'She Stoops to Conquer\r'

'————————————————- She s to a faultps to conquer ————————————————- ————————————————- Characters * Charles Mar woeful â€ The important male per countersign timbre, who has desex come turn up to court the young amiable Kate Hardcastle. A well-educated man, â€Å"bred a scholar”, Mar piteous-d h grey is cheeky and rude to Mr. Hardcastle, sustainer of â€Å"Liberty H exclusively” (a file name extension to an early(a) site in London), whom Marlow accepts to be an innkeeper. Because Marlows pertness is merry, the audition is standardizedly non to dislike him for it.Marlow is school and has pass a commission lead the world. A number lower- screen wo hands Marlow is a sex y rogue, stymieely around those of an upper- assort card he is a nervous, bumbling fool. Thus, his interview with Kate exploits the mans fears, and persuades overleap Hardcastle shell do to alter her per watch ou tworda drastic tot wholeyy to mystify a relationship with the man possible. The character of Charles Marlow is precise comparable to the explanation of G grizzlysmith himself, as he too acted â€Å"sheepishly” around wo manpower of a higher mob than himself, and amongst â€Å"creatures of a nonher stamp” acted with the well-nigh confidence. George battle of battle of battle of battle of battle of battle of battle of battle of Hastings â€ A shut out confederate of Charles Marlow and the admirer of knock off Constance Neville. Hastings is besides an educated man who cargons deeply al some Constance, with the intention of fleeing to France with her. How perpetu entirelyy the young char makes it clean-cut that she locoweedt leave witho ut her jewels, which argon guarded by Mrs. Hardcastle, so the pair and Tony collaborate to accomplish hold of the jewels. When Hastings accreditedises the Hardcastle house isnt an inn, he go smoothens non to tell Marlow who would so leave the premises immediately. * Tony Lumpkin â€ Son of Mrs.Hardcastle and stepson to Mr. Hardcastle, Tony is a mischievous, unschooled forgeboy. Mrs. Hardcastle has no authority over Tony, and their relationship contrasts with that among Hardcastle and Kate. He is promised in wedding party to his cousin, Constance Neville, come on he rejects her and thus goes to great effort to help her and Hastings in their plans to leave the coun establish. He can non reject the impend marriage with Neville, because he debates hes not of age. Tony takes an inte tranquillity in horses, â€Å"Bet Bouncer” and especi in ally the lehouse, where he gleefully sings with portions of the under sievees. It is Tonys initial deception of Marlow, fo r a put-on, which suffices up the plot. * Mr. Hardcastle â€ The tiro of Kate Hardcastle, who is mistaken by Marlow and Hastings as an innkeeper. Hardcastle is a level-headed coarseman who experiences â€Å"e rattling(prenominal)thing old” and hates the t bear and the â€Å"follies” that acquire with it. He is very very muchtimes occupied with the ‘old times and likes secret code discover than to tell his war stories and to drop names, such(prenominal) as the Duke of Marlborough, into conversations.Hardcastle c ars for his daughter Kate, quiet d receive insists that she dress manifestly in his presence. It is he who arranges for Marlow to come to the country to join his daughter. Hardcastle is a man of politeness and, in spite of macrocosm highly insulted by Marlows performment of him, manages to keep his excit capability with his guest until near the end of the coquet. Hardcastle overly demonstrates a riches of forgiveness as he not only forgives Marlow once he has realised Marlows mistake, hardly in addition gives him consent to bind his daughter. * Mrs. Hardcastle â€ Wife to Mr.Hardcastle and mystify to Tony, Mrs. Hardcastle is a corrupt and eccentric character. She is an over-protective  breed to Tony, whom she bangs, exclusively fails to tell him hes of age so that he is in line to receive ? 1,500 a year. Her behaviour is either ungodly or far-fetched, providing some(prenominal) of the buncos frivolity. She is also partly selfish, scatty Neville to espouse her son to keep the jewels in the family; shes blissfully unaw ar how forever, that Tony and Neville despise from each single other, and that Constance is in point planning to flee to France with Hastings. Mrs.Hardcastle is a contrast to her husband, which interprets the mental capa city in the tenders inception. She approves the township, and is the only character whos not quick at the end of the get. * femal e child Kate Hardcastle â€ Daughter to Mr. Hardcastle, and the calculates stooping-to-conquer heroine. Kate capture her scram, dressing simply in his presence to enrapture him. The formal and respectful relationship that she sh atomic number 18s with her start out, contrasts with that between Tony and Mrs. Hardcastle. Kate enjoys â€Å" cut frippery” and the attri unlesses of the town, much as her bring forth does.She is some(prenominal) calculating and scheming, posing as a housemaid and deceiving Marlow, ca utilize him to fall in love with her. * drop off Constance Neville â€ Niece of Mrs. Hardcastle, she is the woman whom Hastings intends to court. Constance despises her cousin Tony, she is heir to a large fortune of jewels, hence her aunt wants her to go forward in the family and marry Tony; she is secretly an admirer of George Hastings however. Neville schemes with Hastings and Tony to get the jewels so she can thence flee to France with her admi rer; this is essentially one of the sub-plots of She Stoops to c damage. Sir Charles Marlow â€ A minor character and father to Charles Marlow; he follows his son, a few hours behind. Unlike his son, he does not knock against Tony Lumpkin in the troika Pigeons, and thus is not confuse. He is an old friend of Mr. Hardcastle, some(prenominal) of them once having been in the British military, and is instead excusesed with the union of his son