Master Harold and the Boys Critical Analysis

Master Harold 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 sundry(a) friendships that existed in South Africa in the mid-20th century. Set in 1950 the trifle follows the free-and-easy lives of its two main protagonists H entirelyy, a white, seventeen year old potent discontented with his schooling, and sur organisation-to-air missile, a middle-aged, black servant of H altogetherys family.During this period the crocked racial structure of Apartheid remained dominant in the nation, first appearancealizing the already understood withdrawal of disenfranchised blacks and privileged whites. These de jur social classifications clearnot however denounce the observable couthie relationship that H tout ensembley and sur example-to-air missile sh ar. With Sam practically having raised Hally referable to the boys drunk for a father the racial tensions of the relationship com e along ab initio to be nonexistent.This all changes during the moment of engagement when the primary feather fence force of the work is revealed Hallys alcoholic father is rumored to be locomote home from the infirmary despite his familys cries against the act. Distraught and trapped amidst his filial duties and disdain for the man who neglected him, the underlying racial tensions of the play come to light with this recognition. In order to compensate for his lack of statement in the situation, Hally subscribes to hurling insults at Sam, who is actively trying to pacify the marauding emotions of a teenage boy to no avail.The audience is left petition themselves the outstanding incertitude Will Hally cross the precariously small beginning between venting his anger and becoming all overtly racist? to a greater extent broadly as well we can submit, What ar the implications of an oppressive racial hierarchy on mixed friendships? Within the text the protagonist Sam appe ars to be the voice of undercoat as well as the primary proponent of peace (Jacobus, 1395).From reprimanding his foil character Willie for beating his wife to restraining himself with saint-like moderateness during the climax, Sam never acts illogically or violently (Jacobus, 1410). Contrarily, Sam displays meddlesome preplanning by relating a report card prior to Hallys fall from gracility that serves only to color the boys discredit after his regrettable act during the climax. The super-objective of Sam at that placefore is to maintain order and harmony in an otherwise higgledy-piggledy household rooted in an already racially oppressive regime.Tactics such as relating a heartfelt memory in the form of a story (distr march), attempting to reason with Hally as to convince him to check his reaction (reasoning), and when all else fails parental-like reprimanding (appeal to authority) all reinforce the image of Sam as a peaceful, rational protagonist. Opposite this cool, colle ctive nature exists our second protagonist Hally. Hosting underlying supremacist ideology, Hally exhibits all of the steamy inconsistencies of a teenage boy along with the inability to properly handle stress.From the point of attack until the moment of engagement one can see examples of Hally talking down to Sam despite the age oddment 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 Inquisition in business. Its called bigotry (Jacobus, 1399). The super-objective for this troubled young person is the solidification of authority as to pacify his sense of helplessness repayable 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 parole into an irate, power-starved child (Jacobus, 1409-1410). This shift in personality hike enforces the dramatic question as Hally ed ges ever closer to the point of no return in his language, chastising Sam and directing his anger towards a true(p) 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 thought nevertheless preoccupies our young protagonists mind, semblance 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 pestilent inkling of helplessness, Hallys tone astutelyens 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 th inks theres nothing wrong with this world needs to have his head word examined. (Jacobus, 1403). The major peripetie of the work occurs when Hallys mother phones again to confirm his worsened fear his father is adamant about his return home.At this point all civil facades are dashed by Hally in a vapid attempt to solidify his own importance though coupled with the authentic emotional struggle of a young boy at odds with his father. Searching for an outlet the rising action of the play takes a dramatic turn from a slight incline to a steep agglomerate as Hally visibly changes gears from distraught and confused to violently offensive. And Im telling you you dont Nobody does. (Speaking elaborately as his shame turns to rage at Sam. ) Its your turn to be careful, Sam. Very careful Youre trading on dangerous ground. Leave me and my father just (Jacobus, 1409). Here, the author transitions the rising action from its lackadaisical yet worrisome overture to a full sprint towards a disastrous climax as Hally finds a socially acceptable outlet for his rage. During the climax the dramatic question posed is answered Hally indeed steps far over the line into not only overtly racist but 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 empathetic to attempting to reason with the rogue boy, Sam cant seem to escape the teenagers ira 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 collision as Hally refuses to relent and release his foothold of authority despite victorious the friendship into dangerously precarious territory. Then I have to ask What, chum? and then he says a niggers back tooth 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 console refuses to desist. After suffering enough 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 painfulness he has caused his lifelong guardian, the pious boy kinda spits in the face of Sam in order to further satisfy his authority. Enraged at this disrespectful act, Sam mulls over the idea of striking the boy the delegate 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 common 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 arrangement in which the nation of South Africa institutionalized racism in 1948.Dividing the major cities into racial sections, the volume ethnicity, blacks, were not allowed to interact with whites other than for work opportunity. Horrendously ladened and misrepresented, the minority of whites controlled nearly every aspect of life for the disenfranchised majority including establishing native provinces in the north to which many blacks were relocated despite having no affiliation with the region. As one can assume the judicial governing body was also heavily skewed in this atmosphere, resulting in most interracial cases being ruled in favor of the rich white minority.It is with this fellowship 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 t he arms of complacency (Cornwell). This heartfelt relation completely nullifies Hallys defenses as the young boy is left speechless and self-loathing and the fall 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 decrepitude to his most cherished relationship.The arrangement of apartheid introduced a failsafe in which even a powerless white teenager could exert utmost authority over a well-spoken and respectable black man unable to meet 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 teaspoonful of Milk in a Bu cketful of Coffee The Discourse of course 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.