SHE STOOPS

TO CONQUER

By Oliver Goldsmith
Directed By Jonathon Munby

REP INSIGHT
 CONTENTS
3. Introduction

4. Synopsis of the Play

6. Cast & Characters

9. Oliver Goldsmith

10. 18th Century England

13. Interview with Jonathan Munby, Liza Goddard & Matthew

Douglas

16. Follow Up Ideas – Working with the story -‘I think that…’

17. Follow Up Ideas – Working with the story -‘ Media Exposure’

19. Follow Up Ideas - Working with the text – ‘In my own

words..’

21. Follow Up Ideas – Working with the text – ‘Soap Opera’

22. Follow Up Ideas - Working away from the Text & the Story
‘Before, During & After...’

23. Useful Websites

2
INTRODUCTION
Welcome to this REP Insight teachers’ resource pack for She Stoops To Conquer
by Oliver Goldsmith.

A classic comedy of manners, She Stoops to Conquer has delighted audiences for
over two centuries. First performed in 1773, the play is a rumbustious story
about two young men, Charles Marlow and George Hastings and their attempts
to court Kate Hardcastle and her friend Constance Neville.

A number of delightful deceits, clever schemes, comic ruses and hilarious turns of
plot must be played out if the two pending marriages are to conclude
happily. Along the way, there is an abundance of merry mix-ups, bawdy
dialogue, much sly satire of the times and one of the great characters of the stage,
Tony Lumpkin.

She Stoops to Conquer is an hilarious comedy of errors; the marvellous humour

and humanity of Goldsmith's play have made it one of the most read, performed
and studied of all English comedies.

Leading the cast is one of the country's most accomplished comedy actresses.
Lisa Goddard came to public attention in the hugely successful series, Take Three
Girls. Since then she has worked on many of our best-known series including Pig
In The Middle, The Brothers and Bergerac.

This pack contains information relating to the play and ideas for further
exploration of the themes. It also contains an interview with Jonathan Munby
(Director), Liza Goddard (Mrs. Hardcastle) & Matthew Douglas (Marlow).

We hope you find it useful.

Helen Blackmore
Education Associate
Birmingham Repertory Theatre

REP Insight produced by The Birmingham Repertory Theatre Learning &

Participation Department, September 2007

The Birmingham Repertory Theatre

Centenary Square
Broad Street
Birmingham
B1 2EP
(0121) 245 2000
www.birmingham-rep.co.uk

Learning & Participation Department: (0121) 245 2092

[email protected]

3
SYNOPSIS OF THE PLAY
Act One opens with Squire Hardcastle and his second wife Mrs. Hardcastle
bickering. Mr. Hardcastle teases his wife about her age and her son, Tony
Lumpkin, whom she had with her first husband. Tony is a mischievous man, with
a love for drink and trickery, but not much else. Mrs. Hardcastle is quite
determined that her spoiled and rather stupid son shall marry her niece,
Constance Neville. If they marry she will be able to keep in the family Miss
Neville's fortune - a casket of valuable jewels. Miss Neville and Tony Lumpkin,
however, can only agree on one thing; their hatred of each other.

Miss Neville is secretly pledged to another young man, Mr. Hastings, who is
friends with Mr. Marlow, the son of Mr. Hardcastle’s good friend Sir Charles.
Hardcastle wants Marlow to marry his charming daughter Kate, but Marlow
suffers from extreme anxiety when in the presence of young ladies of equal social
standing and is barely able to speak. He suffers no such fear when in the presence
of women of lower status, however, and successfully flirts with bar maids,
servants and the like.

The Hardcastle family are expecting the arrival of Marlow and his friend,
Hastings. However, Hastings & Marlow have lost their way and stop at the village
inn to get their bearings. Tony Lumpkin is drinking within and hears of the men’s
plight. Being the mischievous fellow that he is he seizes the opportunity, along
with his friends, of misguiding Hastings & Marlow and causing much merriment.
He tells the men that they are so lost that they must spend the night at a local inn
and directs them to the Hardcastle house which he highly recommends if they
will excuse the eccentricities of the owner and his family.

