School for Scandal......some informations.........

8/7/2019 School for Scandal......some informations.........

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SYNOPSIS:THE SCHOOL FOR SCANDAL BY RICHARD BRINSLEY SHERIDANThe middle-aged and wealthy bachelor Sir Peter Teazle has married the young andcomely daughter of a country squire. The fashionable society of which Lady Teazle through her marriage becomes a part occupies itself mainly with malicious gossip whose arrows no one, however chaste, can completely escape. By far the most dangerous of these backbiting cliques is the one led by Lady Sneerwell.

This lady is attempting through lies and letters written by the forger, Snake, to break up the love affair between Charles Surface and Sir Peters ward, Maria, hoping to get Charles for herself. To this end she has joined forces with Charlessbrother, Joseph, a hypocritical youth who enjoys an excellent reputation in contrast to his brothers wild and extravagant habits. Joseph has his eye on the fortune that will one day come to Maria and is backed in his suit by Sir Peter who has been utterly fooled by the young mans righteous exterior. Maria sees through Joseph, however, and turns a cold ear in spite of her guardians expressed wishes.Meanwhile, Sir Oliver Surface arrives unexpectedly from Australia. He hears suchconflicting reports of his nephews and prospective heirs that he decides to look them over before he makes his arrival known. He approaches Charles in the guise of a moneylender and in the famous auction scene buys the family portraits. Th

roughout the transaction he is impressed with Charless high sense of honour and obligation to those less fortunate. When he approaches Joseph as a poor relationbegging help, Joseph reveals his true colours.Now gossip has linked Lady Teazles name with that of Charles Surface, but in reality she has been indulging for fashions sake in an affair with Joseph. The rumours about Lady Teazle and Charles come at last to Sir Peters ears and, much distressed, he goes to Josephs apartment to consult with him. Lady Teazle, who is enjoying a tryst with Joseph, sees Sir Peters arrival and hastily hides behind a screen. Sir Peter, in turn, hides in a closet when Charles unexpectedly arrives. The latter inadvertently reveals Lady Teazle behind the screen and Sir Peter, comingout of his closet, revises his estimate of Joseph.Lady Teazle throws herself on Sir Peters mercy with the frank confession that shewas pretending to an affair because it was the fashion, but admits that her onl

y real interest is in her own husband. Sir Oliver, meanwhile, has rounded up Snake, the forger. His confession brings about a reconciliation between Charles andMaria, and Sir Peter gladly withdraws his objections to this match.Source:http://www.theatrehistory.com/british/sheridan002.htmABOUT THE PLAYWRIGHTRichard Brinsley Sheridan was born in Dublin in 1751, and was educated there, and at Harrow, where he was popular with fellow students but lamented as a dunce by his teachers. In 1770, his family moved to Bath, where he fell in love with Eliza Linley, an accomplished singer. His father disapproved of the match, but Sheridan and Linley eloped to France, and were only legally married in 1773 after Sheridan fought a pair of ridiculous duels against another of Linleys admirers.

Sheridans father, an actor-manager, sent Richard to London to study law, but he was never called to the bar. Instead, short of money, Sheridan decided to try hishandat writing a play, and wrote a comedy, The Rivals, in aperiod of a few weeks. It was produced at Covent Garden in 1775, and despite anunpromising opening night, proved a great success. A few months later, the farceSt. Patricks Day was another success, exceeded shortly thereafter by The Duenna,an operatic play.Richard Brinsley SheridanIn 1776, Sheridan and two partners bought David Garricks half-share in the DruryLane Theatre and Sheridan became its manager. In 1777 he slightly altered Vanbrughs Relapse and produced it under the title of A Trip to Scarborough; and in Mayof that year, The School for Scandal opened at Drury Lane with a brilliant cast.

The play was a critical and commercial hit, receiving praise from all corners,and it established Sheridans reputation in London society.David Garrick


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In 1779, Sheridan became the sole proprietor of Drury Lane, and despite his success, he was plagued by financial difficulties. That same year, he wrote The Critic, based on Buckinghams The Rehearsal, which was widely praised. But despite hisextraordinary success, Sheridan professed to hate the theatre and said he neverattended a play if he could help it. His true ambition lay in politics, and in1780 he was elected to Parliament for Stafford, where he soon became distinguished as a powerful speaker on the side of opposition.

