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I did All My Sons last year (and I also don't recall there being anything like the Speis thread on here) But then that may be because the text is relatively more simplistic and easier to interprit than Spies.
What should be remembered I think is All My Sons asks for different interpretations and alternatives. So you have to argue something both ways finding evidence etc, and at the same time not neglect techniques.
There aren't so many motifs per say, although Miller does use things such as staging (the poplars and the overall seclusion/isolation of the set), food items (such as the grapejuice) to convey greater meaning. There are other symbols, such as the uncleared wardrobe, and the hammock, the fallen apple tree.
I would devide the text perhaps into, Staging, Symbols, charactrisation, and themes. Themes and ideas are to me two sides of the same coin. You can get questions on inerpreatations of Character motives/ presentation of Characters, how themes are presented, and effectiveness of a certain technique.
The main focus for Miller in a lot of his texts appears to be the places of the 'little man' in society, ie, selflessness/selfishness in the context of the American Dream. Family, Money. Truth/lies- or repression. Illusion/delusions.
It's quite an interesting play- plus it's open text, so you can all attack it with multicoloured highlighters!
What should be remembered I think is All My Sons asks for different interpretations and alternatives. So you have to argue something both ways finding evidence etc, and at the same time not neglect techniques.
There aren't so many motifs per say, although Miller does use things such as staging (the poplars and the overall seclusion/isolation of the set), food items (such as the grapejuice) to convey greater meaning. There are other symbols, such as the uncleared wardrobe, and the hammock, the fallen apple tree.
I would devide the text perhaps into, Staging, Symbols, charactrisation, and themes. Themes and ideas are to me two sides of the same coin. You can get questions on inerpreatations of Character motives/ presentation of Characters, how themes are presented, and effectiveness of a certain technique.
The main focus for Miller in a lot of his texts appears to be the places of the 'little man' in society, ie, selflessness/selfishness in the context of the American Dream. Family, Money. Truth/lies- or repression. Illusion/delusions.
It's quite an interesting play- plus it's open text, so you can all attack it with multicoloured highlighters!
Hey, does anyone know where i can find a decent summary of the play?
We are cuurently just reading the book first, and can i must say its very boring!!!
DreamsComeTrue.
We are cuurently just reading the book first, and can i must say its very boring!!!
no seriously it's not, once you understand the ideas you will enjoy it trust me.
. I found spies pretty boring the 1st time i read it. Got all the ideas and the main gist of the novel, such that it is an enjoyable read 2nd time round. 2 down 4 more spies reads to go
.If you need any help on All My sons or you want to share your ideas, post in here.
I've got a couple of essays - if anyone's interested, PM me. Happy to help
Wat does the apple tree symbolise?
DreamsComeTrue.
Wat does the apple tree symbolise?
Temptation... garden of eden. Mother is tempted to expose joe about his deceit, but she can't otherwise she knows that means Larry is dead. Apple goes back to the garden of eden. You could say that Joe is the evil one, using money as a means to keep people happy, whereas Chris could be likened with Christ? 'Keller: A man can be jesus in the world". There are many levels in which you can look at it. It's all down to opinion at the end of the day.
Hope that Helped
Michael
DreamsComeTrue.
Wat does the apple tree symbolise?
Miller uses the destruction of the apple tree as a foreshadowing of the impending destruction of the Keller family, just as the tree is helpless in the wind, so the family are unable to stop the eventual revelations.
The 'fruit still clinging to its branches' represents Kate's hope that Larry is still alive.
02mik_e
what is the actual significance of the 'grafefruit' ?
i interpret the apple to connote temptation.
i interpret the apple to connote temptation.
I am more than likely incorrect about this but the grape juice appears to me as some form of peace offering to George from Kate and in this sense it connotes the guilt both Kate and Joe feel. I also interpret it as a symbol of the past. George is said to have "always liked grape" and so it sort of reminds him of the enjoyable aspects of his childhood. Please someone put something different because this is probably too simplistic a perception.
Sorry, me again. Someone mentioned earlier that the hammock was a motif and I saw it as another symbol of the past which George and Ann loved so dearly. I also interpreted its abscence and Ann's inability to accept its abscence to imply they are still stuck in the past. Probably incorrect so what would you say it means?
Here's an essay plan - hope it's of some use.
