The lady who became the heroine of the play is a school of slander. Description and analysis of the play "The School of Scandal" by Sheridan

A comedy of manners and a satire on English aristocratic society of the 18th century. At the center of the story is the relationship between a recent provincial woman (now Lady Teazle) and more experienced members of Lady Sneerwell's salon. The play “School of Scandal,” staged at the Moscow Art Theater named after M. Gorky, was once dubbed “a masterpiece of grace and irony” by critics.

A fragment of the preface by Mikhail Lozinsky, published in the book “School of Scandal” (1953):

“Richard Brinsley Sheridan, one of the most brilliant men of his time, raised to the pinnacle of fame and died in poverty, went down in history as a prominent political figure, a representative of English liberalism, and as a wonderful comedian. The School of Scandal, created by him, is generally recognized as the greatest comedy of manners, a masterpiece that restored the cheerful English comedy at a time when sentimental melodrama still dominated the English stage, giving it a new shine. For more than two centuries, the intrigues of Lady Sneerwell, Sir Joseph Surface, Mrs. Candair and Sir Benjamin Backbite have entertained theater audiences all over the world, and sparkling and witty dialogues adorn not only Sheridan’s comedy, but the entire English literature. In her youth, Lady Sneerwell herself became a victim of slander and now knows no greater pleasure than reducing someone else's reputation to the level of her own. In a circle of her own kind, she ridicules the shortcomings of others, spreads false rumors and wittily exaggerates true rumors. Usually this destroyer of good names slander for pleasure, but now she is also pursuing personal gain.”

Fragment of the book by Yuri Kargalitsky “Sheridan R.B. Dramatic works" (1956):

“The School of Scandal” required long and hard work from the playwright. On last sheet In the manuscript, Sheridan wrote instead of the traditional “end”: “I’ve finished, thank God!” The prompter of the Drewry Theater, who had been waiting for a long time for his director’s new comedy, wrote below with no less relief: “Amen.” The troupe's expectations were not in vain.

Fragment of an article by Roman Dolzhansky “ Theatrical novel Mikhail Yanshin”, published in the newspaper “Kommersant” (02.11.2002):

<...>“Most people will probably remember Mikhail Yanshin as he was recorded in the television recording of the famous performance “Solo for a striking clock”: a sedate, slightly imposing old man with a pleasant round face and in a slightly hoarse deep voice, wise and sensitive person, lonely, touching and slightly confused because life has already passed, but good-natured and cozy, evoking not compassion, but trust. It was not for nothing, apparently, that the great Moscow Art Theater members, among whom Mikhail Yanshin belonged, were officially called old men: they all very organically experienced the passing of youth, turned experience and age into virtues, harmoniously building their stage biographies.<...>

Whatever happens, young actors will always be told about the so-called second generation of the Art Theater, students of the second studio of the Moscow Art Theater, who in 1924 declared themselves in “Days of the Turbins” and then became the main actors of the Soviet Moscow Art Theater named after Gorky. They will always talk about Yanshin,<...>he played quite a few touching or funny klutzes, certainly colored in lyrical tones, unexpectedly bringing together, for example, the merchant from Ostrovsky’s play and the aristocrat from Sheridan’s “School of Scandal.” Mikhail Yanshin always played about the same thing in films. Films and performances were successful, sometimes unsuccessful, but it is obvious that the actor’s charm remained omnipotent. And it makes no sense today to discuss the mystery of the talent of these great actors: there were such unique, organic works of nature, and that’s all. You can’t add or subtract anything.”<...>

Richard Brinsley Sheridan

"School of Scandal"

The play opens with a scene in the salon of high-society intriguer Lady Sneerwell, who is discussing with her confidante Snake latest achievements in the field of aristocratic machinations. These achievements are measured by the number of ruined reputations, upset weddings, incredible rumors launched, and so on. Lady Sneerwell's salon is the sanctum sanctorum of the school of slander, and only a select few are admitted there. She herself, “wounded in her early youth by the poisonous sting of slander,” the owner of the salon now knows no “greater pleasure” than to defame others.

