Religious Relevance of Sam Becketts Waiting for Godot - Essay Example

Religious relevance of Sam Beckett’s “Waiting for Godot”

According to Pattie, the works of Samuel Beckett contain ideas that are non-philosophical in nature but have some religious significance. He reveals these traits through his characters whose humanity is portrayed as alienated, rootless and homeless (65). Through the eyes of his characters he projects the world as a place that can no longer be a home (Worth 17). His work projects situations of hopelessness, abandonment, and loneliness. Throughout his work, he generates the idea of a dark meaningless world where humanity’s diagnosis of darkness deepens with every prose in his plays. In this respect his work the “Waiting of Godot” one of his most memorable plays. As such it becomes a product of the classic works of the theatre associated with absurdity normally regarded as the “theatre of the absurd”. The theatre of the absurd has in its existence produced a number of memorable plays in which “Waiting for Godot” is one of them. Martin Esslin in associating Beckett work with the ‘theatre of the absurd’ which he did successfully defines the word absurd. He argues in this respect that:

Absurdity occurs where there is lack of purpose. When man is alienated from his roots namely, religion, metaphysical as well as transcendent identity he loses his purpose. In doing so all his actions or inactions become useless without sense and are therefore absurd (Worth 91).

However, despite the absurdity reflected in his play a deep seated religious meaning becomes evident in his work. Essentially, this argument is not farfetched in light of his religious background. In his early years as a teenager he received religious education both at home and in church. He lived in Dublin as a Christian protestant despite the area being a catholic community. It is a fact that Beckett knew the teachings in the Bible. It was inevitable that such influence would become evident in his literary works (Wang 198). Particularly in his play the “Waiting of Godot” which is the focus of this study the theme of religion is most profound. In this study we will therefore breakdown the theme as portrayed in the play into parts, namely, God and humanity, repentance, waiting of salvation as well as the notion of breaking covenants.

The relationship between God and humanity comes out throughout the play through the characters of Vladimir, Estragon and Godot since all these characters significance is one of symbolism. The relationship between the characters brings forth a suggestion that reflects the relationship existing between God and man. Firstly, Godot’s appearance is concealed from the audience and he does not appear in stage throughout the play. Additionally, his name Godot in terms of pronunciation shares similarity with pronunciation of God. In this respect, this character’s association with God triggers the audiences’ attention towards his Godly characteristics. Throughout the play, a number of descriptions associated with Godot seem to suggest to the audience that he is or rather has distinct similarities with the God worshipped by Christians. This is more so because of the similarities of description between the God of Christians and Godot from Beckett’s play. In the play the only person who has ever seen Godot is his messenger who is a young boy. In a conversation between Vladimir and the young boy, he asked the boy as to the color of Godots beard. Vladimir asks “I wonder whether Mr Godot has a beard. And if so would his beard be black or fair” (Zhongxian 372). The boy answers that Godot has a beard and that it is white in color. From this conversation the audience was left with the conclusion that God has a white long beard. Essentially, the Holy Bible describes God in the same likeness in the book of revelation when the apostle John gave an eye witness testimony relative to the Savior that revived. He says,

The savior clad in belt that was golden that run around his waist. His hair would only be compared to snow because of its white color. His voice was as deep and loud as the roaring floods while his eyes shone like pillars of fire (Wang 198).

John the apostle’s testimony and the Godot’s messenger’s statements as to the appearance and color of God’s beard were similar. Additionally, throughout the play Godot shares spiritual similarities with God. Essentially, he is God with the capacity to safeguard humanity, save it or inflict punishment. Vladimir and Estragon are convinced that the presence of Godot would be their salvation. On the other hand, they believe that punishment will be inflicted upon them if they fail to wait on him. From the conversation between the two men and Godot’s messenger, the messenger reveals that Godot owns a flock of sheep. Specifically, he conveys that “I tend to the sheep while my brother tends to the goats” (Wang 198). From the Bible particularly in the book of Mathew the good book says,

At the time when the Son of Man will come with his angels and all his glory, he will take his rightful place in the heavenly throne. All nations of the world would acknowledge his presence and appear before his glory. He in turn will alienate the people separating them from one another just as the way a shepherd would do when separating the goats from the sheep. The sheep will be segregated in the right while the goats would be moved to the right. He would then bestow blessings upon those he deems worthy to live in the midst of his glory. This promise would only be viable if they safeguarded the agreement that existed between God and human beings (Sun 56).

From these connotations it is correct to conclude that Vladimir and Estragon were the representatives of human race. In fact they represent the incarnations associated with humanity living in the modern era without concern over religion.

From the play this words prove this particular point:

We are the living embodiment of all human kind at this place in this particular moment in time and that is the reality irrespective of how we like it or not. It is therefore imperative that we make the best out of a bad situation. For once in our lives lets present ourselves in a manner that is worthy despite our cruel fate. (Wang 198)

This further elaborates on the similarities in circumstances as the Christians in their motivation towards their religious beliefs. Just like the two trumps who throughout the play eagerly wait for the Godot who in the end does not show himself so is the situation with Christians whose faith is entirely based on the return of their God. Additionally both the characters and the Christians wait for their messiah is associated with an aspect of suffering.

Secondly, in relation to the aspect of repentance the play reveals that despite the sinful nature of human beings, humanity is drawn towards God’s salvation. The notion of repentance and prayer as the avenue of recapturing Gods protection and avoidance of spiritual homelessness associated with lack of Gods favor is brought out in the play. Vladimir in conversing with Estragon contemplates repentance a concept which Estragon seemed not to comprehend since he associates his sin with his birth something he was not ready to repent about (Zhongxian 240). Essentially for salvation to be bestowed upon man repentance is an inevitable condition. In turn God will grant or deny repentance based on the human being’s performance. In a conversation between the two tramps such an idea is highlighted. Estragon asks Vladimir of the particulars of the requests they had made to Godot through his messenger:

What was the exact nature of the request we made to Godon? Did it take the form of prayer or rather a supplication that was vague? And what was the exact response to this prayer? And in acknowledging receiving the prayer nothing was promised to this end. (Zhongxian 252)

Vladimir response was that even though no promises were made as to the status of their salvation Godot promised to put their matter into consideration (252). This reflects the notion that God’s response to a prayer of repentance depends on the individuals actions from that point onwards.

