Waiting for Godot and Dumbwaiter Comparison

postp angiotensin-converting enzymement for Godot and shadowywaiter comparingAmong the best plays which female genital organ be compargond to one a nonher in different ways atomic number 18 delay for Godot written by Samuel Beckett and The Dumb Waiter written by Harold Pinter. One of the common elements the devil plays piece is the hold factor which leads the few characters of both plays to do m each erroneous activities to fill the passing of date. Pinter has apply many of the characteristics of hold for Godot in his own play showing the absurdity of the world through an absurd waiting for someone or something that never arrives. In this short essay these two plays are compared centre on the waiting factor shared by the two. Examples are similarly provided from both plays in a parity table on page 8 to 11, on the factors that result to the absurdity.P distri stillesThe plot in Waiting for Godot is a desert with a tree in the middle and the characters bob up to the s cene at the outset and leave at the end of each twenty-four hour period. The scene is one location and it doesnt change throughout the play. This resembles the base world we are living at and it means we are tout ensemble trapped in a cage like prisoners that we either cannot leave or are afraid to do so as a result the only thing we do is to wait for someone dominant and powerful to benefactor us who never arrives so the waiting goes on.Plot in The Dumbwaiter is a basement get on with two beds, flat against the hind end wall, a serving hatch, closed, mingled with the beds. Also a door to the kitchen and lavatory, remaining and a door to a passage, right. Many of Pinters plays, as in Samuel Becketts Waiting for Godot, take place in one location. The single location again takes on the form of a prison for the characters, a cast off from which they either cannot leave or are afraid to do so. Rather than bore the audience with miss of variation, the repetitive actions that come along with the single space generally constitute one of Pinters (and Becketts) main shanks. The purlieu also assumes attributes beyond its scope. The serving hatch, for instance, becomes a symbolic channel to a higher power, or God, whom Ben fears, part the bath inhabit develops into a place of mundane repetition for Gus. The basement also enjoymentctions as part of the conundrum and betrayal of the Dumb Waiter. It makes us to think who owns the building? Is it still a caf? Is Wilson inside? (4)American hereditary patternBritannica concise Encyclopediahttp//en.wikipedia.org/wiki/Harold_Pinterhttp//www.eng.fju.edu.tw/iacd_2003S/c_pm_lit/dumbwaiter.htmCharactersWaiting for Godot has five characters as tarragon, Vladimir, Pozzo, Lucky and a messenger boy. The Dumbwaiter has two characters named Gus and Ben. As with Godot, in The Dumbwaiter the two characters are one dominant, one submissive, who share the amount of garner and syllables in their names (although Pinters Gus and Ben are simpler names-and simpler characters-than Becketts Vladimir and Estragon). Guss difficulty in putting on his shoe corresponds to a correspondent problem with a boot in Becketts play. In both plays, more thanover, the characters have been stranded in one place with an unclear purpose, at least from the audiences perspective (1).In both plays, characters have not got any good communication. In Waiting for Godot plot is static. There is a lot of repetition, stability and progress. In The Dumb Waiter dialogues are non-sense of conversation. We train the scene as a room is his chance of world. It is identical with Becketts view of the world. The world is going down, the drain. We see the toilet which smells very bad, dirty. And the feet of Vladimir and the breath of Estragon are stinky (2). In Waiting for Godot, the two characters are not satisfied and they both are waiting but in The Dumbwaiter, Ben is hopeful and satisfied with the world which is the room, while Gus is questioning everything and is not satisfied.Figure of Power (the Godlike)Pinters opinion of deity is the man upstairs. He is the boss. He is the ruler, master. He is the figure of power. He comes with them and leaves. He doesnt get in touch. It could be any judgment of conviction. This is direct cultivate of Beckett on Pinter with the idea of Godot who lives somewhere else nearby. In both plays the Godlike character is international and uses messengers to contact the characters on the scene. In Waiting for Godot, Beckett uses a boy as the messenger with the difference that in The Dumbwaiter Pinter uses the dumbwaiter as the messenger for Wilson (the figure of power).Central Action (Theme)Like a lot of theaters of the absurd, both plays are tragic and comic in nature. The plays are in that respectfore referred to as a tragicomedy, or black comedy. As the very titles of the plays reveals their central action, in both of them people are waiting. And the major report card is the act of waiting for someone or something that never arrives. Be compositors graphic symbol they have nothing to do in the mean measure, cartridge holder is a dreaded barrier, a test of their ability to endure (3). Because they repeat the same(p) actions every day, quantify is cyclical. And cadence loses centre when the actions of one day have no relevance or certainty on the next.http//www.archive.org/stream/pinteracriticale007278mbp/pinteracriticale007278mbp_djvu.txthttp//www.soundofevil.com/ingilizce-hikaye-roman-kitap/14138-waiting-godot-amp-dumb-waiter-amp-end-game-samuel-beckett-harold-ingilizce-kitap-ozeti.htmlhttp//www.shmoop.com/waiting-for-godot/ fourth dimension-theme.htmlThe WaitingIn both plays the people are waiting for off-stage characters who