UNIT 5 REFUND (CONTD.

Structure
5.0 Objectives
5.1 Analysis of the different parts of the play
5.1.1 Study Guide
5.1.2 Action
5.1.3 Conflict
5.1.4 Characterisation
5.1.5 Dialogue

5.2 Summing Up
5.3 Answers to Self-clheck Exercises

5.0 OBJECTIVES
In Unit 4 we studied the play, Refund in terms of its structure. We will now highlight
a few more aspects, namely, action, conflict, characterisation and dialogue. In the
course of this unit j u will be asked some questions based on the play which should
prompt you to think critically about what you have read.

5.1 ANALYSIS OF THE DIFFERENT PARTS

, OFTHEPLAY

5.1.1 Study Guide

Refund is a satirical play based on the improbable situation of a student demanding a
refund of his school fees because he felt that he was taught nothing. The action
consists of the movements of the various characters as they participate in the re-
examination held for Wasserkopf.

In course of the action we notice the conflict between Wasserkopf (or the individual)
and the school Masters (or the educational system). In stage presentation a balance of
sympathy between the two conflicting sides should be maintained so that the literary
devices like satire, irony, and humour which are used in the play can achieve the full
effect.

The action and conflict along with the dialogue help in the presenta\ion orf the
characters, of the play.

Read the play carefully once more paying special attention to these four dramatic
elements.

5.1.2 Action
We have seen in Unit 1 that the plot of a play moves forward from the present into
the future, resulting in a change of the situation from the beginning through the
middle to the end of the play. This movement is by means of action - both physical
and mental - of Wasserkopf and the Masters who are pitted against each other. You
may have observed that because of its short duration, the action in a one-act play is
relatively limited. In this piay, the action is restricted to the re-examination of
Wasserkopf in the Prirfcipal's room. The physical movement of the actors is only such
as would occur in this situation. This lack of physical movement is balanced by a
large number of gestures, stances and expressions on the faces of the characters along
with the author's notes. All these become significant as they help us to understand
what is occurring in their minds and what strategies they will adopt. The dramatic
action involves confrontation between Wasson on one hand and his school masters on
the other. Both work-out their respective strategies to outwit the other. The action in
 the play is more of a strategic confrontation than one of physical movements on stage. Refund (Contd.)
The play gains its momentum through action that calls for a state of mental alertness
and cautious movements. \

Action underlies the conflict in the play which relates to the modern educational
system. Wass represents the product (or the victim) of such a system and the conflict
thus broadens itself beyond the sparring match between student and masters to
. address itself to the vapidity of modern education. Hence neither Wass's mulish
demand nor the masters' clever trickery to outmanouegre him affirms the validity of
modern schooling. Wass's dismissal at the end in no way enhances the prestige of the
teachers who desire only to perpetuate an outmoded educational sptem. Thus the
play strikes a good balance between mockery and seriousness, so that we recognise the
inherent conflict or tension that runs through the play.
Everythipg that happens is of significance since it contributes to this purposeful
development and to a sense of continuity in the play. After taking a look at the
movements discussed in 4.1.5 we shall trace the development of the action through
them in chronological sequence.
I

Movement I
We see the Principal seated at his desk in the school office when the servant enters.
Can you suggest the significance of this fact?
I
It indicates both the place and time of the play. The action is limited to the school
I
office and takes place during the working hours of a normal school day.
I

The servant tells the Principal that there is a vlsitor to see him. When the Principal
indicates that he does not receive parents at this hour he is informed that the visitor
calls himself Wasserkopf and that he looks neither as old as a parent nor as young as
a student. The Principal's fear that it might be a School Inspector is allayed by the
comment that the visitor appears to be quite intelligent. Have you noticed the
sarcasm? We are thereby given useful about Wasserkopf and this helps in the
exposition of the play. We have also learned about the Principal's indifferent attitude
(which comes to represent the indifference of the school system) from his action of
'learning back' and 'stretching' nonchalantly. We can also observe that the Principal
becomes animated only when his own position is threatened from directions such as
'disquieted', 'much disquieted' and 'reassured'. These actions highlight the purpose of
the Play which is to show how a callous school system nurtures unpleasant individuals
like Wasserkopf who fail to realise their potential.

