Harold Pinter, the 2005 Nobel Prize laureate, is renowned for his influential contributions to British drama. Silence, often underestimated, plays a vital role in communication in his works. While many associate silence with a lack of communication, Pinter shows that it can be a powerful tool to express emotions, messages, and intentions. In The Dumb Waiter, silence is intentionally used to convey meaning rather than simply representing a void.
In post-war literature, there are two types of silences: the silence of God and the silence of human language. In Waiting for Godot, the silence surrounding the character of Godot exemplifies the first type. In The Dumb Waiter, Wilson embodies a similar silence, though he is not divine but rather an ominous, evil character. The dumb waiter, an elevator transporting food from the basement to the upper floors, delivers cryptic messages from an unseen gang boss. While Ben is somewhat aware of the boss’s intentions, Gus is left in the dark. Pinter’s mastery of pauses and silences, often referred to as ‘Pinteresque language,’ is a hallmark of his style. In The Dumb Waiter, the dialogue between Ben and Gus is marked by silences that highlight the tension and anxiety of their situation. From the beginning, Gus exhibits nervousness, fidgeting with his shoelaces while Ben calmly reads the newspaper. Despite Ben attempts to engage with trivial news stories, their communication remains shallow and disconnected. This stark contrast with the rich, meaningful dialogue in Shakespeare’s works emphasizes Pinter’s unique use of silence.
For Pinter, silences are not just moments of failed communication; they represent a deliberate refusal to engage. The silences occur at key moments throughout the play. For example, when Gus asks about the time their boss will contact them, Ben responds only with silence, choosing to ignore Gus’s question while asserting his authority by continuing to read the newspaper. Similarly, Gus’s repeated questions about their next victim are met with silence, underscoring the power dynamics at play. In this way, silence becomes a powerful tool for maintaining control and distance between the characters.
The pauses Gus takes while talking about the girl he last murdered reveal his internal struggle and the weight of memory. The characters exist in a space disconnected from the outside world, where the lack of reliable information and the oppressive silence create a void in which Ben and Gus begin to question their identities. Their monologues express a deep fear of the vast, uncommunicative silence surrounding them. Unlike the contemplative, inspiring silences found in the works of poets like Wordsworth or Hopkins, Pinter’s silences are suffocating and filled with meaninglessness.
The most dominant silence in the play is the looming presence of Wilson. Although Wilson is likely the one sending messages through the dumb waiter and speaking tube, the audience never sees or hears him directly. He serves an offstage role similar to that of Godot in Waiting for Godot. However, while Godot is portrayed as a neutral, godlike figure, Wilson represents a more sinister, evil force, heightening the tension and sense of dread in the play.