The Rivals as a Comedy of Manners

The Comedy of Manners which had its seed sown in Ben Jonsons Comedy of Humors flourished in
full bloom at the hands of the Restoration dramatists. They exploited this particular genre of
comedy to study and imitate in a vein of humor and satire, the social mannerisms, conventions and
artificiality of their particular age and society through delightful observation and witty
commentaries on the prevalent temper, follies and external details of the life of certain men and
women who were the stereo-types of their depicted society.

R.B. Sheridans The Rivals is a perfect Comedy of Manners in the way it holds a mirror to social
life, modes and manners of the artificial, fashionable community of the 18th Century English
society by making Bath, a health resort in England the center of the action of the play. Through the
characters of his play, Sheridan depicts in a very entertaining manner the gay and easy lives of the
well to do people of his age that were full of intrigues, gossips, scandals, flirtations, frivolity and
without any raging cares or serious problems of livelihood. Almost all the characters of the play are
entangled in love affairs and have nothing more important to do than to pay social visits, learn
fashionable dances, devour romances and fight duels. The country landlords like Bob Acres came to
Bath to ape the latest fashions and hair-styles. Lydia Languish represents all those girls at Bath who
filled their idle days with cheap romances and dreams of romantic elopements. Mrs. Malaprop is
an amusing representation of the provincial ladies who tried desperately to live up the smartness
of the fashionable city of bath. Moreover, Rivals is also filled with references to the circulating
libraries of the 18th century society that were the fond resorts and romantic haunts of sentimental
girls. The orthodox view on female education prevalent at that time also comes to the fore through
the conversations of Sir Anthony Absolute and Mrs. Malaprop in Act.1Sc.2. It is true that the
purview of Sheridans social life is very limited but this is in conformation with the tenets of a
typical comedy of manners that focuses on a narrow slice of the society.

The plot of the Rivals just like that of any other Comedy of Manners is slight and built on the
common stock devices of concealment, cross purposes, mistaken identity, tyrannical parents who
threatened to disown upon disobedience and so on. The dramatic effect owes not so much to the
plot but is based on the weaving of finely conceived highly theatrical situations into a composite
whole and well sustained dramatic suspense.

The characters of Rivals are mostly type characters in keeping with the tradition of Comedy of
manners. Mrs. Malaprop with her nice derangements of epitaphs, Lydia Languish with her
singular taste, Sir Anthony Absolute with his absolute temper, Bob Acres with his foppery and
foolish bravado and Sir Lucius with idiotic chivalry are nothing but Sheridans delightful
caricatures of some of the human deformities common to the people of his age.

Apart from all this, Rivals like a true comedy of manners is filled to the brim with wit and intellect.
The play is packed with witty repartees of wit and funny conversations that add to the fun and mirth
of the play in an abundant measure. This flash of wit is especially noticeable in the conversation
between Fag and his master captain Absolute in Act2.Sc.1 about the particulars of quality lying and
also in Act3.Sc3 where Captain Absolute deceives Mrs. Malaprop and Lydia through his amusing
double identity in the play.

Lastly, beneath the light scenes and gay inventions in Rivals, lies a mild stroke of satire which
forms the intellectual aspect of Comedy of Manners. Through the Julia-Faulkland episode Sheridan
has caricatured the sentimentality of the age that had also gripped the theaters. Lydias temperament
in the play and her preference of elopement and scandals is actually a satire on the sensational
loving youth of the time. Sheridan laughs at the obsession with contemporary fashion through Bob
Acres and the Act5Sc3 is delightful satire on dueling.
Owing to the true and intriguing picture of 18th Century life of Bath painted by Sheridan along with
the diverting type-characters, slight but theatrical plot, abundance of wit and mirth and the clever
touch of satire, Rivals holds its appeal even in todays times as one of the best Comedy of Manners.

Mrs. Malaprops Character:

It has been very rightly opined by Mrs. Oliphant that in Sheridan, the gift of innocent ridicule and
the quick embodiment of the ludicrous without malice reaches to such heights of excellence as have
given his nonsense a sort of immortality. The truth of this comment finds perfect reflection in
Sheridans famous and much loved creation, Mrs. Malaprop who with her parade of ridiculous
pedantry, vulgar sociability, laughable passion and most importantly, her nice derangements of
epitaphs is perhaps the best embodiment of the ludicrous but it is this very virtue of nonsense that
makes her an immortal creation in history of English humorous literature and makes her stand out
as a marvel of Sheridans theatrical art. She is the humorous aunt of the plays heroine Miss Lydia
Languish, who gets caught up in the schemes and dreams of young lovers and with her misapplied
words and mannerisms remains from the very start to the end a grand comical entertainment and the
source of much fun and farce.

