HAROLD PINTER' S PORTRAYAL OF WOMAN IN "THE HOMECOMING"
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HAROLD PINTER' S PORTRAYAL OF WOMAN IN "THE
HOMECOMING"
Ansam Riyadh Abdullah Almaaroof- Lecturer
Iraq - Tikrit University - College of Education - English Department
Key words: Female Character, Harold Pinter, The Homecoming
Harold Pinter, the 2005 Nobel Laureate mention a few; and with its first
for Literature, was born October 10, performance, audiences and critics alike
1930, in London's working-class sensed that there is a great deal more
Hackney district to Hyman and Frances going on in the play than can be easily
Pinter, Eastern European Jews who had articulated. As John Russell Taylor put
immigrated to the United Kingdom it in Plays and Players magazine, "The
from Portugal. Hyman, known as secret of the play does not lie in our
"Jack", was a tailor specializing in providing a neat crossword-puzzle
women's clothing and Frances was a solution” (Cengage, 2009) Despite—
homemaker. The Pinters, whose and perhaps because of—the play's
families hailed from Odessa and Poland ambiguity, The Homecoming has
in the Russian Empire, were part of a remained a centerpiece in Pinter's
wave of Jewish emigration to the UK at canon.
the turn of the last century. It was a In this respect Elizabeth
community that valued learning and Sakellaridou in her book, "Pinter's
culture. The Pinter family was close, Female Portraits: a Study of the Female
and young Harold was shocked when, Characters in the plays of Harold
at the occurrence of World War II, he Pinter" (1988) states that Pinter is
was evacuated from London to preoccupied in The Homecoming as
Cornwall with other London children well as in his other works with many
for a year to avoid becoming victims of thoughts such as:
German aerial bombing. (Hopwood, Fascination with the unknown
2011) and love of philosophical
This paper handles Pinter’s play, contemplation, presentation of
The Homecoming, which is regarded as strong male friendship,
one of the most important plays written prevelance of male thoughts,
by him. The paper hypothesizes that isolation of the woman and
Pinter presents women character as a ambiguity of feeling towards
strong personality throughout his plays. her. (Sakellaridou, 1988, 17)
The study is limited to The Homecoming
to be treated as a representative of In fact, Harold Pinter presents
Pinter’s plays. Using the characters’ extraordinary challenges to literary
analyses, the paper tries to prove or history that make him a considerable
disapprove the being put hypothesis. figure for the historiography of modern
In fact, The Homecoming deals with drama, political art, and modernism in
many themes, such as emotional general. What this project tries to
impotence, Oedipal desires, personal present is to place Pinter's vision of
loneliness and isolation, appearance and woman in its correct context and before
reality, and familial power struggles, to anything else the concern with human
1relationships, status and future with a sense of orchestration so corporeal
regard to female character as being that critics recognize the poetic, musical
portrayed in The Homecoming. In nature not only of the dialogue, but also
tracing the development of Pinter's of the piece in its entirety with its
woman's character, the paper treats the thematic overtone, implication, and rich
characters speeches as well as their elements. All these elements work
situations to show Pinter’s vision of along the line for stating Pinter’s
woman as being suggested by the Philosophy concerning life and people
hypothesis limited to The Homecoming by clarifying and amplifying his vision
because woman's character in this play regarding woman’s status and portrayal.
is "the most misunderstood of all The critics agreed that Pinter always
Harold Pinter's characters" ( Prentice, uses life situations and simple language
2000,127). For the most part, Pinter's to give his character life. Pinter's desire
dramatic techniques are very simple, to present life-like characters does not
and much of his success as a dramatist give an impression of realism rather
is based on this simplicity. In the early than giving a real impression about the
plays he used blackouts to mystify his impotence of life (Bernhard, 1964, 185-
audience and to highlight his main 191). In this sense Martin Eslin states
points. However, he allows his main that the key to understand the play is to
points to determine his mode of grasp its poetic force which lies in the
expression, especially in The ambivalence between a sequence of
Homecoming. The structure, the realistic events and a wish-fulfillment
dramatic expression of the concept of dream (Esslin, 2001, 255).
