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This paper is an attempt to examine how the British Nobellaureate dramatist, Harold Pinter (1930-2008), and the Egyptian versatile writer, Alfred Farag (1929-2005), depict the power struggle between two dramatic characters obsessed by a conflict of wills. The plays under study are Pinter’s No Man’s Land (1975), and Farag’s ʕali: Ganaħ al-Tabri:zi: wa tabiʕuhu Quffah (1969 [translated into English by Rasheed El-Enany and Charles Doria as Ali Janah alTabrizi and His Servant Quffa]). Both plays are analyzed in the light of Foucault’s theory of power and Wittgenstein’s theory of language games, to prove that language is a medium through which efforts for dominance are exerted among individuals. This motif explains how one character employs language as a means of gaining power to direct and determine the behavior of the other. To achieve such an objective, the paper concentrates on how both playwrights draw extensively on a theatrical language that dramatizes the power struggle between characters as well as the linguistic tactics employed by them to sustain their desire for power. In order to fully comprehend how power is exercised among individuals, one should consider that power, as this paper argues, is a tying relationship among individuals, a relationship in terms of which one character tries to direct and govern the behavior of another by adopting multiple forms of linguistic tactics/language games. When comparing Pinter's No Man’s Land to Farag's Ali Janah al-Tabrizi and His Servant Quffa, one can discover that the thematic schema of both plays shows how the struggle for power is manipulated and actualized by the same linguistic strategies, or rather language games. In this regard, Pinter’s theatre is described as “a theatre of language” (Esslin 40), where words become weapons that give rise to “suspense, dramatic tension, laughter and tragedy” (40). This denotes that language is the key point in terms of which one can probe deeply into a Pinteresque drama to better understand the relationship between characters and power struggle. By so doing, one can infer that through language, a Pinteresque character defines “its mode of being, which

Language as a Means of Power: A Comparative Study of Harold Pinter’s No Man’s Land and Alfred Farag’s Ali Janah al-Tabrizi and His Servant Quffa