Table of ContentsAbstract…………………………

Table of Contents
Abstract………………………………………………………………………4
Introduction……………………………………………………………..…...5
Chapter One: The Use of Time in Waiting for Godot……………………...7
Chapter Two: The Use of Space in Waiting for Godot…………………….15
Chapter Three: The Unknown and Uncertainty in Waiting for Godot……...20
Conclusion…………………………………………………………………...30
Bibliography…………………………………………………………………344
Abstract
This essay examines the themes in Waiting for Godot by Samuel Beckett. It will
analyse Beckett’s style and the writing technique that he used in his play. It will provide an
interpretation of the play, mainly focusing on the habit and routine of the main characters,
Estragon and Vladimir. The essence of their behaviour reflects the common situation in the
human condition, and men’s despair at being unable to find a meaning for his existence.
Martin Esslin’s exploration of the play under the group ‘the theatre of the absurd’ will help
to find the tone for the themes that will be discussed in the essay.
Samuel Beckett’s works have been identified as a representation of people’s attitude
and the meaningless absurdity of the human condition. The miserable condition of life in
the present, the constant effort to make it fruitful and the failure to succeed in this is
portrayed in Waiting for Godot. The play has been labelled as one of the major examples in
post-modernist art which explains the ‘collapsing of reality’, the beginning points for the
‘theatre of the absurd’. The interpretations of the play are varied, and they all depend on the
individual audience’s point of view. During the essay, the varied critics and different
interpretations will be used to analyse the play in order to highlight its essence. The play
gives deep insight into the human condition, and reflects a mirror to the audience which
makes them ask, is this me and my life circumstances. 5
Introduction
Waiting for Godot (1952) is an unusual and notable play written by Irish Nobel
Prize-winner (1969) Samuel Beckett. The purpose of this essay is to analyse how Beckett
constructs his world of the absurd in the play. The play was an exploration of a new form of
drama which was categorized as the ‘theatre of the absurd’ by Martin Esslin. In his The
Theatre of the Absurd he explains the distinction between conventional plays and modern
dramas by selected playwrights. He insists, “The Theatre of the Absurd, however, can be
seen as the reflection of what seems to be the attitude most genuinely representative of our
own time” (The Theatre of the Absurd, 22-23). Under the title The Search for the Self,
Esslin discusses intriguing absurdist elements in various plays, including Beckett’s Waiting
for Godot.
The term abstract is used in Esslin’s study and was discovered in the early fifties
during a period that saw the rise of modernism in Europe. Peter Barry categorized it as
post- modernism in his book Beginning Theory. The psychoanalytic perspective in the same
book (with its roots in the theories of Sigmund Freud), also applies to the protagonist’s
desire to meet Godot. Although sometimes the tramps, especially Estragon, forgets their
intention as Estragon often says “Let’s go”, Vladimir reminds him “We can’t”, Estragon
asking “Why not”, Vladimir replies “We’re waiting for Godot” (Waiting for Godot, 10),
they always return to the same subject, or in Freud’s words “There is always a return of the
repressed” (Beginning Theory, 100).
Throughout the play the role of time plays a major part and therefore the question of
whether time controls the protagonists or the protagonists control time will be explored.
Angela Hotaling points out, “The waiting is the hardest part”, for the tramps “Not only is
the waiting difficult, but figuring out what to do while waiting is difficult” (3-4).
The essay will analyse how Beckett uses absurdity to play around with the concepts
of time, space, the unknown and uncertainty. The essay will also explore the themes of
words, memory, waiting and hope. The entire plot centres on two protagonists and their
waiting for the mysterious character named Godot. Why is he an important figure for the 6
protagonists, why does he not appear, and why are they waiting; all these questions are
unknown and uncertain. The men’s future, the travellers, the messenger, and the play’s
setting, plot, theme and background history is not revealed. Therefore, the play opens
without any details for the audience, and it continues with a lack of information, without
reaching any climax, ending at the same point it starts (The Theatre of the Absurd, 21-23

Chapter One: The Use of Time in Waiting for Godot
The dictionary definition of ‘absurd’ is ‘something that is completely stupid and
unreasonable’. In a musical context it means “out of harmony” (The Theatre of the Absurd,
23). However, the definition 'absurd’ derives into the literature from the mid-twentieth
century-essay Myth of Sisyphus by the French author and philosopher Albert Camus. In 1962 Martin Esslin wrote his book on the topic, entitled simply The Theatre of the Absurd.
