كل ما يخص الدراما للمسرحيتين spanish tragedy, school for scandal

[لزيزا]

السلام عليكم و رحمة الله وبركاته

اخباركم عساكم طيبين اهم شي لا تكونوا زيي << باقي يومين و تكمل اسبوع مواصله


المهم هنا بتلقوا كل شي له علاقة بالمسرحيتين

spanish tragedy

school for scandal



بتلاقوا...

ترجمه للمسرحيتين

اجوبة الأسئله اللي عطانا هي الدكتور سيد إحسان

تاريخ الإليزبثيان دراما ( ترى الدكتور قال تحفظوا التواريخ)

المقارنه بين الإليزبثيان و الريستوريشن

الكوتيشنز مع شرحها ( بالنسبه لدكتور سيد إحسان الكوتيشنز بس كانت في السبانش تراجيدي)

الكلمات المطلوبه للتعريف مع تعاريفها

الشخصيات بالتفصيل الممل




و إن شاءالله كل شي بيكون كامل و واضح


بتلقوا الملف في المرفقات عند مشاركه رقم 9 ولا تشيلوا هم في الملف كل شي ملون و حركتات D:


والله يوفق الجميع

[لزيزا]

DRAMA

LANGE 343

PLAYES TO STUDY:

The Spanish Tragedy

The School of Scandal


EXAMS QUESTIONS STRUCTER:


1. MULTIPALE QUESTION about reading of the
2. QUESTIONS about explaining of important passages
3. WRITE notes about the play
4. SHORT ANSWER QUESTIONS on the
5. LONG ANSWER QUESTIONS on the

Literary terms definitions…

Climax: The turning point or high point in a plot

Comedy: One of two major types of drama, the other being tragedy. Its aim is to amuse, and it typically ends happily.

Comedy of Manners: meant to reflect the weakness of society with aim to correct low manners.

Conflict: a clash of actions, desires, idea, or goals in the plot of the story or drama. It may exist between the main characters and some destructive elements in his own nature.

Tragedy: A drama in style or Poetry about a noble, courageous hero who, because of some tragic character flaw, brings ruin upon him- or herself.

Fiction: Any story that is the product of imagination rather than a ation of fact. author.

Falling Action: it means the resolution of conflict in fiction or drama. The conclusion follows the climax and provides an outcome to the primary plot situation as well as an explanation of secondary plot complications. The conclusion often involves a character's recognition of his or her state of mind or moral condition.

Drama: a drama is any work designed to be presented by actors on a stage.

Irony: the effect of language in which the intended meaning is the opposite of what is stated.

Rising Action: The part of a drama where the plot becomes very complicated. Rising action leads up to the climax of a drama.

Setting: The time, place, and culture in which the action takes place.

Soliloquy: it is a speech in a play made by a character to expresses his thoughts or feelings aloud while alone which made it possible for characters to debate with themselves on moral and philosophical matters and made it easier to interact with the audience to show their thoughts and feelings.

Style: the manner of writing or speaking or doing something.( contrasted with the thing done)

Plot: term refers to the pattern of events in which a drama is composed and the way it's ordered ( begging, middle and end).

Exposition: Writing intended to explain the nature of an idea, thing, or theme.

Theme: The central idea of a literary work.

Symbolism: something that means more than what it is. A person, object, situation or action that in addition to it's literal meaning suggests other meanings as well.

Miracle plays: were about the stories of saints life 'important people’ how saints could solve problems and they were played in churches where they had good effects on human minds.

Mystery plays: were about the stories of the bible e.g. Noah and how Lucifer and how Lucifer fell down from heaven and Christ how he used to cure people and about his wisdom, to create a sense of awe (power and wisdom) to inspire (faith and courage) , frighten (fear of the devil), improve (the quality of human personality).

Restoration comedy: refers to English comedies written and performed in the Restoration period from 1660 to 1700

phor: a figure of speech in which an understood comparison is made between two things basically unlike.

Anti-climax: a decrease in the importance of an event or saying.


* when studying you must know the characters, theme, plot, setting, style, climax and anti-climax





THE SPANISH TRAGEDY:

Know the characterization of Bell-imperia, Lorenzo and Hieronimo
Know the theme.
Know plot (the beginning of the play, development, climax and anticlimax)
Know the style
Written in the Elizabethan period.
THE SPANISH TRAGEDY

By: Thomas Kyd (1590 – 1598)

The play was written at the last decade of the 16th century. It is similar to Hamlet written by Shakespeare, because they are both revenge plays.


* KYD wrote the drama because of the stress relationship between England and Spain and he was Defending Spain

Supernatural Elements:

When Andrea was killed his soul was taken to the gods, the gods of ocean, mountain, stars and rain “mythology"

His soul was taken to the heaven court to decide whether go to heaven or hell.

There were 3 judges... Minos said “his soul belongs to hell because he was killed in battle"
Eacus said “his soul belongs to heaven because he was in love”

Rhadamant said " the only reason Andréa died in a battle is because his martial duty"

But then Minos decides to defer the matter to Pluto, king of the underworld and his wife Proserpine.

An angel took Andreas soul to Pluto and Proserpine who said his soul would be sent to earth accompanied with the spirit of revenge.


العناصر غير طبيعيه في المسرحية:

لمن مات اندريا طلعت روحه للإلهات ( اله المحيط،الجبال،النجوم،المطر...) وأخذوا روحه لمحكمة الجنة عشان يقرروا إذا روحه تروح الجنة ولا النار. فكان في 3 قضاة .. مينوس ويقول انه لازم يروح النار عشان مات في الحرب و إيسوس يقول انه يروح الجنه عشان كان يحب ورادامنت قال انه السبب الوحيد اللي بسببه مات اندريا في حرب هو التزاماته العسكرية . فبعدين مينوس قرر انه يخلي بلوتو ملك العالم السفلي و زوجته بروسيربين يقرروا في الموضوع. فبعدين بروسيربين تقرر انه يرسلوا روح اندريا للأرض مع روح الانتقام.


STORY – summery, plot - OF THE PLAY according to the book

The Spanish Tragedy begins with the ghost of Don Andrea, a Spanish nobleman killed in a recent battle with Portugal. Accompanied by the spirit of Revenge, he tells the story of his death; he was killed in hand-to-hand combat with the Portuguese prince Balthazar, after falling in love with the beautiful Bell-Imperia and having a secret affair with her. When he faces the judges who are supposed to assign him to his place in the underworld, they are unable to reach a decision and instead send him to the palace of Pluto and Proserpine, King and Queen of the Underworld. Proserpine decides that Revenge should accompany him back to the world of the living, and, after passing through the gates of horn, this is where he finds himself. The spirit of Revenge promises that by the play's end, Don Andrea will see his revenge.

تبدأ المسرحية بشبح الدون اندريا مصاحب لروح الانتقام و يروي قصة مقتله. ودون اندريا رجل اسباني من النبلاء، قتل في الحرب مع البرتغال. وقد قتل خلال مبارزته يدا بيد مع أمير البرتغال بالتهزار.
وقد كان على علاقة حب سريه مع ألجميله بيل امبيريا.
وعندما صعدت روحه للسماء واجه 3 من القضاة ليحددوا مكانه في العالم السفلي. ولكن لم يتمكنوا من الوصول إلى قرار وأرسلوه إلى قصر قاضي القضاة ملكهم و ملكتهم بلوتو وزوجته بروسيربين.
تقرر بروسيربين انه يجب على روح الانتقام مصاحبة روح اندريا إلى ارض الأحياء.
وبعد مروره من بوابة المجد (القصر) وجد نفسه في الأرض، وقد وعده روح الانتقام بأنه سيشهد الانتقام على مقتله.

Andrea returns to the scene of the battle where he died, to find that the Spanish have won. Balthazar was taken prisoner shortly after Andrea's death, by the Andrea's good friend Horatio, son of Hieronimo, the Knight Marshal of Spain. But a dispute ensues between Horatio and Lorenzo, the son of the Duke of Castile and brother of Bell-Imperia, as to who actually captured the prince. The King of Spain decides to compromise between the two, letting Horatio have the ransom money to be paid for Balthazar and Lorenzo keep the captured prince at his home. Back in Portugal, the Viceroy (ruler) is mad with grief, for he believes his son to be dead, and is tricked by Villuppo into arresting an innocent noble, Alexandro, for Balthazar's murder. Diplomatic negotiations then begin between the Portuguese ambassador and the Spanish King, to ensure Balthazar's return and a lasting peace between Spain and Portugal.

يرجع اندريا إلى مشهد الحرب حيث قُتل، ليجد انه تم انتصار اسبانيا و قد سُجن هوراتيو (صديق اندريا المقرب وابن هيرونيمو فارس في الحربية) بالتهزار أمير البرتغال . ولكن يحصل جدال و عراك بين هوراتيو و لورينزو ( ابن دوق منطقة كاستيل و أخ بيل- امبيريا) على من قبض على الأمير . فيُقرر ملك اسبانيا أن يسوى بينهم بحل وسط بجعل هوراتيو يأخذ مال الفدية و لورينزو يبقي الأمير في منزله.

في البرتغال، نائب الملك (وهو الحاكم) غضب و حزين لاعتقاده بأن ابنه قد مات وقد خدعه فيلَبو بإقناعه على القبض على رجل بريء من النبلاء الكساندرو لمقتل بالتهزار (الأمير).

وتحصل مفاوضات دبلوماسيه بين سفير البرتغال و ملك اسبانيا لضمان رجوع بالتهزار و سلام دائم بين اسبانيا و البرتغال.

Upon being taken back to Spain, Balthazar soon falls in love with Bell-Imperia himself. But, as her servant Pedringano reveals to him, Bell-Imperia is in love with Horatio, who returns her affections. The slight against him, which is somewhat intentional on Bel-Imperia's part, enrages Balthazar. Horatio also incurs the hatred of Lorenzo, because of the fight over Balthazar's capture and the fact that the lower-born Horatio (the son of a civil servant) now consorts with Lorenzo's sister. So the two nobles decide to kill Horatio, which they successfully do with the aid of Pedringano and Balthazar's servant Serberine, during an evening rende-vous between the two lovers. Bell-Imperia is then taken away before Hieronimo stumbles on to the scene to discover his dead son. He is soon joined in uncontrollable grief by his wife, Isabella.

وفي اسبانيا، بالتهزار يقع في حب بيل- امبيريا ولكن يكشف بيدريجانو (خادم بيل – امبيريا) أن بيل – امبيريا على علاقة حب بهوراتيو الذي يبادلها الحب نفسه. إهمال بيل – امبيريا الذي يعتبر انه معتمد منها يُغضب بالتهزار. وبسبب كره لورينزو لهوراتيو ( بسبب حادثة القبض على بالتهزار سابقا وعلاقته مع أخته رغم كونه من طبقه اقل من طبقت لورينزو). يؤدي إلى اتفاق لورينزو و بالتهزار.

