feat_summary_path: finished_summaries/gradesaver/The School for Scandal/section_2_part_2.txt
feat_book_id: The School for Scandal.act iii.scene ii
feat_summary_id: act iii, scene ii
feat_summary: {"name": "act iii, Scene II", "url": "https://web.archive.org/web/20180409073536/http://www.gradesaver.com/the-school-for-scandal/study-guide/summary-act-iii", "summary": "Scene II opens with Sir Oliver, Mr. Moses, and one of Charles's servants at Charles's house. The servant wants to do business with Mr. Moses himself, which Sir Oliver thinks is strange. Trip tells them a bit about how lavishly Charles has been living. Trip leads them to where Charles and his friends are relaxing", "analysis": "Sheridan makes many allusions in the play during characters' dialogues with one another. This both shows Sheridan's own learnedness and underscores the education and high social status of the characters that make these references. One allusion of note comes early in Act III, made by Rowley. In conversation with Sir Oliver and Sir Peter about the young Surface boys, Joseph and Charles, he says, \"as our immortal bard expresses it, -- 'a heart to pity, and a hand open as day for melting charity'\" . This quote comes from Shakespeare's Henry VI. Rowley says this to the men to support Charles's remaining moral character. However, Sir Peter quips back, both as a response to Rowley and perhaps to Shakespeare himself, that having an open hand means nothing when one has spent all he had. It is important to read this section with historical context in mind, specifically as applies to anti-Semitism and the role of Jews and Judaism in society. In Sheridan's time and before, many Jews were involved in money-lending, the Jewish faith, unlike Christianity, did not forbid this job. Nevertheless, the play presents a stereotyped character, a Jewish money-lender who is willing to be involved in deceit, and who likely was dressed and made up to comply with a stereotypical Jewish appearance. Productions since Sheridan's time, especially contemporary productions, have had to decide whether to edit out these references to Judaism entirely or perform the play as it was written but provide relevant historical context to the audience. Sheridan uses a humorous scene to show Sir Oliver's transformation into the money-lender Mr. Premium. This humor is mostly created through repetition. For example, part of the interaction with Mr. Moses as he teaches the man how to play the role of Mr. Premium is as follows: \"MOSESThen, you know, you haven't the moneys yourself, but are forcedto borrow them for him of a friend. SIR OLIVEROh! I borrow it of a friend, do I? MOSESAnd your friend is an unconscionable dog: but you can't helpthat. SIR OLIVERMy friend an unconscionable dog, is he?\" The fact that Sir Oliver is not particularly good at acting his role, along with the fact that while acting his role he gives many asides to himself or the audience, increases the humor and dramatic irony in those scenes. Of the motivations to convince Maria to marry Joseph, Sir Peter's seem the most conscionable. While Lady Sneerwell wants to see Maria with Joseph because she loves Charles, Sir Peter seems to simply want what he sees as best for the ward for whom he has recently assumed responsibility. Sir Peter and Maria discuss the role of a father, with her saying that she has respected his wishes in not corresponding with Charles, but that she cannot regard him as a father if he forces her to marry Joseph, \"compel to be miserable\" . Though Lady Teazle told Sir Peter earlier in the play that he should have adopted her, not married her, if he wanted to control her, Maria shows still another example of a strong female character who will protest the dynamics of gender and power within families."}
text: SCENE II.
  
  --At CHARLES's House
  
       Enter TRIP, MOSES, and SIR OLIVER
  
  TRIP. Here Master Moses--if you'll stay a moment--I'll try whether
  Mr.----what's the Gentleman's Name?
  
  SIR OLIVER. Mr.----Moses--what IS my name----
  
  MOSES. Mr. Premium----
  
  TRIP. Premium--very well.
  
       [Exit TRIP--taking snuff.]
  
  SIR OLIVER. To judge by the Servants--one wouldn't believe the master
  was ruin'd--but what--sure this was my Brother's House----
  
  MOSES. Yes Sir Mr. Charles bought it of Mr. Joseph with the Furniture,
  Pictures, &c.--just as the old Gentleman left it--Sir Peter thought it a
  great piece of extravagance in him.
  
  SIR OLIVER. In my mind the other's economy in selling it to him was more
  reprehensible by half.----
  
       Enter TRIP
  
  TRIP. My Master[,] Gentlemen[,] says you must wait, he has company, and
  can't speak with you yet.
  
  SIR OLIVER. If he knew who it was wanted to see him, perhaps he wouldn't
  have sent such a Message.
  
  TRIP. Yes--yes--Sir--He knows you are here--I didn't forget little
  Premium--no--no----
  
  SIR OLIVER. Very well--and pray Sir what may be your Name?
  
  TRIP. Trip Sir--my Name is Trip, at your Service.
  
  SIR OLIVER. Well then Mr. Trip--I presume your master is seldom without
  company----
  
  TRIP. Very seldom Sir--the world says ill-natured things of him but 'tis
  all malice--no man was ever better beloved--Sir he seldom sits down to
  dinner without a dozen particular Friends----
  
  SIR OLIVER. He's very happy indeed--you have a pleasant sort of Place
  here I guess?
  
