[speaker001:] cos he's coming down Are you doing it as well. Yeah .
[speaker002:] You other people and you've obviously got time to start preparing your thoughts.
[speaker001:] Yes.
[speaker002:] Alright.
[speaker001:] take.
[speaker002:] Well know it's it's there all the time. We were just carrying on.
[speaker001:] . .
[speaker002:] Right.
[speaker001:] .
[speaker002:] So what I did with you last week
[speaker001:] I said erm but It is a good start really, someone else. . Sh.
[speaker002:] Can you say that again?
[Alison:] Tony he pretends to be someone else in this and er more.
[speaker002:] alright.
[Alison:] Yeah..
[speaker002:] Alright.
[Alison:] More Solomon.
[speaker002:] Solomons.
[Alison:] Solomons yeah..
[speaker002:] Is that chap as well.
[Alison:] .
[speaker001:] .
[speaker002:] And and what is the point of disguising disguise?
[Alison:] Well it means just taking apart.
[speaker002:] in terms of any length, what's it doing to the plot for a start....
[Alison:] Well when Tony pretends it sort of gets the ball rolling.
[speaker002:] So it's a kind of plot
[Alison:] Yeah.
[speaker002:] . You've got haven't you?
[Alison:] Yeah....
[speaker002:] .
[Alison:] . erm why Marlowe and he thinks that the family and servants
[speaker002:] So.
[Alison:] Yes.
[speaker002:] . Not making really. I suppose it's the set up. O K that's fairly basic stuff you've got people.
[Alison:] Relationships.
[speaker002:] You've got relationships, yes. Alison say about previous ideas, what's that. You're quite sure.
[Alison:] You've got unknown disguises
[speaker002:] How do you mean unknown disguises?
[Alison:] Well Marlowe doesn't know who Mister Hardcastle is and doesn't know who Miss Hardcastle is
[speaker002:] Right. So he is the victim?
[Alison:] Yeah.
[speaker002:] Is he?
[Alison:] He's unaware of everything that's going on.
[speaker002:] is that right, what's Marlowe's role in all of this
[speaker001:] [cough].
[speaker004:] Well it's just like that the joke kinda on him because he's erm, he's the one they're all concealing the identity of the house
[speaker002:] Even his best friend?
[speaker004:] Yeah and erm yeah, he's keep up the joke.
[speaker002:] Right.
[speaker004:] They don't want it to interfere with their plans
[speaker002:] Erm does this question diary it all? he look like.
[speaker004:] Because erm [cough] it's all the plot can be seen by the audience. It's not exactly what's gonna happen in the plot we all know what happens it's like how it will happen
[speaker002:] romantic outcome or what
[speaker004:] Erm well we all know what's going to happen and they sort of give an idea of the plot but it's only Marlowe who doesn't know. so we know more than the characters do
[speaker002:] Yes, or that character does
[speaker004:] Yeah.
[speaker002:] So we're all in kind of conspiracy and everyone else except Marlowe is that right?
[speaker004:] Yes.
[speaker002:] Marlowe perhaps figures in other ways as well doesn't he?...
[speaker001:] . .
[speaker004:] I er it's just that we, all of us are on different pages.
[speaker002:] .
[speaker004:] Oh yeah.
[speaker001:] .
[speaker004:] It's more emotional. It's not really erm intentional this guy.
[speaker002:] Yes she puts it on.
[speaker004:] Well it's sort of
[speaker002:] .
[speaker004:] she finds it easier to talk to come out with it..
[speaker002:] Yes. It's not deliberate though is it?
[speaker004:] No, it's just that erm he feels comfortable and doesn't have to put on a show
[speaker002:] O K.
[speaker004:] more erm abrupt more familiar side of him coming out [cough]
[speaker002:] Isn't that a little bit pathetic?
[speaker004:] Yeah.
[speaker002:] He can only be himself with a female inferior.
[speaker001:] [cough].
[speaker004:] No we ought to.
[speaker001:] [LAUGHTER].
[speaker002:] No like that's not it to go with their mates. I suppose that's true. There's all being themselves. You just said that Englishmen prefer being with other men.
