"I never think of myself as wise. I think of myself as possessing a critical intelligence which I intend to allow to operate"
About this Quote
Harold Pinter resists the mantle of the sage and claims a more combative, provisional role. Wisdom suggests a settled possession, a lofty vantage point from which to dispense pronouncements. Critical intelligence implies an activity: skeptical, testing, alert to contradiction and power. The decisive phrase is the promise to allow it to operate. That verb makes thinking an ethic and a practice rather than a status. It is something that must be permitted, even protected, against vanity, fear, convenience, and the pressures of conformity.
His dramas enact this stance. The menace in Pinteresque rooms arises not from supernatural forces but from language that evades, bullies, traps, and disorients. Silences and pauses are not empty; they expose the struggle for truth when certainty is unavailable. Instead of offering audiences the comfort of wisdom, he constructs conditions in which critical intelligence must do its work. Meanings are contested, motives murky, authority untrustworthy. The play becomes a laboratory for attention and doubt.
The formulation fits his public life as well. In his Nobel lecture, Art, Truth and Politics, he argued that political power relies on systematic lying and euphemism, and he demanded that language be forced back into contact with reality. That demand is not the posture of a guru but the discipline of an investigator. To allow critical intelligence to operate is to refuse both the cult of genius and the inertia of received narratives. It is humility with sharp edges.
There is also a moral insistence here. Intelligence that merely resides in the mind is inert; intelligence that operates engages the world, listens, questions, revises, and sometimes accuses. Pinter links artistic method to civic responsibility, making scrutiny itself a form of integrity. If wisdom pretends to arrive, critical intelligence keeps moving, and that restless motion is precisely what his plays and politics try to provoke.
His dramas enact this stance. The menace in Pinteresque rooms arises not from supernatural forces but from language that evades, bullies, traps, and disorients. Silences and pauses are not empty; they expose the struggle for truth when certainty is unavailable. Instead of offering audiences the comfort of wisdom, he constructs conditions in which critical intelligence must do its work. Meanings are contested, motives murky, authority untrustworthy. The play becomes a laboratory for attention and doubt.
The formulation fits his public life as well. In his Nobel lecture, Art, Truth and Politics, he argued that political power relies on systematic lying and euphemism, and he demanded that language be forced back into contact with reality. That demand is not the posture of a guru but the discipline of an investigator. To allow critical intelligence to operate is to refuse both the cult of genius and the inertia of received narratives. It is humility with sharp edges.
There is also a moral insistence here. Intelligence that merely resides in the mind is inert; intelligence that operates engages the world, listens, questions, revises, and sometimes accuses. Pinter links artistic method to civic responsibility, making scrutiny itself a form of integrity. If wisdom pretends to arrive, critical intelligence keeps moving, and that restless motion is precisely what his plays and politics try to provoke.
Quote Details
| Topic | Wisdom |
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