School for Scandal

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Dodo Press, 2008 - 128 páginas
Richard Brinsley Sheridan (1751-1816) was an Irish playwright and Whig statesman. Richard was educated at Harrow School, and was to study law. However, his highly romantic elopement with Elizabeth Linley put paid to such hopes. His first play, The Rivals, produced at Covent Garden in 1775, was a failure on its first night. Sheridan cast a more capable actor for the role of the comic Irishman for its second performance, and it was a smash which immediately established the young playwright's reputation. It has gone on to become a standard of English literature. His most famous play School for Scandal (1777) is considered one of the greatest comedies of manners in English. It was followed by The Critic (1779), an updating of the satirical restoration play The Rehearsal. He was also a Whig politician, entering parliament in 1780. A great public speaker, he remained in parliament until 1812, and was a leading figure in the party. Amongst his other works are St. Patrick's Day; or, The Scheming Lieutenant (1775), The Duenna (1775), Scarborough and the Critic (1777) and School for Scandal (1777).

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Acerca del autor (2008)

The son of Thomas Sheridan, the Irish actor and theater manager, Richard Brinsley Sheridan began writing plays as a youngster in Bath. He went on to become one of the most successful playwrights of the later eighteenth century, manager of the Drury Lane Theater, and also a politician and orator of some note in the House of Commons. Along with his friends David Garrick (seeVol. 3) and Oliver Goldsmith, Sheridan was a member of the Literary Club of Samuel Johnson, having been proposed for membership by Johnson himself. Like Goldsmith, Sheridan also attacks "The Sentimental Muse" of weeping comedy. In his best-known play, The School for Scandal (1777), Sheridan revives the Restoration comedy of manners with its portrait of the beau monde and its deflation of hypocrisy. The play is indebted to William Congreve as well as to Moliere (see Vol. 2), and the picture of society is based on Bath and London. In The Rivals (1775), Sheridan amuses himself with the language games of Mrs. Malaprop and her "nice derangement of epitaphs." The allusions are consistently literary, as in her simile "as headstrong as an allegory on the banks of the Nile." Sheridan's acute ear for banalities and truisms is best seen in The Critic (1779), a burlesque of sentimental and inflated plays as well as self-important criticism. The play ridicules "false Taste and brilliant Follies of modern dramatic Composition." Sheridan's sparking dialogue, lively scenes, and masterful dramatic construction have proved to be enduringly popular.

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