[speaker001:] [LAUGHTER]. I suppose it can be the same I think it's just a bit more extreme like the characteristic he shows when he's in female company like erm just like going over the top the way he acts [cough].
[speaker002:] So there isn't any truth all of this
[speaker001:] Yeah.
[speaker002:] O K so if any of you could make because it's one more interesting psychological ploys in the play, there aren't very many of them are there? comedy I suppose I'll play behaviour. Willis erm something to that class isn't it and and what you have classed as having more mileage. Francesca what do you think?
[Francesca:] No.
[speaker002:] Whatever. Lots of concerning
[Francesca:] It's really exag it's really exaggerated, they really make erm, I can make all the country folk showed as real louts most of the people in the pub Tony and then the servants are really stupid and then
[speaker002:] They're not real butlers they're being trained
[Francesca:] Yeah, they're just like farmhands
[speaker002:] Yeah well I've got to be erm
[Francesca:] But even like erm Mr and Mrs, like they come over as just comic figures really. Because Mrs like erm sort of assumes herself to be really fashionable by the things that like up with the fashions or anything and then Mr self important stories of the War.
[speaker002:] Yes.
[speaker001:] disguise.
[speaker002:] I was going to actually ask the same question. Erm you haven't you?
[speaker001:] believe in.
[speaker002:] Self delusion..
[speaker001:] .
[speaker002:] what I said.
[speaker001:] .
[speaker002:] What about erm, we haven't read any today, have we? Erm there's a coach ride.
[speaker001:] Oh yeah and it is totally. . Yeah. She doesn't recognise the
[speaker002:] Yes.
[speaker001:] Mrs.
[speaker002:] This is when disbelief actually suspended later.... Do you see the performance of it?
[speaker001:] Yeah.
[speaker002:] Does that get round the problem?...
[speaker001:] What.
[speaker002:] Mm.
[speaker001:] Well I suppose it was a bit far fetched. I don't like the and everything. People were coming in and out the shadows, like telling his mum to cuddle up to to go everything. That was a bit far fetched I suppose but erm you won't be looking at it for it is believable or not.
[speaker002:] .
[speaker001:] It was just quite funny.
[speaker002:] So it's dramatic inventions
[Margaret:] Yeah.
[speaker002:] I think so, that feeling for highwayman. Erm have people coming on and off stage when they want sides. I think. What you've got to do then is to relate erm, this particular topic to, shall we say themes, and techniques in the play itself.... and also this happened in Shakespeare's plays too. Erm what it reveals of people psychologically, if anything. It is not a very profound play... Francesca, anything else you wanted to throw in that we've not included here?
[Francesca:] Erm
[speaker002:] that's not all.
[Francesca:] could you do the servants.
[speaker002:] You mean the serving men
[Francesca:] Yeah. They were sort of weren't they.
[speaker002:] In what
[speaker001:] [cough].
[speaker002:] .
[Francesca:] No they've sort of working on the farm
[speaker002:] They're just labourers.
[Francesca:] Yeah.
[speaker002:] Erm because in fact quite funny seeing they're all being er to laugh erm see what servants in. That links up as farce again, doesn't it?
[Francesca:] Mm.
[speaker002:] and dramatic erm action
[Francesca:] And erm what Mrs and what it actually.
[speaker001:] Yeah I see.
[speaker002:] Kate Hardcastle and Tony.
[speaker001:] No Mrs.
[speaker002:] Oh right.
[Francesca:] But I don't disguise.
[speaker002:] What about the two pairs of children. What about Mr and Kate?
[Francesca:] She seems fairly true to her father sees this through her.
[speaker002:] Perfection.
[Francesca:] Yeah, but she's more settled in. No, yeah [LAUGHTER].
[speaker002:] Well sh
[Francesca:] She's not really better is she?
[speaker002:] Yeah well she does actually erm say to everyone in a rather creepy way that require do doesn't she? Help him to quote
[Francesca:] it's more obvious to the audience how, like, Tony's just after what he can get sort of thing.
[speaker002:] Complete write off.
[Francesca:] Yeah.
