26.12.13
Film Viewing Session for Charity on New Year's Eve by ELIT Students
Bilkent University
Department of English Language and Literature
Presents a Film Viewing Session for Charity on New Year's Eve
THURSDAY
26th DECEMBER 2013
• Film Screening
TIME: 15:30 - 17:15
A Christmas Carol (2009)
Single Ticket: 2 TL
Single Ticket + Popcorn and Soft Drink: 3TL
• Food and Pastry Sale
PLACE: FFB06
COME ALONG AND JOIN US SUPPORT
MOR CATI WOMEN’S SHELTER!
LET’S CELEBRATE THE NEW YEAR WITH DELICIOUS FOOD!
IN THE MEANWHILE IF YOU WISH WE CAN SEE 2009
PRODUCTION OF A CHRISTMAS CAROL TOGETHER!
16.12.13
Fourth Undergraduate Conference on Anglo-American Literature: “Fairy Tales”
CALL FOR PAPERS
Bilkent
University
Departments
of American Culture and Literature
&
English Language and Literature
Fourth
Undergraduate Conference on Anglo-American Literature:
“Fairy
Tales”
11
–12 April 2014
Bilkent
University, Main Campus
Bilkent University is pleased to announce the fourth
undergraduate conference on Anglo-American Literature, jointly hosted by the
Departments of English Language and Literature and American Culture and
Literature. The conference will concentrate on fairy tales in literature, arts
and pictures, and on screen and stage but its scope is intended to be broader.
Possible topics may include, but are not limited to:
- Gender and fairy
tales
- Politics and fairy
tales
- Reworkings of the
fairy tales
- Representation of
female characters in fairy tales
- Representation of
male characters in fairy tales
- Virginity and/or sexuality in fairy tales
We
invite you to submit a proposal of 250 words by 30 January 2014.
Proposals will be reviewed by the committee on the basis of academic value and
originality. Notifications of acceptance will be sent by the beginning of
February, 2014 and presenters will be asked to submit their complete papers by March
10th. Paper presentations should not exceed 15 minutes. If
you are interested in organizing a panel or a workshop, please include your
requests while sending the proposal.
Contact:
http://www.angloamericanbilkent.info/
12.12.13
Sirens of Lachesis Call for You
Sirens of Lachesis, A New Play at Bilkent
We are pleased to announce the joint
Theater Production of Bilkent University English Language and Literature and
American Culture and Literature Departments, "Sirens of Lachesis". The play is written and
directed by Ceren Turan, a Computer Science Senior minoring in English Language
and Literature. Erolcan
Talas (ELIT Senior) will be in the role of Noah, the male lead.
A well
paying job in advertising, and a loving wife. At the first glance, Noah’s life
seems above the ideal. As the curtains slowly unveil, we see a man unsatisfied
with his career and his personal life.
Noah is a playwright in his early thirties,
though he works in an advertising agency. Throughout the play, we will get to see the
clash between Noah’s and his wife Helen’s true inner selves and the social
masks they carry. Commenting on the roles people are forced to play in order to
be accepted by the society, the play also satirically criticizes “seem-to-be
intellectuals”.
24.11.13
12.11.13
Shakespeare and Authority: The Tempest
In the opening scene of The Tempest there
is not only a sinking ship but a dissolving society. The boat which contains
people who usurped Prospero’s dukedom of Milan twelve years ago, is washed
ashore by Prospero’s magic. Unaware of the fact that they are brought to this
strange island, full of witches, spirits and supernatural beings, to pay for
what they have done, they continue assuming the roles that hierarchy imposes on
them. In the rest of the play, the characters thus appear to be taking their
appropriate places in a new kind of social order. Yet, each one tries to
exhibit his/her ideal society. Fir instance, at one point, Prospero neglects
his duties as “Duke of Milan” which encourages his enemies to cast him adrift
on a bark with his daughter Miranda; however, he later becomes a father-like
figure to every creature on the island. On the other hand, Sebastian plots to
become King of Naples by murdering Alonso. In between comes Stephano, whose
ambition to be the king of island is ridiculous through Caliban’s
mock-resemblance of Prospero’s authority, and Gonzalo who dreams of a primitive
golden age of equality and leisure but simple and honest, full of good nature
and good will like himself.
The play begins in the
middle of disorder. There is disorder not only among the members of society but
in nature. Shakespeare makes use of the themes of the attempt of the human
beings to restore order and the use and abuse of power in The Tempest.
The boatswain, who comes to life in a few lines, dominates the first scene and
exemplifies the superiority of personal character to social rank. Authority
varies according to the circumstances. In the sinking ship the boatswain is the
king, thus the leader whom each person regardless of social status should obey,
Gonzalo has a different view of authority and kingship even in the most
desperate position. He recommends to be more passionate and insists on the
existence of the King on the board: “Good, yet remember whom thou hast abroad.”
The boatswain’s response to this asserts the theme of the play which relates to
every individual in the play: “... use your authority. If you cannot, give
thanks you have lived so long and make yourself ready in your cabin for the
mischance of the hour, if it so hap.” (I, i, 17-23)
The
sixteenth century principle of hierarchy – master and slave, king and subject,
higher powers and lower powers – continues to exist in this magical island.
