✍ Dr. Dipak Giri is an Indian writer, editor and critic who lives in Cooch Behar, a district town within the jurisdiction of state West Bengal, India.

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Consider “She Stoops to Conquer” as an anti-sentimental comedy./To what extent does She Stoops to Conquer succeed as an anti-sentimental comedy? Substantiate with close textual references.



Consider “She Stoops to Conquer” as an anti-sentimental comedy./
To what extent does She Stoops to Conquer succeed as an anti-sentimental comedy? Substantiate with close textual references.

Anti-Sentimental comedy is reaction against sentimental comedy. The pioneer of anti-sentimental comedy is Oliver Goldsmith who criticized the sentimental comedy in his essay- ‘Essay on the Theatre’ or ‘A comparison between Laughing and sentimental comedy’. Oliver Goldsmith writes that the true function of a comedy was to give a humorous exhibition of the follies and vices of men and women and to rectify them by exciting laughter. Goldsmith opposed sentimental comedy because in place of laughter and humour, it provided tears and distressing situations, pathetic lovers, serious heroines and honest servants.
     
He argued that sentimental comedy was more like tragedy than a comedy. If comedy was to trespass upon tragedy where humour will have right to express itself. On two occasions and with unequal success, Goldsmith tried to revive sincere laughter on stage.
     
Richard Sheridan also reacted against sentimental comedy. He ridiculed the sententious moralising of weeping sentimental comedy in his plays ‘The Rivals’ and ‘The Critic’. Anti-sentimental comedy is kind of comedy representing complex and sophisticated code of behaviour current in fashion circles of society where appearance count more than true moral character. Its plot usually revolves around intrigues of lust and greed the self interested cynicism of the character. Being masked by decorous pretence in these two dramatists’ comedies.
    
As a result of the reaction of Goldsmith and Sheridan, the comedy of sentiment was driven out, gone were the pathos and morality, preaching and meddling sentimentality. Their place was taken by humour and mirth, pleasant dialogues and wit. The writers who brought about the revival of true comedy in 18th century were Henry Fielding, Oliver Goldsmith and Richard Sheridan.



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