This time the interlocutors chose one very respectable family as the victim. Sir Peter Teazle was the guardian of the two Surface brothers and at the same time raised his adopted daughter Maria. Younger brother, Charles Surface and Maria fell in love. It was this union that Lady Sneerwell intended to destroy, preventing the matter from going ahead with the wedding. In response to Snake's question, she explains the background of the matter: the eldest Serfes, Joseph, is in love with Maria - or her dowry, and he resorted to the help of an experienced slanderer, having met a happy rival in his brother. Lady Sneerwell herself has a soft spot for Charles and is ready to sacrifice a lot to win him. She gives both brothers sober characteristics. Charles is a “reveler” and a “spendthrift.” Joseph is a “cunning, selfish, treacherous man,” a “sweet-tongued rogue,” in whom those around him see a miracle of morality, while his brother is blamed.

Soon the “sweet-tongued rogue” Joseph Surface himself appears in the living room, followed by Maria. Unlike the hostess, Maria does not tolerate gossip. Therefore, she can hardly endure the company of recognized masters of slander who come to visit. This is Mrs. Candair, Sir Backbite and Mr. Crabtree. Undoubtedly, the main occupation of these characters is washing the bones of their neighbors, and they master both the practice and theory of this art, which they immediately demonstrate in their chatter. Naturally, Charles Surface also gets it, financial position which, by all accounts, is absolutely deplorable.

Sir Peter Teazle, meanwhile, learns from his friend, the former butler of the Surfaces' father Rowley, that Joseph and Charles's uncle, Sir Oliver, a wealthy bachelor, whose inheritance both brothers hope for, has arrived from the East Indies.

Sir Peter Teazle himself married just six months before the events described to a young lady from the province. He's old enough to be her father. Having moved to London, the newly minted Lady Teazle immediately began to study the secular arts, including regularly visiting Lady Sneerwell’s salon. Joseph Surface lavished her with many compliments here, trying to enlist her support in his matchmaking with Mary. However, Lady Teazle accepted young man for his ardent admirer. Finding Joseph on his knees before Mary, Lady Teazle does not hide her surprise. To correct the mistake, Joseph assures Lady Teazle that he is in love with her and is only afraid of Sir Peter’s suspicions, and to complete the conversation he invites Lady Teazle to his home to “look at the library.” To himself, Joseph is annoyed that he has found himself “in a precarious situation.”

Sir Peter is really jealous of his wife - but not of Joseph, of whom he has the most flattering opinion, but of Charles. A company of slanderers tried to ruin the young man’s reputation, so Sir Peter does not even want to see Charles and forbids Mary to meet with him. After getting married, he lost his peace. Lady Teazle shows complete independence and does not at all spare her husband’s wallet. The circle of her acquaintances also greatly upsets him. “Nice company! - he remarks about Lady Sneerwell's salon. “No other poor fellow, who was hung on the gallows, did as much evil in his entire life as these peddlers of lies, masters of slander and destroyers of good names.”

So, the respectable gentleman is in a fair confusion of feelings when Sir Oliver Surface comes to him, accompanied by Rowley. He had not yet notified anyone of his arrival in London after an absence of fifteen years, except Rowley and Teasle, old friends, and now he is in a hurry to make inquiries from them about two nephews, whom he had previously helped from afar.

Sir Peter Teazle's opinion is firm: he “vouches with his head” for Joseph, as for Charles, he is a “dissolute fellow.” Rowley, however, disagrees with this assessment. He urges Sir Oliver to form his own judgment about the Surface brothers and “test their hearts.” And to do this, resort to a little trick...

So, Rowley conceived a hoax, into which he introduces Sir Peter and Sir Oliver. The Surface brothers have a distant relative, Mr. Stanley, who is now in great need. When he turned to Charles and Joseph with letters for help, the first, although almost ruined himself, did everything he could for him, while the second got off with an evasive reply. Now Rowley invites Sir Oliver to personally come to Joseph under the guise of Mr. Stanley - fortunately no one knows his face. But that is not all. Rowley introduces Sir Oliver to a moneylender who lends Charles money at interest, and advises him to come to his younger nephew with this moneylender, pretending that he is ready to act as a lender at his request. The plan has been accepted. True, Sir Peter is convinced that this experience will not give anything new - Sir Oliver will only receive confirmation of Joseph’s virtue and Charles’s frivolous extravagance. Sir Oliver makes his first visit to the home of the false creditor Mr. Primyam to Charles. A surprise immediately awaits him - it turns out that Charles lives in his father’s old house, which he... bought from Joseph, not allowing his native home to go under the hammer. This is where his troubles began. Now there is practically nothing left in the house except family portraits. It is these that he intends to sell through the moneylender.

