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1 Notes INTRODUCTION 1. Harold Pinter, 'Writing for Myself' in Harold Pinter, Plays: Two (London, 1977) p Simon Trussler, The Plays of Harold Pinter: an Assessment (London, 1973) p Harold Hobson, 'The Screw Turns Again', Sunday Times, 25 May 1958, p Nigel Dennis, 'Pintermania', New York Review of Books, 17 Dec. 1970, p Harold Pinter, 'Writing for the Theatre' in Harold Pinter, Plays: One (London, 1976) p 'Writing for the Theatre', p Dennis, 'Pintermania'. 8. Ronald Bryden, 'Three Men in a Room', New Statesman, 26 June 1964, p Mel Gus sow, 'A Conversation [Pause] with Harold Pinter', New York Times Magazine, 5 Dec. 1971, p Henry Hewes, 'Probing Pinter's Play', Saturday Review, 8 Apr. 1967, p Kathleen Tynan, 'In Search of Harold Pinter: Part II', Evening Standard, 26 Apr. 1968, p Harold Pinter,' A Speech', delivered at the University of East Anglia on 29 Oct A recording of the speech is kept at the University of East Anglia. 13. Lawrence M. Bensky, 'Harold Pinter' (interview), in Writers at Work, edited by George Plimpton (Harmondsworth, 1977) p Interview with Kenneth Tynan, BBC Home Service, 28 Oct Transcript kept at the BBC Written Archives Centre in Reading. 15. Kenneth Tynan. 16. Leslie Garris, 'Translating Fowles into Film', New York Times Magazine, 30 Aug. 1981, p Hewes, 'Probing Pinter's Play', p. 57 and William Packard, 'An Interview with Harold Pinter', First Stage, 6, No 2 (Summer 1967) p Bensky, p Katharine Worth, Revolutions in Modern English Drama (London, 1972) p Martin Esslin, Pinter the Playwright (London, 1982). The book was originally published under the title The Peopled Wound: The Plays of Harold Pinter (London, 1971). 21. Lucina P. Gabbard, The Dream Structure of Pinter's Plays: A Psychoanalytic Approach (Cranbury and London, 1976). 212

2 Notes to pp See Henry Hewes, 'Disobedience Civil and Uncivil', Saturday Review, 28 Oct. 1967, p. 46. Also 'A Psychiatrist Looks at "The Homecoming"', Saturday Review, 8 Apr Hewes, 'Probing Pinter's Play', p Thomas P. Adler, 'Notes toward the Archetypal Pinter Woman', Theatre journal, 33 (Oct. 1981) Katharine Burkman, The Dramatic World of Harold Pinter: Its Basis in Ritual (Columbus, 1971). 26. Steven Gale, Butter's Going Up: a Critical Analysis of Harold Pinter's Work (Durham, 1977). 27. Walter Kerr, Harold Pinter (New York, 1967). 28. William Baker and Stephen E. Tabachnick, Harold Pinter (London, 1973). 29. James Hollis, Harold Pinter: the Poetics of Silence (Carbondale, 1970) and Austin E. Quigley, The Pinter Problem (Princeton, 1975). 30. Guido Almansi and Simon Henderson, Harold Pinter (London and New York, 1983). 31. Bryden, 'Three Men in a Room'. 32. Pinter, 'Writing for the Theatre', p Interview with Philip Oakes, BBC 'Options', 6 June Transcript kept at BBC Written Archives Centre in Reading. 34. Dennis, 'Pintermania'. 35. David T. Thompson, Pinter: The Player's Playwright (London, 1985). 36. Harry Thompson, 'Harold Pinter Replies', New Theatre Magazine, II (Jan. 1961), 8-10 (p. 8). 37. Gussow, 'A Conversation [Pause] with Harold Pinter', p John Russell Taylor, 'Pinter's Game of Happy Families', in A Casebook on Harold Pinter's 'The Homecoming', edited by John Lahr (New York, 1971) (p. 61). 39. Bensky, pp Bensky, p Interview with Jacky Gillott, BBC Radio 4, 13 June Recording kept at the British Institute of Recorded Sound (London). 42. William Hickey, 'Antonia finally names the day...', Daily Express, 25 Nov. 1980, p Mel Gussow, 'Harold Pinter: "I Started With Two People in a Pub"', New York Times, 30 Dec. 1979, p Bensky, p Hewes, 'Probing Pinter's play'. Also Kathleen Tynan, 'In Search of Harold Pinter: Is He the Mystery his Critics Allege?', Evening Standard, 25 Apr. 1968, p Gillott, Ronald Hayman, Harold Pinter (London, 1975) p Gillott, Trussler, p Carolyn B. Heilbrun, Towards Androgyny: Aspects of Male and Female in Literature (London, 1973) p Heilbrun, p Carolyn Heilbrun considers Virgil 'wholly masculine' (Towards

3 214 Notes to pp Androgyny, p. 22) while Maud Bodkin finds in him 'feminine sensibility' (Archetypal Patterns in Poetry, p. 203). Shulamith Firestone agrees that Joyce is beyond doubt an androgynous writer (The Dialectic of Sex, p. 156) while Heilbrun maintains that Joyce 'could not visualise a woman' (Towards Androgyny, p. 94). 53. Shulamith Firestone, The Dialectic of Sex (London, 1979) pp CHAPTER 1: ARCHETYPAL PATTERNS: THE SPLIT FEMALE IMAGE 1. Harold Pinter, The Dwarfs (novel), typed manuscript kept by the author, p Simone de Beauvoir, The Second Sex (Harmondsworth, 1972) p C. G. Jung, Aspects of the Feminine, translated by R. F. C. Hull (London, 1982) p This is undoubtedly a game of dominance and subservience, which L. P. Gabbard interprets in her rather extreme Freudian approach as castration of the male. See Gabbard, The Dream Structure, p An extensive description of this aspect of the mother archetype (the Great Mother) is given by Erich Neumann, a disciple of C. G. Jung in The Great Mother. An Analysis of the Archetype, second edition (Princeton, 1963) and in The Origins and History of Unconsciousness (Princeton, 1954). 6. Jung, Aspects of the Feminine, p Frank Palmer says about the 'feminisation' of ships and cars in the English language: 'Ships are, of course, referred to as "she" and so often are cars, at least by men. We should not build a grammatical theory around this rather special case. It is enough to say that the Englishman treats them as if they were female; we can then provide the joking explanation that they are fickle, stubborn, etc.' Frank Palmer, Grammar (Harmondsworth, 1971) p Gale, Butter's Going Up, p Irving Wardle, 'Comedy of Menace', Encore, 5 (Sept.-Oct. 1958) Gale, p The letter was written on 30 Mar but was only recently published in the Winter 1981 issue of Drama. The published letter is preceded by an explanatory note by Harold Pinter, in which he tries to make more non-committal the prescriptive and somewhat dogmatic volubility of his early self. Harold Pinter, 'A Letter to Peter Wood', Drama (Winter 1981), 'Letter to Peter Wood', p 'Letter to Peter Wood', p Esslin, Pinter the Playwright, p Interview with Joan Bakewell, BBC 2 TV, 'Late Night Line-Up', 11 Sept The interview was published in the Listener, 82 (6 Nov. 1969) under the title 'In an Empty Bandstand -Harold Pinter in Conversation with Joan Bakewell'.