فيتفق لورينزو و بالتهزار على قتل هوراتيو بمساعدة خادم بيل بيدريجانو و خادم بالتهزار سيربين و ذلك خلال مقابلة هوراتيو لبيل في الحديقه . وتم قتل هوراتيو ( طعن و ثبت على شجره). ومع صرخات بيل أخذها لورينزو وحبسها قبل أن يأتي هيورونيمو و زوجته إلى المشهد ليكتشفوا جثة ابنهم. مما اده إلى حزن هيرونيمو و وزوجته.

In Portugal, Alexandro escapes death when the Portuguese ambassador returns from Spain with news that Balthazar still lives; Villuppo is then sentenced to death. In Spain, Hieronimo is almost driven insane by his inability to find justice for his son. Hieronimo receives a bloody letter in Bell-Imperia's hand, identifying the murderers as Lorenzo and Balthazar, but he is uncertain whether or not to believe it. While Hieronimo is racked with grief, Lorenzo grows worried by Hieronimo's erratic behavior and acts in a Machiavellian manner to eliminate all evidence surrounding his crime. He tells Pedringano to kill Serberine for gold but arranges it so that Pedringano is immediately arrested after the crime. He then leads Pedringano to believe that a pardon for his crime is hidden in a box brought to the execution by a messenger boy, a belief that prevents Pedringano from exposing Lorenzo before he is hanged.

في البرتغال، الكساندرو ينفذ من الموت عند رجوع سفير البرتغال من اسبانيا مؤكداً أن بالتهزار لا زال حياً. ويُحكم بالإعدام لفيلوبو.

في اسبانيا، هيرونيمو مجهد من شدة حزنه و يكاد أن يفقد صوابه لعدم قدرته على تحقيق العدالة لصالح ابنه. ويستلم رسالة من بيل – امبيريا مكتوبة بدمها موضحاً أن من قتل ابنه هم بالتهزار و لورينزو، ولكنه في شك و غير متأكد من تصديق أو تكذيب الرسالة. وبسبب تصرفات هيرونيمو الغريبة يزداد قلق لورينزو و يتصرف بطريقه مخادعه و ملتوية للقضاء على جميع الأدلة التي تدل على جريمته. فيطلب بيدريجانو أن يقتل سيربيرين مقابل الذهب ولكن في نفس الوقت يخطط على ان يتم القبض على بيدريجانو عندما يقتل سيربيرين.
وبعد ذلك يقوم بخدع بيدريجانو بقوله انه سيرسل صبي بصندوق يحتوي على رسالة عفو من الحكم و بذلك يصدق بيدريجانو الخدعة مما يمنعه من كشف لورينزو قبل تنفيذ الحكم عليه (بيدريجانو)

Negotiations continue between Spain and Portugal, now centering on a diplomatic marriage between Balthazar and Bell-Imperia to unite the royal lines of the two countries. Ironically, a letter is found on Pedringano's body that confirms Hieronimo's suspicion over Lorenzo and Balthazar, but Lorenzo is able to deny Hieronimo access to the king, thus making royal justice unavailable to the distressed father. Hieronimo then vows to revenge himself privately on the two killers, using deception and a false show of friendship to keep Lorenzo off his guard

وتستمر المفاوضات بين اسبانيا و البرتغال على زواج دبلوماسي بين بالتهزار و بيل – امبيريا وذلك لتتحد الدولتين. والجالب للسخرية ، وجود رسالة مكتوبة على جسم بيدرينجانو تأكد شكوك هيرونيمو ضد لورينزو و بالتهزار ولكن لورينزو استطاع منع هيرونيمو من مقابلة الملك مما يجعل العدالة بالمحكمة غير متوفره للأب الموجوع (هيرونيمو) ويؤدي ذلك إلى توعد هيرونيمو بالانتقام بنفسه من لورينزو و بالتهزار باستخدام الخدع وإظهار الصداقة و الحب ( غير صادق) لي لورينزو لكي لا تساوره الشكوك ويبعده عنه.

The marriage between Bell-Imperia and Balthazar is set, and the Viceroy travels to Spain to attend the ceremony. Hieronimo is given responsibility over the entertainment for the marriage ceremony, and he uses it to exact his revenge. He devises a play, a tragedy, to be performed at the ceremonies, and convinces Lorenzo and Balthazar to act in it. Bell-Imperia, by now a confederate in Hieronimo's plot for revenge, also acts in the play. Just before the play is acted, Isabella, insane with grief, kills herself.
تم تحديد الزواج بين بيل – امبيريا و بالتهزار. ويسافر نائب الملك إلى اسبانيا لحضور الحفل. ويعين هيرونيمو المسئول عن ألتسليه و الضيافة لحفل الزواج. فيستخدم هيرونيمو المناسبة لتنفيذ انتقامه.
يقوم هيرونيمو بتأليف مسرحيه تراجيديه و يقنع لورينزو و بالتهزار بالتمثيل فيها. بيل – امبيريا ( حليفة هيرونيمو في تنفيذ انتقامه) أيضا تمثل في ألمسرحيه. وقبل بداية تمثيل ألمسرحيه تُجن إيزابيلا (زوجة هيرونيمو و أم هوراتيو) من شدة الحزن وتقوم بقتل نفسها.

The plot of the tragedy mirrors the plot of the play as a whole (a sultan is driven to murder a noble friend through jealousy over a woman). Hieronimo casts himself in the role of the hired murderer. During the action of the play, Hieronimo's character stabs Lorenzo's character and Bel-Imperia's character stabs Balthazar's character, before killing herself. But after the play is over, Hieronimo reveals to the horrified wedding guests (while standing over the corpse of his own son) that all the stabbings in the play were done with real knives, and that Lorenzo, Balthazar, and Bell-Imperia are now all dead. He then tries to kill himself, but the King and Viceroy and Duke of Castile stop him. In order to keep himself from talking, he bites out his own tongue. Tricking the Duke into giving him a knife, he then stabs the Duke and himself and then dies.

(فكرة المسرحيه (التي ألفها هيرونيمو) تعكس المسرحيه ككل (التي ألفها الكاتب) حكاية المسرحية (التي الفها هيرونيمو) هي عن سلطان قتل صديقه من النبلاء بسبب غيرته على سيده) هيرونيمو يمثل دور القاتل المأجور.
خلال المسرحيه شخصية هيرونيمو تقوم بطعن شخصية لورينزو وشخصية بيل- امبيريا تقوم بطعن شخصية بالتهزار قبل ان تقتل نفسها.ولكن عند نهاية المسرحيه. هيرونيمو يكشف للضيوف المذعورين (خلال وقوفه على جثة ابنه هوراتيو) ان المسرحيه واقعيه والطعن حصل بسكاكين حقيقيه و ان بيل –امبيريا ، لورينزو و بالتهزار جميعهم قد ماتوا. هيرونيمو يحاول قتل نفسه ولكن الملك ونائب ملك البرتغال و دوق كاستيل يوقفوه ويمنعوه من ذلك. ولكي يمنع نفسه من التحدث يقوم هيرونيمو بعض لسانه و قطعه ويخدع الدوق لكي يعطيه سكين فيقوم بطعن الدوق و يطعن نفسه ويموت.

Revenge and Andrea then have the final words of the play. Andrea assigns each of the play’s “good” characters (Hieronimo, Bell-Imperia, Horatio, and Isabella) to happy eternities. The rest of the characters are assigned to the various tortures and punishments of Hell.

روح الانتقام و روح اندريا لهم الكلمة الأخيرة في ألمسرحيه. اندريا يختار أبديه سعيدة لجميع الشخصيات الطيبة (هيرونيمو، بيل امبيريا،هوراتيو و ايزابيلا) ولباقي الشخصيات يحدد لهم أنواع العقاب و العذاب في الجحيم.

[لزيزا]

Character Analyzing:

Hieronimo: Night marshal, protagonist and top judge. He is an honorable, intelligent, sharp minded, great planner and a merciful character.
he wants to Justice and revenge for his son's case so decides to take revenge in a form of justice, but found a problem because he had to take revenge against the prince of Portugal and the prince of Spain so there was a physiological complexity.
In the beginning of the play he was a minor character and doesn't appear until the death of his son then he becomes the center of the play. His character then develops over a series of soliloquies, wrestling with several key questions. These questions include: 1.whether to end his misery by suicide instead of waiting to seek revenge, 2. seek revenge in deceitful means 'is it an evil act of revenge Machiavellian –‘deceitful manners’ element’ 3. leave revenge to God.

Bell-imperia: "Too cool-too calculated" and that her thoughts focus too much on revenge .A girl of a strong opinion, strong desire, great motivation, headstrong, strong will power and she was an impassionate planner.

The word 'too' is a negative word was used as an objection by some criticizes but she was only cool and calculated. Her transformation into a Machiavellian villain is not as dramatic as Hieronimo's.

Lorenzo: Villain, manipulated people for his own good and persuade them for his own evil intentions, liar, harsh he was considered as a Machiavellian character and was the opposite of Hieronimo. He was manipulating people in the beginning but at the end he was manipulated by Hieronimo.

He was loyal to the government, because of the status between Portugal and Spain which needed harmony and his uncle and father both wanted him to manipulate
Bell-imperia so there were external factors for his deeds and acts.


THEMES:

1. Revenge and justice.
2. Love and memory.
3. Appearance VS. Reality:

It appears that:

a) Pedringano was faithful to Bell-imperia but in reality he was cheating on her telling Lorenzo about her.
b) Lorenzo promised to help Pedringano to bring him the pardon of the king but he was lying just to keep his secret safe so Lorenzo cheated on Pedringano.
c) Box: Lorenzo sends a boy with a box so Pedringano thinks that has the release as promised by Lorenzo, but the box was empty.

" Quotations" Passages for explanation

Page3… " with love souls…his majesty "

Said by : Rhadamant and Minos
Said to : Minos and Eacus and Rhadamant
Subject and theme : Rhadamant objects on placing Andrea's soul with the loving souls because he died in war while doing his martial duty. To end their argument Minos then decides to send him ( Andrea's soul ) to the king and queen of the under-world. The theme is superstition elements in the play on how judging on where the soul is going to be placed in the under-world. ( this is not for sure < theme ) .

Page3…" Heere finding Pluto….of an eye "

Said by : Ghost of Andrea
Said to : it was a monologue
Subject and theme : ghost of Andrea was taken to the king and queen of the under-world Pluto and Proserpine were Proserpine begs to judge his soul and Pluto accepts she assigns revenge to accompany Andrea's soul to the living world. Where he would help him taking revenge and justice . theme is the beginning of how revenge and justice would take place by the help of revenge to accompanying Andrea's soul to the living world.