exercise a powerful, god-like influence over the on-stage characters. No acceptable path existed for them to end their waiting and, therefore, they were forced to wait. Through this, the play showed that there are things for whi ch one must wait and that no amount of initiative forget end this waiting (1).Their situation, then, is that of people waiting for nothing much, in a universe that has nothing much to offer. As they wait, and we watch, we crack something slightly how man behaves under such circumstances. We see them devising, with diminishing success, games to play to pass the time we see them try again and again to understand the unintelligible we see them discuss committing suicide, but never without decision an excuse to put it off we see them cling to each other for company while continually bickering and talking about how much better off they would be apart (specially in Becketts). successionTime in both plays is a dreaded barrier, a test for their abilities to endure. It is also cyclical and loses meaning when actions of one day have no relevance or certainty on the next. We see in Waiting for Godot that the characters even cannot tell the time of the year or the day. And also in The Dumbwa iter the room does not have a window so they guess the time and there are no words of a watch or looking at a clock in the play. Ben by choice does not remember the emotional subjects and the times they spend together before or a fun they had and when Gus sticks them up Ben tells him not to talk or asks him to do something or changes the subject so nothing seal off him from what Wilson has asked him to do which is murdering Gus which happens at the end of the play. The time factor has relation to the next part which is repeating as it is well explained as follows. And as Velissariou indicates When reality is not measured by time and is not trammel by spatial boundaries but lies in an infinite time and an abstract space, then words can never be definite about a meaning which must perpetually elude them. (2)RepetitionThe repetition in the plays provides further evidence of the unimportance of time for Vladimir and Estragon and also for Ben and Gus. Both acts are identical excludi ng a few small deviations. With one day after another being basically the same during their wait, it is no wonder that Vladimir and Estragon had incommode telling one day from the next and that they had trouble remembering what happened during each day. Because of this lack of significant change, time had no meaning for them, and therein lays the larger theme that these scenes help to convey. If the day before was meaningless and if most of the periods before this were meaningless, time itself was meaningless for them as well. As Estragon said at the beginning of the second day in reference to that day, For me its over and make with, no matter what happens, which suggested his own realization of the meaninglessness of that day and of time itself.An example of a distinctly cyclical pattern in Waiting for Godot that well introduces the repetition is when Estragon sings a song as followsA dog came in the kitchenAnd stole a crust of bread,Then cook up with a ladleAnd beat him till h e was executed.Then all the dogs came runningAnd dug the dog a tombAnd wrote upon the tombstoneFor the eyes of dogs to comeA dog came in the kitchen . . . .Questions while WaitingEstragon (anxious). And we? Where do we come in?Estragons question is left unanswered by Vladimir. none that these questions seem to bring pain or anxiety to Estragon. Beckett conveys a universal depicted object that pondering the impossible questions that arise from waiting, cause pain, anxiety, inactivity and destroy people from within. none that both Vladimir and Estragon ponder suicide, by hanging themselves from the tree, but are unable to act through to anxiety, as Estragon states, Dont lets do anything. Its safer (1). And also in the case of The Dumbwaiter whenever Gus tries to bring up something emotional, and to ask questions, Ben refuses to lecture with him. This disconnection is the essence of their relationship. They do not speak with, but to each other.Silences and PausesBoth plays are fil led with silences and pauses during the waiting. In theater of the absurd silences and pauses have lead different applications. Either the characters are in a state of shock, or they are making time pass or they are hiding information from one another. Silences and pauses do carry meaning in these multifariousnesss of plays as if they are the same as using words to convey meaning. In Waiting for Godot, the silences are as a result of not having much to do trying to pass time until Godot comes and also lack of good communication. In the Dumbwaiter, silences and pauses are as a result of hiding information from Gus who will be the victim of the day at the end of the play when Ben shots him and the secrets are revealed.It is worth to mention Velissarious hitch of silences in Waiting for Godot here as The silences in the play effectively Becket the terms an audience major power adopt in order to understand them the meaning is communicated by the intervals between words. In Didi and G ogos dialogue about the dead voices the silences are evenly distributed, atomizing the exchange into fragments of cross-talk. The empty stage is filled for a moment with the front of dead people, worn out voices, fragmented whispers, murmurs and rustlings, and this sudden proliferation of the thoughts, speech, and noises of dead people suffocates Didi and Gogo because they themselves are emblematic of that dead humanity. Beckett stages the sounds of silence, the other side of language, and Didi and Gogo, in their yearning for authenticity, aspire to