In this book Esslin mentions, the Romanian and French playwrights Eugéne Ionesco’s
definition for the ‘absurd’:Absurd is that which is devoid of purpose...Cut off from his religious, metaphysical,
and transcendental roots, man is lost; all his actions become senseless, absurd,
useless (23)
Waiting for Godot is a story of ‘time’ written in the form of ‘absurd’, set during two
consecutive days. The two main characters are tramps awaiting Godot’s arrival.
Nevertheless, Godot’s continual absence wastes time in the lives of the tramps by making
them living puppets in the world of the absurd, therefore they simply “Let it go to waste”
(52), instead of finding an appropriate way to spend it. Beckett’s intention in creating these
characters may have been to make them the victims of time, pointing out that we cannot
stop time, suggesting that we live in the present moment with what we have, instead of
waiting for better lives or for what we do not have. Anthony Chadwick refers to this in his article “Waiting for Godot”:
We seem to have a choice between waiting for one “better” thing after another or
simply living with what we have. Both past and future are illusions, and seen under
this aspect, we begin to taste the notion of eternity.
He says that the concept of a past and future is an illusion, and yet the play seems to be
only set in the “present”. However, the present does not seem to have a fixed beginning or
end and the play seems to hold its audience in a kind of limbo. It would seem that we
cannot control time, and the senselessness of time suggests that it is pointless to attempt to
stop its passage. Time passes, we age, become sick, and one day we eventually die; the
truth is that time stops us. Therefore, no matter how hard we try to succeed in our lives, all
our achievements are buried with us as time survives unchanged “In an instant all will
vanish and we’ll be alone once more, in the midst of nothingness” (52). A possible solution
to this would be the path to eternity; which could be represented by Godot. This idea of
“eternity”, an escape from death, is commented on by Anthony Chadwick who says “Death
as a final ending, as a final silence, is absent from the play”. Furthermore, this suggests that
if the tramps intention is to find the way to eternity through Godot, and if they are certain
that Godot is able to guide them, it would be advisable to invest their time in that hope. In
reality, it proves to be the most absurd investment; a whole life spent waiting for someone
mysterious to come and rescue them.
The above argument proves that the tramps do not live in the present moment, and
instead of enjoying the present time, they are waiting. They are excited that Godot will
come along after some time and “Will miraculously save the situation” (The Theatre of the
Absurd, 50). As Vladimir says “To-morrow everything will be better” (34), because the boy
said to them “Godot was sure to come to-morrow” (34). Time could be identified as another
major character in the play, since the tramps have nothing else to do in their lives but wait
for Godot. In fact, the idea behind the waiting is that letting time pass on its own, instead of
using it, is harmless. Indeed, if we do not like the present moment, the only thing we have
to do is wait. For example if we do not like the winter time then we only have to wait for
summer, and as we are waiting, we can look forward to it by fantasizing what a wonderful
summer it will be.
The tramps’ excitement to meet the mysterious Godot may be a representation of man’s desire to fill the time between birth and death with something meaningful. This
period of time often could be a continuation of endless hope which connects the beginning, 9
birth, to the end, death. In Waiting for Godot it seems that the tramps’ hope is Godot; they
continue their lives with that hope of meeting Godot, because they believe that they “Will
be saved” (60). However, if they did not have the hope of meeting Godot they may already
have taken the action of suicide as Angela Hotaling points out “The only options that seems
available to the men are waiting or suicide” (4). Meanwhile, as the tramps are waiting for
Godot, they try to find something to do in order to pass the time. The suggestion of suicide is tragic and yet the audience receives it as a comic one:
Vladimir: What do we do now?
Estragon: Wait.
Vladimir: Yes, but while waiting.
Estragon: What about hanging ourselves?
