Bleakness and Language in Waiting for Godot

Bleak Tones And Visual Sadness In Waiting For Godot When the Paris curtain opened in 1953 the audience was faced with a minimalist set with a tree and nothing else. The first sight of ‘En Attendant Godot’ suggests its bleakest tones are presented by Beckett through visual sadness and the overall metaphysical state characters are placed in. Already parallels can be drawn between this setting and the inescapably similar picture from T.S. Eliot’s ‘The Wasteland’: â€Å"A heap of broken images, where the sun beats, and the dead tree gives no shelter† The only resemblance to the audience’s world is the tree and the road the characters stand on. This setting creates brooding despair; roads represents journeys and an option to travel away, or towards something and yet characters don’t move, in fact asserting â€Å"We Can’t (leave)†(i). The tree, another prop with apparently monumental importance compared to the rest of the wasteland stage, represents hope and life despite there being no hope and life ebbing away. Beckett demands for the tree to have leaves during Act 2, which symbolises spring to audiences while Vladimir and Estragon realise there’s no hope at all. It isn’t a stretch to claim Beckett had a taste for deeply depressing irony and he plays with elements of comedy and tragedy most aptly through dramatic staging. However, it’s my opinion that Beckett does create some of the most comic, and bleakest, parts of the performance through his unerring ability to manipulate languag e. In Act One the words â€Å"Nothing to be done†(ii) are spoken by both Estragon and Vladimir and the statement goes on to be a crucial philosophy throughout the play of the same importance as â€Å"We’re waiting for Godot†(iii). Audiences initially find the phrase laugh-out-loud funny because it’s paired with the physical sequence of Estragon, who is ‘trying to take off his boot’(iv) whom after an exhausting battle concedes and explains to the audience there’s ‘nothing to be done’. The subtle brilliance of this line is in its most colloquial-sounding ring, which appeals to all audiences as they can relate to finding that a menial task has become so extraordinarily difficult they see no way of solving it. It is laughable that a complex human being cannot actually take off a boot, that in some way the boot has beaten the human and now he’s defeated†¦by a boot. This struggle is universal and appeals to audiences mak ing the underlying question of: Why does Estragon presume that the boot is wrong? Beckett thus highlights humanity’s arrogance and pompousness. Vladimir is the messenger for this question when he tells Estragon, ‘There’s man all over blaming on his boots the fault of his feet’(v). This sentence holds many debating topics because the bootmaker made the boot perfect, as in the bootmaker thought it had no faults or he wouldn’t have sold it, similarly if we’re all in God’s image surely Estragon can have no faults either so who is wrong†¦God or man? After the comic moment Vladimir ushers in undertones of suffering when he explains he too is ‘coming round to that opinion’. Although the line sounds harmless enough, Vladimir performs it away from Estragon as he looks out into space which has the implicit meaning that he’s unaware of Estragon’s physical struggle and that his response is actually more metaphysical. This exchange allows Beckett to introduce the brutal truth of the character’s situation: there’s literally nothing to be done. This corresponds to Esslin’s theory that ‘Waiting for Godot’ contains â€Å"a sense of metaphysical anguish at the absurdity of the human condition†(vi). The characters are trapped in this barren featureless setting, waiting for someone they cannot define as they ‘wouldn’t know him if I saw him’(vii), unable to have any influence on proceedings which govern their lives. Through his exploitation of language Beckett also challenges the way humanity operates in the world, and ultimately how the disjointed confusing plot of the play parallels our place in the universe. In ‘Waiting for Godot’ one conversation that exploits the way humanity operates is: â€Å"Estragon: We always find something, eh Didi, to give us the impression we exist. Vladimir: Yes, yes, we’re magicians.† (viii) Audiences find this hilarious due to Estragon’s optimism in their plight and the sudden shift in mood that can be seen onstage is also humorous because it’s so abstract and unjustified. The added element of Vladimir’s dismissal of Estragon’s comment and the dismissal of optimism is a beautiful contrast which gains audience laughter, but also supports the hypothesis they’re a double act and completely reliant on each other. Another nice example of this double act is: â€Å"Vladimir: What do they say? Estragon: They talk about their lives. Vladimir: To live is not enough for them. Estragon: They have to talk about it.