verification, the use of humor, and the In their article entitled, “Harold
"Pinteresque" employment of language Pinter, The Playwright of the Pause,
are some of the techniques used by Dies at 78” Mel Gassow and Ben
Pinter. Brantley state that:
In this sense, The Homecoming is In more than 30 plays written
Pinter’s distinctive play in that it does between 1957 and 2000 and
not only create a distinctive style, but including masterworks like
also has the essential elements, which “The Birthday Party,” “The
convey and carry the meaning of the Caretaker,”“The Homecoming”
Pinterisque drama. Quite often several and “Betrayal” Mr. Pinter
of these elements are used in captured the anxiety and
combination with one another, either as ambiguity of life in the second
the resources of carrying the meaning or half of the 20th century with
as the actual statement of meaning. terse, hypnotic dialogue filled
Humor, for example, is used for with gaping pauses and the
particular reasons, just as language is, prospect of imminent violence.
but the special use of language is also a (Gassow, 2008
source of humor, so that both elements
accomplish Pinter's purpose of They clarify in their statement that
revealing problems in communication Pinter’s plays are but captures of things
and the consequential situation. They happen in life such as anxiety and
function at the same time as the ambiguity. Pinter's technique for
statement and the means of expressing dramatically expressing his premise of
the statement. The tightness and anxiety and ambiguity as well as
economy of the resulting play, together lacking verification is extremely simple
with an understanding and balancing of and obvious in The Homecoming that he
diverse elements create a choral effect, merely puts side-by-side similarlyopposing statements of fact. Max's TEDDY, a man in his
contrasting images of his dead wife, middle thirties RUTH,
Jessie; Lenny's decision about the girl a woman in her early
falling apart with the pox; Joey's story thirties (Pinter, 1965,
about the birds in the Scrubs; Sam's x)
approval of Jessie as a woman without
peer and his incident of her infidelity; Mentioning the characterization
and the disagreement in the descriptions this way can be seen in two ways: first,
of America offered by Teddy and Ruth Pinter highly underestimates woman
are all examples of this technique. and present one woman to decrease her
In 1965 The Homecoming becomes role in life as a reflection of her
one of the most popular plays by Pinter, unessential role in life. Second, Pinter
and it has proved to be among the most highly appreciates woman in that he
controversial plays, at least as far as find that only woman is fair enough to
newspaper critics and academic confront five men and that reflects her
commentators are concerned. The undeniable ability to achieve
Homecoming is set in a dingy interior; dominance. The play starts with a
there is throughout the play a sense of beautiful, elegant woman, Ruth, sprawls
largely suppressed violence; the on a sofa in a drab working-class front
exchanges between the characters seem room which contains five men: her
to be composed substantially of non husband, Teddy, her husband's two
sequiturs; the words that the characters brothers, her elderly father-in-law and
actually say are divorced from what his brother. Her husband's youngest
they mean (Wyllie, 2003). These brother, Joey, lies heavily on top of her,
conversations show clearly that there is grinding his pelvis into her in a
struggle undersides the relation of the simulation of intercourse, while the
characters. other brother caresses her hair and the
The struggle is evident in this play two older men watch, transfixed. Soon
that everyone in The Homecoming her husband, who loves her, will stand
thinks to have 'the Power' over others. by passively, as his family (whom she
But who does have it? This is a question has only just met) concocts a scheme to
that this project tries to find out. The set her up as a prostitute in the West
struggle presented in the play is the End, to serve them. The beginning of
mean by which Pinter discloses his the play discloses that there is intent to
vision of woman, because it is treat Ruth as a whore by all the male
throughout the struggle that the characters in the play among them her
characters show their inclination husband, Teddy. This intent is obvious
towards dominance and supremacy. and it is this intent that creates the two-
From the very beginning in the play, sided struggle, in one side there are the
from the page of the characterization, five male characters, and in the other
Pinter gives men apparent dominance side there is Ruth.
over woman in that it is a play of only Some critics believe that The
one woman character and five men: Homecoming is a unique Pinter Play for
MAX, a man of seventy it is the play in which the idea of attack
LENNY, a man in his and defense is discussed inside the text.