Prospero, with his ability to control the elements, human beings and
supernatural powers, is the ruler of the enchanted island. In fact, his power
is more than that of a god. Caliban says: “His art is of such pow’r / It would
control my dam’s god, Setebos, / And make a vassal of him.” (I, i, 372-73) Yet
this aged magician performs “white” magic. He is a tempest raiser. Nonetheless,
courage and determinedness are required of all magicians, white or black, as
the spirits as well as the human beings, they control are both reluctant and
malignant. Prospero determines to take his revenge and waits till the
appropriate day comes. In the meantime, he brings Ariel and Caliban under his
control. Caliban, the deformed, half-human slave of Prospero symbolizes the
primitive urges. He plans to murder Prospero, with Stephano and Trinculo,
pretending to be the leader of the group. He even offers Miranda’s hand to
Stephano: “Ay, lord. She will become thy bed, I warrant, / And bring thee forth
brave brood.” (III, ii, 101-2)
Caliban accepts Stephano as his new
master, and Stephano calls him “servant monster.” In fact, Stephano becomes the
real monster and even slave to Caliban, who plots everything and imposes the
idea that they should destroy Prospero’s books first for “without them he’s but
a sot.” (III, ii, 89-90)
Prospero’s
talents lack political insight. As he claims he gives the management of the
state to his brother: “The government I cast open my brother / And to my state
grew stronger, being transported / And rapt in secret studies.” (I, ii, 75-6)
The master, in spite of his learning, talents and magical books is mortal and
human, and also fallible. He lacks the qualities of a charismatic politician
and neglects his job at the cost of losing this dukedom. Moreover, throughout
the play Ariel, Miranda and Gonzalo are presented as essential to Prospero’s
effectiveness. Ariel represents Prospero’s finer nature. He is on the side of
reason. Miranda represents the sensitive part, who helps Prospero to endure in
his hardest times as Prospero himself declares:
Thou wast that did preserve me! Thou
didst smile,
Infused with a fortitude from
heaven,
When I have decked the sea with
drops full salt,
Under my burden groaned: which raised in me
An undergoing stomach, to bear up
Against what should ensue.
(I, ii, 153-58)
The
kindliness and good heartedness of Gonzalo is mocked by everybody in the first
scene of Act II. However, he does a great favor to Prospero by providing him
with supplies and his books. Thus, Prospero and Miranda overcome the difficulty
of coming to this island unprepared. When Gonzalo persists in his attempt of
the order of hierarchy by saying the boatswain should not forget who is on the
board his conservative ideas about power and authority are revealed. The
boatswain’s answer is more devastating than Gonzalo’s statement: “You’re
counsellor; if you can command these elemnts to / Silence and work at peace of
the present, we will not hand a rope more.” (I, i, 19-20) Gonzalo’s inability
to alter the situation, in spite of his “authority” reminds the reader of the
power of Prospero. As a “counsellor” Gonzalo provides no solution to the
problems of reality which emphasizes his powerlessness as a statesman. Due to
similar reasons of inability to make use or abuse of the power as a statesman, Prospero
ends up living in exile for twelve years – a period enough to cultivate ideas
of vengeance – on a strange island, “where man doth not inhabit,” (III, iii,
57) as Ariel tells. Ariel, on the other hand, has a unique place among the
three quintessential components of Prospero. Without the aid and support of a
spirit like Ariel, Prospero would not actualize his thoughts of punishing his
oppressors. Nevertheless, Prospero’s arrogance in his treatment of subordinates
is observed in his treatment of Ariel, too. He freed Ariel from the pine in
which he is imprisoned by Sycorax. For that act of charity Ariel has served
Prospero for twelve years. In spite of his acknowledged promise Prospero delays
Ariel’s freedom and through rhetoric he persuades him that he is still the
master. His treatment of Ariel changes in a negative way when Ariel reminds him
of his promise. He threatens Ariel to keep him in an oak for “twelve winters”
which brings him closer to Sycorax whom he outcasts as a “damned witch.” Thus,
he decides to remind Ariel of what he has been and what he is, once a month, as
he says:
I
must
Once in a month recount what thou
hast been,
Which thou forget’st. This damned
witch Sycorax,
For mischiefs manifold, and
sorceries terrible
To enter human fearing, from Argier,
Thou know’st, was banished.
(I, ii,
262-66)
Prospero’s treatment of Caliban is another
example of his arrogance. Although Caliban is “a devil, a born devil, on whose
nature / Nurture can never stick” Prospero learns from Caliban. Shakespeare
intends to show that man can also learn from his passions by creating a
character called Caliban. The play deals with Prospero’s becoming a reasonable
man, thus he learns how to treat his lesser selves. Despite his evil nature,
Caliban becomes “a most ridiculous monster,” (II, ii, 161) to use Trinculos
words; yet, memorable and vivid he becomes as important as any character in the
play.
From the very early scenes
in the play Prospero assumes a role that is beyond the capacity of a human
being, even that of a mortal who is furnished with magical powers. Prospero,
the magician brings the “three men of sin” to the island, but Prospero, the man
has to decide whether he should punish the sinners or to forgive them. The
comic movement of the two lovers -- Ferdinand and Miranda, the two innocent
characters of the play – towards marriage and consummation adds to prospero’s
advance. Ferdinand first appears through the harmonious music of Ariel in Act
I, scene ii. Prospero deliberately delays the consummation of the two lovers,
as he wants to give time to them to know whether they truly love each other or
not. In Ferdinand’s case too, he changes one form of freedom into another, just
like he does to Ariel. Ferdinand is given
the task of making log files and Miranda in her simplicity of expression
and feeling wishes to help him. She utters the following words which rejoice
Prospero, who watches the scene as a witness:
This is the third man that e’er I
saw; the first
That e’er I sighed for. Pity move my
father
To be inclined my way!
