Concept of Destruction in Samuel Beckett's Waiting for Godot

Home , Act Without Words I, Assumption (short story), Waiting for Godot

Masaryk University Faculty of Education Department of English Language and Literature

Bachelor thesis

Supervisor: Author:

Mgr. Jaroslav Izavčuk Monika Chmelařová

Brno 2013

Declaration:

I declare that I was working on the thesis Concept of Destruction in Samuel Beckett's Waiting for Godot independently, using only the sources listed in the bibliography section, in accordance with Disciplinary Regulations for Students of Masaryk University Faculty of Education and act no. 121/200 concerning the copyright, the rights related to copyright and change of laws (copyright laws), as amended.

In Brno, ...... Monika Chmelařová

Acknowledgement

I would like to to express my gratitude to the supervisor of my bachelor thesis, Mgr. Jaroslav Izavčuk, for his guidance, help, professional advice and willing attitude he provided all the time of the development of my bachelor thesis. Annotation

The subject of the thesis Concept of Destruction in Samuel Beckett's Waiting for Godot is an analysis of the play with the aim to identify the elements of destruction within it, with a subsequent discourse. The theoretical part of the thesis is based on the application of knowledge gained from the secondary sources with the focus on thematically determined interpretation of the primary source.

The practital part of the thesis is focused on identification and discourse over the elements and mechanisms of destruction in the play, with the argumentation from secondary sources used. The manifestations of destruction are divided primarily into two main lines, i. e. destruction at a somatic level and one at a psychical level. The work also deals with the presence of destruction at spacial, temporal and linguistic concepts of the play. The issue of destruction falls within characteristic features of the Existentialist movement; the play is also inserted in the context of the Theatre of Absurd. Therefore, the aforementioned movements are introduced, at least at their very basic level, relevantly to a defined interpretive intent and in an accordance with author's attitude towards them. Finally, an attempt is made to justify the presence of destructive elements and to find their origin.

Anotace

Předmětem bakalářské práce Pojetí destrukce v díle Samuela Becketta Čekání na Godota je analýza hry zaměřena na identifikaci prvků a mechanismů destrukce s následným rozborem těchto jevů. Teoretická část práce je založena na uplatnění poznatků ze sekundárních zdrojů s cílem tematicky vyměřené interpretace primárního zdroje.

Praktická část práce se zabývá identifikací a rozborem prvků destrukce v rámci hry, a to za použití argumentace ze sekundární literatury. Projevy destrukce jsou primárně rozděleny do dvou linií, a to destrukci projevující se na úrovni somatické a destrukci s dopadem na úrovni psychické. Práce se rovněž zabývá přítomností prvku ničení a omezenosti v prostorovém, časovém a jazykovém zasazení či pojetí hry. Téma destrukce spadá do charakteristických prvků směru existencialismu; hra rovněž náleží do kontextu absurdního dramatu. Z tohoto důvodu jsou v práci představeny i zmíněné směry, minimálně na jejich základní úrovni, relevantně k vymezenému interpretačnímu záměru a v souladu s přístupem samotného autora k daným směrům. V závěru analytické části práce je pojednáno o možném původu destruktivních prvků, které jsou v díle přítomny. Jedním z vymezených cílů je analýza kontextu díla za účelem nalezení původu těchto prvků a opodstatnění jejich přítomnosti v díle.

Bibliographical Description

CHMELAŘOVÁ, Monika. The Concept of Destruction in Samuel Beckett's Waiting for Godot: bachelor thesis. Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2013. 70 p. Supervisor: Mgr. Jaroslav Izavčuk

Bibliografický popis

CHMELAŘOVÁ, Monika. Pojetí destrukce v díle Samuela Becketta Čekání na Godota: bakalářská práce. Brno: Masarykova univerzita, Pedagogická fakulta, Katedra anglického jazyka a literatury, 2013. 70 p. Vedoucí práce: Mgr. Jaroslav Izavčuk

Keywords

Existentialism, Atheistic Existentialism, The Theatre of The Absurd, Destruction, Psychical destruction, Somatic destruction, Spatial setting of the play, Temporal setting of the play, Hierarchy, Emotional dependence, Existentional dependence, Perception, Epistemology, Language concept, Communication, Never been properly born / Never been born entirely (C. G. Jung), Loss, Suffering, Limitation, Absurdity, Myth of Sisyphos, Suicide, Timeflow, Disillusionment