Charles Surface first appears to us in a cheerful company of friends who while away the time over a bottle of wine and a game of dice. Behind his first remark one can discern an ironic and dashing man: “...We live in an era of degeneration. Many of our acquaintances are witty, worldly people; but damn them, they don’t drink!” Friends willingly pick up this topic. At this time the moneylender comes with “Mr. Primyam”. Charles comes down to them and begins to convince them of his creditworthiness, referring to a rich East Indian uncle. When he persuades visitors that his uncle’s health has completely weakened “from the climate there,” Sir Oliver becomes quietly furious. He is even more infuriated by his nephew’s willingness to part with family portraits. “Ah, wasteful!” - he whispers to the side. Charles just chuckles at the situation: “When a person needs money, where the hell can he get it if he starts to stand on ceremony with his own relatives?”

Charles and his friend play a mock auction in front of the “buyers,” raising the price of deceased and living relatives, whose portraits quickly go under the hammer. However, when it comes to the old portrait of Sir Oliver himself, Charles categorically refuses to sell it. “No, pipes! The old man was very nice to me, and I will keep his portrait as long as I have a room to shelter him.” Such stubbornness touches Sir Oliver's heart. He increasingly recognizes in his nephew the features of his father, his late brother. He becomes convinced that Charles is a carminative, but kind and honest by nature. Charles himself, having barely received the money, hurries to give orders to send one hundred pounds to Mr. Stanley. Having easily accomplished this good deed, the young playmaker once again sits down with the bones.

Meanwhile, a spicy situation is developing in Joseph Surface's living room. Sir Peter comes to him to complain about his wife and Charles, whom he suspects of having an affair. In itself, this would not be scary if Lady Teazle, who arrived even earlier and did not manage to leave in time, was not hiding here in the room behind the screen. Joseph tried in every possible way to persuade her to “disregard conventions and the opinion of the world,” but Lady Teazle saw through his treachery. In the midst of a conversation with Sir Peter, the servant reported on a new visit - Charles Surface. Now it was Sir Peter's turn to hide. He was about to rush behind the screen, but Joseph hastily offered him a closet, reluctantly explaining that the space behind the screen had already been occupied by a certain milliner. The brothers' conversation thus takes place in the presence of hidden different angles The Teazle spouses, which gives each line additional comic shades. As a result of an overheard conversation, Sir Peter completely abandons his suspicions about Charles and is convinced, on the contrary, of his sincere love for Mary. Imagine his amazement when, in the end, in search of the “milliner,” Charles overturns the screen, and behind it—oh, damn it! - Lady Teazle reveals herself. After a silent scene, she courageously tells her husband that she came here, succumbing to the “insidious persuasion” of the owner. Joseph himself can only babble something in his own defense, calling on all the art of hypocrisy available to him.

Soon the schemer is waiting new blow- in upset feelings, he brazenly escorts the poor petitioner Mr. Stanley out of the house, and after a while it turns out that Sir Oliver himself was hiding under this mask! Now he was convinced that Joseph had “no honesty, no kindness, no gratitude.” Sir Peter complements his characterization, calling Joseph base, treacherous and hypocritical. last hope Joseph - to Snake, who promised to testify that Charles swore his love to Lady Sneerwell. However, in decisive moment and this intrigue bursts. Snake sheepishly reveals in front of everyone that Joseph and Lady Sneerwell "paid extremely handsomely for this lie, but unfortunately" he was then "offered twice as much to tell the truth." This “impeccable fraudster” disappears to continue to enjoy his dubious reputation.

Charles becomes Sir Oliver's sole heir and receives Mary's hand, cheerfully promising that he will not go astray again. the right way. Lady Teazle and Sir Peter reconcile and realize that they are quite happily married. Lady Sneerwell and Joseph can only squabble with each other, finding out which of them showed greater “greed for villainy”, which is why the whole well-conceived business lost. They retire to Sir Oliver's mocking advice to get married: "Vegetable oil and vinegar - by God, it would work great together."