(I,
ii, 445-47)
Prospero’s
powers mentioned above function in collaboration with his concept of time,
which is in fact Shakespeare’s concept of time. Prospero’s triumph must be on
that day, not later and not earlier. He asks Ariel “What time o’ th’ day” is
and Ariel casually replies: “Past the mid season.” (I, ii, 238-39) Prospero has
waited for the right day for years and deliberately delays Ariel’s freedom as
well as the consummation of the young couple. This idea of waiting for the
right time goes parallel with Shakespeare’s idea of treating life
paradoxically. For that reason, in the final act through Miranda’s words
Shakespeare makes an optimistic remark about the members of society, who are
portrayed as decaying in the opening scene:
How many goodly creatures are there
here!
How beauteous mankind is! O brave
new world
That has such people in’t!
(V,
i, 181-83)
The tempestuous noise of thunder and lightning as stated in the first stage
direction of the play lead to the pleasent scene, where Ferdinand and Miranda
pledge their hearts and hands in Act V. Prospero’s act of forgiveness
reinforces Shakespeare’s aim of regaining order and having the characters tahe
their appropriate places in a new kind of social order. Finally, Prospero makes
up his mind about whether to use his authority constructively or destructively.
He does not choose the either way but forgives the sinners. Although Prospero
has the power he prefers not to use it and the change in him is completed as he
manages to temper his passion with reason. Thus, he justifies Shakespeare’s
ideas on power, authority and judgement which are best expressed in Sonnet 94:
They that have pow’r to hurt and
will do none,
They do not do the thing they most
do show,
Who, moving others, are themselves
as stone;
They rightly do inherit heaven’s
graces
And husband nature’s riches from
expense;
They are the lords adn the owner of
their faces,
Other but stewards of their
excellence.
The summer’s flow’r is to the summer
sweet,
Though to itself it only live and
die;
But if that flow’r with base
infection meet,
The basest weed outbraves his
dignity:
For
sweetest things turn sourest by their deeds;
Lilies
that fester smell for worse than weeds.
The
first two lines of this sonnet point out the same idea that people who have
power to hurt others, but do not use their powers possess “heaven’s graces.”
Lines seven and eight emphasize the relationship between the rulers and the
subjects, more directly. The true aristocrats, lords and masters are the men
who do not abuse their powers. They are the “true owners of their faces” and
their might, who justly inherit God’s grace. Others end up being servants.
Shakespeare talks about the rulers and the subjects in terms of authority and
human psychology, in Sonnet 94. By introducing the flower imagery Shakespeare
deals with the transitory nature of the living things, as the summer’s flower
blossoms beautifully although it knows that one day it will fade away. In the
final couplet Shakespeare goes back to his primary idea that “the sweetest
things turn sourest by their deeds.” Even the weed smells better than a beautiful
flower such as lily, if the liky festers and stinks.
The
final scene of the play is full of joyous action and conversation which result
from Prospero’s forgiveness. Certainly, it is a noble manner of Prospero to
forgive his enemies, but it is especially appreciated that he comes to terms
with Caliban and says: “This thing of darkness
acknowledge mine.” (V, i, 275-76) This statement of Prospero together
with Caliban’s last words bring the essence of the play, which tries to show
what piece pf work is a man and what he is capable of. Even Caliban is able to
develop and learn from his faults:
I will be wiser hereafter,
And
seek for grace. What a thrice double ass
Was
I to take this drunkard for a god
And
worship this dull fool!
(V,
i, 285-98)
Works Cited
Harbage, Alfred, ed. William
Shakespeare: The Complete Works. New York: The Viking Press, 1986. Print.
Written by Dr. Gul Kurtulus
Bilkent University,
Department of English Language and Literature
6.11.13
A New Play at Bilkent: Sirens of Lachesis
We are pleased to announce the joint Theater Production of Departments of English Language and Literature and American Culture and Literature, "Sirens of Lachesis". The play is written and being directed by Ceren Turan, a Computer Science senior student who is minoring in English Language and Literature.
Erolcan Talas (ELIT Senior Student) will be in the role of Noah, the male lead, a playwright in his early thirties who is working in advertising.
Throughout the play, we will get to see the
struggle between Noah’s and his wife Helen’s true inner selves and their social
selves. Commenting on the roles people are forced to play in order to be
accepted by the societies, the play also satirically criticizes “seem to be
intellectuals”.
Come and be a part of our performance on
12, 13 December at MSSF (Faculty of Music and Performing Arts) Theater Stage at
18.00!
17.10.13
Inspired by "Invictus"
“Invictus” is a
short Victorian poem by William Ernest Henley. Title of the poem means "Unconquered"
in Latin.
Background of the
poem:
At the age of 12,
Henley contracted tuberculosis of the bone. A few years later, the disease
progressed to his foot, and physicians announced that the only way to save his
life was to amputate directly below the knee. It was amputated when he was 17.
Stoicism inspired him to write this poem. Despite his disability, he survived
with one foot intact and led an active life until his death at the age of 53.
The poem had no
title at first, then, “Invictus” was added by Sir Arthur Thomas Quiller-Couch.
INVICTUS
Out of the night
that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds and shall find me unafraid.
It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.
The Meaning:
1st stanza-
Clearly, the
speaker believes that he is always in control. Even when hard times and
disasters strike his life, he claims that he is in charge. The opening lines
show that he is the victim in a dark world; yet, he is indebted to gods giving
him his unconquerable soul. He is ready to face and defeat whatever enemy he
encounters. Thus, the title “Invictus” means that he is unbeaten.