You can now understand how each action is introduced with the definite purpose of
developing the play in a logical and consistent manner.

Movement 11, Wass's entry and his conversations with the Principal
We learn from the subscription that Wass is a 'bearded man, carelessly dressed,
somewhat under forty. He iienergetic and decided'. Wass we are told 'remains
standing'. This action is significant for it shows that he has planned to look energetic,
behave like a bully and display impatience.
Wass introduces himself where the Principal's casual attitude to the students'is
revealed in his responses (note the comment, 'without enthusiasm') - This serves to
justify to some extent the incredible request of Wass for a refund and his insolent
behaviour. This, you will notice illustrates how the latter action will grow naturally
out of what is occurring in the present.

Wass explains why he has come to his old school. He announces that his purpose is to
get a refund. since he did not get an education that could fit him for a job and the
certificate given him is worthless, he is entitled to get a refund.

The shocked response of the Principal to this absurd idea (the direction,
'incredulously' is significant) reveals how he has been shaken out of his indifference
and prepares us for similar reaqtions that the Masters are going to have to the
situation. Wass describes how he got the idea of a refund from his old classmate and
elaborates on how the education he has received has made an 'incompetent ass' of
him. Wass makes clear his intention to take another examination to prove how
One ~ c plays-II
t ignbrant he really is and even threatens to complain to the Min. of Education if he is
denied the opportunity. This movement concludes with the departure of Wass and the
Principal's decision to consult the staff.

This movement op&s up the conflict. It has added to our knowledge of the characters
particularly by showing 1 us not only how shrewd and cunning Wass is; but also how
complacent and uncaring the Principal.
You wbuld.have noticed that in this play there is little of actual physical action and
the movements consist of either gestures or comments on posture and expression.
These gain significance as they show the state of mind of the characters and indicate
the direction their thoughts are taking. In this movement this mental action reveals
how Wass tries to impose himself by means of swagger and belligerence while the
Principal'attempts at authoritarianism give way to shock and a desire for conciliation.

If we look back at Movement I1 Wass's actions in their progression from 'he remains
standing' to. 'firmly' and 'sitting' (when the Principal suggests that he should leave) to
the final 'He saunters out in leisurely fashion' clearly indicates that Wass has won this
round. Correspondingly, the Principal grows progressively less sure of himself. He is
'at a ldss for words', is 'trying to gain time' and at the end 'scratches his head' in total
bewilderbent.

You can now appreciate how in a play that deals with the attempt of each party to get
the better of the other, the action will consist mainly of the evolution of plans and
strategies in'the minds of the main characters. This evolution is indicated by their
,gestures, movements and by the author's notes.

~ 6 l e m e n 111
t consists of the Principal's consultations with the teachers
We are again shown the Principal's anxiety over this situation which has no
precedent. His discussion with the teachers @.?outWass elicits responses from them
which are equally ridicnlous. You cannot miss the tone of mockery in these comments
which expose the limited intelligence of'the Physics and History Masters. The only
exception in this group is the Maths Master who with his alertness sizes up the
situation. The stage direction 'chuckling' prepares us for the amused anticipation with
which he faces this unusual challenge to his ingenuity. The process of building up the
latter as the chief opponent of ass is thus begun. Though there is not much physical
action on stage, tiie mentql actiops or thought processes are initiated which will bring
about the confrontation between Wass and the teachers.

The Maths Master explains the danger inherent in Wass's peculiar request and
outlines the strategy of all their concerted efforts which will ensure that Wass does not
fail.
By the end of Movement 111 the exposition is complete and as the Maths master
assumes charge of the situation the stage has been set for the re-exam of Wass. You
can now see how each action helps to maintain the dramatic unity by contributing to
the logical development of th~9ituationtowards its complication and resolution.

Movement IV, Wass is asked to take his test by the masters.

Wasserkopf enters and has an aggressive and insolent demeanour. He is clearly
putting into action his plan to be deliberately difficult, discourteous and unintelligent
so that he can provoke his erstwhile teachers into failing him. His actions reveal his
shrewd mind which has hit upon this strategy of put-on dim-wittedness in order to
gain his ends. The smartnes of Wass is well balanced by the ingenuity of the teachers
They are successful in cleverly converting every insult into a proof (though ironic) of
his cultivated manners. G c h plays his moves with great calculation. Each is akrt ngt
to be checkmated.