Mrs. Malaprop is actually Sheridans delightful caricature of the provincial ladies of his age who
desperately tried to up to live up the smartness and fashion of the city. The essence of this
characters caricature lies in her language and how her select words are, as Julia puts them
ingeniously misapplied without being mispronounced. She fancies her oracular tongue and
nice derangements of epitaphs as her very prized attribute without the slightest idea of the
absurdity in her language arising out of her notorious misuse of words and phrases. The peculiar
mistakes of this humorous aunt with which she brightens the play with a comical fire are known as
malapropisms which have passed into the rules of rhetoric. Here are some of her enjoyable mis-uses
of words: Shes as headstrong as an allegory (alligator) on the banks of the Nile, Im quite
analyzed (paralyzed) for my part, Oh! It gives me the hydrostatics (Hysterics) to such a degree!
and so on.

Not only this, she attempts enthusiastically to impose her superiority and wisdom on others by
propagating her own theories but in doing so ends up making herself a pure clownish figure since
all her knowledge is half-baked and inappropriately applied. Throughout the play she gives a large
catalogue of all the things that do not befit a young woman such as violent memories, preference
and aversion, caparisons (comparisons) and what not. In her unshrinking language she lectures on
education of women before Sir Anthony and never suspects that her words act as a raillery to her
own self But above all Sir Anthony she should be a Mistress of Orthodoxy that she might not
mis-spell and mis-pronounce words so shamefully as girls usually do and likewise that she might
reprehend the true meaning of what she is saying.

Mrs. Malaprops vanity makes her open to flatteries and pretend admiration which is why she
readily brands Captain Absolute as the The pineapple (pinnacle) of politeness when he says kind
words to her elegant manners and unaffected learning.

In the romantic love of Lydia and Beverly, Mrs. Malaprop plays the part of a watch dog or as
Ensign Beverly writes to his lady-love, a she dragon but her vigilance only uncovers her
continued dullness and her strictures only reveals her ignorance and vulgarity. However, she is
hardly the villain in the love-story of the romantic pair but can be best viewed as an old weather
beaten lady with egoistic ideas and outdated prejudices and nothing of serious or sober
understanding.
Much of the fun in The Rivals lies in the odd story of Mrs. Malaprops love where this old wrinkled
lady poses herself as teenaged Delia and carries on a love correspondence with an Irish Knight. The
whole love affair is a drollery and when her true identity is revealed and every man rejects her she
very dismally ejaculates Men are all barbarians.

The figure of Mrs. Malaprop is not entirely a Sheridan innovation and its seeds can be found in
Mrs. Slipshod of Fieldings Joseph Andrews and Tabitha Bramble of Smolletts Humphrey Clinker.
However, her character can be perceived without any reference to any source or predecessor and in
its conception Sheridan has indeed achieved a rare work of comic art. Without this Mistress of
language as Sir Lucius calls his Delia, this play would have lost much of its charm and spark; much
of its farcical liveliness and comic interest.

The Justification Of Title- The Rivals

This comedy of intrigues has a very befitting title because almost all intrigues in it refer to the
rivalry of different characters for winning their prize. The title thus refers to the central theme of the
play. Although at its face it might seem a comical title but in essence it is deeply satirical. In other
way, the title can also be taken as a satire on the husbands in general who were suspicious of
unknown rivals and the foolishly romantic girls who found pleasure in surrounding themselves with
contending rivals.

The main rivals in the play

Some critics opine that the title The Rivals does not carry a very precise relevance. It has however
been suggested that by his title Sheridan was referring to the pseudo rivalry of Captain Absolute and
Ensign Beverly. Captain Absolute has to assume the personality of a poor sub-lieutenant to tickle
the humour of Lydia Lnguish, the romantic heroine, who according to Fag is a lady of a very
singular taste, a lady who like him better as half-pay ensign than if she knew he was son and heir to
Sir Anthony Absolute, a baronet of three thousand a year. Lydia is dissuaded from marrying
Beverly by her caperon Mrs. Malaprop, who intercepts his letters written to her. Later she herself
brings with the help of Sir Anthony, his son Captain Absolute as a suitor to Lydia and so rival to
Ensign Beverly is provided. He is therefore at the same time in Lydias eyes, the two rivalsthe
adored Beverly and the detested Captain Absolute.

However, there are two pretenders to Lydias hand, even if neither one plays an important part in the
love plot. Bob Acres versus Ensign Beverly and Sir Lucius OTrigger versus Captain Absolute are
the avowed duels to be fought in the course of the play. Acres was encouraged by Mrs. Malaprop to
become the suitor of Lydia and he thus hold the rivalry with Beverly. Acres is the type of the ricj
landlord of the countryside who tries to pose himself to be a city dandy by changing his country
dress and style of hair and learning fashionable French dances. He is a coward at heart and does not
like to fight a duel for the sake of his beloved Lydia though egged on by the fiery Lucius he sends a
challenge to Ensign Beverly. A third rival is Sir Lucius OTrigger, a poor Irish baronet who is duped
by Lucy into believing that he has been corresponding with Lydia, and not Mrs. Malaprop though it
was actually the reverse. He wishes to marry the rich heiress for the sake of improving his finances.
The Irishman had been a permanent comic figure on the contemporary English stage and Sir Lucius
is no exception. He is always eager to fight a duel and he also cites other to do same. Unlike Acres,
he is not a coward and is ready to risk his life for the sake of making his fortune.

Problem of rivalry is finally solved

The tangle of the three rivals is finally cleared at Kings Mead Fields, where the three are about to
be engaged in duels. The main problem of rivalry is solved when the identity of Captain Absolute is
discovered by all. After that nothing much remains to be done than to bring Lydia round to accept
Captain Absolute in his own person, and his rivalry with Beverly in the main plot ends. Bob Acress
rivalry with Captain Absolute ends as soon as he comes to know his real identity. He takes the first
opportunity to back out from the duel and promptly gives up all claims on Lydia. Sir Lucius also,
when discovers his mistake of confusing Delia with Lydia, remains no more a rival of Captain
Absolute. Then there are imaginary rivalry is too in Faulklands mind. And, being foolishly jealous
of them, he not only prepares his bitter cup for himself but also tortures Julia. He too is purged of
his suspicious nature in the end. The complications of the play end on a happy note as was typical
of all comedies of manners. Hence we can say that the title of the play is not only befitting but the
theme it suggests, serves to interlink the three plots.

The Rivals: Anti-Sentimental Comedy:

Undoubtedly Sheridans purpose in writing The Rivals was to entertain the audience by making
them laugh and not by making them shed tears. The Rivals was written as a comedy pure and
simple. Though there are certainly a few sentimental scenes in this play yet they are regarded as a
parody of sentimentality. The scenes between Falkland and Julia are satire on the sentimental
comedy which was in fashion in those days and against which Sheridan revolted. A brief
examination of these sentimental scenes would clearly reveal that Sheridans intention was to poke
fun at the sentimental comedy of the time. We find both Faulkland and Julia absurd. The true
character of Faulkland is indicated to us by Absolutes description of him as the most teasing,
captious, incorrigible lover. Faulklands own description of his state of mind about his beloved
Julia also makes him appear absurd. He says that every hour is an occasion for him to feel alarmed
on Julias account. If it rains, he feels afraid lest some shower should have chilled her. If the wind is
sharp, he feels afraid lest a rude blast should adversely affect her health. The heat of the noon and
the dews of the evening may endanger her health. All this is funny and certainly no to be taken
seriously. Sheridan is here ridiculing the excessive solicitude and concern which an over-
sentimental lover like Faulkland experiences when separated from his beloved. Sheridan seems to
be pleading for mental equilibrium even in the case of an ardent lover.

Sheridan continues to portray Faulkland in the same satirical manner. When Acres appears and is
questioned by Absolute regarding Julias activities in the countryside, Acres replied that Julia has
been enjoying herself thoroughly and been having a gay time. Now, a normal lover would feel
extremely happy to learn this. We expect the same reaction from Faulkland because he had assured
Absolute that he would feel happy beyond measure if he were certain that Julia was hale and
hearty. But his actual reaction is quite different and greatly amuses us by its absurdity.

In both his interviews with Julia, Faulkland betrays the same absurdity. In the first interview, he
complains to her of the mirth and gaiety that she as been enjoying during his absence. He wants to
be loved for his own sake and for no particular reason and he also expects her love to be fixed and
ardent. In short, his whole manner of talking to her and his soliloquy at the end of this scene
reveals him in a still more comic light.

The second interview again shows him a ridiculous light. He subjects Julia to a test in order to
convince himself of the sincerity of her love. The authors intention is to show the absurd length to
which an over-sentimental lover can go, and the author expects us to laugh at this kind of lover.

Even Julia suffers from an excessive sentimentality and she too is made to appear absurd and
ridiculous for that reason. The manner in which she describes her lover toLydia shows the kind of
mentality that she has. In the two interviews with Faulkland, Julia is again over-flowing with
emotion. We smile at the way she behaves; we are amused by her excess of emotion; we mock at
the abject surrender to her lover and her repeated attempts to make up with him.
Lydia too is an over-sentimental girl though in a different way; and she too becomes the subject of
ridicule in the play. Her romantic ideas and her romantic planning appear absurd to us. She wants
not the usual routine marriage but a runaway marriage. Now all this makes us laugh at her
superficiality and silliness. These absurd notions have been derived by her from the sentimental and
romantic stories to which she is addicted. The collapse of her romantic hopes disappoints her
greatly but amuses us a good deal.

The manner in which the other characters have been portrayed is also evidence of the anti-
sentimental character of the play. Captain Absolute is a practical man and though he assumes the
name and status of Ensign Beverley, he would not like to forfeit the rich dowry which Lydia will
bring him. Mrs. Malaprop is a conventional, practical woman whose attitude to marriage is
business-like. Sir Anthony to is a practical, worldly man. Bob Acres is a country boor with no
romantic or sentimental pretensions but towards the end of the play he shows that he is more
practical than anybody else by saying:

If I can't get a wife without fighting for her, by any valour, Ill live a bachelor.

Then there is Sir Lucius who is absurd but not because of nay sentimentality. One reason why he is
absurd is because of his insistence on fighting duels. But he does not want to fight duels for the sake
f any sentiment.

When Sheridan himself fought a couple of duels for the sake of Miss Elizabeth Linley, there was a
strong emotion behind them, but here we have a mockery of dueling and we are made to laugh at
the manner in which these duels are arranged.