standards are absent. Actions are governed by one's ability to "get away with it." Pete gains admiration for killing a boy without facing consequences; the baby is murdered in part because there is no authority figure to intervene, as Pete notes, “You don’t get a chance like this every day.” Bond broadens this critique to encompass society at large, which tolerates violence—as demonstrated by Harry's wartime behavior and the death of his son in a bombing—and systematically suppresses the spirit of its youth.

Bond perceives science and technology, the cornerstones of industrial society, as dual adversities that have estranged humanity from the natural environment. Workers in factories no longer find fulfillment in creating or contributing on an individual level. They lack control over their work and methods, never witnessing the end product as a testament to their efforts. They endure routines that are both physically and psychologically unnatural.

Their rewards are material, yet even these rewards elude their understanding and control, like a TV set they are unable to adjust. They have become mere components of the industrial and technological system, confined to artificial environments such as row houses and government housing designed to accommodate the system. As a result, they have lost touch with their humanity.

Fred, standing in the park with a fishing rod purchased on installment, fishing in a man-made lake, vividly illustrates the alienation of man from both nature and himself.

In Saved, sex has turned into a dispassionate activity for the characters. In the first scene, Len and Pam engage with each other without even knowing each other's names, a situation that seems to be a regular occurrence for both of them. Fred exploits Pam and then deserts her, feeling no obligation for his behavior. The quest for sex is methodical and impersonal, with venues like the church social club and all-night laundromats regarded as prime spots for encounters. The closest instance of a warm, human sexual interaction in Saved happens between Len and Mary when he mends her stocking and becomes aroused. However, even in this moment, it seems Mary has set her boundaries and deliberately used Len for her own self-esteem boost. The detachment of sex from real human connection is merely one facet of the dehumanized lives these characters are compelled to endure.

Violence is undeniably present in Saved. The significant public uproar was primarily due to the intense violence depicted in the baby-killing scene in Scene Six. As Bond mentions in the introduction to the Methuen edition of Early Morning, "I write about violence as naturally as Jane Austin wrote about manners. Violence shapes and obsesses our society ... It would be immoral not to write about violence." The brutality in Scene Six is shocking, similar to the violence when Pete runs over the boy with his van. Violence emerges naturally from the depersonalizing elements of the society where it occurs, rooted in the physical and psychological manipulation of people to conform to the work patterns of the industrialized world, the absence of control over their own lives, and the confinement in a sterile environment lacking cultural heritage.

Saved seeks to lay bare the harsh realities of contemporary capitalist society, peeling back layers to reveal more than just a gritty portrayal of urban gang violence and the hollow, dispassionate existence within the working class of Great Britain. At first glance, it might seem like a straightforward depiction of the emotional and social impoverishment among laborers. However, playwright Edward Bond intends to delve deeper, challenging audiences to see beyond the surface. Much like a modern-day George Bernard Shaw, Bond frames his works with clear statements that underscore his message. The essence of his argument is a conviction that capitalism, as a system, not only strips away material wealth but also erodes the very fabric of human interaction and the collective capacity for individuals to coexist meaningfully.

Written in the 1960s, the play Saved presents a chilling portrayal of urban decay that remains profoundly relevant in the early twenty-first century. This decay is not merely a deterioration of the physical environment but a more insidious decline in the way people live their lives. The narrative crafted by Bond invites us to look beyond surface-level issues like unemployment, drugs, and criminal violence. His characters are not merely victims of economic hardship; they are instead trapped in a pervasive apathy, where violence emerges as a byproduct of their existence despite having steady employment.

Bond's critique is directed at a capitalist system that strips individuals of their ability to engage in a truly civilized life. The characters' basic instincts and tendencies toward violence are not inherent but are instead cultivated by a profit-driven society. The pervasive influence of media, such as television, inundates them with violent imagery, transforming violence into a ubiquitous commodity. This availability of violence at a low cost reflects how capitalism exploits and commodifies aggression, embedding it into the fabric of society.

The narrative unfolds against a backdrop where capitalism is portrayed as a corrosive force, stripping society of its moral fabric, particularly impacting the working class. Within this framework, individuals are reduced to mere cogs, their lives manipulated by the whims of the ruling class. This systemic oppression manifests in the chilling behaviors observed in the park, where violence is both a tool of control and a reactionary force.

The ruling class cloaks its dominance under the guise of law and order, prompting a cycle of violence. As those oppressed by the system experience injustice, their response often mirrors the brutality inflicted upon them. This retaliatory violence is not measured or rational; instead, it explodes in raw, instinctual outbursts, akin to a wild animal's desperation when cornered. This metaphorical transformation likens human beings to dogs, not pampered pets, but creatures pushed to their limits, highlighting the dehumanizing effect of capitalist structures.