† (ix) The double act is vital as a device to exploit language and the claim of â€Å"The two most important sets of characters in the play occur in pairs†(x). A 1953 audience would have recognised Laurel and Hardy’s silhouettes in Estragon and Vladimir, making their world closer to the audience’s, but still miles away. In this passage Beckett’s technique of the double act is actualised to make a point about the existentialist nature of humanity and our need to rationalise individual experience by explaining it to others. The characters complete each other’s sentences which gives the impression of pondering so the audience understands Beckett wants them to think about the short conversation. The word ‘magician’ carries the bleakest undertones because it carries ideas of illusion and trickery, therefore Beckett wants to portray to audiences that our attempts to maintain the logic that we exist is actually a form of trickery; a skill which weâ⠂¬â„¢ve acquired over the years but is untrue. This eloquent point has history in the movement after World War Two (which Beckett experienced) in which society believed it was decaying. The comforts that help them move through their lives, such as order, could no longer be depended on. Comedy still remains in the dark outlook on society because characters are living in a world they pretend to understand, but actually don’t. There’s a style of dramatic irony at work as the audience looks into the realm of Estragon, Lucky, Pozzo and Vladimir with arrogance as they understand things characters don’t, such as the fact Godot won’t arrive. Interestingly, the world created by the theatrical stage would look into the audience’s world with similar arrogance as they know things the audience doesn’t, this is what Beckett’s trying to explain to us; the audience doesn’t understand their world’s nature as well as they think. However, it could be argued only the bleak undertones com e from the manipulation of language and the comedy comes from the character’s visual display to audiences. One critic argues, â€Å"The stage directions of the play constitute nearly half of the text, suggesting that the actions, expressions, and emotions of the actors are as important as the dialogue†(xi) This is a strong argument because the audience responds mainly to the presentation of the lines, which could be considered the performance rather than the actual language. Beckett once said, â€Å"If by Godot I had meant God I would have said God, and not Godot† (xii) but I don’t believe this is the end of the ‘God is Godot’ debate and I also believe this is one of Beckett’s greatest manipulations of language. The play begins with Estragon explaining he spent the night ‘in a ditch’ (xiii) and a group of people ‘beat’ him. These events are very close to ‘The Good Samaritan’ biblical parable except this time there’s no Samaritan. This carries the explicit meaning that Estragon is without God, he receives no help from outside sources and no redemption. Compare this with Vladimir who takes the ‘Book of Job’ approach and claims Estragon must have done something wrong to get beaten. Estragon goes onto challenge Godot’s, or God’s, power when he tells Vladimir they are ‘not tied?’ (xiv). However, he says it ‘feebly’ and then they both get scared that Godot’s coming, the implication being he will punish them for losing their obedience. Beckett plays with audience ideas on Godot’s nature when the boy describes him as having a ‘white beard’ which is drawing links between Godot and God which is laid out so obviously compared to the rest of the play that audiences are surprised, then they laugh. Beckett continues to make us think about God’s nature using Lucky’s speech. It begins with an almost academic presentation on religion but then descends into rambling nonsensical rubbish which ends ‘in spite of the tennis’. I interpreted this as meaning ‘for reasons unknown’ which is a beautiful way to describe God’s relationship with man as humanity can never draw any definite conclusions about him. In conclusion, Beckett creates the bleakest moments using his manipulation of language because it’s the words that resonate and make us think about the Beckett’s themes. The comedy isn’t brought out by exploitation of language as much as the stage directions and the physical oddities, which are of a more visual element. I) Pg. 6, Vladimir II) Pg.1, Estragon III) Pg. 6, Vladimir IV) Pg. 1 Stage Direction V) Pg. 3 Vladimir VI) Esslin, Theatre of the Absurd VII) Pg. 16, Estragon VIII) Pg. 61 IX) Pg. 54 X) Sparknotes XI) Sparknotes XII) Samuel Beckett , Wikipedia ‘Waiting for Godot’ XIII) Pg. 1 XIV) Pg. 12

