INTRODUCTION
Pinter’s first phase of writing is categorized into the Theatre of the Absurd which reflects the individuals’ concerns in the mundane world. The Absurd dramatists attempt to show the vivid reflection of the modern man and his bewilderment in their dramatic oeuvres by applying some specific elements. One of the fundamental themes of such drama is isolation. Absurdists mostly put their accusing finger on this weakness of man to prove his fragility of being alone. However, Absurd dramatists employ minimum characters and setting to make this sense stronger.
In this way, in Pinter’s first phase of writing, the motif of isolation was used to picture the absurdity of man in the modern society. Even the plays’ setting stresses on this …show more content…
Characters in this play are alienated from other individuals as well as the society. They are encompassed by loneliness and despite their attempt to escape from their isolation, they all remain alone by the end of the play. The Caretaker foregrounds this problem of modern civilization by its real characters and each of its personas picture this motif in a different way. The realistic picture of seclusion of the real people in the world is depicted by Pinter’s absurd characters in a real …show more content…
In the first place, he is a kind of Pinterian tramp that in the course of the play represents the characteristics of a real waif. Davies is an intruder as well as a pathetic figure in the play, exactly like Riley in The Room, with this difference that he was invited by the owner of the house. So he can be considered as a guest; accordingly, Gale titles his article The Caretaker (The Guest). On the other hand, Riley and Davies share another similarity as both of them are victims and outside intruders simultaneously.
Davies, despite his interloper role in the play, arouses the audience’s sympathy because of his status as a pathetic, isolated and alienated man. He has no one around and no place to live. He is alienated from the society and his “life consists of an attempt—foredoomed to failure—to convince society that he exists, and occupies a legitimate position on the social ladder” (Baker and Tabachnick, 1973: 72). As a real citizen he suffers from being contemptible in the society. “For him, ‘society’ remains an elusive spectre with which he cannot come to terms” (Baker and Tabachnick, 1973:
Pinter’s first phase of writing is categorized into the Theatre of the Absurd which reflects the individuals’ concerns in the mundane world. The Absurd dramatists attempt to show the vivid reflection of the modern man and his bewilderment in their dramatic oeuvres by applying some specific elements. One of the fundamental themes of such drama is isolation. Absurdists mostly put their accusing finger on this weakness of man to prove his fragility of being alone. However, Absurd dramatists employ minimum characters and setting to make this sense stronger.
In this way, in Pinter’s first phase of writing, the motif of isolation was used to picture the absurdity of man in the modern society. Even the plays’ setting stresses on this …show more content…
Characters in this play are alienated from other individuals as well as the society. They are encompassed by loneliness and despite their attempt to escape from their isolation, they all remain alone by the end of the play. The Caretaker foregrounds this problem of modern civilization by its real characters and each of its personas picture this motif in a different way. The realistic picture of seclusion of the real people in the world is depicted by Pinter’s absurd characters in a real …show more content…
In the first place, he is a kind of Pinterian tramp that in the course of the play represents the characteristics of a real waif. Davies is an intruder as well as a pathetic figure in the play, exactly like Riley in The Room, with this difference that he was invited by the owner of the house. So he can be considered as a guest; accordingly, Gale titles his article The Caretaker (The Guest). On the other hand, Riley and Davies share another similarity as both of them are victims and outside intruders simultaneously.
Davies, despite his interloper role in the play, arouses the audience’s sympathy because of his status as a pathetic, isolated and alienated man. He has no one around and no place to live. He is alienated from the society and his “life consists of an attempt—foredoomed to failure—to convince society that he exists, and occupies a legitimate position on the social ladder” (Baker and Tabachnick, 1973: 72). As a real citizen he suffers from being contemptible in the society. “For him, ‘society’ remains an elusive spectre with which he cannot come to terms” (Baker and Tabachnick, 1973: