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The Double Position of Waiting for Godot

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The Double Position of Waiting for Godot Rupkatha Journal on Interdisciplinary Studies in Humanities, Vol. VIII, No. 3, 2016 0975-2935 DOI: http://dx.doi.org/10.21659/rupkatha.v8n3.13 Full Text: http://rupkatha.com/V8/n3/13_Double_Position_Godot.pdf The Double Position of Waiting for Godot Ali Taghizadeh1 & Gholamhossein Mahmoud Soltani2 1Assistant Professor at the English Department of Razi University of Kermanshah, Iran. ORCID: Orchid.org/0000-0003-3820-1468. Email: [email protected]. 2PhD Candidate in English, Razi University,Iran. Email: [email protected] Received March 27, 2016; Revised July 24, 2016; Accepted July 07, 2016; Published August 18, 2016 Abstract No way can one exaggerate the unique position possessed by Samuel Beckett and his seminal play Waiting for Godot on the stage and in the dramaturgy alike. Undoubtedly, nestled in the core of this work lies some working which has bestowed it with such roaring success. Beckett’s play is an embodiment of the idea that binary oppositions are not more than conventions which therefore can be subverted to allow a wide gamut of unprivileged voices to find a leeway. Waiting for Godot is full of ambiguities and binary oppositions, just to name the extreme one, the concept of “waiting” and the implicit binary of “substance/form. Therefore, it can be read as a dramatization of how it neatly pits such hierarchies against the deconstructionist suspicion of the accepted binary items present in the Western philosophical tradition. Considering how much affinity Derrida himself has seen with Beckett, Waiting for Godot is a ground conducive to the concepts of deconstruction to be practiced. Key Words: Deconstruction, Duality Ambiguity, Substance, Form, Incubation Introduction The main theme of Samuel Beckett’s Waiting for Godot is a familiar yet quite unknowable one. His play causes in the reader an acute feeling of sweet anxiety, the anxiety of confrontation with a waiting which is at the same time both familiar and unknowable. So, as long as we human beings have something to wait for, this play and its criticism are there to stay with us. The magnitude of this work is perhaps something upon which there is consensus among the readers while there is also an ever-altering kaleidoscope of points about it with degrees of disagreement. Therefore, © AesthetixMS 2016. This Open Access article is published under a Creative Commons Attribution Non-Commercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited. For citation use the DOI. For commercial re-use, please contact [email protected]. 106 Rupkatha Journal on Interdisciplinary Studies in Humanities, V8N3, 2016 probing questions arise as to how this condition comes to be. What is there in the core of this play that makes it so ironically both immune and prone to various forms of categorically irreconcilable interpretations? What are the main binary oppositions subverted in it, and how does this relate to the philosophical lineage belonging to pre-Deconstruction era? More interestingly, it seems that having fostered a deconstructive mode of thinking, Waiting for Godot is a yardstick for measuring the distortion of the stabilized and classically accepted norms and notions. This paper argues that Waiting for Godot’s doubleness, ambiguity, and ambigram-like condition renders it simultaneously immune and prone to various, perhaps opposite, interpretations. In other words, it not only apparently fosters the conviction that sign is more than a one-way avenue, it also displays this paradigm in all its aspects and obsessions with dualities. As a play of significations, it portrays a dream in which a topsy-turvy world is as ethereal or incredible as the normalized one, and waiting in it is more of the nature of an act of incubation the result of which could be either a crack in the shell of life, or an eternal silence inside the shell which is a guarantee of death. Deridean deconstruction has most probably delved as deep as possible in the idea of ambiguities and oppositions, and since Derrida himself has assumed such a double position towards Beckett, it seems fitting that the double position of his play be critically analyzed in this study. Discussion The Double Position of Waiting for Godot In Derek Attridge’s 1989 interview with Derrida (Bennington, 1992), when the course of the interview takes a propitious course to venture two questions regarding Beckett, the way Derrida fashions his responses is by all means worth contemplation. The first question zooms on the reason why he has observed a silence on Beckett. Derrida quickly wraps up his answer saying that he feels himself “very close…but also too close” to Beckett (p. 60). But before he is deterred from his fleeting remark, a more loaded question is imposed on him: if Beckett’s texts are, from his point of view, ‘“deconstructive” or “self-deconstructive”’ (p. 61). The second question reveals a tendency to imply that Beckettian texts could be both the parole and the langue for Derridean deconstruction. That is to say, his texts simultaneously speak the language of deconstruction and its metalanguage. In response, he mentions that “… the two possibilities are in the greatest possible proximity and competition.” Although, obviously enough, Derrida choses to handle the question evasively, the reason why he assumes this stance is not so much the concern of the present study as the actual existence of the stance itself. In other words, this study will attempt to examine Waiting for Godot both as a meta-deconstructive-theory text (langue) and a deconstructively-constructed text (parole), and the possibility of this double approach has been tentatively acknowledged by Derrida himself. Admittedly, from among Beckett’s 107 The Double Position of Waiting for Godot plays Waiting for Godot is the most-talked-about one. Thus, the scope of this paper is limited to it. Hence, the double-position of this play as an outstanding specimen of his oeuvre needs firstly to be further explored. From the eye of Derrida, Deconstruction wants to displace the complex systems of Western intellectual hierarchies via “a double gesture, a double writing, a writing that is in and of itself multiple…, a double science” (1981, p. 41). It is a general strategy which works, among other things, for the cancellation of the binary oppositions (such as speech/writing) which Western philosophy has taken use of since the classical times. Thus, in the present study this doubleness, inherent as it is in the core of deconstructive strategy, is taken as a point of departure. As distinguished from and contesting such binaries and hierarchies by virtue of its conflating sides, this doubleness, that is, this policy of “both X and Y” (rather than the policy of “either X or Y”) is incorporated in the heart of Beckett’s play in both textual and theatrical senses. However, before we further this point in a case-based manner, we should talk a bit about how this doubleness opposes to binary oppositions. According to Derrida, the Western thought from the classical times has been revolving around the concept of centres (Powell, 2000, p. 21). In each binary opposition, such as dark/light or nature/culture, there are two terms (elements) one of which is traditionally privileged over the other. This means that the term which comes to be privileged necessarily entails the inferiority of the other one – hence the “either … or” logic is imposed on the mind of the reader. In the binary presence/absence for instance, “presence” is the privileged term, and not only it is privileged, but it also excludes the inferior term, “absence”, or pushes it aside. Therefore, whatever indicates presence enjoys the appointment to the prevalent position while that which fails to assert its presence is always overshadowed and dwarfed. Inherent in Waiting for Godot is a duality (or an ambiguity) which allows for various readings. These readings can exist side by side without being mutually exclusive. Were Beckett’s text revolving around a single centre whatever, it would undoubtedly find a way to marginalize any other possibility. So, one can understand why Paul Stewart argues that every study of Beckett seems to be an attempt to find "temporary accommodations with Beckett's texts" (2006, p. 10). The role of these temporary accommodations is analogous to that of a staircase landing where we are provided with relief from the anxiety of what is incessantly possible yet undecidable. As Jim Powell paraphrases Derrida, it is out of anxiety that we try to create new centres all the time and thus marginalize other centres (p. 29). Therefore, due to the role of a perfectly rich ambiguity in Beckett’s play, the present research finds it well conducive to such interpretive analyses. A Reading for the Privilege of Presence We can address a number of critical approaches to Waiting for Godot with rather similar outcomes. One approach is reading it for its gnosticism, which is a teleological reading. Chris Ackerly’s 108 Rupkatha Journal on Interdisciplinary Studies in Humanities, V8N3, 2016 "’Perfection is not of this World’: Beckett and Mysticism" (2004) is a teleological reading. In Ackerly’s study, the messenger boy’s appearance at the end of the two acts of the play at a moment when Beckett’s audience may surmise that "Godot is an illusion" (p. 46), his appearance is interpreted as the introduction of light into darkness which saves the audience from the thrall of nihilism. For Ackerly, Beckett's fascination with dualism is indicative of the influence of Alexandrian neo-Platonism which is concerned with the conflict between opposites. However, what is of paramount importance here is the way Ackerly contests darkness with light and privileges the latter over the former.
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