early thirties SAM, a The old patriarch Max giving his son,
man of sixty-three JOEY, Joey, the boxer, an advice saying:
a man in his middle MAX: What you've got to
twenties do is you've got to learn
how to defend yourself,and you've to learn how to trustworthiness in Max's stories. Lenny,
attack. That's your only later, when threatened by Ruth's
trouble as a boxer. You assertiveness feels the need to reel off
don't know how to defend stories of his past about old women he
yourself, and you don't punched and prostitutes he considered
know how to attack. (Pinter, killing which threatens his
1965, p.33) trustworthiness and directly make the
audience see that neither Max nor
This advice is applicable to other Lenny has the dominance, however
characters in the play as well as other both Max and Lenny give the notion
plays. Max considers himself the they are dominant in the house and until
dominant member of the family at the the threat of Teddy and Ruth turns up
beginning of the play. At the opening of Lenny and Max appear to the audience
Act one he accuses Lenny of having the as the two who have the power in the
scissors, in a very predatory, offensive household.
way. He is wearing a cap and carrying a In contrast to Max's attempts at
stick as a sign to others in the house of physical power to gain overall
his claim in the family as the physically dominance and Lenny's power gained
powerful male. However Max is clearly through his business, Sam has a much
unsure about this power as he talks at more subtle, yet ineffective, type of
Lenny, rather than with him, continuing power to gain control of the household.
his next sentence before Lenny decides His secret that “McGregor had Jessie in
to reply. He also later has to remind the back of my cab as I drove them
Lenny, and himself that "I could have along”, gives him a power over Teddy,
taken care of you, twice over. I'm still Lenny, Joey and particularly Max. Max
strong,” attempting to persuade Lenny does not want the secret exposed in the
as well as himself that he is the most open. Hence he refuses to talk with Sam
powerful physical force in the house. when Sam repeatedly pauses during his
On the other hand, in this confrontation monologue about his chauffeuring of
Lenny thinks he is the dominant force, Jessie in the West End. Even when Sam
because he considers that he is powerful mentions that Max wouldn't have
because his pimping business means he trusted Mac, Max remains subservient
is the principal breadwinner in the because he does not want Sam to be
house. This is backed up by his claim involved in the subject. Max straight
on wearing a suit in his own lounge and away bites back calling Sam "an old
his stories later to Ruth, where he is grub" showing that Sam's power over
keen to mention that he was not Max lies only in his knowledge of Mac
"financially embarrassed". Both Max's and Jessie's affair. Although it appears
and Lenny's insistence on proving how to the audience that Sam has some
powerful they are, undermines their amount of power through his unfriendly
trustworthiness. nature and his secret, throughout the
Max in the opening minutes almost play we clearly realize he has little
makes the audience cringe with his power over the household once his
exaggerated tales of "a man called secret is let out. They leave Sam lying
McGregor" whom he used to "knock on the floor and pay little attention to
about with" where McGregor is clearly him, Teddy even complains that he was
the one who caused the "silence" in the going to ask Sam for a lift to the airport
rooms they went into and his insistence and Max's indifference to whether Sam
that he still has "the scars" although he is dead, shown by his relaxed handling
does not show them, adds to the lack of of whether Sam had or has a diseasedimagination prove how little power in the strictly conditional or contra-
Sam has over the family unit. factual tense throughout:
Max is keen to assert his physical Ruth: I would want at least
supremacy over Sam. He makes Sam three rooms and a bathroom.
acknowledge that "I'm here, too you (Pinter, 1965, 77)
know" and the protective nature of Ruth: You would have to
Max's endeavor at gaining dominance is regard your original
shown through Max's annoyance of outlay simply as capital
Sam doing the washing up. Max, even investment. (Ibid. 78)
after Sam offers to let Max finish the Ruth: All aspects of
washing up, calls him a tit, which is an agreement and conditions
attempt to feminize Sam in his mind of employment would
and he calls Sam a maggot and a grub, have to be clarified to our
since both have little physical power mutual satisfaction
Max is undoubtedly trying to emphasize before we finalized the
Sam's physical weakness and therefore contract. (Ibid.)
dominate him physically. The struggle
among the male characters shows that Ruth only conditionally concludes,"
they are weak persons and they cannot Well it might prove a workable
be one unit to defeat the other side, arrangement"(Ibid.) and when Lenny
Ruth. On the other hand, Lenny clearly asks her if she wants “to shake on it
feels threatened by Sam's title of the now or later." She refuses to finalize
best driver. When Sam is showing off the agreement: "Oh, we'll leave it till
his cigars to Max, Lenny clearly feels later."(Ibid. 79) Although Ruth's erotic
threatened and although on the surface engagement with Joey on the sofa and
appears to be making general her expressed approval of their plan
conversation about the colonel, or "Yes, It sounds a very attractive idea"
something in the American Air Force he (Ibid. 77) suggest she might consent to
is actually trying to belittle Sam's their proposal, nothing she says or does
success by showing him that he knows commits her to agreement. Sufficiently
the kind of man you're talking about, convincing evidence also raises doubt
implying he is one of them, not a that she will remain with the family.
