Blake & Rivals Quotes

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  • Created by: Susy
  • Created on: 21-05-14 12:21
According to Sheridan what is the role of women?
'guide the plot'
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Money (Rivals)
'a lapdog that eats out fo gold'
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Money/Lydia's lack of Realism
'How charming will poverty be with him!'
3 of 84
language of love and commerce
'heart, angel, vows, pledged' comically opposed with 'business, foreclose, redeeming, exchange, lost'
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Lydia thinks Jack sees her as... (Money)
a 'mere Smithfield bargain'
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Faulkland decides to test Julia..
To see if she is 'sterling ore' or 'dross' and 'allay'. If she is of the best material he will allow his 'name' to be 'stamped' on her like a king's on a coin
6 of 84
Julia reveals a psychological subtlety to her fiance in I.ii 119-139
In 1790s prompt script marked for omission annotated in Sheridan's hand: ;The only speech in the play that cannot be omitted'
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Faulkland-Julia scenes are...
in discrete scenes and private lodgings to reflect private torture of the couple's world.
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Sheridan softens O'Trigger
'he had too much pride and delicacy to sacrifice the feelings of a gentleman to the necessities of his fortune'
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Jack features in how many scenes?
8/14, has the most asides and comments on others folly = alliance with the audience
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Jack is a man of honour, his aim in duping Lydia is marriage not seduction
'won't let it be an amicable suit' he will defend his 'claim against any man whatever'
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David on honour.
exposes the hollow conceits of the heroic code e.g. honour goes to the grave with you. 'just the place where I could make a shift to do without it'
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Acres' swearing
'oath referential' burlesques the play's concern with the nature of the relationship between language and reality
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Makes it seem as if God himself has sactioned Acres' swearing
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Elements of the physical and visual modes of farce (Acres)
'restive side-curls' and 'Devon monkeyrony'
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Acres and fighting
'fighting Bob'
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Use of settings and scenes
9 settings with only 14 scenes. Character, situation and theme are explore in lodgings (5xinteriors) shorter street scenes feature meetings and expositions and news
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Plot subordinate to character and character to language
Sheridan's working scripts show he constructed scenes around witticisms.
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Uses props (letters, money, books, pistols and swords) sparingly but to strong purpose. Focus of dailogue, action or visual humour primary concern is language not symbols
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Sheridan's preference for writing duologues...
creates a loose episodic structure.
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Preface to 1st publlished edition of the play
'by no means conversant with plays in general' and 'to avoid every appearance of plagiary'
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James Morwood (Shakespeare and Rivals)
both writers link love with a journey towards self-knowledge and maturity. Although Sheridan does not have WS's depth of feeling his moral vision is similar
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Julia and sight
'my heart has never asked my eyes'
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Jack and sight
Lydia's failure to alligan look of loving with look of 'duty' causes her to 'squint'
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Lydia and sight
Farce in IV.ii with Lydia turning her back on Jack, accusing her aunt of blindness and 'lloks round by degres' to see she has been deceived.
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Opening scenes divulge many secrets
Beverly and Jack 'are one and the same person' and Mrs M is 'Delia'
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Dramatic Irony
III.iii in the meeting with Jack and Mrs M as he reads his own letter. From IV.ii audience approaches denoument with complete understanding. Expectation of comic anagorisis
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Preperation of audience - attune the audience to witticisms
Julia cues Mrs M 'her select words so ingneiously misapplied without being mispronounced'
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Characters address the audience
Jack asides build a rapport e.g. 'I'll tease him a little before I tell him' and 'If she holds out now the devil is in it!'
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Julia's rose metaphor in closing speech
'ill-judging passion will force the guadier rose' into the garland of a couple's future, whose 'thorn offends' when the petals drop
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Sir Lucius on Lydia (Money)
If I did not want money I'd steal your mistress and her fortune with a great deal of pleasure
31 of 84
Julia on Faulkland
'You are the most teasing, captious, incorrigible lover' - link to problematic ending
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Faulkland-Julia's high-seriousness
'pluck the thorn from compunction'
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Mrs Malaprop and Faulkland similarities
Faulkland V.i 'it leaves no room for hard aspersions on my fame' vs. Mrs M 'an aspersion upon my parts of speech' in Beverley's letter
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Acres (Jack's aside)
'his character will divert you'
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Locke and Mrs M
Language not just an imitation of objects in the external world but a reflection of the mind that produces it
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Jack on Lydia and her fortune
'lose two thirds of her fortune' 'I could have brought her to that long ago' 'am I by no means certain that she would take me witht he impediments of our friend's consent'
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Lucy uses...
'mask of silliness' and 'dear simplicity'
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Lucy gains
'twelve pounds twelve' and 5 gowns and 'numberless' hats and ruffles and caps
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The play has a happy ending
Sir Lucius V.iii 'there is no dissatisfied person'
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Crowded anonymity of urban life in 18th century
created an opportuntity to construct a self and a reputation by which to promote in appearance alone. Theatre a perfect metaphor. A proliferation of disguises and role-paying underscores the relations in the play
