Existentialism in Waiting for Godot Essay Essay

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Existentialism is a doctrine that repudiates the thought of faith or any ‘supreme’ being conveying significance to life. and advocates the thought that persons are instrumental in happening a intent to life through free will. pick. and personal duty. Hence in Samuel Becket’s existentialist drama Waiting For Godot. he puts forth an thought that all of humanity is blowing their lives in inaction- waiting for the redemption of a divinity. when that divine being may or may non even exist.

As inferred from the phrase “existence precedes essence” . there is no preexistent spiritualty or psyche ; no God. Christian or otherwise ; no cosmic compassion for human life ; no redemption in Eden and damnation in snake pit ; neither preset destiny nor inevitable destiny ; and nor is there the transcendency of our secular being. Everyone must bear the duty for their ain being. since it is non predetermined or shaped by any external force ; a subsequent anxiousness is one of the facets of human nature.

However. the loads of anxiousness and duty are frequently excessively heavy to bear. and we frequently seek to switch them on certain persons. establishments. faiths. or even on a ‘Godot’ . Existentialism manifests itself in Waiting for Godot through its motives of desperation. absurdness. disaffection. and ennui. One of the most prevailing subjects is that of solitariness as a effect of atheism. In a space ineffectual universe devoid of intent. design or attention – represented by the featureless Beckettian landscape. human existences are entirely. and condemned to be free.

Afraid of this isolation Estragon and Vladimir cleaving together despite their wrangles. and Pozzo and Lucky do non unbrace themselves. This futility leads to another feature of existential philosophy: desperation. Since there is no preset will. Existentialism preaches the single freedom of pick. Estragon and Vladimir have made the pick of waiting. without any direction as Vladimir says that Godot “didn’t say for certain he’d come” . Yet they wait to cognize precisely how they stand.

The ennui of waiting prompts them to chew over over their individuality. as inaction leads the person to believe. Estragon comments: “We ever find something. eh Didi. to give us the feeling that we exist? It is learnt that adult male needs a rational footing for being but fails to happen 1. doing his life no better than a otiose passion. The two hobos. Estragon and Vladimir in vain attempt to set order in their lives by waiting for Godot who ne’er arrives. and repeat that “Nothing is to be done.

” This inactivity further inquiries their very entities. and Estragon uneasily uncertainties: “Where do we come in? ” Whenever Estragon and Vladimir make a determination. the phase waies dictate that “They do non travel. ” and go on to demo passiveness. Therefore. even their declaration to travel is non strong plenty to bring forth action. Many times Estragon says “Let’s go” . but Vladimir ever reminds him that they can’t as they are “waiting for Godot. ”This inability to move renders Vladimir and Estragon unable to find their ain destinies.

Alternatively of moving. they can merely wait for person or something to move upon them- mentioning to the existential philosopher statement of man’s despairing demand to set up his ain intent and significance to life. Furthermore. Vladimir and Estragon ponder self-destruction by hanging themselves from the tree. but one time once more their anxiousness stops them. as the latter comments: “Don’t let’s do anything. It’s safer. ” Kierkegaard’s impression of ‘Dread’ or ‘Angst’ includes thoughts of existential philosophy which talk about a province in which the individual’s freedom of pick topographic points him in a province of anxiousness. as he is surrounded by about infinite possibilities.

This could explicate the inaction of both the hobos. They are cognizant of the different picks they can do but are hesitating. merely as they decide to go forth at the terminal of the act but remain inactive. Therefore. the terminal of act 1 steadfastly asserts the characters’ hopelessness. Beckett infers that people pass clip with wonts to get by with the existentialist quandary of the apprehension or anxiousness of their being. Estragon and Vladimir lazily pass their clip to get away the hurting of waiting and even thought.

Vladimir expresses this thought at the terminal of the drama: “Habit is a great deadener. ” All the events narrated through the class of the drama – the Crucifixion narrative. the self-destruction program. playing talk – seem nil more than silly interests. Once during the Pozzo-Lucky brush. the hobos behave as if they are in a theater ; Vladimir even asks Estragon to maintain his place while traveling away to the urinal at “The terminal of the corridor. on the left.

” Pozzo and Lucky’s coming can besides good be interpreted as an act to entertain Vladimir and Estragon ; a manner in which Becket inquiries whether life itself is merely a mere beginning of amusement to go through the clip while waiting for redemption. However. the distractions end sometime or the other. go forthing them once more with their ineffectual inactivity: “The indispensable doesn’t alteration. ” This one time once more echoes the existential philosopher theory that life will stop in void as it has begun. cut downing all of man’s accomplishments and achievements to nil.

Time has small significance in this ineffectual lifecycle. The past frequently becomes brumous to Estragon as he frequently asks inquiries like “What did we make yesterday? ” He does non retrieve Pozzo and Lucky and even the topographic point in Act Two. and shortly. Pozzo fails to acknowledge the hobos ( Estragon and Vladimir ) excessively. The cryptic male child returns with the same message ; Godot ne’er comes and tomorrow ne’er seems to get. Vladimir. therefore. is right to state that “time has stopped. ” Estragon conveys the horror of this uneventful insistent being in “Nothing happens. cipher comes. cipher goes. it’s atrocious! “ .

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