"She Stoops to Conquer" is a comedy play written by the Anglo-Irish playwright Oliver Goldsmith. It was first performed in London in 1773. The play is a classic of English literature and is known for its humor, wit, and exploration of social class distinctions. The plot revolves around the attempts of two young men, Marlow and Hastings, to court the wealthy Miss Kate Hardcastle and her cousin Constance Neville. Mistaken identities, misunderstandings, and comedic situations ensue when Marlow mistakes the Hardcastle home for an inn and behaves differently towards Kate than he does towards ladies of his own class. The title, "She Stoops to Conquer," refers to the central plot point where Kate pretends to be a barmaid to win over Marlow, who is shy and awkward around upper-class women but more confident with women of lower social status.
The Modern Husband * The Clandestine Marriage * She Stoops to Conquer * Wild Oats This edition brings together four eighteenth-century comedies that illustrate the full variety of the century's drama. Fielding's The Modern Husband , written before the 1737 Licensing Act that restricted political and social comment, depicts wife-pandering and widespread social corruption. InGarrick and Colman's The Clandestine Marriage two lovers marry in defiance of parental wishes and rue the consequences. She Stoops to Conquer explores the comic and not-so-comic consequences of mistaken identity, and in Wild Oats, the 'strolling player' Rover is a beacon of hope at a time ofunrest. Part of the Oxford English Drama series, this edition has modern-spelling texts, critical introduction, wide-ranging annotation and an informative bibliography.
During World War II a group of men is held prisoner by the Germans, who determine that three of them must die. This is the story of how one of those men trades his wealth for his life--and lives to pay for his act in utterly unexpected ways.
Charming satire concerns a young lady who poses as a serving girl to win the heart of a young gentleman too shy to court ladies of his own class. Notes.
Oliver Goldsmith arrived in England in 1756 a penniless Irishman. He toiled for years in the anonymity of Grub Street—already a synonym for impoverished hack writers—before he became one of literary London’s most celebrated authors. Norma Clarke tells the extraordinary story of this destitute scribbler turned gentleman of letters as it unfolds in the early days of commercial publishing, when writers’ livelihoods came to depend on the reading public, not aristocratic patrons. Clarke examines a network of writers radiating outward from Goldsmith: the famous and celebrated authors of Dr. Johnson’s “Club” and those far less fortunate “brothers of the quill” trapped in Grub Street. Clarke emphasizes Goldsmith’s sense of himself as an Irishman, showing that many of his early literary acquaintances were Irish émigrés: Samuel Derrick, John Pilkington, Paul Hiffernan, and Edward Purdon. These writers tutored Goldsmith in the ways of Grub Street, and their influence on his development has not previously been explored. Also Irish was the patron he acquired after 1764, Robert Nugent, Lord Clare. Clarke places Goldsmith in the tradition of Anglo-Irish satirists beginning with Jonathan Swift. He transmuted troubling truths about the British Empire into forms of fable and nostalgia whose undertow of Irish indignation remains perceptible, if just barely, beneath an equanimous English surface. To read Brothers of the Quill is to be taken by the hand into the darker corners of eighteenth-century Grub Street, and to laugh and cry at the absurdities of the writing life.
Winner of the 2006 Barnard Hewitt Award for Excellence in Theatre History Between 1904 and the Great Depression, Circuit Chautauquas toured the rural United States, reflecting and reinforcing its citizens’ ideas, attitudes, and politics every summer through music (the Jubilee Singers, an African American group, were not always welcome in a time when millions of Americans belonged to the KKK), lectures (“Civic Revivalist” Charles Zueblin speaking on “Militancy and Morals”), elocutionary readers (Lucille Adams reading from Little Lord Fauntleroy), dramas (the Ben Greet Players’ cleaned-up version of She Stoops to Conquer), orations (William Jennings Bryan speaking about the dangers of greed), and special programs for children (parades and mock weddings). Theatre historians have largely ignored Circuit Chautauquas since they did not meet the conventional conditions of theatrical performance: they were not urban; they produced no innovative performance techniques, stage material, design effects, or dramatic literature. In this beautifully written and illustrated book, Charlotte Canning establishes an analytical framework to reveal the Circuit Chautauquas as unique performances that both created and unified small-town America. One of the last strongholds of the American traditions of rhetoric and oratory, the Circuits created complex intersections of community, American democracy, and performance. Canning does not celebrate the Circuit Chautauquas wholeheartedly, nor does she describe them with the same cynicism offered by Sinclair Lewis. She acknowledges their goals of community support, informed public thinking, and popular education but also focuses on the reactionary and regressive ideals they sometimes embraced. In the true interdisciplinary spirit of Circuit Chautauquas, she reveals the Circuit platforms as places where Americans performed what it meant to be American.
