Book Anatomy · The School for Scandal
The School for Scandal: Setting and world
13 lenses on setting and world 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: I1 I2 I3 I4 I5 I6 I7 I8 I9 I10 I11 I12 I13
I1. Places named and how often each appears. Count
the town is the place named most, 7 times.
| Place | Mentions | Chapters |
|---|---|---|
| the town | 7 | 4 |
| the country | 5 | 5 |
| London | 4 | 3 |
| Dublin | 1 | 1 |
| the street | 1 | 1 |
| the Temple | 1 | 1 |
I2. Setting by chapter, as a map. Both
The place named most in each chapter. A rough setting map. (rough estimate from word lists)
| Chapter | Place named most |
|---|---|
| 1 | the town |
| 2 | the country |
| 3 | London |
| 4 | London |
| 5 | the country |
| 6 | Dublin |
| 7 | the Temple |
| 8 | |
| 9 | |
| 10 | |
| 11 | the town |
| 12 | |
| 13 | London |
Settings move between London drawing rooms: Lady Sneerwell's house (c1, c4), Sir Peter's house (c2, c3, c6, c13), Charles's house (c7, c8, c9), and a library (c11, c12). All are fashionable London interiors. No outdoor scenes. The world is entirely domestic and urban.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 3, Scene 4, Scene 6, Scene 7
I3. Setting shown in blocks or woven into action? AI
Setting is woven into action through brief scene headings and character references. No descriptive blocks establish rooms. Characters mention furnishings (the screen, portraits, the library) as they interact with them. Setting emerges from what characters do, not from narration.
Scenes (numbered through the play): Scene 1, 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)
I4. Weather and light used for mood. Both
Weather and light words: 0.14 per 1,000 words.
Weather and light words, chapter by chapter
Weather and light are not used for mood. The play is set indoors in drawing rooms and libraries where artificial light would prevail. No mention of weather, seasons, or natural light. Mood comes from dialogue and action, not atmosphere.
I5. The social world: class, money, rules. AI
Class and money are central. Charles is poor and dissolute; Joseph is wealthy and respectable. Sir Oliver tests through money-lending. Lady Teazle's extravagance and spending power mark her status. Servants (Trip, Moses) show lower-class desperation. The scandal network polices fashionable behaviour.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 3, Scene 5, Scene 6, Scene 7
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)
women of Fashion in London are accountable to nobody after they are married. (Ch 3, para 2)
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)
I6. Rules of the world (magic, science) and when each is shown. AI
No magic or science. The world follows social rules: disguise reveals truth, scandal spreads through gossip networks, money and reputation govern behaviour. The only 'rule' is that false virtue will be exposed and true character will emerge.
Scenes (numbered through the play): Scene 5, Scene 6, Scene 9, Scene 12, Scene 13
I7. Lore: dripped in or dumped? AI
No lore is present. The play is grounded in contemporary London society with no historical, mythical, or fantastical elements. Social customs (marriage, scandal, charity) are shown through action, not explained.
I8. Real history used, and how. AI
No real history is used. The play is set in contemporary 1777 London but makes no reference to historical events, figures, or dates. It is a comedy of manners about timeless social behaviour.
I9. Journeys: distance and time taken. Both
No journeys occur. All action takes place in London drawing rooms and libraries. Sir Oliver arrives from abroad but his journey is not shown. Characters move between houses but distances are short and travel is not dramatised.
Scenes (numbered through the play): Scene 2, Scene 5
I10. Objects that matter, where they appear. Both
money is the object named most.
| Object | Mentions | Chapters |
|---|---|---|
| money | 24 | 7 |
| screen | 12 | 2 |
| wine | 10 | 4 |
| picture | 6 | 2 |
| portrait | 4 | 2 |
| plate | 2 | 2 |
| chocolate | 1 | 1 |
| tambour | 1 | 1 |
| keys | 1 | 1 |
Portraits matter greatly. Charles refuses to sell Sir Oliver's portrait (c9), revealing his loyalty. The screen (c11) hides Lady Teazle and becomes the instrument of exposure. Money, letters, and sentimental language are objects of exchange and deception throughout.
Scenes (numbered through the play): 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)
I11. Density of period detail. AI
Period detail is light. Fashionable London life is assumed (dressing tables, drawing rooms, cards, scandal-mongering) but not densely described. Servants, money-lenders, and country origins are mentioned but not elaborated. The play relies on audience familiarity with the world.
Scenes (numbered through the play): Scene 1, Scene 3, Scene 4, Scene 7
women of Fashion in London are accountable to nobody after they are married. (Ch 3, 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)
To judge by the Servants--one wouldn't believe the master was ruin'd (Ch 7, para 7)
I12. Setting as an enemy. AI
Setting is not an enemy. London drawing rooms are neutral spaces where scandal spreads and truth emerges. The fashionable world enables hypocrisy but does not force it. Characters choose their behaviour within these spaces.
I13. Indoors against outdoors. Both
Indoor words outnumber outdoor words 69 to 11. (rough estimate from word lists)
Indoor share %, chapter by chapter
The play is entirely indoors. All scenes occur in drawing rooms, libraries, and houses. No outdoor scenes, gardens, or streets appear. The indoor world is where reputation is made and unmade through gossip and face-to-face confrontation.
Scenes (numbered through the play): Scene 1, Scene 2, Scene 3, Scene 4, Scene 6, Scene 7
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