks Rowley to take the draft of money given him for the portraits, cash it, and take a hundred pounds of it to give to.hr. Stanley who is in distress. Charles exits and Sir Oliver re-enters. ‘Hhen.Rowley shows Sir Oliver the draft of money and tells him that Charles has commissioned him to give some of it to Stanley, Sir Oliver is then thoroughly convinced that Charles is at heart a truly charitable nan. Sir Oliver and Rowley decide that it is time now'for a visit to Joseph in the guise of Mr. Stanley, the poor relation. 6h Act Four,_Scene Three: A Library in Joseph Surface's House. Joseph Surface Handy Lady'Teasle Sir Peter Teazle Charles Surface Joseph Surface is awaiting the arrival of Lady Teazle in order to gain further control over her: I have a difficult hand to play in this affair. Lady'Teazle has lately suspected my views on Haria; but she must by no means be let into the secret,--at least, till I have her more in my power. Lady Teasle enters and complains to Joseph that Sir Peter has become so ill-natured to her of late, and that she wishes that he would permit Maria to marry'Charles so that he would no longer have suspicions of her. Joseph very cleverly tries to convince Lady Teazle that she must sin in her behalf so that she may be conscious of deserving the scandalous stories about her and Charles. Lady Teazle, however, is not easily swayed to his way of thinking: If I could be persuaded to do wrong, it would.be by Sir Peter's ill-usage sooner than your honorable logic, after all. Just at the point where Joseph is making great progress, Handy enters to announce Sir Peter. The announcement throws everyone into a state of panic. 65 Lady Teazle runs and hides behind the screen. Joseph has just time enough to place himself on the couch, take up a'book, and start to read when Sir Peter enters. Enter'Right. Sir Peter: Cross up Left. First line to audience. Joseph: Sir Peter looks around the room. Sir Peter: On ”that's prOper', Point to screen. Cross up to screen. Joseph: Sir Peter: Joseph: Becomes serious. Sir Peter: Indicating Handy. Joseph: Handy: Joseph: Cross down Sir Peter: Left, sit. Ay, ever improving himself. Mr; Surface, Mr. Surface-- Oh, my dear Sir Peter, I beg your pardon. (Gaping, throws away the book) I have been dozing over a stupid book. ‘we11, I an much obliged to you for this call. You haven't been here, I believe, since I fitted.up this room. Books, you know, are the only things I am a coxsomb in. 'Tis very neat indeed. well, well, that's preper; and you can make your screen a source of knowledge-~hung, I perceive, with.maps. Oh, yes, I find great use in that screen. I dare say you must, certainly, ‘when you want to find anything in a hurry. (Aside) Ly, or to hide anything in a hurry either. ‘Well, I have a little private business-- (To Handy) You need not stay. No, sir. (Exit) ‘Won't you be seated, Sir Peter? ‘Well, now'we are alone, there is a subject, my dear friend, on which I wish to unburden.my'mind to you-- Speech to audience, matter of fact. Surprised at his own words. Increased concern. Sighs. Comfortingly. Looks at Joseph. Shakes his head slowly. Joseph: Sir Peter: Joseph: Sir Peter: Joseph: Sir Peter: Joseph: Sir Peter: Joseph: Sir Peter: Joseph: Sir Peter: Joseph: 66 a point of the greatest moment to my peace; in short, my good friend, Lady Teazle's conduct of late has made me very unhappy. Indeed! I am very sorry to hear it. Yes, 'tis but too plain she has not the least regard for me, but, what's worse, I have pretty good authority to suppose she has formed an attachment to another. Indeed! you astonish me: Yes! and between ourselves, I think I've discovered the person. How! you alarm me exceedingly. 1y, aw dear friend, I know you would sympathize with.me! Yes, believe me, Sir Peter, such a discovery would hurt me just as much as it would you. I am convinced of it. Ah! it is a happiness to have a friend whom we can trust even with one's family secrets. But have you no guess who I mean? I haven't the most distant idea. It can't be Sir Benjamin.Backbite£ Oh no! what say you to Charles? My brother! impossible! Oh, my dear friend, the goodness of your own heart misleads you. You judge others by yourself. Certainly, Sir Peter, the heart that is conscious of its own integrity is ever slow to credit another's treachery. Stress 'Principle.' Somewhat sadly. Sir Peter: Joseph: Sir Peter: Joseph: Sir Peter: Joseph: Sir Peter: Joseph: Sir Peter: Joseph: Sir Peter: 67 True; but your brother has no sentiment-~you never hear him talk so. Yet I can't but think Lady Teazle has herself too much principle. 1y; but what is principle against the flattery of a handsome, lively young fellow? That's very true. And then you know, the difference of our age makes it very improbable that she should have any great affection for me; and if she were to be frail, and I were to make it public, why the town would only laugh at me, the foolish old bachelor, who married a girl. That's true, to be sure--they would laugh. Laughl'ay, and make ballads, and paragraphs, and the devil knows what of me. No, you must never make it public. But then again-~that the nephew‘of my old friend, Sir Oliver, should be the person to attempt such a wrong, hurts me more nearly. Ay, there's the point. When in— gratitude barbs the dart of in- jury, the wound has double danger in it. Ay--I, that was, in a manner, left his guardian: in whose house he had.been so often entertained; who never in.my life denied him-- my advice! Joseph: Sir Peter is touched by Joseph's sentiment . Removes hand- Sir Peter: kerchief and dabs eyes. Joseph: Sir Peter: To audience. This speech must not become saddened. The comic spirit must be maintained. Take out will . Turn.in chair to Joseph. Joseph: To audience. Sir Peter: 68 Oh, 'tis not to be credited! There may be a man capable of such base- ness, to be sure; but, for my part, till you can give me positive proofs, I cannot but doubt it. However, if it should be proved on him, he is no longer a brother of mine--I dis- claim kindred with him: for the man who can break the laws of hospitality, R and tempt the wife of his friend, Pi deserves to be branded as the post of society. ‘What a difference there is between you! What noble sentiments! !: 1‘1 Yet I cannot suSpect Lady Teazle's p. honor. I am sure I wish to think well of her, and to remove all ground of quarrel between us. She has lately reproached me more than once with having made no settlement on her; and, in our last quarrel, she