吉冰冰

ⅠIntroduction

Samuel Beckett (1906-1989) is a representative figure of the Absurd Theatre and won Nobel Prize in literature in 1969 “for his writing, which---in new forms for the novel and drama---in the destitution of modern man acquires its elevation.” He was born in Dublin with Irish parents (Zhang Xiaoling, 357). He took a degree at Trinity College and settled permanently in Paris in 1937. In 1952, the world witnessed his masterpiece Waiting for Godot, and from then on, Beckett became widely known as a playwright associated with the Theater of the Absurd, whose use of stage and of dramatic narration and symbolism revolutionized drama in England (Shen Puying, 430). His Endgame appeared in 1958, Krapps Last Tape in 1959, Happy Days in 1961, Come and Go in 1967, Breath in 1969. A broad view of the literary and philosophical background to Becketts writings helps to illuminate his gloomy, humorous view of mans place in the universe. He is working within the tradition of Dante, Swift, and Sterne. Another major influence that helps to shape Becketts ideas is existentialism. Existentialism is a philosophy that emphasizes the uniqueness and isolation of the individual experience in a hostile or indifferent universe, regards human existence as unexplainable, and stresses freedom of choice and responsibility for the consequences of ones act. Its famous motto is “existence precedes essence” (Gong, 24). His style is anti-realist, but the search for beliefs that are reasonable and plausible in a fundamentally absurd world and the plight on individuals who must make their own meaning is central to most of his works (Fu Jun, 66)

Waiting for Godot is an unusual play without plot or intrigue. There are two main characters Vladimir and Estragon who are waiting for Godot in a bleak place. Godot tantalized them by promising to come but he never keeps his promise. Vladimir and Estragon talk and complain to kill the time. They keep one another complain while they can not share their intimate thoughts. Pozzo and his slave Lucky appear in the first act. They cross and re-cross the stage. Lucky, heavily burdened, is driven by Pozzo on the end of a rope. Pozzo tyrannizes and mistreats Lucky, who, however, insist on remaining a slave. Vladimir and Estragon made Lucky perform a dance, a clever trick. When Pozzo and Lucky depart, a boy comes to bring a message from Godot saying he will not come today but tomorrow instead. Vladimir and Estragon decide that they will come back to wait tomorrow, as usual. In the second act, Pozzo and Lucky return with the former blind and the latter dumb. Another boy comes with the same message from Godot. Vladimir and Estragon contemplate suicide but they are not able to carry it out. At last they decide to leave, but neither one moves. The end of the play gives us an impression that the same scene will continue day after day forever. The play uses brilliantly the idea of nothing happening on stage. The vacancy reinforces the mood of despair and what they waiting for is nothing but death. The play shows the pointlessness of life and the groundless hopes of modern man (Shen Puying,435)

Absurdity, existential despair and themes of the play Waiting for Godot have been paid enough even excessive attention to; however; symbolism in it has rarely been mentioned. This paper will fill the gap. It will explain the symbolic meaning in the famous play from the following aspects.

Ⅱ.Symbolism in the Play

1.The symbolic meaning of the setting.The play is setting in a barren, bleak place. Two educated but unemployed men are waiting by a sickly looking tree for the arrival of Godot. The setting of the play symbolizes the emptiness of the world, which is just as the character says in the play, “Nothing happens, nobody comes, nobody goes, its awful!”

2.The symbolic meaning of the characters.Beckett has given his characters a wider identity. Estragon, Vladimir, Pozzo and Lucky are not simply four particular men. In a broad sense, they are representatives of mankind. For instance, judging the names of the characters, it can be said that Estragon is French；Vladimir is Russian; Pozzo is Italian; and Lucky is English. Thus they represent the whole human race. In addition, they might be said to represent typical responses of the human race. Estragon is the sensualist, the common, unthinking materialist, while Vladimir might be said to be the embodiment of rational man, who sees a deeper significance in the plight of human life. Lucky shows no desire to inquire or question. He has found his meaning in the negation of his own personality. He wants to be led and is shown in total submission to Pozzo. Whereas Pozzo finds his meaning in the exercise of personal power. Godot might be regarded as a parody of the concept of God. He might be also interpreted as every mans hope for something different in his life; every mans yearning for a new dynamic which will revitalize his existence.

3.The symbolic meaning of the activities.From the beginning to the end, the two main characters are always waiting. Here waiting symbolizes peoples inertia. They want to change, but they are used to the current situation. They just do nothing to change.Two vagrants take off their boots, turn over the boots, touch the boots, and look at the boots, this activity is a symbol getting rid of the bondage and pain of the life; the bare withered tree has grown up a few leaves overnight, symbolizing the faint hope.

4. The symbolic meaning of the play.The play itself is symbolic, and its meaning is open-minded, as Beckett had hoped, and therefore could be interpreted in many ways. One is to see the play as a commentary on the futility of religion; another is to suggest that the play underscores the loneliness of humankind in an empty universe; yet third implied that it is up to individuals, represents by the hapless Vladimir and Estragon, to shape the significance of their own lives, and their waiting represents that effort.

Ⅲ. Conclusion

Beckett called Waiting for Godot a “tragicomedy” on the title page. As a the masterpiece of Beckett and the representative work of The Theatre of the Absurd, it is extraordinary not only on the themes and the style, but also on its absurdity and symbolic meanings. It deserves the high evaluation, so does the dramatist.

References：

[1]Gong Yubo, British Literature and American Literature, Shanghai: World Book Press,2006.

[2]Fu Jun, The British Drama Reader (Ⅱ), Shanghai: Shanghai Foreign Language Education Press,2006.

[3]Hu Jiena, Selected Readings in British Literature, Tianjin: Nankai University Press,2006.

[4]Zhang Xiaoling, Selected Reading in British and American Drama, Xian: Xi'an Jiaotong University Press,2008.

[5]Shen Puying, Gong Liyan, A New Course Book of British Literature, Jinan: Shandong University Press,2001.