Wertenbaker wrote The Good of Our Country to describe a process of character development. Through Howardian theory of redemption, learning from each other, and acting in their production of The Recruiting Officer, they transform into what Phillip again calls "members of society" as they "contribute to create a new society in this colony. The word "transform" comes from the Latin "transformare", which literally means "to change form", but it normally has connotations of evolution rather than deterioration. In Act 2, Scene 2, Wisehammer says, “It doesn't matter when the play takes place. It's better if it's set in the past, it's clearer" and so when the word "transform" is applied to theater it seems to suggest that as the characters physically change their appearance or mannerisms to play their characters in The Recruiting Officer, they also change their way of thinking. They learn from the story of the play. So even though Wertenbaker truly controls the transformations through his artistry, the characters seem to transform and improve on their own. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay. Ralph demonstrates that he is following orders and doing what he must to try to get out of the colony. In Act 1, Scene 6, he says: "We could... transcend... the brutality... and remember... England", because here "transcend" means "to cross" or "to go beyond", but this idea of ​​going beyond suggests that Ralph does it. I don't want to face difficulties directly. Instead, he tries to avoid trouble to keep moving forward. In Act 2, Scene 2, Ralph demonstrates his complete obedience to Phillip with terse, rambling comments - "Yes and I-", "Sir-" and "I see- Sir" - implying that here too, Ralph follows up on his message. duties to avoid confrontation and keep life in the colony simple. Yet Ralph hasn't changed at all and still wants to escape. This theme is further emphasized since in the original performance of Our Country's Good in 1988, each of the actors played two or three characters; however, David Haig only played Ralph Clark. While this tactic may simply be practical, as Ralph appears throughout the play, it more likely suggests that he does not transform; the actors play different characters as they all strive to be united, but Ralph is left behind. Additionally, Ralph uses Mary in order to cover up the difficulties of being on the ship. In Act 2, Scene Nine (The Love Scene), it is clear that Mary and Ralph are having an affair, but as earlier, Ralph seems anxious and afraid: “He looks at his watch. Gets up. Footsteps. His relationship with Mary could be a way for him to forget the colony, in the same way that Arscott uses the theater to forget: "When I say Kite's lines, I forget everything else." However, with the affair's status as illicit (since Ralph is married to Betsey Alicia) and with Ralph's desire to escape, Wertenbaker could convey the flaws of humans. Phillip understands this idea in Act 2 Scene 2, as he appears to have been made omniscient by Wertenbaker. Here he tells Ralph that "Socrates angered the state of Athens and was put to death for it" to suggest that Ralph angered the colony and the convicts by not accepting his own faults, but simply blaming the others, and is therefore not a good Lieutenant. Instead, Phillip states that the condemned must "become an example of... through redemption" and that although Ross treats thecondemned as animals – “Now wag your tail and bark” – Ralph can try to “redeem [their] humanity.” Ralph, however, turns to the idea of ​​martyrdom by drawing a parallel with Jesus – “I will give my life” – but Phillip explains that their experience is not about deification or religion – “The reverend is an ass” – but about basic humanity, so basic that the Aborigines deeply understand two scenes later: "How can we befriend this crowded, hungry and disturbed population? dream?" » In Act 2, Scene 2, Phillip also conveys the ideas of the philosophy of the imperfect in that trying is what counts, even though "we may fail." He suggests here that there is no point in “transcending” and trying to escape, because then we will not move forward. Dabby does not understand this at the end of the play, as she uses the room to escape – "well done Dabby, hooray, you escaped" – and is therefore unhappy – "Please, I want to go back in Devon” – while Mary, who uses the room to free herself, ends with the striking and independent exclamation “I love it!” Wertenbaker suggests here that those who use the room to forget do not end up as happy as those who use the room to transform. The irony is that the inmates understand this, while Ralph does not: "Unexpected virtues are often accompanied by unexpected virtues in people" (Phillip). Later, in Act 2, Scene 7, Dabby understands transformation through commitment in the recruiting officer's words, but does not apply such transformation to the play and his life. She says, “Marriage is nothing, but will you take care of her? and thus explores the idea of ​​a structure which no longer has meaning if there is no emotion; If inmates view the play as merely a form of drama, as opposed to a method of transformation, the play becomes useless. While indirectly realizing this here, in the end Dabby does not understand the idea and sees the play as a structural device, thus providing a contrast to the momentum of the play and to Arscott's ideals: " When I say my lines, I mean nothing else. Why can't you do the same?/Because it's only for one night. » Dabby, however, moves from his hardened cynicism to passion and romance. In Act 2, Scene 7, she says that "love is the barter of perishable goods", and this language of commerce and industry suggests that she sees love through the prism of a convict ; prostitution as a means of subsistence is the only idea of ​​love she has had. In scene 11, however, she appreciates beauty and uses the language of romance ("I saw the whole play and we all knew our lines, and Mary, you were so beautiful") and this transformation seems like an accomplishment from Phillip's previous one. prophecy: “The condemned will speak a refined and learned language and will express feelings of a delicacy to which they are not accustomed. » The language of theater and freedom of expression led Dabby to appreciate the beauty of humanity. In scene 7, there appears to be romantic conflict between Ralph, Mary and Wisehammer. Wisehammer tells Mary, “I would marry you…you would live with me” and, while doing so, kisses her. However, Ralph gets "angry" offensive: "I'm not saying Silvia is kissed in the stage directions! While this is clearly a conflict, it's actually also a transformation from the very first scene as Wisehammer speaks in the language of lust and profanity – "what's the matter?" there's nothing to do but look for English pussy” – and Mary distances herself from love, belittling him – “I don't know why I did that. Love, I guess. By embodying the characters in the play and demonstrating.”