The term Absurd is essentiallyimpregnated with assorted human conditionsand state of affairss eliciting absurdness and is needfully present in the station universe war coevals. Life has become acrimonious sweet or „life in decease and decease in life? to the coming coevals. This human quandary sprouted its lances during 1920s. developed during 1940s and perpetuated in the ulterior universe. This very impression wasenchanted. transported and sometimes devastated by the intellectualsof this universe such as T. S. Eliot. W. B. Yeats. Existentialists. Expressionists. Surrealists. and Absurdists of the twentieth century.
And Waiting for Godot is cardinal Sun unit of ammunition whom all the absurdist notionsmove. Ittranscendentstime and hasthe cosmicsignificance even after 60 old ages ofits publication. Itinsinuates modernismand perpetuates postmodernismthatisnothing but “too much with us ; late and shortly. acquiring and disbursement. we lay waste our lives before it. ” Truly in the midsty of so terminologicalmayhem. Absurd is best identified withWaiting for Godot with its sense of void in life. Lapis Lazuli -An International Literary Journal ( LLILJ ) 29 Cardinal words: Absurd. Existentialism. Surrealism. and Post modernism.
ThetermAbsurd is essentiallyimpregnated withvarioushumanconditions and state of affairss arousingabsurdityand is needfully present inthe postworld wargeneration. Lifehas become acrimonious sweet or„lifein decease and deathinlife? to the coming coevals. This human quandary sprouted itsspears during 1920s. developed during 1940s and perpetuated inthe laterworld. This verynotionwasenchanted. transported and sometimes devastated bythe intellectualsof this universe. Ontheone manus T. S. Eliotbeautifully mirrored theinnerabsurdityofthemodernworld in his magnum-opus The waste land ( 1921 ) . and Samuel Beckett in his maestro piece Waiting for Godot ( 1955 ) . on the other.
Superficially Abusrd means pathetic. but literally it means „Sense holding bunk? or „having everything hath nil? . That is considered absurd is really anti- traditional andavant-garde. henceis ridiculed. But originally itssignificancelies in itscrude world. WhenEliotrepents for religious asepsis in themodernworld. which isfulloffuryand quag. Absurd playwrights were fixing a suited platform to expose the absurdness of modern adult male? s life. Absurd dramatistsevenopted the absurd formto expose theabsurdityinits mosteffectiveway.
Thisincludesthewriters ofbothdramaand prose fiction ; and themostsignificantofthemare Gallic Jean Genet and Eugene Ionesco. Irish Samuel Beckett. English Harold Pinter. American Edward Albee and others. Both temper and dramaturgyofabsurditywere anticipated intheir plants. Theywere besides supported byfewothermovementslike expressionism. and surrealism. alongwith fewotherforcefulworks ofFranz Kafka ( TheTrial. Metamorphosis ) .
Thiscurrent movementemerged inFrance after the universe was 2nd. asa rebellionagainstessentialbeliefs and values oftraditional civilization and traditionalliterature. whichhad the belief that-„What a piece of work is a adult male? How baronial in ground. how infinite in module! In signifier and traveling how expressand admirable! In apprehensionhowlike a God! The beauty ofthe universe!
The idol of animate beings? . ( Hamlet: 47 ) Speculating the Absurd: Waiting for Godot SixtyYears After 30 But afterthe 1940s existentialist doctrine byJean- Paul Sartre & A ; Ablert Camus opined human being as an stray existant. dramatis personae into an foreign existence. holding a bootless hunt for intent and significance and proceedingtowardsnothingness. They believe that: – Its an uneven universe Full of allthings absurd Most ofit obscure Unseen and unheard. ( Brainy Quotes )
Thisvery absurdityhas been attractively penned byAlbert Camus in his “TheMythof Sisyphus? ( 1942 ) as – “Ina existence thatis all of a sudden deprived ofillusions and oflight. manfeels alien. Hisis anirremediable exile… This diovrce between adult male and hislife. the histrion and his scene ; genuinely constitutes the feeling of absurdness. ” ( 13 ) and as EugeneIonesco added fire to the fuel by statingthat- “ Cut off from his spiritual. metaphysical. and nonnatural roots. adult male is lost. all his actions become mindless. abusrd and useless” . ( A Glossary of the Literary Footings: 1 ) Thisvery notionseemssimilartothefollowing lines byS.