almost hinted that she should not break heart if I was dead. Now, as we seem to differ in our ideas of expense, I have resolved she shall have her own way, and be her own mistress in that‘respect for the future; and, if,I were to die, she will find I have not been inattentive to her interest while living. Here, my friend, are the drafts of two deeds, which I wish to have your Opinion on. By one, she will enjoy eight hundred a year independent while I live; and by the other, the bulk of my fortune at my death. This conduct, Sir Peter, is indeed truly generous-(Aside) I wish it may not corrupt my pupil. Yes, I am determined she shall have no cause to complain, though Joseph: Rises. Happier. Sir Peter: Cross Right to Joseph. Joseph: Sir Peter: Joseph: Sir Peter: Paying no attention to Joseph's'words. Joseph: Handy: Joseph: Snap fingers. Sir Peter: 69 I would not have her acquainted with the latter instance of my affection yet a while. (Aside) Nor I, if I could help it. And now, my dear friend, if you please, we will talk over the situation of your hopes with Maria. (Softly) Oh, no, Sir Peter; another time, if you please. I am sensibly chagrined at the little progress you seem to make in her affections. (Softly) I beg you will not mention it. What are my disappointments when your happiness is in debate! (Aside) 'Sdeath, I shall be ruined in every way! .And though you are averse to my acquainting Lady Teazle with your passion, I am sure she's not your enemy in the affair. Pray, Sir Peter, now oblige me. I am really too much affected by the subject we have been speaking of to bestow a thought on my own concerns. The man who is entrusted with his friend's distresses can never-- (Re-enter Handy) Well, Handy? Your brother, sir, is speaking to a gentleman in the street, and says he knows you are within. 'Sdeath, blockhead, I'm not within-- I'm out for the day. Stayb-hold--a thought has struck me:--you shall be at home. Joseph: Sir Peter: Cross to Joseph Take him by'arm, cross down center. Joseph: Looking around Sir Peter: room for a place to hide. Cross up to screen. Stops abruptly. Looking at Joseph. Joseph: Joseph takes Sir Peter's arm. Takes him down center. On.'French milliner' Peter looks back:at the screen, front again, smiles. Sir Peter: Terrified . Joseph: Sir Peter: (Iross to Left door; Joseph: 70 Well, well, let him up. (Exit Handy) (Aside) He'll interrupt Sir Peter, however._ Now, my good friend, oblige me, I entreat you. Before Charles comes, let me conceal myself somewhere, then do you tax hhm on the point we have been talking, and his answer may satisfy me at once. Oh, fie, Sir Peter! would you have me join in so mean a trick?--to entrap my brother too? Nay, you tell me you are sure he is innocent; if so, you do him the - greatest service by giving him an opportunity to clear himself, and you will set my'heart at rest. Cone, you shall not refuse me: (Going up) here, behind the screen will be- Hey! what the devil! I'll swear I saw a petticoat! Ha! ha! ha! ‘Well, this is ridiculous enough. I'll tell you, Sir Peter, though I hold a man of intrigue to be a most despicable character, yet you know, it does not follow that one is to be an absolute Joseph either! Hark'ee, 'tis a little French.milliner, a silly rogue that plagues me; and having some character to lose, on your coming, sir, she ran behind the screen. Ah, a rogue-nBut, egad, she has overheard all I have been saying of my wife. Oh, 'twill never go any farther, you may depend upon it! No! then, faith, let her hear it out.-Here's a closet will do as well. Wbll, go in there. To Joseph. Sir Peter: Goes in door. Joseph: Lady'T.: Joseph: Sticking his Sir Peter: head out. Joseph: Lady T.: Joseph: Sir Peter: Sticking head out again. Joseph: Charles: Joseph: Charles: Joseph: Charles: Joseph: 71 Sly rogue! sly rague! (Goes into the closet) {A narrow escape, indeed! and a curious situation I'm in, to part man and wife in.this manner. (Peeping) Couldn't I steal off? Keep back) my angel! (Peeping) Joseph, is severe with him. .Back, my dear friend! (Peeping) Couldn‘t you lock Sir Peter in? Be still, my life! (Peeping) You're sure the little milliner won't blab? 111, in, ny dear Sir Peter!-- :Fore Gad, I wish I had a hay to the door. (Enter Charles Surface) Hello! brother, what has been the matter? Your fellow would not let me up at first. 'What! have you had a moneylender or a wench with you? Neither, brother, I assure you. But what has made Sir Peter steal off? I thought he had been with you. He was, brother; but hearing you were coming, he did not choose to stay. ‘What! was the old gentleman afraid I wanted to borrow money of him! ; No, sir: but I am sorry to find, Charles, you have lately given that worthy-man grounds for uneasiness. v I ‘l".‘~"”l¥ V A‘XYH'F1f1- ‘ U’n'“ Sir Peter opens door slightly to listen. Charles: Joseph: Charles: Joseph: Charles: ‘Joseph: Charles: Joseph: Charles: Joseph: 72 Yes, they tell me I do that to a .great many worthy men. But how'so, pray? To be plain with you, brother, he thinks you are endeavoring to gain Lady Teazle's affections from him. How, I? O Lud! not I, upon my word. -Ha! ha! ha! ha! so the old fellow has found out that he has got a young wife, has he?--or, what is worse, Lady Teazle has found out she has an old husband? This is no subject to jest on, brother. He who can laugh-- True, true, as you were going to say-~then, seriously, I never had the least idea of what you charge me with, upon.my honor. 'Well, it will give Sir Peter great satisfaction to hear this. (Raising voice) To be sure, I once thought the lady seemed to have taken a fancy to me; but, upon.my soul, I never gave her the least encouragement. Besides, you know my attachment toIHaria. But sure, brother, even if Lady Teazle had betrayed the fondest partiality for you-- Why, look‘ee, Joseph, I hope I shall never deliberately do a dishonorable action: but if a pretty woman.was purposely to throw herself in my way--and that pretty'woman.married to a man old enough to be her father- Well! is “KIWI. . _.....e..e.21aev.cwl§ \ m Sir Peter closes door abruptly. Charles: Joseph: Charles: Joseph: Charles: Joseph: Charles: Joseph: Charles: Joseph: Charles: Joseph: Charles: Joseph: Charles: Joseph: 73 'Why,I believe I should be obliged to borrow a little of your morality, that's all. But, brother, do you know now that you surprise me ex- ceedingly, by naming me with Lady Teazle; for i'faith, I always under- stood you were her favorite. Oh, for shame, Charles! This retort is foolish. Nay, I swear I have seen you ex- change such significant glances-- Nay, nay, sir, this is no jest. Egad, I‘m serious! Don't you remember one day, when I called here-- Nay, pr'ythee, Charles-- And found you tagether-- Zounds, sir, I insist-- And another time, when your servant-- Brother, brother, a word with you! (Aside) Gad, I must stop him. Informed, I say, that-- Bush! I beg your pardon, but Sir Peter has overheard all we have been saying. I knew you would clear yourself, or I should not have consented. How, Sir Peter! ‘Where is he? Softly, there! (Points to closet.) Oh, 'fore Heaven, I'll have him out. Sir Peter, come forth! No, no-- I a.._ M a ”A ll", _? 