"The Rivals" by Richard Brinsley Sheridan

A detailed Act-wise summary and analysis

1. The Rivals
Richard Brinsley
Sheridan

2. Richard Brinsley Sheridan (1751-1816)
borninDublin,Ireland,thesonofThomasSheridan,aprominent
actor,playwright,theatermanager,orator,andalsoascholarof
Englishelocution-mother,FrancesChamberlaineSheridan,wrote
afewplays(comedies)andonenovel,TheMemoirsofSidney
Biddulph.
AttendedHarrow,thepublicschool–HarrowlikeEton,aschoolfor
therich,foraristocrats,forfuturepoliticiansandforscholars.
Sheridanisknownforwritingsatireandcomediesofmannersinthe
18
th
CenturyEngland
ownedtheLondonTheatreRoyal,DruryLaneandservedasa
WhigMPintheBritishHouseofCommonsfor32years–great
orator

3. OneofSheridan'smostadmiredachievementsasapolitician
-impeachmentofWarrenHastings,Governor-Generalof
India,againstsupposedcorruptionandmisuseofpower.
SupportedtheFrenchRevolution-toprovidetheanswerto
thegrossinequalitiesofEuropeansociety
wasaconstantchampionoftheCatholiccommunityin
Ireland.
publishedninesuccessfulplays,themostfamous-The
Rivals,TheSchoolforScandal,bothcomedyofmanners;
TheDuenna,acomicopera;TheCritic,aburlesque.
TheSchoolforScandal(1777)-universallyacclaimedas
hismasterpiece

4. Hisplays-knownfortheiringenuitywhichborrowedand
amalgamatedmanydevicesfromtheEnglishRestoration.
Sheridanhelpedtoperfectthecomedyofmannersthatoriginated
withRestorationplaywrightssuchasGeorgeEtheregeandWilliam
Congreve.
Sadly,hislastyearswereharassedbydebtanddisappointment-A
combinationofgambling,drinking,generosityandcarelessnessled
himintodebt.
Sheridan’sfinancialdifficultieswerelargelybroughtaboutbyhis
ownextravaganceandprocrastination,aswellasbythe
destructionofDruryLaneTheatrebyfireinFebruary1809.With
thelossofhisparliamentaryseatandhislossofincomefromthe
theatre,hebecameapreytohismanycreditors.
HediedonJuly7,1816inhis65
th
year.Uponhisdeath,Sheridan
wasburiedinthePoets'CornerofWestminsterAbbey.

5. Sheridan’s Works
The Rivals(1775)
St Patrick's Day ; or, The Scheming Lieutenant (1775) two-act
farce
The Duenna (1775) a three-actcomic opera
The School for Scandal(1777)
A Trip to Scarborough (1777)
The Camp (1778)
The Critic; or, Tragedy Rehearsed(1779) last successful work
The Glorious First of June (1794)
The Strangers (1798)
Pizarro(1799)last play –melodramatic historical drama

6. Sheridan’s Satires
Sheridansatirizedsociety-satiresaremilderintonethanthatof
cynicalRestorationcomedyorthesavageattacksAlexanderPope
andJonathanSwift.
Hissatiresaregentle;thesocietiestheydepictsarelessbrittle,or
lessbrutal-reflectgentlemoralityandsentimentality.
Hisplaysdepictedtheamorousintriguesofwealthysociety-
returnedtothewitty,satiriccomedyofmannersoftheRestoration,
butwithoutcynicismandsexuallicense.
SomeoftheRestorationcomedieshadbeenfranklyimmoral,andas
anaturalreactionfromthis-productionsentimental"domestic"
dramas.
GoldsmithandSheridanredeemedthedramafromthemawkish
sentimentality,thedidacticdialogues,thegrotesquelyhappyendings
andvariousstage-trickswhichhadcometobetypicalofthe
contemporaryEnglishstage.

7. Hisfirstcomedy,TheRivals,wasproducedatCoventGarden
onJanuary17,1775
Initially,theperformanceoftheplayfailedbecauseof
miscastingandtheplay'sexcessivelength-itwastoolongby
nearlyanhour-badlyperformed-inparticular,thecharacterof
SirLuciusO’Triggerwassowretchedlyacted-general
disapproval.
Inthesecondperformancehecorrectedalltheearlierpitfalls
Sheridan’sfirstplay,TheRivals,reflectshisownexperiences-
hislifeinBath,hiselopementwithElizabethLinley,hisduels-
butitisnotstrictlyautobiographical.
The Rivals (1775)

8. Social Background
ItwastheeraoftheIndustrialRevolution-ofepoch-making
inventionsintheweavingtradeandtheminingindustry,of
Watt'ssteamengine,ofthefirstironbridges,ofcanalsandof
childlabour.
TheerawitnessedtheestablishmentofIndianempire,butthe
Americancolonieswerefirmlylost.
Itwasatimewhenfortunesweremadethroughcommerceand
lostthroughgamblingandwhenachildcouldbehangedfor
stealingahandkerchief.
Discontent,poverty,diseaseexistedbeneaththegeneral
prosperity,adiscontentthatisreflectedinthepoemsofWilliam
Blake(1757-1827).
Childrenweremadetoworkintheminesandassweeps.Theage
ofreformwasstillhalfacenturyaway,butastherumblingsof
discontentgrewlouder,riotsbecameincreasinglyfrequent.
Drinkandgamblingwereprevalentvicesforallclasses;duelling
wasconfinedtotheupperstratumofsociety,andcrudeviolence
mainlytothelower.

9. Ladiesranthehousehold,theydidnotrunthehouse.
Theyentertained,oftenlavishly,andfrequentlyprovidedmusical
entertainmentthemselves,buttheydidnothavetopreparefood,
bedroomsforguests,orfloorsfordancing.
Aladyhadtolearntokeepaccounts,andthatisoneofMrs
Malaprop'sprioritiesinfemaleeducation.
Conversationwasanart,notsimplyameansofcommunication,and
asessioninthecoffeehousecouldlastforhours.Theparkwasa
centreforintrigueandromanticencounters;there,theladies
indulgedtheirtasteforgossip,whilekeepinganeyeoutforthelatest
fashion.
Secretswereneverkept,becauseladies’maids,likeLucy,seemedto
lurkroundeverycorner.
Periodofmassiveunemployment,becauseeverywheremanpowerwas
beingreplacedbymachinery
Itwastheageoflandscapedgardensandoftheimportingofexotic
plantsandtrees.Thesewouldhavebeenstatussymbols,particularly
amongtownsfolk.

