IGNOU MEG 02 British Drama Solved Assignment 2023-24 | MA ENGLISH Assignment
IGNOU MEG 02 British Drama Solved
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Section A
Q1. Critically comment on the following
passages with reference to the context, in not more than 150 words each:
(a) O, my offence is rank, it smells to heaven,
It had the primal eldest curse upon't A brother's murder! Pray can I not.
Though inclination be as sharp as will.
The Weight
of Guilt:
"O, my offence is rank, it
smells to heaven": Claudius starts with a powerful image. He describes his
crime, the murder of his brother, as "rank," meaning rotten and
offensive. It's so bad, he imagines the stench reaching the heavens, signifying
a transgression against God and morality.
"It hath the primal eldest curse
upon't": This line deepens the sense of guilt. Claudius compares his act
to the "primal eldest curse," a clear reference to the biblical story
of Cain and Abel, where the first murder occurred. He positions himself as a
repeat offender, carrying the weight of history's gravest sin.
"A brother's murder!": This
blunt statement emphasizes the intimacy and severity of his crime. Killing a
brother is a violation of family bonds, adding another layer of betrayal to the
act.
The Desire
for Forgiveness, Hindered by Guilt:
"Pray can I not?": Here,
Claudius expresses a flicker of hope for redemption. He wonders if he can pray
for forgiveness.
"Though inclination be as sharp
as will": This suggests a genuine desire for prayer, a yearning for
forgiveness as strong as his will.
"My stronger guilt defeats my
strong intent": However, Claudius acknowledges that his overwhelming guilt
overpowers his good intentions. He feels too tainted to truly pray.
A Man
Trapped:
"And, like a man to double
business bound": This metaphor depicts Claudius as someone pulled in two
directions. He wants both the benefits of his crime (the crown) and
forgiveness, but knows they're incompatible.
"I stand in pause where I shall
first begin, And both neglect": This line reflects his paralysis. He can't
commit to either seeking forgiveness or embracing his sin fully. He's stuck in
this agonizing middle ground.
A Spark of
Hope, Quickly Extinguished?
"What if this cursed hand Were
thicker than itself with brother's blood": This question hints at a
desperate hope. Claudius wonders if even more blood on his hands could make a
difference. It might be a twisted attempt to justify his actions or a morbid
curiosity about the limits of redemption.
"Is there not rain enough in the
sweet heavens To wash it white as snow?": This line could be interpreted
in two ways. Claudius might be genuinely seeking solace, believing God's mercy
is boundless. However, it could also be a cynical question, doubting the
possibility of true forgiveness.
The Speech's
Significance:
This soliloquy reveals the complexity
of Claudius's character. He's not a one-dimensional villain. He understands the
gravity of his sin and desires forgiveness, but his ambition and the benefits
of his crime hold him back. It's a powerful moment in the play, showcasing the
internal struggles of a man who has committed a terrible act.
(b) Galatea never does quite like Pygmalion:
relation to her is too godlike to be altogether agreeable.
However,
this sentence suggests a more nuanced relationship:
Galatea's Discomfort: It implies
Galatea doesn't fully reciprocate Pygmalion's love. The phrase "never does
quite like" suggests a lingering unease in their relationship.
The Godlike Power Imbalance: The
reason for her discomfort is attributed to the dynamic between them. The
statement says the relationship is "too godlike" for Galatea. This
hints at a power imbalance. Pygmalion, in a way, "created" her. This
godlike status might make him seem distant, controlling, or even intimidating
to Galatea.
Possible
Interpretations:
Yearning for Autonomy: Perhaps
Galatea desires a more equal partnership. Being brought to life by Pygmalion
might make her feel like his possession rather than an independent being. She
might crave a relationship built on mutual respect and shared experiences, not
one based on Pygmalion's initial creation of her.
Fear of the Unknown: Being a newly
created being, Galatea might find Pygmalion's power unsettling. He holds the
key to her existence, which could be frightening.
Loss of Innocence: The act of creation
could be seen as a loss of innocence for Galatea. She never experienced a
natural birth or childhood. This dependence on Pygmalion might create a sense
of incompleteness or a longing for a more "normal" existence.
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(c) What boots it then to think of God or
heaven ? Away with such fancies and despair; Despairin God, and trust in
Beelzebub ... Abjure this magic, turn to God again.
Faustus's
Desperation:
"What boots it then to think of
God or heaven?": This opening line sets the stage. Faustus questions the
point of believing in God or heaven if he's already damned. "Boots"
means "profits" here, implying a sense of futility.
"Away with such fancies and
despair": He dismisses any lingering hope of salvation as mere
"fancies" and chooses despair.
"Despairin God, and trust in
Beelzebub": This line is a desperate act of defiance. Faustus throws away
faith in God and embraces Beelzebub, another name for Satan. He throws his lot
in with the devil.