'b' ‘.". . ._..—-.. slain! . , .........a1tas.‘rl.ml.3,‘ . _. r H Takes Peter by the arm. Swings him around so that he stops above him. Happily . Pats him on back. Charles : Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Joseph: Sir Peter: Handy: Joseph: 7h I say, Sir Peter, come into court. (Pulls in Sir Peter)‘What! my old guardian!--Hhat!--turn inquisitor, and take evidence incognito? Oh, fie! Oh, fie! Give me your hand, Charles-I believe I have suspected you wrongfully; but you mustn't be angry with Joseph-'twas my plan! Indeed! Bit I acquit you. I promise you I don't think near so ill of you as I did. ‘What I have heard has given.me great satisfaction. Egad, then ‘twas lucky you didn't hear any more. ‘Wasn't it, Joseph? Ah! you would have retorted on him. 1y, my, that was a joke. Yes, yes, I know his honor too well. But you might as well have suspected him for all that. Mightn't he, Joseph? Well, well, I believe you. (Aside)‘would they were both out of the room! And in future, perhaps, we may not be such strangers. (Re-enter Handy and whispers to Joseph) Lady Sneerwell is below, and says she will come up. Gentlemen, I beg pardon--I must wait on you downstairs: here's a person come on particular business. 3.; “‘ r ‘ vvu T" .L'lr‘k‘ .4. . . . u! :0. :17... I, a, ‘ Cross Left. Cross back to Charles. Chuckling. Takes Charles down Left . Charles: Joseph: Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Charles: 75 well, you can see him in another room. Sir Peter and I have not met in a long time, and I have something to say to him. (Aside) They must not be left to- gether. I'll send Lady Sneerwell away, and return directly. (To Sir Peter) Sir Peter, not a word of the French milliner. (To Joseph) I! not for the world! (Exit Joseph).1h, Charles, if you associated more with your brother, one might indeed hepe for your reformation. He is a man of senti- ment. Well, there is nothing in the world so noble as a man of sentiment. Psha! he is too moral by half; and so apprehensive of his good name, as he calls it, that I suppose he would as soon let a priest into his house as a wench. No, no,--come,come,--you.wrong him. No, no, Joseph is no rake, but he is no such saint either, in that respect.-- (Aside) I have a great mind to tell him-~we should have such a laugh at Joseph. Oh, hang him! he's a tedious recluse, a young hermit! Hark'ee-you.must not abuse him: he may chance to hear of it again, I promise you. ‘Why, you won't tell him? No-ébut-—this way. -- (Aside) Egad,I'1l tell him. Hark'ee, have you a mind to have a good laugh at Joseph? I should like it of all things. i‘e .‘Ae I1 Almost in a thSper. Charles starts to go to screen. Sir Peter catches him and drags him back. Charles goes again. Peter drags him back. Charles goes to screen. Holding his head. Horrified! Frozen. Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Charles: Sir Peter: Charles: 76 Then, i'faith, we will! I'll be quit with him for discovering me. (whispers) He had a girl with him when I called. What! Joseph? you jest. Hush!--a little French milliner-— and the best of the jest is--she's in the room now; The devil she is! Hush! I tell you. (Points to the screen). Behind the screen! Odds life! let's unveil her! No, no, he's coming backt--you shan't, indeed! Oh, egad, we'll have a peep at the little milliner! Not for the world!-Joseph will never forgive me. I'll stand by you-- (Re-enter Joseph Surface) Odds, here he is! (Charles throws down the screen) Lady Teazle, by all that's wonderful! Lady Teazle, by all that's damnable! Sir Peter, this is one of the smartest French milliners I ever saw. Egad, you seem all to have been diverting yourselves here at hide and seek, and I don't see who is out of the secret. Shall I beg your ladyship to inform me? Not '1' .. -M-o‘uuu—u— “.I .un‘ ilrl 13!- .Eu'ai AW ‘.H4 ‘ 3 e... Sir Peter stands frozen, horrified at this incredible situation. Sir Peter grimaces. Turns front to audience. Joseph: To audience. Sir Peter: Joseph: Sir Peter looks confused at this muddled explanation. Sir Peter: Point to Lady T. Lady Teazle: Turn to her. Sir Peter: Lady T.: 77 a word!--Brother, will you be pleased to explain this matter? 'What, is Morality dumb too? --Sir Peter, though I found you in the dark, perhaps you are not so now! All mute! Hell-though I can.maks nothing of the affair, I suppose you perfectly understand one another; so I'll leave you to yourselves. (Going) Brother, I'm sorry to find you have given that worthy'man grounds for so much un- easiness. --Sir Peter! there's nothing in the world so noble as a man of sentiment! (Exit) -- ..____.—~ — ~—- — —— 2p: 1‘ " (Haltingly) Sir Peter--notwith- standing-~I confess-that appear- ances are against me--if you will afford me your patience-u-I make no doubt-Abut I shall explain everything to your satisfaction. If you please, sir. The fact is, sir, that Lady Teazle, knowing my pretensions to your ward.Haria--I say, sir, Lady Teazle, being apprehensive of the Jealousy of your temper--and knowing my friendship to the family--she, sir, I say-~called here--in order that-- I might explain these pretensions- but on your coming--she withdrewb- and this, you may depend on it, is the whole truth of the matter. .1 very clear account, upon my word; and I dare swear the lady will vouch for every article of it. For not one word of it, Sir Peter! How! don't you think it worth while to agree in.the lie? There is not one syllable of truth in what that gentleman has told you. I‘ll—’1‘... .,.r, Alres.L|l.D-vl Sir Peter: Joseph: Lady T o 3 To Joseph. Sir Peter: Lady T.: To audience. Sir Peter: Joseph: Lady T.: Sir Peter has, for a moment , a somewhat hapeful look. 78 I believe you, upon.my soul, ma'mm! (To Lady Teazle) 'Sdeath, madam, will you.betray me? Good Mr. Hypocrite, by your leave, I'll speak:for myself. 