Rhetorical Analysis Of Harold Pinter 's ' The Room '

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INTRODUCTION
I’m convinced that what happens in my plays could happen anywhere, at any time, in any place, although the events may seem unfamiliar at first glance. If you press me for a definition, I’d say that what goes in my plays is realistic, but what I’m doing is not realism” (Pinter, Harold Pinter: Plays, 2 ix)
Widely acknowledged as one of the great post-war generation dramatists, Harold Pinter’s fame rests on not only his popular dramas but also on his political activism which is rooted in his concern for people and their condition in realms which can be termed as social, professional or political. In fact it can be said that many of his works starting from the early comedies of menace to the later overtly political plays run
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This triggers an interrogation as to what prompts Pinter to withhold information from the audience or to rely on ambiguity. The answer is the illusionary nature of truth. Truth to one can be a lie to another and to present something as “fact” is highly questionable, owing to the suspicion which others may have with regard to its authenticity. As Pinter knew that the only thing that can be termed as close to truth is not the cause but the effects of an action as seen through the naked eye of an impartial witness, his plays abound in ambiguity regarding the motivations of the characters but clarity in the depiction of characters’ acts of violence and the effect of it on their victims. On a metaphorical level, the reason why Pinter refrains from revealing his characters’ identity and motivations is that he wants the characters’ acts of violence or suffering not to be localized or restricted to a particular country, state, group or clan. Instead he wants the aggressors’ acts of violence and the victims’ suffering to symbolize the despotic acts of all tyrannical rulers or state and suffering of all abjected or oppressed people in this world consecutively. His plays are a manifestation of the idea that violence is a universal reality and all acts of violence in the society such as direct, structural and cultural violence are pathologies or

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