________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 4In 1783 he was appointed secretary to the treasury and further consolidated hisreputation as an orator. In 1792 Sheridans wife, Eliza, died; and in the same year Drury Lane Theatre was demolished after being deemed unsafe. In 1795, Sheridanmarried Esther Ogle. Politics remained Sheridans primary focus throughout theseyears, but in 1798, after a long absence from the stage, Sheridan adapted The Stranger and Pizarro, both written by German playwright August von Kotzebue.Drury Lane TheatreSheridans theatrical career ended with these plays, but his political career continued; in 1806, he became treasurer of the navy, but was soon back in opposition

. In 1809 the new Drury Lane Theatre was destroyed by fire, and Sheridan ceasedto have any part in managing the theatre. In 1811, he lost his parliamentary seat, and two years later was arrested for debt. He died, impoverished and ill, inJuly 1816.________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 5THE RESTORATION STAGE AND THE COMEDY OF MANNERSIn 1642, during the British Civil War, and throughout Oliver Cromwells interregnum rule in England, all theatres were closed and theatrical performances were outlawed. With the restoration of the monarchy in 1660, King Charles II issued patents for two companies: the Dukes Men, led by Davenant, performed at Lincolns Inn Fields, while the Kings Men, under the direction of Killigrew, operated out of a n

ewly built theatre in Drury Lane. This latter was the theatre Sheridan was to manage over a century later.Among the theatrical innovations of the period was the first appearance of womenon the stage; previously, both mens and womens parts had been played by men. Actresses such as Nell Gwyn became theatre legends, while the work of women playwrights, such as Aphra Behn, was staged alongside that of their male counterparts. In addition, moving or mechanical scenery was employed for the first time, and proved extremely popular.Nell GwynIn contrast to the bloody revenge tragedies that had been popular in the Jacobean era, the Restoration stage was noted for its scintillating comedies of manners. Influenced by French fashions in theatre, and especially by French playwrightMolire, the best playwrights of the era crafted witty, sophisticated plays in which morality was secondary to sheer entertainment. Among the classic plays of theperiod are Wycherleys The Country Wife, Ethereges The Man of Mode, and Congreves The Way of the World.Martha Fletcher Bellinger, in A Short History of the Theatre, characterizes thecomedy of the period as follows:The heroes of the Restoration comedies were lively gentlemen of the city, profligates and loose livers, with a strong tendency to make love to their neighbors wives. Husbands and fathers were dull, stupid creatures. The heroines, for the most part, were lovely and pert, too frail for any purpose beyond the glittering tinsel in which they were clothed. Their companions were busybodies and gossips, amorous widows or jealous wives. The intrigues which occupy them are not, on thewhole, of so low a nature as those depicted in the Italian court comedies; but s

till they are sufficiently coarse. Over all the action is the gloss of superficial good breeding and social ease. Only rarely do these creatures betray the traits of sympathy, faithfulness, kindness, honesty, or loyalty. They follow a life


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of pleasure, bored, but yawning behind a delicate fan or a kerchief of lace.________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 6There is a deliberate artifice in this type of comedy, which satirizes hypocrisyand pretension. Among its conventions are witty, often epigrammatic dialogue; apreoccupation with surfaces (reputation being more important than character, fo

r example); sexual promiscuity; and outrageous, artificial character names thattelegraph the characters chief qualities, such as Fidget, Squeamish, and Petulant.The absence of morality in English drama was a significant departure from tradition, and it wasnt long before it came under attack. The most viciousand effectivewas made by Jeremy Collier, a clergyman, in 1698. His pamphlet, A Short View of the Immorality and Profaneness of the English Stage, denounced the Restoration playwrights for their lewdness and disrespect for religious traditions. Although his attack was so sweeping as to appear ridiculous by todays standards, it had a profound effect. King James II issued a proclamation against vice and profaneness; many of the leading playwrights and actors of the era were persecuted and fined.This new climate inspired some playwrights to turn their satiric weapons on thei

