[ اللغة الانجليزية ] : إستعدادات سنه ثآلثه " أنجليزي " للأمتحآنآت:) Fighting

[ThE lEgEnD]

بحاول اشرحهم وماابي منكم الا دعوه زينه بظهر الغيب


اخر قصيدتينهم دون جوان واود تو ذا ويست ويند


اول شي دون جوان كتبها لورد باييرون وحط فيها البايرونك هيرو وصفاته ان يكون معند بنفسه ومغرور ومليان اخطاء ويكون مزيون والحريم يحبونه باخطائه
المهم انشحر لنا بس 5 مقاطع تتكلم عن ستايل الاخ بايرون انه كيف رح يكتب قصيدته وان مايبغاها تكون عاديه زي حقون القدماء زي هوراس بل انه بيحط فيها بطل خارق سوبرمان وبيبداها من البدايه مو من الوسط زيهم وان يوم كتبها ماحط بلوت كتبها كذا ع عماه وان هو ناقد كتبها ع يسخر من مجتمعه وعاداته وكذا بس احس اول المقاطع بس كنه فخور بنفسه وهو يكتيها>>يتكشخ علينا>>



والقصيده الاخيره اوذ تو ذا ويست ويند كتبها الاخ شيللي وهو من صغار الرومانسييين
وماكان احد ييطيقه لا هو ولا شعر مطنشينه صفر ع الشمال ع كلامه قذر شوي والناس عندها بنات ماترضى ع عيالها
المهم صار متحطم وكتب هالقصيده ع يتمنى ان فيه امل للمستقبل ان احد يقرا قصايده مو يصير كنه طرطور كلن معطيه اشكل

هي 5 مقاطع كل واحد يتكلم عن شي المقطع يتكلم عن الشجر بفصل الخريف والثاني عن الغيمه بالخريف والثالث عن البحر لما يهيج والرابع والخامس يتكلم عن نفسه ويقارن نفسه باللي سبق
وهو يتكلم عن الربيع وباقي الدنيا خريف وباقي ماجاء الشتاء دليييل ع ان عنده امل بقدوم الربيع وعنده امل ان الناس يقرون قصايده يوم من الايام... تقولين كيف عرفنا ان الدنيا عنده ربيع؟؟؟ ان القصيده عن الرياح الغربيه وعندهم الرياح الغربيه تعني اول اشاره من قدوم فصل الربيع







ان شاء الله افدتك
حاولت القط من التفاريغ وتحويل من عنجليزي لعربيزي وان شاء الله فهمتيها اللحين

[شتاء عمري]

تسلميين ياقلبي ان شاءالله فل مارك

[Lost 3]

بنات هذي الكوتيشنز حقت الدرآمآ ذا رآيفلز
بس نآقص كوتيشن اتوقع قالته ليديآ اللي عندهآ تحطه !



Jul. Nay, you are wrong entirely. We were contracted before my father’s death. That, and some consequent embarrassments, have delayed what I know to be my Faulkland’s most ardent wish. He is too generous to trifle on such a point—and for his character, you wrong him there, too. No, Lydia, he is too proud, too noble, to be jealous; if he is captious, ’tis without dissembling; if fretful, without rudeness. Unused to the fopperies of love, he is negligent of the little duties expected from a lover—but being unhackneyed in the passion, his affection is ardent and sincere; and as it engrosses his whole soul, he expects every thought and emotion of his mistress to move in unison with his. Yet, though his pride calls for this full return, his humility makes him undervalue those qualities in him which would entitle him to it; and not feeling why he should be loved to the degree he wishes, he still suspects that he is not loved enough. This temper, I must own, has cost me many unhappy hours; but I have learned to think myself his debtor, for those imperfections which arise from the ardour of his attachment.


~


Sir Anth. Zounds! sirrah! the lady shall be as ugly as I choose: she shall have a hump on each shoulder; she shall be as crooked as the crescent; her one eye shall roll like the bull’s in Cox’s Museum; she shall have a skin like a mummy, and the beard of a Jew—she shall be all this, sirrah!—yet I will make you ogle her all day, and sit up all night to write sonnets on her beauty.

~


Faulk. They told me Julia would return directly; I wonder she is not yet come! How mean does this captious, unsatisfied temper of mine appear to my cooler judgment! Yet I know not that I indulge it in any other point: but on this one subject, and to this one subject, whom I think I love beyond my life, I am ever ungenerously fretful and madly capricious! I am conscious of it—yet I cannot correct myself! What tender honest joy sparkled in her eyes when we met! how delicate was the warmth of her expression! I was ashamed to appear less happy—though I had come resolved to wear a face of coolness and upbraiding. Sir Anthony’s presence prevented my proposed expostulations: yet I must be satisfied that she has not been so very happy in my absence. She is coming! Yes!—I know the nimbleness of her tread, when she thinks her impatient Faulkland counts the moments of her stay.

~

faulk. In tears! Stay, Julia: stay but for a moment.—The door is fastened!—Julia!—my soul—but for one moment!—I hear her sobbing!—’Sdeath! what a brute am I to use her thus! Yet stay! Ay—she is coming now:—how little resolution there is in a woman!—how a few soft words can turn them!—No, faith!—she is not coming either.—Why, Julia—my love—say but that you forgive me—come but to tell me that—now this is being too resentful. Stay! she is coming too—I thought she would—no steadiness in anything: her going away must have been a mere trick then—she sha’n’t see that I was hurt by it.—I’ll affect indifference—[Hums a tune; then listens.] No—zounds! she’s not coming!—nor don’t intend it, I suppose.—This is not steadiness, but obstinacy! Yet I deserve it.—What, after so long an absence to quarrel with her tenderness!—’twas barbarous and unmanly!—I should be ashamed to see her now.—I’ll wait till her just resentment is abated—and when I distress her so again, may I lose her for ever! and be linked instead to some antique virago, whose gnawing passions, and long hoarded spleen, shall make me curse my folly half the day and all the night.

~


Abs. ’Tis just as Fag told me, indeed. Whimsical enough, faith! My father wants to force me to marry the very girl I am plotting to run away with! He must not know of my connection with her yet awhile. He has too summary a method of proceeding in these matters. However, I’ll read my recantation instantly. My conversion is something sudden, indeed—but I can assure him it is very sincere. So, so—here he comes. He looks plaguy gruff.

~

بالتوفيق للجميييييييييع و دعوآتكم

[Lost 3]

المشاركة الأصلية كتبت بواسطة never give up

The Rivals:

QUOTATIONS

what are we going to talk about?

We will say it is an explicit drama and we will say that there is a setback in the 18 century. In the late 17th century, a modern movement started, and then it was interrupted in the 16th century by Neo-classical drama.
And say why there is a soliloquy , because a writer started to imitate the 16th century writers and soliloquy is one of the features of 16th century writers, like Shakespeare and Ben Johnson.

Richard Sheridanبتاع satireمثلا، عن الMedieval تتكلموا عنها ،عن Cultural elementsلو لقيتوا مثلا

Sheridan is not criticizing the sentimental character. He is sympathizing with him. He arouses sympathy. his satire is not . He is satirizing Faulkland, he is satirizing people who have excess of sentimentality. There is satire, but it is not severe.}
1- Act I, scene ii :JULIA Nay, you are wrong entirely. We were contracted before my father's death. That, and some consequent embarrassments, have delayed what I know to be my Faulkland's most ardent wish. He is too generous to trifle on such a point:—and for his character, you wrong him there, too. No, Lydia, he is too proud, too noble to be jealous; if he is captious, 'tis without dissembling; if fretful, without rudeness. Unused to the fopperies of love, he is negligent of the little duties expected from a lover—but being unhackneyed in the passion, his affection is ardent and sincere; and as it engrosses his whole soul, he expects every thought and emotion of his mistress to move in unison with his. Yet, though his pride calls for this full return, his humility makes him undervalue those qualities in him which would entitle him to it; and not feeling why he should be loved to the degree he wishes, he still suspects that he is not loved enough. This temper, I must own, has cost me many unhappy hours; but I have learned to think myself his debtor, for those imperfections which arise from the ardour of his attachment.
2- Act II, scene i : Sir ANTHONY Zounds! sirrah! the lady shall be as ugly as I choose: she shall have a hump on each shoulder; she shall be as crooked as the crescent; her one eye shall roll like the bull's in Cox's Museum; she shall have a skin like a mummy, and the beard of a Jew—she shall be all this, sirrah!—yet I will make you ogle her all day, and sit up all night to write sonnets on her beauty.
' Harkee' and 'Zounds' are examples of the effect of the 16th century language.
3- Act III, scene i : ABSOLUTE 'Tis just as Fag told me, indeed. Whimsical enough, faith! My father wants to force me to marry the very girl I am plotting to run away with! He must not know of my connection with her yet awhile. He has too summary a method of proceeding in these matters. However, I'll read my recantation instantly. My conversion is something sudden, indeed—but I can assure him it is very sincere. So, so—here he comes. He looks plaguy gruff. [Steps aside.]