[speaker002:] parents with their siblings that
[speaker001:] How will that be described though?
[Francesca:] Yeah.
[speaker002:] Well he's that.
[speaker001:] [LAUGHTER]
[Francesca:] Yeah but... it's what she's perceiving really isn't it?
[speaker001:] Yeah.
[Francesca:] What she's deluding herself to think
[speaker002:] Didn't he help with that illusion?
[Francesca:] Not really.
[speaker001:] I don't think he really tries to hide the fact that he's like
[speaker002:] that he steals her money.
[Francesca:] Yeah
[speaker002:] to go down to the pub
[Francesca:] Yeah he doesn't really try to impress her he makes things worse I think
[speaker002:] O K so she's a doting mother, is that right? what want.... Erm I still want to bring Kate and her father as well I think cos he's looking at some people, isn't he? Know what I mean?
[speaker001:] Mm. That should be.
[speaker002:] agree. Well it's your essay not mine but
[speaker001:] [LAUGHTER].
[Francesca:] .
[speaker002:] Erm what about when Mrs Hardcastle doesn't want to give up the jewels.
[speaker001:] Yes he's rude.
[speaker002:] She conceals Tony's age cos he's really twenty one
[speaker001:] . Just those keep like the jewels in their family.
[speaker002:] . That would do nicely, wouldn't it? Erm, she also lies about er
[speaker001:] thing lost.
[speaker002:] in the windows discarded..
[speaker001:] Mm....
[speaker002:] That was seen.....
[speaker001:] Only about Miss and Hastings. Yeah. Have you read, have you looked in that? .
[speaker002:] mention that.
[speaker001:] Well I think not so much about when Hastings was there. Miss and Tony you have to kinda pretend that they do like each other so that erm the mother doesn't suspect her of liking Hastings. Mm.
[speaker002:] So that's more, shall we say, purposeful, disguising her feelings. more cunning stuff going on here as well. Is that right?
[speaker001:] Mm. yeah.
[speaker002:] Would you say much more farcical
[speaker001:] Yeah.
[speaker002:] theatrical.
[Francesca:] Yeah and Hastings and the.
[speaker002:] Yes and those two are the least kind of losing.
[speaker001:] Mm....
[speaker002:] This is the essay you are actually going to write.
[speaker001:] Yeah..
[speaker002:] maybe
[speaker001:] maybe not sure but you're not certain
[speaker002:] No, well we've done a little bit. There's obviously not very much here but I mean
[speaker001:] Would you themes?
[speaker002:] Would I write?
[speaker001:] take take emotional and discuss it.
[speaker002:] Alright so you are going to judge the characters of the
[speaker001:] .
[speaker002:] I wouldn't think I'd discuss it under functions really...
[speaker001:] [cough].
[speaker002:] See perhaps I'd like to more section to. What the disguise is doing. Whether it's just a plot
[speaker001:] Mm.
[speaker002:] erm device or whether it's telling us something about human beings....
[speaker001:] [cough].
[speaker002:] It would be up to you really... to common purposes.... Well that's a start isn't it? Shall we move that one round? girls please. Round yourselves up..
[speaker001:] [cough].
[speaker002:] .
[speaker001:] .
[speaker002:] What's the actual title
[speaker001:] She stoops to conquer and discuss the ways in which women are portrayed in the play.
[speaker002:] Portrayed.
[speaker001:] .
[speaker002:] O K then....
[speaker001:] to Miss came.
[speaker002:] So Miss pays with compliments. That's clear Miss is.
[speaker001:] .
[speaker002:] Oh I'm sorry.... Er
[speaker001:] anyway [LAUGHTER].
[speaker002:] ....
[speaker001:] But you could mention these er women that Mrs talks about.
[speaker002:] Mrs and all these other kind of er interesting offstage characters. Erm when there's people every minute he goes, is that makes out.
[speaker001:] No. Mrs mentions that when she's talking about sophisticated London
[speaker002:] Her friends.
[speaker001:] They visit London but she doesn't
[speaker002:] Alright fine you might if you're desperate mention that.