EV$; action of Wass is tinged with impudence. He is very alert to the Masters'
questions which are deliberately designed to b e l t an elementary level. They are well-
patched and the verbal sparring constitutes the action here.
A

Movement V, ~k and VII, The re-examination of Wass

.)

Wass is in turn auestioned bv the Historv. Phvsies and Geogra~hvmasters. The

 farcical e l e m e l now predominates. Roles appear to be reversed with the'examinees a? Refund (Contd.)
complete ease and the examiners in a state of acute tension. The History master is
able to ask a sufficiently simple question while the other teachers prompt and
encourage Wass to give the correct answer. The Masters are totally nonplussed when
Wass answers that the 30 Years War was exactly 7 metres long. The Principal asks thc
History'Master to try t o make sense of this but it is the Maths master who gives an
ingenious interpretation of the answer to prove how profound Wass's knowledge is.

I
The tests in Physics and.Geography follow a similar pattern. Wass becohes
increasingly more abusive towards the teachers. He still shows considerable skillin .
coming up with absurd answers to questions that have self-evident answers. We can
perceive, however, that-the Master are slowly but surely getting the upper hand, Wass
appears somewhat less self-possessed and sure of himself; and correspondingly the
behaviour of the teachers becomes more authoritative and less conciliatory.
The actions of both Wass and of the Master suggest that we are moving towards a
s~tuationin which Wass will fail to achieve his goal and that the teachers will triumph.
Wass's self-confidence seen in his action of taking off his coat and his eagerness to be
I
questioned changes to incredulity, worry and nervousness as the re-exam proceeds.
These gestural directions show Wass's complex mental agitations as he realises that
his plan is faltering before the concerted action of the teachers. They, on tqe'other
hand, are slowly coming into their own as they repeatedly congratulate each other o n
their success. Final pr60f of their growing self-confidence is summed up in the
Principal's 'silencing him with a gesture'.

Movement VIII, The examination in Mathematics

Wass is seen to be nervous but determked to win the final round. He is even more
offensive as he gears himself to show his total ignorance of mathematics. The Maths
master appears calm and collected and supremely self-confident.

The events in the previous three movements have suggested that Wass is likely to be
outsmarted by the masters. To add an element of surprise to the play an unexpected
twist .is given to the action at this point. Can you discover how the author has
achieved this?

The Maths master speaks to Wass as he would normally do to a student while

6onducting an examination. He states as a matter of fact that he will ask one easy and
-one hard question. The easy question turns out to be very complicated and Wass's
answer is declared to be wrong. To the utter disbelief of the Principal, the Maths
master counteracts their previous strategies to declare Wass passed byrecommending
the refund of W's tuition fees, in view of his poor performance.
Every one is thunderstruck by this volte face on the part of the Maths master, but
Wass is teo delighted at the prospect of getting all his money t o notice anything.

He therefdre fails to detect the trap when the Maths master innocently asks him how
much the school owes him. Wass launches into a detailed calculation leading upto an
~ impressive total that is correct to the last heller. The tables are conclusively turned '
when the Maths mister reveals that this sum was the difficalt question which Wass '
had solved and that Wass is a genius who has passed his maths exam.

The action in Movement viii contains a clever twist which leads to the climax of the
play - in the final defeat of Wass. Movements vii and viii involve 2 different kinds of
action that give the play a dramatic twist. The dialogue between Wass and the Maths
master again'highlights the significance of mental action when both the contestants
are well matched. Action in movement vii consists in stretching .W's pretentious
ignorance into genuine ,a:!.olarship to refuse his demand for refund while the
counteraction in vii4,qolves steering his true ignorance to genuine knowledge once
morp to heny him the return of his fees.

