Dr. Lirak Karjagdiu
(About Samuel Beckett's play "Waiting for Godot", on the occasion of the 70th anniversary of its staging in English)
Samuel Beckett was born on April 12, 1906, in Foxrock, Ireland. He was the second son of his parents, Mary and William Beckett. At the age of 5, he began attending nursery school. A year later, he began learning foreign languages and playing the piano. As a young man, he participated in a variety of sports activities and at the same time began to engage in creative writing. In 1920, he published several stories in the school newsletter. He then studied literature at Trinity College. After graduating in 1927, he won a scholarship to study in Paris. Here he met and became friends with James Joyce. He began publishing short stories and criticism in the magazine "Transition". Meanwhile, in 1930, he won first prize in a poetry competition. That same year, he translated Joyce's prose "Anna Livia Firabell" into French with Alfred Peron. Subsequently, together with George Pelorson, he wrote the work "Kalamai". This work was a parody of Corneille's work "Sid". On this occasion, he was attacked by the newspaper of the College "Trinity". In the meantime, he began to teach French as an assistant at the College of Trinity. Subsequently, in December 1931 he received his master's degree, and a month later he resigned from the College. After returning from Germany to Paris, in May 1932, he began to write the work "Beautiful Dreams of Older Women". At the same time, he translated from French into English a collection of poems by surrealist authors. Then, he returned to Foxrock. After a few months, his father died, while the heir to his father's firm became his brother.
Four years later, he traveled to Paris where he deepened his long-term friendship with his friend Joyce. Here he wrote his first poems in French. During World War II, he joined the French Resistance. Afterwards, he fled to the free zones of France and worked as a farmer for some time. During this period, he wrote the work “Wat”. After a visit to Ireland in 1945, he found it difficult to return to France. He then took a job with the Red Cross to help the wounded and injured as an interpreter and storekeeper in a field hospital. In the meantime, he returned to France, and here he spent the most creative period of his life and established himself as a prominent writer. Here he also wrote the plays “Waiting for Godot” and “Endgame”. In 1969, he won the Nobel Prize for Literature. While he died in 1989.
The philosophy of expectation, pessimism and sadism
It is said that Beckett lived at a time when postmodern literary directions, currents, schools and movements were gaining momentum. Among them, the theater of the absurd stands out. Let us mention on this occasion that the premiere of the drama “Waiting for Godot” was given in 1953 at the Babylon Theater in Paris. It is said that the beginning of the XNUMXth century was marked by two world wars, which as a result brought uncertainty, disappointment, despair and numerous challenges to humanity. Therefore, the misfortunes and horrors of wars found a deep reflection in the works of writers of that period. Furthermore, the possibility of global conflict and nuclear destruction exerted a powerful influence on the minds and consciences of writers. In the works of some writers of that period, a pessimistic view intertwined with sadism and violence was increasingly prevailing, especially after the end of World War II. Some writers of that time began to search for the true meaning of life since the future was vague and uncertain. Thus, the authors of this period began to search, investigate and explore the new meaning of life and survival in a world that had completely changed. Hence, a disturbing spirit tinged with anger and bitter despair became the main characteristic of their writings. Thus, the writers of the absurd like Ionesco, Janet, Allbee, etc., thanks to the experience and bitter memories, began to write about mental and ideological conflicts, loneliness, despair, disappointment, anxiety and the futility of life. Although none of them imitated each other, all the playwrights of this period had in their works the same subject, character and theme, in which case the subject was no longer the same or was truncated, the character did not resemble the previous character, and the theme was barely distinguishable. Therefore, even in the absence of a model, this literary movement was called the literature of the absurd, from which the drama of the absurd also took its name. In fact, this current of postmodernism brought a postmodern style and, as an innovative current, focused on the irrationality and absurdity of society and the world. Therefore, the representatives of this current had shown an unrestrained and powerful contempt for the hypocrisy and meanness of the world.