r enemies, but it also bred a new type of sentimental comedy, little of which survives today.After 1750, the comedy of manners began to re-emerge with the work of Oliver Goldsmith. Writing more than a century after the Restoration comedys golden years, Sheridan also returned to the comedy of manners in its pure form. His two best-known plays, The Rivals and The School for Scandal, are bright, sophisticated comedies that satirize a world of superficial, amoral characters.The School for Scandals Sir Oliver Surface reveals his understanding of the pretensions of this society when he laments, upon hearing Sir Peters report of his nephew, Josephs popularity:I am sorry to hear ithe has too good a character to be an honest fellow.Everybody speaks well of him! Psha! Then he has bowed as low as knaves and fools as to thehonest dignity of genius or virtue. (II.iii)

Sheridans witty dialogue rivals that of the Restorations best playwrights, and hischaracter names are aptly outrageous. In fact, one of the

________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 7Portrait of Miss Ada Rehan as Lady Teazle in The School for Scandal________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 8characters in The Rivals, Mrs. Malaprop, has given her name to a figure of speech in which one substitutes a similar-sounding word for the one intended, usuallyresulting in unintended humour, irony, or just plain nonsense. Here is an example of one of her malapropisms: Shes as headstrong as an allegory on the banks of the Nile. Malapropisms continue to abound in contemporary politics and culture; infact, the word malapropism risks being replaced in our time by Bushism.Sources:Fletcher Bellinger, Martha. Restoration Drama. A Short History of the Theatre.New York: Henry Holt and Company, 1927. 249-59.http://www.theatrehistory.com/british/restoration_drama_001.htmlLathan, Peter. A Thousand Years of British Theatre History. (Part 4b) The EighteenthCentury. The British Theatre Guide, 2001. http://www.britishtheatreguide.info/articles/16100d.htm________________________________________________________________________Teacher Resource Guide: The School for Scandal

www.artsclub.com 9MONEYLENDING IN 18TH-CENTURY ENGLANDMr. Premium, the plain state of the matter is thisI am an extravagant young fello


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w who wants money to borrow; you I take to be a prudent old fellow, who has gotmoney to lend. I am blockhead enough to give fifty per cent sooner than not haveit; and you, I presume, are rogue enough to take a hundred if you could get it.Now, sir, you see we are acquainted at once, and may proceed to business without farther ceremony.Charles Surface, in The School for Scandal, III.iiiA good portion of the third act of The School for Scandal satirizes the private

economy. Charles, a dissolute spendthrift, needs to borrow money to pay off hisdebts. His wealthy uncle, Sir Oliver Surface, is introduced to Charles by Moses,a moneylender, as a colleague, Mr. Premiumthe name suggests that his interest rates will be high. Charles, not recognizing his uncle, eventually sells him all the family portraitsexcept Sir Olivers ownthereby proving his good character to hisuncle. This auction scene is one of the comic highlights of the play.Sir Oliver gets his first taste of Charless casual attitude towards credit when he meets Charles servant, Trip, who is also plagued with debt. Trip is seeking a loan from Moses. When Moses inquires as to what Trip can offer by way of security, the servant suggests that he might scheme his way into something valuable:Why, nothing capital of my masters wardrobe has dropped lately; but I could giveyou a mortgage on some of his winter clothes, with equity of redemption before N

ovemberor you shall have the reversion of the French velvet, or a post-obit [a bond to take effect after death] on the blue and silver;these, I should think, Moses, with a few pair of point ruffles, as a collateral securityhey, my little fellow? (III. ii)Despite their comic exaggerations, these exchanges reveal a great deal about 18th-century English societys values around moneylending. The concept of usurythat is, charging a fee or interest for the loan of moneyhad undergone significant changes in the previous two centuries. For hundreds of years, usury had been believedto be a sin because of the numerous Biblical proscriptions against it. By the mid-16th century, however, lending money at interest had become a commonly accepted practice, although many still frowned upon it. In 1543, Henry VIII legalizedmoneylending and set the maximum legal interest rate at 10 per cent.Through the 16th century, as the practice of charging interest on loans became m