Discuss the dramatic impact of Act III – essay plan
Very short, fast-moving, dramatically paced act, only one scene = plenty of dramatic impact b/c so much action and so many revelations packed into such a short space of time
Conclusion of entire play – all information audience gets of events and characters culminates and comes together in final act
Climax of play – although the audience probably knows the outcome – inevitable for tragic play – still v. dramatic and moving
Start of Act = slow, quiet, ponderous, at night
Ends quiet, with Mother soothing Chris, but before that lots of noise and action = contrast = drama
Audience wonders what will happen
Left on cliffhanger from previous act – C loses it and argues w/ K
Highly dramatic end of Act II contrasts dramatically with eerily quiet opening of Act III
Audience has many unanswered questions:
Will situation have resolved itself, or will the characters’ fragile relationships shatter?
Will Mother crack and hand K over to police?
Will Annie decide to leave C, or will she stand by him?
How will the argument have affected K?
Will K do the inevitable and ‘fall on his sword’?
Analysis of Act:
Quiet opening
Image of M unsettling and dramatic – ‘intense, slight sort of rocking’ – spooky – has she lost it?
Moonlight – symbol of female power? Significant? Dramatic anyway – Gothic – ‘bluish light’ – once in a blue moon?
J and M talking, fairly calmly
Slightly forced, stilted conversation. J tries to reason w/ M
J reveals deeper insight into his character w/ passionate speeches. Dramatic tension – eerily quiet – audience waiting for dramatic moment. Falsely normal, everyday speech heightens tension.
Pauses add to tension.
Ann still in room w/ light on. Spooky. What’s she doing up there and why? How does she feel about the turn of events? What will she do?
J reveals he’s known what K did since ‘a long time ago’. Revelation = calm, sanguine. Contrasts with drama of revelation. Impact on M = ‘stops rocking’. How will she react to the news?
Mother reacts calmly, philosophically. Again, calmness = unsettling for the drama of situation. For the first time, M speaks relatively openly to J.
J knows a lot about C’s character.
Passion and romanticism of J’s speech sets tone for act of passion to come & will complement the event
Slow-moving – builds up tension.
K comes out.
Mood between J and M changes dramatically when J leaves. Changes from calm, philosophical to defensive, suspicious: ‘I don’t like him mixing in so much’.
But the audience knows it’s too late. Ironic as K has encouraged ‘mixing’.
Apart from ‘husky’ voice, K also reacts oddly calmly to M’s revelation that J ‘guessed a long time ago’: ‘I don’t like that’. Has he given up? Does he really feel this resigned or is it simply masking a greater emotion?
Tension between M and K = dramatic. Before they were a sort of team, although M was responsible for K. Now, fundamental bond and partnership b/t husband and wife breaking down = bad sign, ominous.
M ‘Laughs dangerously’ = spooky. M criticises K, telling him yet again to ‘be smart’. Can’t even bring herself to name K’s crime – refers to it as ‘this thing’. Dramatic – tension and frustration between couple.
‘You want to live?’ Introduces new, serious concept, and brings audience down to earth and makes them aware of the reality and gravity of K’s situation. Dramatic.
Fact that A might or might not know what happened = dramatic – uncertainty.
Underlying tension still bubbles b/t M and K. M seems to have changed after talk with J – doesn’t seem to be prepared to help K any more. Gives short, non-committal answers. Provokes K to make ‘outburst’. Fact that wife not there for K in time of need = dramatic, surprising even. Bad consequences?
K feels betrayed. ‘I thought I had a family here. What happened to my family?’
Ironic – chose business over family before. Payback? Poetic justice?
More marital rowing. K unfair: ‘the minute there’s trouble you have no strength’. Situation causes real feelings and conflicts to come out. K helpless w/o M’s help. ‘Tell me, talk to me, what do I do?’
Tables turned – ironic – M not sure if C is coming back, K convinced and hopeful he will. M and K switched roles, and C and L switched roles. Reflects emotional turmoil characters are going through and the topsy-turvy situation they’re in.
M suggests K makes peace w/ C by going to jail. M can’t look him in the eye and is fearful of what K will do. Audience afraid too – probably surprised by suggestion. How will K react after his wife suggests him to do the very thing they conspired so long and hard to fight against? Real values coming through.
K’s reaction – ‘struck, amazed’ – and pauses v. dramatic. K doesn’t think he’s done wrong – tries to twist it and put blame on M for wanting money. ‘Nothin’ is bigger’ than the family to K – can’t understand his son’s thinking.