[Richard:] You could say that erm Mrs likes it with the local. You know in love with him.
[speaker002:] Yes and at the end of the play as well.
[Richard:] Yeah.
[speaker002:] Erm what you have to avoid is just divide into three? Do you agree with that would be rather dull she did that. It would be rather dull.
[Richard:] .
[speaker001:] [LAUGHTER] plans [].
[speaker002:] Oh well if you really want to you can. It you just look very very well
[speaker001:] .
[Richard:] trip and if you're not going to divide it into three.
[speaker002:] Well as Dennis was implying, erm you're really looking say at the low comedy. Mrs came to.
[speaker001:] put into themes
[speaker002:] Well that will seem to me to be a bit more but obviously it's up to you but it may not quite work out as neatly as erm but you may well like to think about the role of women as perceived, the way they treat men and relationships. So you could do more under that heading couldn't you?
[speaker001:] portrayal of women
[speaker002:] Yes but like the are just planning to affection based on mutual whatever it is
[speaker001:] they base Mrs as the villain of the peace. Yeah I thought that about it . she just seemed kind of old fashioned. to say that erm erm they are saying that erm she's most funny and things like that and she's got great depth. great depth
[speaker002:] So th the comes on a bit heavy at times doesn't it?
[speaker001:] Yeah.
[speaker002:] And makes a great meal of that material. She's a villain of the peace. Well I think you need to go look at that.
[speaker001:] .
[speaker002:] Erm er we'll look it up sometime erm affection with Tony.
[speaker001:] Yeah,?.
[speaker002:] which makes her a villain
[speaker001:] no makes her not as bad
[speaker002:] oh
[speaker001:] First of all they said she was the villain. Then they went on to say why she.
[speaker002:] She keeps repeating.
[speaker001:] . Well because she wants the jewels that's why she's she's sort of like er . She's only interest.
[speaker002:] She she's obscuring the truth a bit isn't she?
[speaker001:] totally within.
[speaker002:] and that's the name.
[speaker001:] [LAUGHTER]. . and her as well.
[speaker002:] .
[speaker001:] she's famous .
[speaker002:] Oh I see, yes and she wants to go to make out that she's er whatever age she is.
[speaker001:] Yeah, yeah. and she wants to get Tony and Constance together . really really that good.
[speaker002:] Makes her. Yes she's isn't she?
[speaker001:] . she comes out of the bush and says she wants a highwayman to take her.
[speaker002:] Isn't that rather heroic?
[speaker001:] Yeah. That's it in there. There's like two sides to it.
[speaker002:] I think you're all being a bit heavy with all of this as treating her like a George Eliot heroine. Erm she's obviously got quite a lot of material for anybody to look at. Erm, what about the fact that she does want to er keep her looks and be fashionable then doesn't she? The girls to say about women in particular....
[speaker001:] Doesn't that sort of bring in to the country and she's out in the country and she wants to show it to them that she she's sort of she's still fashionable.
[speaker002:] Yeah, she's a.. Erm suggest that appear fashionable.... You'll find the equivalent as well.
[speaker001:] I thought just we can see that she's quite an extremist just. [LAUGHTER].
[speaker002:] You want to discuss caricature don't you
[speaker001:] Well I don't think it's just the real in fashion what they're gonna wear it's only really Mr that is not interested in it
[speaker002:] This person that's kind of bows and his bald head pops out of his wig or something.
[speaker001:] Yeah.
[speaker002:] Alright
[speaker001:] .
[speaker002:] Erm.
[speaker001:] Mr Mrs different roles to Mr Hardcastle
[speaker002:] Different role
[speaker001:] roles like Mrs is interested in fashion he's not and then to say to wear her housecoats and then erm her different to what
[speaker002:] Yeah she only wants
[speaker001:] Erm the subjects now then to Mr I think so. different values.
[speaker002:] . Erm different values. O K. It seems to me that and just looking at human nature something is that right? And holding them up for a little bit of erm laughter. So Mrs so far has been hogging the whole show, is that right?