Neither young Marlow nor Squire Hardcastle senses that both are victims of a
hoax and duly make their way to the Hardcastle house, believing it to be an inn.
When they arrive, they treat Hardcastle as the innkeeper while the squire
(knowing who they are) is much incensed at the bold and impudent behaviour of
his friend's son. Young Hastings, as soon as he sees Constance, puts two and two
together. Constance and Hastings agree to keep Marlow in ignorance and pretend
that Constance and Kate, completely by coincidence, happen to be stopping the
night at the inn.

When introduced to Kate, Marlow can find little to say and stumbles through a
half conversation. In his embarrassment he never once looks at her face. It is not
surprising, therefore, that later in the evening when he sees her going about the
house in the plain house dress her father insists on, he takes her for the bar maid.
She encourages the deception in order to find out if he is really as witless as he
seems. In her bar maid's guise she is pleasantly surprised to find him not dumb
but, indeed, possessed of a graceful and ready wit. When she reveals herself as a
well born but poor relation of the Hardcastle family he acknowledges his love for
her.

It is not until Marlow’s father Sir Charles arrives that the truth is revealed.
Marlow, unaware of the bar maid’s true identity, claims he feels no love for Kate
Hardcastle and dismisses any possibility of a union between them. Kate,
however, claims that he has declared his love for her. She then sets about
4
revealing the truth by instructing her father and Sir Charles to hide in the room
where she is about to meet with Marlow. Dressed in her plain clothes, Marlow
(thinking her the bar maid) makes no secret of his feelings for her and all is
revealed.

Whilst all this is going on, Miss Neville and Hastings are plotting to elope.
However, they cannot leave without Constance’s rightful fortune of jewels and
they enlist the help of Tony Lumpkin to achieve this. Tony is only to happy to
help, since the disappearance of Constance will put an end to his mothers
meddling in his love life. All does not go according to plan though. Having
successfully retrieved the jewels from his mother, Tony Lumpkin gives the jewels
to Hastings, who sends them to Marlow for safe keeping. Marlow (not
understanding the significance of the casket) then gives the jewels to a servant to
stow away securely. The jewels end up back with their keeper, Mrs. Hardcastle. In
the end, Hastings and Miss Neville are forced to come clean and declare their
love. It isn’t until Tony Lumpkin refuses her hand that she is free to marry
however, he doesn’t believe he can do this until he is come of age. Mr. Hardcastle
then reveals that he is already of age, a fact that Mrs. Hardcastle has been
keeping from him, and the play ends with two sets of lovers rightfully betrothed
to one another.

Illustration for She Stoops to Conquer

Edwin Austin Abbey, 1885

5
CAST & CHARACTERS

MR. HARDCASTLE
(Colin Baker)
Hardcastle is an old fashioned man, who thinks his
wife rather foolish for her love of the fashions and
fancies of London. He is very fond of his daughter
Kate and is keen for her to marry Marlow.

MRS.HARDCASTLE
(Liza Goddard)
Mrs. Hardcastle is a somewhat ridiculous character
who enjoys meddling in the affairs of others.
Desperate to marry off her son to her niece, in order
to keep the family jewels, she is selfish and foolish.

KATE HARDCASTLE
(Dorothea Myer-Bennett)
Kate is a smart, charming woman, who uses her
intelligence and cunning to win the heart of Marlow.

6
 TONY LUMPKIN
(Jonathan Broadbent)
Tony Lumpkin is the rather spoilt son of Mrs.
Hardcastle from her previous marriage. Fond of
drinking and making mischief, Lumpkin amuses
himself by causing havoc for others.

CONSTANCE HARDCASTLE
(Annie Hemingway)
Constance is in love with Mr Hastings but her aunt,
Mrs. Hardcastle wants her to marry her cousin Tony
Lumpkin. In the end, Constance wins.

SIR CHARLES MARLOW

(GLYNN SWEET)
An old friend of Mr. Hardcastle, Sir Charles is as
keen as his friend for his son and Kate to be married.

7
 MARLOW
(Matthew Douglas)
Mr. Marlow is struck dumb when in the company of
ladies of social standing. Kate’s clever tactics unite
them as a couple in the end.

HASTINGS
(Matthew Burgess)
Hastings is in love with Constance Neville and tries
to elope with her so that they may escape the
marriage plans of Constance’s aunt Mrs. Hardcastle
who wants Constance to marry her son Tony.

8
 OLIVER GOLDSMITH
1728/30-1774
• Nov 10 1728 0r 1730 – Born in Ireland (exact year and location unknown)

• 1747 – His father (Rector of Kilkenny West) dies.

