Izzah Adnan
24401
Literary Movements
Reflection Paper
Absurdism
Q: Write a reflection paper of 700-800 words on "Waiting for Godot" by Samuel Beckett,
which was discussed in class as an example of 'Theatre of the Absurd.' The reflection paper
should exhibit your ability to identify absurdist form, subject matter, and themes in the
play.
Absurdism is a philosophical movement based on the idea that human existence is
inherently meaningless. It argues that the search for any sort absolute meaning in life is a futile
effort. The movement emerged during the 20th century. Art and literature produced during this
time sought to highlight the absurdity of the human condition and embrace this lack of inherent
meaning. Samuel Beckett’s play “Waiting for Godot” also examines these ideas. It falls under
the category of absurdist fiction known as the ‘Theatre of the Absurd.’ The term was popularised
by the writer Martin Esslin, in 1960, in order to define a style of theatre that departed from the
traditional conventions of drama and storytelling in order to explore themes of existential
despair. Esslin included ‘Waiting for Godot’ within this list of absurdist works.
The story revolves around two characters, Vladimir and Estragon, as they await the
arrival of a mysterious man named Godot. Like other absurdist works, the plot of the story is
vague, and it encourages a broad range of interpretations. The play is set on an empty road with a
single barren tree in background. It is never specified who Godot is and why the characters are
waiting for him; this fact contributes to the overall sense of isolation and emptiness within the
story.
As the two men wait for his Godot’s arrival, they discuss a number of different topics.
The dialogue is fragmented, nonsensical, and it does not seem to follow a logical storyline. The
theme of ‘waiting’ is central to the story. Vladimir and Estragon are stuck in an endless cycle of
waiting for a person who never arrives. This can be interpreted as a commentary on the inherent
meaninglessness of human existence, a central concept within the absurdist movement. The
dialogue of the story is also repetitive. Throughout the play, Estragon forgets about previous
events and conversations and Vladimir tries to remind him of them. This adds to the disorienting
and cyclical nature of the plot. At multiple points within the story, Estragon often forgets that
they are waiting for Godot. He questions his and Vladimir’s actions repeatedly, and when he
suggests to leave the setting, Vladimir reminds him: “We're waiting for Godot.”
It is unclear how long the characters have been waiting for Godot on the empty road. At
one point, Vladimir states that they have been together for fifty years. The cycle seems to repeat
day and night. Certain elements of the story change within the two acts. However, these changes
do not follow a linear or logical storyline. For example, the day changes and the tree behind the
characters is suddenly covered with leaves. The boots that Estragon left on the ground also seem
to be different, though it is possible that he simply does not remember the exact color. Besides
this, the characters of Pozzo and Lucky, who embody a master-slave relationship in the first act
of the story, reappear in the second act, with Pozzo blind and Lucky unable to speak.
Vladimir and Estragon attempt, at multiple points, to use logic and reasoning in order to
address their specific predicament. This proves to be a futile effort. Instead, the two talk circles
around ideas of life, purpose, and the nature of human existence. They lack any form of control
over the story. This reflects another key concept within the absurdist movement: man exists
within an indifferent universe and modern human life, in particular, is fundamentally
meaningless.
The character of Godot is an ambiguous and mysterious figure. His existence can be
interpreted in a number of different ways. To me, Godot represents the meaning of life. Vladimir
and Estragon are not sure why they are waiting for him, yet they are unable to do anything else.
This is the driving force behind all their actions. Godot may also represent a higher religious
power. According to this allegory, the characters' waiting may symbolise the human experience
of seeking a sense of purpose through religious faith.
‘Waiting for Godot’ lacks a linear narrative structure, and the story does not provide a
resolution. Godot never arrives. This absence of a proper, conclusive ending also reflects the
absurd nature of human experience. It is understandable why Esslin included this play in his
discussions about the ‘Theatre of the Absurd’.
