Waiting For GODOT Play - Admission/Application Essay Example

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Name Instructor Course Date Waiting for Godot The play “Waiting for Godot” centers at complete disenchantment. Despite this, Becket does not honor this disenchantment by serious demeanor. This is due to the fact that life is actually an incomprehensible nullity which has been enveloped several colorful patterns of futile activities and fundamental absurd…
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Waiting For GODOT Play
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Download file to see previous pages Actually we aim to understand the true meaning of God whom we don’t know. Form the play, God has been available in our promises but he has never appeared before us. Therefore, our life has become a constant waiting. This aspect is continuous for us till the time we have ceased to show some significance or some substance. For instance, man has always shown up in his cries, “I can’t go on like this”. Man has received the same answer from God, “that is what you think” (Becket 32). This has set man to constantly ask himself several questions like what will we do? Man has received two answers from God. These are; wait or suicide. In the meantime, we have to converse in a calm manner as we are unable to keep in mere silence. In waiting for Godot, Estragon (Gogo) and Vladimir (Didi) are the two tramps who are waiting for Godot, the landowner. Through this meeting they are optimistic that their lives will really change. Thus, they pass their time dreaming, conversing and arguing. They are also diverted by the two visits from Lucky and Pozzo. Their relationship with the visitors is compared to a submissive slave and a sadistic master. Undoubtedly, this relationship is connected in an unpleasant manner (Becket 17). At this juncture, the play tries to challenge the theatrical expectations due to its purposeless actions, illogical actions, repetitive language, and the non existence set which has led to contradiction with the actions. Thereby, Estragon complains, “nobody comes, nothing happens, and nobody goes” (Becket 41). This is not the true picture in the play despite lack of plot and character development, this play is not in static manner. However, the play is filled with verbal exercise, mishaps, mock conflicts, and comic routines. The humor in the play arises from farcical stage action, defeated expectancy and wordplay. It is bawdy in nature. The play depicts some seriousness which is conveyed by the layered symbolism which we all hear and see extended philosophical monologues. Characters in the play exchange hats easily in the same way they exchange roles. This helps in depicting fluidity of identity which boots our failure to fitness. This is similar to religion and lifestyle. The action of the play is created survival. This is illustrated by the way humanity survives in the empty existence which Becket compares to life. Estragon and Vladimir contemplate suicide, tell stories, pull their boots off and on, eat radishes and carrots and keep going. Estragon tells Vladimir, “We always find something….to give us the impression we exist” (Becket 69). The two who are the representative of humanity continue sustaining themselves without despair and their tireless inventiveness. However, they are at the edge of despair and hope. They complement each other despite their difference in weaknesses, strengths, concerns and temperaments. Furthermore, they have occasional arguments. On the other hand, Lucky and Pozzo complement each other. Their complement is different from that of the tramps as they are more bound by a rope as compared to the band of friendship that exists between Estragon and Vladimir. The relationship between Pozzo and Lucky is destructive and exploitative in nature. Lucky takes the advantage of Pozzo’s tyrannical whim which he spouts and dances. In the first act, Lucky is actually complicit ...Download file to see next pagesRead More
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