Assignment Paper: 109(Literary Theory & Criticism and Indian Aesthetics)

Hello readers, I'm writing this blog as an Assignment on Paper number  109(Literary Theory & Criticism and Indian Aesthetics) assigned by Professor Dr. Dilip Barad sir, Head of the Department of English, Maharaja Krishnakumarsinhji Bhavnagar University. 

Name: Gayatri Nimavat 

Paper: 109(Literary Theory & Criticism and Indian Aesthetics)

Roll no: 06

Enrollment no: 4069206420220019

Email ID: gayatrinimavat128@gmail.com

Batch: 2022-24 (MA Semester - 2)

Submitted to: S. B. Gardi Department of English,Maharaja Krishnakumarsinhji Bhavnagar University 

Northrop Frye's contribution to 'Archetypal Criticism'

Introduction:

It is a type of critical theory that interprets a text by focusing on recurring myths and archetypes in the narrative, symbols, images, and character types in a literary work.

What is an archetype?

Arche "first" and typos "form" An original model or pattern from which copies are made. "Archetypal criticism looks in literature for patterns and traces them through works of classical antiquity into modern texts, and interprets those reverberations as symbols or manifestations of universal human conflicts and desires."

Jamses G. Frazer gave the theory of Archetypal in 'The Golden Bough' Developed in 1934.

Archetypes were first suggested by Carl Jung, pronounced. According to Carl Jung, these patterns are embedded deep in the "collective unconscious" and involve "racial memories" of situations, events, relationships from time immemorial.

About Author:

Herman Northrop Frye was born on July 14, 1912, Sherbrook, Canada, and died on January 23, 1991, Toronto. He was a Canadian educator and literary critic who wrote much on Canadian literature and culture and became best known as one of the most important literary theorists of the 20th century.

He is famous for his masterpiece “Anatomy of Criticism: Four Essays” This four essays are titled "Historical Criticism: Theory of Modes", "Ethical Criticism: Theory of Symbols", "Archetypal Criticism: A Theory of Myths", and "Rhetorical Criticism: Theory of Genres."

Archetypal Criticism:

Northrop Frye's 'Archetypal Criticism' is a literary theory that explores the common patterns and symbols found in literature. According to Frye, these patterns and symbols are universal, and they reflect the shared human experience. He believed that literature is a product of the human imagination, and it reflects our deepest fears, desires, and aspirations. In Frye's view, literature is a way of understanding ourselves and our place in the world.

At the heart of Frye's theory is the concept of archetype. An archetype is a symbol or image that has a universal and timeless meaning. For example, the hero archetype represents the human desire to overcome obstacles and achieve greatness. The mother archetype represents nurturing and caring, while the shadow archetype represents our darker impulses and fears.

Frye argued that literature is full of archetypes, and that they form the basis of all literary genres. He identified four main literary genres: romance, tragedy, comedy, and satire. Each genre is defined by its use of archetypes and its approach to the human experience.

Romance, for example, is characterized by the hero archetype, which represents the hero's journey of self-discovery and transformation. Tragedy, on the other hand, is defined by the conflict between the hero and the shadow archetype, which represents the hero's darker impulses and fears. Comedy is characterized by the integration of opposing forces, such as the masculine and feminine archetypes, while satire is characterized by the exposure of hypocrisy and the use of irony.

Frye's archetypal criticism emphasizes the importance of the reader's role in understanding literature. He believed that readers should be aware of the archetypes and patterns in literature, and that they should recognize the symbolic language of literature. By doing so, readers can gain a deeper understanding of themselves and the world around them.

Critics of Frye's theory argue that it is too focused on universal patterns and symbols, and that it neglects the unique qualities of individual works of literature. They also point out that his theory places too much emphasis on the reader's role in understanding literature, and that it overlooks the importance of historical and cultural context.

Despite these criticisms, Frye's archetypal criticism has had a significant influence on literary theory and criticism. His emphasis on the importance of archetypes and symbolism has helped scholars to understand the deeper meaning of literature, and it has provided a framework for analyzing and interpreting literary works. 

Four Methos:

The fourfold division has important consequences for the subsequent structure of Frye’s argument. Schematically, the cyclical paradigm is located within the order of nature, whereas the dialectical one moves from the order of nature toward or into the higher apocalyptic realm. The existence of these broad cyclical and dialectical movements within mythos leads Frye to conclude that there are “narrative categories of literature broader than, or logically prior to, the ordinary literary genres' (Frye: “Anatomy of Criticism”). He calls these pre generic elements mythoi, another fundamental distinction in Frye’s master design, for the cyclical and dialectical movements of mythoi underlie the entire second half of Anatomy of Criticism. In terms of the origin of his most basic categories, mythoi derive ultimately from poetic imagery or, more accurately, from the movement of poetic imagery which is a part of our experience of literature. Frye’s method of argument at this point is based upon the similarities of “movement” between the seven categories of reality and the cyclical and dialectical processes of archetypes. Cyclically, the analogy produces four mythoi: comedy, romance, tragedy, and irony or satire (this latter also called “realism”). Dialectically, it produces an upward and downward movement between innocence and experience, apocalypse and nature, the ideal and the actual, the comic and the tragic. 