Vladimir: Hmm. It’d give us an erection!
Estragon: (highly exited). An erection! (12).
On one hand, in his play, Beckett may use humour as a vehicle to explain and
capture the at

Kết quả (Trung) 1:

表的内容摘要...4介绍...5第一章: 利用时间在等待戈多......7第二章:...等待戈多 》 中的空间使用 15第三部分: 未知和不确定的等待戈多......20结论...30参考书目...344摘要从社会学的角度，考察了在等待戈多 》 由 Samuel Beckett 主题。它将分析了贝克特的风格和写作技巧，他在他的戏剧中用。它将提供剧中，主要集中在的习惯和常规的主要人物的解释米尔和 Vladimir。他们的行为的本质，反映了中常见的情况人的条件和男人的绝望在不能找到一个为他的存在的意义。马丁 · 艾斯探索的荒诞派戏剧组下玩会帮助来寻找将在本文中讨论的主题的基调。Samuel 贝克特的作品已被确定为代表的人的态度和人类的生存状况毫无意义的荒谬。生活在悲惨条件目前，不断的努力，使它富有成果和未能成功在这是等待戈多 》 的描绘。这出戏被称为中主要的例子之一这也解释了崩溃的现实' 后, 现代主义艺术的开始点荒诞派戏剧。这出戏的解释各有不同，并取决于他们所有个别观众的角度来看。在这篇文章，各种批评和不同解释将用于分析这出戏以突出其本质。这出戏使人类的条件下，深刻洞察并反映观众的一面镜子，让他们问，这是我和我的生活情况。5介绍等待戈多 》 (1952 年) 是爱尔兰诺贝尔不寻常和显著的剧作奖得主 (1969) Samuel Beckett。这篇文章的目的是分析如何贝克特构建他的荒谬剧中的世界。这出戏是一种新形式的探索由马丁 · 艾斯被归类为荒诞派戏剧的戏剧。在他剧院的荒谬，他解释说传统戏剧和现代之间的区别电视剧由选定的剧作家。他坚称，"剧场的荒谬，不过，可以是视为反映似乎态度最真正代表我们自己的时间"(剧院的荒谬，22-23)。在寻找自我，标题之下艾斯论述了耐人寻味的荒诞元素在各种戏剧，包括贝克特的等待等待多戈 》。词抽象艾斯的研究中使用和五十年代早期被发现在看到欧洲的现代主义兴起的时期。彼得 Barry 分类它作为在他的书开始理论的后现代主义。在同一精神分析的角度来看本书 (与它的根在西格蒙德 · 弗洛伊德的理论)，也适用于主角的愿望，满足戈多。虽然有时流浪汉，特别是米尔，忘了他们作为米尔意图常常说:"我们回去吧"，Vladimir 提醒他，"我们不能"，米尔问"为什么不"，Vladimir 答复"我们正在等待戈多 》"(等待戈多 》，10)，他们总是返回到同一问题时，或在弗洛伊德的词"总是有回报的被压抑的"(开始理论，100)。整个戏扮演的角色时间的一个主要部分，因此问题将探讨时间控件控件是否主角时间。安吉拉 Hotaling 指出的那样，"等待是最难的部分，"流浪汉"不只是等困难，但搞清楚如何做，而等待是很难"(3-4)。本文将分析贝克特如何使用荒诞玩弄概念时间、 空间、 未知和不确定性。本文还将探讨的主题单词、 记忆、 等待和希望。整个故事情节中心两个主角和他们等待命名戈多的神秘字符。为什么是他为 6 的重要人物吗主角，他为什么没有出现，和他们为何在等待;所有这些问题都是未知和不确定。男人的未来、 旅客、 信使和剧中的设置、 情节、 主题和背景历史是没有透露。因此，这出戏将打开没有任何细节的观众，和它继续缺乏信息，而不它到达任何高潮，结束在同一点开始 (剧院的荒谬，21-23第一章: 使用时间在等待戈多 》在字典里的 '荒谬' 是 ' 是完全愚蠢的东西，不合理。在音乐的背景下，这意味着"不和谐"(剧院的荒唐，23).然而，'荒谬' 定义导出到文学从本世纪中叶世纪散文神话的西西弗斯由法国作家和哲学家阿尔贝 · 加缪。1962 年马丁 · 艾斯写了他关于这一专题，题为只是荒诞派戏剧的书。在这本书中提到艾斯，罗马尼亚和法国剧作家 Eugéne 尤涅斯科的荒诞的定义: 荒谬的是，这是缺乏目标......从他的宗教，形而上学，切断和超验根，人是失去;他的行动变得毫无意义，荒谬，无用 (23)等待戈多 》 是一个 '时间' 的故事写在形式的 '荒谬'，在两个期间设置吗连续几天。两个主要人物都是流浪汉等待戈多 》 的到来。不过，戈多的连续缺席浪费时间流浪汉的生活通过使他们生活木偶在荒谬的世界，因此他们只是"让它去浪费"(52)，而不是寻找一个适当的办法去花掉它。在创建这些贝克特的意图字符可能已经使他们的时间，受害者指出，我们不能停止时间，暗示我们活在当下的我们拥有什么，而不是等待更好的生活，还是为我们并没有。