Thirdly the theme of waiting comes to light throughout the play. From the perspective of most writers time is an avenue of change since one always has to wait for changes to take place. Students wait for school to end, workers wait for work to finish, we wait a whole year for Christmas. In this particular case the wait has a theological meaning associated with the waiting of the messiah or the savior (Wang 197). The characters of the play show exceptional perseverance in waiting for Godot who does not reveal himself to them. However, because of their strong faith in Godots salvation they choose to persevere despite the feelings of disappointment and frustration associated with the broken promise. The recognition of Godot as their only savior is highlighted on Vladimir response to the story of the two thieves. From this story he acknowledges Godot as the savior who saved one thief but damned the other to hell. Additionally, from the play the idea that the waiting is a prerequisite for salvation is brought out. Through such suffering human beings comprehend the need to love others. From the play especially in the first Act, gaps exist between Vladimir and Estragon which is also seen in Pozzo’s victimization of Lucky. From the play such utterances that degraded Lucky were made by Vladimir who says,

Lucky who Pozzo’s slave was once a pretty thinker, in fact as for entertainment purposes he was invited many times to think. However, Lucky was unable to think without his hat on his head. However, in the second act the two end up embracing each other. Pozzo on the other hand, develops a deep sense of dependence on lucky (Wang 199). The period between the two acts signifies the wait and therefore fosters the fraternity between the characters in the play. The wait also symbolizes a sense of hope despite the fact that Godot did not appear. Additionally, in the first Act the withered tree bore no leaves however, by the second act a few leaves had grown. Despite their limited numbers the leaves symbolize life.

Essentially, what Beckett conveyed in this imagery was that some hope is born during spring time to alleviate the boredom associated with the wait. To this end the wait cannot be regarded as hopeless since through it human existence has significance. Beckett therefore uses the wait associated with the arrival of Godot in the play to symbolize the wait associated with salvation of human kind.

Lastly in the aspect of breaking God’s covenant is also brought forth by the play as the cause of human suffering embodied in the unending wait. Keeping the covenant with God is also a prerequisite of the salvation of mankind. Since God and man are not at an equal footing such covenants have within them obligations which man is expected to fulfill and therefore no need for mutual agreement as ordinary covenants. In this respect they are both manifestations of gifts and blessings from God (Wang 197). At this point however, the question as to why man should suffer the wait of salvation comes to light. From the play the two trumps wait for Godot’s arrival that will safeguard their salvation but to no avail. However, the play reveals that the answer does not lie in Godots ignorance or neglect of the characters needs rather on man’s folly in breaking the covenant in the first place. The fact that man broke the agreement firstly condemns him to endless suffering in waiting for the arrival of God. Beckett in his play demonstrates the breaking of the covenant. In discussing the day in which they were to wait for the arrival of Godot, it was certain that both tramps did not know the day. In their debate Vladimir without certainty declares that it was a Saturday. However, his counterpart nullifies his argument by asking “which Saturday was he to come” and furthermore none of them seemed to know the exact day it was (Zhongxian 242). This left them in a state of panic as Vladimir asks his counterpart what to do next. In its interpretation according to the Bible, man was created on a Saturday. It was also on a Saturday that Jesus Christ died after being crucified on Friday. It would therefore be the case that on Saturday man’s salvation would come. However, the human mind lacks the comprehension with regards to this solemn date and also cannot tell for sure the day in every moment of his life. It is therefore impossible for man to live in accordance to the covenant made by God (Zhongxian 243)

In conclusion, in engaging in Beckett’s line of thought as expressed in his work, it is correct to conclude that his work has religious significance. Based on the evidence portrayed by the similarities in Biblical readings in terms of God’s appearance, covenants, effect of repentance and aspect of waiting, the play attempts to reveal the theory within the theology of Christianity. . His work centers on a world that lacks any form of experience, finality or meaning. His line of thinking even diverts entirely from Thomas Hobbs argument about life being short, brutish and nasty. Simply, his fascination rests on the continuity of life as all that matters is the wait associated with salvation. It is only through the boredom associated with waiting for Gods salvation that the clock of life ticks. However, in accordance to Beckett’s work characterized by his novels and plays, life is what it is whether you like it or not therefore amidst all of it one must seek to satisfy all the prerequisites that bring one closer to salvation. The wait becomes the epitome of hope and from such hope the human’s existence is justified. In Christian terms as well as other religions the steadfast belief in the forces that cannot be seen with human eyes connotes faith. Faith becomes the backbone of each religion. From this mind set it is clear that this play can be considered a religious reading.

Work cited

Zhongxian, Yu. Waiting for Godot. Selected Works of Samuel Beckett. Changsha: Hunan Art

Publishing House. 2006. Print

Wang, Jing. “The Religious Meaning in Waiting for Godot.” Canadian Center of Science and

Education, 4.1, 197-199. 2011. Print

Worth, Katharine. Samuel Beckett’s Theatre: Life Journeys. Ithaca, NY: Cornell. 1999. Print

Pattie, David. The Complete Critical Guide to Samuel Beckett. New York: Hill, 2000. Print

Sun, Caixia. Western Modernist Literature and Holy Bible. Beijing: China Social Sciences Press

2005. Print