Creative Writing and Critical Thinking

Estragon and Vladimir’s Philosophical Suicide.

When the odyssey of Vladimir and Estragon began through a meaningful plateau, their goal was bereft of the precarious ideas such as the reasoning of life, the recurring negative calamities. Godot as a main perspective for the story to be floating around; would represent the openness for several interpretations, a god, a reason to live, a hope to cling to and a solace for the troubles that Post-modern man was and still facing at this time, both protagonist were willing to keep on the wait by standards of cherishing life and seeking to hop the motion of consequences for a new stage of appreciations, that is to say; the protagonists committed suicide philosophically, they were bound to that point for believing in something with no hints.

Such based notions of thoughtful heights; where there found to be the propriety’s weight that indicated their relationship to their backgrounds, intentionally promising them with a pledge to be received at their footing of awaiting, yet only to notify the certain qualities for these protagonist to deal with their stressful lives, Estragon in two of the dictums he made when the awaiting kept going longer: “We always find something, eh Didi, to give us the impression we exist?”

And also stating:  “Nothing happens, nobody comes, nobody goes, it’s awful!”

The gradual contradiction of Estragon is broadly felt when he came up with two opposite suppositions that inferred a true idea of the situation, yet still he believed in the constant drive he pulled at the very beginning of his odyssey, nevertheless; the point of crash for Estragon started to appear when he exerted his hope; Vladimir instantly sounded hopeful, meanwhile they flew into a dialogue that implied their quarrelsome point of view:

ESTRAGON: I’m tired! (Pause.) Let’s go. VLADIMIR: We can’t. ESTRAGON: Why not? VLADIMIR: We’re waiting for Godot.

Later on when discovering that they were to wait, soothe and dramatize the sorts of challenges they were to face; there shows up an epiphany that planned to void the boredom that landed upon them, that burden perished when Estragon said: “We always find something, eh Didi, to give us the impression we exist?” Once again this statement played another significance in implying the literal meaning of that very purpose at their point, and attempts to strengthen the faithful resolution behind the temporary failure they encountered every now and then.

Though they mentally formatted themselves into a state of reasoning, that Godot was to come; deep down them was certainty which constructed the imaginative continuation, there a philosophy was born; with boundaries that prohibited the absurdity from beaming inside, every sense of reason for the protagonist engaged to combat that amount of taking life completely pointless, and because Absurdism promoted for the letting go of beliefs, both Vladimir and Estragon did quite the opposite and excelled in thriving their belief. They stained their standpoint of waiting by taking pity on Lucky’s situation, whom in contrast showed a quite satisfaction within himself, this fostered their degree of belief to another layout for disbelief free such as that of Lucky’s.

The protagonists’ philosophy that came to birth was of a personal experience merely, and that is to erase that life is a one-time deal; and better still commit suicide and fall for standards such as obeying the concretion so that life would mean something in both herein and hereafter; and that making it absurd to one’s point of view that would only make it interesting for a short time, which is what Vladimir and Estragon helped themselves develop the spirits throughout the waiting procedures.

The circumstances after committing suicide gave a sense of illusion and mistrust, such as of this conversation that illustrated a nonsensical treatment which empowered the protagonists’ feelings and disgusted the vision of Absurdism explicitly:

“Pozzo: Mister! Reply! Do you want them or don’t you? They’re yours. I don’t like it. I’ve never known him to refuse a bone before. Nice business it’d be if he fell sick on me! He puffs at his pipe. Vladimir: It’s a scandal! Pozzo: (To Vladimir). Are you alluding to anything in particular? Vladimir: To treat a man . . . (gesture towards Lucky) . . . like that . . . I think that . . . no . . . a human being . . . no . . . it’s a scandal!”

This drastic treatment that Pozzo showed towards his slave that was Lucky; pacified the protagonists’ fear for their loyalty to their philosophy to go to waste.

What signified the pleasure and energy of their waiting was the monotony radically performing its existence upon their suicide, by means of dramatizing the pictures of Godot’s coming; that expired the sense of boredom into a productive attitude towards their destined perspective on life. This act was in the form of an intuition, an instinctive hint which thrust a blind belief of the original reason they came to infer in acceptance respectfully.

Each excerpt that came to clarify the strong emotions of accepting fate in Waiting for Godot, it came in a God-given gift for the protagonist to be waiting restlessly, they exerted a valuable idea that stood for the aim they set, and that of a pleasant ending it produced boundaries of an easy-fetched loyalty; this latter quality which conformed to the protagonists’ self-destruction. In a knutshell; they are the prey to their admission of such behaviour, allowing to prepare the mental havoc into a state of a correlative punishment being tasted by standards of risk, passion and exposure to the unreasonable challenges that appear in aphorisms that excite and hurt at the same time.

The longevity of Albert’s point of view in his well-dressed essay to the world, is more than reasonable in accordance with his point on life, it is what he titled and pinpointed brilliantly throughout believing in the upcoming post-modernism’s struggles; actions which flourish out of nothingness and still awareness is raised concerning this very realm of absurdity, yet consequences convince the shapes of this depraved man to embrace life fatalities in malignancy, at this point; he confessed with valour the human being’s pathetic status when he stated: “Less out of pride than out of awareness of our ineffectual condition. We, too, sometimes feel pity for ourselves. It is the only compassion that seems acceptable to us”. This is the consistency that Albert attempted to proclaim, that this meaningless but hopefully related to the world’s nothingness; would be the standards that come in epiphanies once mankind feels jinxed and lucky at the same pace of motion.

Here is another aphorism which hands over the regulations that hem one in an empty circle of downward spiral, the meaning of life is quite supported by edgy confrontations, such as that of Lucky’s point on life; being drowned into his image of accepting the pointlessness of his fate, and that of Vladimir and Estragon’ being of suicidal qualities and driven to the major satisfaction of it, that is to say; such philosophy of demonstrating the sheer cooperation to whatever is empowering and downing what Waiting for Godot’s protagonists felt tedious to tackle; was the exact behaviour that saved them from the reckless choices made by Lucky and Sisyphus. Albert herein stated:  “Man is always prey to his truths. Once he has admitted them, he cannot free himself from them.”

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Aboubakar Mihoubi

A well-driven writer of very crucial topics to several fields, Literature, Social backgrounds of Nations and Civilizations.

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