The Caretaker by Harold Pinter
Analysis of the care take by Harold Pinter
Harold Pinter was one of the most renowned dramatists of the 20th century, esteemed for his inventiveness, originality, and formal innovation. The Caretaker by Harold Pinter and His other works are so influential that his name has been used to explain certain settings or situations—the "Pinter Pause" concerns relying on unsaid things to convey characters' motivations or personalities, and the "Pinteresque" refers to an inconclusive end to a comedy of subtle menace and absurdity. His work was influenced by Samuel Beckett, whom Harold Bloom identified as Pinter's "ego ideal."
Pinter was born in East London in 1930 to a Jewish tailor and had a working-class upbringing. Pinter's experiences during WWII, such as the Blitz and relocation, informed his work. At Hackney Downs Grammar School, he excelled at sports and took up acting for the first time. After school ended, he took on odd jobs and managed to avoid the war by declaring himself a conscientious objector (this did not entirely work, but a judge fined him instead of imprisoning him for refusing to go). In 1949, inspired by the works of Beckett, he published his first poems under the pen name Harold Pinta. He studied acting at the Royal Academy of Dramatic Arts and the Central School of Speech and Drama and began touring Ireland with a Shakespeare company and working in provincial repertory theatres in England.
Pinter wrote his first play, "The Room," in 1957. It featured many motifs that would be common in his oeuvre, including a situation that seems quotidian but is charged with ambiguity and menace. It was reviewed favourably and was mounted by the drama department of Bristol University. Pinter then went on to write "The Birthday Party," a play of muted anxiety and tension that bordered on the theatre of the absurd. In 1957, on the same day that his son Daniel was born, Pinter was paid 50 pounds for the play, which was soon produced at Cambridge's Arts Theatre to critical success. The play bombed during its London debut a few months later. Despite that failure, "The Birthday Party" remains one of Pinter’s most successful full-length plays, and it is considered the first of his “comedy of menace” pieces.
"The Caretaker" (1960) was Pinter's second full-length play and a resounding critical and commercial success. A fusion of the realistic and the symbolic, it led to his third play, "The Homecoming," which was full of energy and power. In 1966, he was made a Commander of the Order of the British Empire.
Pinter also wrote plays in the 1970s, though his earlier works were more than enough to cement his reputation. This decade saw "Old Times" (1970), "No Man's Land" (1975), and "Betrayal" (1978). Pinter was the associate director for Britain's National Theater.
In the 1980s-2000s, Pinter continued to compose plays but also tried his hand at poetry, screenwriting, and directing. He explained that he wanted to look at politics at the end of his life, and he remarked that his twenty-nine plays were enough. In 2005, he won the Nobel Prize in literature.
Pinter was married twice. He died on December 24th, 2008, of liver cancer. The lights of Broadway and the West End were dimmed in tribute to him. In 2011, the Comedy Theatre on Panton Street in the West End was renamed The Harold Pinter Theatre.
Harold Pinter in The Caretaker uses silence and ambiguity to create a psychological drama that explores the themes of power, identity, and trust between two brothers and a tramp. He uses dialogue, pauses, gestures, and stage directions to create tension and conflict in the play, and how he challenges the audience's expectations and interpretations of the characters and their actions.
One of the features of Pinter's play is his use of silence, which creates a sense of mystery and uncertainty in the play. He uses silence to suggest hidden meanings, emotions, and motives that are not expressed by the characters. He also uses silence to create suspense and anticipation for what will happen next. He shows how silence can be a form of communication, manipulation, or resistance among the characters, who often try to dominate or evade each other through silence. For example,
DAVIES: You're not going out?
ASTON: No.
DAVIES: You're not going out?
ASTON: No.
DAVIES: You're not going out?
ASTON: No.
DAVIES: You're not going out?
ASTON: No.
DAVIES: You're not going out?
ASTON: No.
DAVIES: You're not going out?
ASTON: No.
DAVIES: You're not going out?
ASTON: No.
DAVIES: You're not going out?
ASTON: No.
DAVIES: You're not going out?
ASTON: No.
DAVIES: You're not going out?
ASTON: No. (Pause.)
DAVIES: Well, I am. (He gets up, goes to the door, opens it, looks out, closes it, and comes back.) (Pinter 12)
This exchange shows how Davies tries to get a reaction from Aston by repeating the same question, but Aston remains silent and unresponsive. The silence creates a contrast between Davies' agitation and Aston's calmness and also reveals their different personalities and attitudes. The pause after Aston's final "No" indicates a moment of tension and frustration for Davies, who then decides to leave the room. The silence also suggests that there is more to their relationship than what they say and that there are underlying issues that they do not address.
