Model Answer
0 min readIntroduction
Marriage, traditionally viewed as a sacred union built on love, commitment, and societal stability, underwent significant scrutiny in the mid-20th century. The post-war era witnessed shifting social norms and a growing disillusionment with established institutions. John Osborne’s *Look Back in Anger* (1956), a landmark play of the British “kitchen sink” drama movement, directly confronts this changing landscape. The play doesn’t merely depict a troubled marriage; it actively interrogates the very foundations of the institution, exposing its potential for stagnation, resentment, and ultimately, a stifling of individual aspirations. This essay will argue that Osborne’s play offers a powerful, albeit complex, critique of marriage as an institution, revealing its limitations within a rapidly evolving social context.
The Deconstruction of Romantic Ideals
Osborne fundamentally challenges the romanticized notion of marriage prevalent in earlier dramatic traditions. Jimmy Porter, the play’s protagonist, vehemently rejects the idealized image of marital bliss. His marriage to Alison is characterized not by tenderness and understanding, but by a cycle of verbal abuse, passive aggression, and emotional manipulation. This is a deliberate departure from the conventional portrayal of marital harmony.
Jimmy Porter’s Disillusionment as a Societal Commentary
Jimmy’s anger isn’t solely directed at Alison; it’s a broader expression of frustration with the stagnation of post-war British society. He feels trapped by his social class, his lack of opportunity, and the perceived hypocrisy of the upper classes. His marriage becomes a microcosm of this societal malaise. He views Alison’s middle-class background as representing everything he despises, and their relationship suffers as a result. This suggests that Osborne isn’t simply critiquing marriage itself, but rather using it as a lens through which to examine wider societal issues.
The Role of Class and Gender in the Critique
The play’s critique of marriage is inextricably linked to issues of class and gender. Jimmy’s resentment towards Alison is fueled, in part, by her social privilege. He feels emasculated by her family’s wealth and status. Furthermore, the play exposes the limitations placed upon women in 1950s Britain. Alison is initially presented as a passive figure, seemingly unable to assert herself against Jimmy’s domineering personality. Her eventual affair with Cliff, while morally ambiguous, can be interpreted as a desperate attempt to escape the suffocating confines of her marriage.
The Ambiguity of the Resolution
The play’s ending is deliberately ambiguous. Alison returns to Jimmy after discovering she is pregnant, seemingly accepting a continuation of their troubled relationship. This has been interpreted in various ways. Some critics argue that it represents a tragic acceptance of the inevitability of marital compromise. Others suggest that it’s a pragmatic decision, driven by societal pressures and the desire for a stable family life. Regardless, the lack of a clear resolution underscores the play’s pessimistic view of marriage. The cycle of anger and resentment is likely to continue, suggesting that the fundamental problems within the relationship remain unresolved.
Challenging Traditional Dramatic Structures
Osborne’s play also critiques the institution of marriage by subverting traditional dramatic structures. The play lacks a conventional plot and relies heavily on realistic dialogue and naturalistic settings. This deliberate rejection of theatrical conventions mirrors the play’s rejection of traditional marital norms. The “kitchen sink” realism emphasizes the mundane and often unpleasant realities of married life, stripping away any romantic illusions.
Comparison with other contemporary plays
| Play | Portrayal of Marriage | Key Themes |
|---|---|---|
| *A Streetcar Named Desire* (Tennessee Williams) | Dysfunctional, built on illusion and deceit | Decline of the Southern aristocracy, psychological trauma |
| *Death of a Salesman* (Arthur Miller) | Strained, marked by unfulfilled expectations | The American Dream, failure, identity |
| *Look Back in Anger* (John Osborne) | Combative, characterized by anger and resentment | Class conflict, societal stagnation, disillusionment |
Conclusion
In conclusion, *Look Back in Anger* offers a potent and multifaceted critique of marriage as an institution. Osborne doesn’t simply depict a failing marriage; he exposes the underlying societal and psychological factors that contribute to marital dysfunction. Through Jimmy Porter’s anger, Alison’s passivity, and the play’s ambiguous resolution, Osborne challenges traditional romantic ideals and reveals the potential for marriage to become a source of frustration, resentment, and ultimately, a stifling of individual aspirations. While the play doesn’t offer easy answers or a definitive condemnation of marriage, it forces audiences to confront the complexities and contradictions inherent in this fundamental social institution.
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.