1y. let her alone, sir: you'll find she'll.make out a better story than you, without prompting. Hear me, Sir Peter!--I came here on no matter relating to your ward, and even ignorant of this gentle- man's pretensions to her. But I came, seduced by his insidious arguments, at least to listen to his pretended passion, if not to sacrifice your honor to his baseness. Now, I believe, the truth is coming, indeed! The woman's mad! No, sir; she has recovered her senses, and your own arts have furnished her with the means. Sir Peter, I do not expect you to credit me--but the tenderness you expressed for me, when I an.sure you could not think I was a witness to it, has penetrated so to my heart, that had I left the place without the shame of this discovery, my future life should have spoken the sincerity of my gratitude. As for that smooth-tongued hypocrite, who would have seduced the wife of his too credulous friend, while he affected honorable addresses to his ward-~I behold him now in a light so truly despicable, that I shall never again reSpect myself for having listened to hhm. (Exit) E'Essl . . . n m.‘ 3.5. '1 ‘.~Wt|..llflk\ w Sternly. Exit Right . Joseph: Sir Peter: Joseph: 79 Notwithstanding all this, Sir Peter, Heaven knows-- That you are a villain! and so I leave you to your conscience. _ (Exit) (Following) You are too rash, Sir Peter; you shall hear me. The man who shuts out conviction by refusing to-- (Exit) It- EASKJ are ..... . e. .i ‘6:Vi|!n'v.\ Act'Five, Scene One: The Libragy in Joseph Surface's House. Joseph Surface Handy Sir Oliver Surface Rowley .As a result of Sir Peter's discovering Lady Teazle, Joseph is in a state of frenzied despair. Handy'now informs Joseph that a.Hr. Stanley is waiting to see him. Joseph, who at this point feels that he would not be able to "bestow even a benevolent sentiment,‘I exits as Sir Oliver and Rowley enter. "What! does he avoid us?‘ says Sir Oliver. Rowley assures him that Joseph's nerves are perhaps a bit on edge at the moment, and that the sight of a poor relation may be too much for him. Rowley and Sir Oliver arrange to meet at Sir Peter's after the interview with Joseph, and.Rowley exits as Joseph enters. In the course of the interview'betweethoseph and Sir Oliver, the latter is enraged at the things he hears. Not only does Joseph pretend not to be able to offer assistance to Sir Oliver, who is posing as hr. Stanley, but he tells him that his uncle (Sir Oliver) is not a generous man: in fact, he is plainly a 'tightwad.' Sir Oliver, realiz- ing that he has given overly'much to Joseph, exhibits a masterpiece or control over his rage. He leaves the scene, explaining in his final aside, "Charles, youare my heir!‘ Rowley enters to tell Joseph that Sir Oliver has arrived in town and.means shortly-to meet both him and his brother. In view of the {oil's-r28}. , we... 1.. iTAaY’lIvL\ recent events and his,treatment of.Mr. Stanley, Joseph is completely vexed, and after Rowley exits, ends the scene with: Certainly his coming just at this time is the cruellest piece of ill-fortune. 81 {oil's-91.1.). . A. .é. If. VEIIL‘ “ 82 Act Five, Scene Two: A Room in Sir Peter Teazle's House. Busy Mrs. Candour Sir Benjamin Backbite Lady Sneerwell Crabtree Sir Oliver Surface Sir Peter Teazle F1 Rowley 3 '1 Lady Teazle 5 The news of the discovery of Lady Teazle has spread to the "faculty“ I .. of The School for Scandal. To satisfy their insatiable curiosity they :: have appeared at Sir Peter's house. They lmow that Lady Teazle was dis- covered, but by whom, they are not certain. There is a great deal of speculation as to whether it was Charles or Joseph. Sir Benjamin elo- quently describes the fabricated duel between Sir Peter and Joseph in which Sir Peter was supposedly run through with a small-sword. Crabtree enters at this point to contradict his nephew and to assure the party that it was Charles, not Joseph, with whom Sir Peter fought, and Sir Peter is now suffering a bullet lodged in his thorax. Sir Oliver Surface enters, only to be mistaken by the confused "faculty" as a physician in attendance to Sir Peter. Sir Oliver, some- what bewildered by the confusion, is surprised that Sir Peter is in such critical condition. The group is brought back to reality, however, as Sir Peter enters the room. (Enter Sir Peter Teazle) Sir Oliver: Odds heart, Sir Peter! you are come in good time, I promise you ; for we had just given you over! u I ~ ‘ I" 1..» V‘i‘vL‘ Enter Left. Pauses to look at this gathering, surprised. Confused. Cross to Sir Oliver. To audience. Turn.to Crab. in anger. Rising anger. LiVid. Sir Ben.: Sir Oliver: Sir Peter: Sir Oliver: Sir Peter: Sir Ben.: Sir Peter: Crab.: Sir Peter: Mrs. Can.: Sir Peter: Sir Ben.: Sir Peter: Crab.: 83 (To Crabtree) Egad, uncle, this is the most sudden recovery! Why, man! what do you do out of bed with a small-sword through your body, and a bullet lodged in your thorax? .1 small-sword and a bullet? Ay; these gentlemen would have killed you.without law or physio, and wanted to dub me a doctor, to make me an accomplice. Why, what is all this? 5 1 Kb rejoice, Sir Peter, that the #55 story of the duel is not true, and are sincerely sorry for your other misfortune. (Aside) So, so; all over the town already. Though, Sir Peter, you were cer- tainly vastly to blame to marry at your years. Sir, what business is that of yours? Though, indeed, as Sir Peter made so good a husband, he's very much to be pitied. Plague on your pity, ma'am! I desire none of it. However, Sir Peter, you must not mind the laughing and jests you will meet with on the occasion. Sir, sir! I desire to be master in my own house. 'Tis no uncommon case, that's one comfort. Seething . Cross to Right door. Return center to Oliver. Pace up. Irritated . Turn to Oliver. Sir Peter: Hrs. Can.: Sir Peter: Sir Ben.: Sir Peter: Sir Oliver: Rowley: Sir Peter: Rowley: Sir Oliver: Sir Peter: Rowley: Sir Oliver: Rowley: I insist on being left to myself; without ceremony, I insist on your leaving my house directly! well, well, we are going; and depend on't, we'll make the best report of it we can. (Exit) Leave my house! And how'patiently you bear it. (Exit Fiends! vipers! furies! Oh! that their own venom would choke them! They are provoking indeed, Sir Peter. ’ (Enter Rowley) I heard high words: what has ruffled you, sir? Psha!