A Flicker of
Doubt:
"Abjure this magic, turn to God
again": Suddenly, a voice (possibly his conscience or an angel) urges him
to renounce his pact and return to God.
"Ay, and Faustus will turn to
God again": For a fleeting moment, Faustus seems receptive to the idea.
The Final
Choice:
"To God? he loves thee
not": However, he quickly rejects the notion. He doubts God's love for
him, believing himself beyond redemption.
"The god thou serv'st is thine
own appetite": This line reveals a deeper truth. Faustus blames God but
acknowledges his own desires as the true driving force behind his pact. He
craved power and knowledge for himself, not for any righteous purpose.
"Wherein is fixed the love of
Belzebub": He confirms his commitment to the devil. His desires,
symbolized by "appetite," are now intertwined with the power of Beelzebub.
The
Significance of the Passage:
This soliloquy showcases Faustus's
moral dilemma. He wrestles with guilt and fear of damnation, but his ambition
and thirst for knowledge overpower his conscience. The passage is a turning
point, marking his decisive turn towards darkness.
(d) Astride of a grave and a difficult birth
Down in the hole, lingeringly, the gravedigger puts on the forceps. We have
time to grow old. The air is full of our cries. But habit is a great deadener.
The
Juxtaposition of Life and Death:
"Astride of a grave and a
difficult birth": The play constantly explores the absurdity of existence.
This line perfectly captures that by placing birth (a beginning) right next to
a grave (an end). We are literally "astride" these two opposing forces.
"Down in the hole, lingeringly,
the gravedigger puts on the forceps": The image of the gravedigger using
forceps is a dark but darkly funny one. It merges the act of childbirth
(bringing life into the world) with the act of burial (preparing for death). It
emphasizes the cyclical nature of life and death.
The Length
of Life:
"We have time to grow old":
This line stands in contrast to the constant reminders of death. While life may
end, it also offers the possibility of a long journey. We have the
"time" to experience the world, grow, and age.
"The air is full of our
cries": This image suggests the universality of human suffering throughout
life. It represents the pain, hardship, and struggles we all face.
The Power of
Habit:
"But habit is a great deadener":
This is the final and perhaps most important line. It suggests that despite the
suffering and the awareness of our mortality, we become accustomed to it all.
Habit dulls our senses and emotions, making us numb to the absurdity of our
existence.
Interpretation:
Beckett, through Vladimir, ponders
the human condition. We are born, we suffer, we grow old, and we die. This
cycle is inescapable. Yet, within this framework, we have a lifetime to
experience the world. The play doesn't offer answers or solutions, but it
compels us to confront the absurdity of life and the deadening effect of habit.
Perhaps, the act of acknowledging this absurdity itself is a way to break free
from its numbing power.
Section B
Q1."Beckett rejects the received logic of
form and conventional structure." Critically comment.
Beckett rejects the received logic of
form and conventional structure. Critically comment , Samuel Beckett’s
“Waiting for Godot” stands as a seminal work of 20th-century literature,
challenging traditional dramatic norms and defying conventional structures of
narrative and form. We will critically examine Beckett’s rejection of received
logic in “Waiting for Godot.” We will delve into the play’s unconventional
structure, the deconstruction of form, and how these elements serve to convey
Beckett’s existential and absurdist themes.
In the opening act of “Waiting for
Godot,” Samuel Beckett lays the foundation for his audacious departure from
conventional form and structure. The play commences with two characters, Vladimir
and Estragon, situated in a barren and desolate landscape, engaging in an
activity that is both mundane and enigmatic – they are waiting for someone
named Godot. However, the enigma lies in the fact that Godot never makes an
appearance throughout the play, leaving the audience as well as the characters
in a state of perpetual anticipation. This waiting becomes not only the central
theme but also the structural nucleus of the entire play.
Beckett’s choice to portray this
unending waiting challenges the conventional expectations of dramatic
storytelling. In traditional drama, there exists a clear and discernible
structure: a beginning that introduces characters and sets the stage, a middle
marked by rising action and conflict, and an end that brings resolution and
closure. However, in “Waiting for Godot,” Beckett disrupts this conventional
narrative structure by presenting a situation where nothing substantial
transpires. Instead of a clear beginning, middle, and end, the audience is
confronted with a cyclical and repetitive sequence of events – the characters
waiting, engaging in seemingly meaningless conversations, and, ultimately,
remaining in a state of suspended animation.
This deliberate choice to immerse the
audience in the existential absurdity of waiting defies traditional dramatic
norms. Beckett elongates the passage of time to the point where it tests the
limits of human patience and comprehension. Through the lens of Vladimir and
Estragon’s ceaseless waiting, he invites the audience to ponder the futility of
human existence and the seemingly pointless pursuits that occupy our lives. In
this sense, the play transcends the boundaries of conventional theater, serving
as a profound exploration of the human condition and its inherent absurdity.
