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Comparative literary analysis on play by samuel beckett
Comparative literary analysis on play by samuel beckett
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“Waiting for Godot” is an absurdist play by Samuel Beckett, in which two characters, Estragon and Vladimir, wait in vain for the arrival of someone named Godot. The play is Beckett's translation of his own play. The play was originally written in French. The French version, En attendant Godot, The premièred in the Theater de Babylone 3 years in 5 January 1953 after the text was composed between 9 October 1948 and 29 January 1949. The production was directed by Roger Blin, who also played the role of Pozzo.
The play is based on Absurdism, the Post-World War II Absurdist movement that centered on the idea that life is illogical, incongruous, irrational, and without reason (Esslin xix).
Absurdist Theater deals with the irrational and illogical aspects of life, where life has no meaning, where the characters have no meaning. (Stasio, 2012) Things happen repetitively with no reason.
“Waiting for Godot” is an epitome of Absurdism because we see two people on a journey with no definite end. They are waiting for Godot, whoever he may be. They have a strained conversation of meaningless word...
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...
In ‘Waiting for Godot’, we know little concerning the protagonists, indeed from their comments they appear to know little about themselves and seem bewildered and confused as to the extent of their existence. Their situation is obscure and Vladimir and Estragon spend the day (representative of their lives) waiting for the mysterious Godot, interacting with each other with quick and short speech.
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 absurdist plays Waiting for Godot written by Samuel Beckett and Rosencrantz and Guildenstern Are Dead written by Tom Stoppard both incorporate human needs and concerns within their context through its whimsical and comedic dialogues. Both plays belong in the category of the theatre of the absurd, where the existentialist philosophy underlies all aspects of the plays. The central characters Rosencrantz and Guildenstern from Rosencrantz and Guildenstern Are Dead share a deep friendship, this same friendship can also be seen within the relationship between Vladimir and Estragon who are the protagonists in Waiting for Godot. Beckett and Stoppard playfully express friendship and camaraderie throughout their plays, while both sets of characters delve deeper into human needs as it illustrates the dependency for one another that each character relies on .
Samuel Beckett's Waiting for Godot has been said by many people to be a long book about nothing. The two main characters, Vladimir and Estragon, spend all their time sitting by a tree waiting for someone named Godot, whose identity is never revealed to the audience. It may sound pretty dull at first but by looking closely at the book, it becomes apparent that there is more than originally meets the eye. Waiting for Godot was written to be a critical allegory of religious faith, relaying that it is a natural necessity for people to have faith, but faiths such as Catholicism are misleading and corrupt.
In Samuel Beckett Tragicomedy Waiting for Godot he begs the question of life and death. Throughout the commotion of the play Becket addresses the age old debate of the afterlife and if people willingly pass this life to enter into Gods kingdom or if God calls them. Beckett introduces characters such as Estragon, Vladimir, and Lucky to illustrate the different types of perspectives that man has taken on this debate.
Waiting for Godot by Samuel Beckett entails more than one moral or lesson within the story. I feel that the moral of the story is up to the perception of the reader, however. It has been discussed that there is no relationship between God and waiting for salvation. However, in my opinion, I think that Estragon and Vladimir were waiting for God to “show up” for them and were unable to receive any salvation. This ties into the idea of struggling and striving for a better life while looking for some sort of higher power. Estragon and Vladimir both struggle throughout the play and both find it hard to maintain a level of happiness between them while constantly looking and waiting for Godot.
In Samuel Beckett’s Waiting for Godot two characters, Estragon and Vladmir are waiting for ‘Godot’ in which Beckett does not explain. Along with Estragon and Vlamir comes Lucky and Pozzo another two figures who add a bit of nonsense into the play to distract the reader from the real issue, waiting for Godot. Simply who or what is ‘Godot’, is the question that Beckett’s play raises. It is easy to say that Godot is a Christ figure or God, hopefully Beckett would not make it that easy. So who/what is Godot? One may say that the characters are just waiting for someone or something to make sense of the world that they are in. The characters hopelessly wait day after day for this ‘Godot’ to come, and yet it never arrives. One must look into each character to find out who it is that Godot is searching for.
“Nothing to be done” is a repetitive theme of the play, Waiting for Godot. In fact, nothingness and futility of character’s lives is shown in the form of the play. The fou...
