Stanley Webber’s first release in the late 30s is humor, horror and fear. Too light for one moment, just jokingly and very funny, he appears like a frightened animal. He seems to be a musician in his life. A fugitive is one who comes across as a recluse, cut off from society. There seems to be no prospect of escape from his existence, and there seems to be no other of theirs. Ruby Cohn states that in Pinter’s stories, birthday which contains a drum. Although we pass the notes on his being a musician, there is no express evidence to suggest that he has the ability to be a musician. Stanley first begins to beat the drum slowly and then rhythmically and then violently in a frenzy. The drum suggests a return to childhood. But the brutal breaking of his drum signifies the regression of humanity even into its wandering roots, where instinct dominates reason.
Then play reaches it climatically with the two outsiders Goldberg and McCann as before Meg. The tenants are hosting Meg in a house that she claims is now on the list for travelers to the beach. Goldberg and McCann remind us of the incorrigible two in Samuel Beckett’s “Waiting for Godot” They wait outside the room in the irresolution and hesitation between asking himself questions. When they go to meet Meg, she informs them about the birthday party she has arranged. Ironically, a birthday party is celebrated despite Stanley insisting that it is not his birthday. Goldberg enthusiastically helps the evening and sponsors drinks, and Stanley, however, is annoyed by the arrival of strangers and refuses, fearing the intrusion of his distance, leisure and freedom. The second act is the celebration of one’s own birthday. The festival turns into sexual absurdities, sadism and a barbaric display of evil. Stanley’s look shows that he is very uncomfortable with social interaction. In addition to rock, Goldberg and Lulu, and McCann and Meg, indulge in so much love, but this only gives them boredom and in order to make the atmosphere livelier, they play a blind calculation. The blind game takes a typical approach. It implies man’s lack of vision in the modern world. It also describes a person’s journey to a destination by relegating his principles to his career. He only wants to carry out his purpose, not knowing what will happen. Only the end of things, not the means.
Tom Milne claims that the speeches of Goldberg and McCann (Irish) are full of oblique references to issues against which people can sin – big business, the IRA test cricket, morality and so on.
The game takes terrible colors. When Stanley McCann’s glasses are broken. One still broken leg moves and stumbles. This again fruitful, with one leg rooted in primitivism, the other in humanity, torn between two worlds. The lights went out, the cries and noises are seen in the darkness. Stanley’s torch tries to seduce Lulu, who throws it on the table. . He remembers the torch of light in Stephen Wallace‘s “Emperor Cream: “light sets the beam.” Stanley giggles knowing Stanley in his usual childish manner and from his chasers rises, who seems to be the most hypocritical.
The third act opens next morning with the old man and his wife. breakfast as usual. The calm surrounding the air is perfect for the tumultuous days ahead. The camouflage of the night’s incidents seems prodigious. The two pilgrims gather their belongings and make haste to leave. Goldberg and McCann want to take Stanley with them. Despite Petey’s repeated pleas that he is happy where he is, he reluctantly drags himself to the car. Leaving the car, Megs returns and continues to talk to her husband. Bernard F. Dukore states in his essay “From Comic to Non-comic” that the removal of Stanley can be considered as a theatrical climax. The final symphony is like a musical theme”. The story dramatizes the arrival of the unknown bringing a u-turn or changing the course of life. Goldberg and McCann with all their anonymity as perfect translations. Goals and intentions around Stanley. remain in the dark “… His rejection of society does not rely in some metaphysical anxiety or social philosophy or some vision of that value. It is a habit that has no social or philosophical antecedents.
Stanley represents a man who does not want to submit to the customs and doctrines of society. At the end of the story, he is forced to conform to society. No longer uncultivated as actually, so immaculate as a corpse. He’s clean-shaven, wears a dark-tailored suit and a white collar and holds broken glasses, says Bernard. F. Dukore In addition to dramatizing the theme of ‘threats’, the story is also a drama echoing in the absurdist tradition. the sense of man, the futility of living and the existential dilemma. Thematic absurdity also enters into the story’s technique as exemplified in cyclical plots, incongruous propositions, and flat characters without reason. The names of the characters are common and not grandiose. That there is nothing absurd to celebrate in the actual celebration. Communication is neglected in the drama showing the decline of communication and the generation gap in today’s society. Expression skills are also used. Goldberg asks McCann to sit down. Another flatters the quality of the property. The arguments then unfold into arguments that echo what is the life of all questions and struggles. Such scenes are similar to Girish Karnad’s “Hayavadana” where Devadutta and Kapila shuttle for priority over the head/body and Edward Albee’s “The Zoo Story” where Jerry and Peter fight for a seat on the bench, where the bench is a metaphor for the position.
Sources:
-Bernard.F.Dukore’s “From Comic to Non-Comic”
-Ruby Cohn’s “The World of Harold Pinter”
-Tom Milne “The Hidden Violence”