4- Act III, scene ii : FAULKLAND They told me Julia would return directly; I wonder she is not yet come! How mean does this captious, unsatisfied temper of mine appear to my cooler judgment! Yet I know not that I indulge it in any other point: but on this one subject, and to this one subject, whom I think I love beyond my life, I am ever ungenerously fretful and madly capricious! I am conscious of it—yet I cannot correct myself! What tender honest joy sparkled in her eyes when we met! how delicate was the warmth of her expression! I was ashamed to appear less happy—though I had come resolved to wear a face of coolness and upbraiding. Sir Anthony's presence prevented my proposed expostulations: yet I must be satisfied that she has not been so very happy in my absence. She is coming! Yes!—I know the nimbleness of her tread, when she thinks her impatient Faulkland counts the moments of her stay.

5- Act III, scene ii: JULIA I know not whither your insinuations would tend:—but as they seem pressing to insult me, I will spare you the regret of having done so.—I have given you no cause for this! [Exit in tears.]
FAULKLAND In tears! Stay, Julia: stay but for a moment.—The door is fastened!—Julia!—my soul—but for one moment!—I hear her sobbing!—'Sdeath! what a brute am I to use her thus! Yet stay!—Ay—she is coming now:—how little resolution there is in a woman!—how a few soft words can turn them!—No, faith!—she is not coming either.—Why, Julia—my love—say but that you forgive me—come but to tell me that—now this is being too resentful. Stay! she is coming too—I thought she would—no steadiness in anything: her going away must have been a mere trick then—she shan't see that I was hurt by it.—I'll affect indifference—[Hums a tune; then listens.] No—zounds! she's not coming!—nor don't intend it, I suppose.—This is not steadiness, but obstinacy! Yet I deserve it.—What, after so long an absence to quarrel with her tenderness!—'twas barbarous and unmanly!—I should be ashamed to see her now.—I'll wait till her just resentment is abated—and when I distress her so again, may I lose her for ever! and be linked instead to some antique virago, whose gnawing passions, and long hoarded spleen, shall make me curse my folly half the day and all the night. [Exit.]

6- Act IV, scene ii:ABSOLUTE
You wrong me, Lydia, you wrong me—only hear——
LYDIA So, while I fondly imagined we were deceiving my relations, and flattered myself that I should outwit and incense them all—behold my hopes are to be crushed at once, by my aunt's consent and approbation—and I am myself the only dupe at last!—[Walking about in a heat.] But here, sir, here is the picture—Beverley's picture! [taking a miniature from her bosom] which I have worn, night and day, in spite of threats and entreaties!—There, sir [Flings it to him.]; and be assured I throw the original from my heart as easily.
ABSOLUTE Nay, nay, ma'am, we will not differ as to that.—Here [taking out a picture], here is Miss Lydia Languish.—What a difference!—ay, there is the heavenly assenting smile that first gave soul and spirit to my hopes!—those are the lips which sealed a vow, as yet scarce dry in Cupid's calendar! and there the half-resentful blush, that would have checked the ardour of my thanks!—Well, all that's past!—all over indeed!—There, madam—in beauty, that copy is not equal to you, but in my mind its merit over the original, in being still the same, is such—that—I cannot find in my heart to part with it. [Puts it up again.]

1-What are the themes of “The Rivals”?

The play has some major and some minor themes. The major themes in the play include the theme of the gap between generations and the father – son relationship. Besides the other minor themes found in the play that are the theme of master- servant relationship and the theme of city life versus country live.

One of the main themes in the play is the theme of the gap between generation. It is about Lydia. She is a very wealthy girl, but she is underage. Her aunt is guardian, so she cannot marry without the acceptance of her aunt. And they talk about hero. Mrs. Malaprop is the guardian of Lydia. Lydia is her ward, underage. Sir Anthony Absolute is the guardian of Julia.
It is in the English law. William Congreve and Richard Sheridan are criticizing the English law, because it puts people underage under the authority of the guardians الوصي .
(This example can be used in answering the question about satire in the play)

Another example that shows the theme of the gap between generations is
Odd! Sir Anthony will stare to see the Captain here!”
We knew from this conversation that Sir Anthony Absolute does not know that his son; Captain Absolute, is in Bath. All of them are from London. The father does not know and he will be surprised. The coachman says that when the father knows that his son is in Bath, he will be very surprised. Because he does not tell him that he will go to Bath.
The old generations do not consider sentiments something respectable and the young generations consider sentiments. This is the effect of philosophers; Anthony Cooper (The Earl of Shaftesbury), and the French philosopher; Jean Jacque Rousseau. Both of them confirmed the importance of sentiments in our lives and related to morality. They considered sentiments (المشاعر و الحب) something immoral. The old generation. So, the old generationsمالهم دعوى بالفلاسفة الجدد they are old-fashion ماشيين على النظام القديم)). They consider sentiments immoral.
When Sir Anthony talks about women education; girls’ education, He says that girls should not get education because education corrupts them and he goes to Malaprop to inform her that he has see Lucy coming out from the circulating libraries and getting sentimental novels for Lydia.
Sir Anthony Absolute goes to Mrs. Malaprop and tells her that he just came to tell her that he has caught Lucy, the maid of Lydia, getting sentimental novels from the circulating libraries. He tells her that Lydia is reading sentimental novels at her back. Here he says his opinion. We have the theme of the gap or the conflict between generations.
In this scene Sir Anthony Absolute says very bad ideas about girls. He says that young girls should not get educated at all. It is better for them not to know how to read and write because when they learn reading, they read sentimental novels and they become disobedient, indecent, and they talk about freedom and love. He is retarded.
These are retarded or backward ideas. Mrs. Malaprop disagrees with him. She pretends to be better and she tells him that she puts Lydia into a boarding school to make her read and talk well because it is important for girls. This is her opinion. She thinks that reading well is important for girls because it's shameful for girls who don't get education to misuse the words. This is ironical.
(we can use this example in answering the question about the technique and about satire)
She taught Lydia to talk elegantly and not to misuse words and she herself misuses words. There is another theme which is part of the first one. Sir Anthony Absolute suggests for Mrs. Malaprop to make his son Captain Absolute marry Lydia. He says he would be a good match because both of them are rich and Mrs. Malaprop is a friend of Sir Anthony Absolute. She accepts saying this is a good idea. They are playing with their wards hearts as if they are toys in their hands.
Then, Mrs. Malaprop asks him if Captain Absolute will agree to marry Lydia or not, He says, " Objection!---let him object if he dare!" he says that he can never object. So, Sir Anthony Absolute is really authoritative father. He is a dictator. He chooses the wife of his son even before telling him.
(This could be included in answering the point about the theme of father-son- relationship)
Sir Anthony Absolute goes and talks to Jack, his son. He tells him that he has a wife for him. So, Jack says wonders that his father chose a wife for him without knowing. Jack objects. He tells his father that he is in love with somebody else and he has promised to marry her. He is talking about Lydia. You know that Sir Anthony Absolute, his opinion of women is very low. He thinks very low of women. He tells him that it is not a problem to break up with her. He doesn’t care about her feelings. He says that women’ they are not worth redeeming’. Jack Absolute tells him plainly that in this case he disobeys him. He will not marry the one he has chosen. Sir Anthony Absolute is very upset and he gives Jack a period of six hours and a half to reconsider his decision. Then Sir Anthony Absolute, because he is very authoritative, he threatens Jack if he refuses to carry on his orders; he will disown and disinherit him.
In a soliloquy, Jack is talking to himself and he says that his father is contradicting himself because he married his mother for love, not for money. This is the character of Anthony Absolute. He is betraying his own principles. He married the mother of Jack for the sake of love when he was young. Anthony Absolute was sentimental when he was young and when he grew old, he changed a lot and he became very harsh and materialistic.
Sir Anthony is surprised to find his son changing his attitude. He submits to his will. He becomes very. He goes and talks to his father and tells him that he’ll do whatever he likes, that he's his obedient son. he’ll do this even if he brings for him a very bad lady, even if she is old, even if she is with a hump, even if she has one eye only.
Act IV, scene i, illustrates the theme of master-servant relationship. In this scene Acres talks to David; his servant. The conversation shows that he is not only a servant but also a friend. He talks to him like a friend. Acres talks to his servant David about the challenge. He tells him that he is going to write a challenge to duel his rival Beverley. David is from the countryside also. He is talking like Acres. You will find the same language, instead of saying look he says, ' Lokee', this language shows that he is from the countryside.
Sir Anthony Absolute took his son Jack Absolute by force into the house of Mrs. Malaprop to meet Lydia. He is reluctant to go, he doesn't want to go. He is very embarrassed because he doesn't know how to meet Lydia and what to tell her.

a second major theme in the play is the theme of relations. for example We have the relationship between the father; Sir Anthony Absolute, and his son; Captain Absolute (father-son relationship). Sir Anthony Absolute was forcing him and told him, I will make you marry a lady with two humps and one eye. This shows how he is very bad dictator. Sir Captain Absolute says when his father was young, he was very sentimental and his father married his mother for love. He was very sentimental. But when he grew up, he changed.
(this is also an example of the theme of the gap between generations )
what the devil do you do with a wig, Thomas? None of the London whips of any degree of ton wear wigs now.
Here, we have The countryside versus the city. We have a kind of comparison between the city life and the countryside or the city people and the country people.