The top half of the natural cycle is the world of romance and the analogy of innocence; the lower half is the world of "realism" and the analogy of experience. There are thus four main types of mythical movement: within romance, within experience, down, and up. The downward movement is the tragic movement, the wheel of fortune falling from innocence toward hamartia, and from hamartia to catastrophe. The upward movement is the comic movement, from threatening complications to a happy ending and a general assumption of post-dated innocence in which everyone lives happily ever after. In Dante the upward movement is through purgatory. (Frye: “Anatomy of Criticism”)

Spring/Comedy:

The dawn, spring, and birth phase. Myths of the birth of the hero, of revival and resurrection, of creation and (because the four phases are a cycle) of the defeat of the powers of darkness, winter and death. Subordinate characters: the father and the mother. The archetype of romance and of most dithyrambic and rhapsodic poetry. (Frye:”The Archetypes of Literature”).

“It will be most convenient to work out the theory of comic construction from drama, using illustrations from fiction only incidentally. What normally happens is that a young man wants a young woman, that his desire is resisted by some opposition, usually paternal, and that near the end of the play some twist in the plot enables the hero to have his will. In this simple pattern there are several complex elements. In the first place, the movement of comedy is usually a movement from one kind of society to another. At the beginning of the play the obstructing characters are in charge of the play's society, and the audience recognizes that they are usurpers. At the end of the play the device in the plot that brings hero and heroine together causes a new society to crystallize around the hero, and the moment when this crystallization occurs is the point of resolution in the action, the comic discovery, anagnorisis or cognitio.”(Frye: “Anatomy of Criticism”)

Summer/Romance:

The zenith, summer, and marriage or triumph phase. Myths of apotheosis, of the sacred marriage, and of entering into Paradise. Subordinate characters: the companion and the bride. The archetype of comedy, pastoral, and idyll. (Frye:”The Archetypes of Literature”)

Frye gives literary form to the romance, the quest. The complete form of the romance is clearly the successful quest, and such a completed form has three main stages: the stage of the perilous journey and the preliminary minor adventures; the crucial struggle, usually some kind of battle in which either the hero or his foe, or both, must die; and the exaltation of the hero. We may call these three stages respectively, using Greek terms, the agon or conflict, the pathos or death-struggle, and the anagnorisis or discovery, the recognition of the hero, who has clearly proved himself to be a hero even if he does not survive the conflict. The story of Adam and Eve in Eden has thus a canonical position for poets in our tradition whether they believe in its historicity or not. The reason for the greater profundity of canonical myth is not solely tradition, but the result of the greater degree of metaphorical identification that is possible is myth. In literary criticism the myth is normally the metaphorical key to the displacements of romance, hence the importance of the quest-myth of the Bible in what follows. (Frye: “Anatomy of Criticism”)

Autumn/Tragedy:

The sunset, autumn, and death phase. Myths of fall, of the dying god, of violent death and sacrifice and of the isolation of the hero. Subordinate characters: the traitor and the siren. The archetype of tragedy and elegy. (Frye:”The Archetypes of Literature”)

Thanks as usual to Aristotle, the theory of tragedy is in considerably better shape than the other three mythoi, and we can deal with it more briefly, as the ground is more familiar. Like comedy, tragedy is best and most easily studied in drama, but it is not confined to drama, nor to actions that end in disaster. Plays that are usually called or classified with tragedies end in serenity, like Cymbeline, or even joy, like Alcestis or Racine's Esther, or in an ambiguous mood that is hard to define, like Philoctetes. On the other hand, while a predominantly sombre mood forms part of the unity of the tragic structure, concentrating on mood does not intensify the tragic effect: if it did, Titus Andronicus might well be the most powerful of Shakespeare's tragedies. The source of tragic effect must be sought, as Aristotle pointed out, in the tragic mythos or plot-structure. (Frye: “Anatomy of Criticism”)

Winter/Satire:

The darkness, winter, and dissolution phase. Myths of the triumph of these powers; myths of floods and the return of chaos, of the defeat of the hero. Subordinate characters: the ogre and the witch. The archetype of satire (the conclusion of The Dunciad).(Frye:”The Archetypes of Literature”)

The chief distinction between irony and satire is that satire is militant irony: its moral norms are relatively clear, and it assumes standards against which the grotesque and absurd are measured. Sheer invective or name-calling ("flyting") is satire in which there is relatively little irony: on the other hand, whenever a reader is not sure what the author's attitude is or what his own is supposed to be, we have irony with relatively little satire. Fielding's Jonathan Wild is satiric irony: certain flat moral judgements made by the narrator (as in the description of Bagshot in chapter twelve) are in accord with the decorum of the work, but would be out of key in, say. Madame Bovary. Irony is consistent both with complete realism of content and with the suppression of attitude on the part of the author. Satire demands at least a token fantasy, a content which the reader recognizes as grotesque, and at least an implicit moral standard, the latter being essential in a militant attitude to experience. Some phenomena, such as the ravages of disease, may be called grotesque, but to make fun of them would not be very effective satire. (Frye: “Anatomy of Criticism”)

Five Realms:

In 'Archetypes of literature' Frye gives the idea that genre of the work depends on how symbol or image is to be interpreted and gives five realms of archetypes to study.

Human:

The comedic genre often depicts characters who are happy, successful, and surrounded by supportive friends and family. These characters embody wish-fulfillment and community-centeredness. In contrast, the tragic human world is characterized by isolation and the fallen hero. Tragic works often depict a protagonist who is separated from society, often due to their own flaws or mistakes. These archetypes help to define and distinguish between different genres.

