Action: Plot and Subplot

Pygmalion:

Plot

the plot revolves around the transformation of Eliza from the flower girl to the duchess.

introduction: Eliza is a poor girl, living alone and selling flowers for a living. She betrays her class status the minute she opens her mouth to Henry Higgins, an expert in phonetics. Her Lisson Grove English is of an inferior quality to the English of people with higher status, which, in Higgins opinion, is what keeps her "in the gutter".

complication: On a bet, Higgins agrees to educate Eliza in proper English to transform her into a duchess in six months. Higgins assumes the attitude that Eliza is his cross to bear, his grievious and heavy burden to educate. It is his perception that the teacher has a more difficult task than the taught. It is also his belief that Eliza has no feelings to hurt.

Pickering: Does it occur to you, Higgins, that the girl has some feelings?

Higgins: Oh no, I dont think so. Not any feelings that we need to bother about. Have you, Eliza? (Shaw 23)

Eliza's education over a period of several months includes two large milestones: Mrs Higgins at-home day, and an Embassy in London. The first event is Eliza's entrance into higher society. This event is not an overwhelming success for Higgins but it allows the audience to see Eliza's progress. The latter event marks the conclusion of the bet. Higgins has won; he did not merely pass Eliza off as a duchess, she was believed to be Hungarian royality.

climax: Eliza runs away from Higgins and Pickering in the night. She meets up with Freddy who accepts her as she is and they drive about until dawn, at which point Eliza calls on Mrs Higgins. Freddy's obvious adoration is contrasted to the frostiness of the other men.

Liza: Whatever are you doing here?

Freddy: Nothing. I spend most of my nights here. It's the only place where I'm happy. Dont laugh at me, Miss Doolittle.

Liza: Dont you call me Miss Doolittle, do you here? Liza's good enough for me. Freddy: you dont think I'm a heartless guttersnipe, do you?

Freddy: Oh no, no, darling: how can you imagine such a thing? You are the loveliest, dearest -

(Shaw 68-69)

resolution: Higgins comes to find Eliza in an attempt to coerce her into returning. She refuses saying that he does not treat her as a human being. He flies into a rage, the power balance between them clearly shifted. Eliza walks away, free to do as she pleases, which at this point is marry Freddy.

Subplot

There is a brief allusion to the fate of Mr Doolittle as he too is changed from a simple man to a man of wealth. His change, however, is not as thorough as is Eliza's. His evolution is from a man who begs his daughter for money to buy alcohol living by his own standards to a man of wealth, influence, responsability and expectations. His existance prompts questions about "middle class morality", to which it provides limited answers.

There are few subplots to force the audience to focus on Shaw's main plot; he has a very clear message that he does not want to muddle by adding additional subplots

A Doll's House:

Plot

This play delves into the characterization of Nora, the protagonist, and through her societal issues surrounding women's roles.

introduction: Nora is an endearing enough character, albeit seeming shallow. She is chipper, playfully spirited and there is mutual adoration between herself and her family. There is a lightness and an easiness about the family. This is slightly tainted by ominous foreshadowing when Nora lies to Torvald about eating macaroons.

complication: The arrival of Mrs Linde causes great changes for the family. She is jobless, so naturally Nora pleads with Torvald to find her a position in the bank. Torvald obliges Nora; he gives Mrs Linde Krogstad's position. This creates hardship for Nora. She has borrowed money without her husband's knowledge to save his life, from Krogstad. Ordinarily, this would not be a problem, except that she has forged her father's signature to obtain the money. Krogstad too has committed forgery, but he was caught and paid dearly for his actions. He threatens Nora with her forgery to ensure that she will not allow her husband to dismiss him. Eventually Nora decides that Torvald must know about her debt; this comes in the form of a letter from Krogstad to Torvald detailing his wife's endeavors. Torvald flies into a rage. Then a second letter from Krogstad arrives containing the bond. Torvald then destroys the bond, the evidence of Nora's lawlessness.

climax: Nora has had the revelation that she is not being true to herself by being foolish, and Torvald has made it clear that he does not support her when she acts out of sincerity. She realizes that she does not know Torvald. Thus Nora decides to leave, leaving all that is dear to her.

Nora: I have never felt my mind so clear and certain as to-night.

Helmer: And is it with a clear and certain mind that you forsake your husband and your children?

Nora: Yes, it is. (Ibsen 66)

resolution: There is little resolution. This effect adds to the potentcy of the play. The audience feels that there has been justice, but it is not emotionally satisifying, which leads to further inquiry.

Subplot

There is a contrast between Nora and Mrs. Linde. They are introduced in the play as opposites; Nora has the ideal life, happiness, an adoring husband, three children, and security, while Mrs Linde is alone and jobless. Their interaction throughout the play causes them to trade roles. At the end of the play, Mrs Linde has a husband and security while Nora wanders alone and jobless, but free.

Dr Rank seems to personify secrecy, topics that cannot be discussed in polite company and shadowy dealings. He first appears after Nora has lied about the macaroons and hidden the tree, and his death coincides with Torvald learning Nora's secret about the loan.

The Lion and the Jewel:

This play concerns itself with the courtship of Sidi by both Baroka and Lakunle.

Plot

introduction: The audience is introduced to Sidi and Lakunle, the school teacher. Lakunle is trying to woo Sidi, who is rejecting his advances. He is an awkward, Westernized man or at least aspires to Western behaviours. He has the pride of what he believes to be that superior culture. Sidi is immune to his talk of modernized or Westernized practices.

complication: When Sidi sees herself in the magazine she gains an inflated idea of her worth. Her ego increases exponentially.

Sidi: Known as I am to the whole wide world,/ I would demean my worth to wed/ A mere village schoolteacher. (Soyinka 12)

Even as Sidi realizes her beauty, so does Baroka. He sends for Sidi to marry him, but she also refuses him. Baroka then admits to Sadiku, his first wife, that he is no longer a man. Sadiku, thrilled, rushes to spread the good news of this development to Sidi. Sidi joins in her celebration, even to the extent of paying Baroka a visit to mock him.

climax: Sidi has returned after spending much of the night in Baroka's company. She runs to Sadiku and Lakulne, weeping uncontrolably in helpless rage. The audience learns that she has been deceived by Baroka.

Sidi: [Baroka] told me...afterwards, crowing./It was a trick./He knew Sadiku would not keep it to herself,/ That I, or amybe other maids would hear of it/ And go to mock his plight./ And how he laughed!/ How his frog-face croaked and croaked/ And called me little fool!/ Oh how I hate him! How I loathe/ And long to kill the man! (Soyinka 59)

resolution: This is another play with and unsatisifying conclusion. Sidi, undaunted as ever, will marry Baroka, even though Lakunle has proposed again. She in fact spurns Lakunle's proposal as infinitly inferior to Baroka.

Subplot

There are few subplots. The stark simplicity of the style of writing does not allow much for these.