Page 11…Viceroy - " thou false vnkinde…his bloud …"

Said by : Viceroy of Portugal
Said to : Villuppo but he was mostly addressing him self
Subject and theme : mourning over his dead son ( or so he thought < because of Villuppo lies ) and to kill his son's murder which he thinks is Alexandro.

Page 12…Horatio – " for loue (love) of him…him to the ground…"

Said by : Horatio
Said to : Bell- Imperia
Subject and theme : to inform Bell-Imperia that Balthazar is responsible for the murder of Don Andrea and describes how it happened saying that he would always morn over his death and will revenge for it.

Page 17…revenge – " be still, Andrea…"

Said by : Revenge
Said to : Andrea's soul
Subject and theme : Revenge is promising Andrea's soul that he would achieve his revenge for him and he would turn Balthazar and Lorenzo's friendship into mortal hatred.

Page 17…Lorenzo – " in time the sauage (savage)…softest shower "
Said by : Lorenzo
Said to : Balthazar
Subject and theme : Lorenzo promises Balthazar that by time Bell-Imperia will be less stubborn and accept his offer of love and marriage.

Page 20…Balthazar – " …both well and ill… plague"

Said by: Balthazar
Said to: Lorenzo
Subject and theme: Balthazar expresses his feeling’s to Lorenzo saying that he is both glad and sad… glad because now he knows what stands between him and his love (Bell-imperia) and knows who to take revenge on (Horatio), and he is sad because he fear’s that Bell- imperia may hate him, and that if he took revenge on Horatio she will hate him more.
But he must kill him or kill his self because of his growing love towards Bell-imperia… and thinks that Horatio is his plague.

Page 22… Bell-imperia – " let dangers goe (go)… peaceful warre (war) …"

Said by: Bell-Imperia
Said to: Horatio
Subject and theme: Bell-Imperia tells Horatio of how she intends to love him On a formal level, theme is love.

Page 22… bel-imperia – " where first… each hour will seem a yeare (year) and more"

Said by: Bell-imperia
Said to: Horatio
Subject and theme: Bell-imperia tells Horatio that they should meet in the garden where is it safe and no one can hear them or see them assuring that each hour being apart will seem like a year or more.
(the irony in this speech is that Bell-imperia has no idea that both Lorenzo and Balthazar are dropping on her conversation with Horatio)

Page 27 middle of the page – " o heauens (heaven), why… vertue (virtue) and desert…"

Said by: Hieronimo
Said to: his son Horatio begging him to speak if he was alive
Subject and theme: Hieronimo cries out in anguish begging his son to speak if he is alive, soon realizing that he has died,, he starts mourning over the death of his son blaming heavens for creating the night for which such a sin ( murdering his son Horatio) wont be done at day light.

Page 29… Viceroy – " infortunate.." the whole speech"…"

Said by: Viceroy
Said to: Noble of Portugal, and also Villuppo was present.
Subject and theme: viceroy is mourning over the death of his son (he thinks Balthazar is dead) and talks about how unfortunate is it being a king they are assigned as the highest extreme of the society and because of that they are faced with a lot of enemies and hate and can’t question their destiny but also even with their extreme joy they can’t live without the fear of being hunted to death. Thou both love and fear is flattering to kings they can’t stop the hate, for instance the hate that caused the murder of his son who’s the only hope for the success of his descendants.

Page 32 …Hieronimo – " oh Eies ! no eies (eyes)… inflamed thoughts"

Said by: Hieronimo
Said to: him self “it’s a soliloquy”
Subject and theme: This is his first soliloquy since he discovered his dead son. In it, he create the central question of the play: how the world be just when there is so much injustice. Hieronimo condemns first his eyes, then life, then the world, then the heavens themselves (and presumably God), moving from body part to goddess in a increase of despair.

Page 39… Lorenzo – " why so ! this fits our.."the whole speech"…"

Said by: Lorenzo
Said to: himself “soliloquy”
Subject and theme: speaks in Irony of how he plan’s his Machiavellian acts and plans but they are being carried out by other’s without them knowing that Lorenzo is the one who is actually responsible of these acts and that in his opinion no one can be trusted. (In this speech he is talking about Balthazar wanting justice upon Pedringano for murdering Serberine, but what Balthazar doesn’t know is that Lorenzo is the one who ordered Pedringano to kill Serberine)

Page 41… Hieronimo - " thus must we toyle (toile) doe (do) them iusties (justice).. "whole speech"…"

Said by: Hieronimo
Said to: Deputy
Subject and theme: Hieronimo speaks in pain on how he finds justice to people but can’t find justice for his own self. The pain and mourning of his son without being able to bring justice upon the person who caused his death is making him weak and consumes his age and says that he find’s justice to all but neither gods nor people find justice for him.

Page 45… Hieronimo – " where shall run .." whole speech"…"

Said by: Hieronimo
Said to: him self “it’s a soliloquy”
Subject and theme: Hieronimo, having left the execution, now wanders around his estate, mourning his son. He asks where he can possibly find relief from his grief and concludes that his grief is inescapable and that it demands that he finds justice for his son's murder.

Page 47… Isabella – " my Soule? … in our days"

Said by: Isabella
Said to: Maid
Subject and theme: At the Knight-Marshal's house, Isabella circles with her maid, discussing different medicines. Complaining that there is no medicine that will restore the dead to life, she has a fit, running wildly across the room. Her maid attempts to console her, but she will not be consoled; the only thing that seems to help is the thought of her son sitting happily in Heaven singing and dancing in perfect bliss. But then the thought of his murder returns to her, and she again screams out a demand for justice against the murderers of her son.

Page 53… Hieronimo – " oh for beare…"whole speech"…"

Said by: Hieronimo
Said to: two Portuguese
Subject and theme: Hieronimo tells them where they can find Horatio; past a dark forest, near a rocky cliff where the sea spouts foul-smelling fumes, in a gigantic cauldron bathing "in boiling lead and blood of innocents." Although the two Portuguese were actually asking him where they can find Lorenzo which now is the cause of questioning Hieronimo's sanity.

Page 57… Hieronimo – " I heaven will be revenged… "whole speech"…"

Said by: Hieronimo
Said to: him self “it’s a soliloquy”
Subject and theme: Hieronimo enters with a book and reads several quotations; the first is an observation that the safest way to cover up a crime is through more crime, the second is that the worst that can await a bold man is death. And that with death comes Heavenly reward-if one's cause is justice. These seem to be the reasons Hieronimo decides that he must revenge his son. To do this, he will follow Machiavellian plans .


Some critics have taken this as Hieronimo's shift from hero to villain. But others have seen it as fixed with his mission to achieve justice, especially since his two son's murderers are both in positions of power.

[لزيزا]

HISTORY

Elizabethan Drama:

* Queen Elizabeth – (1558 – 1603):

Her distant cousin - James 1 king of England (1603 – 1625) his period was known as The Jacobean Period – after his death Charles 1 became king (1625 – 1649)his period was known as The Carolean Period (drama was about court corrystion church with the court) society divided into two groups.
1. Cavaliers 'court, nobles, upper class, church' they enjoy the beauty of life.
2. Puritans 'middle class and poor' they wanted a reformation and they were against the church.

In 1642 there was a gap between Puritans and Cavaliers which leaded to a civil war. In 1649 Charles 1 was killed his son Charles 2 fled to France.Charles1 was a Catholic so he was killed by the Puritans.
England was declared by the commonwealth and Oliver Cromwell became the protector.
Oliver Cromwell in 1658 there was chaos. At 1660 Charles 2 came with a French army and defeated the Puritans and became king. This period was known as The Restoration Period (1660 – 1700).

At 1649 Cromwell closed the theaters, after 12 years in 1660 they were reopened and Charles 2 allowed women to play there rolls on stage so the corruption grew and because of that dramatists wrote comedies.

DRAMA:

Long history (13th 14th 15th century) miracle and mystery plays were written.

Miracle plays were about the stories of saints life 'important people’ how saints could solve problems and they were played in churches where they had good effects on human minds.

Mystery plays were about the stories of the bible e.g. Noah and how Lucifer and how Lucifer fell down from heaven and Christ how he used to cure people and about his wisdom, to create a sense of awe (power and wisdom) to inspire (faith and courage) , frighten (fear of the devil), improve (the quality of human personality).

In 16th century Elizabeth became ruler it was The Golden Era of drama Shakespeare, Kyd and others diversified the topic of drama and it became a big industry in Shakespeare Period because Shakespeare was more a business man than a dramatist. In that time there were only two theaters and they were owned by princess. Dramatists used to sell them their plays but when Shakespeare became famous he refuse to sell and became a partner with the owners of the theater. His aim was the enjoyment of people and he used to act in his plays.

Puritans didn't want plays to be acted in church but they weren't strong enough. After Elizabeth died they gained more power and killed Charles 1 and closed the theaters so dramatists stopped writing but when Charles 2 became king he reopened the theater and dramatists started writing again, but this time they were comedies because women were allowed to play.


Before dramas were written about morality & mystery plays in the 13th 14th 15th century. They were played in churches cause they had moral lessons.
A dramatist should make the beginning of the play interesting and introduce the theme and main characters.

The difference between restoration comedy and Elizabethan comedy

Restoration comedy:

Play writers created artful types of characters.
Clever and ingenious writers.
Sophistication of the fashionable world.
Polished and perfection seemed unreal.

Elizabethan comedy:

Play writers created powerful and original characters.
Imaginative writers.
Dramatist seeped in poetry.
Perfection in the art of writing a drama.



Characteristics of restoration comedy:

1. heroes: lively, gentlemen of the city, profligates (spend a lot of money), loose characters ( morally down).
2. husbands and fathers: dull and stupid characters.
3. heroines companions: jealous wives, amorous widows.
4. heroines: lovely, frail.
5. intrigues (plotting) complexity: sufficiently coarse.
6. the characters: show sympathy, faithfulness, kindness, honesty and loyalty.
7. plays were not often mere imitations majority have the original observation and independence of thoughts.


Comedy of manner: meant to reflect the weakness of society with aim to correct low manners.

What are the limitation of drama??

The dramatist cant say, put his own words so he says them through the characters.
1. deion: characters in different situation and describe with actions and word speeches.
2. narrative progression: the character does it but the writer himself can't.
3. comment.
4. direct penetration into the characters mind: dramatist should create a situation to match the speech said by the character.

• Essay's don't have these limitations because the writer can express his thoughts directly.
• Problems a dramatist faces when writing a drama? Ans.pg.1 in book.

1. build a character.
2. choosing a beginning point: important to create the interest of the viewer\reader.
3. movement: how drama should develop and various stages of drama are to be presented.
4. how to make the play express the theme that the dramatist want to present.