Animal:

Regarding animals, in the comedic genre, animals are often docile and pastoral, such as sheep or cows. They represent the idyllic life of the countryside and the harmonious relationship between humans and nature. Conversely, in tragic works, animals are often predatory and hunters, such as wolves or lions. They represent the dangerous and brutal aspects of life, highlighting the protagonist's vulnerability and mortality.

Vegetation:

In the realm of vegetation, Frye notes that the comedic genre often represents vegetation with gardens, parks, roses, and lotuses. These symbols represent a cultivated and orderly environment in which everything is beautiful and harmonious. Vegetation has no particular life forms, structures, or any specific botanical or geographic characteristics. In contrast, the tragic genre often represents vegetation with a wild forest, which symbolizes chaos, danger, and the unknown. These archetypes help to create a sense of mood and atmosphere within the work.

Mineral:

Regarding the mineral realm, in the comedic genre, cities, temples, or precious things often represent the mineral realm. These symbols represent a stable, civilized, and cultured environment. However, in the tragic genre, the mineral realm is often characterized by deserts, ruins, or "sinister geometrical images." This realm represents a harsh and unforgiving environment in which everything is unstable and uncertain. These archetypes help to create a sense of setting and tone within the work.

Water:

In the water realm, in the comedic genre, rivers often represent this sphere. They symbolize the life-giving power of water and the importance of nature in sustaining life. Conversely, in the tragic genre, water is often represented by the sea and floods, which signify destruction, chaos, and the uncontrollable forces of nature. These archetypes help to create a sense of tension and conflict within the work.

Inductive and Deductive method:

Inductive Method:

Inductive method is journey which leads from specific to general. As we read some specific literary work & comes to a general conclusion, in this way we extend from specific outcome to general outcome.

The best example of this method is grave digging scene from Hamlet. It is a specific scene & from that scene we come to some general conclusion.

In that scene there were two grave diggers and they seemed in quite in harmony with their work. They were talking with one another & singing a song during the time of grave digging. They were also mocking on dead Ophelia & commented that whether she allowed to buried or not. Here we can see that they have no grief for deadly one.

Deductive method:

Deductive method is a journey from general to specific. Music and Rhythm both are the form of an art. Music is a form of art which moves in time and Painting also is a form of art which moves in space. Music is rhythm and painting is a pattern. In a music we can understand the rhythm of it while in painting we can understand the pattern of it. Rhythm is a narrative form, while pattern is simultaneous mental grasp of verbal structure and it has meaning and significance. It provides a mental visuals. By listening some of the music we can't get everything, but when we see the visual images (paintings) ...we can get the actual idea of the patterns. 

Conclusion:

Archetypal criticism is a type of critical theory that analyzes a text by emphasizing recurring myths and archetypes in the narrative symbols, images and character types in literary work. Archetypal criticism related with the theory of myth differentiates many things in archetypal. Archetypal is the study of myth and myth is a very important tool in literature so ‘every work of literature has its place within this scheme or myth, every piece of literature adds to the myth.

References:

Denham, Robert D. “Northrop Frye and Critical Method: Theory of Myths.” macblog, https://macblog.mcmaster.ca/fryeblog/critical-method/theory-of-myths.html. Accessed 20 March 2023.

Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton University Press, 2000. 

Frye, Northrop. “The Archetypes of Literature.” The Kenyon Review, vol. 13, no. 1, 1951, pp. 92–110. JSTOR, http://www.jstor.org/stable/4333216. Accessed 20 Mar. 2023.

Word Count: 2715

Assignment Paper: 108 (The American Literature )

Hello readers, I'm writing this blog as an Assignment on Paper number 108 (The American Literature ) assigned by Professor Dr. Dilip Barad sir, Head of the Department of English, Maharaja Krishnakumarsinhji Bhavnagar University.

Name: Gayatri Nimavat 

Paper: 108 (The American Literature ) 

Roll no: 06

Enrollment no: 4069206420220019

Email ID: gayatrinimavat128@gmail.com

Batch: 2022-24 (MA Semester - 2)

Submitted to: S. B. Gardi Department of English,Maharaja Krishnakumarsinhji Bhavnagar University 

Character, Thematic and symbolic analysis of 'For Whom the Bell Tolls'

"Ask not for whom the bell tolls; It tolls for thee".         - John Donne

Character Analysis:

Robert Jordan:

Jordan is the protagonist of the novel, an American who has come to Spain to fight for the Republican cause. 

In the opening pages of For Whom the Bell Tolls, Robert Jordan begins his new assignment pondering the example of Kashkin, his predecessor in the partisan work with Pablo's guerrilla band. Trying to determine what had been Kashkin's flaw, he recognizes that it had been primarily a matter of language: Kashkin had talked too much of death and suicide. "You can't have people around doing this sort of work and talking like that," he concludes. "That is no way to talk. Even if they accomplish their mission they are doing more harm than good, talking that kind of stuff." With such a comment, Robert Jordan demonstrates an awareness of the power of language which pervades not only the Spanish Civil War novel but Hemingway's work in its entirety, from the earliest stories to the last memoirs, in the fictional worlds of his characters and in the semi-legendary world of his own self-creation. For Hemingway and his characters must be seen as they are concerned, even obsessed, with language magic- with the tendency to presume necessary connections between words and things or actions and to assume control over events and feelings by the power of words. Whether this tendency is to be interpreted as a psychological aberration or, more probably, as a cultural pattern viewed anthropologically, it is central to the way in which Heming- way's world can be comprehended. (STEPHENS)