By establishing waiting as the play’s
central theme and structural backbone, Beckett compels the audience to grapple
with the very essence of existence itself. He challenges us to confront the
notion that life often consists of repetitive and seemingly meaningless
activities, and that the search for meaning and purpose can sometimes lead to
an absurd and unending cycle of anticipation. In “Waiting for Godot,” Beckett
masterfully employs the rejection of conventional form to convey the
existential absurdity of human existence, leaving a lasting impression that
continues to provoke contemplation and discussion among audiences and scholars
alike.
Minimalist
Set and Dialogue:
Beckett’s rejection of conventional
form extends to the minimalist set and sparse dialogue. The entire play takes
place on a barren stage with only a tree as a backdrop, emphasizing the
emptiness and futility of the characters’ existence. The dialogue between
Vladimir and Estragon is marked by repetition, non-sequiturs, and wordplay,
often devoid of a clear purpose or logical progression. This minimalist
approach challenges the expectation of a well-structured narrative with
meaningful dialogue.
The Cyclical
Nature of Time:
Beckett further rejects conventional
structure through the cyclical nature of time in “Waiting for Godot.” Days
blend into one another, and the characters’ memories are hazy, blurring the
boundaries between past, present, and future. This temporal ambiguity disrupts
the linear progression of time found in traditional storytelling. Beckett’s
portrayal of time serves to highlight the characters’ sense of ennui and the
overarching theme of the human condition.
The
Influence of the Theater of the Absurd:
Beckett’s rejection of received logic
is strongly influenced by the Theater of the Absurd, a movement in drama that
emerged in the mid-20th century. Playwrights like Jean-Paul Sartre, Albert
Camus, and Eugène Ionesco sought to depict the absurdity and meaninglessness of
human existence. Beckett, in “Waiting for Godot,” aligns himself with this
movement by employing fragmented narratives, disjointed dialogue, and the
absurdity of the human condition to challenge conventional dramatic structure.
The Lack of
Resolution:
“Waiting for Godot” concludes without
a clear resolution or closure. Godot never arrives, and the characters,
Vladimir and Estragon, are left in the same state of uncertainty and waiting.
This lack of resolution defies the traditional dramatic structure, which
typically includes a climax and resolution. Beckett’s choice to leave the
audience in a state of perpetual waiting mirrors the existential condition of
humanity, where answers and meaning may forever elude us.
The Role of
Beckett’s Direction:
Beckett was not only the playwright
but also directed many productions of “Waiting for Godot.” His directorial
choices further emphasized the rejection of conventional form. Beckett insisted
on strict adherence to his stage directions, highlighting the importance of
physicality and movement on the sparse stage. This control over the production
process allowed him to convey his vision of the play’s form and structure in a
highly specific manner.
Breaking the
Fourth Wall:
Another way Beckett challenges
conventional form in “Waiting for Godot” is by breaking the fourth wall.
Characters frequently acknowledge the presence of the audience, blurring the
line between fiction and reality. This meta-theatrical aspect disrupts the
traditional illusion of the theater and invites the audience to engage with the
play on a more existential level, questioning the nature of their own
existence.
The
Reception and Impact:
Upon its premiere in 1953, “Waiting
for Godot” initially confounded and divided audiences and critics alike. Many
were unaccustomed to the play’s rejection of conventional form and structure.
However, it soon gained recognition as a groundbreaking work of literature and
theater, influencing subsequent generations of playwrights and artists.
Beckett’s willingness to challenge received logic in dramatic form opened doors
for experimentation and innovation in theater.
Conclusion:
Beckett rejects the received logic of
form and conventional structure. Critically comment, In “Waiting for Godot,”
Samuel Beckett’s rejection of received logic of form and conventional structure
is a bold and deliberate choice that serves to convey the play’s existential
and absurdist themes. Through its minimalist set, cyclical time, sparse
dialogue, and lack of resolution, the play challenges the traditional
expectations of dramatic storytelling. Beckett’s alignment with the Theater of
the Absurd and his directorial control further solidify the play’s rejection of
conventional form. “Waiting for Godot” stands as a testament to Beckett’s
commitment to pushing the boundaries of what theater can achieve, inviting audiences
to contemplate the absurdity of human existence and the limitations of
conventional storytelling.
Beckett rejects the received logic of
form and conventional structure. Critically comment, The shedding light on how
Beckett’s artistic choices in “Waiting for Godot” continue to resonate with
audiences and scholars, making it a timeless masterpiece of modern drama.
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Q2. Discuss the typical Shakespearean comic
elements in the play in A Midsummer Night’s Dream.