• 1749 – He gains a Bachelor of Arts in Theology & Law from Trinity

College, Dublin.

• He later studies Medicine at University of Edinburgh and University of

Leiden, before travelling around Europe living on his wits.

• 1755 & 1757 – He studies at University of Padua, then later moves to

London and works as an apothecary’s assistant.

• Addicted to gambling, Goldsmith makes some money from being a ‘hack

writer’ – paid to write low quality, quickly put together articles or books.

• Meets Samuel Johnson (Essayist) and becomes a member of ‘The Club’

(dining and conversation club founded in 1764) of which Joshua Reynolds
(Artist) is also a member.

• 1774 – Goldsmith dies from a kidney infection

• Most famous works – The Deserted Village (1770 Poem), The Hermit
(1765 Ballad), She Stoops to Conquer (1771 Play – first performed 1773).

Oliver Goldsmith

9
18TH CENTURY ENGLAND

SOCIAL CLASS
During the eighteenth century, the people of England were largely divided by
social class. The class that a person belonged to was decided by their wealth, the
upper classes were the richest whilst the lower classes were the poorest. The
middle and upper classes enjoyed the finest food, liquor and fashion available
while the lower classes struggled to survive.

DISEASE
Disease in the cities was rife due to overcrowding, poor sanitation and living
conditions. Smallpox was one of the most common illnesses. During the
eighteenth century it killed an estimated 60 million Europeans. A contagious
disease, it was easily passed from person to person in cramped houses and
streets. When a sick person from the lower class went to hospital to seek medical
help, they were often met with prejudice and ignored in favour or patients with
higher social standing.

Prisoners in Newgate Prison

William Hogarth

POVERTY
The lower classes (the poor people) struggled to survive. They would often go
hungry and in very low times bread was all they could get their hands on to eat.
In the cities the poor people lived on the streets or in small, dirty houses with
many children sharing a bed. In the countryside, farmers and their families were
forced to share shelters with their livestock. Their homes were often made of soil,
dirt or pieces of wood lashed together.

10
 Gin Lane
William Hogarth, 1751

EMPLOYMENT
The men were largely responsible for going out to work and bringing an income
into the home. Amongst the poor however, women too sought employment.
Generally though, women were kept busy with the housework and other jobs -
cooking, brewing ale, knitting, washing, teaching their young, gardening and
making butter. Some women chose to set up shops in the market and sell
different products. This helped the income a lot in the lower class families. In the
countryside, men were employed in physical work on farms – ploughing, planting
and harvesting. During the harvest, women would assist if they didn’t have any
children to mind.

A Georgian market

11
EDUCATION
During the eighteenth century, schools were constantly opening and closing. Fees
were charged to students, to cover the teacher’s wage and books etc. The
likelihood of a school staying open was greatly increased if the school was
attended by children from wealthy families. If the majority of children were from
poorer families then the school’s life was likely to be in constant jeopardy. In this
way, education was only readily available to those who could afford it and the
poor, unable to become educated and increase their chances of a better working
life, were kept at the bottom of the social classes. University was only open to
men.

CLOTHING
The clothing of the time was very decorative. The women of the upper class wore
nothing but the best material and the finest crafted outfits. First they put on their
linen shirts. These shirts hung down below their knees. They then tied a string
around their waist fastening the shirt. The corset was next. A corset was a tightly
fastened body suit made of cloth and either metal or whalebone strips. This
device was used to shape the body into any figure desired. The figure of the time
was comparable to an hourglass. Big on the top and bottom, but skinny in the
middle. Most women are not naturally shaped like this so much strain was put
on the body when a corset was worn. Women did a lot of damage to their bodies
like tearing skin, and even bruising internal organs. It has also been noted that
one woman actually died because her corset was tied too tight. Men usually
shaved their heads and then wore wigs, as wigs were much easier to manage than
a real head of hair. Men were rarely seen without their wigs on if they owned one.
Also many wore three point cocked hats. Three piece suits were definitely the
most common attire for men. The pants were cut really high and didn’t go past
the knees. Some even carried canes.

