اسئلة مقالية عن المسرحية في القرن 18 Study Questions for Richard Brinsley Sheridan, The School for Scandal

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شكراااااااا

thank you very much

thank you

شكراا

welcome but i worked hard on this just to see the only word شكرا
that is somehow adverse.

thanks

WELCOME

شكرا يادكتور والله يعطيك العافيه

Thanks a lot for your effort

welcome

Thank you

welcome

شكرا ويعطيك الف عافيه

الله يعافيك

جزاك الله خير

الجميع انشاء الله

مشكور يا دكتور

thanks

welcome

thanks alot doctor, I cannot express my feeeling toward what u have done.
we used to recieve great works from u.
I hope to be in good health.
I hope being like u doctor in one day....
let me doctor say
u r a model for the doctors of altaif uneversity
all the best
good luck

thanks alot dear salman for such kind praise
best of luck

THANKS

welcome

السلام عليكم
بعد التحية
شكرا لك عالمجهود العظيم والله يعطيك الف عافيه
بس يادكتور الاسئلة اللي من دون اجوبة مالقيت لها حل وحاولت لاكن ماقدرت وتجمعنا مجموعة طلاب وحاولنا نحلها ولاكن دون جدوى
شف لنا حل فيها الله يعطيك العافيه
شكرا لك
تحياتي

plz write them here to answer them

1. The School for Scandal is a comedy of manners, satirizing the social
values, virtues, and vices of its time. What might a contemporary comedy
of manners look like? What aspects of today’s values might you choose
to satirize? Where might the play take place? What might the characters
be named? Is there an equivalent in today’s world to Lady Sneerwell’s
School for Scandal?

2. Consider the role of moneylending in The
School for Scandal. How does debt lead to troubles for the characters?
What is the relationship between debtor and creditor in the play? Is the
issue treated in a serious or lighthearted fashion? What point(s) do
you think Sheridan is trying to make about moneylending?

3. Make a
list of all the names in The School for Scandal — not just the
characters we see onstage, but also the people whose names come up in
Lady Sneerwell’s gossip. What assumptions do you find yourself making
about these people on the basis of their names? Choose one of these
“unseen” characters and create a brief character sketch or visual
portrait.

4. Entrances and exits are a common feature of farce,
where they are often used for comic effect. Are there any scenes in the
play in which farcical elements (apparent sight gags, entrances and
exits, stage “business,” etc.) contribute as much, if not more, to the
comedy than the witty dialogue does?

5. Near the end of play,
Snake says, “…I live by the badness of my character — I have nothing but
my infamy to depend on! and, if it were once known that I had been
betrayed into an honest action, I should lose every friend I have in the
world.” How does this statement reflect the morals of Lady Sneerwell’s
circle? Can you think of a contemporary equivalent to Snake?

6.
The prologue and epilogue were conventions of Restoration and
18th-century theatre; often they were composed separately from the play
itself, and sometimes they were even composed by a totally different
author. How do they function in The School for Scandal? Do you find that
they add to your experience of the play when you read it, or do they
feel too artificial? How might they have struck actual theatre-goers who
heard them as part of the performance during its original time-period?

Think
of a contemporary play that you have studied. Choose one character and
write a prologue or epilogue for that character to deliver. You will
want to consider form as well as content.

7. Sheridan was a male
writer writing about marriage and women. See what you can discover about
the roles of women in London society of the later eighteenth century
and then consider whether or not Sheridan portrays women “accurately. ”
Do you think that Sheridan’s portrait of marriage accurately reflects
the historical reality of his times?

8. Sheridan seems to have
made a great deal of money as a playwright. Was acting also a
financially rewarding line of work? How about working in a theatre as a
scene-painter or costumer – or even owning a theatre?

dear these questions are meant for general knowledge of the play and they are applicable , means they are to be answered based on ur own understanding of the play.

Thanks

OK thank you
and good luck

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thanks a lot Doctor

شكرا

العفو

Thank you very much

u r welcome

thank you alot doctor

welcome

thank you

welcome sayel

thank u (f)
u work so hard to give us the easier ,,
thank u agian ~

شكر جزيلا


على ماتقدمه يادكتور العلم والأمثال

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محبك ا ل ن م ر ي

thank u dr

welcome

very good

Thank you
For questions

thank you Doctor

شكرا يادكتور

Thanks for the wonderful effort