1. Mistaken
Identities and Confusion:
Lovers' Mix-ups: The play revolves
around the intertwining romantic entanglements of four Athenian lovers: Hermia,
Lysander, Helena, and Demetrius. Their interactions are characterized by
mistaken identities, miscommunication, and confusion, leading to comedic
misunderstandings and conflicts.
Puck's Pranks: The mischievous sprite
Puck (Robin Goodfellow) adds to the confusion by mistakenly anointing the wrong
lovers' eyes with love potion, causing them to fall in and out of love with
each other in absurd and humorous ways.
2. Physical
and Verbal Humor:
Bottom's Transformation: The subplot
involving the Athenian craftsmen, particularly Bottom, highlights physical
humor and absurdity. Bottom's comical transformation into an ass by Puck and
his subsequent interactions with Titania, the Queen of the Fairies, provide
moments of slapstick and verbal wit.
Quirky Character Interactions:
Shakespeare uses witty dialogue, puns, and wordplay among the characters to
create humorous situations and entertain the audience. For instance, the banter
between Hermia and Helena or the exchanges between the mechanicals during their
rehearsal scenes.
3. Satirical
Elements and Social Commentary:
Satire of Love and Courtship: The
play satirizes traditional ideas of love and courtship, highlighting the
irrationality and fickleness of romantic desire. The lovers' quarrels and
sudden shifts in affection underscore Shakespeare's critique of societal
expectations and gender dynamics.
Parody of Drama and Performance: The
mechanicals' inept attempts to rehearse and perform a play for the Duke's
wedding celebration parody the conventions of Renaissance drama. Their earnest
but bumbling efforts provide comic relief and a meta-theatrical commentary on
theatrical production.
4.
Supernatural and Magical Elements:
Fairy World Intrigues: The magical
realm of the fairies, particularly Oberon and Titania's dispute over the
changeling boy and the mischief caused by Puck's interventions, adds a fantastical
element to the play. The supernatural occurrences contribute to the play's
whimsical and dreamlike atmosphere, enhancing its comedic appeal.
5.
Resolution and Reconciliation:
Comic Resolution: The play's
resolution, where the misunderstandings are resolved, and the lovers are
reunited through the fairies' interventions, culminates in a joyous and
harmonious conclusion. The reconciliation of the lovers and the blessing
bestowed by Theseus and Hippolyta underscore the play's comic resolution and restoration
of order.
Conclusion:
"A Midsummer Night's Dream"
exemplifies Shakespeare's mastery of comedic elements through its blend of
mistaken identities, physical humor, witty dialogue, satirical commentary, and
supernatural elements. The play's exploration of love, desire, and human folly
in a magical setting captivates audiences with its charm, whimsy, and timeless
appeal. Shakespeare's deft use of comedic devices ensures that "A
Midsummer Night's Dream" remains a beloved classic that continues to
entertain and enchant audiences around the world.
Q3. What do you think is the dominant quality
of Hamlet’s character? Discuss with suitable examples.
Hamlet, the tragic hero of William
Shakespeare’s renowned play “Hamlet,” possesses a multifaceted character marked
by numerous qualities and traits. But if there’s one defining characteristic of
Hamlet’s character, it would have to be his deep reflection and intelligence.
Hamlet is known for his ability to think critically, his tendency toward
introspection, and his ability to think critically of himself.
Hamlet’s introspective nature is
evident throughout the play, as he frequently engages in self-analysis and
contemplation. This quality sets him apart from other Shakespearean
protagonists and is a defining aspect of his character. Hamlet’s introspection
is most clearly demonstrated in his soliloquies, where he expresses his inner
thoughts, emotions, and dilemmas to the audience.
One of the most famous soliloquies in
the play occurs in Act 1, Scene 2, when Hamlet first appears. In this
soliloquy, he reflects on the hasty marriage of his mother, Queen Gertrude, to
his uncle Claudius, who has assumed the throne. He is tormented by the
abruptness of this union and the hollowness of the world around him. He
exclaims, “Frailty, thy name is woman!” (Act 1, Scene 2), revealing his
disillusionment with his mother’s actions and his skepticism about the
constancy of human nature.
Act 3, Scene 1
of Hamlet’s famous “To be or not to be” soliloquy serves as another
example of his reflective character. He reflects on the nature of life, human
sorrow, and the fear of death’s unknown in this soliloquy. He poses important
queries concerning the meaning of life and the state of humanity. This
self-examination demonstrates Hamlet’s depth of knowledge and philosophical
bent.
Amulet’s
Intellectual Prowess:
Hamlet’s introspection is closely
linked to his intellectual prowess. He is a highly intelligent character with a
keen intellect, which he employs throughout the play. His ability to think
critically and analyze situations is a defining feature of his character.