12
 Interview with Jonathan Munby (Director), Liza Goddard
(playing the character of Mrs Hardcastle) and Matthew
Douglas (playing the character of Marlow)
Q: What are the challenges that you face in directing this play?
JM: One of the first things is making sure the play reaches out to a contemporary
audience and feels fresh and alive. The play was written in 1771 with the first
performance in 1773 and it’s important to make sure that we deliver a production
of this play that honours where the play has come from, that acknowledges what
the play is, and that reaches out to a contemporary audience. The language is a
couple of hundred years old; it’s closer to that of the Restoration period than
modern English. It’s a more heightened prose than contemporary writing, so
there’s the challenge of getting our mouths and our minds round the text to
release it for a modern audience. We also need to make sure that we understand
the period and where the play has come from well enough to do it justice – the
manners, the etiquette and the protocol of the time. We’re doing the production
in period, so it’s about understanding the period well enough in order to release
the play.

Q: In your opinion, what is this play really about?

JM: The thing that feels most potent to me and that I know that Goldsmith was
interested in is the tension between town and country and class difference. Also
the snobbery that is born out of that tension – the difference between country
living and town living and also the aspiration of wanting to transcend a barrier
and become something other. For example a country dweller who wants to be a
townie, or the tension of a town dweller arriving in the country and feeling that
they’re like a fish out of water. Or, someone wishing to transcend class and
discovering the tension as a result of that desire is brought brilliantly to light by
the play and feels very resonant now. We still live in a London-centric country
where the provinces feel second best to the capital and I think that there is a
snobbery that’s born out of that. I know that this play goes to the heart of that
current feeling. The other thing, which comes absolutely from Goldsmith – he
was an individual who found it difficult to operate in public – is shyness and fear.
The expectation that we put on young people to find matches, and the
expectation that we put on a young man specifically in this instance to woo and
court and find a perfect match (to woo his Kate) and what happens as a result of
those expectations. There’s a high stake situation and that’s a fascinating thing in
the play and something that we all have an emotional connection with.

Q: What do you think is the central question at the heart of the play?
JM: There isn’t one global question at the heart of the play, although what is clear
are the individual needs and desires of the characters. For example, Mrs.
Hardcastle wants refined pleasures; she wants to transcend the rambling
mansion that she lives in and to refine it, and she wants her husband to be more
refined. She wants the world she lives in to be more fashionable. Marlow wants to
find a peace in his life, and to find a match and the pressure that he’s put under is
one of the obstacles to his achieving this. They’re all after something – Mr.
Hardcastle wants peace as well. He wants people to stop making demands on
him.

13
LG: The title of course is that it’s all about Kate having to dissemble to get the
man that she wants.

Q: So is it a question of compromise?
JM: Or a question of “what do I need to do to achieve the thing I want?” The title
of the play changed – it was originally called ‘The Mistakes of a Night’ (and we
intend to use that as a subtitle because the play is a series of mistakes and
misunderstandings) but it was changed a day before the first performance
because Goldsmith felt that it was this girl’s [Kate’s] choice to do this thing in
order to get what she wants (i.e. the man) and also it helps him [Marlow]. To
release him.
LG: So had he [Goldsmith] taken that from A Midsummer Night’s Dream? Was
that his original thought do you suppose – star crossed lovers and people
pretending to be other than they are?
JM: When it was ‘Mistakes of a Night?’ Yes, and it was very much part of the
vogue of sentimental comedy; the middle classes getting terribly worked up about
their dilemmas. The original title suggests that it was just that – this middle class
pursuit and it was just these little mistakes that they would get over. He wanted
to defeat that idea and align us with Kate and to understand that she feels it’s a
choice, a choice she is conscious of making to tame her man. Kate is no accident
or arbitrary choice in terms of character name. Goldsmith wants us to see the
echo of Kate in The Taming of the Shrew, and possible to view this play as a
counterpoint – the tamer being tamed.

Q: What does Mrs. Hardcastle represent in the world of the play?

LG: Mrs. Hardcastle represents the country, and in fact it’s exactly the same
today. I don’t think there’s ever been such a void between town and country
probably since the 18th Century. People who live in towns have no idea what it’s
like to live in the country – I live in the country and it’s so much alike. There’s
people in the village I live in who’ve never been to London – “I’ve been to
Norwich, but I’ve never been to London, I don’t know how you manage it!” And
so there’s this extraordinary thing about London to someone like Mrs. Hardcastle
who longs to be in London. She longs to wear the latest fashions - she has to get
hold of the fashions from people writing to her and getting magazines so she’s
always behind – she reads last year’s Vogue and tries to make her dresses and her
hair look like that. She longs to go to London and have this fine life but she’s
married to this man who lives in a rambling old house in the country and never
sees anybody. And she wants for her beloved son to marry her niece who has a
good fortune (although her son eventually comes into a fortune himself), so she
can then live vicariously through them.

