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The female characters in "The Rivals" seem to chart the times with regard to the changing attitudes about proper female behaviour and the nature of women in general. Each character is, to a certain extent, frank about her sexual needs and desires. Lucy's coquettishness with Sir Lucius in Act Scene reveals that she is not only a methodical schemer but also a brazen hussy. This acknowledgement of normal female sexual desire on Sheridan's part indicates a shift from ideas found earlier in the century, that female expressions of sexual appetite automatically made a woman a whore. This then links to the social context, as actresses in Sheridan's time were not seen as being any better than a prostitute.
Lucy's soliloquy at the end of Act 1 Scene provides evidence of the effect of the technique of asides, which seems to draw the audience closer to her character, who 'confides' in them. It enables her to develop a special relationship with the audience; she may be a little villainess, but she has taken us into her secret, and that affords an added perspective to the action when she is on stage. There is no negativity towards Lucy, we just laugh at her intriguing wickedness, and wonder what she will do next. She often plays a deliberately simple character, which is both devious and cunning of Lucy because she repeatedly outwits both Lydia and Mrs Malaprop. An example of this would be in 1, lines to .
The breadth of Lucy's scheming is unveiled at the end of 1. We realise the full extent of her cunning ways, but merely laugh. The characters involved are Lydia; Ensign Beverly; Mrs Malaprop; Bob Acres and Sir Lucius. Lucy should use a mocking and sarcastic tone when she is alone, as she can stop putting on her act of 'simplicity'. This is shown in 1, lines 77 to end, when Lucy reveals to the audience what she has accomplished by using this clever façade.
Situations occur when Mrs Malaprop dismisses her own initial suspicion that Lucy might have betrayed her in disclosing her secret correspondence with Sir Lucius to Lydia. There is irony in Mrs Malaprop's patronising and immediate dismissal of Lucy's intellect "Lucy can't have betrayed me! No, the girl is such a simpleton…Had she been one of your artificial ones, I should never have trusted her" (Act 1 Scene ). As the audience, we can predict at this point in the play that it will be ultimately Lucy, who's role in the play as spreader of illicit messages to recipients who were not meant to receive them in the first place, who will unintentionally foil Jack's and Mrs Malaprop's plans.
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Lucy (in 1) says, "As ill luck would have it". This can be interpreted as being sincere, or insincere. I believe that as she is shrewd and cunning, Lucy would deliver this with a slight mocking tone. She knows that Lydia is a dreamy romanticist, and gently ridicules her mistress, but when Lucy is alone has a sense of utter disregard towards Lydia and her feelings.
Trust and confidence can be bought and sold as with Lucy who admits that she has very little scruple of conscience in her deceitful ways, as long as her "purse has received notice in form" (Act Scene ); and uses her charade of "simplicity", her "mask of silliness" to camouflage her crafty scheme of profiting from trading secrets she has been "entrusted with". Sheridan is a realist the bribing of Lucy by the other characters reminds the audience that even the virtue of truthfulness can be bought at a price. The important role that money plays in the fashionable town life is stressed in these financial images.
Sir Lucius declares to Lucy his motive for seeking to marry "I am so poor that I cant afford to do a dirty action. - If I did not want money, Id steal your mistress and her fortune with a great deal of pleasure" (Act Scene ). Here Lucy would act as a simpleton, tilting her head, batting her eyelashes and slyly flirting with Sir Lucius, merely in order to further her knowledge with events happening.
As a servant, Lucy realises that she has no need to say more than is socially required or expected. Answers to any questions asked of her are typically short and precise yet polite, "No, indeed, ma'am". Her voice should be shy and quiet when 'acting', but louder and with a singsong quality when she is herself. This change adds to Lucy's duality, and improves the credibility of her 'simpleton' character. When around any of the more upper class characters, Lucy should stand still, her posture straight, and her hands clasped in front of her. This would then detract from Lucy and let the other characters lead on, showing her status.
In Act 1 Scene , line 6 Lucy says; "O gemini, I'd sooner cut my tongue out" in reply to Mrs Malaprop's query As the audience we realise that Lucy has a dual personality, so laugh when Sheridan gives us dramatic irony in a comic style. Lucy would dare to mention anything to anyone else if it meant that she would gain from the situation, and Mrs Malaprop's naïve underestimating of her attendant becomes extremely ironic.
Overall I believe that Lucy should be played with a cunning and mischievous streak, but as the audience must like this character I think it is important to realise that Lucy is fun and outgoing. She does not succumb to the social barriers that, as a woman and a member of the lower class, hold her back when she is alone. Lucy must walk with a spring in her step because she is always happy that she has her purse full. Her presence on stage must be noted by her cheekiness, so she scuttles about, especially when running for Lydia to hide all of her romance novels.
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