The Real Inspector Hound.

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The Real Inspector Hound

Contrasting settings, ideals and people dominate The Real Inspector

Hound. Almost every character has an opposite, and is otherwise

totally unique. Cynthia is opposite to

Felicity, Simon is the contrast of Magnus, and so on. Tom Stoppard has

included these contrasts for a variety of reasons and effects that

combine to create the disturbing effect of the play incredibly

effectively. But what individual effects do his characters create by

opposing each other so accurately.

At the start of the play, Stoppard deliberately confuses the audience

with the opposing characters of Birdboot and Moon, at first; the

audience is left to indulge in the view of moon and the body, this

allows them to create their own impression of Moon, and Stoppard

encourages this impression with moons early actions. Moon begins by

staring blankly ahead, then he reads his program, then he continues to

stare. This affects the audience because Moon appears to be a simple

member of the audience, and so the audience become infuriated at the

pause, yet he is on the stage and so the audience become perplexed as

to whether Moon is a member of the audience, or a character in the

play. It is when the audience are most confused and becoming bored

that Stoppard introduces the next part, Birdboot. Birdboot is a polar

opposite of Moon, and as the audience will swiftly become aware,

represents one stereotypical type of critic, whilst moon represents

another, the opposite.

Birdboot settles into the chair next to Moon eating a packet of

chocolate, instantly the contrast is obvious to the audience, here is

Moon, reading his program and thinki...

... middle of paper ...

...on takes the role of Hound. At this

point Hound and Simon occupy the Critics seats, the plays are now

almost totally merged. The play is ready, Magnus unveils himself in

all his glory, he is the real inspector Hound, Albert, and most

importantly Puckeridge. Only Moon and the audience know, and seeing as

Magnus had successfully framed Moon for the murder, going so far as to

convince Moon himself of Moon's guilt. He shoots Moon takes Cynthia,

and presumable lives happily and evilly ever after. The actors are

totally flummoxed and their two dimensions are suddenly apparent. Now

the audience are in the know, and the actors are ignorant. The

audience want to scream at them. The contrasts at this point no longer

matter, they have been Broken, and this break subconsciously makes the

audience realise it is the end of the play.

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