The name of Harold Pinter is a milestone in the realm of contemporary British drama. His plays offer a new kind of situational and individual interpretations of his themes and issues. His plays demand a deeper perusal and study of his written text, unspoken words and even dots and dashes. My purpose through this paper is to propagate Harold Pinter ’s theme in his play The Birthday Party not only as a manifestation of existential dilemma and projection of postmodernist thoughts but to explore the subtle texture of se veral tissues of interpersonal violence. Violence is not only physical as basically we understand but for me it is all the more dangerous and can prove a catastrophe in its verbal, emotional, psychological and organi sed form. Interpersonal violence dwells in interpersonal relations of human beings that comes out from time to time with changing human psyche and circumstances as well. Therefore, in this paper I have tried to decipher sincerely the hidden face of violence crawling in the private and personal a ffairs of men and women. Menace and trepidation are regular features of Pinter ’s plays but how they can be used as a vehicle to excavate the innermost state and dimensions of violence, has been tried to study in this paper. Relationships among selves matter, on which only large buildings of any institution can stand and sustain about which Pinter is very well aware and beware us. Key-words: violence, interpersonal, verbal-violence, psychological violence, menace. Abhisarika Prajapati  Page 271 Unexpected emergence of trepidation and viol ence at regular interval is a significant signature of Harold Pinter ’s dramatic articulation. Sometimes it seems a justification of the meaningless and futile human existence and sometimes it seems a powerful projection of man ’s agoni sed psyche in search o f identity in the humdrum of life. In The Dumb Waiter Ben faces Gus to kill him, The Birthday Party is fully saturated with all kinds of unprecedented violence and in The Caretaker Davies’ behavior with Aston – all exhibit a disturbed scenario with compulsive fluidity of violence on the stage. Does Pinter points his finger that violence has become a characteristic of modern life where there is no other option of violence and is it the final solution to practice power? What catch our eyes in Harold Pinter ’s dramatic world is a peculiar kind of violence. Most of the violent act happens during encounter of characters. Human relationships matter on which only large buildings of any institution can stand. Pinter concentrates primarily on individuals in their pers onal relationship. He has tried to show interpersonal violence crawling in the personal affairs of the people. What I mean by the term ‘Interpersonal violence’ is, when a person uses power and control over others through physical, sexual, emotional, action, verbal or intentional or through other kinds of strange human behavior. Not only this but this kind of violence may be against one ’s own self -- disclosed in psychological form or it may be metaphysical violence as well where man feels choked as a puppet i n the hands of a ‘Supreme Metaphysical Power’. “Interpersonal violence is divided into two subcategories: Family and intimate partner violence – that is, violence largely between family members and intimate partners, usually , though not exclusively , taking place in the home. Community violence – violence between individuals who are unrelated, and who may or may not know each other, generally taking place outside the Page 272  Labyrinth : ISSN 0976-0814 (Vol.8 - No.2, July 2017) home. The former group includes forms of violence such as Child abuse, intimate partner viol ence and abuse of the elderly . The latter includes youth violence, random acts of violence, rape or sexual assault by strangers, and violence in institutional settings such as schools, workplaces, prisons and nursing homes. When interpersonal violence occu rs in families, its psychological c