Klíčová slova

Existencialismus, Ateistický Existencialismus, Absurdní drama, Destrukce, Psychická destrucke, Somatická destrukce, Prostorové zasazení hry, Časové zasazení hry, Hierarchie, Emoční závislost, Existenciální závislost, Vnímání, Gnozeologie, Jazykový koncept, Komunikace, Jungovo "nikdy nearozen plně/přirozeně", Ztráta, Utrpení, Omezenost, Absurdita, Mýtus o Sysifovi, Sebevražda, Plynutí času, Deziluze The Content:

The Content ...... 6 Introduction ...... 8

1. Samuel Beckett ...... 10 1. 1. General interpretability of Samuel Beckett's literary work ...... 10

1. 2. Samuel Beckett's autobiography in the background of his work and thoughts; Destruction as an autobiographical feature ...... 14

2. Psychical destruction and war as overlapping phenomena ...... 17 2. 1. Existentialist situation as a starting postition and Destruction as a driving force ...... 18 2. 2. Destruction in the field of other literary works ...... 20 2. 3. The phenomenon of destruction in the form of motive or a theme in other Beckett's plays ...... 23

3. Destruction in Waiting for Godot ...... 25

3. 1. Concept of the term ...... 25 3. 2. Concept of somatic destruction ...... 26 3. 3. Concept of psychical destruction ...... 26

4. Somatic destruction and its manifestations ...... 27 4. 1. Reasoning of Pozzo's blindness and Lucky's dumbness ...... 28 4. 2. Motive of suicide and its concept (Social vs. Existential) ...... 30

5. Psychical destruction and its manifestations ...... 32 5. 1. An absurd destiny of a man ...... 32 5. 2. Issue of hierarchy, subordination and manipulation ...... 35 5. 3. Issue of dependency ...... 36 5. 4. Loss of dignity ...... 37 5. 5. Loss of power to speech ...... 38

6. A comparison of somatic and psychical destruction ...... 40

7. Temporal concept of the play ...... 41 7. 1. General temporal setting of the play ...... 41 7. 2. Subjects to destruction at temporal level, An issue of memories ...... 44 7. 3. Destruction of temporal causality of the plot ...... 45 7. 4. Motive of coincidence and its function ...... 46

8. Spatial concept of the play ...... 47 8. 1. General spatial setting of the play ...... 47 8. 2. Subjects to destruction at spacial level ...... 48

9. Concept of language function in the play ...... 50 9. 1. General concept of the language ...... 51 9. 2. Predictive value as a subject to destruction ...... 51

10. The origin of destructive features ...... 54 10. 1. Beckett's stay in Tavistock centre ...... 54 10. 2. War experience and the feeling of alienation ...... 55 10. 3. Godot as an initiator of the destruction ...... 56 10. 4. Idea of Beckett's desim ...... 62 10. 5. Idea of Beckett's atheism ...... 63 10. 6. Beckett's approach to materialism ...... 64

11. Conclusion ...... 66

12. Literary sources ...... 68

An Introduction to Concept of Destruction in Samuel Beckett's Waiting for Godot

The play Waiting for Godot undoubtedly offers a great interpretative potential; the limited scope of interpretation in this thesis may thus be considered a means to prevent one from viewing Beckett's work in a superficial manner only. It should be noted that many of the scenes or motives in the work cause an overlapping of somatic and psychical destruction, i. e. at the level of duality of possible interpretation; they also could imply a certain sequence or a causality. Typically, it is the somatic destruction what causes a subsequent mental suffering, yet, within the scenes concerning the issue of suicide, the idea of the creation of a certain preferential hierarchy is suggested in a sense of favoring one type of destruction (i. e. somatic) to the other with the intention to avoid the mental suffering. Based on this, the relation between two kinds of destruction mentioned above does not have to be necessarily equivalent and the idea of their hierarchy is suggested.

The manifestations of destruction at the psychical level are more fragmented than those of somatic nature; the work is specifically focused on consideration of the elements leading to a limitation or degradation of a human being with existential undertone (within the play, this is concerned for the chapters dealing with an issue of being forced to face unavoidable destiny often regarded as an absurd one, not caused by own contribution and feeling of hopelessness to overcome it, an issue inferiority and being an object of manipulation, emotional and existential dependence, loss of human dignity, loss of power to speech, generally motives of dehumanization and loss of human rights).

At the level of lingual setting of the play, the loss of predictive value, displayed as a feature connected with The Theatre of the Absurd, is one of the crucial ideas. Unlike externally described and therefore more apparent demonstrations of somatic destruction, the manifestations at psychical level are necessarily connected with the need for interpretation, at least in order to acquire the ability to assess the degree of its impact and significance. At a somatic level, the destruction acquires a nature of a motive realized by externally displayed wounds or utterances concerning somatic suffering while psychical destruction is, for the reason of its abstract nature, rather a theme and its manifestations are approaching the characteristics of Existentialist movement, either as such or by the consequences they may cause in the mind of a man.