Theme of Spanish Tragedy not from Dr.sayed:


Justice and Revenge ( just understand )

The single theme of the play is revenge. The theme appears in many different aspects of the plot, with varying degrees of moral justification. It is introduced at the very beginning, when the ghost of Andrea wants revenge on Balthazar for having killed him in battle, although there is nothing the ghost can directly do to bring it about.

The next character who wants revenge is Bel-Imperia, whose desired victim is also Balthazar, since he killed her lover, Andrea. Initially, she plans to use Horatio as her means of vengeance, and when Horatio is murdered, she has a double motive for revenge.

The third example of the desire for revenge is Balthazar, who wants revenge on Horatio for taking him prisoner in battle and being an obstacle to Balthazar's attempt to win Bel-Imperia.

The last and most important example of the revenge theme is Hieronimo, who seeks revenge for the slaying of his son, Horatio. Hieronimo's wife, Isabella, shares his desire.

Even though Horatio's murder does not occur until late in the second act, Hieronimo's revenge is the main focus of the play, as it is he who has suffered the greatest wrong. It might be argued, for example, that Andrea has little cause to seek revenge on Balthazar, since they met on the battlefield in a fair fight. But Hieronimo has what anyone might regard as just cause. Also, the audience has witnessed the murder of Horatio directly — in contrast, the audience has only been told about the death of Andrea — which gives this aspect of the plot more emotional force.

Once the revenge plot is in place, the question becomes how it is to take place. Whose responsibility is it to exact revenge? Hieronimo's first thought is that he will do it himself. But Isabella introduces the idea that "the heavens are just" and that time will bring the villains to light, and, presumably, to punishment.

Not long after this, in act 3, scene 2, Hieronimo, frustrated at not knowing the identity of the murderer, severely questions the notion of cosmic justice. In lines 9 – 11, he appeals directly to the "sacred heavens," saying that if the murder
Shall unrevealed and unrevengéd pass,
How should we term your dealings to be just,
If you unjustly deal with those that in your justice trust?

Immediately after this appeal, Hieronimo finds the letter from Bel-Imperia, informing him that the murderers are Balthazar and Lorenzo — which suggests that the wheels of cosmic justice are in fact responsive to his plight. However, Hieronimo is beginning to believe that he must carry out the vengeance himself. But he is very concerned about the idea of justice. He does not want to strike until he is certain of the guilt of those whom he suspects. When Hieronimo finally comes upon incontrovertible proof of the identity of the murderers, he thanks heaven because he believes it is the gods who have refused to let the murder go unpunished.

Still concerned with justice and how to execute it, Hieronimo resolves to take his case to the king and seek secular justice. It is only the intervention of Lorenzo that stops him explaining the whole story to the king. With the failure of this strategy, and after briefly considering the Christian idea that revenge should be left to God, Hieronimo decides to take vengeance into his own hands. Even then, he believes that his solution to the problem is in fact "wrought by the heavens." Most modern readers feel that Hieronimo goes too far, since he also kills the duke of Castile. The duke is innocent of any wrongdoing; he is killed simply because he is Lorenzo's father.

This excess on the part of Hieronimo makes it difficult to argue that he is merely the agent of divine justice. It appears that he has stepped over the line that divides a just avenger from a murderer and a villain. His final actions also suggest that any human attempt to enact justice is fraught with danger and prone to error. An example of the fallibility of human justice occurs in the trial and execution of Pedringano. Pedringano may deserve his fate, but the legal process he goes through fails entirely to establish the fact that he was acting on the orders of Lorenzo, who, at least in this instance, escapes punishment.

[لزيزا]

Questions on ' The Spanish Tragedy ' :


What does the scarf symbolize?

- It's a symbol of memory and love. Bell-imperia's love for Horatio motivated by a feeling of revenge but still she did love him.

(starts off as a symbol of love and memory, becomes a symbol of the memory of a lost loved one, and then a symbol for the desire to avenge that loved one. Before Andrea went off to war, Bell-Imperia gave him a scarf, which he wore into battle something by which to remember her. Initially a symbol of love between Andrea and Bell-Imperia, Horatio takes it off his friend's dying body as a memorial, and it then becomes a symbol of Horatio's remembrance of his friend, a symbol of love between Horatio and Bell-Imperia, and of Bell-Imperia's memory of her lost knight. Of course, Bell-Imperia's love for Horatio is itself a form of revenge against Balthazar, so the scarf begins to take on connotations of vengeance.)

Describe the main theme of ' The Spanish Tragedy '.

In my opinion the main theme is revenge which is acted by several characters such as the ghost of Andrea as introduced at the very beginning, when wanting revenge on Balthazar for killing him in battle. Bell-imperia ( who wants revenge from Balthazar for killing her love lord Andrea and then wants revenge from both Lorenzo and Balthazar for killing her second love Horatio) , Balthazar (who wants revenge on Horatio for taking him prisoner in battle and being an obstacle to Balthazar's attempt to win Bell-Imperia ) and the most important is Hieronimo seeking revenge from both Lorenzo and Balthazar for murdering his son.

Write a note on Kyd's contribution to English drama.

Kyd's contribution to drama is basically as well as historically important. His Spanish Tragedy established itself as a lasting genre in the Elizabethan and Jacobean theatre in the form of revenge tragedy. [The central motive in the drama is the revenge of Hieronimo for the murder of his son, Horatio. The play is a well constructed] He wrote forceful and capable dialogue. He also presented in the hero a new type of vacillating tragic hero.

Write a note on the soliloquies in ' The Spanish Tragedy '.

A soliloquy is a speech in a play made by a character to expresses his thoughts or feelings aloud while alone which made it possible for characters to debate with themselves on moral and philosophical matters and made it easier to interact with the audience to show their thoughts and feelings.

For example as in act 1 scene 3 when bell-imperia discusses her mourning for Andrea and her growing love for Horatio and how she is unsure of love if it was because Horatio was a friend of Andrea and helps her for her revenge and also questions her self of the possibility of loving Horatio before revenging her love and that her love for Horatio makes her unsure for her mourning for Andrea but on the other hand she is certain about her thoughts of revenge, so she decides to unit both her love for Horatio and her need for revenge into one
Pg. 13 bell-imperia speech …

Also another good example would be Hieronimo's soliloquies in speeches that look into his difficult situation and his reaction to it, and explore questions of justice and revenge, life and death and also his mourning for his son as in act 3 scene2
Pg. 32 Hieronimo speech .

State whether Hieronemo's madness is real or fake. Give reasons for your answer.

Hieronimo's madness appears genuine which leads to bloody revenge, such as his thoughts of suicide which he eventually does in the end and his attitude when he encounters the two visitors from Portugal in act 3, scene 11 pg. 54 ( quoting the 2nd Portugal visitor : " doubtless this man is passing lunatike…" , however it shows a desire to escape from a horrible reality, the brutal murder of his son.

Give an appreciation of the style of Kyd in ' The Spanish Tragedy '.

- ' The Spanish Tragedy ' style : in many speeches and dialogs of the play there is a declamatory and flamboyant style. It was necessary for the dramatist of The Elizabethan Period to incorporate a little bit of rant and bombast to satisfy his audience. Kyd's style is a mixture of the elevated, the ciceronian and senecan style. The elevated style is dignified and highly rhetorical. Used in the speeches of Hieronemo, Bell-imperia and the king of Spain.
The style is rhetorical. Kyd used artificial, in flatted or exaggerated language with a view to make it effective and impressive. He has used the ornamental language which was favored by the Elizabethan audience.

Give out the importance of the play within the play " Soliman and Perseda " and its theme.

The importance of the play within the play it is to help trap a murderer taking justice and allowing the revenger to carry out his revenge.
In " Soliman and Perseda " the main theme was revenge and justice which takes place by both Hieronimo stabbing Lorenzo and Bell-imperia stabbing Balthazar and by that act revenge and justice is taken for the murdering of both Andrea and Horatio.

Describe in details the positive and negative points of these characters :
Hieronimo – Bell-imperia – Lorenzo.

Hieronimo:

Night marshal, protagonist and top judge. He is an honorable, intelligent, sharp minded, great planner and a merciful character.
he wants to Justice and revenge for his son's case so decides to take revenge in a form of justice, but found a problem because he had to take revenge against the prince of Portugal and the prince of Spain so there was a physiological complexity.
In the beginning of the play he was a minor character and doesn't appear until the death of his son then he becomes the center of the play. His character then develops over a series of soliloquies, wrestling with several key questions. These questions include: 1.whether to end his misery by suicide instead of waiting to seek revenge, 2. seek revenge in deceitful means 'is it an evil act of revenge Machiavellian –‘deceitful manners’ element’ 3. leave revenge to God.


Bell-imperia:

"Too cool-too calculated" and that her thoughts focus too much on revenge .A girl of a strong opinion, strong desire, great motivation, headstrong, strong will power and she was an impassionate planner.
The word 'too' is a negative word was used as an objection by some criticizes but she was only cool and calculated. Her transformation into a Machiavellian villain is not as dramatic as Hieronimo's.

Lorenzo:

Villain, manipulated people for his own good and persuade them for his own evil intentions, liar, harsh he was considered as a Machiavellian character and was the opposite of Hieronimo.
He was manipulating people in the beginning but at the end he was manipulated by Hieronimo.

He was loyal to the government, because of the status between Portugal and Spain which needed harmony and his uncle and father both wanted him to manipulate
Bell-imperia so there were external factors for his deeds and acts.

[لزيزا]

THE SCHOOL FOR SCANDAL

By: Richard Sheridan (1776 – 1777)



Summery – Plot- of SCHOOL FOR SCANDAL

Act I

Scene I:

Lady Sneer-well, a wealthy young widow, and her hireling Snake discuss her various scandal-spreading plots. Snake asks why she is so involved in the affairs of Sir Peter Teazle, his ward Maria, and Charles and Joseph Surface, two young men under Sir Peter's informal guardianship, and why she has not yielded to the attentions of Joseph, who is highly respectable. Lady Sneer-well confides that Joseph wants Maria, who is an heiress, and that she wants Charles. Thus she and Joseph are plotting to alienate Maria from Charles by putting out rumors of an affair between Charles and Sir Peter's new young wife, Lady Teazle. Joseph arrives to confer with Lady Sneer-well. Maria herself then enters, fleeing the attentions of Sir Benjamin Backbite and his uncle Crabtree. Mrs. Candour enters soon after Sir Benjamin and Crabtree, bringing a good deal of gossip with them. One item is the imminent return of the Surface brothers' rich uncle Sir Oliver from India, where he has been for sixteen years; another is Charles' dire financial situation.