Discrimination and the Law Essay Example | Topics and Well Written Essays - 1250 words

Discrimination and the Law - Essay Example The Race Relations Act 1968 extended the scope of the 1965 law by making it applicable to housing, employment and other matters. An improved Race Relations Act was framed in 1976 mostly in accordance with the Sex Discrimination Act of 1975. The three main types of racial discrimination which were to be made unlawful under this act were direct discrimination, indirect discrimination and victimisation. The primary objective of theRace Relations Act of 1976 was to form the legal foundation for protection from racial discrimination in the fields of employment, education, training, housing and the provision of goods, facilities and services. Under this law, 'racial discrimination' means treating a person less favourably than others on racial grounds - meaning race, colour, nationality, ethnic or national origins. Although this law protects one against people's actions, it cannot change their opinions or beliefs. (Home Office, n.d.) This Act resulted in the setting up of a Commission for Racial Equality (CRE) as a statutory enforcement and implementation body to eliminate racial discrimination and to promote equal opportunities and harmonious race relations between people of difference races. The CRE has the power to undertake formal investigations into discrimination charges and to represent victims of discrimination. The Crime and Disorder Act of 199... The Public Order Act,1986 On 9 June 2005, the Government published the Racial and Religious Hatred Bill which makes incitement to religious and racial hatred an offense under the The Public Order Act of 1986. Thereby, this Act makes it illegal to incite racial hatred, whether through words or action, such as distributing racist leaflets. Penalties are severe for anyone convicted of a racially motivated crime. (BBC, 2003) The race relation and racial hatred legislations have always protected Sikhs and Jews as the Courts have identified them as 'ethnic groups' according to their interpretation of the Act. Muslims, however, are not protected as they are not considered to be an ethnic group under the law. Since hate crimes against Muslims have increased during the post 9/11 period and as Muslims are not considered to be an ethnic group, it poses a serious problem. The Racial and Religious Hatred Bill tries to amend this situation The Employment Equality (Religion or Belief) Regulations, 2003 The Employment Equality regulations makes it unlawful for an employer to discriminate, harrass or victimise an employee on the basis of any religion, religious belief, or similar philosophical belief. Race Relations (Amendment) Act 2000 The Race Relations (Amendment) Act provides new powers to tackle racism in public authorities by eliminating unlawful discrimination and promoting equality of opportunity. This Act makes it statutory for public authorities like all government and local government services including the Police to promote race equality. Public authorities should ensure that racial equality considerations are part of everything they do. This Act gives the Commission for Racial Equality (CRE)

How can we adapt the design & structure of a british mosque in order Essay

How can we adapt the design & structure of a british mosque in order for it to comply with the architectural development of the modern world (britain) - Essay Example But Minaret and/or dome is/are claimed to be divine properties of mosques and any rejection of them is seen as an opposition to Islam. Edwards Said in his 'Orientalism' says clearly that such symbols are truly needed as, "we all need some foundation on which to stand." (3) In many of the parts of Britain it has been seen that a different kind of religious structures of mosques are formed. Thus, excluding minarets and domes. The public face of mosques need greater attention according to traditionalists. They question that how such buildings of ever changing context in Britain can be associated with Islamic world. It should also be considered that 40-50 years ago the immigrants were quite happy to pray in a make shift house in a terrace house. And as the worship place seemed too small they also didn't mind in buying and converting the schools, bigger houses and warehouses into buildings of worship. This clearly indicates that the only important thing in Islam is to offer prayers to Allah without any external support needed as minarets and domes. Another contemporary leading mosque builder, Al- Sumaria is one of the new generations of Muslims who has much radical approach and states that, "There are four features you must have, first of all you must have a dome you must have a minaret, you must have a Mehrab (the equivalent to an alter) you must have a babul Sulum what we call a frontal entrance. Those 4 features are of paramount importance, without it really any place can be a mosque." (4) This is the basic generational issue where most of the elders do not accept the modern architecture, confiding into commission of building, still not understanding what good architecture is. The younger generation finds the traditional style mosques quite old fashioned and want something more exciting while containing the basic essence that is true worship. According to Al-Sumaria the traditional British Mosques are not doing what people who want the building to respond should. Today the purpose built buildings are a bit more established as people want to raise some money from these to procure the buildings and moving from the adhock alteration of a building. But is it fundamental. The question is serious only if the essential essence of Mosques will be forgotten i.e. converting a building only to make it useful for praying, for Muslim worship. Aim, Objectives and Hypothesis The central aim of the paper is to present the ideal structure and architecture of Mosques in Britain and if any of the modern contemporary changes are affecting the basic element of faith of Islam. The idea of the mosque ever since is that it is place of worship serving as a sacred and clean space for prayer and also providing counselling, education and other services associated with the benefit of a community. They only need is to provide a space for all these services without any direct relation with minarets and domes. K. Alavi highlights that, historically the mosque is an institution with four major roles: a place of worship, a centre of education, a judicial court and a centre for political and administrative