45 pages • 1 hour read
Oliver GoldsmithA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Kate Hardcastle is the protagonist of She Stoops to Conquer. She is described as beautiful and well-mannered, although both Marlow and Tony Lumpkin mention that she is tall when trying to insult her. When Marlow attempts to dismiss his love for her, he describes her as a “tall squinting lady” (89), although he clearly finds her very attractive when she is dressed as a bar-maid.
Kate is the daughter of Mr. and Mrs. Hardcastle, an upper-class family who have a good reputation and a noble lineage, but who are not particularly wealthy. They live in the countryside, but Kate has spent some time in London where she has developed a taste for modern fashion. Mr. Hardcastle complains about Kate's fashionable clothing, exclaiming when she first appears, “dressed out as usual, my Kate. Goodness! What a quantity of superfluous silk has thou got about thee, girl!” (8). However, unlike her half-brother Tony Lumpkin, Kate finds ways to bargain with her father rather than to outright defy his wishes. She demonstrates that she is persuasive, yet moderate, when she convinces her father to allow her to wear the clothing she likes for part of the day and to choose a husband that she prefers. Furthermore, she refuses to allow Mr. Hardcastle to belittle her rationality, reminding him when he accuses her of being too enticed by young Marlow's good looks, “I hope, sir, a conversation begun with a compliment to my good sense won't end with a sneer at my understanding?” (46).
Kate has a lot of agency and power within the narrative, engineering her own happy ending and steering the trajectory of her own love life. Although she is initially resistant to the idea of having a shy husband, she decides that she can transform Marlow's behavior to be how she prefers it, saying, “the fellow, but for his unaccountable bashfulness, is pretty well too [. . .] If I could teach him a little confidence, it would be doing somebody that I know a piece of service” (37). While Marlow's attractive appearance is what initially intrigues her, Kate also grows to value his good moral character. She realizes that he intends to behave honorably towards her once he knows that she is a “modest” woman, meaning that she is likely still a virgin. This prompts her to say to herself, “generous man! I now begin to admire him” (66).
She uses her cleverness to convince Marlow to open up to her and then to proclaim his love to her, testing his qualities and then ensuring that he will propose through trickery. She remarks after his honorable rejection of her advances, “I never knew half his merit till now. He shall not go, if I have power or art to detain him” (66). Despite being a woman in the 18th century and therefore having a subservient role to men in society, Kate is a character who wields power in the narrative through her ingenuity, reason, and insight.
Charles Marlow is Kate’s love interest in the play. He is the son of a wealthy aristocrat who is an old friend of Mr. Hardcastle. The two fathers have decided to encourage their children to marry one another, resulting in Marlow journeying to the Hardcastle's household.
Marlow is described as handsome and intelligent, with a good education and career ahead of him. However, he is known to be extremely shy and bashful around women of his own social class. His friend, Hastings, remarks upon this strange aspect of his character: “I'm surprised that one who is so warm a friend can be so cool a lover” (23). While Marlow is not at all shy around other wealthy men, he is almost unable to speak coherently to Kate when he first meets her. His speech is fragmented and repetitive due to his nervousness, notable when he stammers out, “I was observing, madam—I protest, madam, I forgot what I was going to observe” (35). Marlow's awkward mannerisms are completely at odds with his behavior around other classes of people, making them all the more noticeable.
Marlow eventually reveals that he is not always awkward around women and that his discomfort stems from a fear of being ridiculed by a woman he cannot as easily control. While he struggles to speak to Kate Hardcastle when she is dressed in fine clothing, he easily flirts with her when he mistakes her for a servant due to her simple outfit. He brags to her about his popularity with lower- class women, saying, “at the Ladies' Club in town I'm called their agreeable Rattle” (55). The reason for this disparate behavior is hinted at through his later dialogue. When he sees Kate, dressed as a servant, laughing, he begins to feel uncomfortable, disliking the knowing look he sees in her eye. However, when Kate claims that she was only laughing at the idea of being a cultured city lady, Marlow mutters in relief, “all's well; she don't laugh at me” (56). Domestic servants and lower-class women do not inspire the same anxiety in Marlow because he has more power over them and feels that he can easily impress them in conversation.
However, by the end of the play, he begins to feel comfortable around Kate because she has repeatedly shown him kindness and compassion. Once he realizes that she is not a servant, he rejects her, but she continues to show concern for his happiness. He realizes, “this is the first mark of tenderness I ever had from a modest woman, and it touches me“ (66), allowing him to fall in love with Kate despite his usual reservations about women of higher status. Even though Kate is also well-educated and has a noble family to rely on, Marlow finds himself able to relax around her once he realizes that she does not intend to mock him.