[speaker001:] he's like Mrs cos they've got power really over the men
[speaker002:] the men
[speaker001:] Yeah Have they when says that he's willing to pay for erm Mrs disguises the maid, he says he's willing to pay for her services.
[speaker002:] Yes. What's the point you're making there
[speaker001:] Like showing their view, really. He's degrading himself really because he needs to find out that she was . yes, she's really Mrs. She's the same person but he treats her
[speaker002:] Yes
[speaker001:] degrading him.
[speaker002:] I think so and that's a fairly I mean it's not gonna be heavy moral point here is it but while it shows up you can treat a woman as an object in this way... don't you think?
[speaker001:] will we be able to bring that into the essay
[speaker002:] Well if you want to a woman as a sexual object.
[speaker001:] this letter from erm that it kind of shows up.
[speaker002:] .
[speaker001:] Well because I she's the conqueror kind of
[speaker002:] Yes
[speaker001:] .
[speaker002:] she's the butt of the jokes.
[speaker001:] Yeah and and if and I also what I was going to say how she she kind of is able to control erm or bring out because she's bring out both his sides but erm to her father wants to sort of get rid of him, she's able to erm just erm act more charming and get them, you know, one line to prove them wrong. both sides of his character. She's his person, she both. She's not really, I don't think she's stupid cos she 's she decides to do it because she's again.
[speaker002:] So she's manipulating.
[speaker001:] Yeah she's in control of the whole situation
[speaker002:] . She's power. with her father as well.
[speaker001:] Yeah.
[speaker002:] I see O K that all sounds fine what about their comic roles. Have you discussed this I suppose we have. This kind of comic role.... I mean putting on.
[speaker001:] .
[speaker002:] Yes, erm, Richard what about Constance?
[Richard:] Well she's like, really she's just like a friend of Kate Hardcastle cos...
[speaker002:] she's a woman.
[Richard:] Yeah.
[speaker001:] She hasn't got any comedy in her, she's quite serious... it's the home her say in the prologue different mentality.
[speaker002:] Yes.
[speaker001:] Her and Hastings....
[speaker002:] Yes.
[speaker001:] Her virtue is not virtue if she tumbles
[speaker002:] You're saying that erm Constance is the voice of what, high morals or really she 's
[speaker001:] Not really because she wants, doesn't want to elope with him, she wants her jewels.
[speaker002:] So she's quite scheming and erm, would you say money grabbing character?
[speaker001:] Erm.
[speaker002:] They aren't her jewels after all.
[speaker001:] Just shows you what her priorities are really [LAUGHTER] rather than handsome man she'd rather have her jewels.
[speaker002:] Well have the jewels as well as a handsome man.
[speaker001:] Yes [LAUGHTER].
[speaker002:] [LAUGHTER]. that's a nice little comment on human nature, isn't it?.
[speaker001:] But she's she's she doesn't want it she didn't want the jewels did she but when she nearly had them. Yeah.
[speaker002:] Erm so if they this kind of erm poking fun at previous acquired affection. Erm discussing why Alexander is, I think he has to be a bit harsh or satirical as erm. Erm Constance that she she's simply a sentimental heroine.
[speaker001:] I think she's quite powerful as well.
[speaker002:] Do you?
[speaker001:] Because erm in her her differences in her erm behaviour towards Hastings towards Tony, like she's she chases him off the stage one point Tony and then she sort of turn round and be all charming sort of.
[speaker002:] .
[speaker001:] Yeah, towards Hastings and that shows they give their two descriptions of her and Tony's Hastings they find have beautiful and they find her modest. That is what shows the two sides to her character.
[speaker002:] two different men as well.
[speaker001:] .
[speaker002:] That's quite a nice point then isn't it? She seems quite a complicated player in some ways
[speaker001:] mm
[speaker002:] There's quite a lot to talk about isn't there?
[speaker001:] We are still not sure how it's erm structural.
[speaker002:] How to organise it. Yes we turn to you.
[speaker001:] talk about talk about comedy and all that.
[speaker002:] Different levels of comedy is where they actually break it up a bit which erm
[Richard:] Yeah.
[speaker002:] comedy the comedy of the situation language certain elements of wit or talking about the farmhouse language, farmyard.
