Model Answer
0 min readIntroduction
John Osborne’s *Look Back in Anger* (1956) is a landmark play of the British “kitchen sink” drama movement, renowned for its raw portrayal of post-war working-class life and its rejection of traditional theatrical conventions. The play centers on Jimmy Porter, a volatile and intellectually frustrated young man, and his wife Alison, trapped in a loveless marriage. The ending of the play, featuring a seemingly mundane game between Jimmy and Alison’s father, Sir Charles, while Alison is pregnant, has been a source of considerable debate. Does this scene represent a return to the initial state of conflict and stagnation, or does it offer a glimmer of hope for a more stable future? This answer will explore the complexities of the ending, arguing that while it doesn’t offer a definitive resolution, it does suggest a tentative, fragile possibility for change.
The Cyclical Nature of Conflict
The play is structured around cycles of anger, reconciliation, and renewed conflict. Jimmy’s outbursts are often followed by periods of remorse and attempts at connection, only to be disrupted by further provocations. The ending initially appears to reinforce this cyclical pattern. The game of bagatelle, a trivial pursuit, mirrors the triviality of the characters’ lives and their inability to engage in meaningful communication. Sir Charles, representing the upper-class establishment, and Jimmy, the working-class rebel, are forced into a temporary truce, united only by their shared concern for Alison. This forced camaraderie feels less like genuine understanding and more like a temporary cessation of hostilities.
Character Arcs and Stagnation
Analyzing the character arcs is crucial. Jimmy, despite his intellectual pretensions, remains largely unchanged throughout the play. His anger is still simmering beneath the surface, and his attempts at self-improvement are half-hearted. Alison, while initially passive and withdrawn, demonstrates a degree of agency in her affair with Roger, but ultimately returns to Jimmy, seemingly resigned to her fate. Sir Charles, too, remains largely aloof and detached, offering only superficial attempts at connection.
Alison’s Pregnancy: A Catalyst or Continuation?
Alison’s pregnancy is a pivotal element of the ending. It introduces a new dynamic, forcing Jimmy and Sir Charles to confront their responsibilities. However, it also raises questions about whether this new life will break the cycle of dysfunction or simply perpetuate it. The children’s game can be interpreted as a symbolic representation of the child’s future – a game played by adults who are themselves unable to play the game of life effectively. The lack of genuine emotional connection between Jimmy and Alison casts a shadow over the prospect of a healthy family life.
Ambiguity and the Absence of Resolution
Osborne deliberately avoids providing a clear-cut resolution. The final scene is deliberately ambiguous, leaving the audience to interpret its meaning. The stage directions emphasize the mundane details of the scene – the sounds of the game, the characters’ physical postures – creating a sense of realism and preventing any overly sentimental interpretation. The play doesn’t offer a neat, happy ending; instead, it presents a snapshot of a dysfunctional family struggling to cope with their circumstances.
Multiple Interpretations of the Bagatelle Game
- Symbol of Forced Truce: The game represents a temporary and uneasy alliance born out of necessity, not genuine understanding.
- Representation of Futility: The triviality of the game highlights the futility of the characters’ lives and their inability to find meaning.
- Hopeful Symbolism (Contested): Some critics argue that the game symbolizes a fragile attempt at communication and a willingness to compromise, suggesting a potential for growth. However, this interpretation is less convincing given the characters’ established patterns of behavior.
| Character | Initial State | Final State | Change? |
|---|---|---|---|
| Jimmy Porter | Angry, frustrated, rebellious | Still angry, slightly subdued | Minimal |
| Alison Porter | Passive, withdrawn, unfulfilled | Pregnant, resigned | Limited agency |
| Sir Charles | Aloof, detached, upper-class | Engaged in game, superficially concerned | None |
Conclusion
The ending of *Look Back in Anger* is far from a triumphant resolution. While the scene doesn’t necessarily signify a complete return to the play’s initial state of conflict, it doesn’t offer a definitive note of hope either. The characters remain largely unchanged, trapped in their patterns of dysfunction. The ambiguity of the ending is its strength, forcing the audience to confront the complexities of human relationships and the challenges of breaking free from cycles of anger and stagnation. It’s a realistic, unsettling conclusion that reflects the bleakness of post-war Britain and the difficulty of finding meaning in a rapidly changing world.
Answer Length
This is a comprehensive model answer for learning purposes and may exceed the word limit. In the exam, always adhere to the prescribed word count.