Q: What would you like a young audience to identify with in the

character of Mrs. Hardcastle?
LG: I think a young audience will identify with this interfering old busybody of a
mother, wanting her son and daughter to do one thing, while they are fully set on
doing something completely different, (which I have great experience of, having
children!). I think that mothers are still the same today as they ever were,
wanting their children to make a good match, wanting them to live a particular
sort of life when of course they want to live their own life, which is as it should be.

14
Q: What comparisons can you draw between Mrs. Hardcastle’s view
of the younger characters in the play and society’s view of the younger
generation today?
LG: Well I don’t think much has changed quite frankly! All the older generation
still think the young are up to no good, going off with the wrong people and living
a life of high licentiousness. For example Tony Lumpkin is always in the pub,
always out larking around with the lads, going too fast on his horse, (driving fast
cars!), getting drunk, not attending to his lessons. I don’t think there’s any
difference at all.

Q: Do you find it hard to make Marlow a likeable character? The way

that he behaves towards Kate when he thinks that she’s a barmaid is
quite different to his behaviour in other scenes.
MD: Yes, he’s quite naughty in a cheeky way but I think you’ve got to start with
perspective that you really do like your character, irrespective of who they are or
how bad or evil they can be. I think as an actor I have to find a way of
understanding why he behaves as he does. His behaviour with Kate in the bar is
perhaps not how you and I would behave, but that’s how they did and could
behave at that time. Men still do, and so do women! I think by that point in the
play we are sympathetic enough to not be alienated by that behaviour. It’s very
clear by that point what drives him and what his problems are. I think that
moment of release that he’s going to feel by seducing that barmaid will be key to
how audiences feel. Also what’s important about that scene (and what’s my
responsibility I suppose) is that he sees Kate at that point and falls in love with
her, he physically falls in love with her.
JM: It’s not so much an act of lust as an act of love.
LG: He also behaves very morally; he doesn’t seduce the barmaid in the way that
we would think. Because he’s usually so shy he feels free to enjoy female company
which he can’t normally.
MD: He’s not predatory I don’t think, he’s seductive.
LG: He’s relaxed and able to talk; I don’t think he behaves badly.

Q: If they were alive today, what do you think the characters of the
play would find most difficult to cope with in modern day society?
LG: Well Mrs. Hardcastle would love it! She’d just get fashion straight off the
plate!
JM: All the characters are so different. They want such different things and they
ask such different things. I think they would each find a different part of society
difficult. I think society is as false and hypocritical as it was in the 18th Century,
and the characters would find it as problematic as it was in the 1800’s. Mr.
Hardcastle would be as grumpy as he was then, he’d be exactly the same now.
LG: He’d be shouting at the television now! Nowadays the upper classes have
become much like the upper middle classes of the play, they’ve become
completely cut off from society, and in fact some people who live in Islington and
so forth and most of the people who run the country have no idea what real life is
like at all so I don’t think there’s any change.

15
 FOLLOW UP IDEAS

Working with the Story

‘I think that…’

Use the following as starting points for discussion and debate

• She Stoops to Conquer is also known as The Mistakes of a Night. Which is

the better title and why?

• The casket of jewels belonging to Constance Neville were kept by her aunt
Mrs. Hardcastle. Should Constance have just taken them when she wanted
them? Why didn’t she?

• Mr. Hardcastle is strict about the way in which Kate dresses. Why is he so?
What do you think about his opinion?

• Marlow is unable to converse with women of equal social standing, yet he

has no problem with women of a lower class. What does this suggest about
him and his view/respect of women?

• Does Kate lower her standards in order to get her man? What do you
think?

• Mrs Hardcastle is adamant that Constance and Tony will marry according
to her arrangements. What do you think of arranged marriages? What are
the pros and cons? Is Kate and Marlow’s marriage arranged?

• Mrs Hardcastle has no control over her son Tony. Why is this?

• Hastings and Constance collude in deceiving Marlow. Why do they do

this?