Without any doubt, the play Waiting for Godot is one of Beckett's most famous works. As stated in William York Tindall's monography about Beckett's life and work, "Beckett was all but unknown when Godot, produced in Paris in 1953, proved to be what everybody had been waiting for." (Tindall 5) as well as the utterance "Godot made Beckett known." (Tindall 3). Obviously, the question has been raised about what has triggered such a wide response to Beckett's now-famous play. The explanation is offered in the form of author's non-traditional approach to the spatial setting and overall concept of the plot and dialogues as well as the motives and themes displayed. The destruction or limitation are manifested in the conceptions of aforementioned settings already. The features which could therefore seemingly appear as meaningless or absurd ones may be conceived as an allegory of the reality at its most basic level, stripped of any redundant elements and leading to numerous reflections from recipients' side in the form of an interpretation or a general judgement about the play, as discussed further within the polemics over Beckett's anti-materialistic approach.

1. Samuel Beckett

Within the following sub-chapters, the autobiography of the author will be analyzed with the focus on features having an impact on Beckett's work, as well as the events emphasizing the phenomenon of destruction as an autobiographical feature having its origin in author's life experience and being reflected also in Beckett's work. The analysis is based mainly on monographs about Samuel Beckett, such as Paul Foster's work Beckett and zen: Dilemma in Samuel Beckett's novels (1989), i. e. the monography viewing Beckett's work in a close connection with his life and taking Beckett's attitude to his work and author's comments on it into account. Another author providing a testimony of Beckett's life and work is William York Tindall who within his work Samuel Beckett by William York Tindall (1964) is focused on the overall interpretation of characters in Beckett's work and seeks the thought, motivic and thematic interconnection and similarity between individual protagonists. The crucial aim is an attempt to prove that Beckett's work has its origin in author´s individual experience and his life which as such are the key for interpretation unlike the claim that the understanding of Beckett's work is appropriate by consideration of a variety of ideological movements, especially Existentialist one which is often suggested as way to interpretation.

1. 1. General interpretability of Samuel Beckett's literary work

There are numerous kinds of interpretation of Beckett´s work to be noticed, i. e. as for the play Waiting for Godot but also in case of his other works, especially plays considered to be the significant ones in the field of the Theatre of The Absurd (e. g. Fin de partie - Endgame, Act Without Words I, Act Without Words II). As stated in William York Tindall's work, "There and, later, all over the world, audiences, fascinated and puzzled, found the play at once tiresome, exciting, and unforgettable." (Tindall 5). This statement may serve as an evidence for the aforementioned interpretative potential of Beckett's work. For the same reason, Tindall does not hesitate to use the attribution 'mystery' for Beckett's play: "[...] reactions to this mystery play" (Tindall 6), taking into account the multiple understanding of the play; an attribution of being "absurd" one may be primarily assigned to the play, especially when evaluated superficially or from the perspective of a layman. On the other hand, Paul Foster in Beckett and zen Dilemma in Samuel Beckett´s novels states:

"Actually, there is nothing absurd about Beckett. And certainly his works are not a pastime only. The elements of the absurdity and entertainment, which may be found in his work, are only a mask of a deep mental anxiety. This anxiety reveals the problems of an ontological nature which, further, reveals the depth of Beckett´s emotion." (Foster 11, 12)

Based on the quotation mentioned above, the way of thinking about Beckett's work appears to be suitable only to the extent of the projection of author's own subjectivity and, as mentioned, the depth of his perception and emotion.

Also the author's statement should be taken into account when, being interviewed, Beckett comments on the interpretability of his work: " "I never read the philosophers" - "Why?" - "I do not understand anything of what they write." - "However, some people ask whether the Existentialist view on the problem could serve as possible key to your works." - "There is no key or a problem. I would have no reason to write novels if I was able to express its themes through philosophical terms." (Foster 19). Within this idea, Paul Foster refers to the Swift's term of "scholastic obstetrics" which is understood as "comming up with the meaning which was not originally intended by the author." (Foster 19). Beckett thus rejects the idea his work should intentionally fall under the specific movement and, conversely, a certain movement should serve as an interpretive key for an understanding his work.

Taking author's attitude into account, the possibility of interpretation of Beckett´s work could be viewed with a high degree of skepticism, at least when the philosophical or religious point of view is considered a starting position for the analysis or interpretation. With respect to author´s point of view, it is still possible to claim that the literary work is undoubtedly influenced by author's perception and reasoning and, vice- versa, the author´s inner state of mind must be reflected in his work. The reason for it is that the finding of philosophical conclusion is not Beckett's intention, as it was after all stated by himself. Moreover, his claim provides and explanation to the choice of the form of a novel or a play.