First hint of climax of play: ‘If there’s something bigger than that I’ll put a bullet in my head’. Omen for what is to come.
M rattled: ‘You stop that!’
Stakes have gone up. Again, life and death brought into the equation. Dramatic.
Reference to L
K ‘lost’ and desperate – ‘slumps’. Relaxation of tension – doesn’t seem strong or decisive enough to do what audience thinks he will do. M tries to comfort and support K – tension again released.
A comes out. Tense. ‘They say nothing, waiting for her to speak’. Falsely familiar topic of conversation – ‘why do you stay up? I’ll tell you when he comes.’ ‘You didn’t eat supper, did you?’
Stilted speech punctuated by silence – ‘unable to speak to each other’. A seems to have something of great importance to say – finds it difficult – ‘starts, then halts’.
‘I’m not going to do anything about it.’
Simple, short sentence. Relaxes tension. Dramatic tension rises again when A says there are conditions – ‘you’re going to do something for me’. What? Not question, statement. Command. A got the upper hand. A’s speech calm, decisive, powerful, commanding. Obv. Thought about what she’s going to say for a long time.
Conditions = hard for M. K eager and hopeful that M will fulfil them: ‘you’ll do that, you’ll tell him.’
M replies calmly and unusually cruelly – ‘the night he gets into your bed, his heart will dry up.’ ‘That is your life, that’s your lonely life.’ Vindictive, spiteful. But audience knows it will have little effect on A.
A states simply: ‘Larry is dead’.
Has great effect on M – dramatic – makes her stop. A claims to have proof of L’s death. Dramatic – pace mounting, scene speeding up.
Physicality dramatic – M ‘grasps Ann’s wrists’. A tells K to go away, which he does. Perhaps he doesn’t feel strong enough to hear what’s to come?
Letter = dramatic. New concept. Not introduced before. Dramatic as tension mounts while A gives speech – too much for M to bear – she ‘snatches letter from Ann’s hand’.
A: ‘I’m not trying to hurt you, Kate’ – what does the letter contain?
‘Long, low moan’ – why?
Tension mounts, esp. as audience doesn’t know contents of letter. Broken by C’s arrival.
C announces that he wants to ‘say what there is to say’. More drama – what will he say? M tries to distract him: ‘I didn’t hear the car…’ and ‘Jim is out looking for you’. Doesn’t work. C announces departure – w/o A.
Gives passionate speech. Bitter: ‘If I were human any more. But I’m like everybody else now. I’m practical now. You made me practical’. Bitter, accusing tone. Tension released slightly. If C and A go away, no more conflict?
Bitter, passionate speech on futility = dramatic as A pleads w/ C.
A orders M to ‘tell him’ – about letter! Tension mounts- what did it say? Even more dramatic as K appears, grabs C’s arm but C pulls ‘violently away from him’. Dramatic action. Symbolic. Reflects relationship. ‘Edge of sarcasm’ from C – not like him. Changed?
K confronts C about money, business etc. Pleads with him to stay. Desperate. K makes long, one-way speech to C. C never replies – his ‘replies’ are filled with pauses. His silence in contrast to father’s passion = dramatic.
C disgusted and saddened by K – ‘almost breaking’. ‘I can’t look at you… I can’t look at myself!’ Tension released.
Drama heightened again as A takes letter from M and C reads it. M ‘pleading from her whole soul’ and desperate for K not to know – knows how it will affect him. Last resort = dramatic. Audience finally know contents!
Audience realise with horror what has happened. Drama relaxed as contents revealed. Tension mounts as K says ‘I’ll put on my jacket’ and ‘turns and starts slowly for the house’. Seems final. Audience suspects what he will do; so does M, who ‘rushes to intercept him’. M desperately tries to calm him.
Tension mounts after K goes. Audience waits for suspicions to be confirmed and for K to top himself. M and C’s argument slightly redundant – overshadowed by expectation of K’s act.
Tension released as ‘a shot is heard in the house’.
Tension released further as M gives C and A her blessing: ‘Forget now. Live.’
Discuss the dramatic impact of Act III – essay plan
Very short, fast-moving, dramatically paced act, only one scene = plenty of dramatic impact b/c so much action and so many revelations packed into such a short space of time
Conclusion of entire play – all information audience gets of events and characters culminates and comes together in final act
Climax of play – although the audience probably knows the outcome – inevitable for tragic play – still v. dramatic and moving
Start of Act = slow, quiet, ponderous, at night
Ends quiet, with Mother soothing Chris, but before that lots of noise and action = contrast = drama
Audience wonders what will happen
Left on cliffhanger from previous act – C loses it and argues w/ K
Highly dramatic end of Act II contrasts dramatically with eerily quiet opening of Act III
Audience has many unanswered questions:
Will situation have resolved itself, or will the characters’ fragile relationships shatter?