2nd stanza-
We see the
speaker takes a beating from life’s circumstances. His reaction is that he is
suffering in silence. He continues to hold his head up, but he does not tell us
how he is fighting back or even trying to gain control of the situation at
hand. He is simply stating that he is taking his punishment like a man. Is this
not the Stoical mindset to suffer in silence? Is there not a vast difference
between Stoicism and Christianity?
3rd stanza-
He indicates that
there is something beyond the life in this place of wrath and tears. And he
indicates that he doesn’t find much to look forward to since he refers to that
destination of looming “Horror of the shade.” Once again, he does not tell us
how he is resisting, or, if indeed, he is resisting. He simply says that he
will continue to be fearless in the “Horror” beyond this place of wrath and
tears.
4th stanza-
We see Biblical
references to the strait gate. There are various interpretations, and many
reasons are given why Henley used this allusion to Matthew 7. But
it appears that the speaker (the poet was an atheist) was taking a defiant shot
at the Christian belief with Jesus saying in Matthew 7 “strait is the way and
narrow the gate.” The second line indicates that the speaker doesn’t really care how
sinful his life might have been as some unseen hand records all of his
misdeeds.
But in the end, he continues to tell us that he is the master of his
fate and the captain of his soul. Yet, nowhere in the poem does he appear
optimistic about his future. Nowhere does he exhibit any control of his
destiny. Yet if he were truly the master of his fate and captain of his soul,
would he not choose a life of peace and prosperity rather than a life of
constant strife.
Effects:
Apparently,
William Ernest Hanley was impressed by “stoicism” when he writes this poem.
Poem is also known for its last two lines.
"I am the
master of my fate:
I am the captain
of my soul."
Especially these
two lines affected people too much. They applied these words to themselves as a
tattoo. “Invictus” is identified with Nelson Mandela. Many books are published
in the same name. There are many works of art, which are called
"Invictus" or "Unconquered." In the recent past, Invictus
(the movie) was released in 2009. Movie's director was Clint Eastwood and it
starred important actors, like Morgan Freeman and Matt Damon.
It is known that this poem inspired Nelson Mandela when he was in prison.
Ye Ran High School, a school in Korea, uses the last two lines of poem as an
official motto. Timothy Mcveigh, who took part in Oklohama bombing events, read
this poem just before his execution. This poem is also associated with one of
Rudyard Kipling's poems, "If."
There is a statue called "Unconquered" in the Florida State
University. That statue symbolizes pride, joy, happiness, being unconquered,
rebel, fighter, and education. The statue's history depends on Seminole tribe
in Florida.
“Invictus” is known as one of the most inspirational poems in the world.
Actually, it deserves its fame!
SOURCES:
29.7.13
Suggested Movies for Summer
4.7.13
Modernist (Un)Certainty in Pinter’s The Birthday Party: The Threat of Violence and Its Impact
ABSTRACT
Harold Pinter’s The Birthday
Party is of continuing interest to contemporary readers because the
playwright deals with the topics of certainty and uncertainty, home and
homelessness, past and present, which are not limited to the British context
but can be studied in terms of modernism and postmodernism. Pinter, who deals
with the modernist principle of negation and the aesthetics of postmodernism in
his plays contributes to both movements.
Stanley, who takes refuge in the boarding house in a coastal town,
wants to regain his self- esteem. To achieve this aim he builds his
relationship with the landlady, Meg on lies and uncertainties. With the
appearance of two men, Goldberg and McCann, Stanley is forced to leave his
haven. The fact that he is taken away in a wheelbarrow makes the unfortunate
development in Stanley’s situation more undignified. He has come down to the
bottom from the self-deluding high state he thinks he resides in. All the questions we may have about
newcomers’ identity, their real aim in finding Stanley’s place, where they come
from, and where they will take Stanley are left unanswered, and this makes the
play a mystery not only for the audience but also for the characters.
In today’s world no
one can foresee the future; not even the near future is accessible for the
inhabitants of this world. Reading and experiencing Pinter’s play in which
uncertainty prevails from the beginning till the end makes contemporary readers
reconsider what life offers them nowadays.
Keywords:
modernism, postmodernism, violence, uncertainty, The Birthday Party
ÖZET
Harold Pinter’ın The Birthday
Party adlı oyunu günümüzde okuyucular için ilgi çekici olmaya devam ediyor.
Yazar bu eserinde kesinlik, belirsizlik, ev, evsizlik, geçmiş, bugün gibi
sadece İngiltere bağlamında sınırlandırılmayacak temaları modernism
(çağdaşçılık) ve postmodernism (yeni-çağdaşçılık) bağlamında ele almaktadır.
Çağdaşçılığn vazgeçilmez unsurlarından olumsuzlamayı ve yeni çağdaşçılığın
estetik değerlerini kullanan Pinter oyunlarında her iki akıma da yer vermiştir.
Bir sahil
kasabasında saklanan Stanley öz-saygısını yeniden kazanmaya çalışmaktadır. Bu
amacına ulaşmak için ev sahibesi Meg ile ilişkisini yalanlar ve belirsizlikler
üzerine kurar. Goldberg ve McCann adında iki kişinin gelmesiyle Stanley
sığınağını terk etmek zorunda kalır. Oyunun sonunda Stanley’nin el arabasında
taşınarak sahneden çıkartılması onun talihsiz durumunu daha da onursuz hale
sokar. Stanley, bir anda kendini hayal dünyasında yarattığı yüksek mertebeden
tepetaklak olmuş bulur. Yeni gelen kişilerin kimlikleri, Stanley’nin yerini
bulmadaki amaçları, nereden geldikleri ve onu nereye götürecekleri ile ilgili
soruların tümü cevapsız kalır. Bu durum oyunu sadece okurlar için değil
karakterler için de gizemli kılar.