تقوم السيدة سنير-ويل (أرمله شابه و غنية) وسنيك ( شخص ذليل ومعاون لها) بمناقشه مؤامراتها المتعددة لنشر الفضائح. و يتساءل سنيك لماذا هي مهمته جدا بالعلاقات التي تخص سير بيتر تيزل ووصيته ماريا ( فتاة أرمله تعيش تحت رعاية سير بيتر تيزل و زوجته ) و أيضا الأخوين تشارلز سيرفِس و جوزيف سيرفِس ( شابين تحت وصاية بيتر تيزل لكن الوصاية غير رسميه ) . وأيضا يسألها سنيك لماذا هي لم تستسلم لملاطفات و مجاملات جوزيف سيرفس وهو شخص ذو سمعه جدا حسنه. حينها تُطلع ليدي سنير-ويل سنيك على سر وهو أن جوزيف يرغب في ماريا وان ماريا وريثة مبلغ كبير من المال و لكن ماريا ترغب في تشارلز.
ولذلك يقوم جوزيف بمساعدة ليدي سنير-ويل بعمل مؤامرات لإبعاد ماريا عن تشارلز وذلك عن طريق نشر إشاعة وهي أن تشارلز على علاقة حب بزوجة سير بيتر تيزل (شابه صغيره تزوجت سير بيتر تيزل عن قريب).

حينها يصل جوزيف ليتناقش مع ليدي سنير-ويل، فتدخل ماريا هاربة من مجاملات سير بنجامن باكبيت و قريبه كرابتري. عندها تدخل مس كاندور بعد سير بنجامن و كرابتري بقليل وفي جعبتهم الكثير من الأقاويل و الكلام.

إحدى هذه الأقاويل هو عودة قريب الأخوان سيرفس سير اوليفر من الهند حيث انه كان هناك خلال الـ16 سنه الماضية، وأيضا الحالة المادية السيئة لتشارلز.

Scene II:

Sir Peter complains of Lady Teazle's spendthrift ways. Rowley, the former steward of the Surfaces' late father, arrives, and Sir Peter gives him an earful on the subject. He also complains that Maria has refused Joseph, whom he calls "a model for the young men of the age," and seems attached to Charles, whom he denounces as a profligate. Rowley defends Charles, and then announces that Sir Oliver has just arrived from India.

يصل رولي الخادم السابق لأب الأخوين سيرفس المتوفى إلى منزل سير بيتر تيزل . حينها يبدأ سير بيتر تيزل بالتذمر حيال أسلوب ليدي تيزل في تبذير المال, وكيف أن ماريا ترفض الزواج بجوزيف سيرفس الذي يعتبر بحسب قول سير بيتر تيزل انه المثل الأعلى و القدوة الحسنه لشباب هذا الجيل، وترغب (ماريا) الزواج بتشارلز الذي يعتبره سير بيتر شخص مسرف ومتهتك ، رولي يقوم بالدفاع عن تشارلز و يعلن وصول سير اوليفر من الهند.


Act II

Scene I:

Sir Peter argues with his wife, Lady Teazle, refusing to be "ruined by [her] extravagance." He reminds her of her recent and far humbler country origins. Lady Teazle excuses herself by appealing to "the fashion," and departs to visit Lady Sneer-well. Despite their quarrel, Sir Peter still finds himself charmed by his wife even when she is arguing with him.

يتجادل سير بيتر مع زوجته ليدي تيزل معلنا رفضه أسلوبها في تبذير المال الذي سيؤدي إلى فقره، ويذكرها بماضيها على أنها ترجع من قرية فقيرة. لكن ليدي تيزل تجد الأعذار بفعلتها بحجة أنها تسعى خلف الموضة. حينها تخرج لزيارة ليدي سنير-ويل. ورغم الشجار الذي حصل بينهم لازال سير بيتر مفتون بزوجته حتى و هي تجادله.
Scene II:

At Lady Sneer-well's, the scandalmonger have great fun at the expense of friends not present. Lady Teazle and Maria arrive; Lady Teazle joins in, but Maria is disgusted. So is Sir Peter, when he arrives, and rather breaks up the party with his comments. He departs, the others retire to the next room, and Joseph seizes the opportunity to court Maria, who rejects him again. Lady Teazle returns and dismisses Maria, and it is revealed that she is seriously flirting with Joseph - who doesn't want her, but cannot afford to alienate her.

في منزل الليدي سنير-ويل, تتجمع المجموعة المسئولة عن نشر الفضائح ، حيث أنهم يقضون وقتا ممتعا على حساب أصدقائهم الغير موجودين معهم. تصل الليدي تيزل وماريا إلى منزل الليدي سنير-ويل .. و تنضم للمجموعة ليدي تيزل لكن ماريا تنصرف عنهم مشمئزة . وعندما حضر السير بيتر عوضا من أن يفسد على البقية وقتهم بتعليقاته غادر وتركهم . حينها انتقل الآخرون إلى غرفة المجاورة .. وبذلك ينتهز جوزيف الفرصة ليتودد إلى ماريا .. التي ترفضه مجددا . تعود ليدي تيزل إلى الغرفة الأولى وتطلب من ماريا الخروج منها .. وهنا يظهر أن الليدي تيزل تتودد إلى جوزيف (الذي لا يريدها) لكنه لا يريد أن يغضبها ..
Scene III:

Sir Oliver calls on his old friend Sir Peter. He is amused by Sir Peter's marriage to a young wife. Their talk turns to the Surface brothers. Sir Peter praises Joseph's high morals but Sir Oliver suspects that he may be a hypocrite.

سير اوليفر يتصل بصديقه القديم سير بيتر .. ويندهش بخبر زواج سير بيتر بعروس صغيرة السن ..وبعد ذلك يتحدثون عن جوزيف سيرفس و تشارلز سيرفس..حيث أن سير بيتر يمدح أخلاق جوزيف العالية .. لكن سير اوليفر يساوره شك بأن جوزيف شخص منافق ..

Act III

Scene I:

Sir Oliver describes his plan to visit each of the brothers in disguise in order to test their characters. He will disguise himself as their needy relative Mr. Stanley, and ask each for his help. Rowley also brings in the "friendly Jew" Moses, a moneylender who has tried to help Charles, to explain Charles' position. Moses mentions that he is to introduce Charles to yet another moneylender ("Mr. Premium") that very evening. Sir Oliver decides that with Moses' assistance, he will pose as Premium when visiting Charles (still intending to visit Joseph as Stanley).
يصف سير اوليفر خطته لزيارة جوزيف سيرفس و تشارلز سيرفس و سيتنكر و ذلك ليختبر شخصياتهم. سير اوليفر سيتنكر على انه احد أقاربهم الفقراء مستر ستانلي و يطلب من كلا الأخوين مساعدته. يحضر رولي صديق يهودي يدعى موسى ليشرح وضع تشارلز ( موسى رجل يهودي يقرض المال مقابل فائدة و قد حاول مساعدة تشارلز) . يذكر موسى على انه هذا المساء سيقدم تشارلز لمقرض مال أخر يدعى مستر بريميوم. حينها يقرر سير اوليفر بمساعدة موسى على أن يتنكر بشخصية مستر بريميوم عند زيارة تشارلز. ( ولكن مازال ينوي زيارة جوزيف بشخصية مستر ستانلي)

Sir Peter is left alone and when Maria enters, he tries to urge Joseph on her as a worthier match than Charles, whom she favors. When she is not persuaded, he threatens her with "the authority of a guardian." She goes, and Lady Teazle enters asking her husband for two hundred pounds. Sir Peter and Lady Teazle argue again, and conclude that they should separate.

يصبح سير بيتر لحاله وعند دخول ماريا يحاول إقناعها بجوزيف على انه أفضل من تشارلز الذي تفضله ماريا، وعندما لم تقتنع يقوم سير بيتر بتهديدها بسلطته كوصي عليها حينها تخرج ماريا و تترك له الغرفة و تدخل ليدي تيزل طالبه من سير بيتر مبلغ 200 باوند مما يؤدي إلى شجار بينهما ينتهي بفكرة انه عليهما الانفصال.

Scene II:

Sir Oliver (as Mr. Premium) arrives with Moses at Charles' house. While they are waiting in the hall, Trip, the servant, tries to negotiate a loan on his own account from Moses. Sir Oliver concludes that "this is the temple of dissipation indeed!"

سير اوليفر ( متنكرا بشخصية مستر بريميوم) يصل مع موسى إلى منزل تشارلز. خلال انتظارهم في المدخل ، تريب الخادم يحاول مفاوضة موسى في أن يقرضه بعض المال. سير اوليفر يستنتج بأنه يقف في معبد التبديد ( سخريه )
Scene III:

Charles and his raucous guests drink heavily and sing merry songs, as they prepare for a night of gambling. Charles raises a toast to Maria. Moses and "Premium" enter, and Sir Oliver is dismayed at the scene. Charles doesn't recognize his long-lost uncle. Charles frankly asks "Premium" for credit, noting that Sir Oliver (whom he believes is in India) will soon leave him a fortune. "Premium" discounts this possibility, noting that Sir Oliver may live many years, or disinherit his nephew. He asks if Charles has any valuables of his own to sell for immediate cash. Charles admits that he has sold the family silver and his late father's library, and offers to sell the family portrait collection.

يقوم تشارلز و أصدقائه بشرب الخمر بكثرة و الغناء حيث أنهم يتجهزون لقضاء الليل في لعب القمار. ويرفع تشارلز نخبا لماريا. حينها يدخل موسى ومستر بريميوم ( سير اوليفر متنكرا) .. ويصاب سير اوليفر ( هو مستر بريميوم ) بالرعب من المنظر الذي رآه. تشارلز لم يستطع التعرف على قريبه السير اوليفر المتنكر بشخصية مستر بريميوم و يطلب منه المال موضحا بأن قريبه سير اوليفر سيترك له ثروة قريبا ( تشارلز يعتقد أن سير اوليفر مازال في الهند ولا يعلم بان مستر بريميوم هو نفسه سير اوليفر) . مستر بريميوم لا يأخذ هذه النقطة بعين الاعتبار بحجة أن سير اوليفر قد يعيش طويلا أو انه قد يحرم تشارلز من الورثة. ثم يقوم مستر بريميوم بسؤال تشارلز إذا كان يملك أي مقتنيات ذات قيمه ليبيعها و يحصل على المال و يعترف تشارلز بأنه قد باع فضيات العائلة و مكتبة أبيه المتوفى و يعرض بيع مجموعه لوحات العائلة.
Act IV

Scene I:
Charles sells all but one of the family portraits to "Premium", using the rolled-up family tree as an auction-hammer. However, he refuses to sell the last portrait, which is of Sir Oliver, out of respect for his benefactor; Charles will not sell it even when "Premium" offers as much for it as for all the rest. Moved, Sir Oliver inwardly forgives Charles. Sir Oliver and Moses leave, and Charles sends a hundred pounds of the proceeds for the relief of "Mr. Stanley," despite Rowley's objection.