2-Discuss the classical features in the play.
There was a setback. The modern movement that ruled at the end of the 17th century was interrupted in the 18th century. there are many classical features found in the play" the Rivals" first the structure of the play is classical structure. Sheridan is using classical allusions. he also adopts the idea of using allegorical names which is a classical feature. as a classicist, Sheridan follows the three unities in his play. The mistaken identity that is found in the play is also a classical feature.
Concerning the structure of the play, the play consists of 5 acts. It has prologue and epilogue. The play starts with an exposition and then the events rise to a climax. Then we have the resolution. Act I, Scene I is the exposition. When you find an exposition, it means that Richard Sheridan follows the classical traditional technique.
in the exposition we get to know about the main characters, the main themes, the setting, and the style of the writer.
In the exposition we get to know the main characters. So, we knew that the main protagonist is Captain Absolute; the one who loves Miss Lydia Languish. She is very rich, but she has a singular taste. She is sentimental and she loves to marry a poor man. So, Captain Absolute disguises himself as a poor Ensign to attract her attention. Then we knew from this exposition that because Lydia is underage, she has an aunt who controls her fortune and she does not accept her ward to marry such a poor man. The aunt does not know how Ensign Beverley looks like and she did not also meet Captain Absolute. هم الاثنين واحد, but did not see him. If she sees him, she will not know him, because they did not meet at home. So, she does not know how Ensign Beverley looks like.
So, from this exposition we know that Lucy takes money, because all servants are like this.

We know that there are two plots. The main plot is the story of Lydia Languish and Ensign Beverley. And there is a subplot. It is about Mr. Faulkland who is in love with Julia. Julia is staying with Sir Anthony Absolute; the father, because he is her guardian as Her father died ,
As for the allegorical names that Sheridan uses in the play we have Sir Anthony Absolute: what is the meaning of absolute? When we say absolute authority, this means سلطة مطلقة. "Absolute" means tyrannical. مستبد، طاغية he thinks that he is perfect and he expects his son and anybody to obey him. when he says something, nobody should disagree with him. So, he is absolute. الكلمة يلي يقولها ما بتتكرر. Sir Anthony Absoluteis the father and Captain Absolute is the son.
Acres=فدادين . ‘Acres’ shows that the character is from the countryside.
Sir Lucius O’Trigger: الزناد بتاع المسدس Trigger is one part of a pistol. The name refers to an Irish man who loves duellingالمبارزة.Duelling is inherited from the middle ages. Until the 18th century still we have influences from the middle ages.
-Fag means servant خادم.
-Coachman.The coachman of Sir Anthony Absolute. Coachman= (carriageيلي بيسوقلوا ال).
-Mrs. Malaprop:The name has French influence. Mal in French is ألم، وجع. ‘Malaprop’ means inappropriate غير لائق. The name refers to a lady who misuses the words.تستخدم الكلمات في مواضع غير سليمة)) she misuses the English words to bring comedy; to bring laughter. Malapropism became a style in comedy.
Lydia Languish:Lydia اسم عادي, but Languish in English means laziness. The name refers to Lydia who is lazy, dreamy and sentimental. One of the sentimental attitudes is to languish on a sofa; to lie on a sofa and read sentimental novels.it was called the age of sentimentality. So, one of the sentimental attitudes is to languish on a sofa; to lie on a sofa and read sentimental novels.
So, it shows that Sheridan applies Ben Johnsonian theory of humors. The names reflect the social attitude of the characters and the characters have allegorical names. Ben Johnson took this idea of allegorical names from the medieval morality plays.
Sheridan keeps the three classical unities of time, action and place. Let we have one setting that is the city of Bath. المشهد في مدينة باث. we have the
Unity of action as the play takes place within 24 hours- within one day
This is a classical influence. (This has to do with the techniques. (Unitiesنتكلم على ال Techniques (في سؤال ال
Richard Sheridan kept the unity of place; all the events of the play happen in the city of Bath. He also kept the unity of time, because all the events happen within one day; 24 hours. No character, travels everywhere; all the events in Bath within 24 hours.

Fag
Why then the cause of all this is-L,O,V,E,-love, Thomas, who (as you may get read to you) has been a masquerader ever since the days of Jupiter.

(Since the days of Jupiter) it is a classical allusion. So, here Fag says that love makes people disguise and do other things since the days of Adam and Eve. But here he refers to Jupiter; the god of the gods for the Romans.
Sir Anthony is surprised to find his son changing his attitude. He submits to his will. He becomes very obedient Absolute says,
‘ you before hinted something about a hump or two, one eye, and a few more graces of that kind—‘. This is what Sir Anthony told his son before. Sir Anthony says
,’ What a phlegmatic sot it is!’.This is medieval influence.
Richard Sheridan talks about the old medieval theory of humors. The phlegmatic character is very cold and reasonable.
( you have to explain the phlegmatic character).
Jack tells his father that he accepts to marry the lady he chooses for him. And he doesn’t care about her beauty because he only likes her to be normal in appearance. Sir Anthony accuses him of being phlegmatic. That is to say cold and too reasonable. After that Sir Anthony Absolute tells his son that he will write a note to tell Mrs. Malaprop that Jack will visit her directly. This is to keep the unity of time.
' Harkee' and 'Zounds'

Are examples of the effect of the 16th century language.
3-Discuss the elements of satire as a major technical device in The Rivals play.
In " The Rivals " Richard Sheridan is satirizing the legal corruption. He is satirizing the corruption at the court. Also, Sheridan is satirizing the British laws that make the guardians control the freedom of the world. He is satirizing the excess of emotion. He is satirizing Sir Lucius O’Trigger because he is Irish and because he is catholic.



For example of the corruption in the court Remember in the prologue the lawyer was bribing one of thejudges.كان في فساد في المحكمة
And fifty sons of Phoebus in the Fleet!
It is poetic. Lines are rhyming together. They mean that authors usually go to the court. ‘Fleet’ means اسطول , (jailلكن المقصود بيه السجن). They always go to jail because they are poor and they have to pay debts. So, we know now from this prologue that the situation of the authors in the 18th century was very bad. They were poor and they went to jail because of the debts. They could not pay debts for creditors, so they went to jail.
And by the generals voice will stand or fall.
The Serjeant told the attorney that at court people can plead to escape the punishment and leave the court and go to another court. People can plead يستأنفوا and change the court و يغيروا المحكمة . And they can be judged by other judges. However, in theater we cannot do that. The audiences are the same everywhere. So, any people or criminals can do this. Any people were accused of anything can do this at court. But dramatists are not allowed to do this because if a play falls in one theater, you cannot take it for another theater and it will succeed.


Also, Sheridan is satirizing the British laws that make the guardians control the freedom of the worldينتقد القانون البريطاني .
examples. And you could say that these ideas are there because of the effect of the philosophers; Shaftesbury.
It is about Lydia. She is a very wealthy girl, but she is underage. Her aunt is guardian, so she cannot marry without the acceptance of her aunt.
Richard Sheridan is criticizing the English law, because it puts people underage under the authority of the guardians الوصي .


He is satirizing the excess of emotion.
For example: Faulkand and Lydia are the characters he is satirizing for having and showing excess of emotion.
why he is satirizing them and tell me the features of the sentimentality and the dream of elopement.

This is what he is satirizing although he himself was sentimental and he was exactly like the character of Faulkland.
This is why it is called anti-sentimental comedy.
He is satirizing Sir Lucius O’ Trigger because he is Irish and because he is catholic.
He is stereotype of the Irish people. Richard Sheridan satirizes the Irish people, he uses Sir Lucius O'Trigger as a stereotype. Sir Lucius O'Trigger keeps on warming Acres up to go and duel Beverley. And he tells him that he should write a challenge. It is medieval feature. Then he says that dueling will keep Acres's honour. He says that dueling should be this evening (to keep the unity of time).
Acres says that he will go dueling preserve his hour and his ancestors'. He is not fighting for his own honour only. David told him, don't use big words. These are like false slogans. David says that fighting for his own honour and for the ancestors are false slogans. David is against the idea of dueling as if Richard Sheridan uses David to criticize the bad habit of dueling. David says that the challenge is 'a mallcious- looking letter'. It is satirizing the bad habit of dueling. Acres accuses David of being coward. Acres is coward. He is scared, he doesn't really want to go dueling but it seems that Sir Lucius O' Trigger has influenced him and pushed him and involved him in dueling but he doesn't like bloodshed.
four people are involved in dueling: Captain Absolute, Acres, Sir Lucius and Faulkland. Faulkland went with them because when he is desperate, he is not scared of death. Fag told everybody to hurry and come quickly because there will be murder soon. David expresses his hatred towards Sir Lucius O'Trigger and he says that he is the one to be blamed because he is the one who asked everybody to go dueling. This is criticism to Sir Lucius O'Trigger. It is again satire of the Irish people. Richard Sheridan is always blaming the Irish people for this idea of dueling as if it's their invention not the invention of the middle ages. Everybody hurries to prevent the mischief.
Richard Sheridan belongs to the Whigs party and the Whigs in the 18th century called a country party. He belongs to the country party. He does not like the Irish people. So, he wrote this play. He was very severe with the Irish character called Sir Lucius O’Trigger. The audience did not like this play because Sir Lucius O’Trigger looked very bloody and his character was very bad. The Irish people got offended. So, it was taken as if it is against the Irish people and it was very clear. Richard Sheridan rewrote the play in 11 days and he changed the actor because the actor was hated by the people after he played the role of Sir Lucius O’Trigger. Richard Sheridan reduced this kind of attack on the Irish people.

