Essay Of Samuel Becketts LOOKING FORWARD TO Godot English Literature Essay

The symbolism is one of the most crucial tendencies of the 19th century. It tries to find the ideas while it also wants to reach a higher value-system and also to express it. It is originated in France. The symbolism means the systematic use of symbols, religious symbols for first. One of the greatest drama from compound symbolism is the Looking forward to Godot by Samuel Beckett, Irish author.

The two main characters are just waiting for Godot, next to the highway, who'll never come. The question is right: who is Godot? To start out from the religious symbolism, we can say, Godot is God. There are several proofs for this; the foremost is that the drama was written in French for first and in this language the '-ot' suffix is a diminutive which would explain our theory. For second, in Irish the 'Godot' means God. For now it is evidence that the meaning of Godot can be something religious. Beckett had Irish origin. In this case, if the characters are waiting for God, the next questions can be: why do they wait for Godot and since when? We are going to deal whit these questions.

According to Vladimir, they scheduled a gathering with Sir Godot, who could give answers for his or her questions, for this is of the life and he could provide them with some foods, drinks and home, too.

On the other side, Godot could possibly be the hope that never comes. It would also explain the attitudes of the characters who are probably homeless paupers.

The time and the place are undefinable, because of the doubtfulness which accompanies the complete story. The time spent there seems never-ending; for the audience it is similar to the time has just stopped. The characters don't do anything; they can be just talking about meaningless things and the philosophy. The times are passing by that people realise by the changes of the environment. It has a big influence of that time period theory of Proust or Bergson that said: "enough time is relative. That we realise and feel differs from the concrete, definable time". Maybe it has the key role in this tragicomedy. The role of that time period symbolically is the compound of the neverendingness, unpredictableness, inability and meaninglessness.

In the scene the only real base is a tree. No more than important it is; it visualises enough time by changing its crown. In the second act some leaves are sprouting which can symbolise the new hope for the reader that now everything will be solved, Godot will appear, Vladimir and Estragon can leave their "basis"; obviously Godot never comes and everything goes on. From another viewpoint the tree can be identified with the All Knowledge's Tree from the Bible which is damaged by Adam and Eva so that it lost its powers to help the paupers. This scene with the two men and the tree can be an ironic paradox of the Genesis. Two men are looking forward to someone, maybe God, to see them. You can find another religious meaning of the tree; sometimes the cross on which Jesus died is recognized with a tree. Vladimir and Estragon want to hang themselves, but additionally it is an absurd scene and the parody of the religious significances; Jesus died for all of us, but who do Gogo and Didi dies for? For nothing, I guess. However Gogo and Didi can be considered not as Jesus but as the two thieves crucified with Jesus. The one of these is saved however the other the first is damned.

One of the characters is Vladimir; he is the "boss" of the two and the totally contrast of Estragon. Vladimir is philosophical and he lives in the world of the ideas. His nickname is 'Didi' which can make reference to the French 'dire' (to say) verb. On the other side his name can make reference to a prince of Kiev who introduced the Christianity in Russia. He has liberality and he's more go-ahead. He believes in Godot's coming, while Estragon, or as Vladimir calls him: Gogo, is more realistic and insular. He is a caveman. He didn't remember anything about the agreement with Godot, but he even doesn't care about him at all; he's just waiting there because of his friend, Vladimir. His name 'Gogo' can refer to the English verb 'Go' that could be replaced by the verb 'act'. It would be in relation with the storyline. In another way it could be understood as Gogo is a French adjective for one who can be deceived easily.

The variations between them made their relationship mutual. Their personalities are totally complementary. This phenomenon makes them inseparable. They can't even kill themselves without one another; they would feel lonely. They usually feel each other's company as a charge but alone they cannot live. Additionally it is proved by way of a metaphor by estragon in the first act: "My left lung is very weak []. But my right lung is sound as a bell!" The weak left lung could be estragon and the other one is Vladimir, but both belong together plus they help each other. Yet time they have common creatures, too: both are primitive. If we take stock of the instinctive behave and poetical past of estragon, or the judicious thinking and deep philosophy of Vladimir, we can say that their relation is like the poetry and the philosophy; the complement of every other.