T. Coleridge. ofhisfamousballad Rime of the Ancient Mariner. – “Water-water every where Not a bead to drink” . ( Coleridge: 14 ) SamuelBeckett ( 1906-89 ) . the mostcelebrated writer ofthisvein. isanIrishauthor. composing inFrenchand thentranslating hisownworks into English. His get downing lies inthe dislocation of traditional values. His outstanding and dominent subject. hence is adult male? s disaffection and hunt forself ; which is the predominating manner of modernman? slife. His works showthe twilight ofmodernismand dawnofpost-modernismand so washonored withNobelPrize for Literature Lapis Lazuli -An International Literary Journal ( LLILJ )
31 in1969. As we bid adieuto onestar. we welcome the other ata transitionalpoint. in the same manner the publication of Waiting for Godot in 1955. was the apprehended transitional presence on the phase. which bid adioss to themodernism and welcomed post-modernism. ThetermPostmodernism designates „ excessively muchwith us ; late and shortly. acquiring and disbursement. we laywaste ourlives before it. ?
Thefounder of this termis Charles Jencks. buthas beenbeautifully defined by Dick Hebdige in Hiding in the Light as: The corporate humiliation and morbid projections of a post- War coevals of babyboomers facing disillusioned in-between age. the „predicament? of reflexivity… the prostration of cultural hierarchies. the apprehension engendered by the menace of atomic self-destruction… a sense ( developing onwho youread ) of„ placelessness? or theabandonmentofplacelessness ( criticalregionalism ) .
Waiting for Godot attractively designates all these gears of postmodernism through a obscure and cloudy word every bit good as term of terminological mayhem „absurd? . The drama has proliferated at anexceptionalrate overthe lastsixtyyears becauseitdealswiththenotionof adult male? s being in this ineffectual universe.
The playWaiting for Godot portrays an image of adult male? s being. which evenafter60 yearsofitspublications seems rather existent. Todaymanhas gained material promotion but interior pettiness or breakability is still skulking upon his ego. The drama is a modern fable of post-war adult male in a godless. dimensionless and nonmeaningful universe. late Syrian Army attacked on Damascus suburb with chemical arms. after the Nato? s onslaught on Yugoslavia and the right to vote in Iraque. Here the lines of W. B. Yeats seems rather applicable. when he says that – Turning and turning inthewidening coil. The falcon can non hear the hawker?
Thingss fall apart ; the centre can non keep. Mere anarchyis loosed upon theworld. The blood dimmed tide is loosed and everyplace. The ceremonial ofinnocence is drowned. ( The Second Coming ) Speculating the Absurd: Waiting for Godot SixtyYears After 32 Waiting for Godot formulates a definition of adult male that transcends the clip. The dramas that follow it are besides pre-occupied with the experiencing typical of our times. All that Fall ( 1959 ) . a wireless drama. depict adult male? s defeat and absurdness.
Kropp? s Last Tape ( 1958 ) is concerned with the perfect realisation of Beckett? s thought of “human isolation. ” Embers ( 1959 ) is a soliloquy of an old adult male who is haunted by the memory of the past and feels used. confused. and abused. Happy Days ( 1961 ) stages the unreason of human being without intent and order. Beckett? s universe bears a close resemblance to Camus? s universe depicted in The Myth of Sisyphus. Universe all of a sudden divested of semblances and visible radiations. adult male feels an foreigner. alien.
His expatriate is without remedysince he isdeprived of the memoryofa losthomeor the hopeofapromised land. Camus? s book appeared in 1942. i. e. . during the World War II.
The development of the feeling ofthe absurd passesthroughfour phases: ( 1 ) First one recognizes the nonsense oflifewhichis flooring. Second isliving inconflict between purpose ( innervoice ) andreality. Thethirdistheassumptionofheroic dimensions through populating the conflictand makingithis God. The fourthand finalstage consists inthe witting affirmationthatnothing happens in lifein world. The sense ofanguish at the absurdityoflife is the subject oftheplays notonlyofSamuelBeckett. but ofAdamov. Ionesco and Genetalso. Asimilarsense ofthemeaninglessness oflifeisalso thetheme ofdramatists. like Sartreand Camus. Butthereis a difference.