the point of overlap, to the zero, to the point where all difference is obliterated. It is a form of death-wish. The dead voices are heard inside their silences talking of the past, of dreams and hopes presence is once again commensurate with absence. (1)Universality of the WaitingAs human beings were all clinging to the hope of some kind of salvation, some kind of Godot to come and save us from our intolerable suffering, our poverty, our disease, our boredom, our quiet desperation (2) or a kind of Wilson to notify us through our life. This hoping, this waiting, removes us from the potentially liberating awareness that the moment were actually suspended in, this moment between birth and death that glows so briefly, is ultimately more important than any vague better next we might desire.Life is a lengthy period of waiting, during which the passage of time has little importance. Each day the characters wait for the savior, and, if he doesnt come that day they will continue to wait. The amount of time that they had already dog-tired doing this and the amount of time that would do so in the future is unknown, but neither is important because time is meaningless for them. Each day they would continue to wait for the unknown savior until he either came or time ended through their death.Sum upThe plays confront the absurdity of existence and challenge us to figure out who we are and what were doing here. In this ran dom universe, where everything who lives and who dies, whos up and whos down, is a matter of pure chance, and the betting odds arent necessarily in our favor, what do we do? Whats our purpose? The Dumbwaiter shows the same waiting as in Waiting for Godot with the difference that there is a more violent atmosphere which gives the sense of deceiving and murder.So Waiting for Godot and the Dumbwaiter are plays about waiting, about the repetition, the meaninglessness, the absurdity of waiting, of feeling (and being) suspended in time quite of moving forward in a meaningful direction and for the possibility of a better future that we are not quite fully convinced will ever arrive.You can find the comparison table with examples provided based on the factors mentioned above from the two plays as followsEXAMPLESFactorsWaiting for GodotRepeating actionsVLADIMIR Theres man all over for you, blaming on his boots the faults of his feet. ( He takes off his hat again, peers inside it, feels abou t inside it, knocks on the crown, blows into it, puts it on again.)POZZO (He puts the pipe in his pocket, takes out a little vaporiser and sprays his throat, puts back the vaporiser in his pocket, clears his throat, spits, takes out the vaporiser again, sprays his throat again, puts back the vaporiser in his pocket.)Repeating wordsNothing to be doneESTRAGON Why doesnt he put down his bags?POZZO I too would be happy to assume him. The more people I meet the happier I become. From the meanest creature one departs wiser, richer, more conscious of ones blessings. Even you . . . (he looks at them ostentatiously in spell to make it clear they are both meant) . . . even you, who knows, will have added to my store.ESTRAGON Why doesnt he put downhis bags?Killing TimeVLADIMIR That passed the time.ESTRAGON It would have passed inany case.VLADIMIR Yes, but not so rapidly.VLADIMIR Shall I tell it to you?ESTRAGON No.VLADIMIR Itll pass the time. (Pause.) Two thieves, crucified at the same time a s our Saviour.SilencePOZZO (Silence.) Its the nicotine, one absorbs it in spite of ones precautions. (Sighs.) You know how it is. (Silence.) But perhaps you dont smoke? Yes? No? Its of no importance. (Silence.) But how am I to sit down now, without affectation, now that I have locomote? Without appearing to -how shall I say- without appearing to falter. (To Vladimir.) I beg your pardon? (Silence.) Perhaps you didnt speak? (Silence.) Its of no importance. freehand irrelevant answers to the other personPOZZO True. (He sits down. To Estragon.) What is your name?ESTRAGON Adam.POZZO (who hasnt listened). Ah yes The night. (He raises his head.) But be a little more attentive, for pitys sake, otherwise well never get anywhere.Not knowing the time the Godlike comes or sends messageHe said Saturday. (Pause.) I think.ESTRAGON You think.VLADIMIR I must have made a bill of it. (He fumbles in his pockets, bursting with miscellaneous rubbish.)ESTRAGON (very insidious). But what Saturday? And is it Saturday? Is it not rather Sunday? (Pause.) Or Monday? (Pause.) Or Friday?VLADIMIR (looking wildly about him, as though the date was inscribed in the landscape). Its not possibleESTRAGON Or Thursday?Got used to waitingVLADIMIR No further need to worry.ESTRAGON Simply wait.VLADIMIR Were used to it.Not doing what they say they wouldESTRAGON Well, shall we go?VLADIMIR Yes, lets go.(They do not move).ESTRAGON Then adieu.POZZO Adieu.VLADIMIR Adieu.POZZO Adieu.(Silence. No one moves).VLADIMIR (to Estragon). lend oneself him his hat.ESTRAGON Me After what he did to me NeveVLADIMIR Ill give it to him.(He does not move).Being promised that the master will comeBOY (in a rush). Mr. Godot told me to tell you he wont come this evening but surely tomorrow.Not remembering (or not wanting to Remember) the pastVladimir mentioned the time that he and Estragon had spent in macon country picking grapes. Estragon did not remember this period, and even Vladimir has trouble remembering details of th eir time there, such as the name of the man for whom they worked.They couldnt remember the day before or even if it was the same place they were waiting for GodotNot knowing the timePOZZO What time is it?VLADIMIR (inspecting the sky). Seven oclock . . . eight oclock . . .ESTRAGON That depends what time of year it is.POZZO Is it evening?