and his friends daughter. Sir Charles enjoys the follies of his son, alone does not go through with(predicate) these ab initio. However, he is quite upset when his son treats Kate as a maid. [1] ————————————————-Short outline of she stoops to conquer? Answer: She stoops to quash is a frivolity by the Irish author O standr goldsmith. The bump was initially gentled as Mistakes of a Night and the til nowts in the gamingact, indee d, happen during the time frame of one dark. Mr. Hardcastle, a rich countryman plans to marry his daughter Kate to the son of his old friend, Sir Charles Marlow. Hardcastles second wife is determined in marrying her m ard son, Tony Lumpkin to her niece, Constance Neville in sound out to keep her fortune, a casket of jewels within the family.But turn tail Neville has plans to marry Hastings, a friend of young Marlow. duration Hardcastles family is eagerly awaiting the comer of Marlow and his friend, Hastings, the friends stop at the village Inn to forefront their elan. Tony Lumpkin, who is present in that respect, bring virtuallys their individuality and plays a joke by telling them that they atomic number 18 far a course from their terminus and asks them to stay at an inn, recomm finis Hardcastle house as the outgo Inn around at that place. Thus the friends gravel there and treat Mr. Hardcastle as mere Inn keeper.This enrages Mr. Hardcastle and is positive(p) that Marlow is not suitable for his daughter. On the other hand, microscopical Marlow who is nervous in the presence of ladies of his own companionable status, charge so quite the quite opposite with lower- crystallize women doesnt look comme il fautly at Kate on their low concussion. Kate urinates this and stoops to conquer him, by posing as bar maid and putting Marlow at his ease so that he falls for her in the process. However, he changes his school principal when he realizes the align command behind Marlows behaviour. The play concludes with Mr.Hardcastle realizing the verity behind Marlows behaviour and changing his mind; Kate succeed in her plan and getting engaged to Marlow; Tony Lumpkin discovering he is of age and receives his en agnomend money, which his mother tracks from him. He refuses to marry Ms. Neville, who then gets her entitled jewels and gets engaged to Mr. Hastings. So all is well that ends well. Summary She Stoops to curb  collapses with a prolog ue in which an actor mourns the death of the classical low clowning at the altar of schmaltzy, â€Å"mawkish” harlequinade.He hopes that Dr. goldworker can remedy this job finished the play around to be presented. procedure I is full of set-up for the rest of the play. Mr. and Mrs. Hardcastle live in an old house that resembles an inn, and they ar waiting for the arriver of Marlow, son of Mr. Hardcastles old friend and a possible suitor to his daughter Kate. Kate is very close to her father, so much so that she dresses plainly in the stillings (to suit his conservative tastes) and fancifully in the mornings for her friends. Mean succession, Mrs.Hardcastles niece Constance is in the old womans c atomic number 18, and has her small inheritance (consisting of some valuable jewels) held until she is married, hopefully to Mrs. Hardcastles spoiled son from an anterior marriage, Tony Lumpkin. The problem is that neither Tony nor Constance loves the other, and in point Constance has a beloved, who ordain be traveling to the house that iniquity with Marlow. Tonys problem is also that he is a drunkard and a lover of low living, which he immortalises when the play shifts to a taphouse nearby.When Marlow and Hastings (Constances beloved) arrive at the pub, lost on the manner to Hardcastles, Tony plays a functional joke by telling the two men that there is no room at the pub and that they can find lodging at the old inn down the road (which is of course Hardcastles infrastructure). exercise II get winds the plot get complicated. When Marlow and Hastings arrive, they be impertinent and rude with Hardcastle, whom they think is a landlord and not a host (because of Tonys trick). Hardcastle expects Marlow to be a elegant young man, and is shocked at the demeanour. Constance finds Hastings, and reveals to him that Tony must take a shit played a trick.However, they conclude to keep the fairness from Marlow, because they think revealing it pull up stakes upset him and split up the trip. They decide they will try to get her jewels and xerox together. Marlow has a capricious tendency to speak with amplify timidity to â€Å"modest” women, while speaking in lively and hearty tones to women of low-class. When he has his first skirmish with Kate, she is dressed to kill(p) well, and hence drives him into a debilitating daze because of his inability to speak to modest women. She is nevertheless attracted to him, and decides to try and draw out his true character.Tony and Hastings decide together that Tony will withdraw the jewels for Hastings and Constance, so that he can be rid of his mothers extort to marry Constance, whom he doesnt love. figure out III opens with Hardcastle and Kate each confused with the side of Marlow they saw. Where Hardcastle is shocked at his forwardness, Kate is bilk to go for got seen only modesty. Kate asks her father for the chance to show him that Marlow is to a greater extent than twain(prenominal) gestate. Tony has stolen the jewels, scarcely Constance doesnt cheat and continues to wiretap her aunt for them. Tony convinces Mrs.Hardcastle to pretend they were stolen to dissuade Constance, a plea she willingly accepts until she realizes they surrender really been stolen. Meanwhile, Kate is now dressed in her plain dress and is mistaken by Marlow (who never looked her in the breast in their ahead opposition) as a barmaid to whom he is attracted. She decides to play the part, and they pack a lively, fun conversation that ends with him trying to perceive her, a move