Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
A Desperate Comedy: Hope and Alienation in Samuel Beckett’s Waiting for Godot
Critical commentary on waiting for Godot
The Critique of Waiting for Godot by Samuel Beckett
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Language, Action and Time in Waiting for Godot
Twenty-two hundred years before the emergence of the Theater of the Absurd, the Greek philosopher Artistotle stumbled upon one of the themes developed in Samuel Beckett's play Waiting for Godot; that is, that Thought (Dianoia) is expressed through Diction and that Thought (Theoria) is in itself a form of Action (Energeia). Intellectual action is thus measured equally in comparison to physical action. Over the centuries, theories regarding thought, action and language have evolved considerably, but certain underlying themes in Beckett's unconventional work can trace their origins back to Aristotle's original concepts concerning drama, namely the relationships between language, thought and the action involved in contemplation.
Aristotle proposes that Thought and Diction imitate Action. In Beckett's Waiting for Godot, it is possible to see a similar pattern (that when taken a step further is no longer linear but circular), in which Language permits the existence of Thought which in turn becomes vicarious Action. (Ironically, this whole process which is portrayed by Beckett on-stage is equivalent to the art of theater itself which, manifested through language, permits the audience offstage, whose witnessing of a play replaces imagining it, to undergo the same process in acting vicariously through the characters.) The first and more interesting part of the process is best illustrated by the ending of both acts when Vladimir, and then Estragon, says "Yes, let's go" and the stage directions indicate "They do not move". It suffices simply to say and subsequently to think of leaving, for there is no more meaning in the vicarious action than in its actual physical manifestation.
...
... middle of paper ...
... Vladimir who comments about the condition of Estragon's feet: "There's man all over for you, blaming on his boots the faults of his feet." The boots represent god, for each is an external object that man contrives to protect himself. Beckett is saying that man should not blame the devices that he creates when they fail to protect him from himself, but should rather accept the responsibility for their failure as he is the creator of those devices. If god does not fill man's existential void, instead of hopelessly waiting for that unreliable god to come and rescue him, he should consider looking to himself to resolve the problem of the meaninglessness of his life.
Bibliography
Aristotle. Poetics. Tr. S.H. Butler. New York: Hill and Wang, 1977
Beckett, Samuel. Waiting for Godot. New York: Grove Press, 1954
Durozoi, Gérald. Beckett. Paris: Bordas, 1972
Never before this time had women across the country been given the chance to express themselves and hold responsibilities outside their own households. They felt that they were needed and enjoyed their ability to contribute to the war effort. They were given opportunities to prove to the male society that they could be independent and financially secure on their own. These new opportunities were not only for the white women of the population but also the blacks. World War Two acted as a catalyst for change for the women of the United States. Many feel that it was the beginning of a whole new era for the Women of America.
Beckett did not view and express the problem of Absurdity in any form of philosophical theory (he never wrote any philosophical essays, as Camus or Sartre did), his expression is exclusively the artistic language of theatre. In this chapter, I analyse the life situation of Beckett's characters finding and pointing at the parallels between the philosophical background of the Absurdity and Beckett's artistic view.
Women showed their skill and ability to work, changing their role in society. “Women were hired for traditionally male occupations” (“Women in business”). After being hired for male jobs, women were portrayed differently and not as the average housewife. In 1944 women addressed the fact they do not get equal pay for equal work and to have working conditions improved (“Women in Society”). That included having childcare for working mothers. This prepared women to be more aggressive and be more demanding so society would accept them and so they could continue taking on these nontraditional roles after war (“Women in Society”). Working made women more demanding and they stood up themselves. It did take some convincing to have women join the workforce. The concept of working women was encouraged and advertised during the war because employment was necessary. Rosie the Riveter was also a shaped image and type of role model for women to follow (“Women in Society”). Women were comfortable being housewives before the demand for workers, but things had to change. Women’s viewpoint changed from staying home and taking care of the household, to them not wanting to be known as a housewifes anymore. “They demanded participation in the public arena and refused to accept the restrictions of traditional gender roles”(“Women in Society”). Women wanted to participate more in the community and contribute more to the country. Not only did they want to participate more in society, but they wanted to be viewed as equal to men in society. In 1944, women addressed the fact they do not get equal pay for equal work and to have working conditions improved. That included having childcare for working mothers. This prepared women to be more aggressive and be more demanding so society would accept them and to continue taking on these nontraditional roles after the war (“Women in Society”). After witnessing how they were able
Surfacely, the recurrent setting is absurd: Vladimir and Estragon remain in the same non-specified place and wait for Godot, who never shows, day after day. They partake in this activity, this waiting, during both Act I and Act II, and we are led to infer that if Samuel Beckett had composed an Act III, Vladimir and Estragon would still be waiting on the country road beside the tree. Of course, no humans would do such things. The characters' actions in relation to setting are unreal-distorted, absurd. However, it is through this distortion and only through this distortion that we can guess at the importance and the details of the evasive figure...