Robert Jordan of For Whom the Bell Tolls has learned some valuable lessons from the experiences of his earlier counterparts. He knows that a man cannot make it alone, and as a university teacher, Jordan knows the meaning of being involved with humanity. He believes that the Spanish Civil War provides the most meaningful way to serve mankind, thus giving him a cause other and greater than himself. The epigraph from John Donne restates, most poetically, Morgan's dying utterance and stands as a capsule statement of the philosophy which motivates and directs Robert Jordan. He volunteers his services to the Republican cause and works as a demolition expert behind enemy lines. Robert Jordan is set to participate in a team. effort, reminded by General Golz that "Merely to blow the bridge is a failure..... To blow the bridge at a stated hour based on the time set for the attack is how it should be done."1 His act of demolition must be coordinated with the actions of other men. (ELLIOTT)

Jordan is a passionate believer in the cause and is deeply committed to the ideals of freedom and justice. He is a skilled explosives expert and is tasked with blowing up a bridge behind enemy lines. Jordan is brave, resourceful, and has a strong sense of duty.

Maria:

Maria is a young Spanish woman who has been tortured and raped by the Fascists. Jordan meets her when he is assigned to work with a guerrilla band in the mountains, and the two fall in love. Maria is a damaged character, haunted by her past and struggling to come to terms with her trauma. She is deeply loyal to Jordan and is willing to do whatever it takes to help him complete his mission. Maria, more than any other character, reflects the changes and tensions in Jordan and preserves his role from the endemic danger of fanaticism.

Pablo:

Pablo is the leader of the guerrilla band that Jordan is assigned to work with. Pablo is a complex character, at times brave and selfless, but also selfish and cowardly. He is jealous of Jordan's relationship with Maria and is motivated by a desire for power and control. Pablo's inner conflicts eventually lead him to betray Jordan and his cause.

Pilar:

Pilar is Pablo's wife and the matriarch of the guerrilla band. She is a strong and wise woman who is respected by everyone in the group. Pilar is fiercely loyal to the cause and is willing to do whatever it takes to fight against the Fascists. She is a mentor to Maria and a confidant to Jordan, and her guidance is instrumental in their efforts to complete their mission.

Anselmo:

Anselmo is an elderly member of the guerrilla band who serves as a guide for Jordan and his team. Anselmo is a quiet and introspective character, a man of few words but great wisdom. He is deeply committed to the cause and is willing to sacrifice himself for the greater good.

Thematic study:

"To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though there be many who have tried it."

                                         -Herman Melville 

Love in War:

"For Whom the Bell Tolls" by Ernest Hemingway is a novel that explores the theme of love amidst the chaos and violence of war. The novel is set during the Spanish Civil War and follows the story of an American volunteer named Robert Jordan, who is fighting alongside the Republican guerrilla fighters against the Fascist forces.

One of the central themes of the novel is the idea that love can transcend the horrors of war. Jordan falls in love with a young Spanish woman named Maria, whom he meets while on a mission to blow up a bridge. Despite the fact that their relationship is born out of the violent circumstances of war, their love is genuine and powerful.

Throughout the novel, Jordan and Maria's love is contrasted with the brutality of war. The violence of the conflict threatens to tear them apart, but they are able to find solace in each other's arms. In one particularly poignant moment, Jordan reflects on the fact that even though they are in the midst of a war, he and Maria are able to experience a kind of happiness that transcends the violence and suffering around them.

Cultural Connections:

The theme of love in war is further explored through the relationships between the other characters in the novel. For example, there is the love between the guerrilla fighters, who have formed a tight bond as they fight together for their cause. There is also the love between Pilar and Pablo, the leaders of the guerrilla band, whose relationship is complex and intense. 

This theme is explored through the character of Robert Jordan, an American who has come to Spain to fight on the side of the Republic. Jordan is initially skeptical of the Spanish way of life, but as he spends more time with the guerrilla fighters, he begins to appreciate their culture and way of life. He learns the language, engages with their traditions, and comes to understand their motivations for fighting.

Similarly, the novel portrays the importance of understanding cultural differences in the relationship between Jordan and his love interest, Maria. Maria is a Spanish woman who has experienced significant trauma during the war. Jordan initially struggles to understand her behavior and reactions, but as he learns more about her culture and experiences, he becomes more empathetic and supportive.

The novel also highlights the impact of the war on the Spanish people, and the importance of preserving cultural traditions in the face of conflict. The guerrilla fighters are often shown engaging in traditional Spanish activities, such as dancing and singing, as a way of maintaining a connection to their heritage and community. 

Violence, Cowardice, and Death:

The novel follows Robert Jordan, an American volunteer fighting for the Republican side, as he plans and executes a mission to blow up a bridge behind enemy lines. Throughout the novel, Hemingway portrays the brutality and senseless violence of war, as well as the fear and cowardice that can grip even the bravest of soldiers.

The theme of violence is evident throughout the novel, as the characters engage in combat and witness the horrors of war. Hemingway depicts war as a destructive force that causes immense physical and emotional pain, and ultimately results in the loss of human life.

Hemingway portrays characters who are paralyzed by fear and unable to act in the face of danger. This is especially evident in the character of Pablo, a former guerrilla fighter who is now consumed by fear and self-doubt.

