Waiting For Godot By: Annie Lakhani, Brooke Crisp, Casey Anderson, and Marty Downs

Theory: In Waiting for Godot by Samuel Beckett, "Godot" represents God. "Godot" however can be a variable substituted for anything that people long for and cannot attain without working towards. In the play, Vladimir and Estragon are waiting for God to come to them but are not actively trying to find God. Examples of things Godot can represent are a soulmate or a job.
"We wait. We are bored. (He throws up his hand.) No, don't protest, we are bored to death, there's no denying it. Good. A diversion comes along and what do we do? We let it go to waste... In an instant, all will vanish and we'll be alone once more, in the midst of nothingness!"
“Let's go. We can't. Why not? We're waiting for Godot.”
Rosencrantz and Guildenstern are Dead: We can relate “Waiting for Godot” to “Rosencrantz and Guildenstern are Dead” because Vladimir and Estragon are similar to Rosencrantz and Guildenstern and Rosencrantz, especially in the sense that one character is more emotionally unstable than the other, (Estragon depending on Vladimir, Rosencrantz depending on Guildenstern), both characters mimick each other, and both sets of characters are searching for something, whether it be hope, or a purpose in life.
Dante’s Inferno: We can relate “Waiting for Godot” to “Dante’s Inferno” through the more religious spectacle of things. As Vladimir and Estragon are waiting for some sort of higher power known as Godot to save them, Dante, in Dante’s Inferno is on the same quest. We can also take into account here that both situations are based in some sorts of hell, as for Dante he has to navigate his way through, while Vladimir and Estragon wait for God to rescue them. The big thought here though is that Both sets of characters depend on someone for hope. For Dante, it’s Virgirl, the man who guides him through his journey, or for Vlad and Estragon, it’s the boy who tells them about Godot, who is ultimately their source of hope.
The Stranger: We can relate “Waiting for Godot” to “The Stranger” by examining the mindlessness of choice. The main thought here is that V&E don’t really have any set boundaries, or mental parameters, meaning that their choice of action and reasoning behind it doesn’t escalate to anything real besides killing time, and arguing over little things. “What about hanging ourselves? Hmm. It’d give us an erection.” On the other hand, Meursault in “The Stranger,” doesn’t chose to emit the slightest emotion over his mother's death, and choses to shoot a man for no good reason. Now of course his actions aren’t as flabbergasted and wild as Vladimir’s and Estragon’s, yet, they both revolve around the same thought; Why are their actions so pointless, and don’t really have to seem any real meaning to them?

In this scene from The Office, Dwight creates an environment of absurdity and takes away any sense of direction. Dwight is the master of the environment and is able to control whether the people in the office are calm or hectic and dictates what occurs in the unsettling atmosphere that he has presented by creating a fire. In Waiting for Godot, God and the boy who tells Vladimir and Estragon that Godot is coming are the dictators of the environment. The thought of Godot leaves the characters unsettled and controls the actions of the characters, even when they truly do not know if Godot exists.

Real Human: John Mayer
Something real: Senioritis characterized by a decline in motivation or performance.


Created with images by markusspiske - "notebook empty paper" • dimitrisvetsikas1969 - "cyprus cavo greko national park" • dimitrisvetsikas1969 - "cyprus cavo greko national park" • Janx - "highway exposure hell" • TeroVesalainen - "question mark why problem" • Richard-G - "wait"

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