As for the rest of the "college of gossips" in the persons of Mr. Backbite, Lady Candair and Mr. Crabtree, they were undoubtedly consoled by the rich food for gossip that the whole story had provided them with. Already in their retellings, Sir Peter, it turns out, found Charles with Lady Teazle, grabbed a pistol - “and they shot at each other... almost simultaneously.” Now Sir Peter lies with a bullet in his chest and, moreover, pierced by a sword. “But amazingly, the bullet hit the little bronze Shakespeare on the mantelpiece, bounced off at a right angle, broke through the window and wounded the postman, who was just approaching the door with a registered letter from Northamptonshire!” And it doesn’t matter that Sir Peter himself, alive and well, calls gossipers furies and vipers. They chirp, expressing their deepest sympathy for him, and bow with dignity, knowing that their lessons in slander will last for a very long time.

The interlocutors of the school of slander, which is the salon of the social intriguer Lady Sneerwell and her confidante Snake, discuss the family of Sir Peter Teazle. He took care of the two Surfes brothers and adopted the girl Maria with a decent dowry. Charles Surface fell in love with Maria. His brother Joseph has plans for Mary's dowry and wants to disrupt the relationship with Lady Sneerwell's help. Sneerwell herself is not indifferent to Charles. Joseph and Maria appear in the salon. The girl hates gossip.

Charles and Joseph hope for the inheritance of their uncle Sir Oliver. Peter Teazle's wife is a young lady who is a constant guest of Lady Sneerwell. Joseph, relying on her support, paid Lady Teazle too many compliments, which gave rise to false ardent feelings in the young lady. So she was angry when she saw Joseph kneeling before Mary. Sir Peter Teazle is jealous of his wife for Charles. The salon ruined the guy's reputation. Therefore, Sir Peter forbade him to meet with Mary. He is also dissatisfied with the surroundings and behavior of young Lady Teazle. Sir Oliver Surface approaches Teasle along with Rowley. Sir Peter Teazle is confident that Joseph is confident on his feet, and Charles is a gulena. Rauli denies this and suggests that the distant uncle test his nephews with cunning.

There is a distant relative of the brothers, the impoverished Mr. Stanley, who asked each of the brothers in writing for help. Charles helped, but Joseph avoided. Now Sir Oliver will have to appear to his brothers under the guise of this relative. Rowley also invites Charles the moneylender to come to him with Sir Oliver, and the latter to introduce himself, supposedly, as a creditor. First, the supposed creditor will come to Charles. He lives in his parents’ house, which he bought from his brother. This purchase ruined him. Charles Surface is initially seen playing dice with cheerful friends and a bottle of wine. This is what the moneylender and the “lender” see. But Charles convinces him that he can pay and mentions his rich uncle. He decides to sell family portraits. Charles and his friend, as if at an auction, are raising the price of portraits. But he is not selling his uncle's portrait. This touches Sir Oliver, and he is convinced of his nephew's integrity.

At Joseph Surface's house, Sir Peter complains to him about his wife's affair with Charles. And behind the screen, in this room, Lady Teazle is hiding. She guessed Joseph's intentions and did not have time to leave before her husband arrived. And then Charles Surface came to visit his brother. Now it's Sir Peter's turn to hide. He almost went behind the screen where Lady Teazle was, but the owner of the house led him into the closet in time. The brothers are overheard by the Teasles. Sir Peter is now convinced of Charles's feelings for Mary. And he, overturning the screen, finds Lady Teazle there. One minute silent scene. Lady Teazle assures her husband that Joseph lured her here, and Joseph only babbles something in response. He sends poor Mr. Stanley away, and then finds out that it was his uncle. Joseph fails. He hopes for Snake, but he told the truth about all the conspiracies and disappeared. Charles inherits Sir Oliver's fortune, becomes engaged to Mary, Sir Peter makes peace with his wife, and Joseph quarrels with Lady Sneerwell. The rest of the gossipers received enough food to develop various conversations.

The play opens with a scene in the salon of the high-society intriguer Lady Sneerwell, who is discussing with her confidante Snake the latest achievements in the field of aristocratic intrigues. These achievements are measured by the number of ruined reputations, upset weddings, incredible rumors launched, and so on. Lady Sneeral's salon is the holy of holies in the school of slander, and only a select few are admitted there. She herself, “wounded in her early youth by the poisonous sting of slander,” the owner of the salon now knows no “greater pleasure” than to defame others.