As the characters are constantly aware of their mortality and the fragility of life. Hemingway emphasizes the inevitability of death, and the way in which it shapes the characters' thoughts and actions.

The Eternality of the Present:

The protagonist, Robert Jordan, is an American volunteer fighting with the Republican forces during the Spanish Civil War. He is tasked with blowing up a bridge behind enemy lines in order to support a Republican offensive. Despite the fact that he is fighting a war and facing the possibility of death, Jordan is able to find beauty and meaning in the present moment.

Throughout the novel, Hemingway emphasizes the importance of living in the present moment. For Jordan, this means being fully present in his interactions with the people around him and savoring the small moments of joy and connection that he experiences. Jordan is acutely aware of the fragility of life and the fact that the present moment is all that we truly have.

The theme of the eternality of the present is also reflected in the novel's title, which is taken from a poem by John Donne:

"No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were. Any man's death diminishes me, because I am involved in mankind; and therefore never send to know for whom the bell tolls; it tolls for thee."

This poem emphasizes the interconnectedness of all human beings and the fact that we are all part of a larger whole. It also suggests that death is a universal experience that touches us all, and that we should cherish the present moment because it is all we have. 

Symbolic significance:

The Bridge: 

The bridge serves as a powerful symbol of the connection between the old and the new world, the past and the future, and the fragility of human life in 'For Whom the Bell Tolls'.

The bridge represents the physical and metaphorical link between the two opposing sides of the Spanish Civil War, where Robert Jordan, the protagonist of the novel, is fighting for the Republican side. The bridge is a strategic point for both sides, and its destruction would disrupt the Nationalist army's supply chain. Thus, the bridge becomes the focus of Jordan's mission.

As Jordan plans for the destruction of the bridge, he becomes acutely aware of the inevitability of his own death, and the fleeting nature of life. The bridge symbolizes the transience of human existence, as well as the importance of individual sacrifice for a greater cause.

Furthermore, the bridge represents the cultural clash between the old and the new world. The bridge is an ancient structure, a reminder of the rich history of Spain, and the long-established traditions that have shaped its people. In contrast, the war represents the arrival of modernity and a new era, where old traditions and beliefs are being challenged. 

The Hills and Mountains:

In Ernest Hemingway's novel "For Whom the Bell Tolls," the hills and mountains are a recurring symbol that represents both the characters' physical and emotional journey and the political and social landscape of the Spanish Civil War.

The rugged terrain of the Sierra de Guadarrama mountains, where the novel takes place, serves as a metaphor for the harsh and unforgiving nature of war. The steep and treacherous slopes also reflect the difficulties faced by the Republican guerrilla fighters, who are constantly on the move and must navigate the treacherous terrain to avoid enemy forces.

Additionally, the mountains symbolize the characters' personal struggles and emotional turmoil. For example, Robert Jordan, the protagonist, frequently contemplates the vastness and beauty of the mountains, which he finds both awe-inspiring and intimidating. The mountains serve as a reminder of his mortality and the impermanence of life.

The hills and mountains also reflect the political and social divisions of the time. The novel is set during the Spanish Civil War, a conflict between the Republican forces, who were largely composed of leftist groups and supported by the Soviet Union, and the Nationalists, who were backed by fascist regimes in Germany and Italy. The mountains represent the geographical divide between the two sides and the difficulties faced by the Republican forces in their fight against the better-equipped and better-trained Nationalist army. 

Reference:

ELLIOTT, GARY D. “‘FOR WHOM THE BELL TOLLS’: REGENERATION OF THE HEMINGWAY HERO.” CEA Critic, vol. 38, no. 4, 1976, pp. 24–28. JSTOR, http://www.jstor.org/stable/44375989. Accessed 30 Mar. 2023.

Moynihan, William T. “The Martyrdom of Robert Jordan.” College English, vol. 21, no. 3, 1959, pp. 127–32. JSTOR, https://doi.org/10.2307/372836. Accessed 30 Mar. 2023. 

STEPHENS, ROBERT O. “Language Magic and Reality in ‘For Whom the Bell Tolls.’” Criticism, vol. 14, no. 2, 1972, pp. 151–64. JSTOR, http://www.jstor.org/stable/23099037. Accessed 30 Mar. 2023.

Word Count: 2303

Assignment Pepar 107 (The Twentieth Century Literature: World War 2 to the end of the Century)

Hello readers, I'm writing this blog as an Assignment on Paper number 107 (The Twentieth Century Literature: World War 2 to the end of the Century) assigned by Professor Dr. Dilip Barad sir, Head of the Department of English, Maharaja Krishnakumarsinhji Bhavnagar University.

Name: Gayatri Nimavat 

Paper: 107 (The Twentieth Century Literature: World War 2 to the end of the Century) 

Roll no: 06

Enrollment no: 4069206420220019

Email ID: gayatrinimavat128@gmail.com

Batch: 2022-24 (MA Semester - 2)

Submitted to: S. B. Gardi Department of English,Maharaja Krishnakumarsinhji Bhavnagar University 

 

Thematic study of 'Waiting for Godot'

Introduction:

"Waiting for Godot" is a play written by Samuel Beckett in 1949 that has become a classic of modern theater. The play is known for its absurdist style and its exploration of themes such as the human condition, existentialism, and the nature of time. The play tells the story of two characters, Vladimir and Estragon, who are waiting for a character named Godot, who never arrives. As they wait, they engage in a series of conversations and encounters with other characters, while grappling with their own sense of identity and purpose. In this thematic study, we will explore the key themes of "Waiting for Godot" and how they contribute to our understanding of the play. 