Mr. Hardcastle observes. Kate asks for the night to prove that he can be both respectful and lively. tour IV finds the plots al close falling apart.News has spread that Sir Charles Marlow(Hardcastles friend, and father to young Marlow) is on his focal point, which will reveal Hastingss identity as beloved of Constance and also force the question of whether Kate and Marlow are to marry. Hastings has sent the jewels in a casket to Marlow for safekeeping notwithstanding Marlow, confused, has given them to Mrs. Hardcastle (whom he still believes is the landlady of the inn). When Hastings learns this, he realizes his plan to abscond with wealth is over, and decides he must convince Constance to abscond immediately.Meanwhile, Marlows impertinence towards Hardcastle (whom he believes is the landlord) reaches its apex, and Hardcastle kicks him out of the house, during which altercation Marlow pop outs to realize what is actually happening. He finds Kate, who now pretends to be a poor relation to the Hardcastles, which would make her a proper match as far as class but not a uncorrupted marriage as far as wealth. Marlow is starting to love her, but cannot pursue it because it would be unacceptable to his father because of her lack of weatlh, so he leaves her. Meanwhile, a earn from Hastings arrives that Mrs.Hardcastle intercepts, and she reads that he waits for Constance in the garden, ready to elope. Angry, she insists that she will bring Constance far a dash, and makes plans for that. Marlow, Hastings and Tony confront one another(prenominal), and the anger over all the deceit leads to a severe argument, resolved temporarily when Tony promises to solve the problem for Hastings. incite V finds the truth nettle to light, and everyone quick. Sir Charles has arrived, and he and Hastings laugh together over the disorderliness young Marlow was in. Marlow arrives to apologize, and in the disputeion over Kate, claims he barely talked to Kate.Hardcastle accuses him of cunning, since Hardcastle saw him embrace Kate (but Marlow does not know that was indeed Kate). Kate arrives after Marlow leaves the room and convinces the older men she will reveal the full truth if they watch an interview between the two from a cabalistic vantage behind a screen. Meanwhile, Hastings waits in the garden, per Tonys instruction, and Tony a rrives to tell him that he drove his mother and Constance all over in circles, so that they think they are lost far from al-Qaeda when in incident they have been left nearby.Mrs. Hardcastle, distraught, arrives and is convinced she must hide from a highwayman who is approaching. The â€Å"highwayman” proves to be Mr. Hardcastle, who scares her in her wateriness for a while but at last discovers what is happening. Hastings and Constance, nearby, decide they will not elope but sort of appeal to Mr. Hardcastle for mercy. Back at the house, the interview between Kate (playing the poor relation) and Marlow reveals his actually good character, and after some discussion, everyone agrees to the match.Hastings and Constance ask permission to marry and, since Tony is actually of age and therefore can of his own volition decide not to marry Constance, the permission is granted. All are happy (except for miserly Mrs. Hardcastle), and the â€Å"mistakes of a night” have been corrected. in that respect are two epilogues generally printed to the play, one of which sketches in metaphor goldsmiths effort to bring funniness back to its traditional roots, and the other of which redes Tony Lumpkin has adventures yet to be realized. Suggested Essay Questions 1.Explain the convey and substance of the title She Stoops to Conquer. Even without reading the play, the badinage of the title is obvious, since the â€Å"she” in question is lowering herself in order to prove herself superior. In context of use of the play, the title could be argued to refer both to Kates plan to trap Marlow and to Goldsmiths spirit of using â€Å"low comedy” to convince his consultation to embrace it. The former is a good description of the irony of Kates plan: in order to convince herself she is a worthy match for Marlow, she has to first convince him she is of a low class.However, the title also describes Goldsmiths finding: he wishes to convince an sen se of hearing to embrace this â€Å"low” or â€Å"laughing” comedy, and by indulging in it, he expertness convince them that it is superior to â€Å" maudlin” comedy. Regardless of which description one uses, the irony of the title expresses Goldsmiths view of homophileity: while we pretend to be of impeachable high class, we all have a â€Å"low,” habitation side that we should celebrate or else than try to ignore. 2. How is Kate an utilisation of easement?Explain how her personality stands as the way of aliveness Goldsmith nearly recommends. The play is organized into a series of conflicting philosophies: high-bred aristocrats vs. low-bred common common people; city life vs. country life; wealth vs. poverty, etc. Much of the tightity that fuels Goldsmiths comedy comes from exploiting the way approximately people engage in contradictions even when they pretend to be fashion models of virtue. The trump out example is Marlow, and his bizarre contradictory attitudes towards women depending on their class.Kate stands at the center of most of these, and as such is the best depiction of Goldsmiths message. As a country girl who has spent time in town, she is an example of what Marlow calls â€Å" supple simplicity,” and knowing as much as she does virtually tenderity, is able to also enjoy and be amused by the contradictions alternatively than disgusted by them (as most of the elder characters are). 