"They come together like the Coroner's Inquest, to sit upon the murdered reputations of the week"
About this Quote
Congreve’s image is a small guillotine disguised as a metaphor: society “comes together” not for communion, but for procedure, spectacle, and sanctioned cruelty. By likening a social gathering to a Coroner’s Inquest, he drags polite conversation into the harsh light of civic ritual. An inquest is supposed to determine cause of death with sober facts; Congreve’s twist is that the corpse on the table is reputation, and the killers are the very people now performing concern. It’s a forensic comedy of manners: the room becomes a courtroom, gossip becomes testimony, and the verdict is always implied before anyone speaks.
The phrase “murdered reputations of the week” does a lot of work. “Of the week” makes character assassination feel seasonal, almost scheduled, like a recurring column. Reputation isn’t merely damaged; it’s killed, and then re-killed as the group “sits upon” it - a nasty pun that suggests both sitting in judgment and squatting on a body. Congreve’s intent isn’t just to moralize about gossip; it’s to expose how communities launder malice through collective participation. No single speaker has to own the cruelty when the whole circle is “only discussing.”
Context matters: Restoration and early 18th-century London prized wit, surveillance, and social climbing; the drawing room was an arena where status could be made or unmade in a night. Congreve, a master of theatrical cruelty, writes with the precision of someone who knows that the sharpest weapon in a “civil” world is the sentence that sounds like entertainment.
The phrase “murdered reputations of the week” does a lot of work. “Of the week” makes character assassination feel seasonal, almost scheduled, like a recurring column. Reputation isn’t merely damaged; it’s killed, and then re-killed as the group “sits upon” it - a nasty pun that suggests both sitting in judgment and squatting on a body. Congreve’s intent isn’t just to moralize about gossip; it’s to expose how communities launder malice through collective participation. No single speaker has to own the cruelty when the whole circle is “only discussing.”
Context matters: Restoration and early 18th-century London prized wit, surveillance, and social climbing; the drawing room was an arena where status could be made or unmade in a night. Congreve, a master of theatrical cruelty, writes with the precision of someone who knows that the sharpest weapon in a “civil” world is the sentence that sounds like entertainment.
Quote Details
| Topic | Sarcastic |
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