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Character's tendency to turn dialogue into monologue suggests
absorbtion in their roles and failure to connect with one another.
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Modern critic Marvin Mudrick
'too inoffensive and vanilla-flavoured'
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Morwood of Mrs Malaprop and Sir A
'Old Fools'
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Goldsmith called sentimetnal comedy
'the miserable hybrid'
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'London Chronicle' Jan 1775
'a whole chorus hissed disapproval'
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Only two features of the original version of the play universally praised
the splendind drop-cloth depicting the South Parade and the sentimental subplot
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the cult of snesibility
the general belief in the 18th century that the capacity to feel and express refined emotions of love and friendship were true signs of worth
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the benevolist tradition and the doctrine of the universal benevolence
belief that people are well-intentioned by nature but are led astray by folly. If they reconnect with their true natures they will solve the conflicts caused by folly and earn forgiveness.
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Flaws of sentimental comedy?
Allows human distress to monopolise the action to the exclusion of exposing human failings, formulaic, frequently badly written and full of emtional platitudes delivered by unremittingly good characters
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A.N. Kaul
'Sheridan is concerned with nothing less than the problem of women's freedom in a society that looks upon women as property and upon marriage as a business transaction
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London (marriage and women)
'the youthful harlot's curse' transforms matrimony into a 'marriage hearse'
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Holy Thursday SOE (greed)
'rich and fruitful land' that 'Babes reduced to misery, fed with cold and usurious hand'
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A Poison Tree (deceit and anger)
'I was angry with my foe, I told it not - my wrath did grow' 'I sunned it with smiles and soft deceitful wiles'
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'The Sick Rose' (women, secrets)
'his dark secret love does thy life destroy'
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'The Sick Rose' form
Compressed - secrecy does not want it discussed or aired openly
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Chimney-Sweep SOI
'so if all do their duty they need not fear harm'
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Ackroyd on Chimney-Sweep SOI
'a destructive and ignorant innocence'
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'Little Black Boy'
'and round my tent like lambs rejoice' 'and he will then love me'
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Saree Makdisi
'The chimney sweepers who populate Blake's works, invariably crying and weeping, are the ultimate evidence of the extent to which work could literally form the worker'
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'The Garden of Love'
'a chapel was built in the midst where I used to play on the green'
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'The Garden of Love' internal rhyme, last line
'binding with briars my joys and desires'
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'The Angel'
'ten thousand shileds and spears'
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'My Pretty Rose Tree'
'turned away with jealousy and her thorns were my only delight'
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'A Little Girl Lost'
'Love! Sweet love! Was thought a crime' - not use of exlamation marks normally used very sparingly by Blake
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'The Lily'
'the modest rose puts forht a thonr,,,the lily white shall in love delight' no 'thorn' to 'stain her beauty bright'
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'The Divine Image' (Milton)
'the human form divine' from Blake's 'human face divine' made in God's image or divine virtues reside in us
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'The Divine Image' virtues
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'The Divine Image'
'the human dress'
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'The Divine Image' (argument)
'all must love the human form' regardless of whether he is 'heathen or Turk or Jew.'
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'Ah! Sunflower!'
'pale virgins shrouded in snow aspire where my sunflower wishes to go'
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Elizabeth Langland on Blake
'speaker-viewer' whose agency confers teh attendant 'sickness and guilt'
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Blake on marriage
'marriage is slave to nothing'
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1753 Lord Harwicke's Marriage Act
codifies the 'legal right of male possesion' of a wife
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Godwin on marriage
'condemned conventional restraints imposed upon sexuality'
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'Ah! Sunflower' (contrast to cold)
'sweet golden clime'
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Children should be taught from a young age to 'regulate' emotions
Mary Wollstonecraft expounded this in her treatise 'Elements of Morality, For the Use of Children'
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'The Chimney-Sweep' SOE inversion of the Holy Trinity to reflect tyranny on a theological and political level
'God and his priest and his king' who 'make up a heaven of our misery'
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'The Little Vagabond'
'healthy, plesant and warm' ale-house vs. 'cold' Church
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'Chimney-Sweep' SOI
'if he'd be agood boy, he'd have God for his father and never want joy'
80 of 84
'On Another's Sorrow'
'think not thou canst weep a tear and thy maker is not near' 'can a father see his child weep?' juxtaposition of earthly and heavenly parents
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'The Little Black Boy' (true Christian values)
'I'll shade him from the heat till he can bear'
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'The Echoing Green'
'our sports shall be seen on the echoing green'
83 of 84
'Holy Thursday' SOI
'walking two by two in red and blue and green' 'multitudes of lambs'
84 of 84

Other cards in this set

Card 2


Money (Rivals)


'a lapdog that eats out fo gold'

Card 3


Money/Lydia's lack of Realism


Preview of the front of card 3

Card 4


language of love and commerce


Preview of the front of card 4

Card 5


Lydia thinks Jack sees her as... (Money)


Preview of the front of card 5
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