ore widely accepted, the definition of usury shifted: the term was used to describe not a loan with interest, but one with an unusually exorbitant interest rate.Manymoneylenders flouted the law, sometimes charging as much as 100 per cent, and many were prosecuted. This disregard for the law did not abate, even when, in 1624, James I passed a statute reducing the maximum legal interest rate from 10 percent to eight per cent.Moneylenders were hated figures; it is no wonder that Shakespeares Shylock, who demands as his bond one pound of Antonios flesh in The Merchant of Venice, was viewed as such a heartless villain. Sheridan makes an explicit reference to Shakespeares play when Charles offers his ancestors portraits as security for a loan fromMr. Premium, and Sir Oliver responds:Odds life! do you take me for Shylock in theplay, that you would raise money of me on your own flesh and blood? (III.iii)Adam Smith, in his seminal economic text, The Wealth of Nations, published in 1776, suggested that a complete elimination of interest on loans would actually encourage usury (in the newer sense of the word), and that interest rates must befixed relative to the market rate in order to create the greatest economic advantage. Sheridan, writing in 1777, may well be making a dig at Smith when he has Charles propose a toast: Success to usury!18th century depiction of ShylockSources:Jones, Norman. Usury. EH.Net. http://eh.net/encyclopedia/article/jones.usuryKish-Goodling, Donna M. Using The Merchant of Venice in Teaching MonetaryEconomics. Journal of Economic Education. Fall 1998. 330-39.

http://www.indiana.edu/~econed/pdffiles/fall98/Kish.pdf________________________________________________________________________Teacher Resource Guide: The School for Scandal


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www.artsclub.com 10GLOSSARYThe following potentially unfamiliar words occur in The School for Scandal. Seehow many you can recognize:abjurerenounce; swear absence fromanchorite

hermit, recluseannuityyearly sum paid to an investorAnnuity Billa bill to protect the property of minors; it became law during the first run ofthe play in 1777________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 11avadavatsmall Indian songbirdbags and bouquets

footmens clothingBattle of Malplaquetan English victory over the French in 1709Bayespoet, from the leading character in another Restoration comedy, Buckinghams The Rehearsalbeau-potsflower potsbeldamehagcalumnyfalse, slanderous gossipcant

hypocritical talk; jargoncavallieroa courtly gentlemancensoriousfault-finding; severely criticalcicisbeothe recognized beau of a married womancomplaisancepoliteness, deference, willingness to please othersconfinementimprisonmentConquestthe Norman conquest of England in 1066consumptiontuberculosis, or a wasting disease of the lungscoquetteflirtatious womancoxcombconceited showoffdegeneracylack of morals; improprietydissipate (dissipation)wastefully extravagant; frivolousDon Quixote________________________________________________________________________

Teacher Resource Guide: The School for Scandalwww.artsclub.com 12title character in Spanish writer Cervantess famous epic; a chivalrous but somewh


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at delusional adventurerdoubtfeardowagerwealthy widowdropsydisease in which fluid collects in tissues of the body

dun; dunningpester for repayment of debtduodecimotiny; diminutiveelegysong or poem of lamentation for the deadenjoincommandenvenomedpoisonedepigramshort poem or pithy, witty saying

executionlegal seizure of a debtors goods in default of paymentex post factoretrospectively; after the factexpostulationsprotestsextemporeoffhand, spontaneous, without preparationfte champtrean outdoor entertainmentfopperiesdandyisms; foolish pretensionsgall

bitter emotion; angergrassplatblade of grasshalters and bastinadoescudgelshartshornsmelling saltshazarda dice gamehosiera merchant who deals in stockings or undergarmentshot cocklesa type of edible shellfishhumoursmoodshurdlea cart on which traitors were hauled to executionhydraa mythical snake whose many heads grew again as soon as they were cut offimportunityan urgent, often immoral, requestin seconde________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 13

a standard position in fencingincogshort for incognito, in disguise


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India crackersFirecrackersjetpointjointurewidows inheritanceknavery

roguish behaviourKnellerSir Godfrey Kneller, a successful portrait painterlampoonmocking portrait; satire; caricaturelaw merchantsystem of commercial lawliberalitygenerositylibertinean immoral, extravagant personlicentiate