10. Educationstilltendedtoconcentrateontheclassics,butscience
playedanincreasinglyimportantpartinthecurriculum.Women's
educationwasnormallyofadomesticnature.
ThetheatrewasatthecentreofLondonlife.Musicwasthestapleform
offamilyentertainment
Insomerespects,lifewasextremelyformal.Evenwhenwigsceasedto
beworn,thehairwaskeptlonganddressed;women'shead-dresses
werehighandelaborateandtheircorsetswerebreathtakinglytight.
Clotheswerefull,particularlythehoopedskirtsoftheladieswidethat
doubledoorsbecameanecessityaswellasafashion;costume
accessorieswerevariousandmusthavebeencumbersome:therewere
canesandsnuff-boxesforthemen,andperfumedhandkerchiefs,
smellingsaltsand,aboveall,fansforthewomen.
Whiteglovesandlargehatsaddedtoceremonyoutofdoors,and
greetingswerepartofanacquiredetiquette.
rudeforayoungpersontoomitsomepolitegesturewhenmeetingan
olderperson.Hand-kissingwasasignofreverenceoraffection.
Children were expected to obey their parents in the matters of marriage
and career.

11. Sheridan’s Dramatic World
Hisworldneverrevolvedroundtheprofessionalprogressorthe
latestscientificdiscovery;abouttheseparationofgasesorthe
implicationsofelectricityetc.
Sheridantheplaywrightwasnotprimarilyinterestedin
politicalsatireorclasssatire,oragainsttheexistingsocial
order-Hisworldwasmainlyoflove,marriage,andofeach
other.
Hedidnotevenseektodemonstratethepossibilityofchanging
thecountry'seconomicstructure;nordidhewishtoblacken
thereputationofthecourtpartyorthefavouritismofKing
GeorgeIII.
Histargetsweremoredomesticbutnolessuniversal.
HisplaysareunmistakablyGeorgianinitstoneandattitudes,
aswellasinthesocialmilieuthatitexplores.

12. The Plays at the Time of Sheridan
Sentimentalcomedywasthedominantgenreineighteenth-
centurydrama
Sentimentalcomedy-theheroicsacrificeofalovingwife;
maidenlydistress;thecorrectmatchingoffortunewithfortune;
thepunishmentofviceandtherewardofvirtue;examplesof
honestyalliedtogoodbreeding-thesewerethestuffofthe
dramawhenSheridanappeared.
SheridanandGoldsmithwasthepopularplaywrights.
Goldsmith’sSheStoopstoConquerwrittentwoyearsbeforeThe
Rivalsowesacertainamounttotheearlierplay,inparticularto
itstone.
BothGoldsmithandSheridanwereresolvedtotacklethe
domesticvices,thoughinsuchamannerastoraisethelaughter
ofunderstandingratherthanastormofdisgust.
Theyforgedanewdirectionforeighteenth-centurycomedyby
returningtotheComedyofManners.

13. The Rivals –Act Wise Summary
Characters
Lydia Languish
Captain Jack Absolute
Faulkland
Bob Acres
Sir Lucius O'Trigger
Mrs. Malaprop
Julia Melville
Lucy
Fag
David
Thomas

14. Act I Scene 1
Thomas and Fag have their conversation
Captain Absolute is informed of Sir Anthony’s presence in
Bath
Captain pursues his love as Ensign Beverley

15. Act I Scene 2
Lydia’s fondness for romantic novels
Julia pays Lydia a visit
Lydia deliberately picks up a quarrel with Beverley
Julia consoles Lydia and tries to understand her as a person
Lydia is critical of Faulkland’swhims
Lucy informs Lydia of Sir Anthony and Mrs. Malaprop’s
arrival
Lydia refuses point blank to obey Mrs. Malaprop
Sir Anthony proposes Captain Absolute, for Lydia’s hand
Mrs. Malaprop’s secret affair with Sir Lucius
Lucy serves her own ends at all costs

16. Act II Scene 1
Setting: Captain Absolute's Lodgings –Captain in conversation with Fag
Sir Anthony is informed of his son’s presence in Bath by Fag –conveys his wish to
meet him
Jack gets worried that Fag told too elaborate of a lie as explanation
Faulklandcomes depressed to share his sorrows with Absolute filled with
melancholy
Absolute teases him initially, then discloses presence of Julia in Bath
Absolute too informs Faulklandof his quarrels with Lydia
Faulklandis moody and unsure ofJulia's love for him
Revelation of Faulkland’sabsurd temperament
Arrival of Bob Acres, the country squire -reveals Julia is having merry and gay time
in Devonshire –lively and entertaining at all parties –
Bob Acres opens up his intention to pursue urban fashion to obtain Lydia -tells
absolute of Lydia’s dislike for him
Fag announces the arrival of Sir Anthony Absolute –presents marriage proposal
with a rich girl
Captain Absolute is perturbed, disagrees -remain firm on his resolution

17. Act II Scene 2
LucymeetsSirLuciusO'Triggertodeliveraletter
LucyhandsoverMrs.Malaprop’sletterwitharomantic
name‘Delia’
Itisfilledwithmisusedwords,andLuciuscallsher"the
queenofthedictionary!“
Fagseestheletterbeinghandedover-ShetellsFagthe
letterisactuallyfromMrs.MalapropandnotLydia
FagentersandLucytellshimthatAnthonyisplanningto
marryJacktoLydia

18. Act III Scene 1
TheNorthParade
CaptainAbsoluteandhisfathermeetonthestreet.
Jacklearnsthatthegirlhisfatherwantshimtomarryis
Lydia
Tellshisfatherthatheisreadytoobeyhisfather
unconditionally–eventheugliestwomanhesuggests
CaptainAbsolutepretendstobeapenitentson
However,thetwomenarereconciled,andSirAnthony
prepareshissontomeetandwooLydiaLanguish
WhenJackremainsindifferentFrustrated,Anthonybecomes
determinedtosendJacktoLydiaatonce.