This time the interlocutors chose one very respectable family as the victim. Sir Peter Teazle was the guardian of the two Surface brothers and at the same time raised his adopted daughter Maria. The younger brother, Charles Surface, and Maria fell in love with each other. It was this union that Lady Sneerwell planned to destroy, not allowing the matter to be brought to a wedding. In response to Snake's question, she explains the background of the matter: the eldest Serfes, Joseph, is in love with Maria - or her dowry, who resorted to the help of an experienced slanderer, having met a happy rival in his brother. Lady Sneerwell herself has a soft spot for Charles and is ready to sacrifice a lot to win him. She gives both brothers sober characterizations. Charles is a "reveler" and a "spendthrift." Joseph is a “cunning, selfish, treacherous man,” a “sweet-tongued rogue,” in whom those around him see a miracle of morality, while his brother is condemned.

Soon the “sweet-tongued rogue” Joseph Surface himself appears in the living room, followed by Maria. Unlike the hostess, Maria does not tolerate gossip. Therefore, she can hardly endure the company of recognized masters of slander who come to visit. This is Mrs. Candair, Sir Backbite and Mr. Crabtree. Undoubtedly, the main occupation of these characters is washing the bones of their neighbors, and they master both the practice and theory of this art, which they immediately demonstrate in their chatter. Naturally, it also goes to Charles Surface, whose financial situation, by all accounts, is completely deplorable.

Sir Peter Teazle himself married just six months before the events described to a young lady from the province. He's old enough to be her father. Having moved to London, the newly minted Lady Teazle immediately began to study the secular arts, including regularly visiting Lady Sneerwell’s salon. Joseph Surface lavished many compliments on her here, trying to enlist her support in his matchmaking with Mary. However, Lady Teazle mistook the young man for her ardent admirer. Finding Joseph on his knees before Mary, Lady Teazle does not hide her surprise. To correct the mistake, Joseph assures Lady Teazle that he is in love with her and is only afraid of Sir Peter’s suspicions, and to complete the conversation he invites Lady Teazle to his home to “take a look at the library.” Joseph is privately annoyed that he has found himself “in a precarious situation.”

So, the respectable gentleman is in a fair confusion of feelings when Sir Oliver Surface comes to him, accompanied by Rowley. He had not yet informed anyone of his arrival in London after an absence of fifteen years, except Rowley and Teasle, old friends, and now he hurries to make inquiries from them about the two nephews whom he had previously helped from afar.

So, Rowley conceived a hoax, into which he introduces Sir Peter and Sir Oliver. The Surface brothers have a distant relative, Mr. Stanley, who is now in great need. When he turned to Charles and Joseph with letters for help, the first, although almost ruined himself, did everything he could for him, while the second got away with an evasive reply. Now Rowley invites Sir Oliver to personally come to Joseph under the guise of Mr. Stanley - fortunately no one knows his face. But that is not all. Rowley introduces Sir Oliver to a moneylender who lends Charles money at interest, and advises him to come to his younger nephew with this moneylender, pretending that he is ready to act as a lender at his request. The plan has been accepted. True, Sir Peter is convinced that this experience will not give anything new - Sir Oliver will only receive confirmation of Joseph’s virtue and Charles’s frivolous extravagance. Sir Oliver makes his first visit to the home of the false creditor Mr. Primyam to Charles. A surprise immediately awaits him - it turns out that Charles lives in his father’s old house, which he... bought from Joseph, not allowing his native home to go under the hammer. This is where his troubles began. Now there is practically nothing left in the house except family portraits. It is these that he intends to sell through the moneylender.

Meanwhile, a spicy situation is developing in Joseph Surface's living room. Sir Peter comes to him to complain about his wife and Charles, whom he suspects of having an affair. In itself, this would not be scary if Lady Teazle, who had arrived even earlier and did not manage to leave in time, was not hiding here in the room behind the screen. Joseph tried in every possible way to persuade her to “disregard the conventions and opinion of the world,” but Lady Teazle saw through his treachery. In the midst of a conversation with Sir Peter, the servant reported on a new visit - Charles Surface. Now it was Sir Peter's turn to hide. He was about to rush behind the screen, but Joseph hastily offered him a closet, reluctantly explaining that the space behind the screen had already been occupied by a certain milliner. The brothers' conversation thus takes place in the presence of the Teazle spouses hidden in different corners, which is why each remark is colored with additional comic shades. As a result of an overheard conversation, Sir Peter completely abandons his suspicions about Charles and is convinced, on the contrary, of his sincere love for Mary. Imagine his amazement when, in the end, in search of the “milliner,” Charles overturns the screen, and behind it - oh, damn it! - Lady Teazle reveals herself. After a silent scene, she courageously tells her husband that she came here, succumbing to the “insidious persuasion” of the owner. Joseph himself can only babble something in his own defense, calling on all the art of hypocrisy available to him.