You can-ste how action is closely linked to the logical developmentof rkepfay: I tie
unexpepted turn lends credibility to Wasser's defeat because the action of the Maths
,master Has lulled him into a feeling of security, has disturbed his cancentration at the
One Act Plays-11 cmc~almoment and intensified his greed which makes him blind to the trap that has
been laid for him. His failure to be alert at this moment is therefore not only grimly
funny but also convincing. Action is thus integrated with the plot, characterisation
and humour in the play and contributes to its successful forward movement.'

Movement IX, The Principal presents the results.

~ h action
k is now carried to its logical conclusion. Wass is congratulated for his
brilliant result which has demonstrated his knowledge and ability. It is now the turn
of the masters to give vent to their pent-up anger at Wass's impudent behaviour and
insulting words. Their utter contempt for him is represented in his being treated like
an object fit only to be humiliated and thrown out. But their actions and words betray
their shallow petty-mindedness and immaturity. You have already felt that Wass does
, not evoke much sympathy. At the end, however, the irony of the masters' concluding

remark : 'In the future it will be our proudest boast that in this school a pupil simply
cannot fail !' further underscores the failure of the education system which makes -
victims of many Wasserkopfs. This ironic, paradoxical conclusion is appropriate t o -
the bitter humour that characterises this farce.
Now that we have traced the development of the action in the play, can you list out
the various functions that it has served?

1) Action has set the time and the location for the play.
2) It has helped in exposition and helped in the revelation of character. (At this
point, imagine a situation when there is an audio failure as you watch these
characters in action. You will realise that even with their gestures and looks these
characters will be able to reveal their Garious moods of anger, surprise, frustration
and complacency. The above point is made not to belittle the value of words, but
only to affirm that action is indispensable even in a farce like Refund where
most of the unravelling of the plot is done by dialogue.
3) Action has helped in the logical progression of the play from exposition through
complication and climax to the denouement.
4) By bringing about the conflict between two sets of characters.

In drama conflict may be of two kinds - the outer and the inner conflict. In the first
category comes the clash between two or more characters or between an individual
and society or an institution or some impersonal force. The inner conflict occurs
within the protagonist.'Refund presents mainly the outer conflict. As you know,
this play is a farce. In such a play there is little effort to present either characters or
issues in any great depth. Any message that the play.succeeds in giving is through
exaggerated and preposterous situations humorously presented. The characters
therefore do not show self-knowledge or any noticeable growth in personality. Inner
conflict, therefore is unimportant in a farce.

What, in your opinion, constitutes the outer conflict in this play?

In the play, outer conflict arises between Wass and the Mathp~Master(who comes to
represent all the teachers who reexamine Wass). The struale between the two is -
really that between their opposed intentions. Wass wants t I fail his re-exam in order
to get back his tuition fees. The(+ths master 'is equally determined to ensure that he
passes and so can be denied his refund. The conflict lies in their attempts to outwit
one another. The dramatic conflict ensues as the two men pit their wits against each
other. You already know what the result of this struggle is.

Let us discuss in detail how'this conflict is central to the development of the play.
Wass has lost his job and is completely penniless. A chance meeting with Leaderer
gives him the idea that he should try to get back his tuition fees to mend his broken
fortunes. He cleverly attributes all his failures in life to the inadequate education he
received at school. He calls himself an 'incompetent ass' and his shrewd mind works
out the clever plan of asking for a re-exam to prove that this is indeed so. If he can in
fact fail convincingly his claim that he has learned nothing would be proved entitling
him to his refund.
I Though Wass's plan of action is not stated we learn as the action proceeds what nis Refund (Contd.)
1
I
approach is going to be. He assumes an offensive and aggressive demeanours. It is
clear that he wants to proyoke the teachers into failing him.
I
I
When he enters in the IVth movement he says to his teachers, 'sit down, you loafers !'
Further on he strikes the same note again, 'What the hell ...! I don't give a damn for
'the lot of you'. ... Let me fail as quickly as possible, and give me my money.
I Everything else is just damned nonsense !' Or again, 'Go to it ! Ask me questions,
t professors - I mean, longeared asses !'

* The second stage of his plan is to give completely nonsensical answers of which he is
I confident. He says 'I'd like to see you get a single correct answer out of me'.