4 Notes to pp See Neumann, Origins and History of Consciousness, esp. Part I, A, III {39-101). 17. The Great Mother, p The Great Mother, p Quoted in Hewes, 'Disobedience, Civil and Uncivil', p Nancy Chodorow, The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender (Berkeley, Los Angeles and London, 1978), p. 37 (footnote*). 21. Chodorow, p Gale, p Hayman, Harold Pinter, p Jack Kroll, 'Blood from Stones', Newsweek, 16 Oct. 1967, p. 66. Clive Barnes, 'Pinter's The Birthday Party', New York Times, 4 Oct. 1967, p. 40L. 26. Bensky, p Thompson, 'Harold Pinter Replies', p Burkman, The Dramatic World of Harold Pinter, p W. A. Darlington, 'Mad Meg and Lodger. Play Revels in Obscurity', Daily Telegraph, 20 May 1958, p Albert Bermel, 'The Father as Fate', New Leader, 23 Oct. 1967, p Anonymous, 'New Plays- the Word as Weapon', Time, 13 Oct. 1967, p Darlington, 'Mad Meg and Lodger'. 33. Gale, p Robert Cushman, 'True Love Conquers All as Usual', Observer, 19 January 1975, p. 28 and Philip Hope-Wallace, 'The Birthday Party', Guardian, 19 June 1964, p Baker and Tabachnick, p 'Letter to Peter Wood', p Chodorow, p Author's note in Harold Pinter, The Hothouse (London, 1980). 39. First stage production at the Hampstead Theatre Club, May Television production, BBC 2, 27 Mar Nancy Banks-Smith, 'Sheer Murder', Guardian, 29 Mar Bensky, p Harold Pinter, 'Synopsis for a Play', submitted to the BBC on 12 Nov Document kept at the BBC Written Archives Centre in Reading. 43. Jean Leighton, Simone de Beauvoir on Woman (Cranbury and London, 1975) p Gussow, 'I Started With Two People in a Pub', p Neumann maintains that the Great Mother 'is good-bad and makes possible a union of positive and negative attributes'. The Great Mother, p Synopsis kept at the BBC Written Archives Centre in Reading. 47. Firestone, The Dialectic of Sex, p Gale, p Lois Gordon, Stratagems to Uncover Nakedness: The Dramas of Harold Pinter (Columbia, 1969), p Alan Brien, 'A Pinter Week', Sunday Telegraph, 8 Oct. 1961, p. 10.

5 216 Notes to pp Milton Shulman, 'Terrifying - This Hymn of Hate Against Women...',Evening Standard, 3 Oct. 1961, p Benedict Nightingale rightly observed that 'the characters might as well be described... as Man, Other Man and Woman'. Benedict Nightingale, 'Outboxed', New Statesman, 25 Sept. 1970, p It is interesting that, as recent sociological and anthropological studies have proved, women have been exchange objects among men even in matrilinear societies, which believed in the supremacy of the woman. Gradually, in patriarchal societies this exchange of women came to indicate their inferior status. See Juliet Mitchell, Psychoanalysis and Feminism (Harmondsworth, 1975) pp Harold Pinter, 'Tea Party' (Short story), in Harold Pinter, Plays: Three (London, 1978) p Betty Friedan, The Feminine Mystique (London, 1963) p Feminine Mystique, p. 18. Simone de Beauvoir was perhaps the first feminist to denounce the insidious ways by which women were forced to accept their embellished domestic roles and were relieved of any responsibility to socio-economic development and cultural advancement. Betty Friedan's book, published in 1963, places the problem in a more contemporary situation, the decade of the fifties, and, therefore, it is closer to the time Pinter started writing his plays. 57. BBC Television, 25 Mar Several reviews draw attention to Vivien Merchant's striking sex appeal in acting Wendy's part in both television and stage productions of the play. 59. Pinter wrote an earlier draft in 1961 for another director, Michael Anderson, and then he rewrote it in 1962 for Joseph Losey. 60. See Bensky, p Isis, 1 Feb. 1964, p. 19 (cited in Burkman, p. 131). 62. Baker and Tabachnick, p See John Russell Taylor, 'Accident', Sight and Sound (Autumn 1966) p Nicholas Mosley, Accident (Harmondsworth, 1971) p Mosley, p Mosley, p Mosley, p Taylor, 'Accident', pp Anonymous, 'X-ray Treatment', Time, 21 Apr. 1967, p CHAPTER 2: FROM MYTH AND ARCHETYPE TO REALITY 1. Gillott, Marshall Pugh, 'Trying to Pin Down Pinter', Daily Mail, 7 Mar. 1964, p First radio production: BBC Radio 3, 29 July Second radio production: BBC Radio 4, 24 Nov

6 Notes to pp Even in these plays, however, the intruder might be taken for a figment of a diseased imagination. For instance in his poem 'A View of the Party' Pinter gives a clue about Goldberg and McCann being just thoughts of Stanley. See Harold Pinter, Poems and Prose: (London, 1978) pp Leonard Powlick suggests that 'the play is Edward's -i.e. that the play speaks to us from Edward's point of view'. Further on he talks about 'accepting the subjective nature of the play, i.e. viewing it as a projection of the perception and attitude of Edward, its major character'. Leonard Powlick, 'A Phenomenological Approach to Harold Pinter's A Slight Ache', Quarterly Journal of Speech, 60 (Feb. 1974) (pp. 27 and 32). 6. Steven Gale stresses Flora's centrality in the play: 'A Slight Ache is basically the story of a woman's psychological needs, the failure of the husband to adequately fulfill those needs, and the wife's solution.' Gale, Butter's Going Up, pp See Bernard Dukore, Harold Pinter (London and Basingstoke, 1982) and particularly Alrene Sykes, Harold Pinter (St Lucia, 1970). 8. Vivien Merchant played the role of Flora in both BBC radio productions. Peggy Ashcroft appeared in this role at the Aldwych production of In that production A Slight Ache was presented in a double bill with Landscape. Recordings of the radio production of 1972 and of a live performance at the Aldwych are kept at the British Institute of Recorded Sound (London). 9. Peggy Ashcroft gave a wonderful performance at this point. Pinter's language combined with the marvellous undulations of her voice created such a stunning effect that the audience immediately caught the irony underlying Flora's apparently melodramatic narrative and burst into laughter. 10. Hayman, Harold Pinter, p Trussler, The Plays of Harold Pinter, p Neumann, The Great Mother, p The trough is listed among 'symbols in which the function of containing is dominant' (e.g. box, basket, chest, sack etc.). The Great Mother, p. 45 and diagram opposite p Katharine Burkman, 'Pinter's A Slight Ache as Ritual', Modern Drama, ii (Dec. 1968) (pp. 327 and 329). 15. Neumann, Origins and History of Consciousness, p Adler, 'Notes', pp. 380 and Hollis, The Poetics of Silence, p Ellen F. Schiff, 'Pancakes and Soap Suds: a Study of Childishness in Pinter's Plays', Modern Drama, 16 (June 1973) (p. 97). 19. Maurice Wiggin, 'I Have Been Here Before', Sunday Times, 24 July 1960, p Hayman, p Thompson, 'Harold Pinter Replies', p. 9.