19. Act III Scene 2
FaulklandcallsonJuliaatherresidence
InJulia'sdressingroomFaulklandisalone-heremembers
whenheandJuliafirstfellinlove–blameshisover-
suspiciousandcapriciousnature
Faulkland’scaprisciousnaturecomestotheforefront
JuliacomplainsthatFaulklandhasbeencold,andthatheis
oftendoubtfulofherloveforhim.
Heinturnsuggeststhatshedoesnotlovehim,butsheinsists
shedoes.
Whenhedoesn'tbelieveher,shefleestheroom,weeping.

20. Act III Scene 3
➢At Mrs. Malaprop’s lodgings Captain Absolute visits her with Sir
Anthony’s letter of introduction
➢Jack flatters Malaprop, citing her "intellectual accomplishments,
elegant manners, and unaffected learning.“
➢Malaprop tells Jack about the fact that Lydia has been
corresponding with another man, Ensign Beverley
Captain is made to read his own letter by Mrs. Malaprop stating
that it was sent by Ensign Beverley
Jack reads the letter aloud -calling her an "old weather-beaten
she-dragon."
Lydia enters, thinking she is about to meet Jack Absolute, but is
surprised to see Beverley -Lydia nurtures her whims
Lydia say, "Let her choice be Captain Absolute, but Beverley is
mine," Mrs. Malaprop interrupts the conversation

21. Act III Scene 4
Bob Acres' lodgings -Acres is there with David, his servant
While in discussion -Acres has recently changed his wardrobe to be
more sophisticated and urbane, after years of country living.
TheyareinterruptedbythearrivalofLuciusO'Trigger.
LuciusenquireshispresenceinBath-Acrestellshimthatheisinlove
withawomanwithoutnamingher.
BobtellsLuciusthathehasarivalnamedBeverley,whoisalsoinlove
withthewoman.
Sir Lucius persuades Acres to challenge Beverley
Bob writes a letter -in the letter, he summons Beverley to King's-Mead-
Fields.
Before he leaves, Lucius tells Acres that he has a rival he would like to
fight as well.

22. Act IV Scene 1
Acres'lodgings–BobAcresandDavidareinconversationaboutthe
duel
Davidshowsconcernforhismaster-haslittlefaithinhismaster’s
courageandfightingability
Acresisdeterminedtofight-Acressayshemustfighttopreservehis
honour
AcrescallsDavidacowardandboaststhathewillneverdisgracehis
ancestors.
CaptainAbsolutearrivesinAcres’lodginginresponsetohissummons
AcreshandshimthechallengeforEnsignBeverleyandrequestshim
todeliverthelettertohisopponent.
Bobalsoaskshimtoactashissecondintheduel-Jackagreesto
deliverthechallengebutdisagreestobehissecond.
AcresinstructsAbsolutetocreateafrighteningimageofhis

23. Act IV Scene 2
Malaprop'slodgings-Mrs.MalapropandLydiadiscussaboutJack
AbsoluteandBeverley.
Mrs.MalapropthinksJackisveryhandsome–goodbreeding
SirAnthonyandCaptainAbsolutecalluponMrs.Malaprop
SirAnthonytellsMalapropthedifficultyhehadingettinghisson
there.
LydiaontheotherhandisdeterminedtobeimpolitetoJack,so
muchsothatshedecidestonotevenlookathimwhenhecomes
in,lookingawayfromthedoor.
SirAnthonycompelscaptainAbsolutetoaddressLydia-Mrs.
Malapropmeantimetriescoaxingherniecetotalktothe
gentleman.
CaptainAbsoluteisnervousandtriestoavoidaddressingherin
everybody’spresence.

24. Act iv Scene 2 contd…
LydiaonhearingthevoiceofBeverleyisovercomebyjoy–gets
disappointed-Lydia,however,isnonetoopleased
Thetruthofthematterisrevealed:CaptainAbsoluteconfesses
Mrs.MalapropandAbsolutearesurprised–theystanddumb-founded–
Lydiacommentsthattherewillbenoelopementafterall.
Mrs.MalapropprotestsagainstJackforwritingthelettersthat
callingher"anoldweather-beatenshe-dragon."Calmingdown,Sir
Anthonyadviseseveryoneto"forgetandforgive."
CaptainAbsoluteandLydiaarealone–heisinadifficultsituation-Allhis
attemptstobreakicewithherfailsandasalastresorthekneelsdown
beforeher.ButLydiaangrilyprotestsagainstallhisattemptsand
retaliatesbythrowingherlover’sportrait,complainingthatshewas
deceivedandhumouredlikeachild.
However,Absoluteremainsafaithfullover-Hehintsthattheworldmight
laughatLydiaforbeingunfaithfulandperhapsLydiahasbeen
abandonedbyherlover.Onhearingthis,sheburstsintotears,andstorms
outoftheroom,vowingnottomarryhim.

25. Act IV Scene 3
TheNorthParade.LuciusO’Triggeriswaitingandlookingfor
Beverley,hisopponentfortheduel-Heislamentingtohimselfthat
militaryofficersoftengetinhisway.Herecallsthatanotherwoman
hewasinterestedinranoffwithamajor.
AbsoluteisdisheartenedbeingrejectedbyLydia-HerunsintoLucius,
whowantstofighthimatKing’sMeadFields,eventhoughAbsolute
doesnotunderstandwhy.
FaulklandcomestomeetCaptainAbsolute-asksJackwhatiswrong
JacktellshimthatLydiadoesnotlovehimandthatSirLuciushas
challengedhimtoaduel.
Herequestshimtoactashissecondattheduel.ButFaulkland
distractshimbyhandinghimaletterfromJulia-Faulklandistoo
scaredtoreadtheletter,soJackopensitandreadsit
Faulklandindulgesinhisfanciesagain-Faulklanddevisesaplotto
usetheduelasawayoftestingJulia'sloveforhim.