Günümüzde gelecekle ilgili
tahminler yapmak imkansız; yakın gelecek bile tüm dünya vatandaşları için
bilinmezlerle dolu. Başından sonuna kadar bilinmezlerle ve belirsizliklerle
dolu olan Pinter’ın The Birthday Party oyunu, çağdaş okurun günümüz
dünyasının neler vaat ettiğini anlamasını ve bir kez daha değerlendirmesini
sağlar.
Anahtar
sözcükler: çağdaşçılık, yeni-çağdaşçılık, şiddet, belirsizlik, The
Birthday Party.
Modernism
implies social turmoil and a sense of menace that can be felt in all aspects of
life, and thus a highly skeptical outlook which leads to nihilism and anxiety
about the future. In modernism an ironic dismissal of the importance of truth
and reason exists together with the need for truth and reason. Therefore the
significance of truth and reason coexists with the immensely uncertain presence
of the human being in an alienated world. Thought, reason, and observation come
to be seen as dependent on language as a structural, mediating system and not
as the acts of pure, nonmaterial consciousness with direct access to reality.
(Source: http://homepage.newschool.edu/~quigleyt/vcs/modernism.pdf). As a
result, on one hand there is the need to have meaning and truth at all stages
of life and on the other there is the very real experience of the end of
individualism. Impressionism, expressionism, surrealism and nihilism are the
fundamental principles of modernism,
among which the latter two lead to the idea of the end of individualism. These
literary movements emphasize respectively the role of individual perception and
the exploration of the nature through the conscious and unconscious mind
(impressionism), the focus on the inner vision and the inner spiritual reality
that replaces the significance of the external realities of objects and events
(expressionism), the liberation of the subconscious through the denial of the supreme
authority of rationality (surrealism) and finally the absurdity that is present
in the conditions of contemporary life which can be exemplified with people
dying in wars, the fears of nameless millions, the uncertainty and inexplicable
meaninglessness of the existence of human beings in a world void of any
spiritual center (nihilism). Thus surrealism and nihilism promote the death of
the subject. (http://vc.ws.edu/engl2265/unit4/Modernism/all.htm)
Harold Pinter’s
plays connect him to modernism as he starts writing in the late 1950s when a
commitment to the configuration of aesthetics and politics was at its peak.
Negation, autonomy, resistance to meaning-making, estrangement and alienation
exist in Pinter’s aesthetics and make him an exemplar of modernist discourse.
Varun Begley, in Harold Pinter and The
Twilight of Modernism (Toronto: Uni of Toronto Press, 2005) defines
negation as the formal incarnation of protest against reality and the wish that
it were otherwise, and he says that commitment to an aesthetic world takes the
place of commitment to the real one. These notions (i.e, negation and
commitment to an aesthetic world) are also the characteristic features of
modern art. Modernist scepticism and the love of ambiguity are some of the
dominant factors of Pinter’s early plays among which The Birthday Party has a special place. Written in 1958, this play
marks the beginning of Pinter’s writing career, and his concern with power and
language makes him a prominent modernist. Pinter’s plays cover a wide range,
starting from early modernism to his modernist writings and finally to the
postmodern plays he writes from 2000 onwords. The purpose of this paper is to
examine uncertainty and violence in Pinter’s first full-length play, The
Birthday Party. As a modernist playwright Pinter depicts violence
with all its facets through his characters in The Birthday Party. The
play displays the many-sided effects of violence, and it foresees the violence
people are exposed to at all times. It was poorly received when it was first
performed in 1958, though it has received a lot of attention more recently.
Uncertainty and violence will be discussed in relation to Pinter as a
modernist. Initially my concern will be the role of uncertainty in The Birthday Party. Secondly, I will
focus on violence in the play which exists partly because of the mental
disturbance of the characters and partly because of their highly vague past and
present situations. Then, in the concluding part I will try to provide the
vital link between uncertainty and violence, the relationship between which
will be discussed as one of the characteristics of modernism in Pinter’s The Birthday Party.
In the play the
characters’ situation raises questions to which no acceptable answers are
provided. Stanley claims that he was
a successful, highly appreciated
pianist who gave regular concerts in the past, the truth of which
statements can be vouched for only by
his vague memories. With his vague background and bizarre reasons for extending
his stay in the boarding house Stanley is the catalyst, whose presence and
supposed birthday changes the routine of all the characters. Stanley asserts
that he has played the piano all over the world when Meg asks him whether he
has been to the places he now lists as his new concert programme. He tells her
that he was offered a job in a night club in Berlin, and that afterwards a
world tour which would cover places like Athens, Constantinople, Zagreb and
Vladivostock was planned. Stanley wants to impress or rather threaten Meg by
saying he will leave her. But his new plan seems as uncertain as his account of
his previous successes:
Stan: I had a
unique touch. Absolutely unique. They came up to me and said they were
grateful. Champagne we had that night, the lot. (Pause.) My father nearly came
down to hear me. Well, I dropped him a card anyway. But I don’t think he could
make it. No, I – I lost the address, that was it. (Pause.) Yes. Lower Edmonton.
Then, after that, you know what they did? They carved me up. Carved me up. It
was all arranged, it was all worked out. My next concert. Somewhere else it
was. In winter. I went down there to play. Then, when I got there, the hall was
closed, the place was shuttered up, not even a caretaker. They’d locked it up.