مستخدما لفافة شجرة العائلة على أنها كالمطرقة التي في المزاد العلني يبيع تشارلز جميع لوح العائلة إلى مستر بريميوم ما عادا واحده. وهي لوحه عن سير اوليفر احتراما له و لإحسانه إليه، تشارلز لم يبع اللوحة حتى بعد أن عرض عليه مستر بريميوم مبلغ مساوي لجميع اللوح السابقة. متأثرا بما حصل، سير اوليفر يغفر لتشارلز ( هو الان متنكر بشخصية مستر بريميوم). يغادر كلا من سير اوليفر( مستر بريميوم) و موسى. ويقوم تشارلز بإرسال 100 باوند لمساعدة مستر ستانلي ( قريبه الفقير) رغم معارضة رولي.
Scene II:

Sir Oliver, reflecting on Charles's character with Moses, is met by Rowley, who has brought him the hundred pounds sent to "Stanley." Declaring "I’ll pay his debts, and his benevolence too," Sir Oliver plans to go meet his other nephew in the person of Stanley.

بينما يفكر سير اوليفر بشخصية تشارلز مع موسى. يدخل رولي جالبا معه 100 باوند مرسلة من تشارلز إلى مستر ستانلي موضحا أن تشارلز سيدفع ديون والفوائد المترتبة على مستر ستانلي ( مستر ستانلي هو نفسه سير اوليفر هو نفسه مستر بريميوم ). يخطط سير اوليفر للذهاب إلى منزل جوزيف سيرفس (قريبه) متنكرا بشخصية مستر ستانلي.

Scene III:

Joseph, anxiously awaiting a visit from Lady Teazle, is told by a servant that she has just left "her chair at the milliner's next door" and so has the servant drawn a screen across the window (his reason: "my opposite neighbor is a maiden lady of so curious a temper"). On her entrance, Joseph forswears any interest in Maria, and flirts in earnest with Lady Teazle, perversely suggesting that she should make a "faux pas" for the benefit of her reputation. The servant returns to announce Sir Peter, and Lady Teazle hides in panic behind the screen. Sir Peter enters and tells Joseph that he suspects an affair between Charles and Lady Teazle (due to the rumors spread by Joseph and Lady Sneer-well). Joseph hypocritically professes confidence in Charles' and Lady Teazle's honor. Sir Peter confides his intention to give his wife a generous separate maintenance during his life and the bulk of his fortune on his demise. He also urges Joseph to pursue his suit with Maria (much to Joseph's annoyance, as Lady Teazle is listening behind the screen).

ينتظر جوزيف متلهفا زيارة ليدي تيزل، ويخبره خادمه بأنها غادرة منزل الميلنر المجاور ، وأنزل الخادم الستار على النافذة بحجة أن جارته شابه ذات فضول عالي. عند دخول ليدي تيزل جوزيف يقسم كاذبا بأنه لا يهتم بماريا
ويغازل الليدي تيزل مقترحا بمكر أنها يجب أن تقوم بزلة لصالح سمعتها. حينها يعلن الخادم وصول سير بيتر، تصاب ليدي تيزل بالذعر وتختبئ خلف الستار. يدخل سير بيتر ويخبر جوزيف بأنه يشك بوجود علاقة غرامية بين ليدي تيزل و تشارلز ( وذلك بسبب الإشاعات التي نشرها جوزيف والليدي سنير-ويل) بنفاق جوزيف يتظاهر بأنه يثق بشرف و السمعة الجيدة لتشارلز واليدي تيزل. سير بيتر يخبر جوزيف بأنه ينوي أن يعطي زوجته ليدي تيزل مبلغ كبير من المال خلال حياته أن انفصل عنها و انه أذا مات سيترك لها مبلغ كبير من المال. و أيضا يُلح سير بيتر تيزل على جوزيف أن يستمر في دعوة ماريا للزواج به. ( ينزعج جوزيف من حديث سير بيتر لان ليدي تيزل بما أنها مختبئة خلف الستار تستطيع سماع كل شي)

Charles's arrival is announced. Sir Peter decides to hide, and have Joseph sound Charles out about his relationship with Lady Teazle. He starts behind the screen, but sees the corner of Lady Teazle's petticoat there already. Joseph "confesses" that he is not as virtuous as he seems: "a little French milliner, a silly rascal that plagues me" is hiding there to preserve her own reputation. Sir Peter then hides in the closet.

يدخل الخادم ويعلن وصول تشارلز (إلى منزل جوزيف). ويطلب سير بيتر من جوزيف أن يجعل تشارلز يتكلم عن علاقته مع ليدي تيزل. ويقرر سير بيتر الاختباء خلف الستار ولكنه يلاحظ طرف ثوب امرأة خلف الستار (ثوب ليدي تيزل ولكن سير بيتر لا يعلم بذلك) يعترف جوزيف بأنه غير عفيف كما هو ظاهر بقوله " شابه فرنسيه من اللاتي يصنعن القبعات النسائية ، متشردة سخيفة مصدر إزعاج لي " مختبئة خلف الستار لتحافظ على سمعتها. فيقرر سير بيتر الاختباء في الخزانة.

Charles now enters and Joseph questions him about Lady Teazle. Charles disclaims any designs on her, noting that Joseph and the lady seem to be intimate. To stop Charles, Joseph whispers to him that Sir Peter is hiding in the closet, and Charles hauls him forth. Sir Peter tells Charles he now regrets his suspicions about him. Charles passes off his comments about Joseph and Lady Teazle as a joke.

يدخل تشارلز الى الغرفه و يسأله جوزيف عن إن كان له علاقة بليدي تيزل، تشارلز ينكر رغبته لها و يتوه بأن جوزيف و ليدي تيزل يبدوان و كأن علاقة غرامية تجمعهم ولكي يسكت جوزيف تشارلز يهمس له بأن سير بيتر يختبئ في الخزانه. فيقوم تشارلز بإخراج سير بيتر من الخزانه.و يعتذر سير بيتر لتشارلز ويخبره بأنه نادم على شكه بأخلاقه. تشارلز يقوم بإمرار تعليقه عن جوزيف و ليدي تيزل على أنها نكته

When Lady Sneer-well is announced, Joseph rushes out to stop her from coming up. Meanwhile, Sir Peter tells Charles about the "French milliner". Charles insists on having a look at her and flings down the screen as Joseph returns, discovering Lady Teazle. Charles, very amused, leaves the other three dumbstruck individuals. Joseph concocts a phony explanation for Sir Peter of why he and Lady Teazle are together. But she refuses to endorse it and admits that she came to pursue an affair with Joseph; however, having learned of Sir Peter's generosity, she has repented. She denounces Joseph and exits, and the enraged Sir Peter follows as Joseph continues trying to pretend innocence.

حينها يعلن الخادم وصول ليدي سنير – ويل يخرج جوزيف مسرعا من الغرفة ليمنعها من الصعود للأعلى. في هذه الأثناء سير بيتر يخبر تشارلز بوجود شابة فرنسية خلف الستار و بصر تشارلز على إلقاء نظره وعند دخول جوزيف يكشف تشارلز الستار ليفاجأ بأن الشابة الفرنسية هي ليدي تيزل بحد ذاتها يحاول جوزيف إيجاد كذبه ليبرر سبب وجوده مع ليدي تيزل ولكن الليدي تيزل ترفض إثبات ما يقوله وتعترف بأنها جاءت لإقامة علاقة مع جوزيف. و بما أن ليدي تيزل سمعت بكرم سير بيتر قررت أن تتوب ( لمن كانت خلف الستار سمعت كلام سير بيتر لمن قال لجوزيف انه ينوي إعطاء ليدي تيزل المال) واتهمت جوزيف بأنه المسئول و تخرج ويتبعها سير بيتر وهو غاضب بينما جوزيف مازال يحاول إدعاء انه بريء.
Act V

Scene I:

Sir Oliver (as Mr. Stanley) now visits Joseph. Joseph, like Charles, does not recognize his long-lost uncle. He greets "Stanley" with effusive professions of goodwill, but refuses to give "Stanley" any financial assistance, saying he has no money to give. "Stanley" suggests that Sir Oliver would help him if he was here, and that Joseph might pass on some of what Sir Oliver has given him. But Joseph tells "Stanley" that Sir Oliver is in fact very stingy, and has given him nothing except trinkets such as tea, shawls, and "Indian crackers". Furthermore, Joseph has lent a great deal to his brother, so that he has nothing left for "Stanley". Sir Oliver is enraged, as he knows both statements are flat lies - he sent Joseph 12,000 pounds from India. He stifles his anger, and departs amid further effusions. Rowley arrives with a letter for Joseph announcing that Sir Oliver has arrived in town.

سير اوليفر (متنكرا بشخصية مستر ستانلي) يذهب لزيارة جوزيف. مثل ما حصل مع تشارلز لم يتذكر جوزيف عمه (بسبب غيابه الطويل و بسبب التنكر) ويحييه بكامل الاحترافية دالا على حسن النية.ولكن يرفض أن يعطي ستانلي أي مساعده ماليه قائلا انه لا يملك المال ليعطيه. ستانلي يشير بأنه إذا كان سير اوليقر موجود كان سيعطيه وأن جوزيف يستطيع أن يعطيه بعض من المال الذي أرسله سير اوليفر. ( لا تنسوا ترى سير اوليفر هو نفسه ستانلي بس متنكر) ولكن جوزيف يخبر ستانلي بأن سير اوليفر رجل بخيل ولم يرسل له شيئا غير الشاي، وشال و بسكوتات هندية وأيضا جوزيف اقرض أخاه مبلغا كبيرا من المال بحيث لم يبقى شيء ليعطيه لستانلي. يغضب سير اوليفر ( المتنكر بشخصية ستانلي) لأنه يعلم كلا العذريين كذب لانه حين كان في الهند أرسل لجوزيف 12000 باوند . يكتم سير اوليفر غضبه ويخرج متجنبا اظهار عواطفه. يصل رولي إلى منزل جوزيف حاملا رسالة معلنه وصول سير اوليفر

Scene II:

At Sir Peter's house, Lady Sneer-well, Mrs. Candour, Sir Benjamin, and Crabtree exchange confused rumors about the Teazle affair. Sir Benjamin says Sir Peter was wounded in a swordfight with Joseph Surface, while Crabtree insists it was a pistol duel with Charles. When Sir Oliver enters, they take him for a doctor and demand news of the wounded man. At that moment Sir Peter arrives to prove the report wrong, and orders the scandalmongers out of his house. Sir Oliver says he has met both of his nephews and agrees with Sir Peter's (former) estimate of Joseph's high character, but then acknowledges with laughter that he knows the story of what happened at Joseph's with the closet and screen. When he leaves, Rowley tells Sir Peter that Lady Teazle is in tears in the next room, and Sir Peter goes to reconcile with her.