Thetheatreofthe Absurd abandonsrational devices whereasSartre and Camus expressthenewcontentinthe old convention. MartinEsslin remarks on the dramas of Beckett is disposed. apposite. and appropriate: Beckett? s plays lack secret plan even more wholly than otherworks of the Theatre of the Absurd. Alternatively of alinear development. they present their writer? s intuition of the human coordination by a method thatis basically polyphonic. they confront their audience with an organized construction of Lapis Lazuli -An International Literary Journal ( LLILJ ) .
33 statements and images that interpenetrate each other and thatmust be apprehended in their entirety. instead like the different subjects in a symphonic music. whichgain significance by their coincident interaction. ( The Theatre of the Absurd: 44-45 ) Waiting for Godot is now recognized as a modern-day classic. It was written in 1948. since thenithas beentranslated into manylanguages and performed all over the universe. Themost singular thingabouttheplayisitsunconventional design. Theplayis seemingly haphazard. Butactually it isan inordinately powerfulplayin which signifier and significance are skillfully blended.
The coreofa good playis actionorhappenings. here the verypurpose oftheplayis to state that nil happens -nothing truly happens in human life. Waiting of Godot is therefore a paradox. Itisa play of inactivity. Asmanisusually ignorantabout hisrealpurpose in life and he lives inhope ofsome revelationinfuture. We justhangaround waitinglike thetramps or rushmadly aboutlike Pozzo in hunt of some intent. We try to acquire a intent and orderinthat universe whichsteadfastly refusesto grounds either. Waiting for Godot is holding four characters. who are non four distinguishable personalities.
They are instead generalised images of all“mankind” ( 109 ) whichinLucky? s phrase. “isseento waste andpine wasteand pine” ( 73 ) . Theyrepresent aview ofmanas a incapacitated victim of his life. Non-specific scenes are a common characteristic of Beckett? s play. The phase -space intheplayisabsolutelybare. “Itisindescribable. Itis likenothing. Thereis nil. There is a tree” says Vladimir ( 117 ) . Strange occurrences ( sudden rise of the Moon. germination of foliages ) . unusual characters and their irrational behavior suggest abstract quality of this scene. The text describes itas nothingness ornothing.
Thewhole secret plan. whichis actuallyabsentmoves unit of ammunition thewaitingofthat personwhose individuality. is evennotsure. Vladimirand EstragonwaitforGodot. whose arrivalissupposed butalways suspended as modernmanwhatever wants to make or accomplish. scattersinsilence. Now. united we Speculating the Absurd: Waiting for Godot SixtyYears After 34 do notstand butfallinthisfutile universe. Eventhoughtlessnesshasbecome the beginning oftrouble. Thefollowing discussionmade by Vladimir and Estragon attractively designates it: We are in no danger of believing any more… Thinking is non theworst. What is awful is to hold thought.
( 1954: 62-63 ) Finally the grace of Beckett? s Waiting for Godot pruned the modern adult male? s organic structure and psyche likewise. Even after 60 old ages of its publication. we designate its significance and relevancy both thematically and stylistically. Really whena manpassesthroughexcess deprivationand hopelessness. whether he commits self-destruction or attempts to take retaliation but absurdness even does non let either. Works Cited Abrams. M. H. AGlossaryofLiteraryTerms. India: ThomsonBusinessInternationalIndiaPvt. Ltd. 2006. Print. Beckett. Samuel. WaitingforGodot. NewYork: Grave Press. 1954. Print. Camus. Albert.
The Myth of Sisyphus. Harmondsworth: PenguinBooks. 1975. Print. Coleridge. S. T. The Rime of the Ancient Mariner. India: Anmol Publication. 2009. Print. Esslin. Martin. The Theatre of the Absurd. New York: Doubleday. 1961. Print. Hebdige. Dick. Hiding inthe Light: On Images and Things. London: Routledge. 1988. Print. Shakespeare. William. Hamlet. India: Atlantic Publishers and Distributors. 2001. Print. Lapis Lazuli -An International Literary Journal ( LLILJ ) 35 Bio-note- Vijay Kumar Rai. Research Scholar. Dept. of English. DDU Gorakhpur University e-mail-Vijaykumar. [ electronic mail protected ]com.