(Act I, page 716)
The information provided by Stan is
uncertain, and its validity is highly questionable, since his long awaited new
attempt to start his concerts seems to exist only in his words. Meg seems not
to lose her trust in Stan, but as the only sane character in the play, Petey,
never shows any sign of acceptance or approval of Stan’s words (or his acts).
The vagueness of Stanley’s family background stems from his incoherent answers
or explanations as he wishes to present himself as someone with a solid
background. But the more he tries to convince the listener of this background
the less clear or convincing is the information he provides about his family
and past life.
At the very
beginning of the play, Meg and Petey’s pointless conversation centers around
Stan, whether he is awake or not, when he will come down to breakfast, if he
had a good night’s sleep: their dialogue makes Stan’s identity vague. He could
be their son, a mutual friend or
someone who is staying in their house. Soon it is made clear that Stan is a
lodger. The uncertainty surrounding Stanley’s past is paralleled by our
uncertainty about how and why he has come to reside in Meg’s boarding house1 and how long he will stay
there.
Meg’s relationship with Stanley is also
ambiguous, they can be seen as lodger and tenant, but they also provide a good
example of a mother-son, or a
lover-beloved relationship. At the end of the first act Meg is
vulnerable to Stanley’s outburst of anger when she witnesses his fierce,
violent playing of the drum and his final tearing it into pieces, which can be
interpreted as Stanley’s negative reaction to Meg’s warm acceptance of the new
comers and her generosity in inviting them to the birthday party. The speech in
which Meg makes a toast to Stanley is equally unclear:
Meg: Well – it’s
very, very nice to be here tonight, in my house, and I want to propose to toast
to Stanley, because it’s his birthday, and he’s lived here for a while now, and
he’s my Stanley now. And I think he’s a good boy, although sometime he’s bad. (Appreciative laugh from Goldberg.) And
he’s the only Stanley I know, and I know him better than all the world,
although he doesn’t think so. (“Hear –
hear” from Goldberg.) Well, I could cry because I’m so happy, having him
here and not gone away, on his birthday, and there isn’t anything I wouldn’t do
for him, and all you good people here tonight… (She sobs.) (Act II, page 727)
She delivers her speech in the dark, which
adds to the mystery and ambiguity of
the birthday party. What happens
after the birthday party in Stanley’s room, why Meg does not hear or sense
anything strange till next morning, when Petey comes back and why/how he is not
disturbed by the presence of the two new lodgers all remain unanswered
inquiries.
In addition to
uncertainty violence is seen in various ways in The Birthday Party through the dialogue, the highly
disparate/unrelated situation of the characters and the play’s strange mixture
of suspense, humour and lack of communication as well as its excessively
talkative characters. The Birthday Party belongs to the first stage in
Pinter’s career when the playwright was interested in the state of characters
who feel safe inside (a room) and are exposed to a menace that comes from
inside, outside or from an unknown source. In his comedy of menace, in The
Birthday Party Pinter depicts the threat that comes from outside with the
unexpected visit of the newcomers, McCann, a
taciturn and menacing Irishman in his thirties, and Goldberg, a powerful
and threatening Jewish man in his fifties. The relationship between Stanley and
the two newcomers successfully blends uncertainty and violence. Violence is the
result of the psychologically disturbed characters, whose disturbance sometimes
extends to the point of schzophrenia. Stanley, Goldberg and McCann are all
disturbed[2]
in different ways; Stan is a mysterious guest in a house where he becomes a
permanent dweller, and Goldberg and McCann are victimizers who represent
authoritarianism. With their unexpected appearance Stanley’s peace is
destroyed. Of the two, Goldberg is the boss: he tells McCann what to do and at
times refers to his past, which he is very proud of. He boasts of not failing
in anything he attempts or in his business:
Goldberg: I want
your opinion. Have a look in my mouth. (He opens his mouth wide.) Take a good
look. (McCann looks.)You know what I mean. I’ve never lost a tooth. Not since
the day I was born. Nothing’s changed. (He gets up.) That’s why I’ve reached my
position, McCann. Because I’ve always been as fit as a fiddle. All my life I’ve
said the same. Play up, play up, and play the game. Honour thy father and thy
mother. All along the line. Follow the line, the line, McCann, and you can’t go
wrong. What do you think, I’m a self-made man? No! I sat where I was told to
sit. I kept my eye on the ball. School? Don’t talk to me about school. Top in
all subjects. And for why? Because I’m telling you, I’m telling you, follow my
line? Follow my mental? Learn by heart. Never write down a thing. No. And don’t
go near the water. And you’ll find – that what I say is true.
Because I
believe that the world .... (Vacant) ....
Because I
believe that the world ...... (Desperate)
BECAUSE I
BELIEVE THAT THE WORLD ....
(Lost) ....
(He sits in
chair.)
(Act III, p: 734)
Goldberg’s discourse is an example of
verbal violence, since he asserts his power as the sole authority, but the
authority seems to collapse as his speech breaks down into uncertainty.
Although Meg sees no danger in the sudden appeareance of two strangers, Stanley sees and smells the danger. He
rejects the idea of the party and tears the toy drum given to him by Meg in a
solitary moment even before the actual party.
Stan: What’s
this?
Meg: It’s your
present.
Stan: This isn’t
my birthday, Meg.
Meg: Of course
it is. Open your present.
(He stares at the parcel, slowly stands, and
opens it. He takes out a boy’s drum.)
Stan (flatly): It’s a drum. A boy’s drum.
