Samuel Becketts Waiting for Godot Analysis

Samuel Becketts delay for Godot compendSamuel Becketts delay for Godot is a assume both funny to watch and to read. Yet, the feeling that i walks away with in the devastation is non star of amusement, merely that of slight discomfort. Upon closer inspection, one begins to notice tragic qualities neatly inscrutable however subconsciously blatant. One also sees the flake labelled as a tragi prank. In an plan of attack to further explore this issue, I explored the research questionIs cadence lag for Godot a calamity or comedy? To what end do these elements contribute to the lay appear?In order to answer this research question, an in-depth analysis of the confused themes sacrifice in the twist was carried out. Aspects of the play that contributed to severally theme were singled out and their respective comedic and tragic elements compargond by examining their powers and contribution to the theme. The investigation also extends itself into interpreting the authors beliefs and purposes, touchly luckys quarrel, to study the tragic or comedic notes. Through my investigation I concluded that there be much tragic than comedic elements in Waiting for Godot, but to a greater extent accurately, Beckett veils the tragedy of his play behind humour, and uses the comedy to heighten the tragic elements.In Waiting for Godot, a seriocomedy in two acts by Samuel Beckett, two characters unconsciously express the sombre emptiness in liveliness by jolly means. At face value it is funny and light- taketed, all the same a second glimpse at the hidden metaphoric and symbolic devices reveals a forbidden garden blooming with tragedy. The two genres full complement one another, humour creating tragedy, tragedy creating humour. Indeed, it is this peculiar pairing that qualifies the play both in essence and as a pun a tragicomedy. At a superficial glance, the play seems full of un- benignant alike(p) action and harbours an senseless sense of humour. The int ended message of the motif is unclear and many another(prenominal) of the characters be leftfield(p)field hidden in darkness amidst a vast complexion of dialect that is comical at the surface. This hints at the notion that a thin blanket of obvious comedy is utilised to disguise the ultimate tragedy present at heart. This tragedy is carried forth via a splattering of motifs, much(prenominal) as time, meaning and reality, and God. By exploring this relationship, a glutinous understanding of the comical and tragic elements performs possible, allowing us to decipher the roles they play in the play. As much(prenominal), will square away that Waiting for Godot does contain more elements of tragedy, and their signifi privyce and meaning are far majusculeer than any of this plays comedic value.II. AnalysisIn order to investigate both the comedic and tragic elements, an understanding of how they are used in concurrency is necessary. In other wrangling, we must rootage underst and what a tragicomedy entails. By definition, a tragicomedy is a dramatic work incorporating both tragic and comic elements. How ever, this denotation does little more than repeat what we already k presently. In actuality, the meaning of a tragicomedy has morphed over time. It was initially coin by Plautus, a Roman dramatist in the 2nd century B.C.E. as a play in which gods and men, master and slaves reverse the roles tralatitiously assigned to them, gods and heroes acting in comic burlesque and slaves adopting tragic dignity. Then during the Renaissance, tragicomedy became a genre of play that mixed tragic elements into drama that was chief(prenominal)ly comic. With the advent of realism ulterior in the 19th century, tragicomedy underwent yet another revision. Whilst stillness mixing the two elements, comic interludes now highlighted the ironic counterpoints inherent in a play, making the tragedy seem even more devastating. In this way, it terminate be said tragicomedy is a mo re meaningful and serious cosmos than traditional tragedy. Lastly, modern tragicomedy is fewtimes used synonymously with Absurdist drama, which suggest that laughter is the scarcely response left to man when he is faced with the tragic emptiness and meaninglessness of existence.The end two classifications are the nearly relevant explanations and I believe them to be identical to Becketts understanding of tragicomedy when he labelled his play as such during his translation. Certainly, there is comic interlude such as the discussion that occurs between Vladimir and estragon in Act II during Pozzos cries for help We should ask him for the bone first. Then if he refuses well bequeath him there (p89), which highlights the tragic state that Pozzo is in through their comically serious bout about whether or not to help him and certainly there too is an exploration of the emptiness and meaninglessness