Harold Pinter was a British playwright, director, poet, actor, and political activist. Most of his plays focused on pitting male weakness and insecurity against female strength and survival and the themes were usually power and sex. Pinter’s career did not reach a turning point until he wrote The Caretaker which secured his fame and prompted loads of commissions. It also led to the unravelling of his marriage. His ex-wife Vivien became a sort of embodiment of a certain kind of Pinter woman. A Pinter woman is almost always black stockinged, high heeled, and a combination of external gentility and inner passion. As Pinter’s marriage to Vivien declined he engaged in numerous affairs. His attitude toward women has always been a source of debate. …show more content…
In the early 60’s Pinter wrote three plays and the female characters progressed toward more focused characters that are socially capable and very functional. In The Homecoming, Pinter develops his characters to lack a connection to the audience. The audience is meant to sense that there is a presence of communication among the characters thus forcing the audience out of the spectator role and in to the role of an outsider. William J. Free states in his article ‘Treatment of Character in Harold Pinter’s The Homecoming’ that; “The Homecoming is the most extreme use of this device” (2). Looking at the character of Ruth the audience can see how, through her dialogue, she does not allow herself to reveal any motivation to the other characters or to the audience. She has a line in the second act, where she says; “You’ve forgotten something. Look at me. I…move my leg. That’s all it is. But I …show more content…
She may very well be a symbol for something, but what that something is the audience just does not know. She had just achieved earning the sympathy of the audience, but Pinter is quick to destroy it by showing her in more sequences that are shocking and repulsive. The audience could try to dismiss these actions as they try to remain sympathetic. They look at her dance and kiss with Lenny and think they are the natural actions of a frustrated young woman whose husband is weak, but then they look at her treatment of Joey and begin to see her as a tease. The final blow that collapses the audience’s sympathy comes when she cold-bloodedly accepts the proposition to become the family prostitute. The audience can no longer blame her actions on frustration and unhappiness. Pinter, however, cannot even let this judgment of Ruth’s corrupt nature pass without a mixture of some other reaction. As Max begins to explain the arrangement to Ruth his words are obviously ironic, but what about how Ruth had replied? Is this naïveté or irony on her part? Pinter gives the audience nothing with which to base a judgment
Sipiora states that, "Characters often perceive (or fail to perceive) the context and implications of the circumstances and relationships they are in. Some characters act in good faith, whereas others do not. As we examine literary personae, it is especially important to judge them in terms of how they react to others" (77)
Ruth Fowler is Matt’s wife of many years and the mother of their three children: Steve, Cathleen and the now murdered Frank. Ruth cannot come to terms with Frank’s death and is haunted at all times of the day, whether at home or out in the town running errands, “She was at Sunnyhurst today getting cigarettes and aspirin, and there he was. She can’t even go out for cigarettes and aspirin. It’s killing her” (108). This quote is a symbolism of her mental state. The anguish of just seeing her son’s killer on the streets with freedom is more than Ruth can mentally comprehend. Ruth continually applies emotional pressure to her husband with comments and allusions to why the killer is still able to roam freely while their son cannot, “And at nights in bed she would hold Matt and cry, or sometimes she was silent and Matt would touch her tightening arm, her clinched fist” (112).
During the Victorian Era, society had idealized expectations that all members of their culture were supposedly striving to accomplish. These conditions were partially a result of the development of middle class practices during the “industrial revolution… [which moved] men outside the home… [into] the harsh business and industrial world, [while] women were left in the relatively unvarying and sheltered environments of their homes” (Brannon 161). This division of genders created the ‘Doctrine of Two Spheres’ where men were active in the public Sphere of Influence, and women were limited to the domestic private Sphere of Influence. Both genders endured considerable pressure to conform to the idealized status of becoming either a masculine ‘English Gentleman’ or a feminine ‘True Woman’. The characteristics required women to be “passive, dependent, pure, refined, and delicate; [while] men were active, independent, coarse …strong [and intelligent]” (Brannon 162). Many children's novels utilized these gendere...
As her "daddy's daughter", there is little doubt that a form of love exists between Ruth Dead and Dr. Foster; however, such love is not truly love because as evidenced by Ruth's subsequent life, the filial relationship better resembles an emotional dependence that Ruth took for granted (67). The great emotional schism within her that is the result of her father's death leaves Ruth dysfunctional: she is unable to emote towards other, especially her family. Instead, ...
