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)
.jpg)
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.
Word Count: 3114
No comments:
Post a Comment