Soon a new blow awaits the schemer - in upset feelings, he brazenly sends the poor petitioner Mr. Stanley out of the house, and after a while it turns out that Sir Oliver himself was hiding under this mask! Now he was convinced that Joseph had “no honesty, no kindness, no gratitude.” Sir Peter complements his characterization, calling Joseph base, treacherous and hypocritical. Joseph's last hope is in Snake, who promised to testify that Charles swore his love to Lady Sneerwell. However, at the decisive moment, this intrigue bursts. Snake sheepishly reveals in front of everyone that Joseph and Lady Sneerwell "paid extremely handsomely for this lie, but unfortunately" he was then "offered twice as much to tell the truth." This “impeccable fraudster” disappears to continue to enjoy his dubious reputation.

Charles becomes Sir Oliver's sole heir and receives Mary's hand, cheerfully promising that he will no longer stray from the right path. Lady Teazle and Sir Peter reconcile and realize that they are quite happily married. Lady Sneerwell and Joseph can only squabble with each other, finding out which of them showed greater “greed for villainy”, which is why the whole well-conceived business lost. They retire to Sir Oliver's mocking advice to get married: "Vegetable oil and vinegar - by God, it would work great together."

V.A. is rightfully considered the founder of Russian romanticism. Zhukovsky, who chose the world as the main subject of his poetry human soul. But he was not a stranger to turning to national-patriotic themes in his work. In 1812, Zhukovsky signed up as a warrior in the Moscow noble militia. In the context of hostilities, he composed the poem “A Singer in the Camp of Russian Warriors,” which was printed, one might say, on the battlefield, in Tarutino, where he was Main Headquarters. This gave “The Singer...” great charm in the eyes of his contemporaries. Patriotism first appeared here as a feeling of the soul,

Anna Akhmatova The garden It all sparkles and crunches, An icy garden. The one who left me is sad, But there is no turning back. And the pale dull face of the sun is only a round window; I secretly know whose double has been close to it for a long time. Here my peace is forever taken by a premonition of trouble, Through thin ice The traces of yesterday are still visible. The dull, dead face bows down to the silent sleep of the fields, And the sharp cry of the backward cranes fades away. 1911 Tsarskoe Selo “Garden”, analysis of the poem by Anna Akhmatova The poem “Garden” by Anna Akhmatova is extraordinary expressive work, where a whole philosophy is revealed in four stanzas. It refers to the early poetry of Anna Andreev

"The School for Scandal" is a comedy by Richard Brensley Sheridan. The first production of the play at the Drury Lane Theater in London took place on May 8, 1777. Published in a separate edition in 1780. This work is a brilliant satirical comedy of manners, which has not yet left the stages of many theaters around the world. The author himself rehearsed the play with the Drury Lane actors and refrained from publishing it, but pirated editions still appeared. Since 1786, the play has become widely known in America.

Sheridan's literary taste was formed at a time when educational ideals were based not only on the affirmation of reason, but also on the preaching of feelings, natural moral instinct. Sheridan considered an object of art real life, infinite variety " human nature”, which artists are called upon to study: from his literary judgments it is clear, however, that he did not share admiration for the “truthfulness”, “reality” of pictures of life, if he did not find in work of art fantasy and imagination. The influence of W. Shakespeare and E. Spencer, the very spirit of the English Renaissance, largely determined its aesthetic principles.

Sheridan’s “The School for Scandal” does not have a developed plot (there is a common joke that one of the spectators at the premiere was wondering when the action would move), but there is an abundance of colorful characters and incomparable comic situations. The play most vividly embodied the originality and originality of Sheridan the satirist: in witty dialogues he unfolds word game, the participants of which, masterfully parrying the opponent’s words, turn them into weapons of attack (like Shakespeare’s brilliant dialogue). A dramatic type of play - “school”, or “lesson” - characteristic type dramatic work of the 17th-18th centuries. on the European stage. It was started by J.B. Moliere; Among the most famous plays of this genre variety are “The School for Lovers” (1762) by W. Whitehead, “The School for Wives” (1773) by H. Kelly, “The School of Arrogance” (1791) by T. Holcroft.