26. Act V Scene 1
InJulia'sdressingroom-shereadsafalseletterfromFaulklandabouta
"dreadfulaccident”andwantedtoseeheralone.
Heleadshertobelievethathehasbeeninaquarrelandkilledaman.
Faulklandsayshemustfleethecountryandhascometosaygood-bye.
Juliasaysshewillelopewithhim.
Hetestsheragainbysayingthattheywilllosehisfortune.Juliasaysthat
beingalonecannevermakethemunhappy.
Finally,hesaysthattheunfortunateincidentmayleadhimtobecomeeven
moreilltempered.
Satisfiedwithherlovingwords,Faulklandrevealsthathecompletely
fabricatedhisneedtoleavethecountry.Juliaisrelieved-sheisalso
angeredbyhisdoubtfulness.
Shethentellshimthathisdeceptionisinsultingandcruelandthatshewill
neverbehis.Shetellssheisleavinghimforeverandexits,leaving
Faulklandheartbroken.

27. Act 5 Scene 1 contd…
JuliaandLydiaconverseabouttheirmisfortunesincourtship.
LydiatellsthatshehasbeendupedbyJack,butJuliatellsherthat
shealreadyknew,becauseFaulklandtoldher.Lydiavowsnever
tomarryJack,butJuliainsiststhatJackloveshersincerely,and
thatsheoughttoforgivehim
Suddenly,theyareinterruptedbyMalaprop,Fag,andDavid.
MalaproptellstheservantstotellJuliaandLydiaabouttheduel
thatistotakeplacebetweenJack,Faulkland,AcresandLucius.
LydiaslowlycoaxesdetailsabouttheupcomingduelsfromFag
andDavid.
Mrs.Malapropatfirstdeclaresthattheladies'presencewould
onlycomplicatematters,butwhenshehearsthatSirLuciusis
involved,shechangeshermindanddecidestheymustrushtothe
placeto"preventmischief."

28. Act 5 Scene 2
SouthParade-JackAbsolutewaitsontheSouthParadefor
Faulkland
SirAnthonyAbsoluteencountershissonJack
Jackhurriedlyconcealshisswordunderhiscoat
SirAnthonywantstoknowwhereJackisgoing.Jackliesthathe
isgoingtotrytomakeupwithLydia.WhenSirAnthony
discoversthatheiscarryingasword,Jackexplainsthathe
intendstoappealtoLydia'sromanticideals.Ifsherefusesto
forgivehim,Jackwillthreatentofalluponhisswordandkill
himself.ThisexplanationseemsgoodenoughforSirAnthony
wholetsJackgoonhisway.
DavidentersandasksAnthonywhyhedidn'tstophisson,
revealingthatJackisonhiswaytoaduel.
DavidandSirAnthonymaketheirwayforKing’sMeadFields

29. Act 5 Scene 3
King'sMeadFields-AcresandLuciusarethefirsttoarrive.
Astheydiscussagooddistancefortheduel(Acresprefersalongshot),Sir
LuciusaskswhatarrangementsheshouldmakeforAcresifhedies.Acres
hasapparentlynotthoughtaboutthispossibility.Hedoesnotliketothink
abouteitherbeingpickledorlyingintheAbbey.
SirLuciuscoachesAcresonhowtostandtotakehisrival'sshots.He
recommendsfacingtheopponentfullonsothebullethaslesschanceof
hittingavitalorgan-makesAcresincreasinglynervous.
AsFaulklandandAbsoluteapproach,Acresfeelshisvalorsneakingoff.
AcresissurprisedtoseehisfriendsJackandFaulklandandwonders
whereBeverlyis-JacksetshimstraightaboutthefactthatJackand
Beverleyarethesameman.
Acresdoesnotwanttofight,asFaulklandandJackarehisfriends.
AsSirLuciusandJackAbsolutedrawtheirswords,SirAnthony,Mrs.
Malaprop,Lydia,andJuliaarrive,togetherwithDavid.

30. Act 5 Scene 3 contd…
Confused,LydiatellsLuciusthatshehascometoofferJackherhandin
marriage,andJackisoverjoyed.
JackthenaddressesLucius,tellinghimthattheremustbesome
misunderstanding.AcressaysthathewillgiveuphispursuitofLydia
LuciuspullsoutthelettershebelievesarefromLydia.Lydialooksat
theletters,andtellshimtheyarenotfromher,beforeexitingwith
Jack.
MalaproprevealstoLuciusthatsheisDelia,andAnthonysuggests
thatLuciusshouldmarryMalaprop,butherefusesandsarcastically
proposestoofferMrs.MalaproptoBobAcreswhichhetoodenies.
WhenSirAnthonyseesthateverybodyenjoyajokeatMalaprop,he
comestoherrescuereassuringherthatshewasstillinherbloom.
EveryoneleavesthestageexceptJuliaandFaulkland.Juliaforgives
Faulklandforlyingtoherandtheyreconcile.Anthonyencourages
theirunionandtheothercharacterscomeforward.

31. The Rivals: Analysis

32. Comedy –An Overview
Anycomedywillincludeoneoranumberofthesefeatures:
(1)comedyofcharactertypes
(2)amusingintriguesandsituations
(3)witoflanguage
(4)satiriccommentaryonhumanfoibles
(5)idylliclovestorieswhosestrongestappealisthewarm
glowwithwhichtheyfilltheaudience.
Sinceinaplayalmostallpartsareorganicallyfusedand
thesefeaturesarecloselyrelated.
Sheridanwasamasteroffourofthefivekindsofcomedy
listedabove.

33. Comedy of Manners
Differentfromothertypesofcomedy,i.e.situationcomedy,romantic
comedy,slapstick,farce.
InEnglishliterature,thetermcomedyofmanners(alsoanti-
sentimental comedy)describesagenreofrealistic,
satiricalcomedyoftheRestorationperiod(1660–1710)thatquestions
andcommentsthemannersandsocialconventionsofagreatly
sophisticated,artificialsociety.
Itisawitty,cerebralformofdramaticcomedythatdepictsandoften
satirizesthemannersandaffectationsofacontemporarysociety.
Themainsourcesforthelaughterarenotsituation,sexualintrigue
andcharacter,thoughallthesehavetheircontributiontomake–the
focusisonthefoiblesofhighsociety,thefolliesoffashionandsocial
pretension-toagreaterorlesserextentthereisaninherentdesireto
reformtheillsthatareexposed.
Theattempttoreformreliesonhumourratherthanonadramatic
sermon.