4-Discuss the influence of the philosophers and the public 18th century figures on the characters.
We say that Richard Sheridan has been influenced by Ben Johnson in giving his characters allegorical names. أسامي استعارية And give examples. This is not invented by Ben Johnson, but he took it from the medieval morality plays.
( here you have to mention the meanings of names- give the example of Sir Anthony when he described hi son as being phlegmatic character)
Sheridan was also influenced by George Whitfield and -John Wesley. They are the evangelists.
So, the Serjeant in the court was showing reluctance. عامل مش عايز he is showing unwillingness. He pretends that he does not see the paper. he searches for his spectacles. وين النظارات بتعتي .So, the attorney understood that he needs bribe. . He took the money and then he said,
Serjeant
The scrawl improves-(More [money is given])
He wants more money. He gives him more money. He is bribing him.( هو بيرشيه)
we understand from this that There was corruption in law or at court at that time in the 18th century.
There is a Christian influence in the play. Characters have flaws and are sinful. For example, there is Mrs. Malaprop is lusty. And we have Sir Anthony Absolute is authoritative and backward. And Captain Absolute is materialistic. However, they know, they will be saved.
at the end, Captain Absolute tells everyone that Beverley and Captain Absolute are one and the same. And he begs Lydia to forgive him and accept his love. Of course, the first thing Lydia said, and there will be no elopement. The most important thing in her sentimental dream is to elope with Beverley. She doesn't care about the scandal, it is something to be proud of for her. She tells Captain Absolute that he has ruined her sentimental dream and she doesn't want him anymore. Mrs. Malaprop interfered and she said, you are Beverley, you are the one who told on me 'the old weather- beaten she- dragon', is it you? He is very embarrassed and he asked the help of his father. He told his father, if you don't help me, I'll be finished. So, her father Sir Anthony Absolute interfered and he told Mrs. Malaprop, we are big enough, we are grown-up 'to forget and forgive'. This is a Christian note of forgiveness, a Christian note of reconciliation. Sir Anthony Absolute says, that Christian people should forget the vicious acts and forgive those who have been vicious to him. This is Christian influence in the play. So Mrs. Malaprop simply forgives Captain Absolute. Then Mrs. Malaprop and Sir Anthony Absolute left the stage and they left the couple together. Captain Absolute shows his other face. He starts to talk in a very materialistic way
These are the ideas of Christianity. All people are sinful, but we will be saved; we will reach the salvation at the end.
The play ends with a note of forgiveness. Acres forgives Captain Absolute. Lydia and Sir Lucius forgive Malaprop . Acres forgives Captain Absolute when he comes and tells him that he is Beverly
Lydia and Sir Lucius forgive Malaprop because Mrs. Malaprop pretends to be Celia . Sir Lucius believes that she is a young lady; she is Lydia. Julia forgives Faulkland. That he committed a crime. he killed somebody and he has to leave the country.
Another philosophers who influenced Sheridan was -Anthony Cooper (The Earl of Shaftesbury) and Jean Jacque Rousseau
we know their ideas on sentiments, freedom and individuality.(Young generationباينة مع ال). Both of them talk about sentiments as part of morality.
We have Lydia and Faulkland, they show excess of emotion and they are satirized by Richard Sheridan.
Captain Absolute and Julia can make balance between emotion and reason. So, they are the only sensible character in the play. They are representative the age of sensibility.
Sheridan satirized the guardians who control their ward’s freedom. (lack of sensibility) they are against emotion. They are old-fashion.

5-Discuss the technique of the play.
The setback.
And you will say that features from the 16th century appeared. So, what happened in the 18th century? There was a setback. Drama became explicit. So, are there classical features? We will see the much classical features.

-The classical features. The classical structure (5 acts, prologue, epilogue, exposition, climax, denouement and all these things.)
What are the 16th century features? Language, soliloquies, asides.
In the classical technique there are exposition, climax and there is denouement and in the middle there is disguise which makes mistaken identity which creates dramatic irony. Also, the 5 acts, the epilogue and prologue, the unities all these are part from the classical structure.
- Characterization (how he delineated his characters.) you say that there are sentimental characters and anti-sentimental characters.
Sheridan characterization is distinctive because it is realistic. You can consider Sheridan universal.
- The style of the writer. اي يلي بميز أسلوب الكاتب؟
(satire).
-Autobiographical elements.
Sir Faulkland represents Sheridan. Richard Sheridan lived in Bath. That is why he has chosen the setting at Bath. He met Elizabeth Linley in Bath. He eloped with her first and then he married her. And he fought two duelists for her sake. He fought two of his rivals. This is one of the characteristics of sentimentality. And because of his excess of sentimentality he looked ridiculous. And Elizabeth Linley left him until she died.
We know now from this prologue that the situation of the authors in the 18th century was very bad. They were poor and they went to jail because of the debts. They could not pay debts for creditors, so they went to jail. It was good time for actors, not writers. Writers were very poor at that time, but actors had better chances of living.
It is an autobiographical element. Sheridan himself was so poor and he was a writer. He used to have debts and at the end of his life he sold his all furniture. He entered jail because he could not pay when his creditors could not bear him. He did not remain as a member of parliament and he entered the jail because he could not pay his debts.

The structure (write about how the play is divided into 5 acts, it has a prologue and epilogue- act I scene I is the exposition)
the climax of the play is the discovery scene, it is when Lydia came down from upstairs. She doesn't want to look to Captain Absolute. So, she keeps putting her face in aside ways. Then Captain Absolute starts talking to Lydia aside. He asks her to talk to him but don't get shocked. She said, this is Beverley, how can Beverley fool the father of Captain Absolute?
in this play, we find two prologues. It is something strange to find two prologues. The first prologue was written by Richard Sheridan at the first time when he wrote the play. It is classical feature. Because it is the Neo-classical age. One of these classical features is to begin the play with a prologue and to end it in an epilogue.
(this should be written in answering the question about the classical features in the play)
Here we find like a very short play or a dramatic scene and this is new. Any classical prologue is written in blank verse; poetry. It has a poetic form and it is blank verse. But Richard Sheridan is experimenting with a new form for the prologue. He made something new.
When Richard Sheridan first wrote the play he made this prologue, but it does not have a poetic form, it has dramatic form. It was written in a form of a dramatic scene.
Attorney
Some sons of Phoebus in the courts we meet,
‘some sons of Phoebus’. Here there is a classical allusion; references.
By Phoebus he means the god of poetry at that time and this is classical allusion. The doctor: very good. So, here there is classical allusion. In the prologue Richard Sheridan refers to Phoebus Apollo; the god of poetry. Poetry.In the classical time when they say poetry, they refer to art in general ( يقصدو الفن عامة).
And by the generals voice will stand or fall.
This is the first prologue. This is not a traditional form of a prologue. It is one of the classical elements to write a prologue, however, Richard Sheridan changes in the form of the prologue. Instead of being poetic in form, it was dramatic. It is classical of course to write a prologue in blank verse, however, he made some changes. He made some changes.
He made the prologue, but differently. There is no blank verse. It is poetic, but not blank verse, maybe heroic couplets.
Now, there is the other prologue. After eleven days Richard Sheridan wrote another prologue. Mrs. Bulkley is the one who plays Julia. She is a sensible character متعقلة and she says the prologue. The second prologue is written in heroic couplets. It took the traditional poetic form, however, it is not written in blank verse but in heroic couplets. Mrs. Bulkley the actress who plays Julia says that prologue, she addresses the audience and she talks about comedy and tragedy as two sisters. She says that comedy cheers people up. So, it is better than tragedy that saddens the people. Then she says that the characters in the 18th century comedy are not realistic and often sentimental. Comedy entertains the audience with humor comedy, moral lessons and sentimental scenes while tragedy includes blood, revenge, hatred, plotsحيل and unhappiness. So, she is telling us something about the age. there were two kinds of drama in the 18th century. There was a tragedy called pseudo classical tragedy. The writers were imitating classical tragedy because it was the Neo-classical age. Pseudo= (classical tragedyشبه أو تقليد لل )
It fell and that is why we only study comedy in the 18th century. Comedy was popular. And we used to have comedy of manners and comedy of manner was two kinds; sentimental and anti-sentimental.
So, in the second prologue she is talking about a fact in society. She talks about the fact in theater at that time. Julia is talking about a fact. (بتتكلم عن واقع المسرح في القرن 18). Tragedy and comedy are like sisters. she is talking about this sister and talking about this other sister and comparing them together. So, from the prologue we do not learn about the play. Usually, the prologue and epilogue are addressed to the audience. It does not talk much about the play.
In the 18th century Richard Sheridan was influenced by all the adopted Ben Johnsonian concept of theory of humor. So, he delineated characters as humors. Ben Johnson is from the the 17th century.
( here you have to mention the meanings of the names)
So, it shows that Sheridan applies Ben Johnsonian theory of humors. The names reflect the social attitude of the characters and the characters have allegorical names. Ben Johnson took this idea of allegorical names from the medieval morality plays.
Because he wrote within one day, This is a classical influence. This has to do with the techniques. (Unitiesنتكلم على ال Techniques (في سؤال ال . Richard Sheridan kept the unity of place; all the events of the play happen in the city of Bath. He also kept the unity of time, because all the events happen within one day; 24 hours. No character, travels everywhere; all the events in Bath within 24 hours. All the events happen in Bath. Anywhere in Bath, at park, in front of a house, in a street, all these are within the borders of Bath.يبقى المكان ما تغير طالما داخل حدود مدينة باث)). This is a unity of place.