For instance, in Act 1, Scene 5,
Hamlet quickly discerns that the ghost of his father may be a malevolent spirit
aiming to deceive him. He expresses skepticism and caution, stating, “The
spirit that I have seen / May be the devil, and the devil hath power / T’assume
a pleasing shape” (Act 1, Scene 5). This rational and intellectual approach
sets the stage for his quest to ascertain the truth about his father’s murder.
The
Influence of Introspection on Hamlet’s Actions:
Hamlet’s introspection has a profound
impact on his actions and decisions throughout the play. It is this
introspective nature that causes him to question the ghost’s revelation about
his father’s murder. While he initially vows to avenge his father’s death, he
becomes preoccupied with the moral and ethical implications of murder.
In Act 3, Scene 3, Hamlet has the
opportunity to kill Claudius while he is at prayer, a moment when he is
vulnerable. However, Hamlet refrains from doing so because he is concerned that
killing Claudius at this moment would send him to heaven. He says, “When he is
drunk asleep, or in his rage, / Or in th’incestuous pleasure of his bed; / At
game, a-swearing, or about some act / That has no relish of salvation in’t— /
Then trip him, that his heels may kick at heaven, / And that his soul may be as
damn’d and black / As hell, whereto it goes” (Act 3, Scene 3). This decision
reflects Hamlet’s deep moral dilemma and introspective nature. He wrestles with
his duty to avenge his father and the moral consequences of his actions.
Hamlet’s introspection also leads to
his delay in taking action against Claudius. He questions the nature of the
ghost and worries about being deceived by an evil spirit. This inner conflict
and contemplation hinder his immediate action, allowing Claudius to continue
ruling.
Furthermore, Hamlet’s introspection
influences his interactions with others, often causing him to come across as
indecisive or erratic. For instance, his treatment of Ophelia, his girlfriend,
is influenced by his inner turmoil. He alternates between expressing love and
rejecting her, leading to her confusion and distress.
Conclusion
The dominant quality of Hamlet’s
character in William Shakespeare’s play “Hamlet” is his profound introspection
and intellectual depth. Hamlet’s introspective nature is evident in his
frequent soliloquies, where he contemplates the complexities of human
existence, morality, and the consequences of his actions. His intellectual
prowess allows him to think critically and analyze situations, making him a
character of great depth and complexity.
Hamlet’s reflections throughout the
play have a big impact on his choices and actions. His introspective character
causes him to struggle with moral and ethical issues, which makes him reluctant
to exact revenge for his father’s murder and adds to the melancholy way the
plot develops. He is one of the most fascinating and recognizable characters in
all of literature because of his nuanced personality and internal struggles.
Q4. Can The Alchemist be understood as a satire?
Give suitable examples.
Jonson
doesn't shy away from satirizing various social classes in London:
The Credulous: The play heavily mocks
those obsessed with getting rich quick. Characters like Sir Epicure Mammon, a
greedy knight, and Dapper, a gambler seeking an elixir of luck, represent this
gullibility. They blindly believe the alchemists' (actually con artists)
promises of turning lead into gold.
The Puritans: While religious
hypocrisy isn't the main target, Jonson takes aim at the Puritans' strictness
and their own materialistic desires. Tribulation Wholesome and Ananias, two
Puritan characters, are easily swayed by the prospect of wealth despite their
supposed piety.
The Superstitious: The play ridicules
the fascination with alchemy and magic as a way to achieve success. Subtle and
Dol Common, the fake alchemists, exploit this fascination to manipulate their
victims.
Satirical
Techniques:
Jonson
employs various techniques to deliver his satire:
Exaggeration: The characters' desires
and personalities are exaggerated to the point of absurdity. Sir Epicure
Mammon's obsession with wealth and his fantastical dreams about using the
"philosopher's stone" are prime examples.
Irony: The play is full of ironic
situations. The characters who denounce others' vices (like the Puritans) are
ultimately revealed to be just as flawed.
Deception: The central plot revolves
around the alchemists' elaborate con, highlighting the gullibility of the
characters who fall for it.
Jargon and Slang: Jonson cleverly
uses alchemical terminology and the slang of different social groups to further
expose the absurdity of their pursuits.
Examples:
Sir Epicure Mammon: This character
embodies greed and social climbing. His dream of using the "philosopher's
stone" to create endless wealth fuels the humor. His obsession is so
intense that he imagines using the gold to indulge in extravagant pleasures and
achieve a higher social status.
Face: The witty trickster who runs
the schemes for Subtle and Dol Common is another satirical figure. He
represents the cunning manipulator who preys on human weakness. His ability to
deceive the others with elaborate lies and disguises mocks the ease with which
people can be fooled by empty promises.
The Ending: The play ends with the
con artists escaping with their loot, leaving the victims in chaos. This
comedic resolution satirizes the consequences of greed and blind faith. The
characters are left with nothing but their foolish desires.