Will Mother crack and hand K over to police?
Will Annie decide to leave C, or will she stand by him?
How will the argument have affected K?
Will K do the inevitable and ‘fall on his sword’?
Analysis of Act:
Quiet opening
Image of M unsettling and dramatic – ‘intense, slight sort of rocking’ – spooky – has she lost it?
Moonlight – symbol of female power? Significant? Dramatic anyway – Gothic – ‘bluish light’ – once in a blue moon?
J and M talking, fairly calmly
Slightly forced, stilted conversation. J tries to reason w/ M
J reveals deeper insight into his character w/ passionate speeches. Dramatic tension – eerily quiet – audience waiting for dramatic moment. Falsely normal, everyday speech heightens tension.
Pauses add to tension.
Ann still in room w/ light on. Spooky. What’s she doing up there and why? How does she feel about the turn of events? What will she do?
J reveals he’s known what K did since ‘a long time ago’. Revelation = calm, sanguine. Contrasts with drama of revelation. Impact on M = ‘stops rocking’. How will she react to the news?
Mother reacts calmly, philosophically. Again, calmness = unsettling for the drama of situation. For the first time, M speaks relatively openly to J.
J knows a lot about C’s character.
Passion and romanticism of J’s speech sets tone for act of passion to come & will complement the event
Slow-moving – builds up tension.
K comes out.
Mood between J and M changes dramatically when J leaves. Changes from calm, philosophical to defensive, suspicious: ‘I don’t like him mixing in so much’.
But the audience knows it’s too late. Ironic as K has encouraged ‘mixing’.
Apart from ‘husky’ voice, K also reacts oddly calmly to M’s revelation that J ‘guessed a long time ago’: ‘I don’t like that’. Has he given up? Does he really feel this resigned or is it simply masking a greater emotion?
Tension between M and K = dramatic. Before they were a sort of team, although M was responsible for K. Now, fundamental bond and partnership b/t husband and wife breaking down = bad sign, ominous.
M ‘Laughs dangerously’ = spooky. M criticises K, telling him yet again to ‘be smart’. Can’t even bring herself to name K’s crime – refers to it as ‘this thing’. Dramatic – tension and frustration between couple.
‘You want to live?’ Introduces new, serious concept, and brings audience down to earth and makes them aware of the reality and gravity of K’s situation. Dramatic.
Fact that A might or might not know what happened = dramatic – uncertainty.
Underlying tension still bubbles b/t M and K. M seems to have changed after talk with J – doesn’t seem to be prepared to help K any more. Gives short, non-committal answers. Provokes K to make ‘outburst’. Fact that wife not there for K in time of need = dramatic, surprising even. Bad consequences?
K feels betrayed. ‘I thought I had a family here. What happened to my family?’
Ironic – chose business over family before. Payback? Poetic justice?
More marital rowing. K unfair: ‘the minute there’s trouble you have no strength’. Situation causes real feelings and conflicts to come out. K helpless w/o M’s help. ‘Tell me, talk to me, what do I do?’
Tables turned – ironic – M not sure if C is coming back, K convinced and hopeful he will. M and K switched roles, and C and L switched roles. Reflects emotional turmoil characters are going through and the topsy-turvy situation they’re in.
M suggests K makes peace w/ C by going to jail. M can’t look him in the eye and is fearful of what K will do. Audience afraid too – probably surprised by suggestion. How will K react after his wife suggests him to do the very thing they conspired so long and hard to fight against? Real values coming through.
K’s reaction – ‘struck, amazed’ – and pauses v. dramatic. K doesn’t think he’s done wrong – tries to twist it and put blame on M for wanting money. ‘Nothin’ is bigger’ than the family to K – can’t understand his son’s thinking.
First hint of climax of play: ‘If there’s something bigger than that I’ll put a bullet in my head’. Omen for what is to come.
M rattled: ‘You stop that!’
Stakes have gone up. Again, life and death brought into the equation. Dramatic.
Reference to L
K ‘lost’ and desperate – ‘slumps’. Relaxation of tension – doesn’t seem strong or decisive enough to do what audience thinks he will do. M tries to comfort and support K – tension again released.