[Richard:] Then you talk about erm how how the characters that Constance and Kate have different sides and then you can sort of.
[speaker002:] because they are both the same age aren't they? they're both you know, young women aren't they of marriageable age and have rather different functions.
[speaker001:] sort of, sort of material. Just a bit the men and what shown through them.
[speaker002:] Yes do we have much idea of men's perception of women in the play.
[speaker001:] Yes.
[speaker002:] Very strong.
[speaker001:] and erm
[speaker002:] So what is Tony's perception of women?
[speaker001:] Don't know. [LAUGHTER].
[speaker002:] set about it's an idea or
[speaker001:] [LAUGHTER].
[speaker002:] women [LAUGHTER]. O K that's quite good. They get so in other words men
[speaker001:] [cough].
[speaker002:] have quite a rough deal on. It shows doesn't it?... you may want to discuss her too
[speaker001:] Yes.
[speaker002:] as a role model... Er and what about the er marital relation of the Hardcastles would you want to comment on them?
[Richard:] Well we never really see much of them together except
[speaker002:] Erm
[Richard:] and then again at the end. They all come.
[speaker002:] .
[speaker001:] I suppose he's got a bit of power her at the end because he makes her give the jewels back.
[speaker002:] But it's a happy marriage, isn't it? and doesn't this fit in under the idea of sentimentality again.
[speaker001:] fit in with the portrayal because
[speaker002:] Erm well insofar as he's fond of his wife... and what their marriage is based on... she's half the marriage isn't she despite.
[speaker001:] .
[speaker002:] You've got to make it the beginning and the end see what comes up looked it up or anything, thought erm... he's showing her what the younger generation, you know, are erm treating each other isn't he in a romantic way erm there's not much romantic practice in the older generation is there, a bit more affection based on intimate knowledge of each other that sort of thing. I know very happy with them.
[speaker001:] first reject it reject it. [cough].
[speaker002:] one about.
[speaker001:] That one.
[speaker002:] Change the slightly. conquer erm she stoops to conquer and that implies, doesn't it that women win through devious means
[speaker001:] I putting in like herself.
[speaker002:] Seemingly so.
[speaker001:] I don't think she did because she made a choice to be next to, she wanted to find out.
[speaker002:] So she
[speaker001:] She did it by herself more than anything.
[speaker002:] he's the one being humiliated not her
[speaker001:] Yeah.
[speaker002:] not her....... Erm it says in the episode anyway disguise of Kate Hardcastle.... would you like to add anything or shall we stop there?
[speaker001:] .
[speaker002:] Are you all actually all doing this essay, are you?
[speaker001:] Yeah.
[speaker002:] I think it's quite interesting....
[Alison:] I was gonna say about she stoops to conquer she's also doing what's best because sh she like, knows what she wants and like that, erm and she's trying to stop her father from getting him chucked out and stuff as well.
[speaker002:] Yes. She kept saying
[Alison:] So sort of she's yeah, she's sort of sensible and she's tactful as well, she's being tactful by
[speaker002:] diplomatic rather than strident and wanting her own way and doing it in a very obvious way. I suppose you're right,
[speaker001:] she sort of er avoiding a lot of erm friction
[speaker002:] we're going to do this anyway is a way through indirectly rather than confrontational which might be a male aggressive sort of behaviour.
[speaker001:] work out the things she does if she didn't like quite funny.
[speaker002:] she was going to win either way.
[speaker001:] She at the end as well by mentioning what he said to her as a maid.
[speaker002:] she again sort of chased through to had a rerun of the thing and the truth was revealed. Fine, well I am sure it would make quite a good essay. I am quite in agreement with that. Could we leave that one there and. Does anyone else want to er come and have a chat, how about a.
[speaker001:] .
[speaker002:] Beg your pardon.
[speaker001:] .
[speaker002:] hard. So
[speaker001:] [cough]. Yeah. an actual.
[speaker002:] .
[speaker001:] Did you say
[speaker002:] I probably made it up
[speaker001:] Did you say she stoops to conquer the play about the is an which I agree.