Anthony 查德威克指的是这在他的文章"等待戈多":我们似乎有一个选择之间后另一个"更好"的东西，等待或我们拥有的只是生活。过去和未来都是幻想，和下见这方面，我们开始品尝永恒的概念。他说，过去和未来的概念是一种错觉，然而这出戏似乎只能设置在"现在"。然而，目前似乎并不有一个固定的开始或结束和戏剧似乎持有其观众在一种明朗。看来，我们不能控制时间和无意义的时间表明它是毫无意义的尝试阻止其通过。时间流逝，我们年龄的增长，就会生病，和某一天我们最终死;的truth is that time stops us. Therefore, no matter how hard we try to succeed in our lives, all our achievements are buried with us as time survives unchanged “In an instant all will vanish and we’ll be alone once more, in the midst of nothingness” (52). A possible solution to this would be the path to eternity; which could be represented by Godot. This idea of “eternity”, an escape from death, is commented on by Anthony Chadwick who says “Death as a final ending, as a final silence, is absent from the play”. Furthermore, this suggests that if the tramps intention is to find the way to eternity through Godot, and if they are certain that Godot is able to guide them, it would be advisable to invest their time in that hope. In reality, it proves to be the most absurd investment; a whole life spent waiting for someone mysterious to come and rescue them.The above argument proves that the tramps do not live in the present moment, and instead of enjoying the present time, they are waiting. They are excited that Godot will come along after some time and “Will miraculously save the situation” (The Theatre of the Absurd, 50). As Vladimir says “To-morrow everything will be better” (34), because the boy said to them “Godot was sure to come to-morrow” (34). Time could be identified as another major character in the play, since the tramps have nothing else to do in their lives but wait for Godot. In fact, the idea behind the waiting is that letting time pass on its own, instead of using it, is harmless. Indeed, if we do not like the present moment, the only thing we have to do is wait. For example if we do not like the winter time then we only have to wait for summer, and as we are waiting, we can look forward to it by fantasizing what a wonderful summer it