, Research Paper
Explore the word picture of Teddy and his significance in the drama as a whole, get downing from a close scrutiny of his words and behavior on p.86 to p.89 ( I think we ll travel back to You merely rest. I ll travel battalion ) .
We see directly off that Teddy, who apparently should be relaxed in his place, is tense. He talks endlessly, presenting inquiries and seeking reassurance, while Ruth speaks and Acts of the Apostless with assurance. When Teddy announces: I think we ll travel back and asks Ruth if she agrees that they should return place, she merely replies with a contrasting confidence: Why? ( III.86 ) . Teddy s insecurity is evident in every line, as his beat and tone of address contradict the evident significance of his words. For illustration, reacting snappily to Ruth s accusal that he does non wish his household he says, Of class I like them. What are you speaking about? but he is unable to go on the address by bring forthing some grounds to back up this statement and there is a stating silence ( III, 87 ) . This episode reinforces the fact that the power in this relationship seems to belong to Ruth. For case, Teddy rambles: Expression. I ll travel and pack. You rest for a piece. Will you? They won T be back for at least an hr. You can kip. Rest. Please ( III, 89 ) , to which Ruth merely looks at him in commanding silence. In retrospect we may look at Teddy s pleading for her to rest, as more of an effort to claim ownership than to offer consolation, a comparing can be drawn to earlier in Act III when Teddy says to Ruth: I m with you. This intuition is reinforced when we realise that this is one of three times that Teddy has begged Ruth to Rest in merely four pages of text, even though as he says himself It s forenoon. It s about eleven o clock ( III, 88 ) . Teddy seems despairing to halt his married woman being revitalised by this dirty house, even though he is, or at least his makes himself, powerless to halt this occurrence.
Left entirely with his married woman during this brief enchantment, we see Teddy virtually imploring Ruth to return to America with him. However, neglecting to travel Ruth with the reference of her boies, his goads are ridiculously unequal: The autumn semester will be get downing shortly ( III, 89 ) . Ruth queries whether Teddy finds his place dirty, and at foremost he denies that hypothesis, but so he picks up the subject: Here, there s nowhere to bathe, except the swimming pool down the route. You know what it s like? It s like a urinal. A foul urinal! ( III, 89 ) . Teddy s depreciation of the London environment is a hint to the dislocation of his relationship with Ruth, who thrives in the soil and aggression of the North London place. America for Teddy is a land of swimming pools, early forenoon sunshine, and quiet survey. The perfect place for a intellectual adult male who want to dissociate himself from his animalistic household who, as Ruth justly asserts, he does non wish every bit much as he thought he did ( III,89 ) .
Teddy is a complete foreigner to his household ; this is affirmed when Lenny reassures him that he belongs to the household unit. Any reassurance from Lenny, the most marauding member of the household, is bound to be untrue! All Teddy has is Ruth, and in malice of the rational wall he has built around himself, he is stray and in demand of the emotional buttressing Ruth has provided. Therefore, his petition, You merely rest. I ll travel battalion ( III, 90 ) , can be seen as him pleading that she remain with him, both at this peculiar minute and metaphorically in the matrimony.
Teddy operates with great emotional withdrawal, withdrawing behind an rational barrier. This is shown when he uses a cold round sort of logic with Ruth stating: Expression, I merely brought you back to run into the household, didn T I? You ve run into them, we can travel. Teddy s alibi is every bit feeble when he says the ground he ne’er told the household he was married was because: You were busy at the clip. I didn t want to trouble oneself you ( III, 78 ) . In retrospect, one suspects that Teddy was fearful to state the household about Ruth, and now wants to go forth so rapidly because he fears they will be excessively pleased with her. It is in this visible radiation that we can see many of Teddy s remarks as supplications that Ruth is allowed to stay with him. However, the household is relentless. When Max inquires whether the kids miss their female parent, Teddy insists they do, until Lenny nervelessly reminds Teddy: Your cigars gone out ( III, 82 ) . The line implies Teddy s loss of power. This can be seen shortly after when Lenny challenges Teddy s country of expertness: Do you observe a certain logical incoherency in the cardinal avowals of Christian theism? ( III, 83 ) . Teddy
s whole life has therefore being challenged, and so to his right to Ruth. Yet, Teddy sidesteps the issue: That inquiry doesn t autumn within my state ( III, 83 ) . We see that Teddy resignations, unwilling to keep his rational land, and his retreat is an recognition that he will non contend in any other sphere – it is no happenstance that before Lenny appears on page 90, Teddy is seen flying out and up the stepss. Teddy symbolically relinquishes his topographic point in the household when he stands up, merely before Ruth reveals ( in hindsight with an air of inevitableness I was born rather near here ( III, 85 ) ) and we realise the drama is non merely Teddy s homecoming but besides hers.