A comes out. Tense. ‘They say nothing, waiting for her to speak’. Falsely familiar topic of conversation – ‘why do you stay up? I’ll tell you when he comes.’ ‘You didn’t eat supper, did you?’
Stilted speech punctuated by silence – ‘unable to speak to each other’. A seems to have something of great importance to say – finds it difficult – ‘starts, then halts’.
‘I’m not going to do anything about it.’
Simple, short sentence. Relaxes tension. Dramatic tension rises again when A says there are conditions – ‘you’re going to do something for me’. What? Not question, statement. Command. A got the upper hand. A’s speech calm, decisive, powerful, commanding. Obv. Thought about what she’s going to say for a long time.
Conditions = hard for M. K eager and hopeful that M will fulfil them: ‘you’ll do that, you’ll tell him.’
M replies calmly and unusually cruelly – ‘the night he gets into your bed, his heart will dry up.’ ‘That is your life, that’s your lonely life.’ Vindictive, spiteful. But audience knows it will have little effect on A.
A states simply: ‘Larry is dead’.
Has great effect on M – dramatic – makes her stop. A claims to have proof of L’s death. Dramatic – pace mounting, scene speeding up.
Physicality dramatic – M ‘grasps Ann’s wrists’. A tells K to go away, which he does. Perhaps he doesn’t feel strong enough to hear what’s to come?
Letter = dramatic. New concept. Not introduced before. Dramatic as tension mounts while A gives speech – too much for M to bear – she ‘snatches letter from Ann’s hand’.
A: ‘I’m not trying to hurt you, Kate’ – what does the letter contain?
‘Long, low moan’ – why?
Tension mounts, esp. as audience doesn’t know contents of letter. Broken by C’s arrival.
C announces that he wants to ‘say what there is to say’. More drama – what will he say? M tries to distract him: ‘I didn’t hear the car…’ and ‘Jim is out looking for you’. Doesn’t work. C announces departure – w/o A.
Gives passionate speech. Bitter: ‘If I were human any more. But I’m like everybody else now. I’m practical now. You made me practical’. Bitter, accusing tone. Tension released slightly. If C and A go away, no more conflict?
Bitter, passionate speech on futility = dramatic as A pleads w/ C.
A orders M to ‘tell him’ – about letter! Tension mounts- what did it say? Even more dramatic as K appears, grabs C’s arm but C pulls ‘violently away from him’. Dramatic action. Symbolic. Reflects relationship. ‘Edge of sarcasm’ from C – not like him. Changed?
K confronts C about money, business etc. Pleads with him to stay. Desperate. K makes long, one-way speech to C. C never replies – his ‘replies’ are filled with pauses. His silence in contrast to father’s passion = dramatic.
C disgusted and saddened by K – ‘almost breaking’. ‘I can’t look at you… I can’t look at myself!’ Tension released.
Drama heightened again as A takes letter from M and C reads it. M ‘pleading from her whole soul’ and desperate for K not to know – knows how it will affect him. Last resort = dramatic. Audience finally know contents!
Audience realise with horror what has happened. Drama relaxed as contents revealed. Tension mounts as K says ‘I’ll put on my jacket’ and ‘turns and starts slowly for the house’. Seems final. Audience suspects what he will do; so does M, who ‘rushes to intercept him’. M desperately tries to calm him.
Tension mounts after K goes. Audience waits for suspicions to be confirmed and for K to top himself. M and C’s argument slightly redundant – overshadowed by expectation of K’s act.
Tension released as ‘a shot is heard in the house’.
Tension released further as M gives C and A her blessing: ‘Forget now. Live.’
...and another:
‘In Act II, George allows his thoughts, feelings and beliefs to be systematically controlled by the other characters. Discuss.’
Essay Plan
G given a warm welcome by:
C: ‘hand extended, smiling’ ‘what are you sitting out there for?’ ‘we’ve been waiting for you all afternoon’ ‘puts his hand on G’s arm’
Introduces neighbours
Offers him grape-juice – ‘M made it especially for you’
M: ‘Raises both hands, comes down towards him’
‘Gerogie, Georgie’
‘cups his face in her hands’
‘touches his hair’
G ‘laughs’ and ‘smiles’
‘relishing her solicitude’
M uses motherliness and caring to make G feel loved and wanted -> manipulate him M: We all love you.