About Author:

Samuel Beckett, in full Samuel Barclay Beckett was born on April 13?, 1906 at Foxrock, County Dublin, Ireland and died on December 22, 1989 at Paris, France. He was an author, critic, and playwright, winner of the Nobel Prize for Literature in 1969. He wrote in both French and English and is perhaps best known for his plays, especially En attendant Godot (1952; Waiting for Godot).

Notable Works: 

“All That Fall” 

“Come and Go” 

“Dream of Fair to Middling Women” 

“Eh Joe!” 

“Endgame” 

“Film” 

“Happy Days”

Existentialism:

"Waiting for Godot" by Samuel Beckett is a play that is often considered as an example of the philosophy of existentialism. The central theme of the play revolves around the meaninglessness of human existence, the absurdity of life, and the search for meaning and purpose in an uncertain world.

ESTRAGON: Nothing happens, nobody comes, nobody goes, it's awful!(Beckett)

Beckett's play lies something much broader than is suggested by linking it to existentialist philosophy. It is something in the Zeitgeist of our gloomy war-torn century: more specific ally, the Nietzschean formulation that God is dead, which colours much more than a good deal of modern literature. This feeling deprives man of the sense of a transcendental purpose in life, it inculcates a sense of the futility of life whose only object seems to be death, and it hurls man back on his own puny resources to attempt to give significance to the void left by the disappearance of God. Eugene O'Neill locates the root of the sickness of our time in the death of the old god and the incapacity of science and materialism to give a new god to the still living religious instinct. The implication of his last phrase is that while we have lost our old beliefs, we still hunger to believe, and so we search on in anguish to find, in O'Neill's words, 'a new meaning of life with which to allay man's fear of death. This is the essence of the Sisyphean myth: the sense of life as a pointless (and repetitive) task, which is felt as punishment. (Watson)

In the play, the two main characters, Vladimir and Estragon, are waiting for a person named Godot, who never shows up. The waiting itself becomes a metaphor for the meaningless nature of human existence. The characters are caught in an endless cycle of waiting, and their existence seems to have no purpose or direction.

The theme of existentialism is also evident in the characters' struggle to find meaning in their lives. Vladimir and Estragon engage in a variety of meaningless activities to pass the time, including arguing, singing, and contemplating suicide. These actions highlight the characters' inability to find any meaning or purpose in their lives.

"VLADIMIR: Why are we here, that is the question? And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing alone is clear. We are waiting for Godot to come. ...We are not saints, but we have kept our appointment."(Beckett)

Another example of existentialism in the play is the characters' sense of alienation and isolation. Vladimir and Estragon are alone in their world, and the other characters who appear in the play offer little help or support. The characters' sense of isolation and despair highlights the themes of existentialism.

Furthermore, the play also depicts the human condition as absurd and meaningless. The characters are constantly questioning the purpose of their existence and the existence of the world around them. They are unable to find any answers, and the play suggests that there may be no answers to these questions.

Humor and the absurd:

‘Absurd’ originally means ‘out of harmony’, in a musical context.

Hence its dictionary definition: ‘out of harmony with reason or propriety; incongruous, unreasonable, illogical’. In common usage, ‘absurd’ may simply mean ‘ridiculous’, but this is not the sense in which Camus uses the word, and in which it is used when we speak of the Theatre of the Absurd. In an essay on Kafka, Ionesco defined his understanding of the term as follows:

‘Absurd is that which is devoid of purpose. . . . Cut off from his religious, metaphysical, and transcendental roots, man is lost; all his actions become senseless, absurd, useless.’ This sense of metaphysical anguish at the absurdity of the human condition is, broadly speaking, the theme of the plays of Beckett, Adamov, Ionesco, Genet, and the other writers discussed in this book. But it is not merely the subject-matter that defines what is here called the Theatre of the Absurd. (Esslin)

The play follows the two characters, Vladimir and Estragon, as they wait for the arrival of someone named Godot, who never comes. Throughout the play, Beckett employs a variety of comic devices to create a sense of absurdity and to highlight the futility of human existence.

Estragon: We always find something, eh Didi, to give us the impression we exist?

Vladimir: Yes, yes, we're magicians.(Beckett)

One of the most prominent forms of humor in the play is the use of wordplay and puns. Vladimir and Estragon engage in a series of witty and often nonsensical conversations, which are full of double entendres and plays on words. For example, in Act I, Estragon says, "I'm going to sleep. (He moves away from Vladimir) Don't leave me. (He comes back towards Vladimir)"(Beckett) Here, the pun on "leave" emphasizes the characters' dependence on each other and their inability to function alone.

"What do we do now?

Wait.

Yes, but while waiting.

What about hanging ourselves?

Hmm. It'd give us an erection."(Beckett)

Another example of humor in the play is the physical comedy. The characters engage in a variety of slapstick antics, such as falling down or getting stuck in their clothing. These moments of physical humor serve to underscore the characters' vulnerability and lack of control over their environment. For example, in Act II, Estragon tries to take off his boot, but it gets stuck. This scene is both humorous and poignant, as it highlights the characters' struggle to survive in a world that is indifferent to their needs.