Sheridan took advantage of many new opportunities for him genre form. He intensified the dramatic conflict by condensing the plot: there is not one, but three storylines characteristic of the “school”, for which outlines of Sheridan’s begun plays “Slanderers” and “ChetaTizle” were taken. This is an exposure of the “school of slanderers”, Slander (as an unnatural beginning for “human nature” and at the same time a vicious social phenomenon). Teasle's interpretation of the relationship between the spouses is far from moralizing (renouncing self-will and finding harmony in marriage are inseparable from love, which is not opposed to marriage). Third story line- the opposition of the Surface brothers - is based on the popular thesis of the deceptiveness of “first impressions”. The play is structured and how love comedy: There are four cleverly nested love triangles here. The development of the action takes place simultaneously in all these plot plans. The careful development of the plot allows Sheridan to weave a sitcom into it - misunderstandings, coincidences, spectacular surprises. The very nature of laughter is the subject of discussion in several scenes of the comedy.

Sheridan's "School of Scandal" is truly a "school of wit." Among the author's cheerful and witty plays, this comedy stands out for its continuous fireworks of successful and unexpected witticisms. The different tonality of these comic streams is clearly visible. Where the characters do not bind themselves with ordered wit, the dialogue is cheerful and light, arousing the admiration of the reader and viewer. Where the evil-speaking masters practice Once again in poisonous chatter, the laughter becomes forced and the witticisms become flat.

As one critic noted, the only flaw in the play is for stage production it takes a whole galaxy of stars. A similar performance of stars was the Moscow Art Theater production in 1940 with the participation of O.N. Androvskaya, M.M. Yanshina, P.V. Massalsky, A.P. Ktorov. The play at London's Old Vic Theater (1948) was very popular: the main roles were V. Lee and L. Olivier.

The first Russian translations of the play date back to 1782-1794; a fragment of the translation of the comedy written by Ekaterina is known II . Translated by I.M. Muravyov-Apostol's play was first staged in the Hermitage on February 27, 1793, and the author of the translation was awarded a golden snuffbox from the hands of the Empress. The success of the production largely determined the perception of Sheridan's play as a classic comedy of manners. Best translation“Schools of Scandal” belongs to M.L. Lozinsky (first published in 1941).

This time the interlocutors chose one very respectable family as the victim. Sir Peter Teazle was the guardian of the two Surface brothers and at the same time raised his adopted daughter Maria. The younger brother, Charles Surface, and Maria fell in love with each other. It was this union that Lady Sneerwell intended to destroy, preventing the matter from going ahead with the wedding. In response to Snake's question, she explains the background of the matter: the eldest Serfes, Joseph, is in love with Maria - or her dowry, who resorted to the help of an experienced slanderer, having met a happy rival in his brother. Lady Sneerwell herself has a soft spot for Charles and is ready to sacrifice a lot to win him. She gives both brothers sober characterizations. Charles is a "reveler" and a "spendthrift." Joseph is a “cunning, selfish, treacherous man,” a “sweet-tongued rogue,” in whom those around him see a miracle of morality, while his brother is condemned.

Soon the “sweet-tongued rogue” Joseph Surface himself appears in the living room, followed by Maria. Unlike the hostess, Maria does not tolerate gossip. Therefore, she can hardly endure the company of recognized masters of slander who come to visit. This is Mrs. Candair, Sir Backbite and Mr. Crabtree. Undoubtedly, the main occupation of these characters is washing the bones of their neighbors, and they master both the practice and theory of this art, which they immediately demonstrate in their chatter. Naturally, it also goes to Charles Surface, whose financial situation, by all accounts, is completely deplorable.

Sir Peter Teazle himself married just six months before the events described to a young lady from the province. He's old enough to be her father. Having moved to London, the newly minted Lady Teazle immediately began to study the secular arts, including regularly visiting Lady Sneerwell’s salon. Joseph Surface lavished many compliments on her here, trying to enlist her support in his matchmaking with Mary. However, Lady Teazle mistook the young man for her ardent admirer. Finding Joseph on his knees before Mary, Lady Teazle does not hide her surprise. To correct the mistake, Joseph assures Lady Teazle that he is in love with her and is only afraid of Sir Peter’s suspicions, and to complete the conversation he invites Lady Teazle to his home to “take a look at the library.” Joseph is privately annoyed that he has found himself “in a precarious situation.”

Sir Peter is really jealous of his wife - but not of Joseph, of whom he has the most flattering opinion, but of Charles.