Lesson Notes By Weeks and Term - Senior Secondary School 2

SUBJECT: LITERATURE-IN-ENGLISH

CLASS:  SS2

DATE:

TERM: 3RD TERM

REFERENCES

• She Stoops to Conquer by Oliver Goldsmith.
• Exam Reflection Literature- in-English by Sunday OlatejuFaniyi.
• Exam Reflection Literature-in-English (Prose and Drama) by Sunday OlatejuFaniyi.  
• The Castle of Otranto by Horace Walpole. 

WEEK FOUR

CHARACTERIZATION AND THEMES IN THE WORK

1. Young Charles Marlow is a major character in the play. He is a friend of Hastings. He is not a stable character. He is in love with Kate.
2. Hastings is a friend of Marlow and future husband of Nelly. He plans to elope with her.
3. Miss Kate Hardcatle is the daughter of Mr and MrsHardcastle. She is the character that stoops to conquer her true love, Marlow.
4. MrHardcastle is the patriarch of the Hardcastle’s family. He has planned to give the hand of the daughter to Sir Charles’ son, Marlow.
5. MrsHardcastle is the mother of Tony and Kate. She is materialistic and inconsiderate.
6. Tony Lumpkin is the son of MrsHardcastle. He is mischievous and uneducated.
7. Miss Constance Nelly is an orphan and niece to MrsHardcastle.
8. Sir Charles Marlow is the father of young Marlow and an old friend of  MrHardcastle.
9. Diggery is the Hardcastle’s head servant.
10. Jeremy is Marlow’s servant.

THEMES IN THE WORK

She Stoops to Conquerhas a variety of themes. Appearance versus Reality permeates the play, because main character Marlow can only feel comfortable in his own skin when he is the company of people who are not his peers.

Since Marlow cannot accept his reality, and he needs "the look" of something to find his comfort zone, it is safe to argue that he is guided by the appearance of lower class folk rather than by the real personality of people.

This theme is also evident in the way that Kate had to transform herself in order to get to Marlow. When she "stoops" and poses as a bar maid to get to know Marlow's real personality the roles become reversed and it is she who is basically fooling him.

Similarly, other characters seem to break with the expected social conventions that make men and women behave in a very specific way during courtship. This means that they adopt a personality in public and another personality in person. For example, Kate acts quite proper as her father tells her, but once this ends she is committing the unthinkable by actively pursuing Marlow. Again, this is indicative of the false versus real personalities that the characters adopt.

Other sub-themes include courtship, social conventions, gender roles, and family relationships, but notice how the theme of appearance and reality still affects these subtopics because the basic problem of the play, which is to bring Marlow and Kate together, can only occur when one of them adopts a fake persona.

CLASS

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 largely based on what class they are a part of. Where 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 “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 class—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.

MONEY

One 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 unconcerned with questions of money, there are several characters whose lives 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.

BEHAVIOUR/APPEARANCE

One of the elements Goldsmith most skewers in his play's satirical moments is the aristocratic emphasis on behavior as a gauge of character. Even though we today believe that one's behavior – in terms of “low” versus “high” class behavior – does not necessarily indicate who someone is, many characters in the play are often blinded to a character's 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 behavior, which seems forward. The same behavior would have seemed appropriately high-class if they hadn't been fooled by Tony. Throughout the play, characters (especially Marlow) assume they understand someone's behavior when what truly guides them is their assumption of the other character's 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 "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 Goldsmith's 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 of Goldsmith's play in context shows his desire to reintroduce his audience to the “laughing comedy” that derived from a long history of comedy that mocks human vice. This type of comedy stands in contrast to the then-popular “sentimental comedy” that praised virtues and reinforced bourgeois mentality. Understanding Goldsmith's 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/TRICTERY

Much of this play's comedy comes from the trickery played by various characters. The most important deceits come from Tony, including his lie about Hardcastle's home and his scheme of driving his mother and Constance around in circles. However, deceit also touches to the center of the play's 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 Hardcastles and Sir Charles, who are able to see the contradictions in others because of what trickery engenders.

EVALUATION QUESTIONS

1. Describe the main character in the work.
2. List five themes in the work.

WEEKEND ASSIGNMENTSECTION A

INSTRUCTION: Answer all questions

1. The clash of interest that originates from opposing forces in literature is A. climax. B. denouement.C. conflict.D. aside.
2. A major character whose flaws combine with external forces that lead to his downfall is aA. flat character. B. round character. C. romantic hero. D. tragic hero.
3. Which of the following is not a drama? A. Burlesque B. Resolution C. Pantomime D. Opera
4. A literary work in which the characters and events are used as symbols is known as A. characterization.B. allegory.C. metaphor.D. parallelism.
5. Characterization in a novel refers to the A. writer’s opinion of the characters. B. way the characters are revealed to the reader. C. characters and the way they behave. D. reader’s opinion of the characters.

SECTION B

Discuss the theme of love has no regard for social boundaries.

READING ASSINGMENT

Read up the characters of She Stoops to Conquer in Exam Focus.