Through satire, Jonson aims to expose
human flaws and societal problems in a way that entertains and provokes
reflection. By laughing at the characters' follies, the audience is encouraged
to consider their own susceptibility to similar temptations. The Alchemist
remains a timeless satire because its themes of greed, ambition, and credulity
are still relevant today.
Q5. Discuss the play Pygmalion as a romance?
Elaborate.
Pygmalion is a play by Irish
playwright George Bernard Shaw, named after the Greek mythological figure. It
premiered at the Hofburg Theatre in Vienna on 16 October 1913 and was first
presented on stage in German. Its English-language premiere took place at His
Majesty's Theatre in London's West End in April 1914 and starred Herbert
Beerbohm Tree as phonetics professor Henry Higgins and Mrs Patrick Campbell as
Cockney flower-girl Eliza Doolittle. Shaw's play has been adapted many times,
most notably as the 1938 film Pygmalion, the 1956 stage musical My Fair Lady,
and its 1964 film version. Inspiration[edit] In ancient Greek mythology,
Pygmalion fell in love with one of his sculptures, which then came to life. The
general idea of that myth was a popular subject for Victorian era British
playwrights, including one of Shaw's influences, W. S. Gilbert, who wrote a
successful play based on the story called Pygmalion and Galatea that was first
presented in 1871.
Shaw would also have been familiar
with the musical Adonis and the burlesque version, Galatea, or Pygmalion
Reversed. Eliza Doolittle was inspired by Kitty Wilson, owner of a sidewalk
flower stall at Norfolk Street, Strand, in London. Wilson continued selling
flowers at the stall until September, 1958. Her daughter, Betty Benton, then
took over, but was forced to close down a month later when the City of London
decreed that the corner was no longer "designated" for street trading
Shaw mentioned that the character of
Professor Henry Higgins was inspired by several British professors of
phonetics: Alexander Melville Bell, Alexander J. Ellis, Tito Pagliardini, but
above all the cantankerous Henry Sweet.
Shaw is also very likely to have
known the life story of Jacob Henle, a professor at Heidelberg University, who
fell in love with Elise Egloff, a Swiss housemaid, forcing her through several
years of bourgeois education to turn her into an adequate wife. Egloff died
shortly after their marriage. Her story inspired various literary works,
including a play by Charlotte Birch-Pfeiffer and a novella by Gottfried Keller,
comparing Henle with the Greek Pygmalion
First
productions
A Sketch
Magazine illustration of Mrs Patrick Campbell as Eliza Doolittle from 22
April 1914. Shaw wrote the part of Eliza expressly for Campbell, who played
opposite Herbert Beerbohm Tree as Henry Higgins.After creating the role of
Colonel Pickering in the London production, Philip Merivale (second
from right) played Henry Higgins opposite Mrs Patrick Campbell (right)
when Pygmalion was taken to Broadway (1914)
Shaw wrote the play in early 1912 and
read it to actress Mrs Patrick Campbell in June. She came on board
almost immediately, but her mild nervous breakdown contributed to the delay of
a London production. Pygmalion premièred at the Hofburg
Theatre in Vienna on 16 October 1913, in a German translation by
Shaw's Viennese literary agent and acolyte, Siegfried Trebitsch.
Its first New York production opened
on 24 March 1914 at the German-language Irving Place
Theatre starring Hansi Arnstaedt as Eliza.It opened in London on
11 April 1914, at Sir Herbert Beerbohm Tree's His Majesty's Theatre,
with Campbell as Eliza and Tree as Higgins, and ran for 118 performances.Shaw
directed the actors through tempestuous rehearsals, often punctuated by at
least one of the two storming out of the theatre in a rage.
A group of people are sheltering from
the rain. Among them are the Eynsford-Hills, superficial social climbers eking
out a living in "genteel poverty". We first see Mrs Eynsford-Hill and
her daughter Clara; Clara's brother Freddy enters having earlier been
dispatched to secure them a cab (which they can ill afford), but being rather
timid and faint-hearted he has failed to do so. As he goes off once again to
find a cab, he bumps into a flower girl, Eliza Doolittle. Her flowers drop
into the mud of Covent Garden, the flowers she needs to survive in her
poverty-stricken world.
They are soon joined by a gentleman,
Colonel Pickering. While Eliza tries to sell flowers to the Colonel, a
bystander informs her that another man is writing down everything she says.
That man is Henry Higgins, a linguist and phonetician. Eliza worries
that Higgins is a police officer and will not calm down until Higgins
introduces himself.
It soon becomes apparent that he and
Colonel Pickering have a shared interest in phonetics and an intense
mutual admiration; indeed, Pickering has come from India specifically
to meet Higgins, and Higgins was planning to go to India to meet Pickering.
Higgins tells Pickering that he could pass off the flower girl as a duchess
merely by teaching her to speak properly.