في منزل سير بيتر، ليدي سنير-ويل، مس كاندور، سير بنجامن و كرابتري يتبادلون إشاعات مرتبكة حول علاقة تيزل الغرامية. سير بنجامن قال بأن سير بيتر قد أصيب خلال مبارزته بالسيف مع جوزيف سيرفس بينما كرابتري يصر على أنها كانت مبارزه بالرصاص مع تشارلز. عند وصول سير اوليفر يأخذونه إلى طبيب و يطلبون أخبارا عن الرجل المصاب حينها يصل سير بيتر إلى منزله ليثبت كذب الإشاعات ويأمر بطردهم جميعا من المنزل ( جماعة المسئولين عن نشر الإشاعات) . سير اوليفر يخبر سير بيتر بأنه قابله جوزيف و تشارلز ويتفق مع تقييم سير بيتر (السابق) على أخلاق جوزيف العالية. ولكن بعد ذلك يعترف وهو يضحك بأنه يعلم ما حصل في منزل جوزيف مع الخزانة و الستار. عندما يغادر سير اوليفر رولي يخبر سير بيتر بأن ليدي تيزل تبكي في الغرفة المجاورة و يذهب سير بيتر إليها ليهدئها.

Scene III:

Lady Sneer-well complains to Joseph that Sir Peter, now that he knows the truth about Joseph, will allow Charles to marry Maria. They plot to use Snake as a witness to a supposed relationship between Charles and Lady Sneer-well, and she withdraws.

تشتكي ليدي سنير –ويل إلى جوزيف بأن سير بيتر يعرف الحقيقة عن جوزيف، وسيوافق على زواج تشارلز من ماريا. ويخططان لاستخدام سنيك كشاهد على علاقة افتراضيه (غير حقيقية) بين تشارلز و ليدي سنير-ويل وهي تنسحب.

Sir Oliver arrives. Joseph takes him for "Stanley" and orders him out. Charles arrives and recognizes "Premium". Despite the identity confusion, both brothers want the man out before Sir Oliver comes. As Charles and Joseph try to eject their incognito uncle, Sir Peter and Lady Teazle arrive with Maria, ending Sir Oliver's pretense. Sir Oliver, Sir Peter, and Lady Teazle together condemn Joseph, but Sir Oliver forgives Charles because of his refusal to sell Sir Oliver's picture. Maria, however, declines to give Charles her hand, citing his supposed involvement with Lady Sneer-well. Joseph now reveals Lady Sneer-well. Charles is baffled, and Joseph now summons Snake. Snake, however, has been bribed to turn against Sneer-well, so her lie is exposed. After Lady Teazle tells her that she (Lady Teazle) is withdrawing from the School for Scandal, Lady Sneer-well leaves in a rage, and Joseph follows, supposedly to keep her from further malicious attacks. Charles and Maria are reconciled. Charles makes no promises about reforming, but indicates that Maria's influence will keep him on a "virtuous path." The concluding line assures the audience that "even Scandal dies, if you approve."

يصل سير اوليفر. يعتقد جوزيف انه ستانلي ويأمر بطرده خارجا. ويصل تشارلز و يعتقد سير اوليفر هو بريميوم. رغم الارتباك لاختلاف هوية سير اوليفر. كلا الرجلين يريدونه خارجا قبل وصول سير اوليفر. بينما تشارلز و جوزيف يحاولان إخراج الرجل المتنكر يصل سير بيتر، ليدي تيزل و ماريا لينهيا إدعاء و تنكر سير اوليفر.سير بيتر وليدي تيزل و سير اوليفر جميعا يعتبرون جوزيف مجرما. ولكن سير اوليفر يسامح تشارلز لأنه رفض أن يبيع صورة سير اوليفر. ومع ذلك ماريا ترفض الزواج بتشارلز بحكم إشاعة وجود علاقة تربطه بليدي سنير-ويل حينها يقوم جوزيف بكشف ليدي سنير ويل على حقيقتها يرتبك تشارلز و جوزيف يقوم باستدعاء سنيك. حينها تم رشوة سنيك ليكشف كذبة ليدي سنير-ويل .

بعد أن تخبرها ليدي تيزل بأنها تنسحب من مدرسة الفضائح ترحل ليدي سنير ويل وهي غاضبه ويتبعها جوزيف على أساس أن يبقيها بعيدة من أي اعتداءات خبيثة.

تشارلز و ماريا يساوون خلافاتهم. تشارلز لا يقوم بأي وعود تشير إلى إصلاح ذاته و لكنه يشير بان وجود ماريا في حياته سيبقيه على طريق العفاف و الطهارة.

في الخاتمة يؤكد للجمهور بأن " حتى الفضائح و الإشاعات تموت ، إذا أمنت وصدقت".

[لزيزا]

Comedy Of Manners

Satire on the upper class social life.
A complicated plot, brilliant wit.

Satirical treatment of gossip – mongering hypocrisy, pretentious moralizing love intrigues, prodigality, extravagance leading to debt, craze for fashions, and ridiculousness of the money lenders of that time and their greed. Also ridiculous the servants of the aristocrats, Lady Sneer-well and her circle represent the scandal-managers-how ladies and gentlemen in those days used to gather and indulge in slanderous gossip about their acquaintances and friends.

Joseph – in face he is a religious man and goes to church but he is an embodiment of hypocrisy and pretentious moralizing. Lady Sneer-well and Joseph hinder the marriage of Maria and Charles, satirizes people who squander money and take loans of very high interests, craze for fashion – satirical treatment of fashion.

This comedy is for manners to point the weakness of society and try to fix them.

Character analyze

Charles Surface : one of the good characters, a prodigal young man, profligate, libber line, drinking with his boon companions, behaving in an irresponsible manner, borrows money, sells his family portraits, genuine affection for his uncle, benevolent nature, in love with Maria, striking contrast to his brother Joseph, straight forward, wins over the sympathy of other characters, a witty person, free from malice, belongs to the category of people who win at the end, fertile single source of comedy, is an optimist his optimism and high spirits are catchy.

Maria : most favorable impression of Maria, most sensible, intelligent girl, strongly disapproves of the manner in which Lady Sneer-well and other members of her circle talk, doesn't relish any scandalous gossip of people like Sir Benjamin and Lady Sneer-well, a version of people who's jests are full of spite and malice, dislikes slanderous talk her comment on Mrs. Candour " …she does more mischief than the direct malice of old Carbtree ", loves Charles and hates Joseph, as a lenient view of Charles's extravagance and reckless, can not tolerate ill-natural remarks against Charles, a serious minded girl but she has a sense of humor, indispensable to the play, upright and virtuous heroine of the play.

Joseph Surface : elder brother, villain, devoid of all moral scruples, artful, selfish and malicious, a sentimental knave – a partner with Lady Sneer-well in an intrigue against Charles and Maria, hinders their marriage, defames Charles, has necessary wit and malice to qualify him as a member of the school.
Sir Peter praises him as " a man of sentiment ", Joseph wishes to please both Lady Sneer-well and Maria, declines having received any money from his uncle.
His uncle's remark : Joseph is " destitute to truth, charity and gratitude ".
A fortune hunter, dowry hunter, wants to marry Maria for money, Lady Teazle misunderstands his intentions. Lady Teazle says, " a truly " despicable " character " Sir Peter says " selfish, treacherous and hypocritical ".

Lady Sneer-well : was the target of slander in her youth. She now directs her efforts at ruining the reputations of other women. She prides herself on her delicacy of scandal, which she manages with only a hint of a sneer (she “sneers well”). Slander is her primary source of pleasure. Lady Sneer-well is secretly infatuated with Charles, and that is the real reason she wants to break up his relationship with Maria. Lady Sneer-well plots with Joseph to secure Charles for herself and Maria for Joseph, but the plot blows up when Joseph is exposed to Sir Peter and when Maria refuses to consider Joseph as a suitor. She forges letters in a final attempt to further her plot but is revealed when her partner, Snake, sells his loyalty to a higher bidder.

Sir Peter Teazle : a neighbor of Lady Sneer-well, Sir Peter is also the guardian of Joseph and Charles Surface. Sir Peter was an older bachelor when he married his much younger wife six months before the start of the play. She is making his life miserable with her extravagances and her friends. But he loves his wife, although his friends sneer at him for letting her take advantage of him. Although Sir Peter has always favored Joseph (he even suspects Charles of trying to seduce Lady Teazle), Joseph’s hypocritical nature is revealed when Lady Teazle confesses to her husband that Joseph was attempting to seduce her. Eventually, Sir Peter approves of the marriage of his ward, Maria, to Charles.


Main theme not from Dr.sayed explanation ( understand) ;

Honor

Initially honor seems to be in short supply in School for Scandal: The gossips are completely without honor; Lady Teazle is considering abandoning the lessons about honor that she learned growing up in the country; Joseph is ready to betray his brother to secure a wealthy wife; and Charles is hopelessly in debt to moneylenders. Even Sir Oliver, whose honor should be above question, is ready to assume a disguise to test his nephews’ honor.

By the conclusion of the play, however, it is clear that only the gossips have no true honor. Lady Teazle realizes that she values her husband and that she has more honor than her friends had supposed. Charles, though foolish and intemperate with gambling and money, is honorable. He pays his debts, if slowly, and he is willing to help a poor relation without being asked. Sir Oliver’s deception unmasks Joseph’s hypocrisy. And the moneylender, Moses, is a man of so much honor that he assists Charles in managing his debts.

Morality

Sheridan asks his audience to question the morality of society in this play. Slandering one’s neighbors, acquaintances, and friends is an entertainment. There is no real interest in the truth — and even less consideration is given to the damage that such gossip causes.

In the early acts of School for Scandal, the subjects of such gossip are not known to the audience, who cannot determine the truth of Lady Sneer-well and Mrs. Candour’s observations. But by the last act, it becomes clear that these gossips need absolutely no element of truth to fuel their stories. The felling of the screen in Joseph’s library — and the confrontation that took place immediately after — are fresh in the audience’s mind. This earlier scene serves as a nice contrast to the speculation and innuendo that engages the gossips. Although it is all comedy, it is comedy that teaches a lesson to the audience.

Sentiment

School for Scandal is generally regarded as a refutation of the sentimental drama that was prevalent on the London stage prior to and during Sheridan’s era. Sentiment was much admired as a replacement for the debauchery of Restoration comedy, but it often proved bland and boring. Often the protagonists were pure to the point of generic blandness. In Sheridan’s play, Joseph Surface is much admired for his sentiment. Conversely, his brother Charles is chastised because he is not the man of sentiment that his brother is: “He is a man of sentiment . . . there is nothing in the world so noble as a man of sentiment.” That Joseph is really not at all noble or admirable makes Sir Peter’s compliment more damning and more a mockery of this eighteenth-century convention.