The antagonist in this outer conflict is the Maths master. He is the first person to realise
the cunning of Wass as also how embarrassing his failure will be foj the school
authorities. He is the one who, therefore outlines the plan of action for the teachers.
You will recall that he asks his colleagues for their full co-operation and tells them.
The Maths master (chuckling) : A re-examination? Gentlemen, it is my conviction
that we shall lose nothing by re-examining Wass. If he fails he will place us in an
awkward position; therefore he must not fail. He has - shall I say? pursued
advanced studies in the school of life. We will not make our questions too difficult -
agreed, gentlemen? We are dealing with a sly, crafty individual, who will try to get the
better of us - and his money back - by hook or by crook. We must checkmate him.
The Physics Master : How?
The Maths Master : by sticking together. The object is to prevent him from failing,
because if he fails he succeeds. That we must stop. If he fails, tomorrow there will be
two more former pupils, and the next day a dozen. We must back each other up,
gentlemen, so that this painful affair does not become a pedagogical scandal. We will
ask him questions. Whatever his answers, we agree before-hand that they are
correct.
The rest of the teachers fall in line with this plan and the Maths M becomes the
spokesman far the entire group.
You'can see by comparing the speeches of Wass and the Maths M how there is going
to be a direct conflict between the intentions and strategies of both.

From this dramatic conflict between W and the Maths M arises the action and
forward movement of the plot leading at the end to the defeat of W's intentions and
t h e h u m p h of the Maths -ter.

Observe two facts about the play that you already know.
i) Inner conflict is unimportant in this play. Wass shows neither any growth in
personality nor in self-knowledge.
ii) The plot is a single linear one progressing forward to Wass's defeat. With the
resolution of theconflict the action of the play too comes to an end.

These two facts may lead you to conclude that the play lacks depth and that it is
written simply to amuse.

This, however, is not the impression that the play has made on us. If we widen the
scope of the conflict we see that Wass is not just an individual but is a product and
victim of the modern education system. In the same way the Maths M (along with the
others teachers) represents the limitations of anomalies and injustices of this system.
The conflict then is one between the individual and an institution, and deals with
larger issues.

Wass's greed, cunning and cursedness make him, an unpleasant man but we cannot
deny that he is alert and bright. The school system does not equip one like Wass to
face life successfully causing him to misuse his intelligence to defraud his old school.
Outrageous though his attempts are, we feel no sympathy for the masters for they are
totally uncritical of the system they uphold and are eager to protect it (and
themselves) by any means. In the process they show their indifference to the welfare of
One A d Plays11 theiqstudents, an uncaring attitude towards their problems and no commitment c
either human or academic ideals.
In most plays the conflict is between the good and the bad (recall the conviction the
Bishop's Candlesticks overcoming his animal tendencies), where the triumph of the.
former is desirable. A peculiarity of this play is that the conflict arouses a mixed and
confused response in the reader. We can neither sympathise wholly with Wass nor can
we approve of what the masters do. The humour cannot dispel the bitter taste that the
play leaves.
What the author is clearly suggesting is that a fresh look must be taken at the school
system wherever the fault may be. This aim has been achieved by presenting the key
elements (i.e. the student and the master) in conflict with one another. Since this is a
farce the tone of-the conflict never becomes sentimental and relies heavily on humour,
irony and sarcasm. Since the author's intention is to arouse awareness alongside with
laughter, there is an undercurrent of seriousness in the presentation of the conflict.
The fact that the system is exposed but that no resolution takes place suggests the
author's scepticism at the possibility of a salutary and radical reform.
5.1.4 Characterisation
You should try to understand the characters by answering the questions given below.
Try to write the answers to these and check them with the explanations given by us.
This will help you to make an accurate analysis of the various characters in the play.

Self- check Exercise

Answer the followings :
i) Go through the list of the characters. Categorise thein into major and minor
characters.
ii) What is the dramatic function of each one of them?
iii) Who do you think is the hero of the play?
iv) Is the hero (or protagonist) a sympathetic character?
v) Is there an antagonist in the play?
Hints
i) W a s , the Maths master and the Principal are the major characters. The Hist.,
Physics, Geog., masters. and the, servant are the minor characters.
ii) Dramatic function of all the characters.
The Servant :He is attached to the Principal's office. He appears very briefly at the
beginning of the play and serve&a expository function. He innounces Wass
and gives information about him that helps form our initial impression of him. At the
end he~unceremoniouslythrows Wass out of the P's office. He is needed only for the
stage business.
The Principal : The Principal (along with all the other teachers) is representative of
the modern educational system.