Based on his comment, Beckett's work is said not to be deliberately marked in terms that the author has not been using the symbols which should mean an interpretative task for the recipient (i. e. the audience or the reader), who would be supposed to

11 decipher the author's hidden message. In the monography by Foster, Beckett claims: " "No symbols there, where they were not meant to be" To those, who are going to compare his work with existing school of thought he responses: "I do not care about any system. I do not see even a footprint of any system anywhere." (Foster 18). As far as the issue of the interpretation is concerned, it is justified to assume that in spite of Beckett´s refusal of the idea of considering any system, movement or a philosophy to be the interpretative key to his work, Beckett's own subjectivity is undoubtedly reflected in his work, i. e. without the need to shield the individual features under a certain movement or a school of thought, even though these features occuring in the work are characteristic for any movement suggested.

With regard to Beckett's refusal of any philosophy, the term thinking is further preffered to describe his opinions and ideological attitudes. As well as Beckett, it is also Carl Gustav Jung who shows quite critical approach to a philosophical concept of problem solving, as he has revealed at his very first lecture in the series he was giving in Tavistock: "The next function that is distinguishable is thinking. Thinking, if you ask a philosopher, is something very difficult, so never ask a philosopher about it because he is the only man who does not know what thinking is." (Analytical Psychology: Its Theory and Practice, C. G. Jung The Tavistock Lectures 11). Based on the aforementioned utterance, an idea is pronounced that an excess of philosophical polemics is retreating to a creation of a particular life opinion, i. e., in Beckett's work, the feature to built the contemplation over it. Beckett's Waiting for Godot may be viewer rather as the display of human existence in its simplified form with its ability to cause recipient's change of his/her opinion, attitude or approach, but also it may affect his/her arrangement of values, in other words the play may have an impact at an axiological level.

The question may be raised why, then, Beckett refuses to consider any school of thought or philosophy to be the key to the interpretation. The system itself may recede into the background, yet, when the problem is not understood superficially, the focus on the ideas covered by the system may be identified even without the need for definition provided by a concrete school of thought. The school of thought, when named, causes the integration of its elements and ideas into the form of relevant subcategories, without the focus on the autonomous elements as such.

From Beckett's point of view, the feelings on their own are crucial elements and more important than the term which serves as a shield for them (i. e. certain movement or

12 direction). Beckett therefore refuses otherwise superficial viewing and focuses on individual features without the need for their philosophical or an ideological pigeonholing. Although the motive of destruction, as a main theme of the thesis, is classified or defined in the Existentialist movement, the phenomenon is important on its own, regardless its inclusion. Based on this, Beckett´s refusal of mass pigeonholing may be suggested and the attention is focused on an individual feeling resulting from the reality and its perception instead. In other words, for Samuel Beckett the life experience baring existential feelings of anxiety is crucial, without the need for its shielding under the term Existentialism as such.

Having given his work into the hands of public, Beckett has fully taken the risk for his work to be misinterpreted. Therefore, it is necessary to take primarily author's own attitude into consideration as well as his comments on varieties of interpretation. The concept of destruction in Beckett's work is not analysed primarily as an existential element, but as a feature projected in the work in the form of author's own reflection, i. e. the reflection of his inner mind or the need to pronounce something in an epic, not a philosophical, form.

In conclusion, it is important to realize Beckett's refusal of being a part of any system or a theory, as staded in Samuel Beckett by William York Tindall. "Amorous of individuality, Beckett rejects membership: "I don't think I deserve a place in this school." His rejection may mean no more than the distaste for category, concept, and cause and effect that he announces in Proust, or it may be a declaration of indpendence [... ] Beckett wants to be alone." (Tindall 12, 13). Based on this, it is necessary to concept Beckett's work as an individual, original and unincorporated as such, yet it has subsequently gained a significant position in the field of The Theater of the Absurd and Existentialism due to its sharing a vast majority of relevant features.

As far as the possibility of the interpretation is concerned, the reader is objective only till the extent in which he or she realizes that in the background of Beckett's work, there is a need to say something in terms of the intention to deliver a message, perhaps in the form of a subjective allegory and any interpretation is lately contaminated by recipient's subjective viewing, his or her individual experience and understanding. Therefore, with the intention of an objective analysis, it is necessary to analyse the work primarily at the level of relation: author - work, author's own comments on his work and

13 his own life experience, only secondarily the interpretations of other authors dealing with Beckett´s work should be considered.

