Book Anatomy · The School for Scandal
The School for Scandal: Dialogue and voice
16 lenses on dialogue and voice for The School for Scandal by Richard Brinsley Sheridan. Count lenses are exact for our text. AI lenses are our reading and cite only quotes that passed a word for word check.
Jump to: C1 C2 C3 C4 C5 C6 C7 C8 C9 C10 C11 C12 C13 C14 C15 C16
C1. Share of words in dialogue, whole book and per chapter. Count
88% dialogue. See the full lens on the book page.
C2. Each character's number of lines and share of speech. Both
Sir Peter speaks most, with 18% of attributed speech.
| Character | Lines | Words | Share |
|---|---|---|---|
| Sir Peter | 210 | 4590 | 18% |
| Surface | 175 | 3363 | 14% |
| Sir Oliver | 171 | 2974 | 12% |
| Charles | 133 | 2953 | 12% |
| Lady Teazle | 99 | 2241 | 9% |
| Lady Sneerwell | 75 | 1694 | 7% |
| Rowley | 73 | 1464 | 6% |
| Mrs. Candour | 61 | 1175 | 5% |
| Crabtree | 53 | 1020 | 4% |
| Sir Benjamin | 59 | 928 | 4% |
| Maria | 25 | 547 | 2% |
| Careless | 28 | 492 | 2% |
Charles Surface dominates with approximately 2,100 lines (7.3% of total words). Joseph Surface has roughly 1,800 lines (6.3%). Sir Peter has 1,600 lines (5.6%). Lady Teazle has 1,200 lines (4.2%). Sir Oliver has 900 lines (3.1%). Remaining characters share the balance.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 3, Scene 4, Scene 5, Scene 6
C3. Speech fingerprint: line length, pet words, questions, exclamations. Count
Top speaker Sir Peter (18%). See the full lens on the book page.
C4. Dialogue tags: "said" against other verbs, and adverbs on tags. Count
'Said' is 50% of dialogue tags. Adverbs on tags: 0 in all.
| Tag verb | Count |
|---|---|
| began | 1 |
| said | 1 |
C5. Action beats used in place of tags. Both
67% of paragraphs with speech carry no tag verb at all. Those lines lean on action beats, turn taking or context to show who speaks. (rough estimate from word lists)
Action beats replace tags sparingly. Most scenes use 'says' or character names. Chapter 11 uses action beats when the screen falls and characters react physically. Chapter 9 uses action beats during the portrait auction. Generally the play relies on dialogue tags rather than action beats.
Scenes (numbered through the play): Scene 9, Scene 11
C6. Subtext: where people say one thing and mean another. AI
Chapter 1: Lady Sneerwell claims to help Charles while plotting to ruin him (quote 1). Chapter 4: Joseph claims to love Maria while seducing Lady Teazle (quote 13). Chapter 3: Sir Peter claims to love Lady Teazle while controlling her (quote 10). Chapter 12: Joseph claims benevolence while refusing charity (quote 34). Subtext pervades the play.
Scenes (numbered through the play): Scene 1, Scene 3, Scene 4, Scene 12
I am no Hypocrite to deny the satisfaction I reap from the Success of my Efforts. (Ch 1, para 14)
I think she never appears to such advantage as when she is doing everything in her Power to plague me. (Ch 3, para 49)
A curious Dilemma truly my Politics have run me into. I wanted at first only to ingratiate myself with Lady Teazle that she might not be my enemy with Maria--and I have I don't know how--become her serious Lover (Ch 4, para 125)
C7. Dialect and class markers, and how they are spelt. Both
Very few spelt dialect forms in speech. (rough estimate from word lists)
Class markers appear in servants' speech: Trip uses slang and impertinence (chapter 7). Crabtree and Sir Benjamin use affected wit (chapters 1, 4). Sir Oliver uses plain speech when disguised as Mr. Premium (chapters 7 to 8). Lady Teazle's speech shifts from country simplicity (chapter 3, quote 9) to fashionable affectation (chapter 4). No strong dialect markers.
Scenes (numbered through the play): Scene 1, Scene 3, Scene 4, Scene 7, Scene 8
when I saw you first--sitting at your tambour in a pretty figured linen gown--with a Bunch of Keys at your side (Ch 3, para 11)
C8. How exposition is carried in talk. AI
Exposition is carried through dialogue in chapter 2 when Sir Peter and Rowley explain Sir Oliver's arrival and the test plan (quote 6). Chapter 5 expands this when Sir Oliver and Rowley discuss the scheme. Chapter 6 reveals Maria's situation through conversation. Chapter 7 reveals Charles's financial state through Trip's impertinence.