holder of a diplomaludabbreviated form of lord, used as an exclamationmaintenancealimonymillinerhat makermodishfashionableMonteman annual festival put on by the students of Eton Collegenabobwealthy Englishman who has made his fortune in India

necessitousneedyobsequiousfawningone of the facultya physicianOonsabbreviated form of Gods wounds (similar to Zounds), used as a mild oath or exclamationPantheona concert hall in Londonparricidemurder of ones father or ancestorpenchantinclination, likingpenuriousstingy; poorperfidytreacheryPetrarchs Laura________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 14Laura inspired the love poems of Petrarch, a famous Italian Renaissance poetphaton

a fashionable carriagephlegmaticcalm, apathetic


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Phoebusthe sunplattedbraidedplethoraoversupply or glutPliny

Roman officer and author of Natural History, an encyclopedia, written in 1st century ADplumdfeatheredpointersdogspoors-boxa box for donations to charityPope Joana card gamepost-obita bond to take effect after death

pozslang for positivelyprattleinconsequential chatterprofligaterecklessly extravagant, or someone who is this wayquantum sufficitas much as sufficesquartoa book whose pages are one-quarter the size of a printing-sheetqueanharlot or hussyraillery

good-humoured ridiculerakean immoral man of fashionrebusa riddle in which pictures represent the syllables of a word to be guessedregisterthe record of annuities granted according to the Annuity Bill________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 15the Ringcircular drive in Hyde Parkrupees and pagodasIndian coinssal volatileflavoured alcoholic solution, used to revive someone from faintingsecuritiesmen who have endorsed a debtors notessevens the maina term in hazard, a dice gameSlifeabbreviation of Gods life, used as a mild oath or exclamationspadille, pam and bastonames of cardsspinet

a small harpsichordspleneticill-tempered or


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peevishstool of repentancea seat in church where offenders do penancesuborninduce to commit an unlawful act or perjurysuccoraid given in time of need

table dhtedining table at a fancy resorttamboura frame for embroiderytiftalternate spelling of tiffed, i.e., arguedtontinea life annuity plan established in 1773 by the Irish governmenttraducemisrepresent; spread malicious misinformation about someone, slandertrepanentrap

Tunbridgea fashionable resort in Kentusurypractice of lending money at a higher than legal rate of interestvaletudinarianperson in ill healthvaporsnervous disorders such as depression, melancholy, hysteriavestalswheychaste womenthe watery part of milkvexations

woolsackannoyancesthe bench, indicating a judge or the judicial professionvis--visworsteda fashionable coach in which passengers could sit facing each otherwoven wool fabricWallers SacharissaSacharissa was the name given to Lady Dorothy Sidney by Edmund Waller in his love poems addressed to her________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 16________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 17WEBSITES TO EXPLOREThe Arts Club Theatre Companyhttp://www.artsclub.comLearn more about Western Canadas largest theatre company.Theatre Historyhttp://www.peopleplayuk.org.uk/guided_tours/drama_tourThis lavishly illustrated site features detailed information about the history of the English stage, with separate tours of Renaissance/Restoration Drama and 18th-Century theatre.

http://www.theatrehistory.com/britishInformative articles about the history of theatre in England. Contains excellentbiographies and synopses of classic plays.


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http://www.britishtheatreguide.info/articles/historyindex.htmA very accessible general history of the English stage. Very helpful for understanding the political and social contexts of theatre in the Restoration and 18thcentury.Comedy of Mannershttp://www.theatrelinks.com/manners.htmA site with links to numerous articles outlining the conventions of the comedy o

f manners.________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 18RECOMMENDED READINGAnnotated TextsBecause of its formal similarity to Restoration comedies, The School for Scandalis frequently anthologized alongside plays by Wycherley, Congreve, and Etherege. Many of these anthologies, especially critical editions, have extensive notesand background material relating to the period. An excellent example is the Norton Critical Edition cited below.McMillin, Scott. Restoration and Eighteenth-Century Comedy. New York: W.W. Norto

n and Company, 1973.Books about Sheridans Life and Work:Auburn, Mark S. Sheridans Comedies: Their Contexts and Achievements. Lincoln: University of Nebraska Press, 1977.Danziger, Marlies K. Oliver Goldsmith and Richard Brinsley Sheridan. New York: F. Ungar, 1978.Davison, Peter, ed. Sheridan Comedies: A Casebook. Basingstoke, Hampshire: MacMillan, 1986.Hare, Arnold. Richard Brinsley Sheridan. Windsor, Berkshire England: Profile Books, 1981.Loftis, John. Sheridan and the Drama of Georgian England. Cambridge, Mass: Harvard University Press, 1977.Social History