The play also uses repetition as a comedic device. The characters repeat certain phrases and actions throughout the play, which creates a sense of monotony and absurdity. For example, in Act I, Vladimir and Estragon discuss the tree on the stage, which is bare. They repeat the same conversation in Act II, but this time the tree has a few leaves. The repetition of this conversation emphasizes the characters' inability to move forward or make progress, and highlights the sense of futility that permeates the play.

The play uses absurd situations and events to create humor. For example, in Act II, a boy arrives to tell Vladimir and Estragon that Godot will not be coming that night, but will surely come the next day. The characters react to this news with a mixture of disbelief and resignation, highlighting the absurdity of their situation. Similarly, in Act I, Estragon asks Vladimir to help him take off his trousers, but the two characters struggle to accomplish this simple task, creating a comedic and absurd moment. 

Waiting, Boredom nihilism:

The play's two main characters, Vladimir and Estragon, are waiting for a character named Godot, who never arrives. The play's repetitive and circular structure emphasizes the characters' experience of waiting and boredom, while the lack of resolution or meaning highlights the theme of nihilism.

ESTRAGON: Let's go!

VLADIMIR: We can't.

ESTRAGON: Why not?

VLADIMIR: We're waiting for Godot.

ESTRAGON: (despairingly) Ah!(Beckett)

The theme of waiting is central to the play. Vladimir and Estragon wait for Godot, but they are not sure why they are waiting or what they are waiting for. They pass the time by engaging in meaningless activities such as talking, arguing, and playing games. For example, in Act I, Estragon tries to take off his boot, but he struggles and eventually gives up. Vladimir suggests that they hang themselves, but they do not follow through on this plan. These actions demonstrate the characters' sense of futility and lack of purpose.

Boredom is another important theme in the play. The characters are bored because they have nothing to do, and they are waiting for something that may never come. Their boredom is evident in their conversations, which are often nonsensical and repetitive. For example, in Act I, Vladimir and Estragon discuss the story of the two thieves who were crucified alongside Jesus, but they cannot remember the details of the story. They also repeatedly ask each other what they should do, but they never take any action.

"VLADIMIR: We wait. We are bored. No, don't protest, we are bored to death, there's no denying it. Good. A diversion comes along and what do we do? We let it go to waste. ...In an instant, all will vanish and we'll be alone once more, in the midst of nothingness."(Beckett)

The play also explores the theme of nihilism, which is the belief that life is meaningless and lacks purpose. Nihilism is a radical philosophy of meaninglessness. The world and the people in it exist without meaning, purpose, truth and value. Any system of belief, or artistic expression, which denies or drains away meaning can be described as “nihilistic” (Noorbakhsh Hooti).

The characters' experience of waiting and boredom emphasizes this sense of meaninglessness. For example, in Act II, Vladimir and Estragon discuss the idea that nothingness is preferable to existence, suggesting that life has no inherent value. Additionally, the fact that Godot never arrives suggests that there is no higher power or meaning to their existence. 

Modernism and Postmodernism:

"Waiting for Godot" is a play that has been interpreted through the lenses of both modernism and postmodernism. 

Modernism:

Waiting for Godot... is a modern morality play, on permanent Christian themes. But, even if the Christian basis of the structure were not obvious, Mr Beckett is constantly underlining it for us in the incidental symbolism and the dialogue. On first sight the evidence does seem impressive. The whole situation of waiting, which is of far more importance in the play than the question of the identity of Godot, has orthodox Christian overtones: behind it, and behind the state of mingled fear and hope in which Vladimir and Estragon wait, are the words of St Augustine: 'Do not despair: one of the thieves was saved. Do not presume: one of the thieves was damned". Early in the play Vladimir muses on this ("One of the thieves was saved. It's a reason- able percentage) and discusses with Estragon the discrepancies in the evangelists accounts of the crucifixion of the two thieves. Further, the two men believe that if they 'drop' Godot - give up waiting - they will be 'punished', and when in Act II Didi mistakenly thinks that Godot has arrived he cries out "triumphantly': "It's Godot! At last! Gogo! It's Godot! We're saved! We learn that Godot has a white beard in accord with traditional representations of God in Western art (Vladimir whispers "Christ have mercy on us when he discovers this), and that he separates. his sheep from his goats, with (again) the obvious Biblical allusion. (Watson)

Modernism is an artistic and literary movement that emerged in the early 20th century. It emphasizes individualism, experimentation, and the subjective experience. One of the key characteristics of modernism is the fragmentation of narrative and the rejection of traditional storytelling techniques.

In "Waiting for Godot," the characters' fragmented dialogue and lack of a clear plot are typical of modernist literature. The play does not follow a traditional narrative structure, and there is no clear beginning, middle, or end. The characters are caught in a cycle of waiting, and the play ends with them still waiting, suggesting that there is no resolution or closure.

The dialogue between Vladimir and Estragon is often disjointed, with each character finishing the other's sentences or talking over one another. This fragmentation reflects the sense of disconnection and isolation that the characters feel.

Postmodernism:

Postmodernism is a cultural and intellectual movement that emerged in the mid-20th century. It emphasizes the rejection of grand narratives and the idea that meaning is socially constructed rather than objectively determined. Postmodernism often blurs the boundaries between high and low culture and challenges the traditional hierarchies of art.

In "Waiting for Godot," the play challenges the idea of a grand narrative by presenting a world in which nothing happens, and there is no clear meaning or purpose. The play also blurs the boundaries between high and low culture, drawing on elements of vaudeville and other popular forms of entertainment.

