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

2. 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)

3. 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)

4. 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)

5. 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)

6. 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)

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

8. 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