The other couple is Pozzo and his slave, Lucky. They may have "speaker"-names, too. Pozzo is an Italian adjective which means: insane, crazy, mad or irrational; in the noun form this means wild man or mad dog. Pozzo is god, the father on whom land Didi and Gogo are waiting. In cases like this Pozzo can be understood as Godot (as Gogo has already believed), even if it's unbelievable. Lucky, the slave on the rope leash, is happy regardless of his destiny. His name is also ironic and paradoxical.

The role of Pozzo and Lucky is very important to the key characters; they keep carefully the connection with the planet by them.

The relationships of the two couples are different. While Gogo and Didi are friends, Pozzo and Lucky are in lord-slave relationship. Lucky depends on his lord. It changes in the next act, when Lucky bring Pozzo on the rope leash that represents the insecurity of the systems and laws. Pozzo can be viewed as as your body (without feelings and intelligence) and Lucky may be the symbol of intelligence. He always speaks more than his Lord. The rope between them could possibly be the symbol of dependence. They need each other, however in another way than regarding Gogo and Didi.

The objects also have meanings. Estragon always paddles along with his boots, Vladimir with his hat. The variations appear again: The boots of Estragon are too tight while Vladimir's hat is too big. Hat is more elegant as its owner, Vladimir, too. The boots make reference to poorer man. Regarding Lucky, he's carrying the luggage of Pozzo like he'd lug the gravity of the life span.

The mind also offers main role in the tragicomedy. Estragon doesn't remember if indeed they had any agreement in regards to a ending up in Mr Godot; Pozzo and Lucky don't remember in the second act if they have met Gogo and Didi and the little boy neither.

The identities are lost, personality doesn't exist anymore. It is proved by Estragon calls Catullus himself sometimes and they (with Vladimir) can't notice or spell the name of Pozzo for first. The tiny boy calls Vladimir Mr. Albert that also shows the unimportance of identity.

These acts move the storyline to spiral so that the acts happen again in the same order in the second part. The main characters stand under the tree in the long run of the drama just like in the long run of the first act. The little boy says the same things in both acts that Godot postpone the scheduled meeting. Really the only changes are that Pozzo went blind and Lucky went deaf so that time just passed. Everything becomes doubtful, enough time since they have been looking forward to Godot; the place that they are in the same place than the prior or the personality. Having less the info; for example when the tiny boy answered shortly: Yes Sir. It's not my fault, Sir. I got afraid, Sir. A good while, Sir. Yes Sir. Yes Sir. Yes Sir. No Sir. Yes Sir.

The paupers spend enough time with stupid questions, philosophy and paddling their gadgets, nevertheless they don't get nearer to anything and the time is merely passing by. The question is emerging: What exactly are we looking forward to in this life? The answer is much more difficult and everyone must find it alone.

Vladimir wants to kill himself more times without success that completely shows the helplessness. In this case the tree gets another role: the gallows.

To continue the set of symbols, the tiny boy is important also. He's the messenger between Godot and the primary characters. He is also the symbol of naivety and the lack of information. Answering the question of Vladimir he describes Godot as God is described in the Holy Bible.

Duality characterizes the complete drama; the couples, the structure of questions and answers, the disagreements and agreements in the conversations.

This masterpiece of design revalues the globe. The lack of the human relationships become typical, just like the hopelessness, insecurity and the philosophy Nietczhe which says "God is dead".

The main themes will be the hope which is unbroken in Gogo and Didi, the dependency that they rely upon the other person to survive the life or Pozzo is determined by Lucky and vica versa. Lucky is physically linked with Pozzo by the fear of being abandoned. The next thing is the meaninglessness and the monotomy that the happenings start over and over again. Nevertheless the characters don't even make an effort to break out of the situation. They are simply just floating with the happenings.

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