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The Philosophy and Functions of Verbal Violence in Harold Pinter's

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The Philosophy and Functions of Verbal Violence in Harold Pinter's The Philosophy and Functions of Verbal Violence in Harold Pinter’s Mountain Language: A CDA Approach Behrooz Mahmoodi-Bakhtiari* Mahsa Manavi** Abstract The present study considers the issue of verbal violence in the language of drama. In the evaluation of verbal violence, Jeanette Malkin (2004) proposes six maxims, through which language may be considered as an arrogant element. The characters in dramatic texts (as in other literary texts) are created, developed, evolved and - in some cases - destroyed by language. In a considerable number of modern plays, language acts as an antagonist who is to destruct and demolish the personality of the other(s) in the play with violence and aggression; so, the theoretical study of dramatic verbal violence as a component of dramatic discourse is considered indispensible to critical discourse analysis of dramatic texts and the study of power relations as reflected in the dialogues.; Focusing on the patterns of dramatic verbal violence introduced by Malkin, this study aims to discuss the dominant patterns of verbal violence in Mountain Language, a play by Harold Pinter, and investigates the role of language in shaping, and destroying of human identities Key Words: verbal violence, discourse analysis, stylistics of drama, Pinter, Mountain Language, Malkin. *. Associate Professor, University of Tehran. Email: [email protected] **.M. A. Graduate of English literature, Kharzmi University, Tehran. Email: [email protected] Introduction study of dramatic verbal violence as a Most analysts in critical discourse component of dramatic discourse sounds analysis (CDA) endorse the claim that indispensible to discourse analysis of language can be regarded as a medium dramatic language. of domination and social force, serving In the plays by Harold Pinter, territory to legitimize the relations of organized is typically a room (refuge, prison, cell, power. Insofar as the legitimizations trap) symbolic of its occupant’s world. Into of power relations are not articulated, this, and into their ritualized relationship language is also ideological, portraying with its rules and taboos, comes a stranger the structural relationships of dominance, on to whom the occupants project their discrimination, power and control as deepest desires, guilt and neuroses (See manifested in itself. Typically, CDA (Gale Contextual Encyclopedia of World researchers are interested in the way Literature). The breakdown that follows discourse (re)produces social domination, may be mirrored in the breakdown that is, the power abuse of one group over of language. His preoccupation with others, and how dominated groups may confined spaces, with small rooms, with discursively resist such abuse (Wodak, constraining circumstances and brief 37 2001: 9). In other words “texts are often events provides a context for exploring sites of struggle in that they show traces the complexities of local pictures, the of differing discourses and ideologies instability and indispensability of verbal contending and struggling for dominance” interaction, the shifting status of social (ibid. 10). Wodak believes that language realities, the precariousness of attempts indexes and expresses power, and is to establish general agreement and the involved where there is contention over riskiness of anyone’s efforts to function as and challenge to power. It shall be noted leader or spokesperson for a social group that power does not necessarily derive (Quigley, 2009: 9). In his paper entitled from language, but language can be used “The Theatre of Harold Pinter” Dukore to challenge power, to subvert it, to alter (1962: 43-44) notes that Pinter’s plays distributions of power in the short and the are frequently funny and also frequently long term (ibid. 10). frightening. Their meaning usually The characters in dramatic texts (as in seems obscure. The characters behave other literary texts) are created, developed, in a “believable” manner, but they are evolved and in some cases destroyed shrouded in twilight of mystery. We can by the medium of language. Since the never be precisely sure who they are, why characterization is done through the they are there, or what they have come to dialogues of the characters, the theoretical do. Their motives and backgrounds are Quarterly Third Year, No. 11 Summer 2015 vague or unknown. We recognize that there varied; they vary in genre, in idiom, and is motivation but we are unsure what it is. in subject matter. In the works of Harold We recognize that there is a background, Pinter, for instance, concrete actions of but that background is clouded. Each piece language which are violent, coercive, and of knowledge is a half-knowledge, each domineering are demonstrated. “Language answer a springboard to new questions. is either metamorphosed into a dramatic antagonist that destroys the characters Verbal Violence: Some Basic or forces them into conformity