Constance Neville is a secondary character who acts as a foil to Kate and a love interest to Hastings in a parallel subplot about her own romantic trickery. Constance is Kate Hardcastle’s cousin, but she is an orphan after the death of her parents. Therefore, she lives in the Hardcastle household and will not have access to her own inherited wealth until she is married.
Constance has already fallen in love with Hastings, and her father approved of the match before his death. However, Mrs. Hardcastle encourages her to marry Tony Lumpkin so that the valuable jewelry that her uncle left her will remain in the family. Constance is Kate’s confidante, a clever trickster to Mrs. Hardcastle, and, eventually, a wise and prudent lover to Hastings. The beginning of the play establishes that she is a close friend to Kate and the two of them share their secrets. Constance tells Kate that she intends to marry Hastings and that her courtship with Tony is only a ruse to acquire access to her family jewelry. Tony dismissively remarks about Constance's sentimental side and her close friendship with Kate, exclaiming, “let her cry. It's the comfort of her heart. I have seen her and sister cry over a book for an hour together; and they said they liked the book the better the more it made them cry” (41). This characterizes Constance as a typical young woman who enjoys reading melodramatic romances and sharing secrets with her best friend.
However, Constance is also shown to be highly intelligent, pragmatic, and morally upstanding. Tony warns Hastings that she is cleverer than she might seem, telling him, “she has as many tricks as a hare in a thicket, or a colt the first day's breaking” (41). Her manipulation of Mrs. Hardcastle through a feigned courtship with Tony suggests her prowess with deception and trickery. Nevertheless, Constance eventually realizes that honesty and patience are better solutions to her problems than lies. Her name is a hint at her greatest virtue: When she is sent away to stay with her aunt, she reminds Hastings that she is willing to wait for him to ensure a happy marriage, telling him, “constancy, remember, constancy is the word” (73, emphasis added). Constance is not going to fall in love with another man; she is willing to wait for her marriage if it ensures that she and Hastings will be financially comfortable, happy, and approved of by her family. When Hastings asks her to elope to France with him, leaving behind the jewels, she reminds him, “two or three years' patience will at last crown us with happiness” (85).
In the end, her prudence and caution are rewarded: Mr. Hardcastle allows her to marry Hastings once Tony Lumpkin formally rejects her, giving Mrs. Hardcastle no hope that the jewelry will remain in her family.
Tony Lumpkin is a secondary character who serves as the comic relief of She Stoops to Conquer. He is the son of Mrs. Hardcastle from her first marriage and is spoiled, foolish, and uneducated. Mr. Hardcastle complains that he has not been sent to school and that he spends all of his time in taverns, but Mrs. Hardcastle objects that he is too sickly for education. However, Tony is never shown to be sickly, but rather to be mischievous and drawn to sensory pleasure. Mr. Hardcastle calls him, “a mere composition of tricks and mischief“ (6), confirmed by the numerous pranks he pulls on Marlow, Hastings, and his own mother.
Tony enjoys the company of lower-class laborers at an inn called The Three Pigeons, where he engages in drinking and cock fighting. He sings a song that sums up his views on the pursuit of knowledge, declaring, “let schoolmasters puzzle their brain / with grammar, and nonsense, and learning / Good liquor, I stoutly maintain, / Gives genus a better discerning” (12). Despite coming from an aristocratic background, Tony has no interest in the gentlemanly pursuits associated with nobility, representing the way in which the social class a person is born into is not necessarily aligned with their personality.
Tony is often in conflict with his parents throughout the play by seeking financial independence. He steals money from his mother to fund his drinking, and he chafes at having to live with the family and endure his mother's attempts to arrange a marriage between him and Constance. When Constance pretends to be in love with him, he rejects her totally, saying, “I know what sort of a relation you want to make me, though; but it won't do. I tell you, cousin Con, it won't do; so I beg you'll keep your distance, I want no nearer relationship” (37). Tony's disinterest in marrying Constance leads him to become an ally of Hastings, helping him to steal the jewels and return Constance from Mrs. Hardcastle's attempt to send her away.
By the end of the play, Tony does receive his independence when Mr. Hardcastle reveals that he has already come of age, and that his birthday was concealed from him to keep him in the care of his parents for longer. Tony does not reform from his wild ways, but he does ensure the happy marriage of Constance and Hastings by formally rejecting Constance. Tony was a very popular character, prompting the Irish playwright John O'Keeffe to write a sequel about his further adventures in 1778 called Tony Lumpkin in Town.
By Oliver Goldsmith