Richard Brinsley Sheridan Quotes

Since, however, Sheridan’s biographers, from Moore to Fraser Rae, have shown that no authorised or correct edition of THE SCHOOL FOR SCANDAL was published in Sheridan’s lifetime, there seems unusual justification for reproducing the text of the play itself with absolute fidelity to the original manuscript

Rosy. Efacks, I can do nothing, but there’s the German quack, whom you wanted to send from town; I met him at the next door, and I know he has antidotes for all poisons. Just. Fetch him, my dear friend, fetch him! I’ll get him a diploma if he cures me.

I vow I bear no malice against the People I abuse, when I say an ill-natured thing, 'tis out of pure Good Humour — and I take it for granted they deal exactly in the same manner with me

Lauretta! ay, you would have her called so; but for my part I never knew any good come of giving girls these heathen Christian names: if you had called her Deborrah, or Tabitha, or Ruth, or Rebecca, or Joan, nothing of this had ever happened; but I always knew Lauretta was a runaway name.

Just. Why, zounds! will you hear me or no?

Rosy. Indeed! Good lack, good lack, to think of the instability of human affairs! Nothing certain in this world — most deceived when most confident — fools of fortune all.

SNEER. But, what the deuce, is the confidante to be mad too?

PUFF. To be sure she is. The confidante is always to do whatever her mistress does- weep when she weeps, smile when she smiles, go mad when she goes mad.-Now, Madam Confidante! But keep your madness in the background, if you please.

LADY SNEERWELL. Why truly Mrs. Clackit has a very pretty Talent — a great deal of industry — yet — yes — been tolerably successful in her way — To my knowledge she has been the cause of breaking off six matches[,] of three sons being disinherited and four Daughters being turned out of Doors. Of three several Elopements, as many close confinements — nine separate maintenances and two Divorces. — nay I have more than once traced her causing a Tete-a-Tete in the Town and Country Magazine — when the Parties perhaps had never seen each other’s Faces before in the course of their Lives. VERJUICE. She certainly has Talents.

Just. There they go, ding dong in for the day. Good lack! a fluent tongue is the only thing a mother don’t like her daughter to resemble her in.

Wit loses its respect with me, when I see it in company with malice.

First staged at the Drury Lane Theatre on 8 May 1777, The School for Scandal received an enthusiastic welcome from audiences, though it only initially ran for twenty performances in its first season. However, it returned the following season for more than forty performances and by the end of the eighteenth century it had been staged more than two hundred times. The play was well received by critics, as they celebrated the wit and morals of the work. The essayist and critic, William Hazlitt, was effusive in his praise, describing it ‘the most finished and faultless comedy we have’ and stating that, ‘It professes a faith in the natural goodness as well as habitual depravity of human nature’. Similarly impressed was the late nineteenth century poet and critic, Edmund Gosse, who commented in A History of Eighteenth Century Literature that it was ‘perhaps the best existing English comedy of intrigue’.

LADY SNEERWELL. I’m not disappointed in Snake, I never suspected the fellow to have virtue enough to be faithful even to his own Villany.

LADY TEAZLE. And I am sure I was a Fooll to marry you — an old dangling Batchelor, who was single of [at] fifty — only because He never could meet with any one who would have him. SIR PETER. Aye — aye — Madam — but you were pleased enough to listen to me — you never had such an offer before — LADY TEAZLE. No — didn’t I refuse Sir Jeremy Terrier — who everybody said would have been a better Match — for his estate is just as good as yours — and he has broke his Neck since we have been married!

Hard is the task to shape that beauty’s praise, Whose judgment scorns the homage flattery pays! But praising Amoret we cannot err, No tongue o’ervalues Heaven, or flatters her! Yet she, by Fate’s perverseness — she alone Would doubt our truth, nor deem such praise her own! Adorning Fashion, unadorn’d by dress, Simple from taste, and not from carelessness; Discreet in gesture, in deportment mild, Not stiff with prudence, nor uncouthly wild: No state has AMORET! no studied mien; She frowns no GODDESS, and she moves no QUEEN. The softer charm that in her manner lies Is framed to captivate, yet not surprise; It justly suits th’ expression of her face, — ’Tis less than dignity, and more than grace! On her pure cheek the native hue is such, That, form’d by Heav’n to be admired so much, The hand divine, with a less partial care, Might well have fix’d a fainter crimson there, And bade the gentle inmate of her breast, — Inshrined Modesty! — supply the rest.