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Gossip Girls: Lady Teazle, Nora Helmer, and Invisible-Hand Drama

Sheridan and Ibsen look less odd together as a couple when The School for Scandal (1777) and A Doll House (1879) are read as dramatizations of the social consequences of two circulatory systems that accelerate as they intersect in modern life – information and money. Regulated by Adam Smith’s “invisible hand,” these negotiable currencies define the choices open to the blackmailed heroines of each play, producing situations that reappear in many subsequent representations of bourgeois domesticity, including but not ending with I Love Lucy (1951–57). As the historical emergence of the word “credit” implies, the period conventionally assigned to modern drama needs to be revised to accommodate the overwhelming fact that money, so often the subject of gossip, also behaves like gossip, changing hands in the form of fictional markers of value in which modern subjects must agree to believe in order to prosper.