He is indifferent and uncaring. He takes no interest in either students or parents and

'will exert himself enly if his own position is endangered in anyway. He is
authoritarian and initially attempts to browbeat Wass into abandoning his plan. His
30 years as a schoolmaster have made h i q complacent and he is outraged by W's
unusual demand.

His cunning is seen in the ingratiating tone he adopts towards W when he realises the
risk that he poses. Though irritated by W's request he fails to grasp its import. When
the M's M explains, however, he is the first to understand the implications. From then
onwards he is the aclaosest ally of the Maths Master and'provides him with constant
support in the execution of the plan to fail Wass. His responses are quick and he
offers ingenious interpretations. At the end-when he announces the result he assumes
charge of the situatibn and dismisses in a humiliating manner.

Along with the MM the P rep sents one element of the conflict - that of opposition
to W's scheme to get a refu 2 His callous attitude and insensitive behaviour gives
credenance to W s grouse against the school system. He more than any other
characte~represents-the inhumanity of the system and'ke~istherefore given point to
'8 the satire I'n the play.
WaSs : W is the ~ e n t r afigure
l in every way. He initiates the action by returning to the
school with his extraordinary request. The entire action revolves around him. He
creates the conflict by posing a challenge to the complacency of the school authorities
and the frustration of his plans brings about the resolution of the play. His-responses,
attitudes and behaviour are the focus of the satirical questions raised about the value
of the educational system.

The Maths M. : He leads the opposition to Wass and is the main antagonist in the
play.
The strategy for the defeat of Wass is proposed by him and he ensures its success. His
shrewd, alert and cunning nature provides a dramatic balance to these very qualities
in Wass. The M.M is also responsible for the interesting twist which the action takes
towards the end of the play. He represents t h t attitude of status quo at any cost ath her
than any meaningful attempt at change. He does not, however, show the calious
indifference that the P comes to symbolise.

The Hist, Phy and Geog Masters : These are introduced with the author's direction
that 'they are characteristic figures whose ectentricities are exaggerated'. They are
then stereotyped figures representing the typical teacher types and are not really
individualised. In fact, Wass is the one who draws distinctions between them by listing
their peculiarities.

Their dramatic function in the play is limited to generating humour and providing the
situation (the re-exam) in which the plans of both Wass and the MM can be put into
action. In fact you would notice that were there either 2 or 4 masters instead of these
3 it would not really affect the action in any significant way.
iii) The hero : from the discussion in ii above, it is clear that though the MM and
the P are vital to the play, it is Wass who is the hero. Neither he as an
individual nor his circumstances undergo any change in the play yet he is the
initiator of the action and is central to it.

iv) &v) If Wass is the protagonist then who is the antagonist? All the other
characters (barring the servant) with the M M as the leader are ranged against
him and are in this sense the antagonists. There is, however, nothing personal
in the resistance that they offer to W. Any other student with a similar
demand would have met an identical reception. The entire group then
represents an unfeeling and unfair education system. We can say that the
antagonist is an impersonal institution - that of ihe modern education
system - which is resistant to improvement and change. T o some extent W is
a victim of this system. He complains about the inadequacy of the education
he has received but since he doesnot demand that the quality of education be
improved but makes an absurd request for a refund he does not evoke a
sympathetic response. We definitely get the impression that his failure in life
is to a great extent of his own making (compare Leaderer's success though he
is a product of the same school). His greed and cunning, boorish manners
and abusive language also alienates the reader. Excessive sympathy for Wass
would have generated sentimentality instead of the bitter humour and grim
irony that the author wishes to create in this satirical farce.

Fiom this discussion two important facts emerge. One is that the characters in his
play are not realistically presented but representative. Though each possesses human
qhalities none of them is quite like any person we might meet in real life. Wass on one
hand and the school P and teachers on the other represent the two sides of the
educational system. In a humorous though somewhat bitter way the writer wishes
primarily to raise doubts about the system's failure to give a meaningful education
and harness the potential of the students.