Another feature of Pinter's play is his use of ambiguity, which creates a sense of confusion and doubt in the play. He uses ambiguity to create multiple interpretations and meanings for the characters and their actions. He also uses ambiguity to create a sense of unreliability and deception among the characters, who often lie or withhold information from each other. He shows how ambiguity can be a source of conflict, misunderstanding, or mystery among the characters, who often have different perspectives and motives. For example,
MICK: What's your name?
DAVIES: Jenkins.
MICK: Jenkins? That's your name?
DAVIES: Yes.
MICK: What's your first name?
DAVIES: Bernard.
MICK: Bernard Jenkins? That's your name?
DAVIES: Yes.
MICK: Where do you come from?
DAVIES: Sidcup.
MICK: Sidcup? Where's that?
DAVIES: Sidcup. Kent.
MICK: Kent? That's where you come from?
DAVIES: Yes. (Pinter 29)
This exchange shows how Mick interrogates Davies about his identity, but Davies gives vague and inconsistent answers. The audience knows that Davies has previously told Aston that his real name is Mac Davies, not Bernard Jenkins and that he has papers in Sidcup that prove his identity. However, Mick does not know this, and he seems suspicious of Davies' answers. The ambiguity creates a sense of uncertainty and distrust between the characters and also raises questions about Davies' true identity and motives. The ambiguity also suggests that there is more to the story than what the characters reveal and that there are hidden secrets and mysteries that they do not share.
In conclusion, Pinter uses silence and ambiguity to create a psychological drama that explores the themes of power, identity, and trust between two brothers and a tramp. He uses dialogue, pauses, gestures, and stage directions to create tension and conflict in the play, and challenges the audience's expectations and interpretations of the characters and their actions. Pinter's play is a remarkable example of his craftsmanship and artistry, and it illustrates the complexities and challenges of human existence in the modern world.
The Caretaker Character List
Aston: Aston is the older brother of Mick. He appears shy, reserved, and slow. He speaks haltingly and has trouble finishing projects. He reveals that when he was younger, he experienced hallucinations and was involuntarily subjected to electroshock treatment at a mental facility. He confesses to having difficulty ordering his thoughts. He is also very compassionate, offering Davies a place to stay and a job. He is finally pushed to his limits when Davies mocks his treatment and "makes too much noise" (60). He has a good relationship with Mick, although they do not speak to each other.
Davies: Davies is an itinerant tramp. After a fight at his cafe job, Aston brings him to the room and offers him the caretaker position. Davies is loud, confident, arrogant, and full of himself. He has a martyr complex, believing that everyone else, particularly other races, is out to get him. His identity is questionable, as his papers have been at Sidcup for a long time. He eventually alienates Aston with his irritability, laziness, and mean-spiritedness, and is forced out of the room.
Mick: Mick is the younger brother of Aston. He is rather mysterious and complex. He cares deeply for his brother and deftly deceives Davies. He is intelligent and ambitious and talks frequently about his projects and desires to expand. He lives outside the room but resents Davies' entrance into it. While he admits to getting frustrated with Aston, his dream is to fix up the flat and live there with him.
The Caretaker Themes
Isolation: The characters in the play are profoundly isolated from one another. They have difficulty maintaining deep, meaningful relationships with others and often misunderstand each other. They remain in their private, personal worlds and are disconnected from the world outside. The room in the play acts as a shelter or a womb, where they expect to be safe. This explains why Mick and Aston want Davies to leave and why Davies finds it terrifying that he cannot stay.
Race and National Origin: The play reflects the racial tensions and prejudices of 1950s England. Davies displays racism and prejudices against other racial groups. The characters discuss race and national origin as important factors in determining social hierarchy and entitlement in society. Pinter captures the unease and suspicion that arose with the influx of immigrants to European countries after World War II.
Communication: Communication is challenging for the characters in the play. They struggle to truly listen and answer direct questions. Their communication styles are influenced by their social class and treatment by society. Language is shown to be an ineffective way of connecting with others. Pinter explores the difficulties of authentic communication in the modern world.
Absurdity: The play exists in a world characterized by absurdity, where life lacks meaning and coherence. The characters are isolated, lonely, and oppressed by forces beyond their control. Their desires and choices seem disconnected from the outcomes. Pinter depicts a fragmented, chaotic, and confusing existence.
Social Class: Social class plays a subtle but significant role in the play. The characters are oppressed by their lower social class, which limits their autonomy and subjects them to external controls. They struggle to make a living and face societal mechanisms that prevent them from improving their lives. Pinter portrays the beliefs, values, and behaviours of those deemed unworthy by society.
