Book Anatomy · The School for Scandal
The School for Scandal: Prose style
17 lenses on prose style 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: H1 H2 H3 H4 H5 H6 H7 H8 H9 H10 H11 H12 H13 H14 H15 H16 H17
H1. Readability score per chapter. Count
Flesch reading ease for the whole book is about 78 (higher is easier; 60 to 70 is plain English).
Reading ease per chapter, chapter by chapter
H2. Vocabulary range. Count
3,484 different words. On average 48 in every 100 words are new within a 500 word stretch. 1,877 words appear only once.
H3. Signature words: what this author uses far more than others. Count
peter, surface, charles, lady, oliver. See the full lens on the book page.
H4. Adverb and adjective rates. Count
About 9.69 words ending in 'ly' and 10.29 likely adjectives per 1,000 words. (rough estimate from word lists)
'ly' words per 1,000, chapter by chapter
H5. Share of weak verbs such as "was" and "had". Count
'Was', 'were', 'had', 'is' and 'are' make up 2.4% of all words.
H6. Passive voice rate. Count
About 2.6% of sentences use a passive form such as 'was taken'. (rough estimate from word lists)
H7. Variety of sentence openings. Count
The five most common first words start 36% of sentences: sir, surface, lady, charles, i.
| First word | Sentences |
|---|---|
| sir | 483 |
| surface | 209 |
| lady | 186 |
| charles | 140 |
| i | 110 |
| candour | 79 |
| rowley | 78 |
| yes | 67 |
| well | 67 |
| mrs | 66 |
H8. Rhythm: how much sentence length varies. Count
Sentence length varies by 1.34 of its mean on average (higher means a more varied rhythm).
Variation per chapter, chapter by chapter
H9. Similes and metaphors: how many, and of what kind. Both
33 likely similes ('like a', 'as ... as'): 1.15 per 1,000 words. (rough estimate from word lists)
Ch 1, para 7: VERJUICE. That is in as fine a Train as your Ladyship could wish. I told the story yesterday to my own maid with directions to communicate it directly …
Ch 1, para 54: SURFACE. Aye and the worst of it is there is no advantage in not knowing Them, for He'll abuse a stranger just as soon as his best Friend--and …
Ch 1, para 83: MRS. CANDOUR. To be sure they are[;] Tale Bearers are as bad as the Tale makers--'tis an old observation and a very true one--but what's to be done …
Ch 1, para 83: MRS. CANDOUR. To be sure they are[;] Tale Bearers are as bad as the Tale makers--'tis an old observation and a very true one--but what's to be done …
Ch 1, para 113: SIR BENJAMIN. True Madam there are Valetudinarians in Reputation as well as constitution--who being conscious of their weak Part, avoid the least breath of air, and supply their …
Ch 1, para 118: CRABTREE. Why one evening at Mrs. Ponto's Assembly--the conversation happened to turn on the difficulty of breeding Nova-Scotia Sheep in this country--says a young Lady in company[, "]I …
Sheridan uses similes and metaphors sparingly but pointedly. Key examples include Lady Teazle as ivy choking a sapling (c5), Justice as a hobbling old woman (c9), and servants wearing vices like new clothes (c10). Most are brief and serve moral or social critique.
Scenes (numbered through the play): Scene 5, Scene 9, Scene 10
I hate to see dry Prudence clinging to the green juices of youth--'tis like ivy round a sapling and spoils the growth of the Tree. (Ch 5, para 33)
BE JUST BEFORE YOU'RE GENEROUS.--Why, so I would if I could; but Justice is an old hobbling beldame, and I can't get her to keep pace with Generosity, for the soul of me. (Ch 9, para 77)
in my Day Servants were content with the Follies of their Masters when they were worn a little Thread Bare but now they have their Vices like their Birth Day cloaths with the gloss on. (Ch 10, para 21)
H10. Senses used: sight, sound, smell, touch, taste. Both
Share of sense words. sight 51%, sound 36%, taste 8%, touch 4%. (rough estimate from word lists)
| Sense | Words |
|---|---|
| sight | 96 |
| sound | 68 |
| taste | 15 |
| touch | 8 |
Sight dominates: portraits, screens, facial expressions, and visual disguise drive the plot. Sound appears in gossip and witty dialogue. Taste and smell are absent. Touch is minimal except in seduction scenes. The play is fundamentally visual theatre.