of existence, which is completely the fundamental theme of the entire play.A bleak and tragic regulate permeates the atmosphere at the beginning of the play. The make up is empty aside from a bare channelise and two ragged tramps, Estragon and Vladimir. The truly belong of the play begins with the narrative, Estragon, sitting on a low mound, is trying to take off his boot. He pulls at it with both hands, panting. He gives up, exhausted, rests, tries again. As before. (p2). Immediately later, Estragon, who gives up yet again, speaks the famous words cipher to be done, arguably the defining mode of the entire play. The surrounding circumstances of the characters emanate an alien disconnection to the conception and leave the earshot utterly perplexed and bewildered by the seemingly nonexistent motive of the characters. The tragic elements are seen in the circumstances of the characters, their physical disabilities, their lost sense of time and ut closely futility, their doomed existence where Nothing go acrosss and nothing can be done, and the empty stage piece of music the comic elements revolve about the games the characters invent, their interactions with each other, and the vaudevillian routines.Vladimir and Estragon are portrayed as homeless tramps devoid of purpose, as strongly support by their paralysis, Well, shall we go? Yes, lets go. They do not move. In much the same way, other characters, such as Pozzo and Lucky, are characterized too as directionless pairs, symbolized by their deafness and muteness in Act II Pozzo is blind(p87). From simply examining the characters, we can see that they, like all human beings, have the potential to become give way characters with better common sense. Our definition of normal and expected human behaviour may unspoilt as well be non-applicable to the setting of the play, hence the usage of better is questionable. Our expected definition of tragedy may be a derivation of our own experiences. When someone falls into a situation that, as a guide of societal conformation, causes us to de velop certain emotions, we feel for their loss or misfortune. However, the context of Waiting for Godot places us in a realm so undesirable, because underneath the initial intentional comedy lies a dimension of tragedy that we cannot clearly relate to, defining itself as delusional even to the point of proper disturbing. The inane dialogue and personalities of the plays subjects sets a situation so capricious that the limits of analysis must be broadened to turn out such ideas of human behaviour before it is possible to understand Becketts message and embrace the idea that one can be so unresponsive to an apparently interminable wait. By capitalizing on the fixed perspectives of the sense of hearing, their actions become an absurd comedy that contributes to the tragic tone of the entire play.The unchanging Nothing to be done (p2) reinforces helplessness and utter desperation in lieu of the protagonists. Their physical disabilities are the tragic circumstances that baffles the au dience and while making us laugh, shows us the meaninglessness of their existence , such as Vladimirs bladder problems, hinted at when move with short, stiff strides, legs wide apart (p2), and Estragons struggles with his feet, disturbed rest, and abuse by individuals he has no memory of, outgo the night in a ditch and claims that they beat me, where they is neer identified Such dialogue can be labelled as tragic as their own distinct personalities and personal problems lead to the original, main point that comedy merely shrouds the tragedy.An excellent example of such a scenario can be seen on (p85) when Vladimir and Estragon spontaneously break out into unanimous, unprecedented argument and mark each other with insults such as Ceremonious ape and Punctilious Pig After the banter, They embrace. They separate. (p86). While at the surface this pictorial matter may be deemed comedic due to the spontaneous outburst, if we dumbfound ourselves to look past this, we see that it is t ragic when they reconcile. The tragedy exists in their relationship. They both agree that each would be better off alone, as Estragon says You create better when Im not there. (p64) and Vladimir replies, I missed youand at the same time I was happy. (p64). Despite this, they stay on to stay together, not knowing why. Because of this, it can be said that it is tragic how Vladimir and Estragon have no control over themselves nor the external factors affecting them. What is even more tragic is the futility of their wait. The fact that Godot does not ever arrive and that nothing is achieved with the evident passing of time as symbolized on (p62) by the statement that The tree has four or five leaves define the seemingly meaninglessness of their goal. This idea of eternally unproductive come on proves to display a tragic image in the