ABSTRACT
Pinter has the advantage of the intervening sixty years of sceptical, post-Einsteinian thought on relativity which separate him from his predecessor. Pinter has no need to broadcast any message concerning a relativistic creed; he is content to exploit all the dramatic tensions that such multiple ambiguities can provide. The play, which in our view is one of Pinter's very best, is a study in reciprocal misunderstanding. All the characters in Pinter's plays have this psychic ability to seek out each other's weak points, but it is a power of divination which serves only to identify the slug in order to squash it without mercy.