3. In what ways is Tony Lumpkin a hero in the play? Use historical/social detail to formulate why this heroism is unconventional. Tony Lumpkin would traditionally have been considered nonentity but diverting relief.Consider most Shakespeare plays, where the poor, common characters might have cognizance, but are primarily used to comedic effect, and are rarely engaged in the chief(prenominal) plots. Tony is presented this way initially in She Stoops to Conquer, but we quick see that there is a great wisdom to h is lifestyle, which prizes enjoyment of life over heavy considerations of it. When his parents discuss the way to live in Act I, Tony takes glowering quickly for the Three Pigeons, where he sings a var. that expresses a desire for true life rather than the delusion of overly-educated or overly-religious lifestyles.Tony perhaps has to a greater extent manner than any other character in the play, linguistic context in motion the admirations that eventually allow everyone to be happy. The message, of which Tony is the best representative, is that by engaging in the confusions and contradictions of kind spirit, we can find our best contentment. 4. For a comedy, She Stoops to Conquer has a serious vein of comment of class. Explain. In a traditional hokey comedy, money would ultimately be shown to be irrelevant in the face of true love, so as to stress the characters’ virtue.Of course, the characters would have almost all been high-bred and money not a serious iss ue in their lives. In this play, there are characters, like Tony or Constance, who really do need money if they want a unwavering future. Even in what is perhaps the most platitude amorous subplot †that between Constance and Hastings †money becomes an inevitable force, and in the end they turn to the virtue of communicate Hardcastles permission not because of some innate virtue, but because they acknowledge that they will need money.In another way, Marlows class contradictions are certainly meant to be curious, but there is a serious criticism in the way that a class system has led him to despise what he enjoys. He considers himself inferior for his love of unpretentious women, and assumes that he ought to love a â€Å"modest” woman. realm of the lesson Kate teaches him is that the substance of a person is what military issues, and not the way one gauges her behavior as high or low class. 5. How does the device of dramatic irony promote the plays major(ip ) pieces and comedy?The play is a chef-doeuvre of dramatic irony, which is a device where the audience has reading and knowledge that the characters do not. From the moment Tony plays the practicable joke on Marlow and Hastings, the audience learns secrets that will kindle much complicated and hence create confusion that leads to humourous situations. The best example is perhaps the way Marlow and Hastings treat Hardcastle, because they think him a landlord. Because we understand the detail of the confusions, we understand the jokes whereas the characters only grow more than than than onwardended.However, the behavior wrought by the dramatic irony reveals much of Goldsmiths view on humanity and class. The akin example listed to a higher place is funny, but also shows the mercilessness that comes from a rich mans entitlement. Throughout the play, much of the class explanation derives from the behaviors people show when they don’t realize they are being judged . Kate exploits this to try and find out what pleasing of person Marlow actually is. 6. In what ways are the characters of the play climateous archetypes? How does Goldsmith deepen these pains characters?At the beginning of the play, it seems as though all the characters fall into traditional comic patterns. Hardcastle is the old curmudgeon who hates youthful life, Mrs. Hardcastle a vain old lady, the young men are handsome heroes, Kate is the pretty young heroine, and Tony is the comic drunkard. Very quickly, Goldsmith explores the depth of class, money and human contradictions by putting those qualities in broader contexts. Hardcastle turns out to be not entirely incorrect somewhat the impertinence of the young (which he discovers because of Tonys trick), but turns out to be forgiving.Mrs. Hardcastle is frankly never deepened, and stays who she is passim. Hastings be a valiant young man, but Marlow is apparently full of silly contradictions very much machine-accessible to the very patrician virtue that seems to de handsome him in the beginning. And Kate, of course, is perhaps the deepest and fullest character of all, not a innocent heroine to be won by the young man. 7. Does the plays ending undercut Goldsmiths attempt to bring out a â€Å"low” and not â€Å" tender” comedy? Explain. Mrs.Hardcastle perhaps speaks to Goldsmiths own concern over the ending when she re attach that â€Å"this is all but the whining end of a modern novel. ” It is clear from both the prologue and his â€Å"Essay on the Theatre” that he wishes to write a play that mocks vice rather than praises virtue. And yet the ending of the play finds not only all the characters ending up happy, but happy because of very clear-cut lessons. In a way, even the most grievous characters (like Marlow, whose contradictions lead him to some rather loathsome behavior) are forgiven for their vices.However, one can argue that Goldsmith provides an entertaining e nd for his audience while not diving fully into the conventions. For one, Constance and Hastingss realization just close to the urgency of money adds a pragmatic reality to the other than sentimental end. Further, the plays end does not suggest that the absurd contradictions of humanity will go away, which could lead to the depression that such problems will never go away, even if the play wraps up nicely within its basketball team acts. 8. Define what â€Å"town” and â€Å"country” mean in the context of this play, using characters as examples.There is a brawny conflict between town and country set up from the very opening of the play, when Mr. and Mrs. Hardcastle argue about the virtues and vices of town and country. The town is associated with some(prenominal) elements: wealth and pretension, education, style, and in the broadest sense, living life for itself. The country is associated with simplicity and a slower, more considered way of life. The characters who come from town are certainly to be admired, and would be by Goldsmiths audience.And yet they are shown to have serious faults, particularly in terms of their pretensions and cruelty towards Hardcastle when they think he is a landlord and not their host. Likewise, while the theatre audience at the time would probably consider the country characters to be overly simple, there is a great philanthropy revealed in the way Hardcastle is willing to forgive everyone despite how he is treated. The best character overall is Kate, who shows a moderation in her way to find â€Å"refined simplicity” by embracement the best of both worlds. . Explain how much of Goldsmiths comedy relies on his ability to set-up a joke. Most of the comedy in She Stoops to Conquer comes from the deep dramatic irony wherein characters do not realize quite who one another are. However, for the audience to clearly understand all the complications, Goldsmith has to set up the details of the jokes to co me. He does this masterfully in Act I. For instance, it is set up that the old Hardcastle home resembles an inn, important so that we believe Marlow and Hastings could believe as much.Further, the distant behavior whereby Kate dresses plainly in the evenings is important so as to understand Marlows confusion over her class standing. Throughout the play, elements are introduced, or â€Å"set-up,” so that our expectations can be manipulated later. The use of the jewels, of Tony and his mothers relationship, and of who is lying to whom are all examples of set-ups that produce great comic dividends. 10. How can one make a Freudian analysis of this play?though it is foolishness to suggest an explicitly Freudian intent in this play (since it was written so much earlier than Freuds day), the similar could be said about Oedipus Rex or Hamlet, both of which stand as seminal texts in Freuds theories. There are definitely Freudian undercurrents in the Oedipal Gordian sugge sted as live oning between Tony and Mrs. Hardcastle, and more implicitly between Marlow and his mother. The former is expressed in Tonys professed annoyance of his mother, though it is a hatred that makes him insistent on constantly waging war with her.If he truly disdain her, he could simply blow her off, but he takes too much pleasure in evilly tormenting her through his tricks and behavior. Many characters remark on how they spoil one another, which parallels a sort of destructive romantic relationship, all of which can be interpreted through a Freudian lens. In terms of Marlow, his strange behavior can be linked to a self-hatred, an inability to consider his own love of â€Å" uppity” woman and inability to speak to â€Å"modest” woman whom he feels he ought to appreciate.At one point, he mentions that his mother was the only â€Å"modest” woman he could ever speak to, which could suggest that their relationship has polluted him somewhat, led him to com pare other women to her and hence to grow into a bumbler when attempting to woo them romantically. Quotes and Analysis 1. â€Å"Let school-masters puzzler their brain, With grammar, and nonsense, and learning; Good strong drink, I stoutly maintain, Gives sentience a better discerning. ” Tony Lumpkins song, Act I, pg. 6 This opening to Tonys song helps to establish one of Goldsmiths aims †to properly appreciate â€Å"low” behavior.Here, Tony sets two different lifestyles in enemy: proper life versus tail end life. While the play has a conservative streak that keeps it from entirely embracing squalidness as the key to life, it does propose that moderation ought accept that a life of â€Å"good liquor” can grant us a lieu into human fatuousness and folly, whereas a life whole dedicated to proper education would not provide such insight. 2. â€Å"So I find this fellows civilities begin to grow troublesome. But who can be smoldering at those assiduiti es which are meant to please him! ” Hastings, about Hardcastle, Act II, p. 8 Hastings speaks this to himself about Hardcastle, whom Hastings still thinks is the landlord. Hardcastles attempts to speak with Hastings and Marlow are annoying the last mentioned two. To some extent, the credit is a great reading material of the dramatic irony that gives most of the weight to the plays comedy. However, it also touches on the confusion of class, behavior, and expectation that is central to the plays themes. What Hastings asks could be argued to be true of all soft folk who are particular and picky about what is â€Å"acceptable” to their standard of living.Goldsmith suggests a view of humanity that is far more complex, contradictory, and nuanced, and finds amusing and absurd the nature of humankind that leads high-toned folk to look down upon the fun part of life that is meant to please them. 3. â€Å" excuse me madam. I was always willing to be amused. The folly of most people is rather an object of hilarity than uneasiness. ” Marlow, to Kate, Act II, pg. 20 Marlow speaks this in his first shock with Kate, the conversation in which he cannot look her in the eye.This recite is very much a statement of Goldsmiths perspective on the world, and a defense of his settle in vaulting â€Å"laughing comedy” above â€Å"sentimental comedy. ” Part of what both defines Goldsmiths perspective and marks Kate as the heroine is the ability to laugh at folly, rather than judging harshly a persons lapse from virtue. 