For example, He will not marry the one he has chosen. Sir Anthony Absolute is very upset and he gives Jack a period of six hours and a half to reconsider his decision. Why is it six hours and a half? Because the time of the whole play is only two hours. It is to keep the unity of time. The play originally two hours. So, he says six hours and a half because Richard Sheridan keeps the unity of time.
( explain how act I scene I is the exposition)
Act I, scene is the exposition. We get to know about the main characters, the main themes, the setting, and the style of the writer.
The play is explicit. there was A setback نكسة، ارتجاع. It was like a beginning of modern movement, but it stopped because there was a setback. There was a return to the traditional classical literature. They imitated the classical literature and drama was no more implicit, it became explicit like the drama of the 16th century, not totally but partly. In the 17th century, it was implicit drama. There was much modern feature.
soliloquies and asides are not classical features. They are features from the 16th century. They are some of the characteristic of renaissance features.
Every now and then we find a soliloquy. The play is full of soliloquies and asides because this is the effect of the 16th century drama or renaissance drama or Elizabethan drama. So the audiences know how the characters are.
There is a mistaken identity. It is a source of humour in the comedy. There is dramatic irony because the audiences know that Captain Absolute and Beverley are one and the same. Whereas Acres believes that Captain Absolute is somebody and Beverley is another person.
Acres use a new method of swearing. He always says like ‘Odds’, bottles and glasses, odds triggers’. It is a new way of swearing and he calls this’ genteel’. This is for the sake of comedy. He calls it sentimental swearing. He says he doesn’t like the way people swear. When people swear in the 18th century, they say ‘ by Jove’, Jove isJupiter; the god of the gods for the Romans, ‘by Mars, by Venus..’ In the 18th they swear by the Classical Gods. So, this is classical allusion. Acres says that he doesn’t like the way people swear referring to classical Gods like by Jove, Mars, Venus..etc. and he says that he prefers another sentimental way of swearing like ‘Odds’, bottles and glasses, odds triggers’.
Richard Sheridan talks about the old medieval theory of humors. The phlegmatic character is very cold and reasonable. Jack tells his father that he accepts to marry the lady he chooses for him. And he doesn’t care about her beauty because he only likes her to be normal in appearance. Sir Anthony accuses him of being phlegmatic. That is to say cold and too reasonable. After that Sir Anthony Absolute tells his son that he will write a note to tell Mrs. Malaprop that Jack will visit her directly.
we have Lydia, Captain Absolute and Mrs. Malaprop altogether. Here there is mistaken identity. This is part of the traditional classical technique. Mistaken identity appears because of the disguise of somebody. Then the result is dramatic irony. The dramatic irony here is that the audience and Captain Absolute know that Beverley and Captain Absolute are one and the same. But Lydia believes that Beverley is Beverley. Whereas Mrs. Malaprop believes that Captain Absolute is Captain Absolute. The only people who know the truth are Captain Absolute and the audience. Lydia talks to Captain Absolute as if he is Beverley and Mrs. Malaprop talks to Captain Absolute as if he is Captain Absolute. Mrs. Malaprop sees Lydia talking to Captain Absolute as if he is Beverley. And Captain Absolute is still dealing with her, he is nice with her. So, she says this gentleman is very patient. Even Lydia says she 'll be always loyal to Beverley. Mrs. Malaprop believes that Captain Absolute bears her.
Then Sir Lucius O'Trigger visits Acres. They are friends. Acres talks to Sir Lucius O'Trigger and he tells him that he is very upset because Lydia leaves him and she is in love with Beverley. We know that Sir because he is Irish. This is stereotype of the Irish people. In the technique Lucius O'Trigger is bloody we can say that Richard Sheridan changed the play and the actors because he was against him. But still he creates a stereotype of the Irish people
Sir Lucius got shocked and, because it is comedy, everybody laughed. In a comedy, there must be happy ending. The main plot is finished. The subplot, Julia goes to Faulkland and she tells him that she has forgiven him because of her deep love to him and they get reconciled. Sir Anthony Absolute tells Julia that he accepts her marriage from Faulkland because of his sincere love to her. Sir Anthony Absolute decides to marry Mrs. Malaprop. Acres invites everybody to go to the New Rooms where there will be musical party. This is the end of the play. It ends happily because it is a comedy. What kind of comedy of manners is it? it is anti-sentimental comedy.
Sir Lucius O’Trigger: الزناد بتاع المسدس Trigger is one part of a pistol. The name refers to an Irish man who loves duellingالمبارزة.Duelling is inherited from the middle ages. Until the 18th century still we have influences from the middle ages.

هذي حل أسئلة الدرآمآ حطتهآ nevr give up
الله يجزآهآ كل خييير يآرب والله يوفقهآ دنيآ وآخره
~

[what ever !]

بنات الله يعافيكم اختبار النظام المالي لين وين ؟ :)

[pepsi_cola]

بنات الله يعافيكم من عندها اوراق النقد بعد ملزمه 9 تكفون الله يعافيكم مره محتاجتهم الحين
الي عندها وترسل لي بدعي لها من قلب

[tabula rasa]

بنات نبي حل الكووتيشنز بليز

[Lost 3]

الكوتيشن تبع جوليآ ..!

Jul. Nay, you are wrong entirely. We were contracted before my father’s death....

هذآ لمآ ليديآ وصفت فولكلآند بانه ungrateful

وهذآ الشرح من الملزمه اللي عندي

. Julia defends her lover Faulkland. Julia has been contracted to Faulkland before her father dies. Once, she was in a boat and the boat shipwrecked. Julia was about to drown. Faulkland swam and he saved her from drowning. Since that time she fell in love with him. Her father was alive and they got contracted. Faulkland is delaying their marriage. He gives pretexts to delay their marriage. This is why Lydia calls him the 'ungrateful Faulkland'. Julia loves him very much and she is defending him. He is very cold when he is with her but she justifies his coldness saying that,' he is too proud, too noble to be jealous; if he is captious, 'tis without dissembling; if fearful, without rudeness.' He frets her all the time. So he is fretful. She says,' his affection is ardent and sincere'. It means he really loves me. 'he still suspects that he is not loved enough'. He always suspects that she doesn't love him that much. 'This temper, I must own, has cost me many unhappy hours;' many times I was unhappy with that. She knows his defects. She doesn't love his defects. She is reasonable; she makes balance between reason and emotion. Sentimental people do not see the defects of their lovers. Julia is not blind with her lover. She can see his defects



~


Abs. ’Tis just as Fag told me, indeed. Whimsical enough, faith! My father wants to force me to marry the very girl I am.....

هذآ soliloquy قاله كآبتن جآك

وهذآ الشرح

This soliloquy shows that Jack is very happy that Sir Anthony Absolute has chosen Lydia not anyone else. So, the plot is less much complicated. Sir Anthony is surprised to find his son changing his attitude. He submits to his will. He becomes very obedient after telling him I disagree with you, I object to this marriage, in this point I’ll disobey you. Then after 6 and half hours he goes and talks to him and tells him I’ll do whatever you like, I’m your obedient son. I’ll do this even if you bring for me a very bad lady, even if she is old, even if she is with a hump, even if she has one eye only. Absolute says, ‘ you before hinted something about a hump or two, one eye, and a few more graces of that kind—‘. This is what Sir Anthony told his son before. Sir Anthony says,’ What a phlegmatic sot it is!’. This is medieval influence. Richard Sheridan talks about the old medieval theory of humours. The phlegmatic character is very cold and reasonable.( you have to explain the phlegmatic character). Jack tells his father that he accepts to marry the lady he chooses for him. And he doesn’t care about her beauty because he only likes her to be normal in appearance. Sir Anthony accuses him of being phlegmatic. That is to say cold and too reasonable. After that Sir Anthony Absolute tells his son that he will write a note to tell Mrs. Malaprop that Jack will visit her directly. Directly to keep the unity of time.

هذي اللي عندي للحين اما البآقي وحححده تتبرع وتشرحهآ !