For being considered one of the greatest English plays ever written, very little action actually occurs in Shakespeare’s Hamlet. The play is, instead, more focused on the progressive psychological state of its protagonist, after whom the play is named, and his consequent inaction. It is because of this masterpiece of a character that this play is so widely discussed and debated. Hamlet’s generality, his vagueness, his supposed madness, his passion, his hesitation, and his contradictions have puzzled readers, scholars, and actors for centuries. In this paper I will attempt to dissect this beautiful enigma of a character to show that Hamlet is much more self-aware than many people give him credit for and that he recognizes that he is an actor in the theatre of life.
abandoned the conventions of the classical play to concentrate on his important message to humanity. Using his pathetic characters, Estragon and Vladimir, Beckett illustrates the importance of human free will in a land ruled by science and technology. He understood the terrors of progress as he witnessed first hand the destruction caused by technologically-improved weapons working as a spy during WWII. In his tragicomedy, Estragon and Vladimir spend the entire time futilely waiting for Godot to arrive. They believe that this mysterious Godot will help them solve their problems and merely sit and wait for their solution to arrive. Beckett utilizes these characters to warn the reader of the dangers of depending on fate and others to improve one's existence. He supports this idea when Estragon blames his boots and not himself for the pain in his feet, and Vladimir responds, "There'...
Humans spend their lives searching and creating meaning to their lives, Beckett, however, takes a stand against this way of living in his novel ‘Waiting for Godot’. He questions this ideal of wasting our lives by searching for a reason for our existence when there is not one to find. In his play, he showcases this ideology through a simplistic and absence of setting and repetitious dialogue. Beckett’s ability to use these key features are imperative to his ability of conveying his message of human entrapment and existence.
From the moment that the curtain rises, Waiting for Godot assumes an unmistakably absurdist identity. On the surface, little about the plot of the play seems to suggest that the actions seen on stage could or would ever happen. At the very least, the process of waiting hardly seems like an ideal focus of an engaging and entertaining production. Yet it is precisely for this reason that Beckett’s tale of two men, whose only discernable goal in life is to wait for a man known simply as Godot, is able to connect with the audience’s emotions so effectivel...
This essay will explore the frontier of existence in Beckett’s Waiting for Godot and Ionesco’s Rhinoceros
Looking at the evidence, we can see that Beckett used many devices and ideas to guide his readers and spectators into discovering that his main idea was to show how his absurdist and irrational tragicomedy really expresses how the human life is built; he uses this to say that life is repetitive and formed by cyclical actions that leave everyone in the same place they started at the end, just like Vladimir and Estragon at the end of the play.
... If Godot ever comes, this cycle of waiting will be broken and life as Vladimir and Estragon have lived it will be as well. Throughout the world, Christianity is a very dominant religion, with a larger amount of followers compared to other religions such as Islam and Buddhism. Not only does Christianity have a huge influence on the followers of the religion but on non-believers as well. Christianity’s values are built into aspects of life such as finance and education among other things. In Waiting for Godot, Samuel Beckett uses symbol, dialogue between characters, and the characters themselves to portray the invisible influence that God has on both believers and non-believers.
Beckett, Samuel. Waiting For Godot. 3rd ed. N.p.: CPI Group, 2006. Print. Vol. 1 of Samuel Beckett: The Complete Dramatic Works. 4 vols
The setting is the next day at the same time. Estragon's boots and Lucky's hat are still on the stage. Vladimir enters and starts to sing until Estragon shows up barefoot. Estragon is upset that Vladimir was singing and happy even though he was not there. Both admit that they feel better when alone but convince themselves they are happy when together. They are still waiting for Godot.
Beckett explores the theme of futility throughout the text in numerous ways. The theme of futility is immediately brought to the forefront in the beginning of the scene through stage directions concerning Estragon’s struggle with his boot. A decision such as ‘he gives up, tries again. as before’ immediately sets the tone for the futility of both his actions and the situation. This is further reflected in the setting of the play and the apparent bareness of their surroundings.
Efforts to improve the standard of living for humans--through the control of nature and the development of new products--have also resulted in the pollution, or contamination, of the environment. Much of the world's air, water, and land is now partially poisoned by chemical wastes. Some places have become uninhabitable. This pollution exposes people all around the globe to new risks from disease. Many species of plants and animals have become endangered or are now extinct. As a result of these developments, governments have passed laws to limit or reverse the threat of environmental pollution.