Lucky McKee

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    Vladimir 's Song as a Representation of the Play in Samuel Beckett 's Waiting for Godot Samuel Beckett 's two act tragicomedy Waiting for Godot depicts the endless wait for something better as told through the eyes of two homeless men named Vladimir and Estragon who have nowhere to go. As both men wait for a person by the name of Godot, they find ways to pass time in the form of friendly banter, contemplating suicide, philosophical conversations and reminiscing about the past. Both acts end the same way, a boy coming to tell them that Godot will come the next day. Thus, marking Vladimir’s and Estragon 's never ending wait for Godot, who may never come. Vladimir and Estragon’s suffering now continues and the cycle repeats itself eternally until it is stopped by someone who instead of waiting for nothingness, chooses to live life on their own terms. A key piece of the play that reflects the ideas that Beckett is trying to present, is the song that Vladimir sings in the beginning of the second act. It is a repetitive song about a dog that stole a piece of bread and was thus beaten to death by a cook. This leads to other dogs burying the dog in a tomb. It is put in a grave on which the tombstone recounts the dog’s efforts so that other dogs may refrain from doing the same. The song repeats itself for eternity until its singer gets tired of singing. Despite its childishness and slightly dark undertones, the song that Vladimir sings ultimately reflects the nature and structure…

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    “Nothing happens. Nobody comes, nobody goes. It's awful.” This quote extracted from Waiting for Godot, an absurdist play by Samuel Beckett that premiered on 5 January 1953, holds the essence of absurdist theatre and what its playwrights seek to express- the inescapable meaningless and futility of life. The origins of absurdist theatre are commonly linked to the avant-garde experimentations of the 19th century, but there has been speculation that there were traces of absurdist theatre in works…

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    (Pause.) For the moment '. The characters fail to realize that the very act of waiting is a choice,yet they view it as mandatory. In the same fasion is when Vladimir and Estragon are talking about Godot in the following quote; 'VLADIMIR: He didn 't say for sure he 'd come. ESTRAGON: And if he doesn 't come? VLADIMIR: We 'll come back tomorrow. ESTRAGON: And then the day after tomorrow. VLADIMIR: Possibly. ESTRAGON: And so on '. With Pozzo it 's how he measures himself compared to others and…

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    Hamlet and when the scene is finished Rosencrantz and Guildenstern are left baffled and resume seemingly insignificant dialogue. In Waiting for Godot the metatheatre high action periods occur during the episodes of Pozzo and Lucky’s master-slave relationship. Writer Ken Mayer’s argued that these metatheatre episodes “arose ‘pity and terror’ (both in Vladimir and Estragon as well as the audience)”because we all desire to be like Pozzo and fear to be like Lucky.” It is also interesting to note…

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    Hamlet Monolog Analysis

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    Hamlet’s monolog is one governed by rationality. It is a meditation on life and death, being alive and not being, over the disadvantages of existence and the act of suicide. Hamlet compares life with death. He sees life as missing the power, humans as being exposed to the blows of life and outrageous fortune. The only way to dodge the blows will be to stop existing. The death is thus a desirable state. Nevertheless, it is also seen as a journey to the unknown, to a place for which there is no…

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    succeeding, then “[feeling] about inside it, [turning] it upside down, [shaking] it, [and looking] on the ground to see if anything [had] fallen out…” (3). In addition, the comedy in the stage direction is also clearly seen with Beckett’s use of hats. Vladimir “takes off his hat, peers inside it, feels about inside it, shakes it, [and] puts it on again.” (3) Both of the protagonists have obsessions with physical objects. Instead of being fixated on something meaningful such as a relationship or…

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    Isolation In The Caretaker

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    INTRODUCTION Pinter’s first phase of writing is categorized into the Theatre of the Absurd which reflects the individuals’ concerns in the mundane world. The Absurd dramatists attempt to show the vivid reflection of the modern man and his bewilderment in their dramatic oeuvres by applying some specific elements. One of the fundamental themes of such drama is isolation. Absurdists mostly put their accusing finger on this weakness of man to prove his fragility of being alone. However, Absurd…

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    character of ‘Godot’. The audience or the readers do not know who ‘Godot’ is. The identity of ‘Godot’ remains uncertain throughout the play. Many critics assume that ‘Godot’ can actually mean ‘God’ however, Beckett strongly denies of this assumption of ‘Godot’ referring ‘God’. The uncertainty of the plot can also be seen where Vladimir pretends not to recognize Pozzo and Lucky in the first act. However, in the second act the event takes place in the other way around where Pozzo refuses to meet…

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    Rape! It is absurd and takes something away so precious from a person. Sex is supposed to be something of value, something we tell our children to hold on to until marriage. We want them to share that one special thing with a significant other, but when someone of no morals steals that without consent, it affects the one raped and those loved ones around them. The main character Alice in the book Lucky by Alice Sebold was raped and that made a drastic turn in her life and affects those…

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    Postmodernism In Hamlet

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    However, Beckett’s play is serious and grim, much different than Stoppard comedic tragedy. This difference may have to do with the personal background of each playwright. Tom Stoppard was a child during the outbreak of World War II but Samuel Beckett was an active member of the French Resistance. As an Irishman helping the French, Beckett fearfully watched WWII much like his characters Vladimir and Estragon fearfully watched the episodes of Pozzo and Lucky. In contrast, Stoppard was a child…

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