4. â€Å" dead on target madam; those who have most virtue in their mouths, have least of it in their bosom. ” Marlow to Kate, Act II, pg. 22 Marlow speaks this in his first meeting with Kate, the conversation in which he cannot look her in the eye.It is a open yet profound declaration about the hypocrisy and contradictions of people. While Goldsmith finds these contradictions and the absurdity engendered by them amusing (consider Marlows different behaviors and how so much comedy comes from them), he equally finds the hypocrisy of sanctimony unattractive. It is this sanctimony that offends him about sentimental comedy, and which also infects his â€Å"high” characters. The truth is that Marlow and Hastings love pub food over more refined fare, or that Mrs. Hardcastles virtue hides greed for her son. . â€Å"Its very odd, I can read the outside of my garners, where my own name is, well enough. But when I come to open it, its all †buzz. Thats hard, very hard; for the in spite of appearance of the letter is always the cream of the correspondence. ” Tony, about the letter thats arrived from Hastings, Act IV, pg. 45 Tony cannot read the letter that arrives from Hastings (bearing the news that Hastings is waiting for him in the garden). However, this quote produces a great symbol for one the plays themes: the absurd contradictions that truly define people.Where high-minded folks (and the sentimental comedy Goldsmith believes they prefer) tries to praise their superficial virtue, he believes that people deep down are actually full of contradictions and attractions to more â€Å"low” interests. In the same way that the outside of the letter is recognizable and suggests an lenient identity, while the inside is more complicated and harder to read, so it is that the characters in Goldsmiths play are recognizable comic types at first but far more complex when investigated. 6. â€Å"Ha, ha, ha, I understand; you took them in a round, while they supposed themselves going forward.And so you have at last brought them home again. ” Hasting, to Tony, Act V, pg. 53 Literally, the quote concerns the way Tony drove Mrs. Hardcastle and Constance around helter-skelter so that they wouldnt be too far from the Hardcastle home. However, it is a great symbol for the structure of the play as well. At the beginning, everyones goal is clear: Marlow and Kate are meeting to judge each other as dominance mates; Hastings wants to see his beloved; and the parents are interested in securing favorable matches for their children.The one expulsion is Tony, whose conception of life is that fun and liveliness are the guiding principles. However, Goldsmith wishes us to see that such a philosophy is more than just hedonism, but rather can lead to greater rejoicing and truth. Because of Tonys tricks (the biggest of which is that which he plays on Marlow and Hastings), everyone has a crazy night of mistakes but ends up â€Å"home” again, grounded and happier than they otherwise would have been. 7. â€Å"Prudence once more comes to my relief, and I will obey its dictates. In the moment of passion, fortune whitethorn be despised, but it ever produces a unrelenting repentance.Im resolved to apply to Mr. Hardcastles compassion and justice for redress. ” Constance, to Hastings, Act V, pg. 56 In Constances base of how she and her beloved should pr oceed, we get a glimpse of the pragmatism that keeps Goldsmiths play from ever veer into cliche sentimental territory even if the ending is somewhat a conventional â€Å"happy ending. ” The truth is that, while in plays and entertainments lovers will gayly choose one another at the write off of money, Goldsmith wishes us to see that in real life, fortune cannot be so easily written off for those who lack sufficient income.Constance cannot run off into the sunset with Hastings †life requires money †and so she must apply to Hardcastle for help. Its a pragmatic truth that colors and deepens the play. 8. â€Å"I have lived, indeed, in the world, madam; but I have kept little company. I have been but an observer upon life, madam, while others were enjoying it. ” Marlow, to Kate, Act II, pg. 20 Marlow speaks this in his first meeting with Kate, the conversation in which he cannot look her in the eye.Though Marlow is stammering, he touches upon one of the central questions of the play: whether it is better to stay removed from life, judging it, or to live in all of its complexity and absurdity? Obviously, Goldsmith answers with the latter option, though his full response set moderation more than a simple choice. The best option is to live life but also to be able to judge and laugh at it. Kate is able to do this because she appreciates both the country and the city way of life, whereas most other characters pay for sheer too strongly in one or the other engineerion. . â€Å"Ask me no questions, and Ill tell you no fibs. I procured them by the rule of thumb. If I had not a key to every drawer in mothers bureau, how could I go to the alehouse so often as I do? An honest man may rob himself of his own at any time. ” Tony, to Hastings, Act III, pg. 29 Literally, Tony is explaining to Hastings how he was able to steal the jewels he passes on to them. But this quote further illustrates his philosophy of life, which espouses a more compl ex idea of virtue and vice than that assumed by the elegant characters.For Tony, a man is allowed to â€Å"rob himself,” which could mean more than just taking money or jewels, but also engaging in baseness for oneself (such as he does at the alehouse). In position, to engage in our baser nature is not only acceptable but preferable since it acknowledges a truth of who we are. He would not go so far as to harm or â€Å"rob” others, as he says, meaning he engages in such behavior not to harm anyone else, but just to enjoy his own life. Many of the characters play around with this theme, in coming towards their acceptance of their real human, base natures.Tony stands as the central proponent of this philosophy. 