The characters repeat the same actions and conversations throughout the play, suggesting that there is no progress or development. This repetition challenges the idea of linear time and suggests that meaning is not found in progress or change. 

The Nature of Time:

Throughout the play, the characters engage in seemingly meaningless conversations and activities, often to pass the time. 

The cyclical nature of time:

The play is structured around a series of repetitions and cyclical patterns, emphasizing the circular nature of time. For example, the play begins and ends with the same line: "Well, shall we go?" This creates a sense of timelessness, as if the characters are trapped in an eternal present. The repetitive nature of the play's structure also suggests that the characters are stuck in a kind of time loop, doomed to repeat the same actions over and over again.

The effects of waiting on perception of time:

The characters' perception of time is distorted by their constant waiting. They have no sense of how long they have been waiting for Godot or how long they will continue to wait. At times, they seem to lose track of time altogether. For example, Estragon says, "Time has stopped," and Vladimir responds, "Don't exaggerate, we're just at the end of our tether." (Beckett) The characters' inability to accurately perceive time contributes to their sense of frustration and futility.

VLADIMIR: That passed the time.

ESTRAGON: It would have passed in any case.

VLADIMIR : Yes but not so rapidly.(Beckett)

The contrast between subjective and objective time:

The play highlights the difference between subjective and objective time. While the characters experience time subjectively, as a series of endless moments, the objective passage of time is evident in the changing light and the gradual deterioration of the characters' physical and mental states. For example, at the beginning of the play, Estragon can't remember anything that happened the previous day, while by the end of the play, he can't even remember his own name.

The role of memory in shaping our experience of time:

The characters' memories are unreliable and fragmented, contributing to their sense of confusion and disorientation. The play suggests that memory plays a crucial role in shaping our experience of time, as our memories influence how we perceive and interpret the events of our lives. For example, Estragon remembers different versions of a story he tells throughout the play, and Vladimir struggles to remember events from the past. 

VLADIMIR: He didn't say for sure he'd come.

ESTRAGON: And if he doesn't come?

VLADIMIR: We'll come back tomorrow.

ESTRAGON: And then the day after tomorrow.

VLADIMIR: Possibly.

ESTRAGON: And so on.

VLADIMIR: The point is—

ESTRAGON/: Until he comes.

VLADIMIR: You're merciless.

ESTRAGON: We came here yesterday.

VLADIMIR: Ah no, there you're mistaken. (Beckett)

Humanity, Companionship, Suffering, and Dignity:

This play explores the themes of humanity, companionship, suffering, and dignity. In this play, the two main characters, Vladimir and Estragon, wait endlessly for a mysterious figure named Godot who never arrives. Through their waiting and interactions with each other, the play explores these themes in depth.

The play portrays the human condition as one of perpetual waiting and uncertainty. Vladimir and Estragon are lost and unsure of their purpose, and they spend their time waiting for someone who may never arrive. This sense of aimlessness and lack of direction is a universal human experience that many can relate to.

Vladimir and Estragon's friendship is a source of comfort for them, even though they often bicker and quarrel. They rely on each other for support and companionship in a world that is otherwise empty and meaningless. The theme of companionship is particularly poignant because of the absurdity of their situation. In a world that makes no sense, the connection between these two characters is one of the few constants.

The play explores the various forms of suffering that humans experience, from physical pain to emotional distress. Vladimir and Estragon are constantly struggling, both physically and emotionally. They are hungry, tired, and in pain, and their suffering is only compounded by their uncertainty and lack of purpose. The play suggests that suffering is an inescapable part of the human condition, and that we must find ways to cope with it and support each other through it.

Despite the absurdity of their situation, Vladimir and Estragon maintain their dignity throughout the play. They may be struggling and suffering, but they never lose their sense of self-respect. This theme is perhaps best illustrated in the play's closing lines, when Vladimir declares, "We'll be saved." Even in the face of uncertainty and despair, the characters in "Waiting for Godot" hold onto their sense of dignity and hope. 

Conclusion:

In conclusion, "Waiting for Godot" is a play that has captivated audiences and inspired countless interpretations since its first performance. Its themes of the human condition, existentialism, and the nature of time continue to resonate with audiences today, and its absurdist style challenges us to question our assumptions about the world around us. Through the characters of Vladimir and Estragon, Beckett presents us with a powerful commentary on the human experience and the search for meaning in an uncertain world. As we reflect on the themes of "Waiting for Godot," we are reminded of the enduring power of theater to explore the deepest questions of our existence.

Reference:

Beckett, Samuel. Waiting for Godot. Faber & Faber, 2006.

Esslin, Martin. Samuel Beckett's Waiting for Godot. Edited by Harold Bloom, Bloom's Literary Criticism, 2008, https://bit.ly/3YLu2Zz. Accessed 30 March 2023.

Noorbakhsh Hooti. "Samuel Beckett’s Waiting for Godot: A Postmodernist Study." English Language and Literature Study Vol.No 1 .june 2011 (n.d.): 40 - 49.

Watson, George. “Beckett’s ‘Waiting for Godot’: A Reappraisal.” The Maynooth Review / Revieú Mhá Nuad, vol. 1, no. 1, 1975, pp. 17–35. JSTOR, http://www.jstor.org/stable/20557940. Accessed 30 Mar. 2023.

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