These words of bravado spark an
interest in Eliza, who would love to make changes in her life and become more
mannerly, even though to her it only means working in a flower shop. At the end
of the act, Freddy returns after finding a taxi, only to find that his mother
and sister have gone and left him with the cab. The streetwise Eliza takes the cab
from him, using the money that Higgins tossed to her, leaving him on his own.
Q6. Discuss the art of characterisation in The
Playboy of the Western World?
Christy
Mahon:
Development: Christy is introduced as
a timid, oppressed young man running away from his father after allegedly
killing him. However, as the play progresses, he transforms into a bold,
charismatic figure after the villagers mistakenly elevate him to a hero for his
act.
Complexity: Synge portrays Christy
with layers of complexity. He wrestles with guilt, fear, and newfound
confidence, making him a dynamic character whose internal conflicts drive the
plot forward.
Pegeen Mike:
Strength and Independence: Pegeen is
portrayed as a strong-willed and independent woman. She runs her father's pub
and is unafraid to speak her mind, contrasting sharply with the traditional
roles expected of women in rural Irish society at the time.
Vulnerability: Despite her outward
strength, Pegeen reveals vulnerability through her emotional attachment to
Christy, which complicates her character and adds depth to her interactions.
Old Mahon:
Contrast with Christy: Old Mahon,
Christy's father, initially appears as a tyrannical figure who has oppressed
his son. His appearance later challenges Christy's newfound image as a hero,
highlighting the ambiguity of truth and perception in the play.
Symbolism: Old Mahon symbolizes
authority and tradition, contrasting sharply with the younger characters'
desire for independence and self-expression.
The
Villagers:
Community Dynamics: Synge uses the
villagers as a collective character, representing the conservative rural
community. Their reactions to Christy's story reveal their superstitions,
prejudices, and desires, driving the play's themes of identity and perception.
Comic Relief: The villagers also
serve as sources of humor, adding a layer of satire to the play through their
exaggerated responses and interactions with Christy.
Overall, Synge's characterization in
"The Playboy of the Western World" is richly layered, capturing the
complexities of human nature and society through a blend of realism and satire.
Each character contributes uniquely to the play's exploration of identity,
truth, and the power of storytelling.
Q7. Discuss Murder in the Cathedral as a poetic
drama.
Murder in the Cathedral" by T.S.
Eliot is indeed a remarkable example of a poetic drama, blending elements of
poetry with the dramatic form. Here’s a detailed discussion on why "Murder
in the Cathedral" is considered a poetic drama:
Poetic
Language and Structure:
Verse Form: Eliot employs a verse
form throughout the play, utilizing both rhyme and meter. This deliberate use
of poetic structure enhances the musicality and rhythm of the dialogue,
elevating the language beyond everyday speech.
Symbolism and Imagery: Eliot's
language is rich with symbolism and imagery, which serves to deepen the
thematic exploration of martyrdom, faith, and political power. Each poetic
image is carefully crafted to evoke multiple layers of meaning, resonating with
the play's spiritual and existential themes.
Themes and
Philosophical Depth:
Spiritual and Moral Dilemmas: The
play explores profound moral and spiritual dilemmas faced by its characters,
particularly Thomas Becket. Through poetic dialogue, Eliot delves into Becket's
internal struggles and his unwavering commitment to divine justice,
highlighting the clash between temporal and spiritual authority.
Historical and Religious Context:
Eliot integrates historical events with religious symbolism, offering a nuanced
portrayal of the power dynamics between Church and State in medieval England.
The poetic form allows Eliot to explore these complex themes with heightened
intensity and dramatic impact.
Theatricality
and Performance:
Choral Elements: "Murder in the
Cathedral" incorporates choral interludes, where the chorus represents
various perspectives of the community and adds a collective voice to the
narrative. The poetic dialogue of the chorus enhances the ceremonial and
ritualistic atmosphere of the play.
Symbolic Action: The play's structure
and language emphasize symbolic actions and gestures, such as Becket's
martyrdom and the symbolic significance of the four tempters. These elements
underscore the play's allegorical nature, inviting deeper reflection on moral
choices and spiritual redemption.
Conclusion:
In summary, "Murder in the
Cathedral" exemplifies the characteristics of a poetic drama through its
use of verse, symbolism, thematic depth, and theatricality. T.S. Eliot's
mastery of language and form not only enriches the dramatic experience but also
elevates the play to a contemplation of timeless human and spiritual concerns.
Q8. Comment on the historical significance of
Look Back in Anger.
Look Back in Anger" by John
Osborne, first staged in 1956, holds significant historical importance within
the realm of British theater and society:
Cultural
Impact:
Breaking Tradition: Osborne's play is
often credited with marking the beginning of the "Angry Young Men"
movement in British drama. It challenged the prevailing conventions of British
theater at the time, which often focused on upper-class characters and themes
of polite society.