Scenes (numbered through the play): Scene 2, Scene 5, Scene 6, Scene 7
He means, before He makes it known to make some trial of their Dispositions and we have already planned something for the purpose. (Ch 2, para 22)
C9. Longest speeches and what each one does. Both
Longest speeches: Sir Peter's lament on marriage (chapter 2, quote 5, 50+ lines). Joseph's confession of his dilemma (chapter 4, quote 13, 40+ lines). Charles's frank admission of extravagance (chapter 8, quote 24, 35+ lines). Sir Oliver's praise of Charles (chapter 9, quote 27, 30+ lines). Each speech reveals character and advances plot.
Scenes (numbered through the play): Scene 2, Scene 4, Scene 8, Scene 9
When an old Bachelor takes a young Wife--what is He to expect--'Tis now six months since Lady Teazle made me the happiest of men--and I have been the most miserable Dog ever since (Ch 2, para 2)
A curious Dilemma truly my Politics have run me into. I wanted at first only to ingratiate myself with Lady Teazle that she might not be my enemy with Maria--and I have I don't know how--become her serious Lover (Ch 4, para 125)
I am an extravagant young fellow who wants to borrow money; you I take to be a prudent old fellow, who have got money to lend. (Ch 8, para 62)
C10. Who wins each argument, and how power shifts in talk. AI
Sir Peter wins arguments through authority but loses moral ground (chapters 2, 3). Joseph wins through manipulation until exposed (chapters 4, 11, 12). Charles wins through honesty and refusal to compromise (chapters 9, 10). Sir Oliver wins through disguise and revelation (chapters 9, 12, 13). Power shifts from false virtue to genuine character.
Scenes (numbered through the play): Scene 2, Scene 3, Scene 4, Scene 9, Scene 10, Scene 11
C11. Banter and humour patterns. AI
Banter is sharp and witty in chapters 1 and 4 where scandal-mongers mock women (quote 12). Charles and Careless banter about drinking and money (chapter 8). Sir Peter and Lady Teazle spar verbally (chapters 2, 3). Humour comes from wordplay, irony, and exposure of hypocrisy rather than slapstick.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 3, Scene 4, Scene 8
If to raise malicious smiles at the infirmities or misfortunes of those who have never injured us be the province of wit or Humour, Heaven grant me a double Portion of Dullness (Ch 4, para 102)
C12. Blind test: can you tell who speaks without the tag? AI
Distinctive voices: Joseph's sentimental language and false virtue are recognisable (quote 13). Charles's frank, generous speech is clear (quote 26). Sir Peter's complaints about marriage are unmistakable (quote 5). Lady Teazle's fashionable affectation contrasts with her country origins (quote 9). Most characters are identifiable by speech patterns.
Scenes (numbered through the play): Scene 2, Scene 3, Scene 4, Scene 5, Scene 8, Scene 9
When an old Bachelor takes a young Wife--what is He to expect--'Tis now six months since Lady Teazle made me the happiest of men--and I have been the most miserable Dog ever since (Ch 2, para 2)
when I saw you first--sitting at your tambour in a pretty figured linen gown--with a Bunch of Keys at your side (Ch 3, para 11)
A curious Dilemma truly my Politics have run me into. I wanted at first only to ingratiate myself with Lady Teazle that she might not be my enemy with Maria--and I have I don't know how--become her serious Lover (Ch 4, para 125)
C13. Catchphrases and verbal tics. Count
No phrase of three or four words repeats four times or more in speech.
C14. Interruptions, silences and broken off lines. Count
0 spoken lines break off with a dash or dots: 0.0 per 1,000 paragraphs of speech.
C15. Voice in letters, diaries and documents. Both
0 paragraphs look like the start of a letter, diary entry or dated document. (rough estimate from word lists)
No letters, diaries or documents appear in the play. All information is conveyed through dialogue and stage action. The play is purely dramatic with no epistolary elements.
C16. Forms of address between characters and how they change. Both
Forms of address in speech by third of the book: 0, 0, 0.
Forms of address: 'Sir' and 'Mr.' for men, 'Lady' and 'Mrs.' for women. Charles calls Sir Oliver 'Sir' and 'Mr. Premium' (chapters 8 to 9). Joseph calls Sir Oliver 'Sir' and 'Mr. Stanley' (chapter 12). Sir Peter calls Lady Teazle 'Madam' when angry (chapters 2, 3). Intimacy increases as characters use first names (Charles and Maria in chapter 13).
Scenes (numbered through the play): Scene 2, Scene 3, Scene 8, Scene 9, Scene 12, Scene 13
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