( طبعآ لآتعتمدون على هذآ بس / هذآ بس اللي موجود عندي بس انتو حآولو تختصرونهآ آو ترتبون الشرح على فهمكم )

دعوآتكم



كتبت الشرح في الموضوع الثآني بس حطيته هنآ عشآن اللي مآيشوف هذآك يشوف هذآ والعكس

[غرك غلاك]

ياحلوين هذا حل الكوتيشنز

QUOTATIONS

1- Act I, scene ii :JULIA Nay, you are wrong entirely. We were contracted before my father's death. That, and some consequent embarrassments, have delayed what I know to be my Faulkland's most ardent wish. He is too generous to trifle on such a point:—and for his character, you wrong him there, too. No, Lydia, he is too proud, too noble to be jealous; if he is captious, 'tis without dissembling; if fretful, without rudeness. Unused to the fopperies of love, he is negligent of the little duties expected from a lover—but being unhackneyed in the passion, his affection is ardent and sincere; and as it engrosses his whole soul, he expects every thought and emotion of his mistress to move in unison with his. Yet, though his pride calls for this full return, his humility makes him undervalue those qualities in him which would entitle him to it; and not feeling why he should be loved to the degree he wishes, he still suspects that he is not loved enough. This temper, I must own, has cost me many unhappy hours; but I have learned to think myself his debtor, for those imperfections which arise from the ardour of his attachment.
These lines are quoted from The Rivals by Sheridan. They are taken from Act I scene II. These lines are spoken by Julia. She is speaking to Lydia her cousin about Faulkland her lover. From this quotation we get to know about the subplot of the play. We also get to know some of the characteristics of both Faulkland and Julia and the type of relation that is between him and Julia. From this quotation, we get to know about the style of Sheridan in satirizing sentimentality.
These lines are said by Julia in a conversation between her and Lydia. Lydia is telling Julia about her problem with her aunt Mrs. Malaprop. She prevented her from going to see Beverly her lover. The character of Julia is quite clear in this quotation.
Julia is sensible. She represents the age of sensibility. She makes balance between reason and emotion. She tells Lydia that Beverly is very poor and she is very rich, they don't match together. Julia says this is caprice. Lydia tells Julia, don't talk about caprice because you are capricious because you love the 'ungrateful Faulkland'. This is the opinion of Lydia concerning Faulkland. Lydia blames Julia for loving the 'ungrateful Faulkland'. Julia defends her lover Faulkland. Julia has been contracted to Faulkland before her father dies. Once, she was in a boat and the boat shipwrecked. Julia was about to drown. Faulkland swam and he saved her from drowning. Since that time she fell in love with him. Her father was alive and they got contracted. Faulkland is delaying their marriage. He gives pretexts to delay their marriage. This is why Lydia calls him the 'ungrateful Faulkland'. Julia loves him very much and she is defending him. He is very cold when he is with her but she justifies his coldness saying that,' he is too proud, too noble to be jealous; if he is captious. He frets her all the time. So he is fretful. She says,' his affection is ardent and sincere'. It means he really loves her. He always suspects that she doesn't love him that much. many times she was unhappy with that. She knows his defects. She doesn't love his defects. She is reasonable; she makes balance between reason and emotion. Sentimental people do not see the defects of their lovers. Julia is not blind with her lover. She can see his defects. Lydia asks Julia whether she loves him because he saved her from drowning. Julia says no, it is not gratitude, she really loves him. So, we now that Julia is really in love with Faulkland. The problem of the subplot is Faulkland. Although he has the acceptance of the father who has died and the acceptance of Julia still not confident that Julia is in love with him. He wants to make sure, may be he is a jealous man.
She goes on describing his qualities. He delays their marriage as distrusts, he is not sure that she loves him. This lake of confidence is not because he thinks that she is evil but because he doesn’t believe in his own qualities; that he is worthy of her love and that is why she is not in love with him. He says that he loves her so much so she forgives him; she believes that she is indebt to him because he had saved her from drowning. Lydia believes that Julia is in love with Faulkland as she feels that she owns him; she is indebt with him, because he saved her life from drowning from the boat they were in which had turned over and he saved her from drowning.

Julia says that she loved him even before he had saved her life.

From all this conversations we got lots of information about the quarrel between Faulkland and Julia and why he is not yet married to Julia, how he had saved her life in the past and .

Here, Sheridan is referring to the theory of humor. He is criticizing the character of Faulkland as being melancholic. He tends to be sad all the time. He does not enjoy his being in love. He blames Julia for being happy in his absence.

Sheridan is not criticizing the sentimental character. He is sympathizing with him. He arouses sympathy. His satire is not severe . He is satirizing Faulkland. he is satirizing people who have excess of sentimentality. There is satire, but it is not severe.

2- Act II, scene i : Sir ANTHONY Zounds! sirrah! the lady shall be as ugly as I choose: she shall have a hump on each shoulder; she shall be as crooked as the crescent; her one eye shall roll like the bull's in Cox's Museum; she shall have a skin like a mummy, and the beard of a Jew—she shall be all this, sirrah!—yet I will make you ogle her all day, and sit up all night to write sonnets on her beauty.
these lines are quoted from The Rivals by Sheridan. They are taken from act II Scene I. these lines are said by Sir Anthony Absolute. He is speaking to his son Captain Absolute. This quotation reflects two of the major themes in the play that is the son-father relationship and the theme of the gap between generations.
there is a meeting between Sir Anthony and his son and we try to think about the parent - son relationship. In the scene between Sir Anthony and his son; Sir Anthony told his son, ‘I am not going to call you Jack again’, and when Jack was young he used to punish him by hitting and kicking him. There is no understanding between the father and the son. The father is a tyrant, a father who is not ready to discuss anything with his son. We learned from act 1 that Sir Anthony was a rash man. He never thought about his decision. He never stopped to think and this is very unwise. So there is folly in this man. The defect of the father is that he is foolish and unwise. His decisions are not to be respected. He tells his son that if the girl he has chosen him has one eye, if she is wrinkled like mummy, if she has a beard like a Jew or if she has a hump on her back, the son should marry her and obey his father’s orders without discussion if he wanted that. This is ironic because the father himself had fallen in love with Jack’s mother. He ran away with her. He disobeyed his old father. Yet he does not appreciate love. Absolute asked his father, if he disobeyed his father and ran away with the one he loved, then why now he forces him to marry this girl without letting him make decision. Sir Anthony answered that there is a difference between him self and the grandfather. The difference is that he is more indulgent with his son; he gives more things to his son.
That is why Sir Anthony is severe on his son. Knowing what he did to his own father, how he ran away with the mother and that was against his father, he is not ready to have his son to do this to him. Instead of being more lenient to his son, he becomes a severer person exactly like Mrs. Malaprop .because she was in love, instead of understanding what love is, instead of being more considerate, she is worse and severer on Lydia. Sir Anthony because he himself had married for love, he thinks he will not allow his son to fall in love. Absolute is wondering what is his father himself had married for loved denying him from this kind of love.
Here we have the behavior of the father to the son . We will see the hypocrisy of Jack Absolute .the hypocrisy of the son and the tyranny of the father. We will see both, how the son is hypocrite. He says words in his fathers back and say differently before his father’s face. He is not willing to listen to any words of the father. He is worried that his father heard any thing about the reason behind his being in Bath. He doesn’t want his father to know he has been here for Lydia. The son has ill feelings towards the father. He wishes his father has been ill so that he had been remained in Devonshire. he wishes his father illness .he doesn't want his father to be healthy . He has bad feelings for the father. Now when that father appears the second minute, he says he is so happy to see him in good health, it is good that he is here. He is hypocrite.
Because he came so quickly that made him think that he is so ill and he wants to come to the health resort. He is so worried about his health. All of this shows that he is a liar and a hypocrite. The father does not trust him.
He starts by showing consideration. He starts to show him that he is a very considerate father thinking of his son’s future. But we realized that instead of giving him the money he makes him through himself, he is going to make him marry a woman . Her dowry is what she has been inherited and so he will get a lot of money. Sir Anthony is thinking of marriage as extra income to his son. It is not a matter of the marriage it self Sir Anthony has seen the girl and he doesn’t mind that the girl is featherbrain or that she is in love with some body else. He doesn’t mind any of that as along as the girl has the money. She is beautiful and she has money .he says that even if she is not beautiful, if he will tell his son to marry, he should marry. So, money is a very important issue in Sir Anthony’s decision.
Here we have the theme of arranged marriage. in the 18th century marriage was arranged among families. Sir Anthony and Mrs. Malaprop are arranged for the marriage of their young without letting them chose or even know about this arrangement. This also reflects the theme of the gap between generations. There is no understanding between the father and the son. Sir Anthony Absolute goes and talks to Jack, his son. He tells him that he has a wife for him. So, Jack says, wife for me without knowing. So, he tells him yes, why is it surprising for you? I have picked the wife for you. Jack objects. He tells his father that he is in love with somebody else and he has promised to marry her. He is talking about Lydia. We know that Sir Anthony Absolute, his opinion of women is very low. He thinks very low of women. He tells him that it is not a problem to break up with her, simply like this. He doesn’t care about her feelings. He says that women’ they are not worth redeeming’. Jack Absolute tells him plainly that in this case he disobeys him. He will not marry the one he has chosen. Sir Anthony Absolute is very upset and he gives Jack a period of six hours and a half to reconsider his decision. Why is it six hours and a half? Because the time of the whole play is only two hours. It is to keep the unity of time. The play originally two hours. So, he says six hours and a half because Richard Sheridan keeps the unity of time. Then Sir Anthony Absolute because he is very authoritative, he threatens Jack if he refuses to carry on his orders, he will disown and disinherit him.
'Zounds' is an examples of the effect of the 16th century language.