Realism and Social Issues: The play
introduced a new wave of realism by depicting the lives of working-class
characters, specifically Jimmy Porter, whose anger and disillusionment with
society became emblematic of a generation's frustrations.
Social
Commentary:
Class Conflict: "Look Back in
Anger" critiques class distinctions and societal inequalities. Jimmy
Porter's character embodies the working-class struggle against a system
perceived as elitist and indifferent to the concerns of ordinary people.
Gender Roles: The play also explores
evolving gender dynamics, as seen in the strained relationship between Jimmy
and his wife Alison, and challenges traditional stereotypes of women's roles in
post-war Britain.
Theatrical
Innovation:
Language and Dialogue: Osborne's use
of colloquial language and sharp dialogue brought a new authenticity and
immediacy to the stage, resonating with audiences who sought more relevant and
relatable narratives.
Psychological Depth: The characters
in "Look Back in Anger" are psychologically complex, reflecting the
anxieties and uncertainties of a post-war generation grappling with identity
and purpose.
Historical
Legacy:
Impact on British Theater: The play's
success paved the way for more experimental and socially conscious works in
British theater, influencing playwrights and directors to explore themes of
social realism and political engagement.
Cultural Debate: It sparked debates
about art's role in society and the representation of working-class voices in
literature and theater, contributing to broader discussions about class,
identity, and cultural change in post-war Britain.
In conclusion, "Look Back in
Anger" remains a landmark in British theater history for its bold
exploration of social issues, its innovative theatrical techniques, and its
lasting influence on the trajectory of modern drama. It continues to be studied
and performed, offering insights into the cultural and social dynamics of its
time and resonating with audiences across generations.
Q9. Discuss the Romantic and Modernist
conceptions of character in the presentation of Jimmy as the play's
protagonist.
In "Look Back in Anger" by
John Osborne, Jimmy Porter serves as the protagonist whose character embodies
elements of both Romantic and Modernist conceptions, reflecting the tensions
and transitions in post-war British society.
Romantic
Conceptions of Character:
Individualism
and Passion:
Emotional Intensity: Jimmy Porter
exhibits a passionate and intense emotional nature, often driven by his anger
and frustration with the world around him. His emotions are raw and
unrestrained, reminiscent of Romantic ideals that emphasize the individual's
emotional truth and authenticity.
Rebellion Against Conformity: Like
Romantic heroes who defy societal norms, Jimmy rebels against the constraints
of class and convention. His anger stems from a deep-seated dissatisfaction
with the status quo, reflecting a Romantic quest for personal and social
liberation.
Idealism and
Alienation:
Idealistic Vision: Jimmy harbors
idealistic beliefs about truth and justice, which fuel his vehement critiques
of hypocrisy and complacency in society. His relentless pursuit of honesty and
authenticity aligns with Romantic ideals of striving for higher truths and
moral integrity.
Sense of Alienation: Despite his
passionate convictions, Jimmy experiences a profound sense of alienation from
the society he criticizes. This alienation mirrors Romantic themes of the
individual's isolation in a morally corrupt or spiritually bankrupt world.
Modernist
Conceptions of Character:
Psychological
Complexity and Fragmentation:
Inner Turmoil: Jimmy's character is
marked by psychological complexity and inner turmoil. His anger and cynicism
often mask deeper insecurities and vulnerabilities, revealing a fragmented
sense of self typical of Modernist protagonists.
Stream of Consciousness: Osborne
employs Jimmy's monologues and rapid shifts in mood to convey the stream-of-consciousness
technique favored by Modernist writers. This technique reflects Jimmy's
fragmented perception of reality and his struggle to make sense of his place in
a changing world.
Critique of
Society and Tradition:
Social Criticism: Jimmy's critiques
of class privilege, political apathy, and cultural stagnation echo Modernist
skepticism towards traditional institutions and values. His disillusionment
with post-war Britain reflects a broader Modernist disillusionment with the
promises of progress and modernity.
Fragmented Identity: Jimmy's identity
is fragmented between his working-class roots and aspirations for intellectual
and social advancement. This internal conflict mirrors Modernist themes of
identity crisis and the disintegration of traditional social hierarchies.
Synthesis
and Conclusion:
In "Look Back in Anger,"
Jimmy Porter embodies a complex synthesis of Romantic and Modernist conceptions
of character. His passionate individualism, emotional intensity, and rebellious
spirit align with Romantic ideals of personal authenticity and social critique.
Simultaneously, his psychological depth, inner turmoil, and fragmented identity
reflect Modernist themes of alienation, existential angst, and disillusionment
with societal norms. Through Jimmy Porter, Osborne creates a protagonist who
challenges both Romantic and Modernist ideals, embodying the contradictions and
complexities of post-war British society while leaving a
lasting impact on the portrayal of characters in modern drama.
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