Godot is an existentialist play that reads like somewhat of a language poem.
Support for this assertion regarding the nature of the play is based on first hand interpretation of the dialogue and action within the play itself as well as interpretation of quotes and ideas from Samuel Beckett and his critics.
Being more specific, it can be shown that Vladimir represents the portion of humanity who trusts in religion and spiritual beliefs to guide them, and that Estragon represents the more ideal existentialist portion of humanity who chooses to stop waiting and construct the meaning of life based on experience in the tangible and physical world around them.
The following is an example of dialogue which supports this concept: On the other hand it might be better to strike the iron before it freezes Here we see that Vladimir is depending on Godot to tell him what he needs to know regarding his existence, while Estragon asserts that they do not have the time to wait and that they should take action on their own before it is too late.
The metaphor of the cooling iron suggests that humanity does not have enough time to wait for their spiritual ponderings to offer them enlightenment, that the chance will pass, and their efforts will not take effect once it does.
It is Estragon who follows the notion of no longer waiting on religion for answers and going to the philosophy of existentialism. There is another instance in the dialogue between Estragon and Vladimir that plays on the idea of Vladimir as faithfully religious and Estragon as progressively humanistic: He turns, advances to front, halts, facing auditorium.
He turns to Vladimir. Samuel Beckett, Those who interpret the play often expend too much effort attempting to infer the identity of Godot.
Even Beckett himself states that he has no idea who Godot is, and that he would have made it clear in the play if he did Ben-Zvi In this case, the entire play reflects the situation humans find themselves in.
Godot does not have an identity, according to Beckett, and it is therefore erroneous to try to find out who he is. Considering the way in which this play reflects the human condition, one can also say that this means it is erroneous to ponder the spiritual realm which is beyond our ability to comprehend.
Porter Abbott also makes note of the idea that it should not be the focus of interpretation of the play to find out who Godot is. He notes that the audience should be most concerned with the fact that the identity and nature of Godot is never revealed, rather than trying to figure out his identity.
When the boy comes at the end of both acts and informs Vladimir that Godot is going to come, Vladimir never questions him about how truthful he is being about his knowledge of Godot.
Vladimir only asks the boy superficial things about him, his brother, and his home life. The following section of dialogue in the second act is an example of this: What does he do, Mr. Do you hear me? He does nothing, Sir.
How is your brother? It seems from this that Beckett is making a statement about the case of blind faith in religion.
Christians, for example, are taught to never question the will of God, and take what they are told about him for granted. Estragon and Vladimir Near the beginning of the first act, Estragon attempts to tell Vladimir what he had dreamed after waking from a nap.
The following silence sets this quote apart from the rest of the line, it makes reference to the idea of looking to the supernatural, the universe, as one way of pondering the meaning of life.
Estragon would rather discuss his dream with Vladimir, and maybe through interpretation, become more enlightened about the human condition. It seems as though Beckett makes use of this to say that one should place more emphasis on personal experience as a means of discovering profound truths rather than looking into a realm beyond human comprehension and certainty.
The relationship between Pozzo and Lucky in the first act is an example of the notion that humanity must look away from religion as a source of the meaning of life. The dynamic between Pozzo and Lucky in the first act reflects the relationship some people have with their religion. When Estragon asks why Lucky does not relieve himself of the burden he carries once he and Pozzo have stopped to rest, Pozzo replies that it is because Lucky is trying to impress him so that he will not be sold at the fair.
This reflects how a religious person would bear certain discomforts, such as rising early from bed every Sunday to attend church, in order to please higher beings, eternal bliss in the afterlife. In the second act, it is revealed that at least one of the bags carried by Lucky is filled with sand.In Waiting for Godot ‘Godot’ signifies as empty promise in a meaningless lfie.
We hear that once Vladimir and Estragon had seen ‘Godot’, but they do not remember him quite clearly, and the vague promises he gave them are treated by them with a lightheartedness born of doubt and despair. Alienation in Samuel Beckett's Waiting for Godot The alienation of humanity from truth, purpose, God, and each other is the theme of Samuel Beckett's play, "Waiting for Godot." The play's cyclical and sparse presentation conveys a feeling of the hopelessness that is an effect of a godless, and therefore, purposeless world.
Samuel Beckett’s Waiting For Godot: “Nothing to be done,” is one of the many phrases that is repeated again and again throughout Samuel Beckett’s Waiting For Godot. Godot is an existentialist play that reads like somewhat of a language poem. Waiting For Godot, Free Study Guides and book notes including comprehensive chapter analysis, complete summary analysis, author biography information, character profiles, theme analysis, metaphor analysis, and top ten quotes on classic literature.
One of Samuel Beckett's main concerns is the polarity of existence. In Waiting for Godot, Endgame, and Krapp's Last Tape, we have such characteristic polarities as sight versus blindness, life–death, time present–time past, body–intellect, waiting–not waiting, going–not going, and dozens more.
For example, Samuel Beckett augments a reader's understanding of Waiting For Godot by conveying a mood, (one which the characters in the play experience), to the reader.
Similarly, a dominant mood is thrust upon a reader in Beowulf.