7 218 Notes to pp Interview with Martin Esslin, 24 Aug Mentioned in Burkman, The Dramatic World of Harold Pinter, p Anonymous, 'A Slight Case of Conversion', the Times, 23 June 1962, p Anonymous, 'On the Fence Between Farce and Tragedy', The Times, 19 June 1962, p Mentioned in Juliet Dusinberre, Shakespeare and the Nature of Women (London, 1975) p Hayman, pp Royal Shakespeare Company production, Aldwych, June Gabbard, The Dream Structure of Pinter's Plays, pp Burkman, The Dramatic World of Harold Pinter. Esslin, Pinter the Playwright. 30. Adler, p Ruth Milberg, '1 + 1 = 1: Dialogue and Character Splitting in Harold Pinter', Die Neueren Sprachen, 23 (1974) (p. 228). 32. Gabbard, pp Arnold Hinchliffe, Harold Pinter (London and Basingstoke, 1976) p Alan Dent, 'A Case of Non-involvement', Illustrated London News, 1 Aug. 1964, p Hollis, p Irving Wardle, 'The Territorial Struggle', in A Casebook on Harold Pinter's The Homecoming, (p. 42). 37. Milberg, p Hewes, 'Probing Pinter's Play', p Esslin, Pinter the Playwright, p The Dwarfs (novel), manuscript, p Hugh Nelson, 'The Homecoming: Kith and Kin' in Modern British Dramatists. A Collection of Critical Essays, edited by John Russell Brown (Englewood Cliffs, 1968) pp (p. 149). 42. Rolf Fjelde, 'Plotting Pinter's Progress', in A Casebook on The Homecoming, pp (p. 101). 43. Burkman, The Dramatic World of Harold Pinter, p John M. Warner sees Lenny as a 'prototype of modem man'. John M. Warner, 'The Epistemological Quest of Pinter's The Homecoming', Contemporary Literature, ii (Summer 1970) (p. 343). 45. A. R. Braunmuller, 'Harold Pinter: the Metamorphosis of Memory' in Essays on Contemporary British Drama, edited by H. Bock and A. Wertheim (Munchen, 1981) pp 'A Director's Approach: An Interview with Peter Hall', in A Casebook on The Homecoming, p Hewes, 'Probing Pinter's Play', p See especially Hewes, 'Probing Pinter's Play'. Also Kathleen Tynan, 'In Search of Harold Pinter: Part II' and relevant interviews in A Casebook on The Homecoming. 49. Kathleen Tynan, 'In Search of Harold Pinter: Part I'. 50. Martin Esslin, 'The Homecoming: An Interpretation', in A Casebook on The Homecoming, pp. 1-8.

8 Notes to pp Kerr, Harold Pinter, p Esslin, 'The Homecoming: An Interpretation', p. 5. Abraham N. Franzblau, 'A Psychiatrist Looks at The Homecoming', Saturday Review, 8 Apr. 1967, p Kelly Morris, 'The Homecoming', Tulane Drama Review, ii (Winter 1966) (p. 190). 54. S.M. L. Aronson, 'Pinter's "Family" and Blood Knowledge', in A Casebook on The Homecoming, pp (p. 81). 55. Trussler, p Burkman, The Dramatic World of Harold Pinter, p Richard P. Cooke, 'Strange Family Album', Wall Street Journal, 9 Jan. 1967, p John Russell Brown, Theatre Language: A Study of Arden, Osborne, Pinter and Wesker (London, 1972) p CHAPTER 3: THE ALL-MALE PLAYS: EXCLUSION OF THE WOMAN 1. Harold Pinter confirmed my information through his secretary's letter to me, 17 Dec It is possible that Pinter decided about this omission much earlier, for the Aldwych production of the play in 1964 but in his interview to Mel Gussow in 1971 where he mentions a cut in the third act it is not clear at all that he is referring to the same cut as in the film. 3. Esslin, Pinter the Playwright, p The Dwarfs (novel), manuscript, p The French translation of the play's title as 'Trahisons', in the plural, is very suggestive in that respect Friedan, The Second Stage, p In the film version of The Homecoming the appearance of the five men together, in their solemn, dark suits, creates a sombre, funerial atmosphere Heilbrun, Towards Androgyny, p By making Gus's fate so clear in the TV production of The Dumb Waiter Pinter slightly contradicts his own words in an interview, where he expresses his uncertainty about Gus's victimisation. Anonymous, 'Pinterview', Newsweek, 23 July 1962, p Gabbard, The Dream Structure of Pinter's Plays, p Gabbard, p Bensky, p Bensky, p Hayman, Harold Pinter, pp The Dwarfs (novel), manuscript, p Esslin, Pinter the Playwright, p John Simon, 'Theatre Chronicle', Hudson Review, 30 (Spring 1977) (p. 103). 18. J. W. Lambert, 'Plays in Performance', Drama (Summer 1975) p Mollie Panter-Downes remarks that 'women slip through the talk

9 220 Notes to pp only as vaguely desirable but unsettling shades'. Mollie Panter-Downes, 'Letter from London', New Yorker, 12 May 1975, p Anais Nin, the feminist writer who knew Henry Miller closely, denounces him for not understanding women. Anais Nin, A Woman Speaks (London, 1978) pp. 64 and Casey Miller and Kate Swift, Words and Women (Harmondsworth, 1979) pp Miller and Swift, p Gale, Butter's Going Up, p CHAPTER 4: MEMORY AND DESIRE: THE ANDROGYNOUS WRITER 1. Mel Gussow, 'A Conversation [Pause] With Harold Pinter', p Landscape has often been compared to Beckett's Happy Days. Of course one basic difference should be noted, among others - that Beckett's characters, while graphically presented on the stage, manage to transcend their concrete theatrical existence and operate at the same time on the plane of the timeless universal. Pinter's characters, on the other hand, will not quite move from theatrical specificity to philosophical abstraction. 3. See chapter on Landscape in Quigley, The Pinter Problem. 4. Marie-Claire Pasquier, 'Le silence et la memoire chez Pinter: approche de la periode paysagiste', Caliban, 15 (1978) (p. 73). 5. Katharine Worth, The Irish Drama of Europe from Yeats to Beckett (London, 1978) p Arthur Ganz, 'Mixing Memory and Desire: Pinter's Vision in Landscape', in Pinter: A Collection of Critical Essays, edited by Arthur Ganz (Englewood Cliffs, 1972) p BBC 2, 4 Feb Peter Ackroyd, 'Wrong Speed Rattigan', The Times, 5 Feb. 1983, p Quigley, p Kathleen Tynan, 'In Search of Harold Pinter: Part II'. 11. BBC Radio 3, 25 Apr and Aldwych, 2 July Recordings of both the radio and the first stage productions are kept at the British Institute of Recorded Sound (London). 12. Pinter gave his interpretation of Landscape and its characters in a letter to the director of the first German production of the play (Hamburg, 10 Jan. 1970). Information was taken from Esslin, Pinter the Playwright, p Burkman, The Dramatic World of Harold Pinter, p Worth, Revolutions in Modern English Drama, p Rudiger Imhof, 'Pinter's Silence: The Impossibility of Communication', Modern Drama, 17 (Dec. 1974), (p. 459). 16. Felix Barker, 'Pinter Comes Up with a Disaster', Evening News, 3 July 1969, p. 5.