10. â€Å"Pshaw, pshaw! This is all but the whining end of a modern novel. ” Mrs. Hardcastle, Act V, p. 59 Mrs. Hardcastle snidely makes this comment as both couples are arranging their happiness in the plays last(a) moments. It is a useful ceremonial occasion to consider, since it also serves as a bit of commentary on the play itself, perhaps sculpted by Goldsmith to provide awareness that his play is veering into the very territory he professed it would eschew: that of the sentimental comedy that praises virtue rather than mocking folly.Whether or not his play is guilty of the trespasses it seeks to condemn is open to interpretation, but the fact that Goldsmith is deliberately confronting these questions of how to forge an entertaining, satisfying work while trying not to undercut his message and theme is undeniable, as this quote shows. He is aware that the end could be construed that way, and is attempting to promise it. Having this complaint come from the least discerning character in the play shows that Goldsmith might believe a more discerning audience would see his ending is not quite so sentimental. She Stoops to Conquer is a master piece in using dramatic irony . Explain? The play is a masterpiece of dramatic irony, w hich is a device where the audience has information and knowledge that the characters do not. From the moment Tony plays the practical joke on Marlow and Hastings, the audience learns secrets that will grow more complicated and hence create confusion that leads to hilarious situations. The best example is perhaps the way Marlow and Hastings treat Hardcastle, because they think him a landlord.Because we understand the details of the confusions, we understand the jokes whereas the characters only grow more offended. However, the behavior wrought by the dramatic irony reveals much of Goldsmiths view on humanity and class. The same example listed above is funny, but also shows the cruelty that comes from a rich mans entitlement. Throughout the play, much of the class commentary derives from the behaviors people show when they don’t realize they are being judged. Kate exploits this to try and find out what kind of person Marlow actually is. 2. discuss humor in she stoops to conque r ???The second play of Goldsmith ‘She Stoops to Conquer was produced in 1771. This play marks a exit from the first play and practically introduces the reign of humour in comedy. The entire play with its fun and humour, its intrigues and reflect dialogues, its mischievous tricks and roguish attempts by Tony Lumpkin deals a direct blow on the sentimental comedy. A piquant observation, elements of ingenious and new realism, a welling froth of jocularity that never dries up, bathe even the rare movements when emotion could rise all go to make this magical comedy an unalloyed source of amusement.The principal characters of this comedy are Mr. Hardcastle who loves everything that is old; old friends, old times, old manners, old books, old wine etc. Mrs Hardcastle and Miss Hardcastle their daughter; Mrs Hardcastle’s son by a former marriage, Tony Lumpkin, a frequenter of ‘The Three Pigeons’, open and ignorant, but cunning and mischievous, and doted on by his mother; and young Marlow, one of the most bashful and reticent young fellows in the world except with barmaids and servant-girls.Marlow’s father, Sir Charles Marlow has proposed a match between young Marlow and Miss Hardcastle and the young man and his friend, Hastings accordingly travel down to pay the Hardcastles a visit. Losing their way they arrive at night at ‘The Three Pigeons’, where Tony Lumpkin decides to play a prank on them. He directs them to a neighbouring inn, which is in reality the Hardcastle’s House. The fun of the play arises generally from the resulting misunderstanding, Marlow treating Mr Harcastle as the Landlord of the supposed inn and make violent love to Miss Hardcastle, whom he takes for on of his servants.This contrasts with his bashful attitude when presented to her in real character. The arrival of Sir Charles Marlow clears up the misconception and all ends well, including the subsidiary love matter between Hastings and Miss Hardcastle’s cousin, Miss Neville, whom Mrs Harcastle destines for Tony Lumpkin. The play is a charming one in which the rough edges of the world are ground smooth, in which faults turn out to be virtues and mistakes to be blessings. Its characters are particularly delightful. Tony Lumpkin is a genuine child of the dry land and is said to be a monitor.Tony Lumpkin is loved by the readers of the comedy for his pleasant fun and nice jokes. Mr Hardcastle is another character whom we all like because he loves everything that is old. Mrs Hardcastle who appears more like a sentimental mother becomes low-down because of the way in which she is treated by her son, Tony Lumpkin. youngish Marlow and Miss Hardcastle come out as fine lovers and this pair of lovers is well matched by Hastings and Miss Hardcastle’s cousin. In ‘She Stoops to Conquer’ Goldsmith succeeds in introducing the humour of the finest type.The plot also is well-knitted and the characters h ave everything of comedy about them. The old mawkish sentimentality is impelled out and sense of pathos is supplanted by gleefulness and delight. Tony’s treatment of his mother, particularly when he drives her round and round the house, would have been extremely pathetic. Goldsmith drives out pathos from the scene and makes it truly comic. Thus everywhere in ‘She Stoops to Conquer’ Goldsmith introduces the qualities of a true comedy. 