3. With reference to, Pygmalion and “Master Harold”… and the Boys explore how the playwrights' use of contrasting characters contributes to the impact of the plays

The impact of a drama piece can leave a prominent impression on an audience, but what authorial means successfully create this impact? Bernard Shaw’s 1913 tainted comedic Pygmalion and Arthur Fugard’s 1982 “Master Harold” … and the Boys both feature contrasting characters which aid the potency of the impact of the plays. Shaw’s Pygmalion follows the indigent and unlearned flower-girl Eliza as she undergoes a transformation at the hands of the esteemed phonetician, Professor Higgins, to portray the relations between classes in Britain at the time. Fugard explores the liaisons between the wealthy white classes and the poor dark working classes in his works through a young power confused Hally and his attendant Sam. Both works employ contrasting characters to highlight the treatment of the lower class but the atmosphere created by their behavior in their respective plays is wholly different. The characters contrasting reactions to uncontrollable temper, time, and their view of themselves contribute to the impact of the plays. In both plays the climax is created through the uncontrollable temper of the antagonist but the protagonist’s reaction to this temper in each of their respective ways is starkly different. In act five of Pygmalion, antagonist professor Higgins, states that he “will not have his masterpiece thrown away on Freddy” (Shaw, 121). Eliza’s defiance causes his to anger boil over until the stage directions state for him to “ris[e] in a fury” (Shaw, 126) and although he is about to strike Eliza, the “damned impudent slut!” (Shaw, 127), she acts “non- resistant” (Shaw, 126) merely yelling “What do I care?” “I’m not afraid of you” (Shaw, 126) Even though Shaw seems to finally construct a voice for Eliza in this fight, her argument lacks fury and her time on stage is compact making her will to and the impact of her rise up to Higgins unconvincing. Fugard composes a similar climax when Hally hisses the sinisterly racist joke “It’s not fair, is it?... A nigger’s arse” (Fugard, 60) and forces the wise protagonist Sam to call him “Master Harold” (Fugard, 59) only to “spit in his face” (Fugard, 61) and make him “feel dirtier than he’s ever been in his life” (Fugard, 62) when he refuses. Rather than strike back Sam realizes that Hally is just “a little boy” (Fugard, 62) who “think[s] [he’s] safe inside [his] fair skin” (Fugard, 62). Sam’s emotional and saddening response fights back Hally’s reducing comments with more potency than yelling, and portrays the respect that he has for himself. Both playwrights construct a verbally violent climax but their impacts are different; whereas Eliza’s fight feels forced, Sam’s answers sound like words spoken naturally by a wise man. In both plays the rage of the antagonist explodes suddenly but the length of the relationship between the characters before that climax differs greatly. In act one of Pygmalion the first time that Higgins addresses Eliza directly he does so by calling her a “squashed cabbage leaf” (Shaw, 20). And the only response he receives in return from Eliza is cacophonic jumble of sounds, “Aaaaaaa-wooooaaaa” (Shaw, 20) This is worsened the next day when Eliza proudly shows up at Higgins’ Wimpole street laboratory offering to pay for his linguistic services, and Higgins asks Colonel Pickering if he should “ask this baggage to sit down, … or to throw her out the window” (Shaw, 20). His aggressive behavior continues to grow, unnoticed, until he finally degrades her to a “damned impudent slut” (Shaw, 127). Although Higgins has only just met Eliza he immediately proceeds to belittle her, without much protest from her, but his rude remarks are covered up by his comedic ego, which downplays the severity of his declarations. Although the climax in “Master Harold” … and the boys is similar to the one of Pygmalion the relationship that Fugard creates between Sam and Hally is one that has lasted for Hally’s whole life. Sam was a father figure for Hally when he lacked one. He “made [him a] kite” (Fugard, 64) so that he could “look up [and] be proud of something, of himself” (Fugard, 64) and even when Hally belittles Sam to less than dirt, Sam still says that he wants to “try again” (Fugard, 65) with a “bitter smile at the memory” (Fugard, 64). Due to their longstanding relationship, and the sacrifices that Sam has made for Hally, Hally’s outbreak becomes all the more intense and his betrayal becomes strongly bitter. The lifelong relationship between Sam and Hally is more compelling at creating an impact that the impetuous relationship between Eliza and Higgins because the emotions present in Sam’s response evoke emotions within the audience that lack within Higgins cynical comments. Finally, within both plays there is a relationship between a teacher and the student, but within the respective plays the nature of the teaching changes. In Pygmalion Higgins is referred to as “professor Higgins” of “Higgins universal alphabet” (Shaw, 21) his teaching is unorthodox and seen more as “an experiment” (Shaw, 67) in his “laboratory in Wimpole street” (Shaw, 26). Again Higgins is demanding whereas “Eliza sits down to do as she’s told” (Shaw, 27). Higgins’ need to be called professor and intense fixation on winning his bet with Pickering about passing the ever-compliant Eliza off as a duchess illustrate that personal gain rather than Eliza’s growth fueled his initial want to teach Eliza. Fugard in his work depicts a much more holistic teacher. Although egocentric Hally may think that he “educated [Willie]” (Fugard, 25) he only “started passing [his] exams” because he “tried to be better than [Sam]” (Fugard, 26), but Sam taught Hally much more than how to pass his geography papers, without the slightest notice from Hally, Sam taught him about “miracles” and being “proud of [himself]” (Fugard, 33). Although Hally isn’t the least bit conscious or thankful for all that he had learned from Sam it is Sam’s reaction to his teachings that bring them to life. Sam’s feeling of failure when Hally “hurts [himself] (Fugard, 64) turns Hally’s unthankfullness even more vile. Although both of the novels employ an element of teaching in which the student greatly contrasts the teacher Fugard’s work creates an authentic account of a man who would give it all to teach Hally his life values, and is therefore more successful at creating an impact that the superficial teachings of professor Higgins which were merely aimed at altering Eliza’s speech. Both Shaw and Fugard utilize a myriad of techniques within their contrasting characters to contribute to the impact of the play, but accomplish wholly different impacts. Although both authors aim to explore and challenge the boundaries of class relations within their societies at the time, Shaw’s approach has a comedic element which is why the more serious scenes in his play, usually related to Eliza fighting for her own voice, can often be seen as forced, and are easily overlooked. Fugard on the other hand takes a more impassioned approach that speaks to the emotions of the audience, and is therefore subtler and allows the audience to feel the impact as it consumes them rather than being indoctrinated a message. The impact of the play is the most important element because if it resonates within the audience it will far transcend the theater walls.