In John Osborne’s last play Déjà Vu (1991) the protagonist J.P., who appeared as young Jimmy in Look Back in Anger (1956) as the prototypical ‘angry young man’, seems to have changed. J.P. has a son and a daughter (who live with their mother, his third ex-wife), and ‘enjoys’ life in a 15-room-flat with his papers, pipe and his pal Cliff as a visitor every now and then. Having come to some wealth enables him to drink champagne, but he has nontheless not come to friendly terms with the world outside.
As proposed by Peinert and various others, the animal imagery -i.e. the ‘bear and squirrel’ game- is a central key element to the understanding of Look Back in Anger as a whole and particularly with regard to the figures of Alison and Jimmy. How can this theory be applied to the figure of Teddy in Déjà Vu, where the tattered teddy bear seems to have risen from being a toy on a chest of drawers to a full member of the family with his own views and qualities.
The aim of this paper is to have a close look at the figures of ‘bear’ and ‘squirrel’ in Look back in Anger and of ‘Teddy’ in Déjà Vu and to compare the ‘bear’ and ‘Teddy’figures with regard to the following questions:
How is the bear metaphor used in Look back in Anger and to what extent does it match Jimmy’s being? What role does the teddy bear figure play in relation to the different protagonists in the two plays? And is there a development from bear to Teddy similar to the development from Jimmy to J.P. in the two plays?
Table of Contents
Introduction
1. The game of ‘bear and squirrel’ in Look back in Anger
2. Jimmy as the bear in Look back in Anger
3. The Teddy figure in Déjà Vu
4. The protagonists and Teddy in Déjà Vu
4.1 Alison and Teddy
4.2 Cliff and Teddy
4.3 J.P. and Teddy
5. Summary and Conclusion
6. Sources
6.1 Primary Sources
6.2 Secondary Sources
Research Objectives and Thematic Focus
This paper examines the evolution of the bear metaphor in John Osborne's dramatic works, specifically comparing the silent toy bear in "Look back in Anger" with the personified "Teddy" figure in "Déjà Vu." The central objective is to analyze how these animal motifs serve as psychological mirrors for the protagonists' repressed emotions and their complex relationships with others.
- The psychological function of the bear-squirrel game in "Look back in Anger."
- Comparative analysis of bear-related imagery across two generations of Osborne's characters.
- The personification of Teddy in "Déjà Vu" as a bridge between reality and fantasy.
- The shift in character communication from visual stage motifs to active dialogue.
- Exploration of J.P.’s (formerly Jimmy) failure to integrate positive self-qualities.
Excerpt from the Book
1. The game of ‘bear and squirrel’ in Look back in Anger
The relationship between Jimmy and his wife Alison is deeply affected by their different social background and extremely opposite attitude and demeanor. Coming from an upper class family, she is the silent part who, avoiding all arguments, bears all mean outrages of her husband. Jimmy sums her (and her family) up as “sycophantic, phlegmatic and pusillanimous” (I 15), a “monument to non-attachment” (I 15).
Alison realizes that the relationship with Jimmy is self-destructive from the start (III ii 80), but she returns crushed and remorseful after she has lost their child (“all I want is to die […] but this is what he wanted from me!” (III ii 85)).
In stark contrast to her stands Jimmy, who comes from a lower middle class background. On the one hand he is abusive and aggressive, sadistic and sarcastic, on the other hand educated but futile, self-pitying and helpless. He is stranded between an almost sentimental nostalgia for an idealistic past and his present-day world without ideals (“He was born out of his time” (III ii 80) states Helena, and Jimmy knows: “If you’ve no world of your own, it’s rather pleasant to regret the passing of someone else’s.” (I, 13)).
Summary of Chapters
Introduction: Outlines the shift from the character Jimmy in "Look back in Anger" to J.P. in "Déjà Vu" and introduces the core research questions regarding the bear metaphor.
1. The game of ‘bear and squirrel’ in Look back in Anger: Analyzes the dynamics of the animal game as a retreat from real-life tensions and as a marker of the protagonists' self-perceived weaknesses.
2. Jimmy as the bear in Look back in Anger: Explores the parallel between ursine qualities and Jimmy’s aggressive personality, highlighting his reliance on the fantasy world for positive expression.
3. The Teddy figure in Déjà Vu: Discusses the transition of the bear from a mute requisite to a fully personified character participating in the play’s dialogue.
4. The protagonists and Teddy in Déjà Vu: Examines how different characters, including Alison, Cliff, and J.P., interact with the personified Teddy to project their own traits and grievances.
5. Summary and Conclusion: Synthesizes the findings, concluding that Teddy represents an advancement in communicative depth compared to the original bear figure.
6. Sources: Lists the primary texts and academic secondary sources utilized for this investigation.
Keywords
John Osborne, Look back in Anger, Déjà Vu, Bear metaphor, Teddy, Squirrel, Animal imagery, Drama, Character development, Psychological analysis, Jimmy Porter, J.P., Communication, Fantasy, Alienation.
Frequently Asked Questions
What is the primary subject of this paper?
This paper explores the evolution of the "bear" metaphor in John Osborne's plays, tracking how it changes from a silent toy in "Look back in Anger" to a personified character in "Déjà Vu."
What are the central themes addressed?
The study focuses on character projection, the psychological coping mechanisms of protagonists, the intersection of reality and fantasy, and the communicative function of stage objects.
What is the core research question?
The study asks how the bear metaphor functions in "Look back in Anger" versus "Déjà Vu" and whether the development of the "Teddy" figure reflects the internal evolution of the character Jimmy/J.P.
Which methodology is applied?
The author performs a close reading of the play scripts, analyzing character dialogue, stage directions, and secondary academic literary criticism to interpret the symbolic use of the bear figure.
What topics are discussed in the main body?
The main body covers the initial animal imagery of the "bear and squirrel" game, the aggressive behavioral traits of Jimmy, the personification of Teddy in the sequel play, and how individual characters react to the Teddy figure.
How would you summarize the work's core keywords?
The work is centered around Osborne's drama, focusing on metaphorical animal figures, personal identity, and the shift in theatrical communication.
How does J.P. view the Teddy figure in "Déjà Vu"?
J.P. often exhibits hostility toward Teddy, projecting his own self-criticism and past failures onto the figure, while simultaneously experiencing a sense of jealousy toward Teddy's perceived success.
What does the author conclude about the 'Teddy' figure?
The author concludes that Teddy represents an 'improvement' over the original bear, as his personification allows for more direct communicative interaction between the characters.
How does the relationship between J.P. and his daughter Alison affect the Teddy figure?
The daughter's resentment toward her father is channeled into an aversion toward Teddy, culminating in a dramatic attempt to destroy the figure.
- Quote paper
- Konstantin Seitz (Author), 2007, Let me be your Teddy bear. Function and Development in John Osborne’s "Look back in Anger" and "Déjà Vu", Munich, GRIN Verlag, https://www.grin.com/document/80088