3- Act III, scene i : ABSOLUTE 'Tis just as Fag told me, indeed. Whimsical enough, faith! My father wants to force me to marry the very girl I am plotting to run away with! He must not know of my connection with her yet awhile. He has too summary a method of proceeding in these matters. However, I'll read my recantation instantly. My conversion is something sudden, indeed—but I can assure him it is very sincere. So, so—here he comes. He looks plaguy gruff. [Steps aside.]
These lines are quoted from the Rivals by Sheridan. This quotation is taken from act III scene I. it is a soliloquy of Jack Absolute. He is alone of the stage speaking to himself and the audience can hear him. Every now and then we find a soliloquy. The play is full of soliloquies and asides because this is the effect of the 16th century drama or renaissance drama or Elizabethan drama. So the audiences know how the characters are thinking .
Jack is talking to himself and he says that his father is contradicting himself because he married his mother for love, not for money. This is the character of Anthony Absolute. He is betraying his own principles. He married the mother of Jack for the sake of love when he was young. Anthony Absolute was sentimental when he was young and when he grew old, he changed a lot and he became very harsh and materialistic. This soliloquy shows that Jack is very happy that Sir Anthony Absolute has chosen Lydia not anyone else. So, the plot is less much complicated. Sir Anthony is surprised to find his son changing his attitude. He submits to his will. He becomes very obedient after telling him he disagrees with him, he objects to this marriage, in this point he’ll disobey him. Then after 6 and half hours he goes and talks to him and tells him he’ll do whatever he likes, he's his obedient son. he’ll do this even if he brings for him a very bad lady, even if she is old, even if she is with a hump, even if she has one eye only. Absolute says, ‘ you before hinted something about a hump or two, one eye, and a few more graces of that kind—‘. This is what Sir Anthony told his son before. Sir Anthony says,’ What a phlegmatic sot it is!’. This is medieval influence. Richard Sheridan talks about the old medieval theory of humors. The phlegmatic character is very cold and reasonable.( you have to explain the phlegmatic character). Jack tells his father that he accepts to marry the lady he chooses for him. And he doesn’t care about her beauty because he only likes her to be normal in appearance. Sir Anthony accuses him of being phlegmatic. That is to say cold and too reasonable. After that Sir Anthony Absolute tells his son that he will write a note to tell Mrs. Malaprop that Jack will visit her directly. Directly to keep the unity of time.
Captain Absolute is going to meet his father he pretended to be penitent. He was not penitent or any thing. He wasn’t trying to ask for forgiveness. All what he realized that he should not quarrel with his father because the girl that his father has chosen is the same girl of his choice?
What are the reasons he doesn’t tell his father right away that his choice is his choice. He keeps this from him. He keeps his father in deception. He tells his father that he is penitent and out of duty to his father he s ready even to marry the aunt. Why he didn’t tell his father that his choice is his choice. He is afraid that his father is so quick that he will go and tell Mrs. Malaprop the whole thing and as he has to take things gradually. At the same time why not make the father believe that his son is obedient and beautiful and makes him believe that his son will make anything that his father asks him to do. What a hypocrite, although he knows he will be cheating very quickly I will be able to pretend that I am really sincere, although he knows that. And the father now is not ready to hear a word
So, here is a penitent Jack, giving all those words how his father has been a condescending man, how he has been a good man , kind man, how is it duty ,the authority of the father and the final conclusion is his own decision. His decision is to sacrifice every feeling he has in order to satisfy his father.
We are not blaming him of being a hypocrite, and using all the language to pretend that he is obedient and he is loving to the kind father. we find that the humiliation that the father imposes on his who is a captain, to call him puppy or to abuse him in that manner even to talk about him behind his back as he talked to Mrs. Malaprop was most inconsiderate. How could a father trying to propose his son for marriage talk to him as a man of no say in the subject that he would hit him or through him, and the son will have to make what he wants with no discussion, all this will make out of his son not a respectable man. As we blame the son of hypocrisy and disrespect to his father and we blame the father for the humiliation and the tyrannical attitude he had towards his son. He behaves so quickly, he doesn't understand what is behind the mask which means he believed that his son is a penitent. Behind the mask, there is a man who is not penitent at all.
Sir Anthony does not reserve respect. He is a tyrant and unwise man who think that he is going to force things on others. His morals are very liberal. He exposes himself of having a very liberal attitude towards women. We saw him speaking about the physical beauty of Lydia which is something that is not supposed to be the central of this man's attention. He disregarded her moral behavior as being in love with somebody else. He only concentrated on her money and her physical beauty. As choosing a wife for his son he should be looking for her moral behavior, for the maturity of her brain, whether she is obedient or disobedient for her family, whether she is educated or not, whether she is able to behave according to the moral conduct of the family or just do whatever she likes as sending letters to her lover, wanting to run away with him, going behind the level of her family trying to marry a poor man. All this tells us about the immaturity of Lydia, or may be immoral. He never worried about all these things thinking that they will be forgotten. What is most important or him that she just obeys her aunt if she is locked in a room, starve, marry against her will. What is significant is her money and her beauty.
In spite of this, Sheridan makes Absolute to obey him, not to marry against the will of his father.
We have the follies of the parents, not only the follies of the sons.

4- Act III, scene ii : FAULKLAND They told me Julia would return directly; I wonder she is not yet come! How mean does this captious, unsatisfied temper of mine appear to my cooler judgment! Yet I know not that I indulge it in any other point: but on this one subject, and to this one subject, whom I think I love beyond my life, I am ever ungenerously fretful and madly capricious! I am conscious of it—yet I cannot correct myself! What tender honest joy sparkled in her eyes when we met! how delicate was the warmth of her expression! I was ashamed to appear less happy—though I had come resolved to wear a face of coolness and upbraiding. Sir Anthony's presence prevented my proposed expostulations: yet I must be satisfied that she has not been so very happy in my absence. She is coming! Yes!—I know the nimbleness of her tread, when she thinks her impatient Faulkland counts the moments of her stay.
These lines are quoted from the Rivals by Sheridan. It is taken from Act III scene II. It is a soliloquy of Faulkland. He is waiting in Julia's dressing room
Every now and then we find a soliloquy. The play is full of soliloquies and asides because this is the effect of the 16th century drama or renaissance drama or Elizabethan drama. So the audiences know how the characters are. from this soliloquy we get to know about the character of Faulkland. it also reflects the type of relation that is between him and Julia, the hero and the heroine of the subplot.
This is important to understand the character of Faulkland. He knows that he hurts Julia by showing coldness when he meets her. He loves her very much but when he sees her, he shows coldness. This is realistic. There are people who are like this. Because of this realism in delineating Faulkland, some audiences might sympathies with him. Now he goes to meet Julia. From the conversation we know that they have met before. He showed coldness. So, when he meets her this time, he justifies his cold attitude to her. He says he is shy to show his happiness to her in the presence of a third person. He tells her when there is a third person in the middle, he is shy to show her his love and his happiness to see her. Secondly, He tells her that he got very upset when he heard Acres talking about her cheerfulness and happiness in his absence. He blames her. He is going to fret her. He tells her that he has expected her to be sick, sad but she was happy singing and dancing. He tells her that the parting lovers should never smile. They should cry because this is sentimentality because of the pain of love. Julia defends herself and she tells Faulkland that she was really sad to be away from him. However, she pretends to be happy because people will talk about her. People will think that she has broken up with Faulkland if she cries or shows sadness. As usual they quarrel. Julia tells him that he always likes to be unkind to her. She tells him that she loves him not out of gratitude or duty but out of love. She loves him and she stays with him because she loves him not because she is grateful to him, because he always has worries that she accepts to marry him because of gratitude, because he saved her from drowning or duty, and because she is contracted to him. Then he keeps on tormenting her. He tortures her with his doubts. Then she leaves him and she cries. This is a soliloquy for Faulkland after she leaves. This soliloquy shows that he has a psychological problem. He keeps on thinking that she will come back and apology to him. He says I feel she is coming then she doesn’t come. So, he blames himself and says that he shouldn’t have fretted her this time. He is a man who is filled with fears and doubts. He is imbalanced. The sentimental character is an imbalanced character. He loves her and he is scared that she least left him and he loses her forever.
Here Faulkland is describing his behavior as being captious. It is not only absolute who said this about him in act II. He says this about himself. He says that he is only behaving in this manner with Julia and the matter of love. He speaks of his two weaknesses, being capricious and being captious. He admits that these are his problems. Being capricious means being guided by whims, being whimsical.
He admits that he can not correct himself. We have examples of this behavior with Julia.
This is the first time we see the hero and the heroine of the subplot together. We have see Faulkland complaining from Julia, being upset that she has been happy, she danced, sang while he was absent. Acres told him that Julia who is his neighbor was really having fun.
We have seen Julia defending Faulkland to Lydia, how she thought that she did not believe that there are some qualities in him that make people love him. He is always unsure whether he is loved or not, whether he deserves that love. He has no belief in Julia who loves him. He always tries to make sure that she loves him. There are many reasons for Julia to love him but he does not want her to love him for his looks, not for the oath her father had given, nor because of gratitude.
The weakness in him is something that is very difficult to correct. Absolute tells him that there is no hope of correcting him.
In act III, we find that Faulkland is in action with Julia. Whatever he does is out of two follies in him. He is captious= he quarrels with a person through his own words and capricious, whimsical person= one minute he is happy, the next minute he is unhappy. here, Sheridan is referring to the theory of humor of Ben Jonson. This is the effect of 16th century on him. The follies that he has are called inborn follies. It belongs to comedy of humors. Inborn folly is a folly that can not be corrected. We laugh at it, make fun at it but there is no hope of correcting it. Comedy of humors is not only for laughter but it ends in correcting. The argument is that it is difficult to correct a humor rather than correcting an acquired folly. There is always a correction how can Faulkland be corrected. He is so difficult to correct. He always goes to the same mistake. It is part of him. He is unable to change. This inability to change makes it waste of time to try to correct him.
In act III, we have satire of Romance. Sheridan is laughing at those stories of romance. He was not against love, but he was for love, but for treating love in more realistic way.
5- Act III, scene ii
FAULKLAND In tears! Stay, Julia: stay but for a moment.—The door is fastened!—Julia!—my soul—but for one moment!—I hear her sobbing!—'Sdeath! what a brute am I to use her thus! Yet stay!—Ay—she is coming now:—how little resolution there is in a woman!—how a few soft words can turn them!—No, faith!—she is not coming either.—Why, Julia—my love—say but that you forgive me—come but to tell me that—now this is being too resentful. Stay! she is coming too—I thought she would—no steadiness in anything: her going away must have been a mere trick then—she shan't see that I was hurt by it.—I'll affect indifference—[Hums a tune; then listens.] No—zounds! she's not coming!—nor don't intend it, I suppose.—This is not steadiness, but obstinacy! Yet I deserve it.—What, after so long an absence to quarrel with her tenderness!—'twas barbarous and unmanly!—I should be ashamed to see her now.—I'll wait till her just resentment is abated—and when I distress her so again, may I lose her for ever! and be linked instead to some antique virago, whose gnawing passions, and long hoarded spleen, shall make me curse my folly half the day and all the night. [Exit.]

