Analysis Pages
Historical Context in She Stoops to Conquer
Sentimental Comedy and 18th-Century Theater: The 18th-century theater scene was heavily occupied by Sentimental Comedies. These comedies were reflections of the Sentimentalist philosophical movement that was a powerful force in the 18th century. Sentimental Comedies were not so named because they provoke laughter, but because they have happy endings. Sentimentalist philosophy argues that ethics are born from human sentiments, such as sympathy and empathy. These comedies seek to play on the sentiments of the audience and bring about sympathetic tears, not laughter. Goldsmith targeted Sentimental Comedy with She Stoops to Conquer, attempting to make his audiences laugh rather than cry. Goldsmith argues that comedy is meant to make audiences laugh at the vices of humankind. She Stoops to Conquer is a well known work in the canon of Laughing Comedies, which remained in vogue long after the Sentimental Comedy eventually died out.
Changing Economy and Industrial Shift: In the late 18th century, the improvements from the agricultural revolution resulted in affordable, higher-quality foods. However, due to bad harvest years, wars, and inflation, hunger was still on the rise. To add to this hardship, the agricultural landscape was shifting from numerous small farms to several massive farms. This change drove many farmers out of the country and into the factories created by the Industrial Revolution. The changing economic makeup of England at the time was reflected by the growth of the middle class. In general, these changes increased wealth among those connected with commerce and industry, while simultaneously decreasing the wealth held by the titled and landed elite. This development led to the “marriage market”—in which children from old-money families would marry new-money heirs—which serves as a backdrop for the events of She Stoops to Conquer.
Historical Context Examples in She Stoops to Conquer:
Preface
🔒"till late in the season..." See in text (Preface)
"Mr. Colman..." See in text (Preface)
"not merely sentimental..." See in text (Preface)
Prologue
🔒"A Doctor comes this night to show his skill..." See in text (Prologue)
"Shuter..." See in text (Prologue)
"MR. WOODWARD..." See in text (Prologue)
"DAVID GARRICK, ESQ..." See in text (Prologue)
Act The First
🔒"the longitude..." See in text (Act The First)
"Zounds..." See in text (Act The First)
"Murrain's barn..." See in text (Act The First)
"trapesing, trolloping, talkative maypole..." See in text (Act The First)
"bustards..." See in text (Act The First)
"When methodist preachers come down..." See in text (Act The First)
"fifteen hundred a year..." See in text (Act The First)
"grumbletonian..." See in text (Act The First)
""Water Parted," or "The minuet in Ariadne."..." See in text (Act The First)
"SONG..." See in text (Act The First)
"round the improvements..." See in text (Act The First)
"Allons..." See in text (Act The First)
"which chiefly consists in jewels..." See in text (Act The First)
"they want as much training as a company of recruits the first day's muster..." See in text (Act The First)
"I have chosen to be your husband..." See in text (Act The First)
"By living a year or two in town..." See in text (Act The First)
"Little Aminadab..." See in text (Act The First)
"I'd sooner allow him a horse-pond..." See in text (Act The First)
"You may be a Darby, but I'll be no Joan..." See in text (Act The First)
"Prince Eugene and the Duke of Marlborough..." See in text (Act The First)
"Cripplegate..." See in text (Act The First)
"curate's..." See in text (Act The First)
" but in the very basket..." See in text (Act The First)
"to town..." See in text (Act The First)
Act The Second
🔒"cry over a book for an hour together..." See in text (Act The Second)
"Quincy next..." See in text (Act The Second)
"as a mere maker of samplers..." See in text (Act The Second)
"since inoculation began..." See in text (Act The Second)
"the Ladies' Memorandum-book for the last year..." See in text (Act The Second)
"Scandalous Magazine..." See in text (Act The Second)
"the Pantheon, the Grotto Gardens, the Borough..." See in text (Act The Second)
"Ranelagh, St. James's, or Tower Wharf..." See in text (Act The Second)
"Cicero never spoke better..." See in text (Act The Second)
"the India director..." See in text (Act The Second)
"the laws of marriage..." See in text (Act The Second)
"where even among slaves..." See in text (Act The Second)
"a green and yellow dinner..." See in text (Act The Second)
"Joiners' Company, or the corporation of Bedford..." See in text (Act The Second)
"Prince Eugene, when he fought the Turks at the battle of Belgrade..." See in text (Act The Second)
"better than any in Westminster-hall..." See in text (Act The Second)
"Hyder Ally, or Ally Cawn..." See in text (Act The Second)
"there is no business "for us that sell ale." ..." See in text (Act The Second)
"Warm work, now and then, at elections, I suppose..." See in text (Act The Second)
"I'll pawn my dukedom, says he, but I take that garrison without spilling a drop of blood..." See in text (Act The Second)
"George Brooks..." See in text (Act The Second)
"Duke of Marlborough, when we went to besiege Denain..." See in text (Act The Second)
"my bride were to be courted by proxy..." See in text (Act The Second)
"a comet, or a burning mountain..." See in text (Act The Second)
"Having first ruined the master by good housekeeping, it at last comes to levy contributions as an inn..." See in text (Act The Second)
"Take your hands from your pockets, Roger..." See in text (Act The Second)
Act The Third
🔒"a screen..." See in text (Act The Third)
"Mrs. Langhorns..." See in text (Act The Third)
"Ladies' Club in town..." See in text (Act The Third)
"by mark of mouth..." See in text (Act The Third)
"like a Catherine wheel..." See in text (Act The Third)
"Morrice! Prance!..." See in text (Act The Third)
"the bounce of a cracker..." See in text (Act The Third)
"Bully Dawson..." See in text (Act The Third)
Act The Fourth
🔒"I shall expect an explanation..." See in text (Act The Fourth)
"old Bedlam..." See in text (Act The Fourth)
"a pound..." See in text (Act The Fourth)
"Whistle-jacket..." See in text (Act The Fourth)
"The DULLISSIMO MACCARONI..." See in text (Act The Fourth)
"liberty and Fleet-street for ever..." See in text (Act The Fourth)
"As a guinea in a miser's purse..." See in text (Act The Fourth)
Act The Fifth
🔒"the whining end of a modern novel. ..." See in text (Act The Fifth)
"Two of the five that kept here are hanged..." See in text (Act The Fifth)
"My son is possessed of more than a competence already..." See in text (Act The Fifth)