10 Notes to pp Hollis, The Poetics of Silence, p Baker and Tabachnick, p J. W. Lambert, 'Plays in Performance', Drama (Autumn 1969) Michael Anderson, Anger and Detachment: A Study of Arden, Osborne and Pinter (London, 1976) p 'A Designer's Approach: An Interview with John Bury', in A Casebook on The Homecoming, p Gabbard, pp. 224 and Adler, p Adler, p Gussow, 'A Conversation [Pause] with Harold Pinter', p Bakewell, 'In an Empty Bandstand', p Miriam Gross, 'Pinter on Pinter', Observer, 5 Oct. 1980, p L. P. Hartley, The Go-Between (Harmondsworth, 1958) p Marcel Proust, Remembrance of Things Past, translated by Andreas Mayor, 7 vols (New York, 1971), vii (The Past Recaptured), p Marcel Proust, The Past Recaptured, p The Past Recaptured, p Gussow, 'A Conversation [Pause] with Harold Pinter', p Gussow, 'A Conversation', p Alan Hughes, '"They Can't Take That Away from Me"; Myth and Memory in Pinter's Old Times', Modern Drama, 17 (December 1974) (p. 468). 35. Henry Hewes, 'Odd Man Out', Saturday Review, 4 Dec. 1971, p Kenneth Hurren, 'These Foolish Things', Spectator, 12 June 1971, p Worth, Revolutions in Modern English Drama, chapter called 'Joyce Via Pinter'. 38. Aidan Higgins, Langrishe, Go Down (London, 1978) p Gussow, 'A Conversation', p Firestone, The Dialectic of Sex, p Barbara Kreps, 'Time and Harold Pinter's Possible Realities: Art as Life, and Vice Versa', Modern Drama, 22 (1979) (p. 55). 42. Katharine Burkman, 'Earth and Water: The Question of Renewal in Harold Pinter's Old Times and No Man's Land', West Virginia University Philological Papers, 25 (Feb. 1979) (p. 103). 43. Gussow, 'A Conversation', pp See John Francis Lane, 'No Sex Please, I'm English', Plays and Players, 20 (July 1973) Harold Hobson, 'Remembrance of Things Past', Sunday Times, 6 June 1971, p Proust, The Past Recaptured, p Colin Blakely's interview to Plays and Players, 18, No 10 (July 1971), Casey Miller and Kate Swift note that 'millions of efficient, calm, mature, male people are diligently repressing their healthy human emotions' and they call this state a 'crippled emotional condition'. Miller and Swift, Words and Women, p Nin, 'In Favor of the Sensitive Man', pp

11 222 Notes to pp Gussow, 'A Conversation', pp. 43 and Gillott, Anderson, p Information taken from Baker and Tabachnick, p Hartley, The Go-Between, p Hartley, p Gale, p Harold Pinter, The Go-Between in Five Screen Plays (New York, 1973), p CHAPTER 5: HUMANE REALISM: CONSOLIDATION OF THE NEW IMAGE 1. Robert Cushman, 'Thanks for the Memory', Observer, 19 Nov. 1978, p Hayman, Harold Pinter, p Irving Wardle, 'Pinter, Master of Ambiguity Offers a Blank Endorsement of the Obvious', The Times, 16 Nov. 1978, p. 44. T. E. Kalem, 'Splinteresque', Time, 27 Nov. 1978, p John Barber, 'Three Pinter People in Emotional Agony', Daily Telegraph, 16 Nov. 1978, p Mel Gussow, 'London to Broadway: How a Culture Shapes a Show', New York Times, 3 Feb. 1980, Section 2, p Leslie Bennetts, 'On Film, Pinter's Betrayal Displays New Subtleties', New York Times, 27 Feb. 1983, pp. 1 and Andrew Sarris, 'A Pinter of Bitter, A Forsyth of Bitter Sweet', Voice, 22 Feb. 1983, p Anonymous, 'On Now', Sight and Sound (Autumn 1983) Michael Bygrave, 'Hot Irons', Film Comment (Apr. 1983) p Bennetts, p Pinter, 'Between the Lines'. 12. Antony Curtis, 'London', Drama (Winter 1979) Barber, 'Three People in Emotional Agony'. 14. Bennetts, p John Lahr and Benedict Nightingale as quoted in the Methuen individual edition of Betrayal (London, 1978). 16. Butley opened on 14 July 1971 at the Criterion Theatre in London. Otherwise Engaged opened on 30 July 1975 at the Queen's Theatre in London. The play was dedicated to Harold Pinter. 17. Bock, 'Harold Pinter: The Room as Symbol', p Gussow, 'Harold Pinter: "I Started with Two People in a Pub"', p Barber, 'Three Pinter People in Emotional Agony'. 20. T. E. Kalem, 'Splinteresque'. 21. Martin Esslin, 'Betrayal', Plays and Players, 26 (Jan. 1979) Esslin, Pinter the Playwright, p Arthur Knight, 'Betrayal', Hollywood Reporter, 16 Feb. 1983, p Linda Ben-Zvi, 'Harold Pinter's Betrayal. The Patterns of Banality', Modern Drama, 23 (Sept. 1980), (pp. 228 and 235).

12 Notes to pp Katharine Burkman, 'Harold Pinter's Betrayal: Life Before Death - and After', Theatre Journal, 34 (Dec. 1982) (p. 515). 26. Dukore, Harold Pinter, p Burkman, 'Harold Pinter's Betrayal', p Burkman, 'Harold Pinter's Betrayal', p Ben-Zvi, p Behind this thematic correspondence there may be more than a random coincidence. Pinter's acquaintance with Shakespeare- not only in text alone but in actual performance - dates back to his school days and it continued during his early career as a repertory actor. More specifically he played the role of Bassanio in The Merchant of Venice while touring Ireland with Anew McMaster in Once again he appeared in this play but in another role (Salanio) when he joined Donald Wolfit's company in Information taken from Thompson, Pinter: The Player's Playwright. 31. Bennetts, p Interview with Melvyn Bragg, p Mentioned in John Fowles's Foreword to Harold Pinter, The Screenplay of The French Lieutenant's Woman (London, 1981). 34. John Fowles, The French Lieutenant's Woman (London, 1977) p Fowles, p Anais Nin, 'The New Woman', in In Favor of the Sensitive Man and Other Essays, pp (p. 15). 37. Nin, A Woman Speaks, pp. 35 and Fowles, p Alm.ansi and Henderson, Harold Pinter, p Fowles, p Fowles, p Fowles, p Miriam Gross, 'Pinter on Pinter'. 44. Benedict Nightingale, 'Time Passing', New Statesman, 22 Oct. 1982, p Michael Billington, 'Pinter's Sleeping Beauty', Guardian, 15 October 1982, p Bennetts, p Billington, p John Barber, 'The Disturbing Pinter', Daily Telegraph, 15 Oct. 1982, p Oliver Sacks, Awakenings (Harmondsworth, 1976) p Esslin, Pinter the Playwright, p Irving Wardle, 'Clash of Past and Future', The Times, 15 Oct. 1982, p.17. AFfERWORD 1. Arnold Hinchliffe, 'Mr Pinter's Belinda', Modern Drama, 11 (Sept. 1%8) Hedwig Bock, 'Harold Pinter: The Room as Symbol', p. 183.