[speaker002:] the function of disguises and deception in.
[speaker001:] [cough].
[speaker002:] that be as white as.
[speaker001:] .
[speaker002:] .
[speaker001:] Yeah.
[speaker002:] money, power and sex, violence. Right kick us off will you
[speaker004:] O K erm.
[speaker002:] So what number is this?
[speaker004:] Number nine.
[speaker002:] Right.
[speaker004:] Right erm function of disguise and perception class distinctions the money to sort of how she feels sort of like well bred educated
[speaker002:] That's nice.
[speaker001:] .
[speaker004:] .
[speaker002:] Right so they are
[speaker004:] Although it's that are. Really stupid they can't behave
[speaker002:] Right.
[speaker004:] meant to and that is healthy stand there.
[speaker002:] So to get the point of this so sometimes servants are the butt of humour in the play
[speaker001:] Yeah.
[speaker002:] then the when they're all parading around it's to behave, he tried to hold their hands, right. Erm the way that the so-called high class types treat them in a way showing up the high classes as well is that right?
[speaker001:] Yeah.
[speaker002:] O K.
[speaker004:] was the servant as though.
[speaker002:] Probably servants are thick, that's.
[speaker004:] and had control over Mrs with his stupid maid, whereas it's sort of reversed, cos she has power over him cos she brings out character.
[speaker001:] .
[speaker002:] is quite easy it. Giving her a second chance he having failed
[speaker004:] Yeah, but he feels that he's the one
[speaker002:] broadly
[speaker001:] [LAUGHTER].
[speaker002:] I don't believe that, erm that they could bring out that statement goes kind of.
[speaker001:] . .
[speaker002:] That sounds quite nice. Erm
[speaker001:] [cough].
[speaker002:] So we're looking to there aren't we only relate to inferior women. Er is that truthful do you think human nature.
[speaker004:] behave think of them as less than have to doesn't it
[speaker001:] .
[speaker002:] People as a threat
[speaker001:] .
[speaker004:] Yeah.
[speaker002:] No but erm socially
[speaker001:] .
[speaker002:] Alright that sounds very very reasonable
[speaker001:] . .
[speaker004:] It was the way he was erm as well out of his way to impress them so but they just, well you might help
[speaker002:] So it's a kind of competition between them
[speaker001:] . trying to show you Sir trying to. .
[speaker002:] Right so listen, what about down relating to your social position other words you you gain credibility from who you as opposed to what you are
[speaker001:] . Yeah. . amount of money you have and that sort of thing. .
[speaker002:] Right I think you could bring it, this out sociological this to you
[speaker001:] .
[speaker002:] You won't actually look at the fact that there's a competition going on between the erm dismissing that you are actually the new keeper
[speaker001:] . ages to get into .
[speaker002:] Right so
[speaker001:] .
[speaker002:] If you'd like to just hang on a second I want to this little. Erm
[speaker001:] . [cough]. . meet Miss .
[speaker002:] so just the book on she putting forward and that right
[speaker001:] . Yeah
[speaker002:] O K erm. What are the jewels.
[speaker001:] . Erm, yeah Mrs she sort of has the power over level erm if she she sort of, it's like she's sort of keeping her on this level in the same household as her . Yeah .
[speaker002:] They're not really they're really. She wants to keep them down.
[speaker001:] . Yeah. .
[speaker002:] We have going on between them
[speaker001:] . the house .
[speaker002:] tradition.
[speaker001:] . Yeah tradition yeah .
[speaker002:] .
[speaker001:] . traditional sort of concentrates on. .
[speaker002:] he.
[speaker001:] . I can't really certain .
[speaker002:] That's against.
[speaker001:] .
[speaker002:] O K
[speaker001:] . Erm .
[speaker002:] You haven't got any smaller. .
[speaker001:] .
[speaker002:] that's all.
[speaker001:] About quarter to twelve .
[speaker002:] .
[speaker001:] . then .
[speaker002:] See how you're fixed I'll be there anyway,
[speaker001:] . Yeah. .
[speaker002:] don't worry.
[speaker001:] . Sir .