The struggle for power between characters is pivotal to The Homecoming, nowhere more so than in this extract, where Ruth meets her brother-in-law Lenny. Throughout, Pinter portrays a glass of water as a symbol of sexual and physical dominance, and this begins when Lenny offers to take the glass saying, “Excuse me” and “shall I”. “Me” and “I” suggest that although Lenny is asking Ruth a question, he focuses on himself and his dominance. A further demonstration of this is the repetition of “in my opinion”. “My” shows that he thinks his views are superior to hers, while the possessive pronoun suggests his need to be in control. These firm remarks are reflected in the short stage directions, for example “He does so.” His eloquent politeness suggests intelligence, which Lenny often uses to overpower his family, shown when he says, “Could I possibly change the subject, Dad?” to Max in the opening of the play. “Could I possibly” is equally courteous but also contains the possessive “I”. This shows that Lenny uses a similar approach to overpower Ruth as he uses with his brothers and father.
Another technique Lenny uses to control is use of nugatory speech, such as when he explains to Ruth why he should take the glass. His reasons for taking it are lengthy, showing that he believes if he is the one talking then he is more powerful. However, the use of short detached sentences such as “Your glass was about to fall. Or the ashtray.” create a disjointed rhythm, showing that Lenny is struggling to keep speaking. As Lenny starts to lose power over Ruth in the extract, his speech becomes monosyllabic, such as “Just give me the glass”. The word “just” shows Lenny’s impatience and annoyance that Ruth is disobeying him, meaning that he is changi...
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...h allies herself with her husband’s family by exerting power in a similar way, which foreshadows her becoming “part of the family” at the play’s conclusion.
Ruth’s actions also mock Lenny, for example “smiling at him”, which links back to when he “smiles at her” at the beginning of their meeting, showing the conversation has come round full circle, though when Lenny’s smile was welcoming, Ruth’s is defiant. The timing of Ruth’s exit is representative of her power over Lenny, as she has had the last word. Lenny “drains his glass” after she leaves, which could be representative of him trying to regain power from his glass, as Ruth has overpowered him in his own field of physical dominance. This scene is crucial in introducing Ruth’s supremacy in The Homecoming, as her defeat of Lenny will lead her to have dominion over all through her quick wit and feminine powers.
The role of a speaking conscience is prevalent in the human mind and influences evaluated decisions, but what happens when the voice says come back to drugs. The addiction has a mind of its own transcended by Lenny's voice. The addiction is alive and Lenny's voice begins to seduce her back to the self destructive lifestyle. "I've had my eye on you'" (90). The addiction is out to get her despite a five month sabbatical from drugs and after AA meetings to overcome the addiction to alcohol. Additionally, she quit smoking but the voice, Lenny, plants the seeds of relapse. His claim her tracks are beautiful allows him to slowly woo her back to her old lifestyle. Lenny gives her a chance to live out some fantasy life, her imagination runs wild with motorcycle rides and diamond necklaces. The life of a drug addict appears thrilling. Lenny reveals that he knows her new life and fans the flames of her crash back into drugs. "I know all about you. I know you routine. I been watching you for two weeks. Ever since I got to town'" (92). Lenny is omniscient and explains he follows her, a form of reconnaissance, alluding to war specifically Vietnam a subject often penned by creative writers. She finds herself at an AA meeting, arriving alone but soon is greeted by The Addiction holding coffee. The addiction is in love with her, wishes to marry her, have a child with her, and protect her. Since she is divorced he offers the companionship and love of a spouse a relationship she wishes for. Lenny, the addiction, wishes to take this role. More importantly, Lenny offers her creative writing inspiration, "Want to hear about R and R in Bangkok? Want to hear about what you get for a hundred bucks on the river?
In the passage Confetti Girl, the narrator and her father have different interest. One example, is when the father and the narrator are at the dinner table and the narrator’s father asks if she has any new
Even though she is a very strong woman she knows her role in the family. Ma knows when it is her time to help the family and when it is appropriate to step back and let the father run things. It is an unsaid statement but known by all in the family that "ma was powerful in the group" and they look to her for important decision making (133).
