Part 1, Characters: Freddy and Clara Eynsford Hill Ixel Baca, Indya Burnand, Sophia Carpinelli, Serena Guardado, Fernanda Hernandez, Leslie Hernandez, Rowan Ranjbar

A playwright has many tools at hand for developing character A playwright has many tools at hand for developing character. In the development of a minor character in Pygmalion, show one of these conventions has been used to make the character memorable in spite of being minor. (Assessed with Criterion C of the Rubric)

Clara Eynsford Hill “It’s too tiresome. Do you expect us to go and get one ourselves?” (4) “Are we to stay here all night in this draught, with next to nothing? You selfish pig--” (4) “(violently) Will you please keep your impertinent remarks to yourself… Don’t dare speak to me.” (9) “(...has acquired a gay air of being very much at home in society: the bravado of genteel poverty” (45) “(who considers Higgins quite eligible matrimonially)” (46) “Such nonsense, all this early Victorian prudery!... such bloody nonsense!” (51)

Clara Analysis “It’s too tiresome. Do you expect us to go and get one ourselves?” (4) “Are we to stay here all night in this draught, with next to nothing? You selfish pig--” (4) “(violently) Will you please keep your impertinent remarks to yourself… Don’t dare speak to me.” (9) (...has acquired a gay air of being very much at home in society: the bravado of genteel poverty” (45) “(who considers Higgins quite eligible matrimonially)” (46) “Such nonsense, all this early Victorian prudery!... such bloody nonsense!” (51) Tone Rude Arrogance higher classes show towards lower class Author intended to show the nature of social classes observed social classes are because of status and money Minor character, fully developed through stage directions and lines, role in play just as important as Liza (foil)

Freddy Eynsford Hill “Ahdedo?” (46) “(coming onto their side of the ottoman) I’ve certainly had the pleasure.” (48) “I spend most of my nights here. It’s the only place I’m happy. Don’t laugh at me, Miss Doolittle.” (68) “(He loses all self control and smothers her in kisses)” (69) “[Eliza] Freddy Hill writes to me twice and three times a day, sheets and sheets.” (86) “[Eliza] Freddy loves me: that makes him king enough for me. I don’t want him to work: he wasn’t brought up for it…” (87)

Freddy Analysis “Ahdedo?” (46) “(coming onto their side of the ottoman) I’ve certainly had the pleasure.” (48) “I spend most of my nights here. It’s the only place I’m happy. Don’t laugh at me, Mi ss Doolittle.” (68) “(He loses all self control and smothers her in kisses)” (69) “[Eliza] Freddy Hill writes to me twice and three times a day, sheets and sheets.” (86) “[Eliza] Freddy loves me: that makes him king enough for me. I don’t want him to work: he wasn’t brought up for it…” (87) Impoverished gentry (poor, with title) Not used to work Romantic, slightly obsessive, dreamer Kind, driven by emotions (sheets of paper) Sensitive and passionate Author depicts him caring Ambitious in love Minor character, fully developed through stage directions and lines, role in play just as important as Higgins (foil)

Act out pages 4-5 Indya - gentleman Fernanda - Mother Ixel - Freddy Serena - flower girl Leslie - Clara Rowan - Narrator :D

Question 1: A playwright has many tools at hand for developing character. In the development of a minor character in Pygmalion, show one of these conventions has been used to make the character memorable in spite of being minor. (Assessed with Criterion C of the Rubric) Clara Attitude and outlook on world Clara is a foil Does not have a lot of money and acts rudely Foil to Liza Freddy Way he is treated Freddy is a foil Acts politely and has some money and status Foil to Higgins Historical Context Transfer of Monetary Power Absurdity of Social Class Eynsford Hills as literary devices Parallel Pymalions & Minor Characters memorable b/c dramaticism, contrast, and character development