1. 2. Samuel Beckett's autobiography in the background of his work and thoughts; Destruction as an autobiographical feature

According to his claim, Becket's work has neither religious nor philosophical undertone. Zen and buddhism, as suggested in Paul Foster's work Beckett and Zen: Dilemma in Samuel Beckett's novels, are standing between two ideological boundaries, and thus may be considered an appropriate point of view when analyzing Beckett's work, since buddhism is considered neither pure religion nor strictly philosophy. The crucial idea of following sections is to discover the connectivity and the projection of Beckett´s autobiographical features in his work, supposing that the phenomenon of destruction has its origin in Beckett's life experience which is subsequently reflected in his work.

Despite the fact his work is not extensive, the name of Irish playwright and novelist Samuel Beckett is, also because of his original concept of creation and overall reality, permanently inserted in the context of The Theatre of The Absurd. There are many disputes to be noticed concerning the national inclusion of Samuel Beckett, who, though born on 13th of April 1906 in Foxrock, near Dublin, is often described as a French writer for the reason of author's own preference of the creation in French language. Born in well-situated protestant family, Beckett was given the choice to study prestige schools, firstly in Dublin and then at Trinitiy College where he put his mind into the studies of French and Italian language. Having finished his studies, Beckett was temporarily working as a teacher in Belfast. However, after one year, he had left to Paris and was giving lectures of English and, among other things, he was working at a prestige French school Sorbonn. After finishing his master studies in 1930, he has worked as a lecturer of French at Dublin Trinity College. After one year, Beckett decided to devote himself to the writing career exclusively.

One of the most important autobiographical features in Beckett's life was the loss of his father, William Beckett, who died in 1933. Thanks to the heritage acquired after his father's death Beckett was allowed to settle down in London. However, he has been strongly influenced by the aforementioned loss and consequently began to suffer from

14 serious depression. Therefore, between years 1935 and 1936, Beckett was treated in Tavistock Centre, a psychiatric hospital in London.

His stay at Tavistock Clinic has contributed to Beckett's finding of his 'philosophy' and beliefs about the life as he witnessed the lectures given by C. G. Jung. The influence of Jung´s lectures in noticable namely in the works Watt (1945), Waiting for Godot (1949) and All that Fall (1956), especially the idea pronounced about "never being born properly" as developed further. In 1938, Beckett moved to France and during the Second World War he actively took part in anti-fascist resistance, i. e. French Resistance Movement1. Under the threat of Nazi persecution, Beckett was forced to hide in Roussillon, a small village in the South of France, which has become a place of the origin of Watt2, a novel published in 1953. After the end of Second World War, Bekcett was temporarily working with Irish Red Cross in St. Lo. in Normandy. Subsequently, he had permanently settled in Paris.

Samuel Beckett preferred the creation in French language for the reason French enabled him writing 'without style' and the struggle for elegance; between the years 1946 - 1949 he has created his prose Molloy (1951), Malone Dies (1951) and The Unnamable (1953). Beckett's significant part of the Theatre of The Absurd may be justified by his effort to create the 'literature of a non-word'. The topics and themes of Beckett's works are often grim; even in case when the author resorts to humor, it is only a black or sarcastic kind of humour - perhaps for the reason that this approach reflects the bitterness which is felt under the pressure of surrounding reality, as it was pronounced by the character of Nell in the play Endgame (1957) "Nothing is funnier than unhappiness, I admitt." (Beckett 13)

Beckett was awarded a Nobel prize in 1969. As compared further, there is a connection between Samuel Beckett and Václav Havel, the Czech representative of the Theatre of The Absurd. This is declared for the work Catastrophe (1984); which is dedicated to V. Havel by Beckett who is dealing with the issue of interrogation of dissidents, of which Havel was a member. Shortly after Beckett has moved to a small nursing home due to his accident, he lost his wife, Suzanne Dechevaux-Dumesnil who died in 1989. Devoting himself to receiving visitors and writing only, Beckett has spent

1French Resistance Movement was directed against German Nazi occupation and collaborative French government. The activities of its members were organization of the help for prisoners of war, sabotage, propaganda and armed actions 2 Watt - a piece of work considered Beckett's last novel written in his native language 15 the end of his life in an almost empty room. His very last work is the book Stirring Still. Samuel Beckett died on 22nd December 1989 of respiratory problems. It is claimed that he decided to devote the majority of the financial reward for Nobel Prize to poor artists.

