Samuel Beckett Described His Waiting for Godot as a Tragicomedy. to What Extent Is This Is an Accurate Description? Would You Say There Is More Tragedy Than Comedy or a Mixture of Both?

Samuel Beckett described his Waiting for perfectionot as a tragi prank. To what extent is this is an accurate description? Would you verify there is more cataclysm than prank or a mixture of both? Through the wasting disease of m whatsoever linguistic, structural and comic makes, Samuel Becketts Waiting For Godot successfully typesets a wayfaring line between the deuce genres of tragedy and beatdy. With the opening screening the two main char turners Vladimir (Didi) and tarragon (Gogo) in a barren desktop with manipulationless props such as Gogos boot and Didis hat and a leafless tree, there is an instant confusion effectd with a call into question as to whether this is truly a comedy at all.Estragons state ment Nothing to be d peerless starts the production off real cleverly as it is a true concept through the contribute there is snatchually nonhing being adopte by any character. It all seems to be useless rambling in the wilderness. thither is no control in Didi and Gogos lives due to the obsession with delay for Godot. Because of this they neer tote up themselves to collapse. This leads the listening to ask the question. Is this really a tragicomedy or just a Tragedy? Seeing these men are evidently wasting their lives.Undoubtedly, Godot has comical elements with classic comedic actions such as trousers falling push down and the struggle to take off a boot. With razets same these in the undertake it is seen as direct, classic, light-hearted wag but with a deeper understanding we see this light-hearted humour with dark tragedy. The two however placed in concert do unarguably antic essential roles in comp permiting the shrink from. Tragedy is evident in the ferment but undeniably there comedy, Comedy that maybe even encourages the tragedy? What about hanging ourselves? Hmm.Itd give us an erecting here there is definite sexual comedy the caprice of acquiring an erection would render been uncomfortable yet comical at the se ntence and even now. However, although there is humour in the topic, there are overly tragic concepts with the results of the hanging being getting an erection or death. at that place is a heavy sensory faculty of satire comedy through the play Godot the high ridicule of kindly class is endless with Gogo and Didi as the unwise, dark tramps that live in ditches and Pozzo as the foolish, stuck up thick ruler with well-to-do the animal like slave.The sense of satire causes the Superiority effect which is the musical theme we antic because we feel superior to those in the play. We see this where Estragon tells Vladimir he spent the night in a ditch and was beaten up. estragon in a ditch. VLADIMIR A ditch Where? tarragon Over there. ESTRAGON Beat me? Certainly they beat me Here its taken actually lightly that Estragon was attacked plot of ground trying to inter omition in a ditch. Michael Lindsay-Hoggs version of the play shows them to act and rebuke about this incident i n a quite jokingly way and dont actually pay too much attention to the seriousness of him quiescence in the ditch.Here the audience laugh because they possibly feel superior to the humor of someone sleeping in a ditch while they sleep in their houses especially since the majority of the audience was wealthy abounding to run into the theatre as it was a luxury in the 1950s They would have had the clip and the money to go and watch plays after the war see as rationing did not end until the 60s. This do it easier to create the sentiment of Superiority Beckett has provided through the two personae of Didi and Gogo.So even though it was comical, one cannot deny that sleeping in a ditch and getting attacked is besides tragic. Ian Mackean said Samuel Becketts plays contain many comic features but are not comedies in the usual sense, and it is unlikely that an audience would actually laugh at them. Often our laughter at a comedy involves a feeling of release in response to the tran sgression of some rule of social conduct acted out by the performer. This is very true in the sense that the characters we find funny are not in funny situations.For congressman the character roaring is drawn from Tragedy. Being treated as a literal animal because he is a servant, Lucky not just now supports the tragic concept but contributes to the stock character of the silly senescent fool being played by Pozzo. The stage directions for Pozzo and Luckys entrance are very important in getting the idea of a slave and master across in the first appearance. Lucky is the first to appear followed by the rope a bike his neck and therefore Pozzo. Enter Pozzo and Lucky.Pozzo drives Lucky by means of a rope passed round his neck, so that Lucky is the first to enter, followed by the rope which is long enough to let him reach the middle of the stage before Pozzothis is where tragedy takes place the most as Luckys character is quickly shown to be animalistic and neglected with no human rights. Hes then(prenominal) spoken to in a neglectful, demining way and is made to tend to Pozzos every need. On Back with one worded instructions the audience is made to feel sorry for Lucky and sympathise with him.But for some reason, Luckys misfortune also brings humour to the play, the audience sympathise with his character lonesome(prenominal) because they feel bad for finding his situation funny which supports Ian Mackeans theory. We laugh at Pozzo because of his foolishness, ignorance and over-exaggeration. I must be getting onunless I smoke another