Master Harold and the Boys Critical Analysis

Master Har sr. and the Boys Athol Fugards Master Harold and the Boys is an instant classic that does a superior job at encompassing the complex of racial hierarchies and interracial intimacys that existed in South Africa in the mid-20th century. Set in 1950 the puzzle out follows the everyday lives of its deuce main protagonists H all in ally, a white, seventeen year old male discontented with his schooling, and sur manifestation-to-air missile, a middle- daysd, bneediness servant of Hallys family.During this period the rigid racial structure of Apartheid remained dominant in the nation, institutionalizing the already understood separation of disenfranchised ghastlys and privileged whites. These de jur social classifications cannot however post the observable friendly social intercourseship that Hally and Sam share. With Sam practically having raised Hally due to the boys drunk for a return the racial tensions of the relationship seem initially to be nonexistent.This all chang es during the wink of engagement when the primary feather opposing force of the work is revealed Hallys alcoholic overprotect is rumored to be returning(a) home from the hospital despite his familys cries against the act. Distraught and trapped between his filial duties and disdain for the homo who neglected him, the underlying racial tensions of the play come to light with this recognition. In order to compensate for his lack of control in the situation, Hally cuts to hurling insults at Sam, who is actively evidenceing to pacify the marauding emotions of a jejune boy to no avail.The consultation is left asking themselves the dramatic question Will Hally cross the precariously small line between venting his anger and becoming overtly racist? More broadly speaking as well we can ask, What are the implications of an oppressive racial pecking order on interracial friendships? in spite of appearance the text the protagonist Sam appears to be the voice of reason as well as t he primary proponent of peace (Jacobus, 1395).From reprimanding his foil character Willie for beating his wife to eternal sleepraining himself with saint-like temperance during the climax, Sam never acts illogically or violently (Jacobus, 1410). Contrarily, Sam displays inquisitive preplanning by relating a layer prior to Hallys do from grace that serves only to color the boys shame after his regrettable act during the climax. The super-objective of Sam therefore is to notice order and harmony in an otherwise chaotic household rooted in an already racially oppressive regime.Tactics such as relating a heartfelt memory in the form of a level (distr go through), attempting to reason with Hally as to convince him to check his reaction (reasoning), and when all else fails parental-like reprimanding (appeal to chest of drawers) all reinforce the image of Sam as a peaceful, tenable protagonist. Opposite this cool, collective nature exists our second protagonist Hally. Hosting underl ying supremacist ideology, Hally exhibits all of the worked up inconsistencies of a teenage boy along with the inability to properly handle stress.From the point of encounter until the moment of engagement one can see examples of Hally talking down to Sam despite the age difference and authoritative roles between the two. God, youre impossible. I showed it to you in black and white. Its the likes of you that kept the hunt in business. Its called bigotry (Jacobus, 1399). The super-objective for this troubled youth is the solidification of authority as to pacify his whizz of helplessness due to his fathers return.Unable to convince his mother of detaining his father at the hospital for a longer time, Hally slips from the angry boy he once was upon initially hearing the news into an irate, power-starved child (Jacobus, 1409-1410). This falling out in personality further enforces the dramatic question as Hally edges ever closer to the point of no return in his language, chastising Sa m and directing his anger towards a safe target protected by the racial hierarchy.The introductory incident in Master Harold and the Boys is the moment when Hally receives a call from his mother stating his fathers desire to return home. Eventually convinced of the impossibility and distracted by his school work, the intellection nevertheless preoccupies our young protagonists mind, coloring each action and reaction throughout the rest of the play. The moment of engagement is closely married to the introductory incident in this work as the audiences intriguing moment is parallel to Hallys emotional commitment to the idea of his fathers return.Unable to divorce his mind from this subtle inkling of helplessness, Hallys tone sharpens considerably as he attempts to solidify his own authority through discourse with Sam coupled with sharp remarks. Dont try to be clever, Sam. It doesnt suit you. Anybody who thinks theres nothing wrong with this world needs to devote his head examined. ( Jacobus, 1403). The major peripetie of the work occurs when Hallys mother phones again to confirm his worse fear his father is adamant about his return home.At this point all civil facades