In conclusion, it is possible to notice several life events which are considered as crucial in order to find a key to author's thinking which is subsequently reflected in his work. Many of these features do correspond with the phenomenon of psychical destruction. Firstly, it has been a cultural and political context and the phenomen of a war, which had a destructive impact on Beckett's mind. Not only the event as such and author's participation in the resistance movement, but perhaps also the consequences he was a witness of during the post-war period as a member of Irish Red Cross could be seen as a source of the suffering and the negative feeling of lingering wartime experience. In a narrower, i. e. purely personal concept, it was the loss of his father and Beckett's subsequent stay in psychiatric hospital what could also be found as an influential feature. The last loss in Beckett´s life to be noticed was the death of his wife, whom he outlived by mere six months.

It is also Beckett's approach to materialism and possession what may be a theme for reflection, since it is possible to discover the difference between Beckett's own, relatively high, social status and his opposition to materialism when displaying the majority of his protagonists as people living at the periphery of the society, poor ones, beggars, deprived of any possession or material ties. At this point, the contrast between Becktett's heritage and accompanying loss of father as such denies the focus on materialism and raises the issue of values when author's mental suffering is also taken into consideration. Another manifestation revealing Beckett's attitude to materialism is his referral of the financial reward gained for Nobel Prize to poor artists.

Generally, the author's subjectivity is necessarily reflected in his work. This subjective viewing as such is based on the life experiences, subsequently formed opinions and approaches and mainly the need to deliver a message which in Beckett's work leads to following polemics, though the prompt for it is not directly pronounced by the author.

2. Psychical destruction and war as overlapping phenomena

In spite of not being an externally pronounced term, it is possible to consider the destruction a phenomenon implied in wider, i. e. life, historical or cultural contexts as well as a feature present in individual events and subsequently reflected in the literary work. Based on this, it is justified to presume that destruction is deducible from other, for Existentialist movement relevant, features such as suffering, vanity of deeds etc.

However, also the interconnectivity of somatic and psychical destruction should be taken into consideration. At this concept, it is possible to notice a great amount of literary works concerning the issue of limitation, loss degradation or decay and suffering, especially when the authenticity of even the slightest mentions of the war perception is considered. This approach may also be based on purely personal life experience. On the other hand, another significant concept is approaching the destruction in previously mentioned worldwide scope, i. e. at the background of events such as war. Not only an immediate and authentic testimonies about the life during war, but also within the works from the postwar period the war experience still echoes. In the form of testimonies, of the authors who have the war experience, the phenomenon of destruction is present as well.

The postwar period, associated with a split of values and the search for identity in the background of unfortunate events, is therefore a strong incentive to the feeling of alienation of the world and gradation of human suffering. In literature, the idea of a war as a destiny is noticeable in which the war is concepted as an unavoidable fate.

In a very similar way the movement of Dadaism has based its ideas on viewing the war as a nonsence causing an enormous consequences, also an absurdity in Beckett's work is understood as a source of suffering without an apparent reason which subsequently has a destructive impact on human's mind. The aforementioned idea of displaying the war as a destiny has its crucial idea in the inability to fulfill the life of a human, who has the war experience. At this point, being affected by war, the human life is viewed rather as finish of one's days only without the possibility to experience a full life. This disillusionment from unfulfilled life or the loss of the possibility to live it fully is subsequently reflected in the literary work, which serves as a confession of disillusionment. In the form of allegory, this is noticeable also in Beckett's Waiting for Godot. On the other hand, the war and relevant mental destruction may be viewed in a positive concept, i. e. as far as its influence on an arrangement of values is considered, as

17 stated in Erich Fromm's work To Have or To Be, the war represented a radical and highly paid means of awakening for growing consumer society which is viewed quite critically by Fromm, emphasing the idea of the need for material detachment: "The crucial question is whether human's heart is obsessed by what does he or she have rather than if he or she owns anything at all." (Fromm 7). Therefore, also in Beckett's work, is an issue of loss is one of the crucial themes; having its result at polemics over arrangement of values. The loss, limitation, suffering and relevant split of values are characteristic elements for an Existentialist movement - i. e. the movement caused and extended by world wars. As expanded in following chapter.

2. 1. Existentialist situation as a starting position and destruction as a driving force

Either as a motive at somatic level or a theme at mental level, the destruction is a phenomenon characteristic for an Existentialist movement, especially in its concept of a loss, limitation, destroying, decay or degradation. Within this chapter, the feature of destruction, as well as the components which are characteristic for Existentialism and said to be purely negative, will be discussed under the positive point of view, i. e. viewing it as a driving force for an origin of different concepts and one having a positive effect in terms of the realization reached through the loss.