servant for them like Sam. Once again Max, who at the beginning claims that
Lenny is projecting the image that he is he could smell whether a horse race was
successful and therefore powerful in the a stayer or not, in the end smells that
house. Because no one severely Ruth will not stay:
threatens him in his position, the Listen, I've got a funny
falseness of his stories does not appear. idea she'll do the dirty on
The Homecoming is the first play by us, you want to bet?
Pinter to present a woman; an initially She'll make use of us, I
subservient character attacked on all can tell! I can smell it.
sides to be dominant and succeeds in (Ibid. 81)
gaining something positive, her
freedom. Ruth whom encouraged by all Max's suspicion that she will leave,
the family members, except Teddy's coupled with Ruth's command of
Uncle, Sam, to stay in England and earn herself and the family at the end (she
her living by being, they suggest, a makes Lenny bring her a proper glass
prostitute, decides avoiding any of water and demand food from Joey),
commitment by conducting negotiations confirms that Ruth is in charge of her
life and may exercise the option toleave. Ruth proves to be the I've been a bit of a
commander and the five male are but to tough time with this
obey her orders. clock" (Ibid. 29)
Rather than commenting on anything,
Ruth waits silently for the best moment After that, in a verbal battle Lenny
to defend herself, and then takes over. becomes openly aggressive asking her "
It is quite clear that no man in the Do you mind if I hold your hand?" his
family has ever understood neither aggression is to hide his desire to hold
Ruth nor any other women even the her hand and to protect himself in case
dead Jessie. Whereas Ruth understands that she refused to let him hold her
them all, she arranges to assert her hand. And to achieve this he tries to
superiority, which leaves them, attack her when she asks him “why?"
unfulfilled, defeated, and baffled. Her By mentioning a past event with
command, as Pinter notes is merely a another woman, "So I just gave her
defense against their attack: another belt in the nose and a couple of
She misinterpreted turns of the boot and sort of left it at
deliberately and used that." (Ibid, 31) These mixed signals,
by this family. But the disguised threats which at the same
eventually she comes time communicate attraction, repulsion
back at them with a and fear take the form of a bullying that
whip: she says" if you masks Lenny’s cowardice, which Ruth
want to play this game uncovers when she turns to defend
I can play it as well as herself. Pinter's word "whip", which
you" (Hewes, 1967, might refer to Ruth’s wit, is a way to
143). defend herself. Each of her deeds is
intentionally done. She is the only
In the first three scenes Ruth is clever character in the play that at the
misinterpreted unconsciously by her end of the play has the dominance over
husband then deliberately by Lenny and others. Whereas other characters behave
brutally by Teddy's father, Max when just unintentionally, e.g. foolishly
Teddy and Ruth first enter in the middle Lenny proposes," And now perhaps I'll
of the night Ruth announced that she is relieve you of your glass," but Ruth
tired, yet twice after that Teddy asks, who understands him well defenses
"Tired?" showing how out of touch and herself by attacking him because she
indifference to his wife he is. (Pinter, knows the rules of the game well. She
21-22) When Ruth answers "No" Teddy decides not to be the subservient of this
replies," Go to bed, I’ll show you to game, and thus, she answers," If you
your room "(Ibid.) He may seem take the glass…I'll take you"(Ibid. 35)
concerned when he asks "Are you an answer that makes Lenny astonished
cold?" but when she answers she is not, to shout at her as she gets upstairs,"
he offers her "something hot to drink." What's that supposed to be? Some kind
(Pinter, 21) of proposal?" (Ibid.)
