An analysis of the themes of companionship and nihilism in Samuel Beckett's "Waiting for Godot".
Written in 2007; 2,150 words; 0 sources; $ 67.95
Paper Summary:
This paper discusses how Samuel Beckett's "Waiting for Godot" is a combination of slapstick humor and profound tragedy, expressing the muted highs and the philosophic lows of the human condition. Vladimir and Estragon, the unremarkable heroes, wait patiently for the arrival of an enigmatic authority known simply as "Godot." In particular, the paper looks at how the key to unlocking Beckett's elusive meaning lies in the relationship between Vladimir and Estragon, who together mount a small offensive against the empty, immobile repetition of their lives. The paper concludes that in the desolate dreamscape of "Waiting for Godot", few consolations are offered and that Vladimir and Estragon's uncompromising companionship is a welcome hope.
From the Paper:
"The play may be set astride a road, but lack of movement more accurately defines the play's trajectory. Vladimir and Estragon, our unremarkable heroes, wait patiently for the arrival of an enigmatic authority known simply as "Godot." Who this Godot is and what they expect him to say remains hidden, even to Vladimir and Estragon themselves, who merely await an answer to their "vague supplication" (14). In the meantime, the two men busy themselves with inane and often despondent conversation. The opening lines are tellingly: "Nothing to be done" (2), a phrase repeated countless times over the course of this short play. Though here Estragon is referring to a troublesome boot, one cannot escape the more universal grievance he is voicing. The resignation implicit in Estragon's complaint stems from his paralysis: he cannot live individually until the furtive Godot arrives. What exactly these two are waiting for remains a mystery; it is only known that they are immobilized in anticipation of some meaningful visit. So despite their repeated decisions to move somewhere beyond the scope of their unchanging environment, the stage directions continually assert that "they do not move" (59). The dialogue itself contains an air of stagnation or circularity, with its absurd interjections and frequent pauses. "
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