13 Selected Bibliography PRIMARY SOURCES Writings by Pinter Plays Plays: One (The Birthday Party, The Room, The Dumb Waiter, A Slight Ache, A Night Out), London: Methuen, Plays: Two (The Caretaker, The Collection, The Lover, Night School, The Dwarfs), London: Methuen, Plays: Three (The Homecoming, Tea Party, The Basement, Landscape, Silence), London: Methuen, Plays: Four (Old Times, No Man's Land, Betrayal, Monologue, Family Voices), London: Methuen, The Hothouse, London: Eyre Methuen, Other Places: Three Plays (A Kind of Alaska, Victoria Station, Family Voices), London: Methuen, One for the Road, London: Methuen, Screenplays Five Screenplays (The Servant, The Pumpkin Eater, The Quiller Memorandum, Accident, The Go-Between), New York: Grove Press, The French Lieutenant's Woman and Other Screenplays (The French Lieutenant's Woman, Langrishe, Go Down, The Last Tycoon), London: Methuen, The Proust Screenplay (Ala Recherche du Temps Perdu), New York: Grove Press, The Screenplay of The French Lieutenant's Woman, London: Jonathan Cape-Eyre Methuen, Other Writings 'Between the Lines', Sunday Times, 4 Mar. 1962, p. 25. The Dwarfs, unpublished novel, typed manuscript kept by the author. Poems and Prose: , London: Eyre Methuen, Letter to Peter Wood, published in Drama (Winter 1981), 4-5. Letter to the director of the first German production of Landscape, Hamburg, 10 Jan (published in the brochure of the production). 'Synopsis for a Play' (early version of The Hothouse), held by BBC Written Archives Centre. Synopsis to A Night Out, held by BBC Written Archives Centre. Interviews Interview with Kenneth Tynan, BBC Home Service, 28 Oct Interview with Harry Thompson ('Harold Pinter Replies'), New Theatre Magazine, 11 Oan. 1961),

14 Selected Bibliography 225 Interview with Marshall Pugh ('Trying to Pin Down Pinter'), Daily Mail, 7 Mar. 1964, p. 8. Interview with Lawrence M. Bensky (October 1966), published in Writers at Work, The Paris Review Interviews, 3rd series, edited by George Plimpton, Harmondsworth: Penguin, Interview with Henry Hews ('Probing Pinter's Play'), Saturday Review, 8 Apr. 1967, pp and Interview with Martin Esslin, 24 Aug (mentioned in Katharine Burkman, The Dramatic World of Harold Pinter). Interview with William Packard ('An Interview with Harold Pinter'), First Stage, 6 (Summer 1967) 82. Interview with Kathleen Tynan ('In Search of Harold Pinter') Evening Standard, 25 Apr. 1968, p. 7 and 26 Apr. 1968, p. 8. Interview with Laurence Kitchin and Paul Mayersberg, BBC Radio 3, 8 Oct Interview with Joan Bakewell, BBC 2 TV, 'Late Night Line-Up'. 11 Sept. 1969, published in the Listener, 82 (6 Nov. 1969) under the title 'In an Empty Bandstand - Harold Pinter in Conversation with Joan Bakewell'. Interview with Philip Oakes, BBC 'Options', 6 June Interview with Jacky Gillott, BBC Radio 4, 13 June Interview with Mel Gussow ('A Conversation [Pause] with Harold Pinter'), New York Times Magazine, 5 Dec. 1971, pp and Interview with Mel Gussow ('Harold Pinter: "I Started with Two People in a Pub'"), New York Times, 30 Dec. 1979, pp. 5 and 7. Interview with Miriam Gross ('Pinter on Pinter'), Observer, 5 Oct. 1980, pp. 25 and 27. Interview with Leslie Garris ('Translating Fowles into Film'), New York Times Magazine, 30 August 1981, pp. 24, and 69. Speech followed by an Open Seminar at the University of East Anglia, led by C. W. E. Bigsby, 29 October Recording... (see Notes intro.). Interview with Melvyn Bragg, London Weekend Television (ltv), 'The South Bank Show', 7 November Interview with Bryan Appleyard ('The New Light that Burns within Harold Pinter'), The Times, 16 Mar. 1984, p. 13. SECONDARY SOURCES Books Almansi, Guido and Simon Henderson, Harold Pinter, London and New York: Methuen, Anderson, Michael, Anger and Detachment: A Study of Arden, Osborne and Pinter, London: Pitman, Beckett, Samuel, Eh, Joe, London: Faber & Faber, ,Happy Days, London: Faber & Faber, ,Not I, London and Boston: Faber & Faber, 1973.

15 226 Selected Bibliography --, Rockaby, in Samuel Beckett, Rockaby and Other Works, New York: Grove Press, , Waiting For Godot, London and Boston: Faber & Faber, , Watt, New York: Grove Press, Baker, William and Stephen Ely Tabachnick, Harold Pinter, Edinburgh: Oliver & Boyd, Beauvoir, Simone de, The Second Sex, translated and edited by H. M. Parshley, Harmondsworth: Penguin, Bock, Hedwig and Albert Wertheim (eds), Essays on Contemporary British Drama, Munchen: Max Hueber, Bodkin, Maud, Archetypal Patterns in Poetry, London: Oxford University Press, Brown, John Russell, Modern British Dramatists: A Collection of Critical Essays, Englewood Cliffs, N.J.: Prentice-Hall/Spectrum, , Theatre Language: A Study of Arden, Osborne, Pinter and Wesker, London: Allen Lane-The Penguin Press, Browning, Robert, Poems and Plays, revised edn, 5 vols, London: Dent, Burkman, Katharine, The Dramatic World of Harold Pinter: Its Basis in Ritual, Columbus: Ohio State University Press, Chodorow, Nancy, The Reproduction of Mothering: Psychoanalysis and the Sociology of Gender, Berkeley, Los Angeles and London: University of California Press, Coward, Noel, Collected Plays, 4 vols, London: Eyre Methuen, Derrida, Jacques, Positions, translated by Alan Bass, Chicago Press, Dukore, Bernard F., Harold Pinter, London and Basingstoke: Macmillan, Dusinberre, Juliet, Shakespeare and the Nature of Women, London: Macmillan, Eliot, T. S., The Cocktail Party, edited with notes and a commentary by Nevill Coghill, London: Faber, , Murder in the Cathedral, with an introduction and notes by Nevil Coghill, London: Faber, Esslin, Martin, Pinter the Playwright, London: Methuen, Originally published in 1970 by Methuen & Co Ltd under the title The Peopled Wound: The Plays of Harold Pinter. Revised edn published in 1973 as Pinter: A Study of His Plays by Eyre Methuen Ltd. --,The Theatre of the Absurd, 3rd edn, Harmondsworth: Penguin, Firestone, Shulamith, The Dialectic of Sex: The Case for Feminist Revolution, London: The Women's Press, Fowles, John, The French Lieutenant's Woman, London: Triad/Granada, Friedan, Betty, The Feminine Mystique, London: Gollancz, ,The Second Stage, New York: Summit Books, Gabbard, Lucina Paquet, The Dream Structure of Pinter's Plays: A Psychoanalytic Approach, Cranbury and London: Associated University Presses, Gale, Steven, H., Butter's Going Up: A Critical Analysis of Harold Pinter's Work, Durham, North Carolina: Duke University Press, 1977.