will be. The tramps’ excitement to meet the mysterious Godot may be a representation of man’s desire to fill the time between birth and death with something meaningful. Thisperiod of time often could be a continuation of endless hope which connects the beginning, 9birth, to the end, death. In Waiting for Godot it seems that the tramps’ hope is Godot; they continue their lives with that hope of meeting Godot, because they believe that they “Will be saved” (60). However, if they did not have the hope of meeting Godot they may already have taken the action of suicide as Angela Hotaling points out “The only options that seems available to the men are waiting or suicide” (4). Meanwhile, as the tramps are waiting for Godot, they try to find something to do in order to pass the time. The suggestion of suicide is tragic and yet the audience receives it as a comic one:Vladimir: What do we do now?Estragon: Wait.Vladimir: Yes, but while waiting.Estragon: What about hanging ourselves? Vladimir: Hmm. It’d give us an erection!米尔: (高度退出)。安装!(12)。一方面，在他的戏剧，贝克特可能使用幽默作为一种工具来解释和捕获在

Kết quả (Trung) 2:

表 一：时间在等待戈多........................ ...... 7的使用空间在等待戈多........................。15使用：第二章第三章：未知和不确定性在等待 文章考察了由塞缪尔·贝克特等待戈多主题。它会分析贝克特的风格和他在比赛中使用的写作技巧。它将提供一个戏演绎，主要集中在主要人物，习惯和日常埃斯特拉贡和弗拉基米尔。其行为的本质反映了常见的情况人的条件，和男人的绝望暂时无法找到他的存在意义，根据该集团“的荒谬剧场”剧中马丁Esslin的探索将有助于找到音对于将在文章中讨论的主题。塞缪尔·贝克特的作品被确定为人们的态度表示和人类状况的毫无意义的荒谬。生活中的悲惨状况现在，不断的努力，使之富有成果的，并未能成功，这是描绘在等待戈多。该剧已被贴上的主要例子之一的后现代主义艺术这也解释了“崩溃的现实”，开始点为“荒谬的戏剧”。剧中的解释是多种多样的，它们都依赖于看个人观众的角度。在文章中，不同的批评和不同的解释将被用来分析比赛，以突出它的本质。该剧提供了深入了解人的条件，并反映镜 ​​子观众这使得他们问，这是我和我的生活环境。5 简介等待戈多（1952）是一个不寻常的和显着的戏写的爱尔兰诺贝尔经济学奖得主（1969）贝克特。本文的目的在于分析贝克特如何构建他的世界荒诞的戏。该剧是一种新形式的探索话剧其被归类为马丁Esslin了“戏剧荒谬的”。在他的荒诞派戏剧，他解释说传统戏剧与现代之间的区别电视剧通过选定的剧作家。他坚持认为，“荒诞剧场，但是，可以看作似乎是我们的态度，最真正具有代表性的反思自己的时间”（荒诞，22-23的剧院）。在标题中寻找自我，Esslin 讨论了各种戏剧有趣的荒诞元素，其中包括贝克特的等待果陀，术语抽象用于Esslin的研究发现，在五十年代初期间，看到现代主义在欧洲的兴起。彼得·巴里归类它作为后现代主义在他的书开始理论。在相同的精神分析的角度来看书（其在弗洛伊德的理论根源），也适用于主角的欲望的满足戈多。虽然有时流浪汉，尤其是埃斯特拉贡，忘记了自己的意愿为埃斯特拉贡常说“走吧”，弗拉基米尔提醒他：“我们不能”，埃斯特拉贡问“为什么不”，弗拉基米尔回答：“我们正在等待果陀”（等待戈多，10），他们总是回到同一个主题，或在弗洛伊德的话“总有回报的压抑”（开始理论，100）。