Scenes (numbered through the play): Scene 1, Scene 4, Scene 9, Scene 11
No, hang it! I'll not part with poor Noll. The old fellow has been very good to me, and, egad, I'll keep his picture while I've a room to put it in. (Ch 9, para 42)
I behold him now in a light so truly despicable that I shall never again Respect myself for having Listened to him. (Ch 11, para 231)
H11. Repetition, lists of three and other patterns. Both
7 lists of three in the pattern 'a, b and c': 0.24 per 1,000 words. (rough estimate from word lists)
Lists of three appear in scandal scenes (c4) where women's faults are catalogued wittily. Repetition of key phrases marks character: Joseph's sentimental language repeats across scenes; Charles's frank admissions repeat. Patterns of accusation and denial structure arguments.
Scenes (numbered through the play): Scene 1, Scene 4, Scene 8, Scene 11
I know him to be artful selfish and malicious--while with Sir Peter, and indeed with all his acquaintance, He passes for a youthful Miracle of Prudence (Ch 1, para 26)
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)
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)
H12. Old words that may trip modern readers. Count
Old forms that may trip a modern reader: nay, twas, hither, prithee, shew, thou.
| Word | Times |
|---|---|
| nay | 32 |
| twas | 15 |
| hither | 3 |
| prithee | 3 |
| shew | 2 |
| thou | 2 |
| whence | 1 |
| art | 1 |
| thy | 1 |
H13. Showing against telling, with examples. AI
The play shows character through action and dialogue rather than description. Joseph's hypocrisy is shown when he refuses charity (c12) and seduces Lady Teazle (c11), not told. Charles's goodness is shown by refusing to sell his uncle's portrait (c9), not stated beforehand.
Scenes (numbered through the play): Scene 9, Scene 11, Scene 12
No, hang it! I'll not part with poor Noll. The old fellow has been very good to me, and, egad, I'll keep his picture while I've a room to put it in. (Ch 9, para 42)
I behold him now in a light so truly despicable that I shall never again Respect myself for having Listened to him. (Ch 11, para 231)
H14. How much description comes before action. Both
Description is minimal. The play opens with a stage direction naming characters at Lady Sneerwell's dressing table but moves at once into dialogue and plot. Action dominates; setting is established through brief scene headings and character references, not descriptive blocks.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 7
H15. Filter words such as "saw", "felt", "heard". Count
Filter words ('saw', 'felt', 'heard' and so on): 2.13 per 1,000 words.
| Word | Times |
|---|---|
| heard | 23 |
| thought | 22 |
| saw | 8 |
| knew | 6 |
| seemed | 1 |
| felt | 1 |
H16. Shifts in tone. AI
Tone shifts from witty scandal-mongering (c1, c4) to sentimental moralising (c6, c9) to farcical exposure (c11) to serious judgment (c12, c13). The shift from comedy to moral reckoning peaks when the screen falls and Joseph's seduction is revealed.
Scenes (numbered through the play): Scene 1, Scene 4, Scene 9, Scene 11, Scene 12, Scene 13
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)
I behold him now in a light so truly despicable that I shall never again Respect myself for having Listened to him. (Ch 11, para 231)
H17. How the comedy works. AI
Comedy works through wit, hypocrisy exposed, and physical farce. Witty insults at c4 amuse; Joseph's false sentiments contrast with his selfish acts; the screen falling (c11) is pure farce. The humour turns moral when Joseph's refusal of charity (c12) becomes contemptible rather than funny.
Scenes (numbered through the play): Scene 1, Scene 4, Scene 11, Scene 12
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)
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)
the sentimental French Plate I use instead of it makes just as good a shew--and pays no tax. (Ch 12, para 57)
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