34. Thestockcharacters,suchasthebraggartsoldierofAncient
Greekcomedy,andthefopandtherakeof
EnglishRestorationcomedy.
Theplotofsuchacomedy,usuallyconcernedwithanillicit
loveaffairorsimilarlyscandalousmatter,issubordinateto
theplay’sbrittleatmosphere,wittydialogue,andpungent
commentaryonhumanfoibles.e.g.TheImportanceofBeing
Earnest(1895),byOscarWilde,whichsatirisesthesexual
hypocrisiesofVictorianmorality.
Thecomedy-of-manners genreoriginatedintheNew
Comedyperiod(325–260BC)ofClassicalGreece(510–323
BC),andisknownfromfragmentsofworksbythe
playwrightMenander,whosestyleofwriting,elaborateplots,
andstockcharacterswereimitatedbyRomanplaywrights,
suchasPlautusandTerence,whosecomedieswereknown
toandstagedduringtheRenaissance.

35. Inthe17thcentury,thecomedyofmannersisbestrealisedinthe
playsofMolière,suchasTheSchoolforWives(1662),The
Imposter(1664),andTheMisanthrope(1666),whichsatirisethe
hypocrisiesandpretensionsoftheancientrégimethatruledFrance
fromthelate15thcenturytothe18thcentury.
TheAgeofReason,sometimescalledtheEnlightenmentorthe
AugustanAge,isanerainintellectualhistorythatspannedthe18th
centuryandwitnessedtheprimacyofrationalasopposedto
emotionalvalues,ofmeasureddiscourse,andofsocialandliterary
decorum.
Thecomedyofmannersgotitsstartintheopeningdecadesofthe
Restoration(1660–88),whentheexiledKingCharlesII(c.1630–c.85)
wasrestoredtotheEnglishthrone.Literaryhistoriansoftenclaimthat
comedyofmannerswasinventedbySirGeorgeEtherege(1635–92),
butitwouldbemoreaccuratetosaythatthegenregradually
developedoverthefourdecadesfrommid-1600to1700,involvingat
leastahalfdozenplaywrightssuchasWilliamWycherley(1641–
1716),Etherege,GeorgeFarquhar(1678–1707),JohnGay(1685–
1732),AphraBehn(1640–89),andWilliamCongreve(1670–1729).

36. Sentimentaldramaemergedasareactiontotheimmoraltone
ofEnglishRestorationplayshadbeenreducinglaughterin
favourofadmirationonthestageformanyyears,turning
potentialcomedyintodemonstrationsofdomesticvirtue;the
sentimentalcomedytendedtowardsahappyoutcomemoulded
bytheconceptofpoeticjustice,wheretheviciouswerepunished
andthegoodrewarded.Eg:SirRichardSteele'sTheConscious
Lovers(1722)
Thegenrewentoutoffashionformuchofthe18thcenturybut
wasrevivedbywriterslikeRichardSheridanandOliver
Goldsmith(1730–74).
JeremyCollier’sShortviewoftheProfanenessandImmoralityofthe
EnglishStage
ABURLESQUE callsattentiontothefoiblesofthetimeby
caricaturingthem.
ThewordFARCEcomesfromaFrenchwordmeaning"stuffing“-
adramaticworkdesignedsolelytoamuse.Infarceitisthe
situationwhichcounts-thecharactersareoflittleinterest.

37. Malapropism
verbalblunderinwhichonewordisreplacedbyanother
similarinsoundbutdifferentinmeaning.
AlthoughWilliamShakespearehadusedthedeviceforcomic
effect,thetermderivesfromRichardBrinsley
Sheridan’scharacterMrs.Malaprop,inhisplayThe
Rivals(1775).Hername istakenfromthe
termmalapropos(French:“inappropriate”)andistypicalof
Sheridan’spracticeofconcoctingnamestoindicatethe
essenceofacharacter.
Thinkingofthegeographyofcontiguouscountries,shespoke
ofthe“geometry”of“contagiouscountries,”andhopedthat
herdaughtermight“reprehend”thetruemeaningofwhat
sheissaying.Sheregrettedthather“affluence”overher
niecewasverysmall.

38. The City of Bath
ThecityofBathintheWestofEnglandwasfoundedbythe
ancientRomansinthe1stcenturyCEasatownofspas
withitsmineralhotsprings,butunderwentarevivalinthe
18thcenturyandbecameameetingpointformembersof
theupperclassandtheaspiringmiddleclasses.
MedievalBathprosperedintheclothtrade,especiallywool.
WhenSheridanmovedtoBath,itwasafashionablehealth-
resortandwatering-place-crowdedwithpeopleofwealth
andfashion,andhauntedbyadventurers.
Provinceofpleasure–cauldronofgossip

39. AtthetimethatSheridanwrotehisplay,Bathwasalready
beginningtofalloutoffavourwithmembersofthetrue
upperclass-arisingmiddleclasswithoutarespectable
pedigreethatflockedthereinsearchofhighfashion.
Diseasewasrampant,andthatisonereasonwhyBath
wassopopular.
Typhoid,smallpox,rheumaticfever,gout-allsenttheir
victimsrattlingdownbycarriagetothischiefspaof
England.

40. The Rivals as “A Comedy of Intrigue”
TheRivalsis"acomedyofintrigue"inwhichtheactionturns
uponhumorousdeception.Theaudienceisletintothesecretat
theoutset,andthusallowedtoenjoythepleasureofwitnessing
thosenotinthesecretmakethemselvesridiculous;of
anticipatingthesurpriseoftheultimatediscovery;ofrelishing
theinnumerabledouble-entendres;andofsympathizingwith
theherowhenheistreading,sotospeak,onthinice.
Thereisacontinualbustleofaction,mixedwithsurprises,and
anever-complicatingplot.Inmanyrespectstheplayisstrikingly
likethecomediesofTerenceandPlautus,inwhichtheyoung
heroandheroine,byaseriesofingeniousdevices,outwittheir
parentsorguardians;andthesimilarityisheightenedbythe
presenceofcleverservants.