One of the complexities of the literature of the absurd is that often in this stream it is difficult to define the theme, since the absurdity of the work itself is usually focused around the inability of man to give meaning to things. Bearing this fact in mind, however, there are several threads of themes interwoven. in the drama "Waiting for Godona". First, the human condition is sad and painful. Abandoned and ruined man struggles and does everything he can to live and survive in a dismissive and hostile world. A feeling of loneliness, despair and misery grips the person and every time he tries to articulate himself, he is hindered and confused. According to Beckett's words, human life consists of patience, suffering and tolerance in a "boring life", which is exchanged for "life's sufferings and crap". These expressions speak of a special philosophy and of the miserable and difficult human reality.
Continuous meaningless, monotonous, and miserable acts
Therefore, Vladimir and Estragon have completely and unconsciously forgotten their difficult conditions. They spin and twirl, repeating their monotonous gestures and acts over and over again, regardless of the monotony, drudgery, and misery of life. In addition, they do not bother to understand and explain their behavior, as well as the motives and causes of their behavior. It is more than clear to them that God or Fate or some supreme being treats human life as child's play. Therefore, constantly, daily, humanity expects some sign from God to put an end to its suffering, discomfort, troubles, and worries. But, waiting day after day, God does not arrive.
The removal of the parallel between God and Godo is not only verbal or in the pronunciation of names, but the comparison is also seen in the references to white beards, shepherds, and superiority. Godo has a saving power; Godo also has the answers to questions that were not asked. Godo selected punishments and rewards just as God did with Cain and Abel. This is why this theme reminds us that it is almost impossible for man to have a direct communication or even relationship with God.
The subject of the play “Waiting for Godot” is considered a parallel and circular subject. The work has only two acts, and each act has four identical sections. These sections can be briefly described in the following way: Estragon and Vladimir are alone, Poco and Llacchi arrive and leave, Lajmarati arrive and leave, and Estragon and Vladimir are left alone again. Since the pattern of the structure is repeated in both Act I and Act II without any change, we can say that the play “Waiting for Godot” is a perfect parallel. At the same time, the author suggests that nothing will change in the play by the very fact that Act II ends exactly the same as Act I. From this it follows that the structure of the play is circular. The events in the play begin one evening, on an abandoned village path, where a pile of earth and a thin tree are seen. Vladimir and Estragon are vagabonds and vagabonds of unknown age, chatting incoherently about their difficult and broken lives, waiting for someone named Godot to meet them. While they are waiting, two strangers come to them, an arrogant and rude squire named Poco and at the end of his rope is his wild servant Lakki. After a strange, funny and mystical conversation, interrupted by a long, incomprehensible and blurred babbling by Lakki, the master and servant leave the stage. Suddenly, a little boy is given to him to inform him that Godot will not arrive that evening, but can arrive “surely the next day”. And when night falls, Vladimir and Estragon have the idea of committing suicide, but since they leave this matter for later, they decide to leave further. However, the curtain falls on Act I and they do not move at all. In Act II, the situation is similar: the next day, at the same time and place, Vladimir and Extragon spend their time waiting; Poco and Llacchi, now one of them blind and the other mute, arrive on stage, but after a while they leave. The little boy appears again and conveys the same message that Mr. Godot will not come that evening, but will come “for sure tomorrow”. Subsequently, the two palazzos again talk about suicide, but forget this idea and prepare to leave, but the final curtain falls, and they do not move from the stage.
Fallen greatness, spiritual weakness and lack of will
Each character in this drama has a unique role and character, but these characters are revealed not only through dialogue or words, but also through their behaviors, acts and ideas. Vladimir is easily distinguished from Estragon by his perceptions and intelligence. While Estragon complains about physical suffering, Vladimir prefers conversations about emotional dilemmas, important thoughts about life and some parables and stories selected from reading the Bible. All of these give meaning to his life. He exercises an absolute influence over Estragon, but he shows his superiority with gentleness, because he is aware that he is dependent on Estragon. On one occasion, fearing loneliness or suicide, he tells Estragon: "You are my only hope". Therefore, it is not surprising that he is also the author of selected words, proverbs and philosophical worldviews. He constantly reminds Estragon that they must wait for Godot. He remembers things that Estragon easily forgets. In short, Vladimir is a symbol of the consciousness of humanity, while Estragon is the body of humanity.