Family: Family relationships are portrayed in various ways in the play. Family can be detrimental and representative of the absurdity and meaninglessness of life. However, the relationship between Mick and Aston represents a glimmer of meaning and purpose. They care for each other despite their disconnection from society.
The Caretaker Quotes and Analysis
"All them Greeks had it, Poles, Greeks, Blacks, the lot of them, all them aliens had it...And they had me working there..."
Davies, 6 : This quote shows Davies' racial prejudices and his sense of victimization. He blames his misfortunes on other ethnic groups, whom he considers "aliens" who do not belong in England. He also implies that he was exploited by his former employer, who hired immigrants instead of him.
"You see? They prove who I am! I can't move without them papers! They tell you who I am!"
Davies, 15
This quote shows Davies' reliance on papers as an identity. He claims that he has papers in Sidcup that prove his real name and nationality, but he never goes to get them or shows them to anyone. He also contradicts himself later by saying that he does not need papers to prove who he is. He seems insecure and confused about his identity and uses papers as a way of asserting himself.
"You could be...caretaker here, if you liked."
Aston, 31
This quote shows Aston's offer of the caretaker position to Davies. Aston is kind and generous to Davies, giving him a place to stay, clothes, shoes, money, and a job. He trusts Davies and treats him as a friend. However, Davies does not appreciate Aston's kindness and tries to take advantage of him.
"I was going down today, but I'm...I'm waiting for the weather to break."
Davies, 39
This quote shows Davies' excuse for not going to Sidcup to get his papers. He keeps postponing his trip, claiming that he needs better shoes or better weather. He seems afraid or unwilling to go to Sidcup, perhaps because he does not have any papers or because he does not want to leave the room.
"You've got...this thing. That's your complaint. And we've decided, he said,
that in your interests there's only one course we can take.
He said...he said,
we're going to do something to your brain."
Aston, 42
This quote shows Aston's revelation of his electroshock treatment at a mental facility. He tells Davies how he was taken there against his will when he was young and how he was subjected to a brutal procedure that damaged his brain. He speaks in a detached and emotionless way as if he has repressed his trauma.
"I mean,
we don't have any conversations,
you see?
You can't live in the same room with someone who...who don't have any conversation with you."
Davies, 46
This quote shows Davies' complaint about Aston's lack of communication. He accuses Aston of being silent and unresponsive and says that he cannot live with him. He ignores the fact that he is a poor communicator, who often lies, rambles, or insults others. He also ignores the fact that Aston has been kind and generous to him and that he owes him gratitude and respect.
"You've been stinking the place out."
Aston, 53
This quote shows Aston's anger at Davies for mocking his treatment. Aston finally loses his patience with Davies, who has been rude, ungrateful, and mean to him. He tells him to leave the room, as he cannot stand his presence anymore. He also implies that Davies is the source of the bad smell in the room, not the bucket.
"Well,
you say you're an interior decorator,
you'd better be a good one."
Mick, 55
This quote shows Mick's sarcasm and manipulation of Davies. Mick pretends to be friendly and interested in Davies and offers him the caretaker position. He also pretends to share his vision of renovating the room and making it more comfortable. However, he is only toying with Davies, and he does not intend to keep his promises.
"Anyone would think this house was all I got to worry about.
I got plenty of other things I can worry about...I'm moving about,
all the time.
I'm moving...all the time.
I've got to think about the future."
Mick, 58
This quote shows Mick's ambitions and frustrations. Mick is intelligent and restless, and he has many plans and projects for his future. He wants to expand his business and improve his living conditions. However, he also feels trapped and dissatisfied with his current situation. He lives outside the room, but he cares about it as it represents his connection with Aston.
"You make too much noise."
Aston, 60
This quote shows Aston's final decision to ask Davies to leave. Aston is polite but firm, and he tells Davies that he cannot stay in the room anymore. He does not give any other reason than the noise that Davies makes, but it is clear that he has had enough of his lies, insults, and ingratitude. He also implies that Davies disturbs his peace and quiet.
These quotes highlight key moments and themes in the play, such as Davies's racial prejudices, his reliance on papers as an identity, Aston's offer of the caretaker position, the characters' struggles with communication, Mick's ambitions, and Aston's final decision to ask Davies to leave. Each quote reflects the complexities of the characters' relationships, their isolation, and the challenges they face in finding meaning and connection in their lives. The Caretaker is a compelling and thought-provoking play that reveals Pinter's mastery of language and drama.