41. The Rivals as Comedy of Humours
InTheRivalsmostofthedramatispersonalexhibitclearlymarked
"humours"
BobAcresinhisfoppishnessandhis"referentialoaths“
Mrs.Malaprop,inhermisuseofbigwords,andherrefrain"don't
becomeayoungwoman"
SirAnthonyAbsolute,inhisirascibility—his"absolutism"
LydiaLanguish,inherultra-romantictemperament
SirLuciusO'Trigger,inhisself-assuranceandhisloveofquarrels
Faulkland,inhisabsurdjealousyandalternatingmoods.
These"humours"arewellsustainedthroughouttheplay.

42. The Rivals as Anti-Sentimental Comedy
TheEnglishstageinthelatterhalfoftheeighteenth
centurywasoverrunwiththeso-calledSentimental
Comedy—theFrenchcomedielarmoyante.Itpresented
totheaudienceimpossiblecharacters,speakinginan
artificial,"genteel"language,andmovinginan
atmospheresurchargedwithvirtue.
Apparentlyitsmainpurposesweretoteachmorality,and
tomakethespectators“weepaflood."Againstthis
prevailingsentimentalcomedyawarfarehadbeenwaged
forsomeyears.Goldsmith,inTheGoodNatur'dMan
(1768)andSheStoopstoConquer1773),hadstruckthe
hardestblows.
TheRivals(1775)carriedontheworkofGoldsmith,and
helpedtogivethefinishingblowstotheprevailingmoral-
lachrymosecomedy.

43. Themes
Love
Deception
Young versus the Old
Arranged Marriage
Posing and Pretending (Lydia and Faulklandare both prey to
imagination)

44. Characters
Restorationcomedy,fromtheplaysofGeorgeEtheregeonwards,
developedagalleryofrecognisabletypes:thelawyer,thedoctor,the
cunningservant,thefopandsoon;theyweretheprogenyofmixed
dramaticcultures.Romancomedy,Moliere,theElizabethantheoryof
humoursandtheunbalancedconstitution,BenJonsonand
Shakespeare,couldallbefoundassourcematerialforRestoration
comedycharacter
TheplayTheRivalsisfullofnotableexamplesofhumanillusion—
O’Trigger’s“honor,”SirAnthony’sparentalauthority,BobAcres’s
“polishing”(thatis,newclothes,hairdo,dancinglessons,andswearing),
Mrs.Malaprop’svanity,Faulkland’sdoubts,andLydia’sromance.Their
illusionsmakethemeasymarksforoneanotherandforthestreetwise
servants.Tomanipulatethem,onesimplyplaysuptotheirfantasies.

45. Mrs. Malaprop
The character of Mrs. Malaprop (Fr. "mal a propos") is admirably drawn.
Herchiefcharacteristicis,ofcourse,heraptitudeformisapplyinglong
words.Itisnoticeablethatsomeofherremarkshavebeenhandeddown
tothepresentdayandservealmostascliches,e.g."Iownthesoft
impeachment".
Shethinksherbigwordsmakeher,asO’Triggersays,“agreatmistressof
thelanguage,”“thequeenofthedictionary,”or,asJacksays,aleaderin
“intellectualaccomplishments,elegantmanners,andunaffectedlearning.”
Shehasfoolishideasofherownimportanceandofherownattractiveness
andisverysusceptibletoflattery.Herdesireforaloverisludicrous;she
sendsletterstoSirLuciusandsignsherself"Delia",believingfirmlythat
sheisanattractivepersonality.
Like all Sheridan's characters she should not be taken too seriously,
however. All are caricatures rather than characters, and ridicule, rather
than consistent character drawing, is Sheridan's aim.

46. Sir Anthony Absolute
SirAnthonyAbsoluteisacaricatureofamanwhowantshisownwayin
everything.Heisquicktoangerandquicktocalmdown.
Heevidentlyhasstrongviewsontheupbringingofgirls,ason
everythingelse.Heobjectstomuchoftheirreadingmatter(I.ii),andis
quitereadytopunishhissonforbeingself-willed
Heisobviouslyveryfondofhisson,however,andhurriesoff(inspiteof
hisgout!)toattempttopreventhisbeinginvolvedinaduel
Attheendoftheplayheisinexcellentspirits,acceptingBobAcres'
generosityto"drinkahealthtotheyoungcouples,andahusbandto
Mrs.Malaprop".

47. Captain Jack Absolute
JackAbsoluteisawarm-heartedyoungmanwholovesagoodjokeanda
bitofintrigue.Heisevidentlyagoodmaster;Fagseemsdevotedtohim
andmodelshisconductonthatoftheCaptain.
Heisnotwithoutworldlywisdom;hewishestogainLydia,indeed,butnot
withoutherfortuneinfull-"Whatandlosetwo-thirdsofherfortune?"
However,hefailstorealisehowhisactioninkeepingherminiaturehas
softenedherfeelings,and,indeed,wonherheart.
heisdignifiedandsensible,thoughwhenheisupsetbyhisfather'sanger
thewayheventshisill-feelingonFaghaslittletorecommendit.Heenjoys
irritatinghisfatheraswellasMrs.MalapropandBobAcres.Hehasfixed
ideasofhonourandisreadytofightSirLuciussincehehasbeen
challengedbyhim,eventhoughheisunawareofthereasonforthe
challenge.