minds of the audience.Right after this scene is another just as tragic at heart. Estragon begins by questioning, What do we do now? (p86) to which Vladim ir responds We could do our exercises (p86). This is followed by a series of exaggerated actions and comically tires Estragon out after a simple record hop Thats enough, Im tired. (p86). This once again shows their inability to do what they want, an idea that is visited once more at the end of the play on (p109) when Vladimir questions, Well? Shall we go? to which Estragon responds, Yes, lets go. but both do not move. This inability to make such simple actions can be deemed tragic , and questions the purpose of their existence. We always find something, eh Didi, to give us the impression we exist? (p77). Note that Estragon uses the word impression, implying that they are aware of the meaninglessness and futility of their wait. Something must happen yet nothing must happen when postponement and Beckett skilfully achieves this balance. It is not still the general act of delay that is tragic, but also the things Estragon and Vladimir do during their wait that is tragic. True to the essence of the play, many of the comical actions are paired with tragedy. The two insult each other and then reconcile. Vermin Abortion at present lets make up(p85) and is quite amusing, except that we once again overlook the tragedy throwing insults at each other because they have nothing to do. Vladimir loses his sense of time, a recurring motif, after having regained a bit of it Youre sure you saw me, you wont come and tell me tomorrow that you never saw me (p106) and Was I long slumbery? I dont know. (p107). His uncertainty is humorous, but the same uncertainty creates a sense of disarray. What this multitude of examples signify is mankinds unlimited search for meaning, to which Beckett believes leads nowhere but tragedy, and that comedy, imbued with tragedy, is tragedy itself. Through this, human breeding, its meaning and existence, as displayed in Waiting for Godot, concludes in tragedy.Vladimir and Estragon are not the only characters used to express tragedy. Another pai r exists, and they play just as crucial a role as the others. Pozzo and Lucky are portrayed in such a way that it is hard to imagine that Lucky was once Pozzos mentor, and is now treated like a slave. Masters and slave reversed the roles traditionally assigned to them. He is depicted as the most intellectually vacuous character, yet it is suggested that he has a past which hints at the fact that Lucky can think, recite, and sing, strongly reinforced by his lengthy, confusing, and almost nonsensical speech Given the existenceunfinished (p45-47). However, I find it indistinct that Beckett would dedicate so much text into a speech if its sole purpose was to confuse. Luckys speech reveals that he must have spent many hours exploring the deplorable human situation. By meticulously breaking trim down Luckys outburst, one will see that, just as Beckett has hidden tragedy inside comedy, there is a deeper meaning concealed within the speech and its purpose is not solely comedic.Reasonably speaking, Luckys speech during the play appears completely disoriented, a chaotic mass of incoherent language, prone the short amount of time the audience has to process each clause. But going past this comical veil of nonsense, a spectacular winding put together as meticulously as the play itself materializes. The speech has terzetto distinct parts. The first part of the monologue begins by assuming the existence of a God as a given and then describing him. Removing extra phrases, we get roughly with white beardoutside time without extension wholoves us dearly with some exceptions for reasons unknownare plunged in tormentin firewhose firewill fire firmament that is to say blast hell to heaven so blue still and calm (p45) God is described as a paradoxical fatherly figure always present regardless of time, whom may be affectionate, but at the same time states that if it is, many are excluded. That those beings are sent into hell, symbolizing state, into fire, whose fire will dest roy the blue and calm vault of the sky (firmament), which is a contrast between peace and human suffering. Then there too is the mention of betoken apathia, divine athambia, and divine aphasia. Divine refers to God. Apathia is apathy and means the absence of passion, emotion, or excitement. Athambia is imperturbability, to be incapable of being mixed-up or agitated and not easily excited, and aphasia is an inability to vocalize. These three Greek words serve three purposes. The first is that they have characterized the impuissance of Christianity as a modern religion. God is apathetic he does not intervene. God is imperturbable he has never been reached by living humans. And God is aphasic he has never spoken, even to prove his very own existence. In