M: ‘Sit down. I’ll make you a sandwich’. G taken in and ‘sits’.
G speaks ‘with deep feeling for M’
‘they laugh’
‘you’re going to sit here and drink some juice… and look like something!’
G: ‘Kate, I feel hungry already!’
Plans picnic, like old times
‘with desperation and compassion, striking his hair: George and us have no argument. How could we have an argument, Georgie? We all got hit by the same lightning’
‘Why must you make believe you hate us? Is that another principle? That you have to hate us?’
A: ‘She’s got you hooked already! [G laughs, is excited]’
K
‘Look who’s here! [extending his hand] Georgie, good to see ya’
‘as far as I’m concerned, any time he wants, he’s got a place with me.’
‘the man never learned how to take the blame. You know that, G’ [-he does]
‘He damn near blew us all up… he wouldn’t admit that was his fault, either… you remember that’
G tries to resist and stick to original feelings:
‘G pulls away’
‘I liked it the way it was’ – past
‘forced appreciation’
‘Why? Afraid you’ll forget him?’
Brings father into conversation – ‘Don’t you recognise it?’… ‘Your rather’s – he asked me to wear it’.
‘that’s what happens to suckers, you know’
‘you’re not going to marry him’
‘his father destroyed your family’
‘why isn’t your name on the business?’
‘you’re a liar to yourself’
‘let me go up and talk to your father’
G curious about C – ‘what’re you, big executive now?’
Talks about careers – C asks ‘how’s the law’
G taken in by memories of childhood:
‘the trees got thick, didn’t they? What’s that?’
Reminded of past times – ‘you drank enough of it in this house’
M ‘remembered my grape juice’ – little things
‘[he has always liked M]
M: Joe was just talking about the day you were born and the water got shut off. People were carrying basins from a block away – a stranger would have thought the whole neighbourhood was on fire!’
‘I told you to marry that girl and stay out of the war!’
‘you can’t fool me, I diapered you.’
G: ‘I never felt at home anywhere but here. [He nearly laughs’
‘It… rings an old bell’
G introduces father into conversation and uses it to re-fuel his anger and bring the situation back to what he designed it to be.
C uses knowledge of G’s personality and foibles to pacify him. Knows him well. ‘That’s been your trouble all your life, G, you dive into things.’
C talks to G patronisingly, like a teacher to a child: ‘If you’ve got something to say, be civilized about it.’ ‘Are you going to talk like a grown man or aren’t you?’ Reminds G of childhood etc. C on home ground.
A tries to control G: ‘shhh’ ‘quickly, to forestall an outburst’ ‘dear’ ‘don’t be angry, what’s the matter?’
Motherly attitude works: ‘he allows her to seat him’
‘we’re eating at the lake, we could have a swell time.’
Characters use law to put G off taking action – ironic, since G is lawyer now.
A: ‘G, the court-‘
A introduces element of doubt into G’s mind: ‘He’ll say anything, G. You know how quick he can lie’.
C claims certainty that K’s innocent: ‘That same Joe Keller’
‘I’m not afraid of the answer. I know the answer’.
A rushes G: ‘You’ll go soon. I’ll call a cab.’
G caught up in hat excitement and excitement of meeting old flame – Lydia - again
C: [laughs] And truer love hath no man
M: I’m smarter than any of you.
G: (now refered to as Georgie) [laughing] she’s wonderful!
M uses motherly command: ‘Now you’re going to listen to me, G.’ ‘Stop being a philosopher and look after yourself’
It is ‘eagerly’ revealed that Joe wants G to ‘move back here, he’ll help you get set’
Everyone persuades G to stay for dinner, bombard him with talk, rush him, organising clothes, dates etc.
Humour
C: ‘she’s got warts, G’
‘sergeant, G’
‘he looks like a gorilla’
[they all burst out laughing]
‘I wear the pants and she beats me with the belt’
Main techniques:
C’s command of situation and knowledge of G’s character
M’s motherliness, caring, reminding him of old times and that they’re all in the same boat
A’s caring and sisterly attitude
Rushing and hurrying G
‘In Act II, George allows his thoughts, feelings and beliefs to be systematically controlled by the other characters. Discuss.’