Truth and Falsehood

Trying to determine the truth occupies much of Sheridan’s play. Lady Sneer-well and Snake are engaged in deception and falsehood, and Joseph is willing to bend the truth to get what he wants. When Sir Oliver, disguised as old Stanley, approaches Joseph to ask for money, Joseph easily lies that he has no money. He even blames his brother, Charles, stating that Charles’s free-spending has left Joseph without funds. Of course the gossips have no interest in the truth; their goal is to entertain one another with wild speculation. When compared to such exciting exaggerations as theirs, reality — and the truth — is boring.

Wealth

This is certainly a play about wealth. The poor in London were much too busy trying to find ter and food to engage in such idle distractions as gossip or gaming. Wealth really sets the characters in this play apart from the rest of society. For instance, Sir Peter complains that his wife spends too much on silk dresses and fresh out-of-season flowers. Charles spends his money gaming and drinking with his friends, and the moneylenders are on their way to being wealthy, thanks to idle young men such as Charles. Maria is the object of Joseph’s plotting only because she is wealthy, and Sir Oliver is primarily interested in the morals of his nephews because he plans to leave them him wealth.

The Style not from Dr.Sayed ( understand ):

Plot

This term refers to the pattern of events. Generally plots should have a beginning, a middle, and a conclusion, but they may also be a series of episodes connected together. Basically, the plot provides the author with the means to explore primary themes. Students are often confused by the two terms; but themes explore ideas and plots simply relate what happens in a very obvious manner.

Thus the plot of School for Scandal is the story of how Joseph and Lady Sneer-well each try to lie their way to getting what they want, while its parallel plot is how Sir Oliver attempts to discover the truth about his nephews. But the themes are those of falsehood (in the form of malicious gossip), honesty, true love, and a rejection of sentiment as a virtue.

Setting

The time, place, and culture in which the action of the play takes place is called the setting. The elements of setting may include geographic location, physical or mental environments, prevailing cultural attitudes, or the historical time in which the action takes place. The location for Sheridan’s play is London during the eighteenth century — more specifically, it is set in London’s richer quarters. No exact time markers are provided, but the action takes place during a short period of time.

Genre

School for Scandal is most frequently classified as a comedy of manners, although it has also been accurately described as social satire and anti-sentimental drama.

Comedy of Manners

“Comedy of manners” is a term applied to a type of play that provides a depiction of the very artificial manners and conventions of society. Characters are usually types and not individuals. Their names reflect their “type.” The dialogue in these plays is witty and is of more interest to the audience than the plot, which serves more as an excuse to deliver humorous lines. The comedy of manners is associated most closely with the Restoration of the late-seventeenth century. But the illicit love affairs and lack of morality that defined the genre eventually resulted in their disappearing from the stage. Sheridan revived this genre in the late eighteenth century.

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Questions on ' School Of Scandal ' :


How far is school of scandal a successful anti-sentimental comedy?

the play has no excess of feeling , emotions or sentimental scenes. Laughter in the play is more or less intellectual, there is no ardent or emotional love scene's. it is shown that Charles gaily avoid fine sentiments.
passion is kept in the background Sheridan avoids any fervent expression by Charles of his passion for Maria and he doesn't allow Maria to refer to her strong love for Charles. Commendable restraint in his treatment of subject.
As in Joseph, the hypocritical man of feelings who covers cruelty under falls moral and noble sentiments. The word " sentiment or sentimental " is repeated in respect of Joseph.
Lady Sneer-well says : Joseph is a " sentimental knave " Sir Peter refers to him as a
" man of sentiments ".

Which of the characters seems to be the most true to life? Justify your choice.

In my opinion the most character true to life is Joseph Surface, because of him being a hypocrite . In surface he is known as a sociable and well regarded person with a good a name but truly he is an artful, selfish, malicious, and lacks the qualities of truth, gratitude, and charity.
As in now days many people are known with good names and sociable character's but truly they are selfish, greedy and lack the quality of truth.

Will it be correct to describe ' The School for Scandal ' as a romantic comedy? Or a comedy of manner?

"The School for Scandal" is a comedy known as a comedy of manner because it point out the weakness of the society and tries to fix them and it can't be described as a romantic comedy because of it's lack of sentiments and has no excess of feelings or emotions ( it's an anti-sentimental comedy).

Write a critical note on the plot construction in the play.

The plot is sequential arrangement of events or casual cause and effects. Events are arranged both sequentially and casually which makes the plot perfect.
The plot of the play is interesting and well-constructed. Some people make a plot to break the relationship between Sir Peter and Lady Teazle. The plot is made by Lady Sneer-well and others which is executed by Joseph Surface by luring Lady Teazle. Lady Teazle leaves the old husband and makes love with Joseph. The plot is executed well but gets discovered at last.

Comment on the moral implications of the play.
Sheridan asks his audience to question the morality of society in this play. Slandering one’s neighbors, acquaintances, and friends is an entertainment. There is no real interest in the truth — and even less consideration is given to the damage that such gossip causes.In the early acts of School for Scandal, the subjects of such gossip are not known to the audience, who cannot determine the truth of Lady Sneer-well and Mrs. Candour’s observations. But by the last act, it becomes clear that these gossips need absolutely no element of truth to fuel their stories. The scene of Joseph’s library ( and the argument that took place immediately after) are fresh in the audience’s mind. This earlier scene serves as a nice contrast to the rumor and allusion that connect the gossips. Although it is all comedy, it is a comedy that teaches a lesson to the audience.
Write a critical note on the theme of the play.

As any other plays "School for Scandal" has many themes such as honor, falsehood and truth, morality and wealth.
In my opinion I think Truth and Falsehood is the main theme.
Because all through the play Sheridan tries to find out the truth wish is actually being hidden by the engagement of Lady Sneer-well and Snake in falsehood and gossips and Joseph is also willingly hiding the truth to get to his wants, which in the end of the play the truth is revealed and audience know that the gossips has no interest in the truth, it's only goal is to entertain one another and a way to get to their wants.
Also as must known the comedy is a comedy of manner because it points out the weakness of the society and tries to fix and it is also an anti-sentimental comedy because it has no excess of feelings or emotions.


Write a note on the following characters : Maria – Joseph – Charles – Lady Sneer-well – Sir Peter.

Charles Surface : one of the good characters, a prodigal young man, profligate, libber line, drinking with his boon companions, behaving in an irresponsible manner, borrows money, sells his family portraits, genuine affection for his uncle, benevolent nature, in love with Maria, striking contrast to his brother Joseph, straight forward, wins over the sympathy of other characters, a witty person, free from malice, belongs to the category of people who win at the end, fertile single source of comedy, is an optimist his optimism and high spirits are catchy.

Maria : most favorable impression of Maria, most sensible, intelligent girl, strongly disapproves of the manner in which Lady Sneer-well and other members of her circle talk, doesn't relish any scandalous gossip of people like Sir Benjamin and Lady Sneer-well, a version of people who's jests are full of spite and malice, dislikes slanderous talk her comment on Mrs. Candour " …she does more mischief than the direct malice of old Carbtree ", loves Charles and hates Joseph, as a lenient view of Charles's extravagance and reckless, can not tolerate ill-natural remarks against Charles, a serious minded girl but she has a sense of humor, indispensable to the play, upright and virtuous heroine of the play.

Joseph Surface : elder brother, villain, devoid of all moral scruples, artful, selfish and malicious, a sentimental knave – a partner with Lady Sneer-well in an intrigue against Charles and Maria, hinders their marriage, defames Charles, has necessary wit and malice to qualify him as a member of the school.
Sir Peter praises him as " a man of sentiment ", Joseph wishes to please both Lady Sneer-well and Maria, declines having received any money from his uncle.
His uncle's remark : Joseph is " destitute to truth, charity and gratitude ".
A fortune hunter, dowry hunter, wants to marry Maria for money, Lady Teazle misunderstands his intentions. Lady Teazle says, " a truly " despicable " character " Sir Peter says " selfish, treacherous and hypocritical ".

Lady Sneer-well : was the target of slander in her youth. She now directs her efforts at ruining the reputations of other women. She prides herself on her slenderness of scandal, which she manages with only a hint of a sneer (she “sneers well”). Slander is her primary source of pleasure. Lady Sneer-well is secretly infatuated with Charles, and that is the real reason she wants to break up his relationship with Maria. Lady Sneer-well plots with Joseph to secure Charles for herself and Maria for Joseph, but the plot blows up when Joseph is exposed to Sir Peter and when Maria refuses to consider Joseph as a suitor. She forges letters in a final attempt to further her plot but is revealed when her partner, Snake, sells his loyalty to a higher bidder.

Sir Peter Teazle : a neighbor of Lady Sneer-well, Sir Peter is also the guardian of Joseph and Charles Surface. Sir Peter was an older bachelor when he married his much younger wife six months before the start of the play. She is making his life miserable with her extravagances and her friends. But he loves his wife, although his friends sneer at him for letting her take advantage of him. Although Sir Peter has always favored Joseph (he even suspects Charles of trying to seduce Lady Teazle), Joseph’s hypocritical nature is revealed when Lady Teazle confesses to her husband that Joseph was attempting to seduce her. Eventually, Sir Peter approves of the marriage of his ward, Maria, to Charles.

Although there are two plots in ' The School for Scandal ' – that of slanderers and that of contrasted brothers – yet there is only one theme : Never believe in what is said – do you agree?

No I don't agree, although it's true that "School for Scandal" has two plots first is the story of how Joseph and Lady Sneer-well each try to lie their way to getting what they want, while the second plot is how Sir Oliver attempts to discover the truth about his nephews. But the themes are those of falsehood (in the form of malicious gossip), honesty, true love, morality, falsehood and truth, honor and wealth

Account for the popularity of Sheridan's play ' The School Of Scandal ' would it be correct to describe the play as a romantic comedy? If not why?

No it isn't correct .The school for Scandal is known as an anti-sentimental comedy and as a comedy of manner because it points out the weakness of the society and tries to fix them and that the play has no excess of feeling , emotions or sentimental scenes. Laughter in the play is more or less intellectual, there is no ardent or emotional love scene's. it is shown that Charles gaily avoid fine sentiments.
passion is kept in the background Sheridan avoids any fervent expression by Charles of his passion for Maria and he doesn't allow Maria to refer to her strong love for Charles. Commendable restraint in his treatment of subject.

Describe the setting of the play.

The time, place, and culture in which the action of the play takes place is called the setting. The elements of setting may include geographic location, physical or mental environments, prevailing cultural attitudes, or the historical time in which the action takes place. The location for Sheridan’s play is London during the eighteenth century — more specifically, it is set in London’s richer quarters. No exact time markers are provided, but the action takes place during a short period of time

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