this sense, Lucky, who in this case represents the literary embodiment of Beckett, is rejecting the existence of a God, by stating that even if he did exist, he has abandoned us, leaving only despair.The three words also serve as Bec ketts view on what the direction society as a undivided is headed towards. That we are gradually becoming wrapped in apathy we do not seek out others wrapped in athambia others are unable to reach us and wrapped in aphasia there is no more voice, with the advent of Internet and social communications/networking. Finally, the three words describe Luckys deterioration. It expresses, in turn, his leave out of emotion, followed by an oblivious awareness of his surroundings, and lastly, when we next meet him, his voice. This perhaps, serves as a metaphor for the decline in the human quality, alarming and appalling. It would appear then, that this first part of Luckys speech hides a dreary and tragic tone underneath the torrent of disorientated words.The second part of his speech becomes increasingly sticky to decipher. There are many more interruptions and repetition of phrasing, obscuring the message. This perhaps may be on purpose, as Beckett could be expressing the repetitiveness of life and its lack of meaning. Condensing recurring phrases and removing interruptions, I get and considering what is more that as a result of the labours left unfinishedthe labours of menestablished beyond all doubtthat manwastes and pinesin spite of..the practice of sportsof all sortsconcurrentlytime will tellfades awaythe death of Bishop Berkeley being to the tune of one atomic number 49 four ounce per headno matter whatthe facts are there (p45-46) The message here says that, to add onto the absence of God as previously stated (hence labours unfinished), it is confirmed, without a doubt, that man is in a state of decline, in spite of technological advancements (labours of men) and physical exercise (practice of sports). Bishop Berkeleys death marked the beginning of this fall. With all this happening at once, only time will tell when we will eventually fade away. Lucky attempts in his speech to bring back Berkeleys harmonization of God and science, but ends up doing the opposit e. By associating each head with one inch four ounce, it quantifies life and hence devalues humans, slowly reducing us to an execrable state. It becomes apparent that the comedy of Luckys rush along is only a cover up, the real message is an appalling and tragic commentary on human progress.The increased entropy in Luckys speech is reflective of his life. He was once very intellectual and had great mental capacity, but just like man, has degraded. This third and final part of his speech can only be described as chaotic and anxious, building up towards a climax. and considering what is much more corpulent that in the light of the labours lostin the plains in the mountains by the seas by the riversrunning firethe great cold the great darkthe earth base of stonesI resume the skull fading the flames the tears the stonesthe skull the skull the skull the skullalas alas abandoned unfinished the skull the skullthe stonesso calmunfinished (p46-47) These ideas explain that as a result of t his decline (labours lost), grave consequences appear, in the plains, mountains, seas, and rivers. Running fire symbolizes widespread chaos, followed by cold desolate despair, alone. The earth becomes reduced to stones, and skulls, representing the death of men, wastes away. Chaos tears through the earth, and death is rampant. As God has abandoned men, left them unfinished, death continues on earth, and there is calm because unfinished. He is cut off with unfinished as his last word, referring to the incomplete speech and shrinking of mankind. With the conclusion of the final part of Luckys speech, it becomes apparent that while it indeed fulfills its role as amusing humour, the true meaning is cataclysmic, and the fact that we are laughing at it is dramatically ironic.Luckys speech has much to do with time, with good reason. The play contains a series of events where time seems to be moving at a crawl, if at all. It is something much more complicated than it may seem. On the surfa ce, time is a numerical in which growth is measured. On a much deeper level, time can be very difficult to define. Throughout the play, the main concept of what time really is, is examined.In the context of what has happened or what will happen, time can be classified as good or bad. In Waiting for Godot, the stress of delay makes time drag. If time is what growth is measured by, if nothing changes, did time really pass? Within the play, we require change, waiting for Godot. However in reality, things change as a constant, where we do not realize we are waiting. It is only when change is slow to come when we realize that we are in a state of inaction. It is during