‘fihat signifies asking? Do I ever pass a day without my vexations? well, I‘m not inquisitive. Hell, Sir Peter, I have seen'both my nephews in the manner we pro- posed. L precious couple they are! Yes, and Sir Oliver is convinced that your judgment was right, Sir Peter. Yes, I find Joseph is indeed the man, after all. ,Ay, as Sir Peter says, he is a man of sentimant . Sir Peter becomes. increasingly irritated. To Oliver. Cross down Left. Turn to Rowley. Almost fearful. Turn to audience. Sarcastically .Lmitating their laughter. Sir Oliver: Rowley: Sir Oliver: Sir Peter: Rowley: Sir Peter: Rowley: Sir Peter: Sir Oliver: Sir Peter: Sir Oliver: Sir Peter: Sir Oliver: Sir Peter: 85 And acts up to the sentiments he professes. It is certainly edification to hear him talk. Oh, he's a model for the young men of the age! But how's this, Sir Peter? you don't join us in your friend Joseph's praise, as I expected. Sir Oliver, we live in a damned wicked world, and the fewer we praise, the better. What! do you say so, Sir Peter, who were never mistaken in your life? Psha! plague on.you.both! I see 'by your sneering you have heard the whole affair. I shall go mad among you! Then to fret you no longer, Sir- Peter, we are indeed acquainted with it all. And does Sir Oliver know all this? Every circumstance. What, of the closet and the screen, hey? Yes, yes, and the little French milliner. Oh, I have been vastly diverted with the story! ha! ha! ha! 'Twas very pleasant. I never laughed.more in my'life, I assure you: ha! ha! ha! Oh vastly diverting! ha! ha! ha! .% ¢’.MA*-mf 4..-! Ml?" I ‘0 Ta. is. Lar, . u "I‘ «1.: Y‘Ift Rowley: Sir Peter: Sir Oliver: Sir Peter: Sir Oliver: Sir Peter: Hold head. Sir Oliver: - Turn to Oliver. Sir Peter: Sarcastically. To audience . lthne reading paper. Rowley: Sir Peter paces, irritated. 86 To be sure, Joseph with his sentiments! ha! ha! ha! Yes, his sentiments! ha! ha! ha! Hypocritical villain! Ay, and that rogue Charles to pull Sir Peter out of the closet: ha! ha! ha! Ha! ha! 'Twas devilish entertaining, to be sure! Ha! ha! ha! Egad, Peter, I should like to have seen your face when the screen was thrown down: Ha! ha! Yes, my'face when the screen was thrown down: ha! ha! ha! Oh, I must never show my head again! But come, come, it isn't fair to laugh at you neither, my old friend; though, upon my soul, I can't help it. Oh, pray, don't restrain your mirth on.my account: it does not hurt me at all! I laugh at the whole affair myself. Yes, yes, I think being a standing jest for all one's acquain- tance a very happy situation. Oh, yes, and then of a morning to read the paragraphs about Mr. S—-, Lady T--, and Sir P--, will be so entertaining! ‘Without affectation, Sir Peter, you.may despise the ridicule of fools. (Lady Teazle comes to the door-way, turns, and leaves again.) But I see Lady Teazle going towards the next room; I am sure you.must desire a reconciliation as earnestly as she does. Turn to Oliver, pointing finger at him. Looking through Left door. Back to Rowley, facing Left door.‘ Turn to Rowley. Turn to Left door. Start to g0. Sir Oliver: Sir Peter: Rowley: Sir Peter: Rowley: Sir Peter: Rowley: Sir Peter: Rowley: Sir Peter: Rowley: 87 Perhaps my being here prevents her coming to you. 'Well, I'll leave honest Rowley to mediate between you; but he must bring you all presently toer. surface's, where I am now returning, if not to reclaim a libertine, at least to expose hypocrisy. . I'll be present at your discovering yourself there with all my heart; though 'tis a vile unlucky place for discoveries. (Exit Sir Oliver) Wb'll follow. She is not coming here, you see, Rowley. No, but she has left the door of that room open, you perceive. See, she is in tears. Certainly a little mortification appears very becoming in.a wife. Don't you think it will do her good to let her pine a little? Oh, this is ungenerous in you! well, I know not what to think. You remember the letter I found Of hers evidently intended for Charles! A mere forgery, Sir Peter! laid in your way on purpose. This is one of the points which I intend Snake shall give you conviction of. I wish I were once satisfied of that. She looks this way. ‘What a remarkably elegant turn of the head she has. Rowley, I'll go to her. Certainly. mrng| I .~a-’I:.‘.J~M an- “’.' C t Pause, turn to Rowley. Snap fingers. Hide-eyed, almost in anger. Exitileft. Sir Peter: Rowley: Sir Peter: Rowley: Sir Peter: 88 Though, when it is known that we are reconciled, people will laugh at me ten.times more. Let them laugh, and retort their malice only by showing them you are happy in spite of it. I'faith, so I will! and, if I'm not mistaken, we may'yot be the happiest couple in the country. Nay, Sir Peter, he who once lays aside suSpicionp- Hold, Master Rowley! if you have any regard for me, never let me hear you utter anything like a sentiment: I have had enough of them to serve me the rest of my life. (They exit) 89 Act Five, Scene Three: The Library in Joseph Surface's House. Joseph Surface Lady Sneerwell Sir Oliver Surface Charles Surface Sir Peter Teazle Lady Teazle maria f Rowley 2%; Snake . 5: , As the scene Opens, Lady Sneerwell is chastising Joseph for a i blunderer. He has not only ruined the relationship between him and Sir ! Peter, but has cleared the way for Charles to pursue Maria. Lady Sneer- = well is extremely irritated at this, since she has, herself, designs on Charles . Snake, now, is their last resort. Both Joseph and Lady Sneerwell are relying upon letters forged by Snake to intimidate Charles and Lady Teazle. The bell rings, announcing a visitor whom Joseph thinks will be Sir Oliver, and Lady Sneerwell retires to another room. Sir Oliver enters, and Joseph, who still believes him to be Mr. Stanley, anxiously tries to persuade him to leave. As the persuasion is in progress, Charles enters. He is surprised to see Sir Oliver, whom he believes to be Mr. Premium. Both brothers try their best to persuade their visitor to leave, but to no avail. They finally are forced to resort to physical ejection, and, as they are doing this, Sir Peter, Lady Teazle, Maria, and Rowley enter . Enter Right. Sir Peter in lead. Cross in to center. Astonished. Sir Peter looks scornful. Sir Peter: Lady T.: Rowley: Sir Oliver: Joseph: Charles: Joseph: Charles: Sir Oliver: Sir Peter: Lady T.: 90 Hy-old friend, Sir Oliver-~hey! What in the name of wonder!- here are dutiful nephews-~assault their uncle at his first visit! Indeed, Sir Oliver, ‘twas well we came in to rescue you. Truly it was; for I perceive, Sir Oliver, the character of old Stanley was no protection to you. Nor of Premium either: the neces- sities of the former could not extort a shilling from that bene- volent gentleman; and with the other I stood a chance of faring worse than my ancestors, and being knocked down without being bid for. Charles! Joseph! 