Regarding Ruth, His brother's woman Intentionally, the third
Lenny deliberately misinterprets her misinterpretation comes in the next
position especially when he changes the morning by Teddy's father, Max, who
direction of the speech as she tries to tries to maintain his patriarchal position.
correct, "I'm his wife" and "We are When Teddy assures, “She’s my wife!
married". He ignores her saying: We are married!” his father says with a
"Eh, listen I wonder if double-edged cut:" I've never had a
you can advise me, whore under this roof before. Eversince, your mother died." Teddy's to Teddy to go back to their children but
answer is:" She is my wife" but Max he does not pay any attention to her
insists,” chuck them out."(Ibid. 42) That while he tells his family "…we've got
is Ruth's introduction to Teddy's family. back to the children." (Ibid.) Another
Thus, Ruth has to have certain point which shows that Teddy neither
mechanism to protect herself as she concerns nor pays attention to Ruth's
lives with such a family. This statement interests when Sam says loudly," She's
can be read in two levels. The first level a mother. She's got three children"
is that Teddy's dead mother was a Max's response is:" She can have more.
whore and that an image which her Here. If she's so keen". While Teddy
husband and sons accepted, the second answers," She doesn't want any more
level is that Ruth is regarded as a whore children." (Ibid.) His response misses
at least by her husband's family. the point of both Sam's objection and
This family ironically condemns Max's angry reply.
Ruth without evidence for her guilt as a All that Teddy concerns with is his
whore or a slut, whereas accepts Lenny desires for he comes back to get his
as a pimp. Thereby, this family converts father's blessings and his family's
a wife to a mere prostitute, by regarding approval and praise without giving
the word, wife a mere label and to make them anything but offense. He tries to
marriage be off of any bounds. This is show his supremacy over other persons
clear as Sam exclaims against the in the family when he describes them as
family's proposal to keep Ruth," but just objects. But as he fails to defend
she's his wife" (Ibid. 68). It is a himself against his family he becomes a
meaningless statement as the family Ruth's subservient. Teddy and not Ruth,
devalued marriage by attacking it. is the one who shows little concerns
Ruth's behaviour is just an attempt to about the children. Thereby assuming
protect herself because of her husband's her a bad mother for leaving her
inability and indifference to defend children easily is a mistake. The only
their marriage. It is not because of her reason she gives to leave England and
immorality but because of her go back to America at the beginning of
hopelessness. Ruth thinks that if she has the play is "I think…the
to be a whore, she will be a whore in children…might be missing us."(Ibid.
her way and style and not theirs. 22) Thus, she thinks and behaves as a
She is not a "nymphomaniac" good mother and not as a whore.
(Penelope. 127), as some critics claimed Again Teddy is the person who
or as Austin Quigley suggests that when delivers Ruth the family's proposal,
she comes with Teddy "Ruth is indeed “Ruth… the family has invited you to
coming to her home to her former stay, for a little while longer. As a …as
self…" (Quigley, 1975, 205) In fact a kind of guest" (Ibid.75). If he doesn't
she's not very sexy. She's in a kind of accept their offer, he wouldn't deliver it
despair and hopelessness that gives her to Ruth. But by delivering the proposal
a kind of freedom. Certain facts, like he acknowledges his cowardice, and he
marriage and family, for this woman encourages her to accept: “If you like
has clearly ceased to have meaning. In the idea I don't mind. We can manage
this point in the play Teddy, her very easily at home…until you get
husband stops to protect her or even back."(Ibid.) his behaviour can be
shows her his respect. To use Max's considering a declaration for his
statement " What do you know about destruction as a husband and a shifting
what she wants, eh Ted?"(Pinter, 69) is point in Ruth- Teddy relation. It is with
the core of her despair for she proposes this behaviour that Ruth decides to goon her struggle to gain freedom. From reality can in part be considered a battle
that point on, Ruth turns against Teddy for position, and power, but it is also
to gain power over the whole family by important as a means for discovering
attaching to their proposal a series of some of the characters' private
conditional demands for clothing, problems. Teddy, the professional
rooms, and a personal maid, which are philosopher, fails to unravel problems
very likely not to be achieved. Yet in his own field. Lenny practices logical
unless they meet her demands, she says thinking on his own to create theoretical
that she will not agree. This situation answers, establishing his dominance
shows Ruth's ability to govern the over his older brother, in that way
whole male characters in the family. making more solid their personal
Needless to say that the probability of identities. Ruth begins with Lenny's
Ruth's leaving is equivalent to the statements, but rejects them by applying
probability of her staying, because the the attitude of practicality, reducing
final point, Ruth's dominance, is them to an emotional level - the level on
uncertain. This uncertainty serves to which they in reality function anyway.
give all characters the same chance of Thereby, the struggle for dominance is
the audience's empathy. Moreover, it going on throughout the play among all
deepens the character and breaks up the the characters. But when the clashes are
differences between the characters. going on between male characters, they
Hence, the end of the play serves Ruth continued all in vain. While the struggle
in that it presents her as equal to other between any male character and Ruth
characters. always results in a triumph for Ruth.