At other important minute Teddy besides relinquishes duty for his married woman, standing in silence when his brothers embrace her on the couch. This silence amounts to complicity. Teddy justifies this flooring passiveness, by which he allows himself to go disengaged from his ain married woman, through speaking about his critical plants, offering the defense mechanism: There s no point in my sending you my critical plants. You d be lost. It s nil to make with the inquiry of intelligence. It s a manner of being able to look at the universe. It s a inquiry of how far you can run on things and non in things ( 100 ) . This curious analysis is Teddy s justification. He refuses to take part in the animalistic household ways, which he seems to hold dreaded returning to. This involves Teddy giving up his married woman without a battle and non standing up for his rules. He describes it as: Intellectual equilibrium. You re merely objects you merely travel approximately. I can detect it. I can see what you do. It s the same as I do. But lost in it. You won t acquire me being lost in it ( III, 100 ) . Yet, Teddy rather clearly is lost, he has become separated from his household through his instruction and reason.
Teddy s instruction at alumnus degree seems to hold removed from him normal human emotion and natural feeling and actions. He uses doctrine to distance himself from life, utilizing this as a ground to let him to give up to the curious horrors that are traveling on around him. Michael Craig who played Teddy perceptively commented: He s an atrocious adult male, Teddy. He rationalised his aggressions, but underneath he s an Eichmann ( quoted in Hewes, Probing Pinter s Play. Interview with Harold Pinter ) . There is good ground for him to state this about Teddy, as a character, non merely as the representative of a curious idea procedure. As the household s behaviour becomes more hideous Teddy becomes more revengeful. When Joey returns after a session with Ruth, without holding gone the whole pig ( III, 108 ) , Teddy answers: Possibly he hasn T got the right touch ( III, 108 ) and later nervelessly explains to Max: He had her up their for two hours and he didn t travel the whole pig ( III, 112 ) . Teddy pretends this self-imposed distance to what is traveling on around him gives him a high quality, that he is declining to drop to the household s degree. However, by making this he is declining to admit the indignation that is taking topographic point, alternatively he smiles and says: The best thing for her is to come place with me, Dad. Truly. We re married, you know ( III, 115 ) . Teddy even all of a sudden suggests the strategy of Ruth remaining in London, possibly seeking to surpass the remainder of the household for unfeelingness and ferociousness. We have seen that Teddy argues the instance that his philosophical preparation licenses, even encourages, such withdrawal. Even as he prepares to go forth he refuses to admit what has happened in any normal human manner. However, Teddy is non heroically arising against his household, he is in fact promoting their animalism by declining to stand up to them ; even though he does non experience he belongs to them, he leaves his married woman to them in the most cold and fearful mode.
However, Teddy is unlike his two brothers and his male parent. Possibly he and his uncle, Sam, who is every bit unlike his brother Max, were born outside the household unit and that is why they feel such affinity and are so different. However, this decision merely puts Teddy in a worse visible radiation, for while Sam can non stand up to the household because he lacks the physical strength, Teddy does non oppose the household because he lacks the moral bravery. Although he does non like the household s manner of life he finally proves himself to be entirely familiar and submissive to it. One is left unable to differ with the statement Pinter himself made to John Lhar that if of all time there was a scoundrel in the drama, Teddy was it and the indistinguishable words of Sir Peter Hall and Paul Rogers that Teddy is the biggest asshole of the batch.