There is no doubt that Estragon is a physical portrait of pain, sorrow, need, and suffering. At first, he complains about his boots that torment him. He is constantly hungry and thirsty. It is rumored that someone beats him every night. What is even worse for him is that he does not distinguish yesterday from tomorrow. He remains alive thanks to the fact that Vladimir knows how to distinguish yesterday from the hope of tomorrow. It seems clear that Estragon and Vladimir are truly inseparable. Therefore, whenever they get angry and argue or try to separate, they hug each other. It is more than clear that they must be inseparable in order to survive in this world. This is the drama of their lives.
Meanwhile, Poco is a rich man, who has a materialistic worldview and lives in prosperity. He is very arrogant and preoccupied with his own ego: "I introduce myself, I am Poco". He boasts of himself, emphasizing that others are also people like him, although he considers himself superior to others. His contempt and contempt for Laki knows no bounds. The injuries, mistreatment, humiliations he inflicts on Laki show that he behaves as an exploiter of human nature. He has transformed Laki into a mechanism that does not have its own voice. He leads a luxurious life, exploiting his slave. However, in Act II, Poco is blinded by the vanity and is forced to allow his slave to drag him away. Now from an arrogant and rich exploiter he has transformed into a miserable and pathetic man. However, the character of Poco cannot be considered alone and separate from the character of his slave, Laki. In Act I, they are tied together by a rope and are never seen apart. Likewise, in Act I the rope is long and Poco behaves with the pride of a Lord. However, in Act II the rope is shorter. Now the slave leads the pardon, while the master is blind, weak, and miserable.
It is interesting that Beckett presents Laki as a palazzo rather than a human being. He resembles a creature that plays tricks to please its master. He is not only tied to a rope for his master, but he does with him whatever he wants and whatever his master tells him to do. The constant carrying of the luggage symbolizes the heavy burden of his soul. He carries the burden willingly and with all his heart, while walking according to the master's whip. He does not want revenge, does not love strangers and does not ask for any mercy. He is Poco's humble servant, who submits completely to the master's will. If Poco represents fallen greatness, Laki must represent spiritual weakness, lack of will and stupidity.
The comic, the tragic, and the sadness of waiting
The play opens with a completely surreal atmosphere, with the vagabond trying to take off his boots at the edge of a path under a leafless oak. In this atmosphere, there is no horizon or sign of civilization. For a moment, this scene seems even a little comical. However, the action of the play begins to unfold and the scene is engulfed by a mood of despair, disappointment and futility. The surreal feeling never changes, but on the contrary is expanded and deepened by a multitude of other feelings. What is more bizarre, in this atmosphere the characters are beaten, insulted, cursed, clashed, insulted, hurt and fought without any sign of consolation. Meanwhile, some comic moments are immediately overshadowed by a strange feeling of tragedy and sadness. In the end, hopelessness and life without hope engulfs and describes every aspect of the acts of the play.
Vladimir is a kind of philosophical vagabond, who spends his time brooding and contemplating his life. He waits with great faith for Godot and constantly reminds Estragon that they should wait for Godot rather than commit suicide. He enjoys talking about the past and has a vague knowledge of the parables and prophecies of the Bible, which he occasionally shares with him. He enjoys good, pleasant conversation, but gets angry when he realizes that Extragon is unable to understand him. From time to time he shows some signs of pride, such as not wanting Extragon to ask Pozzo for a bone. Estragon has Vladimir as his intellectual leader. Thus, together, the two vagabonds remain the focus of the drama's events. Despite the absurd mockery and harassment, as well as their burlesque or ridiculous appearance or appearance, they seem to be at the mercy of the universe and as such leave the impression of sympathetic characters who want to have a better life. Taken as a whole, the two vagabonds can be called the protagonists of the drama, although they actually represent all of humanity. Their actions also have to do with other characters and with the general troubles, challenges and dilemmas of humanity. Although this is not entirely clear, there are some signs that show that Vladimír knows more about Godot and he reminds Extragon of their common fate that makes them wait for Godot. While the number of external conflicts is extremely small, the number of internal conflicts is evident.