These lines are quoted from " the Rivals" a play by Sheridan. They are taken from act III Scene II. These lines are said by Faulkland after the exit of Julia in tears. It is a soliloquy of Faulkland. Every now and then we find soliloquy in the play. It is the effect of the 16th century. This shows that the play belongs to the explicit drama. The audiences are informed with every thing. Nothing is hidden. This quotation reflects the character of Faulkland and the type of relation that is between him and Julia the hero and the heroine of the subplot.

Faulkland goes to explain why he is upset. He accuses Julia of always trying to put his love in a trail, questioning his love to her. Even if Faulkland had made her unhappy, she never showed to her friends that she is unhappy because she had to admit that the cause of her unhappiness is Faulkland. She did not want to complain against Faulkland. She is loving and forgiving that she will not speak behind his back or try to complain about him. He admits that he is brute. he is waiting for her to come back and apologize for him.
She says that even if he finds something wrong with her behavior she hopes that she will be taken as an example of liberty and ingratitude. She will not reach the point of disrespecting him or of being ingratitude to him.
This is why he is a captious person. He takes her own words and quarrels over that. He does not want her to love him as she in grateful to him. He thinks that she admits that her feeling towards him is not love but gratitude.
If it is for his brain, it is not love but esteem. He hopes that she does not love him because he is handsome. He wants her to love him for no quality, just to love him.
He does not want her to stick to him just because of the contract her father had given him. He wants to be sure, hadn't they this contract, she would not have changed her mind. She tells him to break the contact to let him see whether she loves him or not.
All the time he is trying whether she truly loves him or not.
She asks him to give her the chance whether she loves him not out of the contract, out because of the oath, not out of gratitude, not because of his looks but just because she chose to be with him.
( mention the characteristics of Faulkland – theory of humor as being criticized by Sheridan- )

"Zounds" is an example of the effect of the 16th century language.



6- Act IV, scene ii: LYDIA So, while I fondly imagined we were deceiving my relations, and flattered myself that I should outwit and incense them all—behold my hopes are to be crushed at once, by my aunt's consent and approbation—and I am myself the only dupe at last!—[Walking about in a heat.] But here, sir, here is the picture—Beverley's picture! [taking a miniature from her bosom] which I have worn, night and day, in spite of threats and entreaties!—There, sir [Flings it to him.]; and be assured I throw the original from my heart as easily.

These lines are quoted from "the Rivals" by Sheridan. They are taken from Act Iv scene II. In these lines, Lydia is speaking to Captain Absolute.

We call this scene the discovery scene.Sir Anthony and Absolute comes in. this is the scene where the deception is disclosed. The problem is not that it is Mrs. Malaprop who has to agree, but the problem is that Lydia has to mature to accept Beverly as Absolute.

Sir Anthony Absolute took his son Jack Absolute by force into the house of Mrs. Malaprop to meet Lydia. He is reluctant to go. He is very embarrassed because he doesn't know how to meet Lydia and what to tell her. Lydia came down from upstairs. She doesn't want to look to Captain Absolute. So, she keeps putting her face in aside ways. Then Captain Absolute starts talking to Lydia aside. He tells her, please talk to me but don't get shocked. She said, this is Beverley, how can Beverley fool the father of Captain Absolute. It is the climax of the play. Lydia is very confused. She starts talking to him as Beverley. Mrs. Malaprop is there and Sir Anthony Absolute is there also. They think that Lydia is mad. Because they say that this is Captain Absolute, how can she talks to him as Beverley. they think that she is crazy. Then Sir Anthony Absolute starts to suspect his son. Sir Anthony Absolute is foolish. He thinks that Captain Absolute is not his son. So, Captain Absolute tells him that he is his son flesh and blood. Captain Absolute tells everyone that Beverley and Captain Absolute are one and the same. And he begs Lydia to forgive him and accept his love. Of course, the first thing Lydia said, and there will be no elopement. The most important thing in her sentimental dream is to elope with Beverley. She doesn't care about the scandal, it is something to be proud of for her. She tells Captain Absolute that he has ruined her sentimental dream and she doesn't want him anymore. He is very embarrassed and he asked the help of his father. He told his father, if he doesn’t help me, he 'll be finished. So, his father Sir Anthony Absolute interfered and he told Mrs. Malaprop, we are big enough, we are grown-up 'to forget and forgive'. This is a Christian note of forgiveness, a Christian note of reconciliation. Sir Anthony Absolute says, that Christian people should forget the vicious acts and forgive those who have been vicious to him. This is Christian influence in the play. So Mrs. Malaprop simply forgives Captain Absolute. Then Mrs. Malaprop and Sir Anthony Absolute left the stage and they left the couple together. Captain Absolute shows his other face. He starts to talk in a very materialistic way. He tells her everything is ok now, her aunt and his father agree that they can marry, so they should go and talk to the lawyer or better they should hurry and get the license so that she can get her fortune. Lydia calls him an impostor because he has laughed at her and all what he cares for is the money. She tells him that she doesn't bear him anymore. She says that she renounces him. He lost Lydia.

The first problem in cat I was not that her aunt is going to object to her marriage to Beverly. This is one of the problems- getting the acceptance of the aunt, but not the major problem. The major problem is the odd nature of the girl that she was not ready to marry through a traditional marriage. Lydia is not ready to marry Beverly as absolute.
This is why scene Iii act Iv is going to end in a break where Lydia is going to tell her aunt that for too long she has been asking her not to marry this man.
Lydia renounces Beverly for ever. Now, she is going to be obedient to her aunt and to leave this man. This scene is the discovery of the two selves in front of the parents and Lydia.
Absolute asks his father to leave him alone with Lydia. The father does not want to go away. Still he believes that his son comes to marry Lydia out of obedience to his father, that he does not care whether she is beautiful or not.
He is stuttering, stammering. This is how he pretends in front of his father to be obedient, modest, bashful person. His modest is not allowing him to say a word.
This embarrassing situation that Absolute is in is due to his own follies, his own deception, his own hypocrisy. He has to face the situation. He has to speak to every body.
He discloses his identity to his father, Mrs. Malaprop and to Lydia. He tells her that because of her nature, He tried to go below his standard and he hopes that she will accept him.
In that speech, he collects all the words that Absolute had used to speak of his behavior as an obedient son. He speaks of duty, obedient, penitence.
His father qualifies him as a hypocrite.

Here, we have the theme of mistaken identity- the theme of the gap between generations- criticism of the sentimental characters represented in Lydia.

دعواتكم لي ياحلوين بالتوفيق بكره جد خايفه منه

[ThE lEgEnD]

الله يسهل علينا ن شاء الله وجزاك الله خير