'Tis now complete! Very. Sir Peter, my friend, and Rowley too-~look on that elder nephew of mine. You know what he has already received from my bounty; and you also know how gladly I would have regarded half my fortune as held in trust for him? Judge, then, my disappointment in discovering him to be destitute of truth, charity, and gratitude! Sir Oliver, I should be more sur- prised at this declaration, if I had not myself found him to be mean, treacherous, and hypocritical. And if the gentleman pleads not guilty to these, pray let him call me to his character. ‘ Take Lady T. and Maria up center . Sir Peter, Lady T., and Maria observe this scene from up center. Sir Peter: Charles: Sir Oliver: Charles: Joseph: Charles: Sir Oliver: Joseph: Sir Oliver: Charles : Sir Oliver: Charles: Rowley: 91 Then, I believe, we need add no more; if he knows himself, he will consider it as the most perfect punishment that he is known to the world. (Aside) If they talk this way to Honesty, what will they say to me, by-and-by? (Sir Peter, Lady'Teazle, and Maria retire). ,As for that prodigal, his brother, there-- (Aside) Ay, now comes my turn: the damned family pictures will ruin.me! Sir Oliver-auncle, will you honor me with a hearing? (Aside) Now, if Joseph would make one of his long speeches, I might recollect myself_a little. (To Joseph) I suppose you would undertake to justify yourself? I trust I could. (To Charles) well, sir!--and you could justify'yourself, too, I suppose? Not that I know of, Sir Oliver. Hhat!-6Little Premium has been let too much into the secret, I suppose? True, sir; but they were family secrets, and should not be mentioned again, you know. Come, Sir Oliver, I know’you.cannot Speak of Charles' follies with anger. cumming down center. Sir Oliver: Charles: Sir Oliver: Charles: Lady T.: Sir Oliver: Sir Peter: Maria:' 92 Odd's heart, no more I can; nor with gravity either. Sir Peter, do you know the rogue bargained with me for all his ancestors; sold me judges and generals by the foot, and maiden aunts as cheap as broken china. To be sure, Sir Oliver, I did make a little free with the family canvas, that's the truth on't. My ancestors may rise in judgment against me, there's no denying it; but believe me sincere when I tell you--and upon my soul I would not say so if I was not-~that if I do not appear mortified at the exposure of my follies, it is because I feel at this moment the warmest satis- faction at seeing you, my liberal benefactor. Charles, I believe you. Give me your hand again: the ill-looking fellow in the fuzzy wig has made your peace. ‘ Then, sir, my gratitude to the original is still increased. (Advancing) Yet, I believe, Sir Oliver, here is one whom Charles is still more anxious to be recon- ciled to. (Pointing to Maria) Oh, I have heard of his attachment there; and, with the young lady's ' pardon, if I construe right-- that bIUSh-P Well, child speak your sentiments. Sir, I have little to say, but that I shall rejoice to hear that he is happy; for me, whatever claim I had to his attention, I willingly resign to one who has a better title. Hands on hips. Sir Peter is surprised. To audience. Turn to Rowlqy. Charles: Sir Peter: Maria: Charles: Joseph: Sir Peter: Lady Sneer.: Charles: Joseph: Sir Peter: Rowley: 93 How, Maria! Heydayl'what's the mystery now? While he appeared an incorrigible rake, you would give your hand to no one else; and now that he is likely to reform I'll warrant you won't have him. His own heart and Lady Sneerwell know the cause. Lady Sneerwell! Brother, it is with great concern I am obliged to speak on this point, but my regard to justice COMpels me, and Lady Sneerwell's injuries can no longer be con- cealed. (Opens the door) (Re-enterrLady Sneerwell) So! another’French milliner! Egad, he has one in every room of the house, I suppose! Ungrateful Charles! Hbll may you be surprised, and feel for the indelicate situation your perfidy has forced.me into. Pray, uncle, is this another plot of yours? for, as I have life, I don't understand it. I believe, sir, there is but the evidence of one person more necessary to make it extremely clear. And that person, I imagine, is Mr. Snake.-€Rowley, you were perfectly right to bring him with us and pray'let him appear. walk in,.Hr. Snake. (Enter Snake) I thought his testimony'might be wanted; however, it happens “I“. ('4' Sir Peter is delighted. 'Wide-eyed. Scornfully to Lady'T. Lady Sneer.: Snake: Lady Sneer.: Lady T.: Lady Sneer.: .Sir Peter: Lady T.: Sir Peter: Lady'T.: Sir Oliver: 9h unluckily, that he comes to con- front Lady Sneerwell, not to support her. A Villain! Treacherous to me at last! Speak, fellow, have you too conspired against me? I beg your ladyship ten thousand pardons: you paid me extremely liberally for the lie in question; but I unfortunately have been offered double to Speak the truth. (Going) The torments of shame and disappointment on you all! Hold, Lady Sneerwell-before you go, let me thank:you for the trouble you and that gentleman have taken in writing letters from me to Charles, and answering them yourself; and let me also request you.to make my reSpects to the scandalous college, of which_you are president, and inform them that Lady'Teazle, master of arts, begs leave to return the diploma they granted her, as she leaves off practice, and kills characters no longer. You too, madam!-provoking-- insolent! May'your husband live fifty years longer! (Exit) Dons! what a fury! A malicious creature, indeed! What! not for her last wish? Oh, no! (To Joseph) well, sir, and what have you to say now? ' "41‘ Hand on hips. Sarcastically. Surprised. Chuckling. Joseph: Sir Peter: Sir Oliver: Rowley: Snake: Sir Peter: Snake: Sir Peter: Snake: Sir Oliver: Sir Peter: 95 Sir, I am confounded, to find that Lady Sneerwell could be guilty of bribing Hr. Snake in this manner, to impose on us all, that I know not what to say: however, lest her revengeful spirit should prompt her to injure my brother, I had certainly better follow her directly. (mat) _~ Moral to the last drop! J Ay, and marry her, Joseph, if you I can. 011 and vinegar!-egad, you'll do very well together. I believe we have no more occasion ‘ for Mr. Snake at present? hyf Before I go, I beg pardon once for all, for whatever uneasiness I have been the humble instrument of causing the parties present. 