Ruth has an intriguing personality. She is very loving towards her family. She will do all in her power to improve the lifestyle of her family. When it appears that the deal for the house in Clybourne Park will fall through, she promises to dedicate all of her time to make the investment work. “Lena-I’ll work… I’ll work 20 hours a day in all the kitchens in Chicago…I’ll strap my baby on my back if I have to and scrub all the floors and wash all the sheets in America if I have to-but we have to MOVE!” she pleads to her mother-in-law (Hansberry140). Her plan is unrealistic and idealistic, but the well being of her family is more important to her than anything. Ruth is also witty and sarcastic at times. She cracks jokes to lighten the mood of her family when they’re worried. “Well that’s the way the cracker crumbles. Joke. (121)” When Beneatha and Mama are stressing over the neighborhood they are moving into, Ruth makes a witty joke to improve the mood. Ruth supervises the daily routine and well being of her family. She makes sure that everyone does what they are supposed to and stays on track. ...
In “Trifles” by Susan Glaspell and “A Dollhouse” by Henrik Ibsen, the authors use symbolism to shed light on the way woman were once looked down upon by men. In both plays the woman face similar derisive attitudes from the men in their lives. Women are treated as property, looked down upon and only useful in matters pertaining to cooking, taking care of children, housework and sexual objects. The women’s marriages, socioeconomic and social status are completely different, but both women reach their emotional breaking point, and grow so discontent with their situations they are willing to take drastic actions.
Many people often meet different characters in literature and in life that they admire or despise. They conclude if those characters are good or evil and at the same time they reflect on the choices and responsibilities that those characters have. From The Chocolate War I admire Roland Goubert or The Goober based on his actions. I despise Archie Costello (The Assigner of The Vigils) because of the choices that he made and also because of his actions.
characters engage in, it becomes a challenge to keep up with the motives and truthful
A Doll House, by Henrik Ibsen, and A Raisin in the Sun, by Lorraine Hansberry, both have central themes of search of self-identity within a social system. This is demonstrated by women characters from both plays breaking away from the social standards of their times and acting on their own terms. In most situations women are to be less dominant than men in society. These two plays are surprisingly different from the views of women in society and of the times and settings that they take place in.
We are not only given the thoughts of the character but are also provided with a
In society, there has always been a gap between men and women. Women are generally expected to be homebodies, and seen as inferior to their husbands. The man is always correct, as he is more educated, and a woman must respect the man as they provide for the woman’s life. During the Victorian Era, women were very accommodating to fit the “house wife” stereotype. Women were to be a representation of love, purity and family; abandoning this stereotype would be seen as churlish living and a depredation of family status. Charlotte Perkins Gilman’s short story "The Yellow Wallpaper" and Henry Isben’s play A Doll's House depict women in the Victorian Era who were very much menial to their husbands. Nora Helmer, the protagonist in A Doll’s House and the narrator in “The Yellow Wallpaper” both prove that living in complete inferiority to others is unhealthy as one must live for them self. However, attempts to obtain such desired freedom during the Victorian Era only end in complications.
Contrastingly, Mrs. Darling, his wife, is portrayed as a romantic, maternal character. She is a “lovely lady”, who had many suitors yet was “won” by Mr. Darling, who got to her first. However, she is a multifaceted character because her mind is described “like the tiny boxes, one within the other, that come from the puzzling East”, suggesting that she is, to some extent, an enigma to the other characters, especially Mr. Darling. As well as this, she exemplifies the characteristics of a “perfect mother”. She puts everything in order, including her children’s minds, which is a metaphor for the morals and ethics that she instils in them. Although ...
...g and appreciation of qualities of characters, and hence, a deeper understanding of underlying motives and psyche. Intricate and methodical characterization is crucial to grasp the full meaning of a narrative.
In the 1950’s through the 1960’s women were not respected in there everyday lives, in the job field or in general. They did not have the rights they deserved, so during this time the “women’s movement” began. Women fought for their rights and fought for the self-respect that they thought they deserved. In the play A Raisin in the Sun by Lorraine Hansberry, the character Mama, expresses her feelings of pushing or extracting a new side for a woman. Her role explains that woman can be independent and can live for themselves. Through her behavior in this play she demonstrates that women can support and guide a family. Mama is in charge of the family, which is unusual, since men are traditionally the “head of a family”. Through Mama’s wisdom and dialect she expresses and portrays an image of pro-feminism. Mama’s experience in the play A Raisin in the Sun illustrates the expressions, the emotions, and the feeling with which Mama and women had to cope. She was able to characterize this through her passionate dreams, her control and her strong willed attitude.
The writer describes Robyn in opposition to her lover, Charles. He stays at home while she is out with her work. There is a discrepancy between the Victorian and Modernist doctrines, in the latter it seems that the roles of the woman and male are reversed. “Charles led a more subdued and private life. He kept the flat tidy while Robyn was out doing