Meg (tenderly): It’s because you haven’t got
a piano. (Act I, page: 721)
Stan hangs the drum round his neck and taps
it first gently with the sticks, then as he marches round the table he begins
to beat it fiercely, savagely in a possessed manner. The scene is reminiscent
of Nora’s tarantella in A Doll’s House, where Ibsen makes Nora dance
frantically just before the truth is revealed about her crime of forgery.
Torvald vomits up his so called moral ideas and dissatisfaction with the
presence of such a woman in his house who will contaminate her own children
with her immorality and lies. Stan’s erratic, uncontrolled beating of the drum
symbolizes approaching danger. Both Nora and Stanley’s lives are at stake in
these scenes, but their attempts to gain time and reconsider what awaits them
do not change the approaching danger. Stanley’s reaction to the coming threat
is vain since Meg’s ultimate role and
contribution to the menace accelarates Stanley’s defeat. Stanley’s erroneous
decision in choosing Meg – an ignorant, ineffective character - in whom he
thinks he can find a secure haven becomes a great disappointment for him.
The birthday
party is an occasion where both uncertainty and violence reign. Petey’s absence
and Lulu’s presence add to the fierce struggle between the strong and the weak
and bring variety to the violence show. Goldberg talks to Lulu about having played piggy-back or
pop-goes the weasel and pontoon, names which are totally unfamiliar to her.
Goldberg’s taming of Lulu continues not always in gentle terms. Still she
enjoys being singled out by Goldberg and confesses that she has always liked
older men, since they can calm her down. When the party is over Lulu becomes
aware of the trick played on her. She is unlike Meg, who is ignorant to the
point of stupidity, and she regrets the fact that she has believed whatever
Goldberg said and has let him get close to her:
Lulu: You didn’t
appreciate me for myself. You took all those liberties only to satisfy your
appetite.
Goldberg: Now
you’re giving me indigestion.
Lulu: And after all
that had happened. An old woman nearly killed and a man gone mad – How can I go
back behind that counter now? Oh Nat, why did you do that?
Goldberg: You
wanted me to do it Lulula, so I did it.
McCann: That’s
fair enough. (Act III, page: 736)
Not only Stanley, for whom the birthday
party is organized, but also Lulu, the lively, energetic, young character who
has hopes for the future is exposed to violence. She is betrayed by Goldberg
and punished due to her unreserved trust in him. Goldberg’s unexpected and
sudden appearance affects Lulu’s calm and undisturbed life. There is not only verbal
and physical violence in the play, there is sexism, as well, which has been
revealed through Goldberg’s treatment of Lulu. As the lights go off while the
birthday party continues, Lulu faints and is laid on the top of the table by
Stanley. Goldberg and McCann search for Lulu till McCann finds a torch on the
floor, shines it at table and finds Lulu lying spread-eagled there. Stanley
giggles as the torchlight hits him. His satisfaction signified by his giggling
and his stooping position over Lulu
imply rape.
Verbal violence
is depicted in various ways, not only with harsh questionings of the victim,
but also with the heavily loaded words of the stronger party in the duel of
utterances. Goldberg’s satisfaction in finding Stanley is revealed through his
speech just before the birthday party takes place. His words are assertive, ironic and full of enthusiasm:
Goldberg: As a
matter of fact, every single one of my senses is at its peak. Not bad going,
eh? For a man past fifty. But a birthday, I always feel, is a great occasion,
taken too much granted these days. What a thing to celebrate – birth! Like
getting up in the morning. Marvellous! Some people don’t like the idea of
getting up in the morning. I’ve heard them. Getting up in the morning, they
say, what is it? Your skin’s crabby, you need a shave, your eyes are full of
muck, your mouth is like a boghouse, the palms of your hands are full of sweat,
your nose is clogged up, your feet stink, what are you but a corpse waiting to
be washed? Whenever I hear that point of view I feel cheerful. Because I know
what it is to wake up with the sun shining, to the sound of the lawnmower, all
the little birds, the smell of the grass, church bells, tomato juice – (Act II,
page: 724)
Goldberg’s self confidence is exposed in
his speech as he can foresee his victory over Stanley in the birthday party. He
describes an able man who presents an opposite case to Stanley’s situation. The
corpse-like man he refers to in his speech is actually Stanley himself. In Act
II, a violent but comic effect is achieved through the absurd cross-examination
of Stanley by McCann and Goldberg. They push him into a corner with the
question:
Goldberg: Which
came first?
McCann: Chicken?
Egg? Which came first?
Goldberg and
McCann: Which came first? Which came first? Which came first?
(Stanley
screams). (Act II, p: 726)
Although Stanley lives in his illusionary
haven, menace comes from outside and his long-lived period of silent waiting
comes to an end. He refuses to go out, rejecting Lulu’s advice of going out to
get some fresh air. Without openly mentioning his fear of being found out by
anybody he waits hopelessly for the approaching threat. After hearing that Meg
has received two new lodgers he becomes tense and treats Meg crossly. The
menace reaches a climactic point with the birthday party. Stanley cannot escape
from his own birthday party, during which he finds himself in the game of
“blind man’s buff” as the blind man and he accidentally comes to the point of
almost strangling Meg and then raping Lulu. Meg recovers shortly afterwards but
Lulu feels the unbearable burden of this unfortunate event for some time.
As a modernist
playwright Pinter depicts violence with all its facets through his characters
in The Birthday Party. In addition to violence, Pinter’s style creates
a unqiue effect of uncertainty too, by
suggesting that the characters have secrets that neither the others nor the
reader can discover. The characters fail to comprehend the reasons, the meaning
or the significance of the lack of clarity in their past and present states.