Hopkins, Graham. Constant Delights: Rakes, Rogues and Scandal in Restoration England. London: Robson Books, 2002.________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 19ATTENDING THE SHOWArriving at the TheatrePlease arrive at the theatre with ample time (4560 minutes, depending on the sizeof your group) to pick up and distribute tickets and resolve any seating issueswithin your group. Please ensure chaperones arrive before or at the same time as students.Buses may unload passengers in the loading zone in front of the theatre but engines must be turned off while doing so. Once passengers have exited the vehicle,please be advised that you must find alternate parking for the duration of the show.Theatre EtiquetteIn order to ensure an enjoyable show for all audience members, please impart some general theatre etiquette to students. They should keep in mind that this is not a movie theatre and different audience etiquette applies to a live theatre environment. The use of cameras or any type of recording equipment (including cellular phones) is strictly prohibited. It is important to turn off wristwatch alarms, cellular phones, and beepers forthe duration of the show. If you are concerned about missing an emergency call,please leave your name or device and seat location with an usher and we will ale

rt you if a call comes through. No outside food or drink is allowed in the theatre or lobby. Please finish refreshments purchased at the concession in the lobby before enter


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ing the theatre. We request that you refrain from eating or unwrapping candy in the theatre, as it is a distraction for others. Please be modest with your use of fragrances so that audience members with allergies can also enjoy the performance. Seating at The Stanley Theatre and the Granville Island Stage is assigned. Please sit in your assigned seat and respect the fact that other seats have been rese

rved for other patrons. If you must leave the theatre during the performance, you will not be seated again until the intermission or another appropriate interval. Please respect your fellow audience members and the performers by refraining from talking during the performance. Even whispers carry! If you have a complaint about another guest, please tell an usher or the Audience Services Manager rather than approaching the person yourself. We will be happyto address concerns on your behalf.

________________________________________________________________________Teacher Resource Guide: The School for Scandalwww.artsclub.com 20SUGGESTED ACTIVITIES & QUESTIONS

The School for Scandal is a comedy of manners, satirizing the social values, virtues, and vices of its time. What would a contemporary comedy of manners look like? What aspects of todays values would you choose to satirize? Where would the play take place? What would the characters be named? Is there an equivalent in todays world to Lady Sneerwells School for Scandal? Compare the role of moneylending in The School for Scandal and Shakespeares The Merchant of Venice. How does debt lead to troubles for the characters? What is the relationship between debtor and creditor in each? Is the issue treated in a serious or lighthearted fashion? What point do you think each playwright is tryingto make about moneylending? Make a list of all the names in The School for Scandalnot just the characters wesee onstage, but the people whose names come up in Lady Sneerwells gossip. What assumptions do you make about these people on the basis of their names? Choose on

e and create a brief character sketch or visual portrait. Entrances and exits are a common feature of farce. Are there any scenes in the play in which farcical elements contribute as much, if not more, to the comedy than the witty dialogue does? Near the end of play, Snake says, I live by the badness of my characterI have nothing but my infamy to depend on! and, if it were once known that I had been betrayed into an honest action, I should lose every friend I have in the world. How does this statement reflect the morals of Lady Sneerwells circle? Can you think of acontemporary equivalent to Snake? The prologue and epilogue were conventions of Restoration and 18th-century theatre. How do they function in The School for Scandal? Do you find that they add toyour experience of the play as a whole, or do they feel too artificial? Think of a contemporary play that you have studied. Choose one character and write a prologue or epilogue for that character to deliver. You will want to consider formas well as content.

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