16
FOLLOW UP IDEAS

Working with the Story

‘Media Exposure’
Choose one of the events in the story to focus on and then choose a
media format to work with. Create something that could be released
to the media for public viewing in 2007. Use the suggestions below, or
pick your own starting point.

TV – The Hotel Inspector

Write the script and storyboard a TV show based on The Hotel Inspector in which
the characters Marlow and Hastings give their opinion on Mr. Hardcastle’s home
which they believe to be an inn.

TV – Blind Date
Write the script and if possible film a version of Blind Date in which Hastings and
Marlow pose questions to potential lovers. What questions do they ask? Include
Kate and Constance in the line up of potential lovers – How do Constance and
Kate get their men? What do they say? Swap over the roles and create a version
where Kate & Constance get to choose – How do Hastings & Marlow ensure they
are picked?

TV – Panorama
Write and storyboard a documentary about one of the events of the story – from
what perspective will you write it? What aspect of the story will you concentrate
on? Where will you set it? Which character will you focus on? It may help you to
choose a question to base your programme around – What lengths would you go
to to get your man? Are women cleverer than men? Does money buy you
happiness? What are upper class men really like?

Magazine – OK!
Create a magazine article in the style of OK! Magazine which follows the wedding
of Kate Hardcastle & Marlow. Write interviews with the bride and groom and
their parents. What questions would you ask them? What would their responses
be? What photographs would you include? Where would they be taken? Think
about the slant you might like to put on the article – what would the headline be?

Newspaper – The Daily Mail

Write an article about Mrs. Hardcastle, her marriage and her life in the country.
What would she say about these things? Would the newspaper put a slant on her
comments? What would the headline be? Choose a focus for the article to help
you. ‘Town versus Country’ what do the wives of two respected society gentlemen
think? Would Mrs. Hardcastle speak of her former husband?

17
Magazine – Heat – ‘Man of the Month’
Write an article about Tony Lumpkin which focuses on trying to get him a wife.
How would you describe him as a potential suitor? What sort of woman might
suit him best? What aspects of his life would you include and are there any you
might think it best to leave out?!

Radio – Desert Island Discs

Write a radio programme which has one of the characters from the play as a
special guest. What questions would the interviewer ask them and what would
they talk about? What songs (from modern day) would the character choose to
take with them to a deserted island and why?

Radio – Jeremy Vine

Write a slot for Jeremy Vine’s radio show on BBC Radio 2, which focuses on
parent and child relationships. Mrs. Hardcastle could be a caller, who calls in to
the show to discuss her difficulties with her son Tony. What advice might she be
given? What other guests might be in the show to advise her – child psychologist?
Counsellor? Doctor? Police Officer? Should Tony receive an ASBO for his
behaviour at the local inn?!

Radio – Quick Quiz

Write a quiz for radio about the events and characters of She Stoops to Conquer.
Record a slot for radio in which the quiz features and get your peers to compete
to win. Think about varying the type of quiz questions, you might like to include –
Who said this..? Questions about quotes, Which character did this…? Questions
about events, What are the two names by which the play is known…? Questions
about the play.

18
 FOLLOW UP IDEAS

Working with the Text

‘In my own words…’
Look at the following scripts extracts, discuss the meaning and put
the words into modern day language.

Act I - Scene I

Hardcastle: (Talking about Mrs. H & Tony) Ay, there goes a pair that only spoil
each other. But is not the whole age in a combination to drive sense and
discretion out of doors? There’s my pretty darling Kate! The fashions of the times
have almost infected her too. By living a year or two in town, she’s as fond of
gauze and French frippery as the best of them.

Act I – Scene I

Miss. Hardcastle: (Talking after her father has told her about Mr. Marlow)
Lud, this news of papa’s puts me all in a flutter. Young, handsome; these he put
last; but I put them foremost. Sensible, good-natured; I like all that. But then
reserved, and sheepish, that’s much against him. Yet can’t he be cured of his
timidity, by being taught to be proud of his wife? Yes, and can’t I – but I vow I’m
disposing of the husband before I have secured the lover.

Act I – Scene II

Miss. Hardcastle: (After her first meeting with Marlow) Ha! Ha! Ha! Was
there ever such a sober sentimental interview? I’m certain he scarce looked in my
face the whole time. Yet the fellow, but for his unaccountable bashfulness, is
pretty well, too. He has good sense, but then so buried in his fears, that it fatigues
one more than ignorance. If I could teach him a little confidence, it would be
doing somebody that I know of a piece of service. But who is that somebody? –
that, faith, is a question I can scarce answer.