The secondis that this exposuqe is conducted without generating any feelings of
sympathy for either group of characters. Neither side is presented as likeable and the
most that can be said for either is that we admire their wit and ingenuity. The
characters then succeed through 'their a'ntics in provoking some awareness about the
limitations of the system but they do not create any humai* warmth. The play is
funny, satirical and ironic but lacks the human touch. ,
Action and dialogue work together in the forward movement of a play. In
Refund there is very little physical action on the stage. In 4 short humorous play of
this kind the dialogue plays a relatively larger role in the development of the story.
Both elements must be present in a play but their relative importance may vary.

An analysis of the dialogue through the nine movements will help us to define its
function in this play.
The opening conversation between the P and the servant is mainly expository in
intention. He learns from the dialogue that it is a normal working day in the school -
which gives us the time frame of the play. We also learn about W's age and
appearance.

The dialogue reveals the P's character. His authoritarian tendency is seen in his
insistence on adhering to visiting hours. His unhelpful attitude is apparent from his
pre-emptive refusal to meet a parent thereby preparing us for his total lack of
sympathy for students.
Let us look at one of the exchanges.
The Servant :He told me I should just say 'Wasserkopf.
The Principal (Much disquieted) : What does he look like? Stupid? Intelligent?
The Servant : Fairly intelligent, I'd say, sir.
The Principal (reassured) : Good ! Then he's not a school inspector. Show him in.

The P's words are amusing but the satirical comment on the stupidity of school
inspectors prepares us for the kind of humour we shall find in the play. You must
have noticed the dialogue, is vital to producing this kind of ironic humour. The
opening dialogue has set the tone for the action that follows and has aroused curiosity
about Wass and his visit to the school.
In the second movement the main function of the dialogue is to tell us about W's
reason for coming to the school. It is also a tool for character delineation. Wass
speaks in a somewhat hesitant and uncertain way indicating that he is not all that
aggressive to begin with. He appears disappointed at being forgotten by the school
authorities but has the sense of humour to remark 'You mean to say you don't even
remember my name? (He thinks it over) No, I imagine you wouldn't. You were
probably glad to forget me.'
He presents his request for a refund being conscious of the fact that it is an unusual
demand to make. His words display a peculiar simplicity of mind which equates his
failure in life with the lack of a proper education and his consequent right to get back
his money.

If you look at his explanation how he got the idea:

Wass :Like that. Here I was .... for them'. (Page 291-92.)
This still reflects a simple direct approach. Compare this to his words in later
movements. You will see that the violence, crudity and abusiveness of his language
reflects his g: >wing cunning and belligerence.
The P's lack of interest at the start of the conversation is seen in his off-hand tone and
casual remarks. The change from this to one of desperate agitation is clearly reflected
in the word he speaks. They are increasingly punctuated with exclamation marks that
reflect his anxiety and end on a tone of uncertainity. The see-saw movement for
dominance and control of the situation between Wass and the P is closely mirrored in
the hesitant or authoritative tone that each assumes.
As in the first movement, the author introduces humorously ironic comments directed
at the education system. Note Wass's replark : 'Absurd, is it? It's a good idea. It's such
a good idea that I didn't get it out of my own head, thanks to the education I got
here, which made nothing but an incompetent ass out of me.'

In the 3rd movement the P consults the staff. How agitated he is shown in his excited,
clipped manner of speaking : 'It is unprecedented, incredible, fantastic !'
W'r rlsirn that h ~ h a heen
c c.heat~rlhv the crhnnl aiithnritiec makes our first
 impression of the teachers significanf A.re they indeed as worthless as he implies? The
response of each of the teachers in terms of his own subject creates humour of a
simple direct kind. But, it also reveals that they are of limited intelligence.

