Waiting for Godot Literary Analysis

It is well-known that the population’s perspective of life was affected by the war, therefore, it is essential to acknowledge the post-war era repercussions, as they illustrate the damage that the war caused to society. Moreover, many artistic works are brilliant representations of the post-war era; an essential one is Samuel Beckett’s theater piece called Waiting for Godot. This play contains a vast number of analogies regarding the post-war era; some researchers have written about it as it represents an important play. A significant researcher is R. McDonald, who believes that Beckett’s play illustrates the post-war consequences thoroughly. Additionally, it is substantial to emphasize on the stage picture of the play, as well as on the language usage; both represent a connection between Beckett’s metaphors and the war’s historical happenings. 

In the first place, it is essential to acknowledge the historical context in which Waiting for Godot was written, as well as McDonald’s perspective regarding the play. To begin with, Beckett was directly affected by WWII, as this is stated in R. McDonald’s research The Cambridge Introduction to Samuel Beckett: “He was appalled at the persecution of Jewish people, including some of his friends, by the Nazi forces occupying Paris.” (R. McDonald, 2006, p. 22). Moreover, Waiting for Godot does not embody a certain meaning; it does not contain a specific introduction nor a precise conclusion. Also, the play is characterized by the lack of movement, which illustrates the absence of progress the war caused to society. This excerpt from the play demonstrates how Vladimir and Estragon instead of moving forward, decide to keep waiting without achieving any significant improvement regarding their situation:

ESTRAGON: Let's go.

VLADIMIR: We can’t.

ESTRAGON: Why not?

VLADIMIR: We’re waiting for Godot.   (Beckett, 1952, pp. 76-77)

This is comparable to the WWII survivors, as the only action they could perform was waiting; the inhabitants lost their motivation for life when they lost everything important to them: “Life then becomes about a vain, future-oriented expectation of a Godot that does not arrive [...] rarely stopping to confront the desperate situation in which we live…” (R. McDonald, 2006, p. 30). 

In the second place, it is crucial to acknowledge how the stage picture and the language usage are approached. R. McDonald believes the place where Vladimir and Estragon are located lacks movement: “The scene, and action (or lack of it), are unmistakable: a bare country road with a mound tree, two elderly tramps wait for their appointment with a man called Godot, who never comes.” (R. McDonald, 2006, p. 29). Furthermore, the stage picture is uncertain, not only for Vladimir and Estragon, but also for the readers/spectators. This can be compared to what the WWII survivors experienced; the play illustrates the unknown and how the unknown remains a mystery; WWII survivors did not know where to go or what to do, therefore resulting in the lack of movement. The absence of hope, certainty, and movement can be seen in this excerpt from Beckett’s play:

VLADIMIR: [Without anger.] It’s not certain.

ESTRAGON: No, nothing is certain.

[VLADIMIR slowly crosses the stage and sits down beside ESTRAGON.]

VLADIMIR: We can still part, if you think it would be better.

ESTRAGON: It’s not worth while now.

[Silence.]

VLADIMIR: No, it’s not worth while now.

[Silence.]

ESTRAGON: Well, shall we go?

VLADIMIR: Yes, let’s go.

[They do not move.]    (Beckett, 1952, p. 47)

Secondly, the topic of language usage is substantial to be mentioned regarding the play’s aesthetic. To begin with, Vladimir and Estragon are playing language games, like contradicting each other to make time go by faster. However, they do not need Godot for them to be in a society, as they have created their own by playing those specific language games. This is stated in Nealon’s research Samuel Beckett and the Postmodern: Languages, Games, Play and Waiting for Godot: “Waiting for legitimation of their society in Godot is, from the beginning, unnecessary; they constitute a society which is already formed by their participation in language games.” (Nealon, 1988, p.520)

In conclusion, Beckett’s play Waiting for Godot illustrates the post-war era marvelously. The play contains many comparable topics to the post-war situation and, therefore, because of its accuracy, many researchers have written about it. Rónan McDonald as well as Jeffrey Nealon maintain accurate opinions regarding the topic of the stage picture as well as regarding the language usage; this is perceived in the numerous explanations they offer in their research.