also has flaws showing that he is human and a fully rounded character thus the audience can sympathise with him. Ultimately the end does justify the means; Jack gets the girl and no one is hurt in the process. In Act Two Scene One we witness the comic pairing between Jack and Faulkland where their characters both compliment and contrast, Jack with his practicality and confidence, representing masculine values, and Faulklands insecurity and self-indulgence as the man of sentimentality. Jack introduces his whimsical friend and intends to tease him a little. Immediately we can see that Jack is controlling the situation and is the agent of Faulkland as an object of satire. However the audience are given a chance to identify themselves with Faulklands character. We expect him to be self-centred from the descriptions of Lydia and Julia but he asks about Jack and Lydia before himself and momentarily foils Jacks plans to tease him. The audience are perhaps allied more closely with Jack as his intentions and reasoning for his deception are sensible and practical, he is aware of Lydias romantic notions and in an eighteenth century context he is behaving just as expected, and an audience would credit him for this. However Jack has not lost his focus and changes the topic to Faulkland who becomes self-indulgent and accused by his friend of being captious, echoing Julia, and of not loving like a man. In Act Three Scene Two it is clear that he is not loving like man when he finds Julia has been enjoying herself in his absence: Yet only say, that you did not sing with mirth say that you thought of Faulkland in the dance.The use of third person and exaggerated, unreasoned language makes him seem childish and reveals the ridiculous nature of his character through jealousy. However Faulkland is fulfilling Sheridans purpose: to satirise sentimental drama, therefore making the scene comic. Julia does not contribute to this, as much, for a modern audience ...