The analysis will be performed in a form of the interpretation of the play Waiting for Godot in its wider context; since the play is also characterized by an aforementioned unusual concept at the level of plot, spatial and temporal setting, as well as in its language concept. In general, the issue of destruction is noticeable at many scopes of interest, e. g. artistic, philosophical or literary one. The negation of previous movement in culture may also be called a destruction; the crucial idea of it lies in destroying the original concept and the denial of previous ideas. At this point, destruction may be viewed as a driving force for an emergence of a new thought, a concept or ideology. This is valid for the spatial and temporal setting of Beckett's plays, as well as for the unusual concept of dialogues at a linguistic level.

As far as the issue of destruction as a driving force in cultural context is concerned, destruction (mainly at the psychical level) has its function in many literary and clutural movements, e. g. Decadence. Additionally, the Accursed poets could serve as another example when using the somatic and psychical destruction for the ability of

18 literary creation (such as P. Verlaine or A. Rimbaud). Furthermore, also Dadaism was understood as movement based on the destruction of logic, for the reason of being disappointed, shocked and disgusted by the absurdity of war. The members of Lost Generation displaying and facing the consequences of mental suffering caused by the First World War are also giving a testimony about their distress. At this point it is possible to preview the war is a timeless feature which, regardless the temporal concept, has the ability to cause the same negative psychical impact. The disillusionment of aforementioned Lost Generation resulted from the First World War, the testimony from Spanish Civil War in the form of the collection of the short stories having a significant position in Existentialist works - The Wall (1939) by Jean Paul Sartre, have many features in common (such as disillusionment, split of values or loss) regardless the temporal concept in which the war took place. Making an assessment of the importance of destruction, it should be noticed that term does not always have to acquire a negative meaning, sicne it may be understood as: a) a feature creating a new concept, a means of the reassessment of the reality, when there is a substitution preferred to the pure omission; b) a feature functioning at an axiological level with the ability to cause a certain awakening in terms reprioritisation which has its consequence in the realization of the lost thing's value; c) a feature which enables the emphasize of an existential tone and (often in an indirect way, though) the call for the polemics over a human existence, i. e. at the very basic level, since the redundant elements which could serve as a kind of compensation are removed.

At the background of these concepts of destruction, the war experience or purely personal marginal experience may be found as a kind of starting position not only for negative features and suffering but also a reflection and thinking about values. In Beckett's case it was a suffering from the loss of father which could serve as an example. As suggested above, Existentialism and relevant mental suffering or destruction may be seen as a starting point for the reassessment and realization, mainly in the field of axiology but also in the field of epistemology, since the absurdity of the existential situation is hardly understandable and the feeling of resulting desillusionment serves as a feature denying the faith in rational knowledge based on the ability to justify any phenomenon by logic or reason which, because of the disillusionment and absurdity of the war, appear as irrelevant ones.

2. 2. Destruction in the field of other literary works

In this chapter, the works containing the feature of destruction will be a subject of the analysis with the aim to find a similarity to Beckett's usage of this phenomenon. Mainly, the comparison with the work of Václav Havel will be drawed, considering the significance of his work in the field of The Theatre of the Absurd. For further comparison, the several of works by Franz Kafka will be analyzed, due to their important position in the field of Existentialism; Beckett's work plays an important role in both aforementioned movements.

It is possible to notice a number of literary works which imply the term of destruction in its title already. This is noticeable in the case of the work by Václav Havel Largo desolato. The original Latin name could be translated as Slow destruction or, more precisely, Slow desolation. In this strongly autobiographical work the destruction is manifested at the level of the plot as well as by protagonist's perception. Isolated in his flat, the protagonist of the play is afraid of being arrested for his literary and political activity. The lack of knowledge of a certain time of this upcomming event and being forced to face different expectations and demands of the people in his surroundings have finally resulted in protagonist's collapse which was pronounced in the last utterance of this game: "Leopold: (shouts at Markéta): Leave me alone! You all, leave me alone! (Leopold collapses and hits the ground, banging the floor by his fists. The curtain falls, music resounds.)" (Havel 90). When searching for the theme of this work, the struggle for own, relatively ordinary life could be suggested. Yet, this life is - due to the situation given - possible any longer since the protagonist has become a victim of an absurd fate or the system of the society, more precisely, its totality.

The similarity to the play Waiting for Godot is noticeable for the reason that Havel's play also operates with the idea of fatal moment, which is supposed to come in the indefinite future. Waiting for this life milestone (either positive on in case of Beckett's play or negative one in the work of Havel) could be concepted as a psychical suffering with the result in collapse of the man, as in Beckett's play it was the idea of suicide. Another feature to be compared is the setting of the play in unchanging place, since the protagonists in both the plays are unable to leave it. Based on a limited space and an absurd situation, the existential nature of the reality escalates consequently.