Through the actions of the male hegemony and the mother figure, both plays show the different perspectives both sexes have towards homosexuality. The patriarchal figures, show an intolerant and abusive perspective whereas the mother figures show a more understanding way of coping with the identities of their sons. By seeing the reactions of both males and females, it is to say that the maternal figures of the play show a more comprehensive attitude towards the struggles that the male protagonist undergo. Both plays are related to today´s society, because there are still families in which homosexuality is not accepted. People are still
...y is important. But the most important thing to note is that the weaker of the two did change her attitudes, beliefs and actions in order to become a better wife for her husband. Both women seem to be happy as do the men and like most conclusions of Shakespeare's plays, all the loose ends are tied up.
Let's begin by talking about the way Stanley's aggressiveness affects the climax of the play. During scene three, while the boys were playing poker, Blanche and Stella come into the kitchen and, as a result, disrupt the games.
During the confrontation during the poker game, which immediately ends it, readers are exposed to the reality of Stella and Stanley’s
Her visit is so early in the morning that the newly-weds are still asleep. She wears a newly-bought fancy hat, in an attempt to impress Hedda. This, and the fact that she congratulates George earnestly for having managed to marry the prettiest (and richest) woman around, shows just how much she acknowledges the marriage as something socially and...
The sexual dominance of male characters over their female counterparts in the plays establishes their superiority and control. Both playwrights suggest that a degree of personal status is acquired by sexually dominate women. The rape scene shows Stanley’s use of power sexually through rage and strength, used to illustrate his final defeat of Blanche and establish himself as ‘King’ of his territory, ‘limited to expressing basic desire’ . ‘Since earliest manhood… his life has been pleasure with women... giving and taking of it... with power and pride’. It is a power he can achieve over women that they cannot over him. ‘Let’s have some rough house! [He springs towards her, overturning the table. She cries out... he picks up her inert figure… carries her to the bed]’. The use of stage directions portrays Blanche’s passivity, and gives the audience a better understanding of how the event empowers Stanley; also the enjambment, ‘Don’t you come towards me another step or I’ll-‘, intensifies Blanche’s lack of power comparatively with Stanley’s. Similarly Albee shows men’s power through the ability to overpower; George asserts ‘I’d take you by force, right here on the living room rug.’ It is telling that at the end of the play he takes her to bed, after destroying her illusion. Albee also uses sexuality as a tool for battle, Martha says ‘I was necking with one of the guests’ in an attempt to antagonise her husband; his nonchalant response undermines her quest for power, ‘... Good... Good you go right on’.
We can see this in the play, as we read we learn more about the character of Hedda Gabler. She is the daughter of a General who expected a life if glamour and wealth and rebels against the boredom of a dull, narrow existence by vindictively scheming against everyone around her. Hedda also strives to ruin Eilert Lovborg, the intellectual she once rejected as a suitor. She is meddling in Eilert’s life for her own amusement and control.
changes as the play progresses. Early on in the play, she is full of ambition;
according to the plot of her own play. Hedda finds a “way out” after the internal conflict
“Frailty thy name is woman,” is the summary of the feelings towards women for the entire play. Gertrude cannot spare any time to grieve over her late husband; she must find another man to rule the kingdom. That man turns out to be her late husband's bro...
Throughout the play, there is a feeling that the room gets darker and less lively with the piano removed as well. The play takes a turn to Hedda being more clear and intentional with her manipulations. She is very bored and irritated in her general life. Her obsessive nature to cause trouble and trying to control everything is evident very early on in the play. She starts out in a quite middle-class setting and seems very annoyed at Tesman, she does not want to be close to him, yet they just returned home from their honeymoon which is supposed to be the most romantic thing at the beginning of marriage, but hers seems just tolerable. She appears to enjoy the fact that Tesman gets worried about the competition with Lovborg, it appears to give her new “fun” activity in her life. There are parts of the play that lean towards Hedda seeming slightly hysterical or bipolar as she goes from being bored and calm to loading pistols as if it is not a big deal and then grasps Thea wildly announcing her expectations for Lovborg. She seems obsessed with trying to control those around her because she has no other “outlet” to her life. Physically, she is repelled by marital sex and, however, flirtatious with the Judge, frightened by extramarital affairs. Like so many women, she is left miserable among the
...art f all evil in society, a place where woman can be sensual man can to anchors and a prison for children (60). As we have exhausted, these families are unfamiliar but yet real. Their mothers play a vital role in the present and future of both plays. Both plays support this theme of families and their dysfunctional way of being and their unparallel patterns oppose to those of the normal, traditional standards.