'Well, well, you have made atonement by a good deed at last. But I must request of the company, that it shall never be known. Hey! what the plague! Are you ashamed of having done a right thing once in.your life? Ah, sir, consider-~I live by the badness of my character; and, if it were once known that I had.been betrayed into an honest action, I should lose every friend I have in the world. Well, well,--we'll not disgrace you by saying anything in your praise, never fear. (Exit Snake) There's a precious rogue! r" vu— "’f"‘a. ~ I‘ 111;.— r P...,.-v_-.ra.,' Turn to Lady T. TO Rowley. Lady T.: Sir Oliver: Charles: Sir Peter: Charles: Maria: Sir Oliver: Sir Peter: Charles: Sir Oliver: Rowley: Sir Peter: Charles: 96 See, Sir Oliver, there needs no persuasion now to reconcile your nephew‘and,Maria. 1y, ay, that's as it should be, and, egad, we'll have the wedding tomorrow'morning. Thank you, dear uncle. What, you rogue! don't you ask the girl's consent first? Oh, I have done that a long time-- a minute ago--and she has looked yes. For shame, Charles!--I protest, Sir Peter, there has not been a word-- well, then, the fewer the better: may your love for each other never know'abatement. And.may'you live as happily together as Lady Teazle and I-- intend to do! Rowley, my old friend, I am sure you congratulate me; and I suspect that I owe you much. You do, indeed, Charles. Deserve to be happy-~and you over-repay me. Ay, honest Bowley always said you would reform. Why, as to reforming, Sir Peter, I'll make no promises, and that I take to be a proof that I intend to set about it. (Taking Maria by the hand) But here shall be my monitor-Amy gentle guide. Ah! can I leave the virtuous path those eyes illumine? The last two lines to the audience. All bow. Sir Peter: 97 Though thou shouldst wave thy beauty's away, Thou still must rule, since we‘ll obey: ti Fugitive from Folly view, No refuge near but Love and you: (To audience) You can, indeed, each fear remove, For Scandal dies, if you approve. (Curtain) 98 A Character Analysis of Sir Peter Teazle The analysis of Sir Peter Teazle was approached from several angles: a study of the script to determine character, research into contemporary history to analyze Sir Peter's counterpart in actual life, and the use of a formula for character analysis established by Lajos Egri in his book The Art of Dramatic‘W’r-iting'.1 A thorough analysis requires these avenues of approach, especially when dealing with a character found in an eighteenth-century setting in which customs, manners, and everyday living conditions differed from those of today.. When analyzing the script to determine character, the actor should take the following points into consideration: (1) the character's lines about himself, (2) what the character does, and (3) what other characters say about him. In addition to these factors, the actor should determine where the character comes from and what he has been doing. The Script Analysis of Sir Peter Teazle In Act One, Scene One, Sir Peter is mentioned as a man who is dis- posed toward sentiment. Joseph Surface intends to use this disposition to advance his own aims. Sir Peter has been hoodwinked by the false Joseph. In this first scene, where Sir Peter and Lady Teazle's marital difficulties are mentioned, Joseph, whose real interests lie in Maria, makes a pretence of love for Lady Teazle to clear the path for his 1 Lajos E ri, The Art of Dramatic Writing (New York: Simon and Schuater, 19M) , pp. 36—37. 99 advances to Maria. This deception proves not only a painful experience for Lady'Teazle later in the play, but serves also to increase the dis- like Sir Peter will eventually have for Joseph when the truth of his character is revealed. Act One, Scene Two, Sir Peter's opening soliloquy, tells a good deal about himself: ‘When an old bachelor marries a young wife, what is he to expect? 'Tis now six months since Lady'Teazle made me--the happiest of men-~and I have been the most miserable dog ever since! ‘Uhy has Sir Peter's outlook changed? The soliloquy further states that he has married a girl from the country whose tastes were simple, but since she has come to the city, her newly-acquired habits of extravagance have been a great disillusionment to Sir Peter. Further, not only the extravagance of his young wife causes Sir Peter concern, but the effect that the extravagance has upon Sir Peter's friends and acquaintances is disheartening. He states: PI am sneered at by all my acquaintance, and paragraphed in the newspapers.” Yet, out of this tirade comes one significant fact-~Sir Peter loves his young, foolish wife, in spite of her follies. ‘ Rowley, the old family servant of the Surfaces, now enters the scene. Through his long years of good and faithful service, he has 'become a friend of Sir Peter and is no longer regarded as a servant, 'but more as a man of wisdom and trust. Throughout the dialogue Sir Peter proves to be a stubborn indi- vidual. He cannot see a possibility that his marital difficulties 100 may, in part, be laid to his own inability to yield a point. "The fault is entirely herl,‘I he says, and, 'in.all our disputes, she is always in the wrong!' Sir Peter continually places the blame for his marital difficulties upon outside forces, completely divorcing himself from blame. Lady-Teazle's faults, then, lie in her own proclivity for folly and in her relationship with the scandalous 'faculty.‘ Rowley, however, sees this frailty in Sir Peter's character and has obviously differed with him in the past in his impressions of people. Rowley says: 'You know, Sir Peter, I have always taken the liberty to differ with you on the subject of these two young gentlemen.” Sir Peter, again exercising his stubborness, tells Rowley that he is wrong. llJoseph is indeed a model for the young men of the age. He is a man of senti- :ment, and acts up to the sentiments he professes.II Sir Peter is both delightfully surprised and apprehensive at the news of Sir Oliver's return to England. He is delighted, because he and Sir Oliver have been friends since childhood, and apprehensive be- cause he feels that since he and Sir Oliver had always maintained a dis- dainful attitude toward marriage, Sir Oliver would not think that - Sir Peter has displayed a weakness in his character by becomingmarried. However, there is nothing Sir Peter can do to hide this fact. The only hepe he has is that Sir Oliver will not discover that their married life has been simewhat of a turmoil, for, as he says: 'I should never be able testand Noll's Jokes.