48. Bob Acres
BobAcresisastockstagecharacter-thecountrybumpkincometotown.
Lydiacouldneverabidehiscountrydress,butinBathheisrevellinginhis
freedomfromthecontrolofhismother.Hefancieshistownclothes,he
hashishair"intraining",helearnsthelatestdances,thoughheretains"an
oddkindofanewmethodofswearing"inventedby"acommanderinour
militia",for"Damnshavehadtheirday".
Bobisasimplesoul,withoutamindofhisown.Heisveryopento
suggestion,firstbySirLuciusO'TriggertofightandthenbyDavidtothe
dangersifhedoes.Inspiteofhisendeavourstoestablishareputationas
"FightingBob",hiscouragesoon"oozesaway".Heisrelievedwhen
BeverleyturnsouttobehisfriendJackAbsoluteforthatgiveshiman
excellentexcusenottofight-hecannotquarrelwithhisfriend.
Attheend,whenheseesthathehasnochanceofwinningLydia,he
becomestheonewhosegenerosityprovidesafestiveconclusiontothe
eventsoftheplay.

49. Lydia Languish
LydiaLanguishisapersonofromanticdispositionthatshebuilds
castlesintheair,picturingherselfastheheroineofanelopement.Her
choiceoflibrarybooksshowsthesameinclination,whichisinturn
fosteredbyit.Shehassufficientdeterminationtoopposeheraunt,
however,andtobethoroughlyannoyedathavingbeenmadeadupe,
thoughwhentheloverwho"deservesthepunishmentoffraud“says
thatinanyeventhecannotpartwithherminiaturehewinsherheart.
Sosheisthoroughlyfrightenedbytheideaofhisbeinginadueland,
mistakingSirLucius,sheconfessesherlovewithdignity-"Yourreproof
bidsmeofferthisgentlemanmyhand,andsolicitthereturnofhis
affections".

50. Sir Lucius O’Trigger
SirLuciusisacaricatureofthesortoftestyoldgentlemanwhois
neverhappyunlessheisconcernedinaquarrel.
Headdsagreatdealtothehumouroftheplaybyhismethodsof
stirringupthevalourofBobAcres,and,asthetimeoftheduel
drawsnear,casuallymentioningthepossibilityofan"unluckybullet"
andthereafterthe"snuglyingintheAbbey".

51. Faulkland
Mr.Faulkland’salmostpsychoticbehaviormarsthetoneoftheplay,buthis
fantasiesofdoubtcorrespondtoLydia’sfantasiesofromance,perhapspointingup
thethemethatagoodmarriagemustberootedinreality:trueloveandasolidbank
account.
HisjealousnaturemakeshimfeelannoyedthatJuliaisonholidayenjoyingherself,
andheisupsetwhensheappearstobeunhappy,sothatheistroubledbothways.
Heblameswomeningeneralforhistrouble,nothimselfforhispeevishsuspicions.
IttakeshimalongtimetorealiseJulia'spatientnature,butatlengththe"awful
resolutioninhermanner"convinceshimthathehasgonetoofar,andsuingfor
whathesolittledeserveshepleadsthat"HopeisthechildofPenitence".
Faulkland'sobsessionishighlycomicinawryway.HerefusestobelievethatJulia
loveshimadequately.Thereareanumberofspecificscenesthathaveastheir
majorpurposethepresentationofthisweirdtrait.Aftereveryquarrelwithhis
fiancée,Faulklandisfilledwithremorse;attheirnextmeeting,hevoicesthesame
suspicions.
InthestructureoftheplayFaulklandisacontrasttoAbsolute,ofcourse,andhis
nigglingsuspicionsafoiltothemorehappy-go-luckyintriguesofAbsolute,whois
contenttotaketheworldashefindsit.

52. Julia Melville
Juliaistheepitomeofpatience-contrasttoLydia.
HerloveforFaulklandhasgrownoutofgratitudeforthesavingofherlife,
andthedesiretocarryoutthewishesofherfather.Sheisnot,however,
blindtohisfaultsandultimatelygiveshimasalutarylessonwhenhetests
herlovebydeludingherintobelievingthathemustflythecountry.Atthe
endoftheplayherpatienceandloyaltyarerewarded,andFaulkland
confessesthatshehas"byhergentlenessandcandour,reformedthe
unhappytemperofone,whobyitmadewretchedwhomhelovedmost,
andtorturedtheheartheoughttohaveadored".
ThelanguageofJuliaandFaulklandisabsurdlyformalthroughoutthe
play.

53. TheillusionsofFaulklandandLydiaareessentially
overreactionsoftheyoungtothesterilesocialorderrepresented
byMrs.Malapropandtheoldergeneration:Theirillusionsare
examplesofsentimentalism,thegrossexaggerationoffeeling
thatGoldsmithandSheridandeplored.Faulklandisamanof
sensibility,butunfortunately,ashenotes,love“urgessensibility
tomadness.”
BobAcresisrusticandfoprolledintoone.SirLuciusisthe
conventionalbraggart,butheturnsouttohavecouragetothe
pointofrecklessness.ThepeculiaritiesofFaulkland’sand
Lydia'sdispositionsareinheritedfromthemorerecent
sentimentalcomedy

54. Plot
Theplotdealswithanintricatelove-affair.CaptainAbsoluteisinlove
withLydiaLanguish,averyromanticyounglady,andinorderto
gainheraffectionhepretendstobeanensigncalledBeverley.Lydia
willlosetwo-thirdsofherfortuneifshemarrieswithouttheconsent
ofherauntandguardian,Mrs.Malaprop,whonaturallydoesnot
consideranill-paidensignasufficientlygoodmatch.BobAcres
seemsamorepromisingsuitortoher,butwhenSirAnthony
AbsolutearrivesinBathandsuggestshissonasahusbandforLydia
Mrs.Malapropisdelighted,andtheconnectionwithAcresnolonger
appealstoher.Lydia,however,determinestohavenothingtodowith
CaptainAbsolutebutissetonmarrying"Beverley".Meetingsare
arrangedbetweentheyoungpeople.EventuallyBobAcresis
encouragedbyafieryoldgentleman,SirLuciusO’Trigger,to
challengehisrivaltoaduel.Absoluteisalsoimplicatedinproposals
foraduel.Theladiesarriveintimetostopanyduelling,andLydia,
havingreceivedathoroughfright,forgivesherloverforhaving
deceivedherandpromisestomarryhim.Anotherlove-story,thatof
thepatientJuliaandthejealousFaulkland,providesasub-plot
whichprovidesafoiltothemainlove-story.