  TRIP. Why yes--here are three or four of us pass our time agreeably
  enough--but then our wages are sometimes a little in arrear--and not
  very great either--but fifty Pounds a year and find our own Bags and
  Bouquets----
  
  SIR OLIVER. Bags and Bouquets!--Halters and Bastinadoes! [Aside.]
  
  TRIP. But a propos Moses--have you been able to get me that little Bill
  discounted?
  
  SIR OLIVER. Wants to raise money too!--mercy on me! has his distresses,
  I warrant[,] like a Lord--and affects Creditors and Duns! [Aside.]
  
  MOSES. 'Twas not be done, indeed----
  
  TRIP. Good lack--you surprise me--My Friend Brush has indorsed it and
  I thought when he put his name at the Back of a Bill 'twas as good as
  cash.
  
  MOSES. No 'twouldn't do.
  
  TRIP. A small sum--but twenty Pound--harkee, Moses do you think you
  could get it me by way of annuity?
  
  SIR OLIVER. An annuity! ha! ha! a Footman raise money by annuity--Well
  done Luxury egad! [Aside.]
  
  MOSES. Who would you get to join with you?
  
  TRIP. You know my Lord Applice--you have seen him however----
  
  MOSES. Yes----
  
  TRIP. You must have observed what an appearance he makes--nobody dresses
  better, nobody throws off faster--very well this Gentleman will stand my
  security.
  
  MOSES. Well--but you must insure your Place.
  
  TRIP. O with all my Heart--I'll insure my Place, and my Life too, if you
  please.
  
  SIR OLIVER. It's more than I would your neck----
  
  MOSES. But is there nothing you could deposit?
  
  TRIP. Why nothing capital of my master's wardrobe has drop'd lately--but
  I could give you a mortgage on some of his winter Cloaths with equity
  of redemption before November or--you shall have the reversion--of the
  French velvet, or a post obit on the Blue and Silver--these I
  should think Moses--with a few Pair of Point Ruffles as a collateral
  security--hey, my little Fellow?
  
  MOSES. Well well--we'll talk presently--we detain the Gentlemen----
  
  SIR OLIVER. O pray don't let me interrupt Mr. Trip's Negotiation.
  
  TRIP. Harkee--I heard the Bell--I believe, Gentlemen I can now introduce
  you--don't forget the annuity little Moses.
  
  SIR OLIVER. If the man be a shadow of his Master this is the Temple of
  Dissipation indeed!
  
       [Exeunt.]
  
  
  
  
  
  
feat_summary_name: act iii, Scene II
target: Scene II opens with Sir Oliver, Mr. Moses, and one of Charles's servants at Charles's house. The servant wants to do business with Mr. Moses himself, which Sir Oliver thinks is strange. Trip tells them a bit about how lavishly Charles has been living. Trip leads them to where Charles and his friends are relaxing
feat_summary_analysis: Sheridan makes many allusions in the play during characters' dialogues with one another. This both shows Sheridan's own learnedness and underscores the education and high social status of the characters that make these references. One allusion of note comes early in Act III, made by Rowley. In conversation with Sir Oliver and Sir Peter about the young Surface boys, Joseph and Charles, he says, "as our immortal bard expresses it, -- 'a heart to pity, and a hand open as day for melting charity'" . This quote comes from Shakespeare's Henry VI. Rowley says this to the men to support Charles's remaining moral character. However, Sir Peter quips back, both as a response to Rowley and perhaps to Shakespeare himself, that having an open hand means nothing when one has spent all he had. It is important to read this section with historical context in mind, specifically as applies to anti-Semitism and the role of Jews and Judaism in society. In Sheridan's time and before, many Jews were involved in money-lending, the Jewish faith, unlike Christianity, did not forbid this job. Nevertheless, the play presents a stereotyped character, a Jewish money-lender who is willing to be involved in deceit, and who likely was dressed and made up to comply with a stereotypical Jewish appearance. Productions since Sheridan's time, especially contemporary productions, have had to decide whether to edit out these references to Judaism entirely or perform the play as it was written but provide relevant historical context to the audience. Sheridan uses a humorous scene to show Sir Oliver's transformation into the money-lender Mr. Premium. This humor is mostly created through repetition. For example, part of the interaction with Mr. Moses as he teaches the man how to play the role of Mr. Premium is as follows: "MOSESThen, you know, you haven't the moneys yourself, but are forcedto borrow them for him of a friend. SIR OLIVEROh! I borrow it of a friend, do I? MOSESAnd your friend is an unconscionable dog: but you can't helpthat. SIR OLIVERMy friend an unconscionable dog, is he?" The fact that Sir Oliver is not particularly good at acting his role, along with the fact that while acting his role he gives many asides to himself or the audience, increases the humor and dramatic irony in those scenes. Of the motivations to convince Maria to marry Joseph, Sir Peter's seem the most conscionable. While Lady Sneerwell wants to see Maria with Joseph because she loves Charles, Sir Peter seems to simply want what he sees as best for the ward for whom he has recently assumed responsibility. Sir Peter and Maria discuss the role of a father, with her saying that she has respected his wishes in not corresponding with Charles, but that she cannot regard him as a father if he forces her to marry Joseph, "compel to be miserable" . Though Lady Teazle told Sir Peter earlier in the play that he should have adopted her, not married her, if he wanted to control her, Maria shows still another example of a strong female character who will protest the dynamics of gender and power within families.