i The practical nature and acute mind of the MM is indicated by his direct and
masterly summing up of Wass's game and their need to exercise the utmost caution.
His dialogues at this juncture show him to be a perfect foil to W's cunning.
The ieading part that the MM plays in the checkmating of W is further revealed in
movement 4. He shows complete self-confidence by interpreting every boorish act
and abusive word of W in the most ingenious way. His strategy of,concerning W and
putting him on the defensive from the start is shown in the verbal assault of his first
speech in this movement :
The MM (interrupting) Please .... Excellent! (Page 295-96)
W's impatience and his eagerness to get his money is also clear from his words and ~

prepares us for his ultimate failure to detect the trap at the crucial moment. The
dialogue is in this way instrumental in foreshadowing events and giving consistency to
the actions of the characters.
Movements v, vi and vii, are variations on the single theme : that of absurd questions,
ridiculous answers and ingenious explanations. These sections describing the re-exam
in Hist, Phy and Geog, form the humorous core of the play. The satirical intentions is
momentarily forgotten and sheer fun prevails. The teachers show their skill at giving
fantastic explanations, the language becoming correspondingly high flown. The
misuse of language to confuse rather than clarify, to impress with apparent profundity
but actually devoid of meaning is admirable illustrated here. The writer is perhaps
asking an oblique comment on the hollowness of an education system where words
rather than substance predominates.

Ira movement viii occurs the climax of the play. W7slanguage as seen in the passage
below is provocative and displays a confidence that comes bcfore the proverbial fall:
Wass : So here you are .... and let me fail (Page 303-304).

The MM's inverted seriousness about this mock-exam is a mark of his control of the
situation. The calm even tenor of his speech is in marked contrast to the nervousness
and desperation displayed by the other teachers. The detached and cool manner with
I which he speaks hides the grim humour of the trick he is playing on the complacent
W. He seems to have played into the hands of W whereis in reality, his business-like
handling of the Maths exam has lured W into making the fatal error of showing his '

skill at calculation just when he should have been at his most stupid.
I

The dialogue in this movement has effectively helped in delineating character: the use
of a sober tone and language as in a genuine exam highlights the M's master's shrewd
understanding of W's mind and hoib it works. Further, the change of tone - the
apparent seriousness of this exam - complements the suspense in the action at this
stage. The audience, like all the other characters in the play has been taken by surprise
by the MM's apparently contradictory behaviour. We all follow his speeches with
great care to detect where the catch may be. It is skill of the author that it is only at
the every end of the re-exam that he reveals of the game is. In this climatic section
dialogue has helped in the revelation of character, in supporting the action and in
resolving the conflict in the play.

In movement ix all the characters speak in their own authentic voices - casting aside
the conciliatory tone they had adopted towards W. They, once again, as at the
I
beginning reveal their authoritative, humanly cold selves, congratulating each other
I on their success, gloating over the defeat of W and venting their anger against him.

As seeh earlier, the change in the dialogue accompanies the shift in the play from
humour to irony and sarcasm. The P's concluding boast 'that in this school a pupil
simply cannot fail !'sums up thesatiric exposure of the modern educational system
where to outwit thestudent is more important than his gensine welfare.
One Act Phys-11 i) Dialogue serves as an apository purpose setting time and location of the play.
ii) It is a means of character delineation.
iii) In verbal exchanges between characters their dominance or weakness is ingicated
by verbal power or the lack of it.
iv) The MM's clear, logical manner of speech result in his triumph over W.
v) Dialogue is the chief means to develop the story and reveal the ideas underlying
it.
vi) Dplogue contributes to humour, irony, anticipation and suspense in the play.

Self-check Exercise 2
Answer the following :
i) Describe the characters of and the MM. Explain how the dramatic balance
between them is maintained,and how ultimately the latter is successful while W
fails.
ii) Analyse the statement that the play makes about the education system. Discuss
How humour, irony and sarcasm are used for this purpose.

5.2 SUMMING UP
In this unit, we have analysed the play in terms of its action, conflict, characterisation
qnd dialogue. This unit studied along with Unit 4 must have enabled you to
Jnderstand Refund both as a text and as a stage play.

5.3 ANSWERS TO SELF-CHECK EXERCISES

Self-check Exac@e 1
Refer the hints given in Sectiy 5.1.4.
Self-check Exercise 2 '
Hintc for i and ii.

Go through the text and the Units 4 and 5 carefully before yoot-write the answers.