The Homecoming presents a shift She always proves that she is the only
from a mere continuity to live to the character in the play who knows the
condition of survival with hope. Ruth rules of the game.
does not just live but she has the power Often in The Homecoming, the
over other characters and she guides struggles for domination take the form
them not to use her their way. Because of verbal battles, and Lenny is trying to
she either stays under her conditions or beat his brother in his brother's own
leaves them. Thus she gains her particular field. Ruth takes off from this
freedom. Obviously, the basic point, though, to suggest that the words
structural device in The Homecoming is themselves are not important, that there
the framework of a power struggle in is something which lies below them,
which sex turns out to be the deciding just as there is a leg under her
negotiator. In a series of skirmishes underwear. Perhaps the fact that lips
throughout the drama, the characters move is more significant than the
meet, compete, and attempt to gain sounds, which come through them. In
supremacy over one another, with Ruth this respect, jargon has led to this point
using sex to appear triumphant. There is and surely the reality that lies under the
a tension set up by the alternating technical language is more important
tonalities (humor versus horror, for than the words trying to describe that
example) of the continuing reality.
confrontations. For Ruth, the truth is essential. It is
Through the form of verbal fence, the obvious that she quits any restrictions
weaponry of the power struggle, Pinter and be free. But Teddy, the philosopher,
exposes the characters and their beliefs, (Ironically) the lover of the truth, lies
thus providing the meaning of the play, throughout. With no evidence, he
his vision. For instance, Teddy and claims that Ruth is unwell, and that he
Lenny's discussion of the dual nature of offers the family a model of virtue, andby claiming that the superiority is to the to attack or to defend themselves.
intellect and not to the emotion. His The Homecoming ends with Ruth's
inability to face himself of his own embodiment of strength as an attitude, a
faults and desires makes him lose his fortitude that radiates out and suggests a
wife. In his attempt to prove that he is kind of self-contained happiness.
better than the others, Teddy loses the Although Ruth does not proclaim her
battle for he tries to get respect by happiness, it finds expression in attitude
taking it from others. His behaviour and action. She achieves power in the
reflects the subversive vision Pinter end and is surrounded by others who
tries to illustrate in his work. Pinter seek their strength as if hoping to
dramatizes that the very quest for acquire it from her. The end is open to
respect, and survival, when driven by confirm Pinter's opinion that “she does
the desire to dominate another, not become a harlot" (Hewes, 58) and
inevitably leads to destruction of human he concludes that:
relationship by destroying both the "At the end of the play she
other and in many senses the self. In is in possession of a
this respect, of course, The certain kind of freedom.
Homecoming passes the line of private She can do what she
to communal level in that the wants, and it is not at all
subversive vision is not directed to the certain she will go off to
self but to the community around the Greek Street." (Ibid., 57
destructive character. Austin Quigley and Naismith, 2000, 185)
on the subject of the characters suggests
that: It is a play about a triumph of a
“Their linguistic battles woman who keeps doing what she
are not the product of an wants to do that she in spite of the
arbitrary desire for terrible injustice her husband, teddy
dominance but crucial brings about by taking a lead in the
battles for control of the family's plan against her, and she keeps
means by which open the door of the relation and even
personality is created in the possibility of love. She is the strong
the social system to character who can come over what she
which they belong. As faces throughout her life and keeps
they struggle to cope, loving others without any conditions.
their misunderstandings The study concludes that Pinter
and miscalculations has presented Ruth as a good portrait of
provide a great deal of a strong woman who can determine her
amusement for any way of living with her own conditions
audience, but invariably and who can impose her opinion to
desperation and terror are others, male characters with enough
eventually revealed as the confrontation and that comes as an
linguistic warfare emphasis to the hypothesis being put at
becomes increasingly the primer of this paper.
crucial." (Quigley, 276-7)
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