16 Selected Bibliography , Harold Pinter: An Annotated Bibliography, Boston: G. K. Hall & Co, Ganz, Arthur (Ed.}, Pinter: A Collection of Critical Essays, Englewood Cliffs, N.J.: Prentice-Hall, Gordon, Lois G., Strategems to Uncover Nakedness: The Dramas of Harold Pinter, Columbia: University of Missouri Press, Gray, Simon, Butley, London: Eyre Methuen, ,Otherwise Engaged, London: Eyre Methuen, Hartley, L. P., The Go-Between, Harmondsworth: Penguin, Hayman, Ronald, Harold Pinter, fourth edition, London: Heinemann, Heilbrun, Carolyn G., Towards Androgyny: Aspects of Male and Female in Literature, London: Gollancz, Higgins, Aidan, Langrishe, Go Down, London: John Calder, Hinchliffe, Arnold, Harold Pinter, London and Basingstoke: Macmillan, Hollis, James R., Harold Pinter: The Poetics of Silence, Carbondale: Southem Illinois University Press, Ibsen, Henrik, Collected Plays, translated and introduced by Michael Meyer, 4 vols, London: Eyre Methuen, Joyce, James, Exiles, in The Essential James Joyce, edited by Harry Levin, Harmondsworth: Penguin, , Ulysses, Harmondsworth: Penguin, Jung, C. G., Aspects of the Feminine, translated by R. F. C. Hull, London, Melbourne and Henley: Routledge & Kegan Paul, Kerr, Walter, Harold Pinter, Columbia Essays on Modem Writers, 27, New York: Columbia University Press, Lahr, John, ed., A Casebook on Harold Pinter's The Homecoming, New York: Grove Press, Leighton, Jean, Simone de Beauvoir on Woman, Cranbury, N.J. and London: Associated University Presses, Manocchio, Tony and William Petitt, Families Under Stress: A Psychological Interpretation, London and Boston: Routledge & Kegan Paul, Maugham, Robin, The Servant, London and New York: W. H. Allen, Miller, Casey and Kate Swift, Words and Women, Harmondsworth: Penguin, Mitchell, Juliet, Psychoanalysis and Feminism, Harmondsworth: Penguin, Mortimer, Penelope, The Pumpkin Eater, Harmondsworth: Penguin, Mosley, Nicholas, Accident, Harmondsworth: Penguin, Neumann, Erich, The Great Mother: An Analysis of the Archetype, translated by Ralph Manheim, Bollingen Series, 47, Princeton, N.J.: Princeton University Press, , The Origins and History of Consciousness, with a foreword by C. G. Jung, translated by R. F. C. Hull, Bollingen Series, 42, Princeton University Press, Nin, Anais, In Favor of the Sensitive Man and Other Essays, New York and London: Harcourt Brace Jovanovich (Harvest}, ,A Woman Speaks, London: W. H. Allen, 1978.

17 228 Selected Bibliography Palmer, Frank, Grammar, Harmondsworth: Penguin, Proust, Marcel, Remembrance of Things Past (A Ia Recherche du Temps Perdu), translated by Andreas Mayor, 7 vols, New York: Random House (Vintage), Quigley, Austin E., The Pinter Problem, Princeton University Press, Sackes, Oliver W., Awakenings, Harmondsworth: Penguin, Shakespeare, William, The Merchant of Venice, Harmondsworth: Penguin, Shaw, Robert, The Man in the Glass Booth, London: Chatto & Windus, Strindberg, August, Playing with Fire, in August Strindberg, Lucky Peter and Other Plays, London: Jonathan Cape, Sykes, Alrene, Harold Pinter, St. Lucia: University of Queensland Press, Thompson, David T., Pinter: The Player~s Playwright, London: Macmillan, Trussler, Simon, The Plays of Harold Pinter: An Assessment, London: Gollancz, Woolf, Virginia, To the Lighthouse, London: Dent (Everyman), Worth, Katharine, The Irish Drama of Europe from Yeats to Beckett, London: Athlone Press, ,Revolutions in Modern English Drama, London: G. Bell & Sons Ltd, Articles and Reviews Ackroyd, Peter, 'Wrong Speed Rattigan', The Times, 5 Feb. 1983, p. 7. Adler, Thomas P. 'Notes toward the Archetypal Pinter Woman', Theatre Journal, 33 (Oct. 1981) Anonymous, 'A Slight Case of Conversion', The Times, 23 June 1962, p. 4. Anonymous, 'Old Times: Colin Blakely Talks to Plays and Players', Plays and Players, 18 Ouly 1971) Anonymous, 'On Now', Sight and Sound (Autumn 1983) 296. Anonymous, 'On the Fence Between Farce and Tragedy', The Times, 19 June 1962, p. 13. Anonymous, 'Pinterview', Newsweek, 23 July 1962, p. 58. Anonymous, (New Plays) 'The Word as Weapon', Time, 13 Oct. 1967, p.44. Anonymous, 'X-ray Treatment', Time, 21 Apr. 1967, p Aronson, S.M. L., 'Pinter's "Family" and Blood Knowledge', in A Casebook on The Homecoming, edited by John Lahr, pp Banks-Smith, Nancy, 'Sheer Murder', Guardian, 29 Mar Barber, John, 'The Disturbing Pinter', Daily Telegraph, 15 Oct. 1982, p , 'Three People in Emotional Agony', Daily Telegraph, 16 Nov. 1978, p. 44. Barker, Felix, 'Pinter Comes up with a Disaster', Evening News, 3 July 1969, p. 5. Barnes, Clive, 'Pinter's The Birthday Party', New York Times, 4 Oct. 1967, p. 40L.