Stanley’s blindness at the end of the play symbolizes his loss of power and
position. His glasses are broken, yet he wears a businessman’s suit and gets
ready to be taken away by the two impostors. These two homeless, ganster-like
characters have stil not revealed their identity clearly. McCann’s ignorance
about Goldberg’s name or the various names used by Stanley, McCann and Goldberg
exemplify the deliberate confusion in names.
In The
Birthday Party, Pinter adds uncertainty to violence when Stanley is pursued
by McCann and Goldberg because of his presumed betrayal of the organization.
What Stanley has done previously to deserve Goldberg’s and McCann’s
cross-examination and punishment is not known to the audience:
McCann: Why did
you leave the organization?
Goldberg: What
would your old mum say, Webber?
McCann: Why did
you betray us?
Goldberg: You hurt
me, Webber. You’re playing a dirty game. (Act II, page 725)
Stanley’s past life is shrouded in
uncertainty. The menacing strangers, one Jewish and the other Irish, perform a
series of interrogations which turn out to be both scary and exhilarating. Neither in Stanley’s nor
in Goldberg and McCann’s cases does the experience of guilt pave the way to the
sense of neurotically haunted and paralysed guilty people by the cries,
yearnings and even looks of the victim. (Keane, John Reflections On Violence, p: 183-184)[3]
A difference between these three characters’ sense of guilt can be suggested
as: Stanley’s decision of taking refuge
in Meg’s place refers to the idea of his passivity till the two new characters
appear. Whatever he has done previously as implied in the text as something
treacherous, is traced by the organization and Stanley disappeared in a
concealed place for a period of time. As part of the uncertainty that lies in
the past life of Stanley violence prevails as suggested in the interrogation:
Goldberg:
Where was your wife?
Stan:
In ---
Goldberg:
Answer.
Stan: (turning, crouched) What wife?
Goldberg: What
have you done with your wife?
McCann: He’s
killed his wife!
Goldberg: Why
did you kill your wife?
Stan: (sitting, his back to the audience) What
wife?
McCann: How did
he kill her?
Goldberg: How
did you kill her?
McCann: You
throttled her.
Goldberg: With
arsenic.
McCann. That’s
your man. (Act II, page 726)
Stanley is treated as a potential
victimizer and criminal in this speech[4].
In explaining the reason for taking away and punishing Stanley, the two
imposters refer to violence practiced on Stanley’s wife, whose existence is
questionable.
The end of The
Birthday Party is also ambiguous. Stanley leaves Meg’s boarding house with
McCann and Goldberg who carry him to the car in a wheelbarrow. Stanley’s well
tailored suit in the final scene is puzzling, since it could easily be
interpreted as good treatment of Stanley by the two gansters. However, it is
more likely that he has been dressed in this way to get prepared for the long
awaited appointment with the “leader of the organization.”
With the
presence of uncertainty and violence, and with the close bond between the two,
the very texture and tone of The Birthday Party reflects the reality of
the world we live in today. Violence as
seen in the play does not always take the form of physical violence. Pinter
achieves the scary and exhilarating effect of verbal violence through the
peculiar use of language, as his own style requires. Uncertainty prevails in
many plays by Harold Pinter, and The
Birthday Party is a good example of this with its many references to the
ambiguity and obscurity surrounding Goldberg and McCann’s identities, their
multiple names, their bizarre relationship and their mysterious connection with
Stanley. Pinter successfully maintains the enigma throughout the play, as a
modernist playwright. The impossibility of finding truth and reason behind the
discourse and action in The Birthday
Party parallels the vain attempt to provide meaning for the existence of
human beings and clarity about their past and present states. The dictates of
surrealism and nihilism are present in The
Birthday Party.
Notes
1. The setting described at the
beginning of the play reminds the reader of the stage directions of Ibsen’s
realistic plays, even the play can be categorized as resembling the
naturalistic plays of Chekhov and Strindberg, thus it provides a good example
of modernist drama that follows the realistic period and precedes the
post-modern period.
2. Pinter makes use of disabled
and/or blind characters in several plays. In A Slight Ache the blind
match seller is called Barnabas by Flora. Communication problems exist between
Edward and Flora, as they do between Meg and Petey. Flora projects all her
hopes and desires from her spouse on the blind man. Likewise, Meg fills in the
gap in her married life with Stanley.
3. In Reflections on Violence,
Keane describes the relationship between guilt and shame as:
“Those who are rendered guilty by the act of witnessing violence against others
are sometimes gripped by the feeling that they could easily disappear down a
hole, chased by the anger, resentment or indignation of the violated. Even
though their actions do not directly cause the suffering of the violated, the
guilty feel the way they do because an inner voice tells them that they are
indeed responsible. The guilty are haunted by the sound within themselves of
the voice of judgment. They feel permanent unease at what they have done to
others. That is why they themselves often fear retaliatory punishment or even
inflict it upon themselves, for instance by means of permanent guilt.” (London:
Verso, 1996), 183.
4. Stanley’s passivity before the
appearance of the newcomers and even after learning Meg’s plan to organize a
birthday party for him ceases when he faces the threat caused by Goldberg and
McCann. Although he cannot prevent Meg’s warm invitation of the strangers to
her house and to Stan’s birthday party as guests of honor, he still does his
best to defend himself during the interrogations.
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This paper is presented in the12th International Cultural Studies Symposium organized by Ege
University (April 29th-May 1st 2009) in Izmir, with the
title “The Limits of (Un)Certainty in Pinter’s The Birthday Party.”
* Written by Dr. Gül Kurtuluş, Acting Chair, Bilkent University,
Department of English Language and Literature.
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