 The Caretaker the funniest character is possibly Davies ; for case, when he tries on the places and the smoking-jacket he gets from Aston: Davies speaks about the places so articulately that his congratulations about them is about like a gag, because people barely can conceive of that a brace of places can be blessed in such an facile manner. Besides several state of affairss in the drama, Davies ‘s personality and the manner he speaks besides seem to be amusing elements. He has no apprehension of and towards other people and this leads to comic responses when he can non follow precisely what is being said: He is given the suggestion that his turbulency in the dark was due to the unfamiliar bed, and he replies, ‘There ‘s nil unfamiliar about me with beds. I slept in beds ‘ .[ 7 ]The tragic or serious respect in the drama is by and large the characters ‘ agony. Although they all have programs, intents they do non accomplish them, they do non do an attempt in order to finish them. So this simple vain reverie, the palsy and the hopelessness gives the serious emphasis for the drama.
Another feature of the ‘absurd ‘ play is the deficiency of confirmation about the past and hereafter. It is a command technique that in every drama the drape comes down when it is least of all expected, when the given state of affairs is non completed at all. Actually, the characters often refer to the yesteryear or the hereafter, nevertheless, the hereafter that they imagine is instead beyond their appreciation. Their beliefs and visions are influenced by their actions, whereas their actions are frequently determined by their yesteryear. The most interesting point of this dramatic technique is the manner in which Pinter leads his readers – unconsciously – to believe or detect that the characters do non hold hope any more. “ The menacing ambiance of the dramas is a merchandise of the manner in which the witness is left quarry to the commiseration and panic of course associated with an unexpected visit to the dwellers of hell. ”[ 8 ]Although the audience is, of class, able to believe like the characters do, or even conceive of a hereafter where all their programs were completed, but in order to make so they would necessitate to bury, or merely neglect everything they have noticed and observed about the characters during the drama. On the contrary, the audience is capable to foretell suitably what these persons will make next when the drape has already come down. In fact, the audience knows the characters better than they know themselves and hence can calculate their hereafter with a greater truth.
Among the major playwrights of the Absurd, Harold Pinter represents the most original combination of daring and traditional elements. He was a lasting ‘visitor ‘ of the theater, every bit adept as an histrion, manager and dramatist. Pinter ‘s work can be summed up with the quotation mark of James Stobaugh, “ The Absurdist abandoned all hope of happening significance in life and embraced a kind of nihilism. The Absurdist was convinced that everything was nonmeaningful and absurd. The subjectiveness of a Romantic was appealing to the Absurdist. However, even that implied that something was surpassing – a desire – and the Absurdist would hold nil to make with that. ”[ 9 ]