18 Selected Bibliography 229 Bennetts, Leslie, 'On Film, Pinter's Betrayal Displays New Subtleties', New York Times, 27 Feb. 1983, pp. 1 and 23. Ben-Zvi, Linda, 'Harold Pinter's Betrayal. The Patterns of Banality', Modern Drama, 23 (Sept. 1980), Bermel, Albert, 'The Father as Fate', New Leader, 23 Oct. 1967, p. 27. Billington, Michael, 'Pinter's Sleeping Beauty', Guardian, 15 Oct. 1982, p.10. Bock, Hedwig, 'Harold Pinter: The Room as Symbol', in Essays on Contemporary British Drama, edited by Hedwig Bock and Albert Wertheim, pp Braunmuller, A. R. 'Harold Pinter: The Metamorphosis of Memory', in Essays on Contemporary British Drama, edited by Hedwig Bock and Albert Wertheim, pp Brien, Alan, 'A Pinter Week', Sunday Telegraph, 8 Oct. 1961, p. 10. Bryden, Ronald, 'Pared to Privacy, Melting into Silence', Observer, 6 July 1969, p ,'Three Men in a Room', New Statesman, 26 June 1964, p Burkman, Katharine, 'Earth and Water: The Question of Renewal in Harold Pinter's Old Times and No Man's Land', West Virginia University Philological Papers, 25 (Feb. 1979) , 'Harold Pinter's Betrayal: Life Before Death- and Mter', Theatre Journal, 34 (Dec. 1982) , 'Pinter's A Slight Ache as Ritual', Modern Drama, 11 (Dec. 1968), Bygrave, Michael, 'Hot Irons', Film Comment (Apr. 1983) 5. Cooke, Richard P., 'Strange Family Album', Wall Street Journal, 9 Jan. 1967, p. 12. Curtis, Antony, 'London', Drama (Winter 1979), 47. Cushman, Robert, 'Pinter's Mixed Doubles', Observer, 21 Oct. 1973, p ,'Thanks for the Memory', Observer, 19 Nov. 1978, p ,'True Love Conquers All as Usual', Observer, 19 Jan. 1975, p. 28. Darlington, W. A., 'Mad Meg and Lodger. Play Revels in Obscurity', Daily Telegraph, 20 May 1958, p. 10. Dennis, Nigel, 'Pintermania', New York Review of Books, 17 Dec. 1970, p. 21. Dent, Alan, 'A Case of Non-involvement', Illustrated London News, 1 Aug. 1964, p Esslin, Martin, 'Betrayal', Plays and Players, 26 (Jan. 1979) , 'The Homecoming: An Interpretation', in A Casebook on The Homecoming, edited by John Lahr, pp Fjelde, Rolf, 'Plotting Pinter's Progress', in A Casebook on The Homecoming, edited by John Lahr, pp Franzblau, Abraham, 'A Psychiatrist Looks at "The Homecoming"', Saturday Review, 8 Apr. 1967, p. 58. Ganz, Arthur, 'Mixing Memory and Desire: Pinter's Vision in Landscape', in Pinter: A Collection of Critical Essays, edited by Arthur Ganz (Englewood Cliffs, 1972) pp Gillen, Francis, '"All These Bits and Pieces": Fragmentation and Choice in Pinter's Plays', Modern Drama, 17 (Dec. 1974)

19 230 Selected Bibliography Green, Harris, 'On Stage: Less is More, Nothing is Everything', New Leader, 27 Apr. 1970, pp Gussow, Mel, 'Old Times Ushers in New Pinter Era', New York Times, 18 Nov. 1971, p ,'London to Broadway: How a Culture Shapes a Show', New York Times, 3 Feb. 1980, Section 2, p. 35. Hewes, Henry, 'Disobedience Civil and Uncivil', Saturday Review, 28 Oct. 1967, p ,'Odd Man Out', Saturday Review, 4 Dec. 1971, p. 20. Hickey, William, 'Antonia Finally Names the Day... ', Daily Express, 25 Nov. 1980, p. 13. Hinchliffe, Arnold, 'Mr Pinter's Belinda', Modern Drama, 11 (Sept. 1968), Hobson, Harold, 'Remembrance of Things Past', Sunday Times, 6 June 1971, p ,'The Screw Turns Again', Sunday Times, 25 May 1958, p. 11. Hope-Wallace, Philip, 'The Birthday Party', Guardian, 19 June 1964, p ,'Pinter's The Homecoming', Guardian, 4 June 1965, p. 11. Hughes, Alan, '"They Can't Take That Away from Me"; Myth and Memory in Pinter's Old Times', Modern Drama, 17 (Dec. 1974) Hurren, Kenneth, 'These Foolish Things', Spectator, 12 June 1971, p Imhof, Rudiger, 'Pinter's Silence: The Impossibility of Communication', Modern Drama, 17 (Dec. 1974) Kael, Pauline, 'The Current Cinema: Humanoids and Androgynes', New Yorker, 26 Nov. 1973, p Kalem, T. E., 'Splinteresque', Time, 27 Nov. 1978, p. 44. Knight, Arthur, 'Betrayal', Hollywood Reporter, 16 Feb. 1983, p. 14. Kreps, Barbara, 'Time and Harold Pinter's Possible Realities: Art as Life and Vice Versa', Modern Drama, 22 (1979) Kroll, Jack, 'Blood from Stones', Newsweek, 16 Oct. 1967, p. 66. Lahr, John, 'A Designer's Approach: An Interview with John Bury', in A Casebook on The Homecoming, edited by John Lahr, pp Lambert, J. W., 'Plays in Performance', Drama (Autumn 1969) ,'Plays in Performance', Drama (Summer 1975) 39. Lane, John Francis, 'No Sex Please, I'm English', Plays and Players, 20 (July 1973) Milberg, Ruth, '1 + 1 = 1: Dialogue and Character Splitting in Harold Pinter', Die Neueren Sprachen, 23 (1974) Morris, Kelly, 'The Homecoming', Tulane Drama Review, 11 (Winter 1966) Nelson, Hugh, 'The Homecoming: Kith and Kin', in Modern British Dramatists: A Collection of Critical Essays, edited by John Russell Brown, pp Nightingale, Benedict, 'Outboxed', New Statesman, 25 Sept. 1970, p ','Time Passing', New Statesman, 22 Oct. 1982, p. 36. Nin, Anais, 'In Favor of the Sensitive Man', in Anais Nin, In Favor of the Sensitive Man and Other Essays, pp ,'The New Woman', in Anais Nin, In Favor of the Sensitive Man and Other Essays, pp

20 Selected Bibliography 231 Panter-Downes, Mollie, 'Letter from London', New Yorker, 12 May 1975, p.117. Pasquier, Marie-Claire, 'Le silence et la memoire chez Pinter: approche de la periode paysagiste', Caliban, 15 (1978) Powlick, Leonard, 'A Phenomenological Approach to Harold Pinter's A Slight Ache', Quarterly Journal of Speech, 60 (Feb. 1974) Sarris, Andrew, 'A Pinter of Bitter, A Forsyth of Bitter Sweet', Voice, 22 Feb. 1982, p. 55. Schiff, Ellen F., 'Pancakes and Soap Suds: A Study of Childishness in Pinter's Plays', Modern Drama, 16 (June 1973) Shulman, Milton, 'Terrifying -This Hymn of Hate Against Women...', Evening Standard, 3 Oct. 1961, p. 18. Simon, John, 'Theatre Chronicle', Hudson Review, 30 (Spring 1977) Taylor, John Russell, 'Accident', Sight and Sound (Autumn 1966) ,'Old Times', Plays and Players, 18 (July 1971) ,'Pinter's Game of Happy Families', in A Casebook on The Homecoming, edited by John Lahr, pp Wardle, Irving, 'Clash of Past and Future', The Times, 15 Oct. 1982, p , 'Comedy of Menace', Encore, 5 (Sept. -Oct. 1958) , Wardle, Irving, 'A Director's Approach: An Interview with Peter Hall' in A Casebook on The Homecoming, edited by John Lahr, pp , 'Pinter, Master of Ambiguity Offers a Blank Endorsement of the Obvious', The Times, 16 Nov , 'The Territorial Struggle', in A Casebook on The Homecoming, edited by John Lahr, pp Warner, John M., 'The Epistemological Quest of Pinter's The Homecoming', Contemporary Literature, 11 (Summer 1970) Wiggin, Maurice, 'I Have Been Here Before', Sunday Times, 24 July 1960, p. 36.