“ H“ Thus far, Sir Peter's character has shown him to be disposed toward sentiment; he has been easily duped by Joseph and his sentiment; he has \ W \ 101 a somewhat self-pitying attitude; he loves his wife; he reapects the fine character of Rowiey, but does not respect his opinions on Lady Teazle, Joseph, and Charles; he is stubborn; and in an effort to guard his ego, he must make a pretense to his friend, Sir Oliver. In Act Two, Scene One, Sir Peter and Lady Teazle have been wrangling and are still doing so when they enter together. Their argument only serves to re—affirm that Sir Peter is furious at Lady Teazle's extravag- ances, but his stubbornness does not permit him to give an.inch in the argument. Here, in the final soliloquy, a new side of Sir Peter is revealed. The impression is given that perhaps Sir Peter secretly, inwardly, gets some enjoyment from his wrangling. He says: ‘Well, though I canfit make her love me, there is great satis- faction in quarreling with her; and I think she never appears to such an advantage as when she is doing everything in her power to plague me. Act Two, Scene Two, serves to re-establish the fact that Sir Peter is an enemy to scandal, and for this reason is disliked by the "faculty.' The JosephpLady Teazle scene serves to increase the folly of Lady Teazle, thus indirectly affecting Sir Peter. In Act Two, Scene Three, the actor learns that Sir Peter's senti- :Ientality is not shared by his friend Sir Oliver. Sir Peter's refusal to yield comes to the fore again: Rowley: 1nd Sir Peter shall own for once he has been.mistaken. Sir Peter: Oh, my life on Joseph's honor! Act Three, Scene One, displays Sir Peter's rascality in devising the scheme whereby Sir Oliver may masquerade as Premium and Stanley to discover the merits of his nephews. 102 Sir Peter's intolerance becomes evident in his quarrel with Maria. When Maria refuses to accept a man whom she does not like, but whom Sir Peter prefers, the result is anger in Sir Peter. Again, to him, the fault does not lie in his own stubbornness, but in that of Maria. The entrance of Lady Teazle and the argument that ensues brings out Sir Peter's stubbornness again in refusing to yield on any point. Here, Sir Peter's jealousy of Charles is made lmown. Sir Peter's jealousy of Charles is again displayed in Act Four, Scene Three. His blind belief in the goodness of Joseph's character permits him to accept the idea that there is nothing wrong in the fact that Joseph was entertaining a, 'French milliner" prior to Sir Peter's entrance. What he would condemn in others, is permissible in Joseph. He would even ask Joseph to steep to deception to prove his point regarding Charles. After Lady Teazle is discovered, only one jolt was necessary to bring about a complete reversal in Sir Peter's feelings toward Joseph. Prior to the discovery, Sir Peter had the utmost faith in the goodness of Joseph's character. He had become, to Sir Peter, the epitome of honor. Now, as the screen tumbled, the entire illusion of Joseph came crashing about Sir Peter's head, and, for the first time, he sees Joseph in his true light. Sir Oliver's impression of Joseph as an untruthful and uncharitable nephew in Act Five, Scene One, will serve, in later scenes, to further the distaste Sir Peter now has for Joseph. 1 Act Five, Scene Two, shows the embarrassment which Sir Peter feels at being confronted with the events of the screen scene. Sir Peter's 103 ability to change his mood quickly is shown at the end of the scene. Prior to the end of the scene, Sir Peter has been in a raging temper. He is extremely'embarrassed that Sir Oliver has heard of his humiliat- ing experience at Joseph's house. Yet, as soon as Sir Oliver leaves, Sir Peter becomes light-hearted and almost kittenish at the prospect of making amends to Lady Teazle. In this scene, Sir Peter no longer shows his high regard for sentiment. His experience with Joseph has taught him a lesson. He cautions Rowley: Hold, Master Rowley! if you have any regard for me, never let me hear you utter anything like a sentiment: I have had enough of them to serve no the rest of my life! At this point, the actor has seen the'beginning of a reversal in the character of Sir Peter which is consummated in the last scene of the play. After Joseph has completely lost face, Charles has been championed, and Rowley has been proved right all along, Sir Peter mellows to the point that he now feels that he and Lady Teazle will, at last, settle down to a happy marriage. . Fran the script, then, the actor has discovered several aspects of Sir Peter's character, namely, he is a man who is: (1) disposed toward sentiment, (2) an enemy to scandal, (3) easily duped by Joseph and his. sentiments, (h) self-pitying, (5) in love with his wife in spite of all their wrangling, (6) reSpectful of Rowley's fine character but not his opinions, (7) stubborn, (8) protective of his ego in.making a pretense to Sir Oliver, (9) able to find pleasure wrangling with Lady Teazle, (10) not above rascality, (ll) intolerant when his Opinions are not 10h accepted, (12) jealous of Charles, and (13) inclined to quick changes of mood. Sir Peter as Seen by the Other Characters The actor may summarize Sir Peter's relationships with other characters as follows: Lady Teazle has all but shattered any illusions he might have had regarding her before the play begins. Their scenes together show Sir Peter, at the outset, hopeful of reaching an understanding with his wife. However, before the scene has progressed too far, the inevitable quarrel has set in, Sir Peter is livid, and Lady Teazle has her way while Sir Peter has only added to his misery. 'Yet, in spite of all their wrangling, one fact is made clear-~Sir Peter loves his young and foolish wife, or he ”should never bear all this.“ ‘When, however, all deceptions in the play have ceased, their relationship takes on-a brighter aspect, and the long-sought-after happy relationship becomes imminent. To Joseph Surface, Sir Peter is a man of trusting faith and sub- lime ignorance, easily duped, and swayed by the employment of a few sentiments. After his knavery has been brought to light, however, Sir .Peter can no longer be deceived. Sir Peter becomes a man to whom SUpplications are made, rather than one to be defamed. The "faculty" of The School_for Scandal regard Sir Peter as they