shout before I go. What do you say? . Im not in the ha crook of smoking two pipes one on top of the other, it makes my heart go hand on heart, sighing pitty-patty the over acting of putting his hand on his heart makes the audience as said before laugh at his ignorance.Its as if he has no idea how desperate he is to stay and talk to Didi and Gogo so unconsciously makes up and excuse of smoking a pipe to stay longer. It can be assumed that Pozzo is lonely. Whatever it is Pozzo takes a while before leaving making up a number of reasons wherefore he should stay. It may even be questioned is this in itself tragic? If he is lonely and seeks friendship from two tramps even though he is rich it makes the audience and those who study the play think what has happened to Pozzo in his past to bring him into this situation.It causes confusion as to whether Pozzos character is a inception of comedy or tragedy. I would suggest that there is a definite source of both genres however his character is used more for the comic feel. Becketts use of leitmotifs in the play is another element that contributes to the idea of comedy and tragedy being paired once again. Every once in a while passim the comedy, estragon will suggest they leave and the answer we cant when asked why, Vladimir replies with were waiting for Godot or Estragon will ask what do we do now? and Vladimir will do with wait for Godot. As an audience we laugh or see this feature as being comical because Estragon is forgetful and seems very stupid. Its almost like its a pantomime the audience knows the plain answer but the character doesnt. Yet looking at the use of repetition in depth brings forth the idea of Gogos licking in their situation in life. Maybe the constant questioning of what to do is because unconsciously is saying he doesnt want to wait for Godot that he in feature wants to do something else in life.Gogos memory is a certain source of comedy throughout the play but its possible his forgetting is not due to bad memory but it is motivated. He forgets that they were there yesterday because he doesnt want to admit he spends his life on repeat waiting for Godot on and empty scream from his one and only friend Vladimir. This gain suggests the play is tragic. In the end, the men talk again about hanging themselves. This time there is no mention of an erection and the reason they dont do it because they dont have a rope . with what? you havent got a bit of rope? this suggest a more serious thought of suicide. There is no comic language connected unlike the first time mentioned sending the idea they are truly frustrated. The audience at this recognise actually stop to think and realise the seriousness of the suggestion of hanging whereas before it was ignored because of the sexual language. This again fundamentally contributes to the idea the play is a tragedy. Becketts additional use of structure again helps identify the significant genre of the play.He used formal symmetry where each act ends the same with a slight difference, the end of act one ends in this manner ESTRAGON Well, Shall we go? VLADIMIR Yes, lets go. They do not move Whereas act 2 ends like this VLADIMIR Well? Shall we go? ESTRAGON Yes, lets go. They do not move Apart from the slight change in punctuation and who says which line, the endings are almost identical insinuating the feeling of forever waiting and frustration along wit h the idea of being stuck in limbo as things repeat themselves.The change in character in asking shall we go? can be interpreted as both men having their doubts as to if what they are waiting for is worth it and the fact that they do not move shows they are not entirely sure as to if they will miss out if they move so they end up never leaving. The question mark that appears after well at the end of the second act could suggest that Vladimir is trying more to leave wherever they are and in his conscience is really frustrated knowing that Godot is not coming.Therefore he tries to incline Estragon however it was not enough for them to let go of the timidity of missing Godot. This again provides the idea that Becketts play is tragic. The views throughout the play are very nihilistic. As he metaphorically rejects social conventions like religion, the play can be interpreted as the total reprehension of Christian beliefs like the second coming of Christ. Godot (possibly representing Christ) never comes however they practice their lives to waiting for his appearance.This ridicules Christians telling them life is pointless and there is in fact no God, No eternal life, no Jesus and no meaning. video display this in the form of a comedy Beckett almost mocks those who are excuse foolish enough to believe in these non-existent deities. Therefore instead of Tragedy, its a purely comic view of religion. This is understandable as fiat had witnessed and heard of traumatic events after the world war and the questioning of God was inevitably going to raise discussion. To conclude, Samuel Becketts Waiting for Godot has somewhat been unsuitably titled as a tragicomedy.It has combined the comic and tragic elements together but has tragedy as a dominant aspect throughout the play as a whole has with Vladimir and Estragons unavailing wait for something that never comes. For the play, Beckett has focused his attention on the suffering of others. Its evident that the majori ty of the play relies on Vladimir and Estragon waiting for something to come and alleviate them of their boredom. There is a mixture of both genres but it is an unbalanced one- With tragedy under toning the play throughout even within the humour. Tunrayo Sadiq tidings count 1,899