21 Index Adler, Thomas, 6, 82, 99, 160, 161 Aldwych (Theatre), 90, 91, 93, 140, 164, 170 Almansi, Guido (and Simon Henderson), 6 Amnesty International, 211 Anderson, Michael, 155 androgyny/androgynous, 11, 14-15, 98, 119, 121, 132, 136, 140, 151, 155, 165, archetype/archetypal, 12, 13, 21, 23, 24, 30, 36, 37, 38, 43, 45, 46, 47, 51, 58, 59, 63, 64, 66, 67, 69, 73, 79, 80, 81, 82,87,91,93,96,103, 148,149,165, 200 Bitch-Goddess, 81, 82, 107, 113 Death-Goddess, 81 Earth Mother, 81, 107 father figure, 28, 30 feminine mystique, 62 femme fatale, 69 Great Mother, 36, 44, 51, 80 Mother archetype, 23, 26, 37, 80 mother figure, 25, 31, 36, 49, 50, 80, 93 Terrible Mother, 23, 36, 63, 80 Aronson, S.M. L., 119 Ashcroft, Peggy, 75, 144, 202 Auden, W. H., 124, 204 Baker, William (and Stephen Ely Tabachnick), 6, 9, 43, 66, 154 Bancroft, Ann, 105 Barber, John, 180, 186, 205 BBC, 47, 63, 198 Beauvoir, Simone de, 50 The Second Sex, 50 Beckett, Samuel, 1, 7, 17, 109, 120, 131, 141, 153, 156 Eh, foe, 131 Happy Days, 131 Not I, 109, 131 Rockaby, 120 Waiting for Godot, 120, 187 Watt, 17 Bensky, Lawrence, 10, 40 Ben-Zvi, Linda, 186, 187, Billington, Michael, 202, 203 Blakely, Colin, 170 Bock, Hedwig, 185, 186, 189, 211 Bolt, Robert, 194 Braunmuller, Albert R., 114 Brown, John Russel, 119 Brustein, Robert, 3 Bryden, Ronald, 3 Burkman, Katharine, 6, 42, 80, 98, 148, 167, 186, 187, 188, 189 Bury, John, 156, 179 Chekhov, Anton, 1 Chorodow, Nancy, 38, 39, 44,50 The Reproduction of Mothering, 38, 50 Comedy Theatre, 159 Cook, Richard P., 119 Craig, Michael, 116 Cuka, Frances, 156 Dench, Judi, 203, 206 Dennis, Nigel, 1, 3 Donne, John, 204 Eliot, T. S., 56, 188, 201 The Cocktail Party, 188 Murder in the Cathedral, 201 Esslin, Martin, 1, 5, 33, 91, 92, 110, 118, 121, 123, 134, 186, 207 Families Under Stress, 38 Firestone, Shulamith, 15, 52, 165 The Dialectic of Sex, 165 Fjelde, Rolf, 111 Fowles, John, 4, 12, 178, 194, 195, 196, 197, 198 The French Lieutenant's Woman, 4, 12 Franzblau, Abraham (Dr), 5, 38, 118 Frazer, Lady Antonia, 10 Frazer, Sir James George, 6 The Golden Bough, 6 Freud, Sigmund, 4, 52, 54 freudian, 51, 54 Friedan,Betty,61,98, 105,122,191 The Feminine Mystique, 61, 105 The Second Stage, 98

22 Index 233 Gabbard, Lucina Paquet, 5, 96, 103, 118, 126, 158 Gale, Steven, 6, 40, 137, 176 Ganz, Arthur, 142 Gillott, Jacky, 14, 71, 173 Gray, Simon, 184 Butley, 184 Otherwise Engaged, 184 Guardian, The, 46, 203 Gussow, Mel, 8, 165, 172, 180, 186 Hall, Peter, 91, 116, 168, 179, 180, 202 Hartley, L. P., 12, 162, 175, 176, 199 The Go-Between, 12, 162 Havers, Nigel, 202 Hayman, Ronald, 13, 40, 77, 87, 95, 131, 179 Heilbrun, Carolyn B., 14, 124 Hemingway, Ernest, 125 'The Killers', 125 Henderson, Simon (Almansi, Guido and), 6 Hewes, Henry, 3 Higgins, Aidan, 12, 157, 164, 165, 173, 174, 194 Langrishe, Go Down, 12, 157, 164 Hinchliffe, Arnold, 105, 109, 211 Hobson, Harold, 1 Hodge, Patricia, 181 Hollis, James, 6, 82, 154 Hughes, Alan, 163 Ibsen, Henrik, 1, 193, 202 A Doll's House, 193 Ghosts, 202 Imhof, Rudiger, 154 Importance of Being Earnest, The, 103 Irons, Jeremy, 180, 181 Joyce, James, 15, 117, 140, 164 Exiles, 117, 140, 164, 167 Jung, Carl G., 21, 25, 37 Jungian, 38 Kafka, Franz, 15 Kalem, T. E., 180, 186 Kerr, Walter, 6, 118 Kreps, Barbara, 166 Lahr, John, 184 Lambert, J. W., 134 Losey, Joseph, 175 MacMaster, Anew, 9, 17 Maeterlinck, Maurice, 4 Magritte, Rene, 146 Massey, Anna, 202, 203 Maugham, Robin, 65, 66 The Servant, 65 Merchant, Vivien, 10, 75, 157 Milberg, Ruth, 100 Miller, Casey (and Kate Swift), 137 Words and Women, 137 Miller, Henry, 137 misanthropy, 210 misogyny, 48, 54, 134, 210 Morris, Kelly, 118 Mortimer, Penelope, 12, 73, 105, 106 The Pumpkin Eater, 12, 73, 105 Mosley, Nicholas, 67 Accident, 67 National Theatre, 2, 10, 198, 202, 203, 206 Nelson, Hugh, 111 Neumann, Erich, 37, 78, 80, 81 new woman, 97, 98, 194 New York Times, 172 Nightingale, Benedict, 184, 200 Ninn, Anais, 98, 172, 196 'In Favor of the Sensitive Man', 172 Pasquier, Marie-Claire, 141 Pinter, Harold, Accident, The Basement, 13, 24, 45, 46, 49,55-9, 122, 124, 131, 158, 186; The Compartment, 13, 55 Betrayal, 9, 10, 11, 13, 18, 55, 62, 63, 72, 86, 96, 113, 122, 123, 125, 149, 153, 169, 170, 173, 178, , 196, 208, 211 The Birthday Party, 5, 9, 19, 25, 27, 29-45, 46, 50, 51, 54, 55, 59, 60, 73, 74, 78, 80, 91, 109, 111, 121, 125, 126, 136, 143, 145, 149, 171, 194, 199, 209 The Caretaker, 2, 5, 10, 13, 45, 50, 51, 120, 121, 123, 127-9, 134, 178 The Collection, 10, 11, 13, 18, 45, 59, 61, 72, 76, 83, 89-98, 100, 103, 104, 105, 107, 113, 118, 123, 124, 132, 134, 135, 155, 161, 165, 168, 169, 170, 171, 179, 186, 189, 190, 192, 193, 209 The Dumb Waiter, 9, 29, 74, 120, 125-7, 199