Essay Plan
G given a warm welcome by:
C: ‘hand extended, smiling’ ‘what are you sitting out there for?’ ‘we’ve been waiting for you all afternoon’ ‘puts his hand on G’s arm’
Introduces neighbours
Offers him grape-juice – ‘M made it especially for you’
M: ‘Raises both hands, comes down towards him’
‘Gerogie, Georgie’
‘cups his face in her hands’
‘touches his hair’
G ‘laughs’ and ‘smiles’
‘relishing her solicitude’
M uses motherliness and caring to make G feel loved and wanted -> manipulate him M: We all love you.
M: ‘Sit down. I’ll make you a sandwich’. G taken in and ‘sits’.
G speaks ‘with deep feeling for M’
‘they laugh’
‘you’re going to sit here and drink some juice… and look like something!’
G: ‘Kate, I feel hungry already!’
Plans picnic, like old times
‘with desperation and compassion, striking his hair: George and us have no argument. How could we have an argument, Georgie? We all got hit by the same lightning’
‘Why must you make believe you hate us? Is that another principle? That you have to hate us?’
A: ‘She’s got you hooked already! [G laughs, is excited]’
K
‘Look who’s here! [extending his hand] Georgie, good to see ya’
‘as far as I’m concerned, any time he wants, he’s got a place with me.’
‘the man never learned how to take the blame. You know that, G’ [-he does]
‘He damn near blew us all up… he wouldn’t admit that was his fault, either… you remember that’
G tries to resist and stick to original feelings:
‘G pulls away’
‘I liked it the way it was’ – past
‘forced appreciation’
‘Why? Afraid you’ll forget him?’
Brings father into conversation – ‘Don’t you recognise it?’… ‘Your rather’s – he asked me to wear it’.
‘that’s what happens to suckers, you know’
‘you’re not going to marry him’
‘his father destroyed your family’
‘why isn’t your name on the business?’
‘you’re a liar to yourself’
‘let me go up and talk to your father’
G curious about C – ‘what’re you, big executive now?’
Talks about careers – C asks ‘how’s the law’
G taken in by memories of childhood:
‘the trees got thick, didn’t they? What’s that?’
Reminded of past times – ‘you drank enough of it in this house’
M ‘remembered my grape juice’ – little things
‘[he has always liked M]
M: Joe was just talking about the day you were born and the water got shut off. People were carrying basins from a block away – a stranger would have thought the whole neighbourhood was on fire!’
‘I told you to marry that girl and stay out of the war!’
‘you can’t fool me, I diapered you.’
G: ‘I never felt at home anywhere but here. [He nearly laughs’
‘It… rings an old bell’
G introduces father into conversation and uses it to re-fuel his anger and bring the situation back to what he designed it to be.
C uses knowledge of G’s personality and foibles to pacify him. Knows him well. ‘That’s been your trouble all your life, G, you dive into things.’
C talks to G patronisingly, like a teacher to a child: ‘If you’ve got something to say, be civilized about it.’ ‘Are you going to talk like a grown man or aren’t you?’ Reminds G of childhood etc. C on home ground.
A tries to control G: ‘shhh’ ‘quickly, to forestall an outburst’ ‘dear’ ‘don’t be angry, what’s the matter?’
Motherly attitude works: ‘he allows her to seat him’
‘we’re eating at the lake, we could have a swell time.’
Characters use law to put G off taking action – ironic, since G is lawyer now.
A: ‘G, the court-‘
A introduces element of doubt into G’s mind: ‘He’ll say anything, G. You know how quick he can lie’.
C claims certainty that K’s innocent: ‘That same Joe Keller’
‘I’m not afraid of the answer. I know the answer’.
A rushes G: ‘You’ll go soon. I’ll call a cab.’
G caught up in hat excitement and excitement of meeting old flame – Lydia - again
C: [laughs] And truer love hath no man
M: I’m smarter than any of you.
G: (now refered to as Georgie) [laughing] she’s wonderful!
M uses motherly command: ‘Now you’re going to listen to me, G.’ ‘Stop being a philosopher and look after yourself’
It is ‘eagerly’ revealed that Joe wants G to ‘move back here, he’ll help you get set’
Everyone persuades G to stay for dinner, bombard him with talk, rush him, organising clothes, dates etc.
Humour
C: ‘she’s got warts, G’
‘sergeant, G’
‘he looks like a gorilla’
[they all burst out laughing]
‘I wear the pants and she beats me with the belt’
Main techniques:
C’s command of situation and knowledge of G’s character
M’s motherliness, caring, reminding him of old times and that they’re all in the same boat
A’s caring and sisterly attitude
Rushing and hurrying G
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