In the five decades since Waiting for Godot's publication, many of the countless attempts to explain the play have relied on some variation of this religious motif proposed by William Mueller. Though Beckett's open text invites the reader to hunt for an interpretation, statements as decisive as this one overstep the search and leave little room for any other possibility. His idea has a compelling textual basis, but its finality violates the spirit of the play. Kenneth Tynan suggests that "Beckett's Waiting for Godot is a dramatic vacuum...It has no plot, no climax, no denouement; no beginning, no middle, and no end." Such an idea forces any analyst of this enigmatic masterpiece to tread lightly and makes definite criticism nearly impossible. Before examining an explanation as conclusive as Mueller's we must acknowledge that we cannot hope to determine "the meaning" of this play. Neither the text nor its author makes a claim to any intrinsic meaning, yet a new meaning is born each time a reader or viewer partakes of the play.
Irish-born French author Samuel Beckett was well known for his use of literary devices such as black comedy in his various literary works. Written during late 1948 and early 1949 and premiered as a play in 1953 as En attendant Godot, Beckett coupled these devices with minimalism and absurdity in order to create the tragicomedy known to English speakers as Waiting for Godot. True to its title, Waiting for Godot is the tale of a pair of best friends known as Vladimir (Didi) and Estragon (Gogo) who are waiting for the character the audience comes to know as Godot to appear. Throughout Beckett’s play Waiting for Godot, Samuel Beckett alludes to the monotheistic religion of Christianity through symbols, dialogue, and characters to reveal the heavy invisible influence of God in the daily life of man.
Albert Camus considers absurdity to be a fight, a force pushing between our mind’s desire to have meaning and understanding and the blank empty world beyond. In argument with Nagel, Camus stated “I said that the world is absurd, but I was too hasty. This world in itself is not reasonable, that is all that can be said. But what is absurd is the confrontation of this irrational and the wild longing for clarity whose call echoes in the human heart. The absurd depends as much on man as on the world.”[1] He continues that there are specific human experiences evoking notions of absurdity. Such a realization or encounter with the absurd leaves the individual with a choice: suicide, a leap of faith, or recognition. He concludes that recognition, or realization, is the only defensible option.[2] The realization that life is absurd and cannot be an end, but only a beginning. This is a truth nearly all great minds have taken as their starting point. It is not this discovery that is interesting, but the consequences and rules of action drawn from it.[3]
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.
The play, Waiting For Godot, is centred around two men, Estragon and Vladimir, who are waiting for a Mr. Godot, of whom they know little. Estragon admits himself that he may never recognize Mr. Godot, "Personally I wouldn't know him if I ever saw him." (p.23). Estragon also remarks, "… we hardly know him." (p.23), which illustrates to an audience that the identity of Mr. Godot is irrelevant, as little information is ever given throughout the play about this indefinable Mr. X. What is an important element of the play is the act of waiting for someone or something that never arrives. Western readers may find it natural to speculate on the identity of Godot because of their inordinate need to find answers to questions. Beckett however suggests that the identity of Godot is in itself a rhetorical question. It is possible to stress the for in the waiting for …: to see the purpose of action in two men with a mission, not to be deflected from their compulsive task.
Although Samuel Beckett's tragicomedy, Waiting for Godot, has no definite meaning or interpretation, the play acts as a statement of hopelessness regarding human existence. Debate surrounds the play because, due to its simplicity, almost any interpretation is valid. The main characters, Vladimir and Estragon, are aging men who must wait for a person, being, or object named Godot, but this entity never appears to grace the men with this presence. Both characters essentially demonstrate how one must go through life when hope is nonexistent as they pointlessly attempt to entertain themselves with glum conversation in front of a solitary tree. The Theater of the Absurd, a prevalent movement associated with Waiting for Godot, serves as the basis for the message of hopelessness in his main characters. Samuel Beckett's iconic Waiting for Godot and his perception of the characteristics and influence of the Theater of the Absurd illustrate the pointlessness and hopelessness regarding existence. In the play, boredom is mistaken for hopelessness because the men have nothing to do, as they attempt to occupy themselves as, for some reason, they need to wait for Godot. No hope is present throughout the two-act play with little for Estragon and Vladimir to occupy their time while they, as the title indicates, wait for Godot.