55. Structure
ThewholeoftheactiontakesplaceinBath,andcanlogicallybe
confinedtoasingleday.
Inheritedhisfive-actstructure,withitsapparentcasualnessof
buildingsceneuponscene,fromCongreve,whoinhisturn
learntitfromShakespeareandBenJonson.
Thestoriesofthetwopairsoflovers,whichareprefacedby
Thomasintheopeningscene,runparalleltooneanother
throughouttheplayandbothreachtheirresolutioninthefinal
scene.Theintrigue,andtheproblems,arewellexploredverbally
beforeJuliaandFaulklandmeetinIII.iiandbeforeJackfirst
meetsLydiainIII.iiiThesetwocentralscenes,centralinterms
ofthespanoftheplayaswellasoftheirimportance,presentthe
heartofthematter,andoffercontrastingportraitsoflove
distorted.

56. SirLuciusandAcresprovideafurtherelaborationofthemain
plot,foreachregardshimselfasasuitortoLydia.Eachinhis
ownwayimpedesastraightforwardsolutiontothecrisisandat
thesametimeaggravatesit;theirsarehighlyindividual
rhythms,theformer'sheavyandtendingtowardsbombastic
slowness,thelatter'squickinanoafishway,garrulousand
withoutauthority.Soeachtimeoneofthemappears,theplay
seemstochangestepaswellastempo.
ThescenesinwhichSirAnthonyandMrsMalapropappear
derivemuchoftheirfreshnessfromtheironythatweknowso
muchmorethantheydo,andthattheysufferfromcontinual
misapprehension;thisallowsthedevelopmentsoftheplottobe
divertedinseveralcomicways.
Asinmostcomedy,theplotandstructureofTheRivals
demonstrateaninitialstateofconfusionthatgrowsworsebefore
becominggraduallyclarified;themessgetssortedout,andbad
getsbetter.Thebreadthofthisplayandthedepthofitscomedy
areproducedbytheauthor'sgivinghischaractersthespaceand
thetimetosufferforalovethatisimproperlyreturned.

57. Sheridan’s Style
TheenjoymentthatwederivefromSheridan'sstyleis
intellectual-aptexpressions,thepointedwit.
HehasdelightfulhitsatShakespeareandcharming
robberiesfromhim.
InTheRivals-thereismuchhumourofsituationalso,
owingtothedisguiseofCaptainAbsoluteasEnsignBeverley.
Sheridan'sstyleismademorelivelyandpicturesquebythe
useoffiguresofspeech,suchasmetaphorandsimile–
ironicalspeechandofdramaticirony-Thedisguiseof
CaptainJackAbsolutebestexamplefordramaticirony.

58. NamesasLabels-Thecustomofattachingrepresentative
namestocharactersinplaysdatesfromveryearlytimes.
InMoralityplaysthevirtuesandvicescouldoftenbe
utilisedtorepresentlivingpeople;theywerenotsimply
abstractions-BenJonson'snamesinvariablysuitedhis
"humours“
Mrs.Malaprop'sincorrectuseofwords,the"languishing"
ofLydiaLanguish,the"absolute“natureofSirAnthony
Absolute,sosurethatheisalwaysright,SirLucius
O'Triggerlongingforaduel,andBobAcresthe"complete"
countryman.

59. Symbols
1.Reading
InSheridan'splay,readingisasymbolofentertainmentand
independence.Thecrucialscenerevealingreading'ssymbolicrole
isAct1,Scene2inwhichLydiaLanguishdisclosesherfascination
withsentimentalnovelsoftheday,andinwhichSirAnthonyandMrs.
Malapropairtheirprejudicesaboutthehazardsofwomen'sliteracy.
Itisevidentfromthecontextthatreadingoccupiesanambiguous
positioninthesocietyoftheplay.
Ononelevel,readingisasourceofindependence,education,and
entertainment—anditisplainlyestablishedwithinBath'sfashionable
orbit.Onanotherlevel,readingissuspect,especiallyintheeyesof
arch-conservativemembersofsociety.
Sheridan'sironictreatmentofthetopicleavesnodoubtthathe
regardstheopinionsofSirAnthonyandMrs.Malapropasantiquated.

60. 2. Fashion
Intheplaythepreoccupationwithfashioncomestostandasan
identifierofacharacter'ssocialstatus.Asearlyasthefirstscene,the
servantFagcautionsthecoachmanThomasthatthelatter"must
polish":nooneofanystyle(orwhatFagcalls"ton"—for"tone"),for
example,continuestowearwigs.
Althoughmanyofthecharacterspaysomeattentiontofashion,the
figurewhoismostpreoccupiedwiththetopicisBobAcres.InAct2,
Scene1AcrespreenshimselfinfrontofJackAbsolute,showingoffhis
hairstyleandboastingofanewsystemof"genteel"swearwordsthathe
hasdevised.
Countrybumpkinsandservants,likeAcresandFag,arepreoccupied
withhairstylesandotherfashionstatementssothattheymay"fitin"
withthecitizensofBath.However,thosealreadyconsideredtheupper-
crust,likeJack,findthepreoccupationwithfashionratherridiculous.

61. 3. Dancing
Dancingwasoneofthemostpopularsocialdiversionsin18th-
centuryBath.Assuch,thispastimewasapremiersymbolofthe
leisureofanaffluentandsociallystylishstratumofthepopulation.
OneofBath'sprimelocations,theAssemblyRooms,wasdevotedto
dancing.AssemblyRoomsgrewincreasinglymorecommon in
provincialcitiesduringthecentury.
FaulklandisespeciallyconcernedthatJuliadanceswhilethelovers
areseparated;hefeelsthatdancingaminuetmightbeacceptable,but
thatparticipatingincountrydancesprovesthatshedoesnotmiss
himashedoesher.
DancingisespeciallyprominentinthecharacterizationofBobAcres.
InAct3,Scene4thesociallyineptbumpkintriestoimpressthe
servantDavidwithadisplayofdancingstepsthathehassupposedly
masteredaspartofhisefforttorisein"genteel"society.

62. Thank you