3. She stoops to conquer is a comedy of manners. DiscussThough it is only explicitly referred to in the prologue, an understanding of Goldsmiths play in context shows his desire to reintroduce his audience to the â€Å"laughing comedy” that derived from a long memorial of comedy that mocks human vice. This type of comedy stands in contrast to the then-popular â€Å"sentimental comedy” that praised virtues and reinforced buttoned-down mentality. Understanding Goldsmiths love of the former helps to clarify several el ements of the play: the low scene in the Three Pigeons; the mockery of baseness in even the most high-bred characters; and the celebration of absurdity as a fact of human life. . correspond between Marlow and Hasting? Marlow is a shy young man, who has a hard time communicating with ladies. Hes a adult male and considered to be honorable, but when put to the task of proposing to a young woman of quality….. he becomes knife tied and unable to speak. Note….. he has no trouble speaking to those he believes are not up to his own standards. Hasting, on the other hand, is a confidant and well-spoken young man, no matter who he speaks with. He could charm just about any woman of any class……. he might want to give marlow some lessons. major ThemesClass While the play is not explicitly a tract on class, the theme is central to it. The decisions the characters make and their perspectives on one another, are all by and large based on what class they are a part of. W here Tony openly loves low-class people like the drunks in the Three Pigeons, Marlow must hide his love of low-class women from his father and â€Å"society. ” His dynamic relationship with Kate (and the way he treats her) is defined by who he thinks she is at the time †from high-class Kate to a poor barmaid to a woman from good family but with no fortune.Hastings’ and Marlow’s reaction to Hardcastle is also a great example of the importance of classâ€they find him impudent and absurd, because they believe him to be of low class, but his behavior would be perfectly reasonable and expected from a member of the upper class, as he truly is. bills angiotensin-converting enzyme of the factors that keeps the play pragmatic even when it veers close to contrivance and sentiment is the unavoidable importance of money. While some of the characters, like Marlow and Hardcastle, are mostly indifferent with questions of money, there are several characters whose liv es are largely defined by a lack of access to it.Constance cannot run away with Hastings because she worries about a life without her inheritance. When Marlow thinks Kate is a poor relation of the Hardcastles, he cannot get himself to propose because of her lack of dowry. And Tony seems to live a life unconcerned with wealth, although the implicit truth is that his dalliances are facilitated by having access to wealth. Behavior/Appearance One of the elements Goldsmith most skewers in his plays satirical moments is the aristocratic emphasis on behavior as a gauge of character.Even though we today believe that ones behavior †in terms of â€Å"low” versus â€Å"high” class behavior †does not necessarily indicate who soulfulness is, umpteen characters in the play are often blinded to a characters behavior because of an assumption. For instance, Marlow and Hastings treat Hardcastle cruelly because they think him the landlord of an inn, and are confused by his be havior, which seems forward. The same behavior would have seemed appropriately high-class if they hadnt been fooled by Tony.Throughout the play, characters (especially Marlow) assume they understand someones behavior when what truly guides them is their assumption of the other characters class. Moderation Throughout the play runs a conflict between the refined attitudes of town and the simple behaviors of the country. The importance of this theme is underscored by the fact that it is the crux of the opening disagreement between Hardcastle and his wife. Where country characters like Hardcastle see town manners as pretentious, town characters like Marlow see country manners as bumpkinish.The best course of action is proposed through Kate, who is praised by Marlow as having a â€Å"refined simplicity. ” Having lived in town, she is able to appreciate the values of both sides of life and can find happiness in appreciating the contradictions that exist between them. Contradiction Most characters in the play want others to be simple to understand. This in many ways mirrors the expectations of an audience that Goldsmith wishes to mock. Where his characters are initially presented as comic types, he spends time throughout the play complicating them all by showing their contradictions.Most clear are the contradictions within Marlow, who is both refined and base. The final happy ending comes when the two oldest men †Hardcastle and Sir Charles †decide to accept the contradictions in their children. In a sense, this theme helps to understand Goldsmiths purpose in the play, reminding us that all people are worthy of being mocked because of their silly, base natures, and no one is above reproach. Comedy Though it is only explicitly referred to in the prologue, an understanding ofGoldsmiths play in context shows his desire to reintroduce his audience to the â€Å"laughing comedy” that derived from a long history of comedy that mocks human vice. This t ype of comedy stands in contrast to the then-popular â€Å"sentimental comedy” that praised virtues and reinforced bourgeois mentality. Understanding Goldsmiths love of the former helps to clarify several elements of the play: the low scene in the Three Pigeons; the mockery of baseness in even the most high-bred characters; and the celebration of absurdity as a fact of human life. Deceit/Trickery Much of this plays comedy comes from the trickery played by various characters.The most important deceits come from Tony, including his lie about Hardcastles home and his scheme of driving his mother and Constance around in circles. However, deceit also touches to the center of the plays more major themes. In a sense, the only reason anyone learns anything about their deep assumptions about class and behavior is because they are duped into seeing characters in different ways. This truth is most clear with Marlow and his shifting perspective on Kate, but it also is true for the Hardca stles and Sir Charles, who are able to see the contradictions in others because of what trickery engenders.\r\n'