with its Theoretical Issues pre-given structures and precepts; or it is Dramatic inquiry into the relationship portrayed as an inescapable prison which between man and his language is hardly determines the characters’ fate and defines a uniquely contemporary (post-World War the limits of their world — conceptual and II) phenomenon. Jarry’s King Ubu (1896), moral” (See. Malkin: 2). According to the Shaw’s Pygmalion (1913), Hofmannsthal’s investigations of Malkin, man speaks so The Difficult Man (Der Schwierige, far as he skillfully conforms to language 1921), some Dada theater evenings, the and language functions upon us: closing Volksstiicke of Odon von Horvath and us in within its own laws and restrictions, 38 Marieluise Fleisser all suggest, in varying coercing our obedience. ways, a concern with this issue (Malkin, This study is concerned with the 2004: 1). The elevation of language to the issue of verbal violence in the short central action, and actor; in the pessimistic play Mountain Language (1988), one vision of man’s ability to remain free and of Pinter’s plays mostly involved with humane in the face of verbal coercion; and the matter of violence done by means in warning that man has become a prisoner of language. In this play, language gets of his speech are the major factors which on trial: it stands accused of usurping relate to this inquiry. Verbal violence and molding reality, of replacing critical is a characteristic of recent twentieth- thought with fossilized and automatic century drama. (Culpeper, 2002: 87). As verbiage, of violating man’s autonomy, of long as any analysis of dialogue needs destroying his individuality. to be sensitive to the social dynamics of As an avant-guard playwright, whose interaction, it would be concerned with plays are also classified in the category of critical discourse analysis, evaluating the Absurd drama, Pinter watchfully portrays power- based relations and the systematic man’s miserable and tragic condition in the operations of violence upon the human verbal world in which he has caught up. subjects. His plays involve a considerable degree of The plays that animate these views are violence. The characters have aggressive conflicts with each other, or with their structures and precepts; or it is portrayed surrounding world. This aggression as an inescapable prison which determines which, in many of his plays culminates the characters’ fate and defines the limits in acts of language-motivated violence, of their world - conceptual and moral signals a disturbed and threatening (See. Malkin, 2). The following is the relationship between contemporary man characteristic maxims of verbal violence: and his language. 1- Language is demonstrated as This study aims to investigate the antagonistic force operating upon the aggression that centers to a great extent individual. 2- Language is a tyrannical on the dramatization of man’s loss of weapon of dominance and destruction. autonomy and selfhood through the 3- Language imprisons and brutalizes. normative pressures, reductive tendencies, 4- Language is menacing torture or pre-determination of language. interrogation. 5- Language embodies and Focusing on the Malkin’s patterns of controls political power. 6- Language as verbal violence, the present study aims verbal cruelty defines human relations. to explain how language becomes an autonomous element in the play; and Verbal Violence in Mountain what kind of effect the autonomous play Language 39 of language has got upon the human Mountain Language (1988) consists of individuals; what is the relation of human four short acts. The setting is in front of and being with the language he speaks and within a prison. In the first act, a group of how language becomes the ideological women who want to visit their imprisoned apparatus that exercises power upon the husbands are standing at a prison wall. human subjects. They have been standing there for eight hours in the snow. They are questioned The Patterns of Verbal Violence by a sergeant and an officer. One of the Malkin (2004) introduces six major women is bitten by a dog. The officer tells maxims for the analysis of verbal violence the women that their language, namely in the language of drama. According to that of the mountain people, is forbidden her, the verbal aggression demonstrates and that their husbands are enemies of the concrete actions of language which are state. Althogether one of the women turns violent, coercive, and domineering. In out not to belong to the mountain people. contemporary drama language is either Act 2 is set in a visitor’s room, in which an metamorphosed into a dramatic antagonist elderly woman visits a prisoner. She is told that destroys the characters or forces by the guard not to talk in her own language them into conformity with its pre-given and is jabbed by him with a stick, when she Quarterly Third Year, No. 11 Summer 2015 does not obey. The prisoner turns out to be have yet committed no crime! a joker. Act 3 is set in a corridor, where Sergeant: Sir! But you are not a hooded man is led to a young woman.
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