It will be said that the main antagonist in this drama is Poco, a rich man, who has the position of commander. He treats his servant Llakin with contempt, contempt and humiliation. Pocoja represents the absurd and hostile circumstances of life. He also represents the master, who controls and oppresses the slave, Llaki. In this way, he becomes the antagonist of the work. Sometimes God or Fate or whatever almighty God the universe may have, can also be antagonistic, oppressing and overpowering both vagabonds, making their lives unbearable. There is almost no climax in this drama. Act I takes place and is accompanied by Act II which is parallel and almost identical to Act II. Life continues for both characters without any events or developments and there are no indications that on the third day there will be anything new that will be different from the first two days. Here we are faced with the absurd message that in reality no change happens in life. Even the circulating structure of the drama itself suggests the idea of immobility or a waiting that always remains suspended. However, the end of the drama remains undetermined. It is likely that if Beckett decided to write Act III of this play as well, it would be very similar to Acts I and II. This unusual structure is integral to Beckett's theme.
The notes that Becket gives us at the beginning of the play are actually the background of this play: "A village path, an oak". It is yet another supernatural alienation in this rarefied background. In other words, the background can be anywhere, anywhere in the world. There are no visible background horizons either. There are no markers or signs of civilization either. However, the background is constant, and the only change occurs between Act I and II, when the bare oak in Act I is presented with five or six leaves in Act II. The historical background of this play is unclear. The time frame of the drama is two days, with one day likely to be Saturday. The only visible reference to the passage of time occurs in Act II, when the sun sets and the moon rises. There are also two or three references to the passage of time, when the characters mention yesterday and last evening.
The expectation of absurdity and nothingness
In his drama of the absurd and the nothing, “Waiting for Godot”, in which nothing happens, Beckett shows the absurdity and futility of hope and waiting. Man is always waiting for something, but it is a matter of series that he does not know what he is waiting for. The drama does not reveal any particular subject, but only explores a static situation, where nothing happens, no one comes, no one goes. According to the author, the world is unfortunately unchanging. In this drama, the mise-en-scene consists of a bare oak tree, on an abandoned path, two pairs of “characters”, a little boy and an “action” in both acts, in which two friends wait for Godot, but at the same time are amused and distracted by the arrival of the master and slave couple and are informed by the little boy that Godot will not arrive today, but tomorrow.
In this play, Beckett is preoccupied with the hope of salvation of the soul, waiting for the mercy of God. Vladimir and Estragon's waiting is presented here as a complete hope and trust, while Vladimir's kindness towards his friend with the other two vagabonds seems to show interdependence as a symbol of Christian mercy. However, it is not known whether Godo is someone with superior power or is it about some mysterious and mythical creature, whose arrival can change the situation. Apparently, these are not of great importance to the author. The theme of the play is not Godo, but waiting. The act of waiting for someone who is missing. According to Beckett, this is the most essential and characteristic aspect of the human condition and of course it is also an unintentional and futile waiting for something to happen. Thus, suicide seems to the vagabonds a better way out than the futile waiting for Godo.
Finally, it should be said that this play has been translated into many world languages and is still considered one of the most popular and most watched theatrical plays. In addition, this play has been performed many times in various theaters around the world and has been very well received by the public. This work has been translated into Albanian by Mirela Kumbaro and published by the “Çabej” Publishing House in 1996. At the same time, this play has been performed several times in our theaters in Kosovo and it can be said that it has been received with great interest by our spectators.
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