sample paper on a play

EXCELLENT ESSAY ON A PLAY

R S

Professor Fink

English 102.0867

April 11,2016

“A Number,” by Caryl Churchill

The play, “A Number,” by Caryl Churchill, proposes the question, what defines a person? Is an individual solely defined by their genetic makeup or is whom they are influenced by their environment? The playwright introduces this theme of nature versus nurture by depicting three individuals, one being the original child, B1, and two of his clones, B2 and Michael Black. These three characters, even though genetically identical, have extremely different personalities, due to the environment in which they are raised. Therefore, their reactions to cloning or being cloned are unique to whom they have become.

“The Body in Pieces: Contemporary Anatomy Theaters,” by Amy Strahler Holzapfel, analyses “A Number;” providing the reader with a brief understanding of Churchill’s literary techniques and use of structure as a trope, for cloning: “Churchill’s broken dialogue, with its cut-off endings and repetitive internal motifs, mimics the underlying themes of fragmentation and cloning within the drama” (Holzapfel 12).  Churchill has written the play in five parts; giving the idea that although similar each clone has its own part in the world, which is supported in Holzapfel’s critique: “Structured in five parts, the play dramaturgically reflects its own subject of cloning by presenting a series of eerily similar variations, or mutations, of the father/son relationship…” (Holzapfel 12). Holzapfel’s use of “mutations” explains the variances in the relationship each “son” has with the father; eluding to the need to use psychodynamic analysis when attempting to understand B1’s, B2’s and Michael Black’s relationship with Salter and their involvement with cloning.  

All three characters had varied upbringings and their relationships with Salter greatly differed from one another. B1 and B2 both considered Salter to be their father, as opposed to, Michael Black who was unaware of Salter’s existence. B1 had a very traumatic childhood, which resulted in the “birth” of B2. 

As it turns out, B1, was indeed the “original son,” who at age four and following the suicide of his mother, Salter had rejected and given away to the child welfare system. In hopes of starting over, he had another son cloned from the cells of B1, who had been, in Salter’s opinion, a perfect baby turned demonic child. (Holzapfel 12-13) 

B1 experienced the loss of a mother, father and his mind at a very young age. He developed a mental illness due to a traumatic incident, which may not have happened, had his mother not passed. 

Salter:…You’d nearly stopped speaking do you remember that? Not speaking not eating I tried to make you. I’d put you in the cupboard do you remember? Or I’d look for you everywhere and I’d think you’d got away and I’d find you under the bed. You liked it there I’d put your dinner under for you. But it got worse do you remember? There was nobody but us. One day I cleaned you up and said take him into care. (Churchill    )

He experienced abandonment and rejection, which may have further worsened his mental illness. Where as, B2 experienced the “good” side of Salter, who felt he was given the chance to “start over.”

            Salter: but then later I

            B2: later yes

            Salter: I did try that’s what I did I started again I

            B2: That’s what

            Salter: I was good I tried to be good I was good to you

B2 had a loving, caring, and supportive father, who raised him, and no signs of any mental illnesses. As a child, he had a sense of security knowing he was his father’s son. On the other hand, Michael Black, has had no physical, mental or emotional interaction with Salter. It can be presumed he was raised in an environment, which was completely isolated from B1, B2, and Salter. 

            B2’s initial reaction to the dialogue between him and Salter, about cloning, was of insecurity and uncertainty. 

B2: yes I know what you meant, I just, because of course I want them to be things, I do think they’re things, I don’t think they’re, of course I do think they’re them just as much as I’m me but I. I don’t know what I think, I feel terrible.

He becomes weary of what he thought to be true about his father. B2 becomes unable to define what the other clones are and who he is. As B2 learns about B1’s past, B2’s focus shifts from pondering about defining the clones to the actual acts of Salter committed towards B1. B2 develops a sense of resentment and anger towards Salter. “B2: but I can’t you can’t I can’t give you credit for that if I don’t give you blame for the other it’s what you did it’s what happened” (Churchill     ). B2 was raised with a moral standard, which had been crossed by his own father and believes that B1 may have been different, if Salter had not sent him away. “B2: …I’m saying would he have done the same things who can say he might have been a very loving father and in fact of course you have that in you to be that because you were to me…” (Churchill    ). B2 reacts to the situation true to the way he was raised and does not have any deep-rooted malice towards anyone.

            B1, who is not sound of mind, has a sense of resentment towards Salter, and the dialogue between the two was of superficial matters, ranging from money to dogs. However, when discussing the clones B1, held a deep resentment for them and their lives. 

            

B1: The other one. Your son. My brother is he? my little twin

            Salter: Yes.

            B1: Has he got a child?

            Salter: No.

            B1: Because if he had I’d kill it (Churchill    )

B1’s anger for Salter translated into hatred for the clones. B1 resented the clones and towards the end of the play, the audience learns B1 has murdered B2. The actual act of murder ban be due to B1’s illness, however, the anger may have come from a feeling of abandonment at a young age. 

            Michael Black has his own identity, which is completely different from B1 and B2. He seems to not be phased by the idea of cloning and finds a sense of joy in it. 

Salter:…what it does to me what am I and it’s not even me it happened to, so how can just, you must think something about it.

            Michael: I think it’s funny, I think it’s delightful

            Salter: delightful?

Michael: all these very similar people doing things like each other or a bit different or whatever we’re doing, what a thrill for the mad old professor if he’d lived to see it, I do see the joy of it. I know you’re not happy at all. (Churchill   )

Michael has a different perspective on cloning which can directly relate to his happiness and life style he is living. His life is full compared to the other two and he holds no resentments. However, he is unable to relate with Salter, as he is a complete stranger to him. 

B1 and B2 both hold a certain amount of anger towards Salter, which is directly related to their relationship with him.

            

Salter: You remind me of him

            B2: I remind myself of him. We both hate you.

            …

B2: I don’t blame you it’s not your fault but what you’ve been like what you’re like I can’t help it.

            …

B2: Except what he feels as hate and what I feel as hate are completely different because what you did to him and what you did to me are different things. 

The feeling is the same but the way it originated is different and how the two deal with the anger is different. Michael has an entirely different perspective towards cloning. 

He sees the glass have full, where as, B1 sees it as half empty and B2 is unsure of what to think.  

It can be concluded that each individual has a reaction, which is unique to his or her being. Using the idea of nature, an individual should react exact in the same manner as its clone; however, “A Number” disproves this theory. All three individuals have a different reaction to cloning. One can only conclude that there environment in which they were raised in and their personal experiences, allowed each individual to respond to cloning in a variety of different ways. Due to this outcome, nurture is the dominating factor in the development of a person. 

WORKS CITED 

Churchill, Caryl. A Number. Theater Communications, 2003.

Holzapfel, Amy Strahler. “The Body in Pieces: Contemporary Anatomy Theaters.” PAJ: A Journal of      Performance and Art, 30.2 (May 2008): 1-16. JSTOR.
Klein, Julia M. "Caryl Churchill's Identity Crises." Chronicle of Higher Education 52.38 (26 May
     2006). Academic Search Complete. Web. 25 Mar. 2016.