are dashed by Hally in a vain attempt to solidify his own importance though coupled with the genuine emotional struggle of a young boy at odds with his father. Searching for an outlet the come up action of the play takes a dramatic turn from a slight incline to a steep hill as Hally visibly changes gears from distraught and confused to violently offensive. And Im telling you you dont Nobody does. (Speaking carefully as his shame turns to rage at Sam. ) Its your turn to be careful, Sam. very(prenominal) careful Youre trading on dangerous ground. Leave me and my father alone (Jacobus, 1409). Here, the author transitions the rising action from its lackadaisical yet worrisome progression to a full sprint towards a calamitous climax as Hally finds a socially acceptable outlet for his rage. During t he climax the dramatic question be is answered Hally indeed steps far over the line into not only overtly racist just now derogatory territory, going so far as to spit in Sams face when he attempts to defend himself. Sams super-objective of pacifying the situation is obvious as relations between the two protagonists degrade ever further as Hally relentlessly attacks Sam.From consoling Hally and letting him know he is empathic to attempting to reason with the rogue boy, Sam cant seem to escape the teenagers wrath as Hally goes so far as to grab Sam by the arm and force him to listen to the irate ramblings of a destitute youth. Super-objectives clash as Hally refuses to relent and release his foothold of authority despite taking the friendship into dangerously precarious territory. Then I have to ask What, chum? and then he says a niggers arse and we both have a good laugh. (Jacobus, 1410).At this point the climax is in full swing, but it is not yet complete as Hally still refus es to desist. After suffering comely of the young masters blatantly racist comments Sam decides to show Hally his arse, a reasonable action considering the stunningly distasteful joke just delivered by Hally. Instead of realizing the pain he has caused his womb-to-tomb guardian, the pious boy instead spits in the face of Sam in order to further reciprocate his authority. Enraged at this disrespectful act, Sam mulls over the idea of striking the boy the put him in his place.Realizing the implications of this perceived action (either death or exile), the Basuto servant instead decides to relate the rest of the kite story to Hally, providing details that were previously omitted. It was not due to work that Sam was unable to join Hally on the commons bench many years ago it was due to the racist institution of apartheid that barred interracial friendships and meeting points. Framing the entirety of the play, apartheid was the social administration in which the nation of South Afri ca institutionalized racism in 1948.Dividing the major cities into racial sections, the majority ethnicity, blacks, were not allowed to interact with whites other than for work opportunity. Horrendously oppressed and misrepresented, the minority of whites controlled some every aspect of life for the disenfranchised majority including establishing native provinces in the north to which many blacks were move despite having no affiliation with the region. As one can assume the judicial system was as well as heavily skewed in this atmosphere, resulting in most interracial cases being ruled in prefer of the rich white minority.It is with this knowledge that one can begin to understand why Sam would take such abuse with no apparent grievance. It is not only due to his love for Hally that he restrains himself, but the racist reality in which the story takes place that drives Sam into the arms of complacency (Cornwell). This heartfelt relation completely nullifies Hallys defenses as the young boy is left speechless and self-loathing and the falling action of the play leaves the audience stunned. Still impacted by the news of his returning father, Hally now realizes that his senseless pursuit of authority has only brought ruin to his most cherished relationship.The system of apartheid introduced a failsafe in which even a helpless white teenager could exert utmost authority over a well-spoken and respectable black man unable to satiate his need for power elsewhere Hally instinctively turned towards this hostile system for reassurance rather than to the arms of his oldest comrades. One is left considering the implications of the thematic question what are the implications of an oppressive racial hierarchy on an interracial friendship? The answers are obvious less glamorous than they are pitiable. Works CitedCornwell, Gareth. A Teaspoon of Milk in a Bucketful of Coffee The Discourse of Race Relations in Early Twentieth-Century South Africa. English in Africa 38. 3 (2011) p. 9-33. Belk Library Information Commons. Web. 2 Oct. 2012. http//0-ehis. ebscohost. com. wncln. wncln. org/ehost/detail? sid=c33825fd-b951-4f8c-ac22-a04d51f7a864%40sessionmgr104&vid=1&hid=101&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3ddb=a9h&AN=72102587 Jacobus, Lee A. Master Harold and the Boys. 2009. The Bedford Introduction to Drama. Boston Bedford/St. Martins, 2009. 1394-411. Print.