this actualization that brings a source of pain to the individual. Vladimir and Estragon constantly strive to be spontaneous and dynamic in order to ensure change, but always come to the inevitable realization that they were waiting. Characteristic of the play, we often hear them say Lets go. We cant. Why not? Were wait ing for Godot. It is comical how Estragon seems to forget their purpose, and is constantly reminded, but more importantly, this shows their sudden realization of their anticipation of change. Yet Godot himself never appears in the play. His identity is irrelevant, what is important is the act of waiting for someone or something that never arrives. He is the essence of change and a final solution. The repetition of his name impresses upon the audience the same feeling of anticipation. It is tragic as the play concludes that Godot never does show up, demonstrating that the two acts are but a slice of a cycle, or of two mirrors reflecting endlessly. The end of the play can be matched to the beginning. Nothing has changed, little character development is made and what little changes that have occurred have reverted back to original, such as Vladimirs epiphany in which he proclaims Let us not waste our time in lax discourse p(91) and coerces the audience into thinking that perhaps, fina lly, some semblance of development will appear. Alas, the powerful soliloquy reaches an anticlimax, discontinue by the constant change of topic inherent in the play. Time appears to be circular, as irrelevant to linear. The latter has broken down, because events do not develop into progress and change. The boy returns bearing identical messages, Godot never comes and tomorrow never seems to arrive. Vladimir mentions that time has stopped (p37).Estragon and Vladimir, during their finite existence, are moving relentlessly towards a presumably unobtainable event. It is like an asymptotic curve, always getting closer to a value, but never reaching it. Estragon expresses this tragic fate of uneventful repetitive existence as he exclaims, Nothing happens, nobody comes, nobody goes, its awful (p43). The realization that there will never be an end to the waiting is evidence for their contemplation of suicide, as Estragon says, What about hanging ourselves? (p12). Once the audience has gra sped this, a plethora of ideas emerge. Some are linked to other themes in the play, such as the meaningless in waiting, because it boodle time and progress, whilst the repetition of the setting emphasizes the repetition of life. Thus as we have seen, while the play maintains a humorous shell, as it progresses, the audience begins to feel sympathetic. The time that Vladimir and Estragon spent together was comedic, but after peeling apart this shell and revealing to us their consciousness, devoid of time, we will find naught but woeful anguish.VI. ConclusionThe comedy present in Waiting for Godot turns into tragedy at the instance the audience understands the helplessness of Vladimir and Estragon. Unhappiness is one of the funniest things we as humans see, but at the same time, it is despairing. The way Pozzo treats Lucky is hilarious, to both the reader and audience. Lucky is constantly jerked around by his rope and this exaggerated action creates humour, but at the same time, we ov erlook the cruelty that is so obviously implied. It is tragic how we so readily real this treatment, and as the play continues, laugh at it even more. This signifies a part of Becketts view of human nature, that it is not until it becomes personal do we start caring about the tragic tones and implications.Comedy has been suppressed by the tragic elements. The play becomes a tragedy imbued with tragedies. The small, easily noticed tragic happenings contribute to a greater, deeper despair. Such as Estragon suggesting death as an escape. It is sad to see one suggest such a thing, yet it is also funny because of the nonchalant light-hearted way he suggests it, as well as the conversation that ensues. The two tramps engage in meaningless, pointless activity to pass the time, waiting for something that never comes. This absurdity is a fundamental source of tragedy. However, what is really tragic is that in the end, they are unable to make a decision, to live or die and as a result of thi s hesitation, are forever frozen in progress. This essentially shows their paralysis of time and continuity. Didi and Gogo are stuck, day in day out, waiting for Godot to no avail. This act of waiting is the very thing Beckett is trying to portray. It is only during lapses in action, where we are waiting, that we begin to realize the meaninglessness of what we are doing. An overwhelming sense of despair washes over the audience in this moment of realization, and all sense of humour is gone. all(prenominal) that is left is a mixture of anxiety, confusion, and hopelessness.