Harold Pinter s closing scene in The Homecoming summarises the position of each character in the hierarchy, while at the

same time maintaining a sense of imbalance and conflict. In this way it acts as a suitable ending to the play, leaving the audience with more questions than answers. The positioning and action of the characters in this scene portrays the balance of power in the household as the play ends. The three men stand is particularly telling not only is standing a sign of weakness in the play but it also shows how they have been displaced out of their own home by Ruth it is almost as if they are waiting for her permission to sit down. Joey is the first to show his complete capitulation to Ruth, as kneels at her chair and puts his head lightly in her lap . His surrender is rewarded with Ruth stroking his hair she acts as a mother would. Max is more uncertain, as he moves backwards and forwards symbolising how he is unsure if he should give in too. This internal conflict is also revealed in the way Max comes to kneel before Ruth the obvious pain it causes him representing his uncertainty and also the stubborn will with which he has resisted giving in to anyone else he begins to groan, clutches his stick, falls onto his knees . His final attempt at maintaining dignity clutching his stick fails him and so he gives in, and looks to Ruth for a similar reward as Joey is getting he raises his face to her . Lenny is left, alone, to stand watching indicating his continued resistance to Ruth s newfound dominance he cannot bring himself to submit, but nor can he think of a way to defeat Ruth yet. This is Lenny s typical waiting game and it implies that the struggle will continue anew. However, there is a link between Lenny and the absent Teddy who has exiled himself again. In shutting the door behind himself he has implied that no one may follow him, cutting himself off. Sam s recent collapse and continued immobility implies a true surrender. Not to any other character but to this way of life he is done with the secrets, the games and the struggle and has given up utterly on the family. The language used in this scene is also a good sample for the entire play, displaying each character in their natural state as it were. Max with his rambling, stuttering protestations displays his insecurity and his pathetic attempts at denial of his age - defeated by the physical action of his collapse demonstrates his obsession with the past : I m not such an old man do you hear me?... he begins to stammer. He fills the void of silence with more words as is his habit, repeating himself until he is forced to give in to Ruth s tactic of silence kiss me . Ironically, it is Max who figures out that Ruth has got the better of them: she ll use us, she ll make use of us all, linking back to the play s opening as he claims to be able to smell it and asks Lenny if he wants to bet on it. This is Max s delusions crumbling around him, as he desperately tries to hold onto his sense of superiority. Joey, inarticulate at the best of times, takes consolation in Ruth s touch despite being unable to attack or defend himself, verbally or physically, Joey is clearly a physical man perhaps enjoying the silence he can share with his mother-figure. It is also clear from Lenny s silence that he is plotting something but his refusal to acknowledge his father s words is typical and one almost expects a sudden shut up! to intervene in Max s tirade. It is the total lack of response that indicates to the audience Lenny s situation he is for once, truly speechless, however calculating his silence may be. The one anomaly is Ruth s words to Teddy Eddie. Don t become a stranger. She is forced to speak first, through Teddy s use of action a unique inversion of tactics, forcing Ruth to break her silence, even if the use of the unfamiliar nickname implies Teddy is already a stranger his action is a final parting shot that proves rather successful. The overall tone of the piece is one of resolution. Even if there are still implications of unrest and dissent there is a lull in the attempts at undermining and belittling other characters and a sense that

Comment [rx1]: Dual thesis that the ending synthesises both the existence of a solid hierarchy and continuation of conflict within that hierarchy specific take on the question. Comment [rx2]: Establishes suitability of an enigmatic ending in a dark, satirical play. Comment [rx3]: First dramatic device staging represents acceptance of or opposition to the new power balance Comment [rx4]: Joey s position

Comment [rx5]: Max s position

Comment [rx6]: Compares Max s reluctance to relinquish his position as patriach with Joey s adaptiveness Comment [rx7]: Observant gained by recording details of the detail!! Comment [rx8]: Lenny s position

Comment [rx9]: Draws a parallel between the two elder brothers uses detail to ascertain this Comment [rx10]: Sam s position in this new hierarchy astute observation Comment [rx11]: 2 nd dramatic device is language which acts as internal revelation

Comment [rx12]: Nice parallel sense of irrevocable upset to the status quo

Comment [rx13]: Astute understanding of the dynamics here

the power struggle until now continuous, has momentarily halted with the power in one place. This is symbolised by Sam s motionless body and the central, calm, relaxed image of Ruth. This is almost a mirror of the opening scene except Lenny is displaced and Ruth holds the chair. The blatant implications of the cyclical nature of the struggle with life are quite evident in this scene. It provides not only a snapshot of the hierarchy but also a good summary of each character s normal behaviour and links to the beginning of the play, as well as hinting at the future. It is perfectly suited as an ending to this play of conflict and resolution.

Comment [rx14]: Observant of the cease-fire that has taken place here

Comment [rx15]: Theme is expressed clearly not simplistically

Comment [rx16]: Final decisive response to the question.