Act I – Scene II

Mrs. Hardcastle: (Talking about her husband to Mr. Hastings) Yet, what
signifies my dressing when I have such a piece of antiquity y my side as Mr
Hardcastle: all I can say will never argue down a single button from his clothes. I
19
have often wanted him to throw off his great flaxen wig, and where he was bald to
plaster it over like my Lord Pately, with powder.
Hastings: You are right, madam; for, as among the ladies there are none ugly, so
among the men there are none old.

Mrs. Hardcastle: But what do you think his answer was? Why, with his usual
Gothic vivacity, he said I only wanted him to throw off his wig to convert it into a
tete for my own wearing!

Act III – Scene I

Mrs. Hardcastle: (Talking to Constance Neville) Indeed, Constance, you

amaze me. Such a girl as you want jewels? It will be time enough for jewels, my
dear, twenty years hence, when your beauty begins to want repairs.

Miss Neville: But what will repair beauty at forty, will certainly improve it at
twenty, madam.

Act III – Scene I

Maid: (Speaking to Miss Hardcastle about Miss Hardcastle’s plan to disguise

herself) But what do you hope from keeping him in his mistake?

Miss Hardcastle: In the first place, I shall be seen, and that is no small
advantage to a girl who brings her face to market. Then I shall perhaps make an
acquaintance, and that’s no small victory gained over one who never addresses
any but the idlest of her sex. But my chief aim is to take my gentleman off his
guard, and like an invisible champion of romance, examine the qiant’s force
before I offer to combat.

There are many more sections of the text that would be interesting to
use for translation into modern day language, choose the ones you
think would work well.

20
 FOLLOW UP IDEAS

Working with the Text

‘Soap Opera’
Using the original text or a modern re-written version of your own, to
create a soap opera for either radio or television.

Things to consider….

• How long will each episode be?

• What budget do you have for each episode, the actors, the camera
crew/radio studio technicians, costumes etc?

• What part of the country do you want the story be set in? Why?
• Which famous actors could you use to play the various different
characters?

• Would you want the actors to use a particular accent? Why that one?
• What filming style would you use? Consider the various styles used by
soap operas – Hollyoaks uses a very different style to Coronation
Street.

Things to do….

• Create a storyboard for each episode – are there any difficulties you
need to overcome in order to film/record the scenes?

• Write a list of all the sound effects you will need for each scene for the
radio version. How will you make the sounds?

21
 FOLLOW UP IDEAS

Working away from the Text & the Story

‘Before, During & After...’
Using the text and the events of the story as stimulus, consider what
else could have been written or included in the play, or write a sequel.
Use the suggestions below or pick your own.

Letters
• Write a love letter from Hastings to Constance before his arrival at the
Hardcastle house.

• Write a letter from Hardcastle to Marlow, inviting his son to meet his
daughter Kate.

• Write a letter from Mrs Hardcastle to Constance explaining the

disappearance of the family jewels.

Diary Entries
• Write a diary extract for Kate on the day that she and Marlow become
betrothed.

• Write a diary extract for Tony Lumpkin on the day he discovers he is ‘of
age’.

• Write a diary extract for Mr Hardcastle on the day he sees his daughter
marry Marlow.

Play Scripts
• Write a script for a scene between Mr. And Mrs. Hardcastle before the
weddings of Constance & Kate. Mr. & Mrs. Hardcastle are shopping for
clothes in London!

• Write a script for a scene in the local inn where Tony Lumpkin tells the
story of all that has happened and tells all his friends of his future plans
now that he is ‘of age’!

• Write a scene for the servants in which they give their opinion of what is
going on in the house when Marlow and Hastings arrive.

22
USEFUL WEBSITES

http://www.noelcollection.org
Photo of Oliver Goldsmith

http://en.wikipedia.org
Encyclopaedia entry for She Stoops to Conquer

http://www.enotes.com/she-stoops/
Notes on the play, characters, themes etc

http://www.nwe.ufl.edu/~pcraddoc/stoops.html
Comment on the play by Anita White

http://www.heritagetheatre.com/product_info.php/produc
ts_id/34
DVD of the play

23