在整个比赛的时候角色扮演一个重要组成部分和因此问题无论是时间控制的主角或主角控制时间，将探讨。安吉拉Hotaling指出，“在等待是最难的部分”，为流浪者“不仅是在等待艰难，但搞清楚什么在等待做的难” （3-4），该文章将分析贝克特如何使用荒谬玩弄概念的时间，空间，未知和不确定性。该论文也将探讨的主题的话，内存，等待和希望。两个主角和他们的整个小区中心等待果陀命名的神秘人物。为什么他对6的重要人物主角，为什么他没有出现，为什么他们在等待; 所有这些问题都是未知的和不确定的。男人们的未来，旅行者，信使，和剧中的设定，情节，主题和背景历史没有透露。因此，剧中打开，没有任何细节的观众，并继续缺乏信息，没有达成任何的高潮，在它开始的荒诞，21-23（剧院相同点结束第一章：时间的使用在等待戈多的“荒谬”的字典中的定义是“东西是完全愚蠢和不合理的”。在音乐方面，它的意思是“和谐掉”（荒诞派戏剧，23）。然而，该定义'荒谬'导出到从中期二十文献西西弗斯由法国作家和哲学家加缪百年散文神话。1962年，马丁Esslin写他的书上的题目，题目简直是荒谬的剧院。在这本书中Esslin说来，罗马尼亚和法国剧作家尤金·尤奈斯库的定义为“荒谬”：荒唐的是，这是毫无目的的......从他的宗教，形而上学的切断，和超越根，人是丢失;他的一切行动变得毫无意义，荒谬的，无用的（ 23）等待戈多是写在“荒谬”的形式，在两个设定“时间”的一个故事连续数天。两位主角都是流浪汉等待戈多的到来。不过，戈多的连续缺席浪费时间在流浪者通过生活的他们生活的木偶 ​​在荒诞的世界，所以他们只是“让它随风而去”（52），而不是中找到一个合适的方式来度过它。贝克特的意图创造这些角色可能已经让他们时间的受害者，并指出，我们不能停止时间，这表明我们生活在当下用我们所拥有的，而不是等待更好的生活，或为我们做什么，不有。安东尼·查德维克是指这在他的文章“等待戈多”：我们似乎已经陆续在等待一个“好”的事情之间或选择简单的生活与我们所拥有的。无论过去和将来都是幻想，在看到这方面，我们开始品尝永恒的概念。他说，过去和未来的概念，是一种错觉，但剧中似乎只有在“本”设置。然而，目前似乎并不具有固定的开始或结束，剧中似乎举行观众一种无人过问的。这似乎是我们无法控制的时间，和时间的无意义表明，这是毫无意义的尝试，以阻止其通过。时间在流逝，年龄的增长，患病，有一天我们最终死亡; 的事实是，时间阻止我们。因此，无论我们怎样努力在我们的生活中取得成功，所有我们的成绩都埋藏着我们随着时间的存活不变“刹那间，一切都将消失，我们将独自一人一次，在虚无之中”（52） 。一个可能的解决方案，这将是路径永恒; 这可以通过陀表示。这种想法“永恒”，从死亡的一种逃避，是这样评价由安东尼·查德威克说谁“死亡作为最终的结局，作为最后的沉默，是从播放缺席”。此外，这表明，如果流浪者的意图是要找到永恒通过戈多的方式，如果他们有一定的陀能引导他们，这将是最好的投资时间是在这种希望。在现实中，它被证明是最荒唐的投资; 一个一生花在等待有人神秘前来救援。上述说法证明流浪者不要活在当下，而不是享受当前的时间，他们在等待。他们很高兴戈多会在一段时间后到来，并“将奇迹般地挽救局势”（中剧场荒诞50）。弗拉基米尔说：“明天一切都会好起来”（34），因为男孩对他们说：“戈多是一定要来明天”（34）。时间可认定为另一个在剧中主要角色，因为流浪者也没有什么事做在他们的生活，但等待的戈多。事实上，后面等待的想法是，让时间传递，而不是自己，使用它，是无害的。事实上，如果我们不喜欢目前为止，我们唯一要做的就是等待。例如，如果我们不喜欢冬天的时候那么我们只需要等待夏天，因为大家都在等待，我们可以期待它由幻想多么美好的夏天会。流浪汉“的兴奋，满足的神秘果陀可能是人的欲望，以填补出生与死亡之间的时间与一些有意义的表示。这一段时间往往可以延续无尽的希 ​​望，它连接的开始，9 出生，到最后死亡。在等待戈多看来，流浪者“希望戈多; 他们继续他们的生活与满足陀的这种希望，因为他们相信，他们“将被保存”（60）。但是，如果他们没有满足戈多的希望，他们可能已经采取了自杀行动，安吉拉Hotaling指出，“这似乎唯一的选项提供给男士正在等待或自杀”（4）。同时，作为流浪汉正在等待果陀，他们试图找点事做，以打发时间。自杀的建议是悲惨的，但观众接受它作为一个漫画之一：弗拉基米尔：那我们现在怎么办？埃斯特拉贡：等待。弗：是的，但在等待埃斯特拉贡：那挂自己呢？弗拉基米尔：嗯。这将会给我们一个勃起！埃斯特拉贡：（高退出）。勃起！（12）。一方面，在他的戏剧，贝克特可以用幽默的车辆来解释和捕捉的