As mentioned above, it is justified to point out at the connection between Samuel Beckett and Václav Havel, at the level of both, the similarity of the creation and also the relationship of the authors as such; since Beckett has dedicated his work Catastrophe to Havel, a significant representative of the Czech dissent who was then a prisoner which was a scope of Beckett's interest, in spite the fact the authors have never met each other in person.

At the same level of absurdity of Beckett's Waiting for Godot, the works by Franz Kafka may be found for the reason of their displaying the idea of an absurdity which has its result in fatal consequences (this is valid for Kafka's works such as The Castle, The Trial or The Metamorphosis). For no apparent reason, the protagonists find themselves occuring in a hopeless situation, which consequently becomes fatal one. Gregor Samsa transformed in the form of ugly bug in The Metamorphosis, a surveyor being endlessly sent by the authorities from one place to other in The Castle or a bank clerk who is, without being asked about his identity, arrested and lately murdered for no reason in The Trial. The the fate of Kafka's protagonists emphasize the absurdity of an externally assigned fate and the futility of fighting against it. This claim is proved by the plot of the story The Metamorphosis where the first sentence already reveals the absurd fate of the protagonist: "One morning, when Gregor Samsa woke from troubled dreams, he found himself in his bed changed into a horrible vermin." (Kafka 16). Being focused on the phrase 'one day' we may discover the motive of coincidence, as developed in the chapter dealing with temporal concept of the play and the destruction of temporal causality of the plot.

There are many features which Franz Kafka and Samuel Beckett have in common; not only at the level of their work but also in purely personal or autobiographical field. Firstly it is the nature of the authors; since they both are characterized by being intellectual and sensitive / perceptive types of the author; Kafka was a member of German intelligence living and writing in Prague. Also, they both carry a degree of disillusionment within.

Similarly to Beckett's case, the loss has played an important role also in Kafka's life. Due to his Jewish descent, Kafka was deprived of the vast majority of his family, firstly he looses his brothers in their childhood already and lately it was the loss of two sisters who died in concentration camp. The relationship with his father has been also strongly influential. A hypersensitive nature of Kafka forced him to show a great respect

21 to his father, almost at the border of the fear from such a different, dominant personality as was the one of his father's.3 Another polemics may be raised within the question about the comparability of Kafka's complex of the inferiority and Beckett's disillusionment from his negative life experience.

Based on the similarity of the autobiographical features, it is possible to presume that the mental suffering, or psychical destruction, was a significant and comparable feature in lifes of both the authors since the strong influence of personal loss and being chased by Nazi persecution is relevant in both the cases.

The work of Beckett, Kafka and Havel apparently serves as a kind of confession; moreover, in case of Kafka and Beckett it may be viewed also as a an allegory. The metamorphosis of the protagonist Gregor in Kafka's story may serve as a kind of reflection of his mental state. At this point the question may be raised whether it is also Beckett who sets the mirror up to himself when displaying the suffering and emotionally devastated people excluded from the society, left let to the mercy their absurd fate. At the point where Kafka's complex of inferiority is reflected4, the question is offered whether there is any projection of Beckett's desillusionment resulting from the absurdity of the world affected by war when displaying the poor people from the periphery left to their absurd fate pointing out at possibly feeling as emotional or psychical 'beggar'.

The Metamorphosis is said to be possibly classifiable as a sci-fi genre. Not only this concept shows the subjectivity of interpretation but also it underlines the need for understanding the wider, cultural and autobiographical context, just as the work by Beckett or Havel, in order to prevent one from viewing the work by Beckett as absurd only and the work by Kafka as fairy tale or sci-fi. The interpretation must be based on the parable between the author, context and the work - only then it may be justified.

3 When in search for more information about the relationship of F. Kafka and his father, Kafka's work Letter to the Father (Brief an den Vater, 1918 /Dopis otci/) may be recommanded as a kind of authentic epistolary confession to his father supplemented by retrospective-epic autobiographical stories. 4 In the story The Metamorphosis, the father starts throwing appels at his son (who has already changed into an ugly bug). One of the appels stucks in his body and subsequently contributes to his slow death accompanioned by the vanity of help himself. 22

2. 3. The phenomenon of destruction in the form of the motive or a theme in other Beckett's plays

In this chapter, another significant plays by Samuel Beckett will be analyzed with the aim to identify manifestations of destruction in the form of motive (somatic form) or a theme (psychical form), based on their occurance in other Beckett's plays which are comparable to Waiting for Godot.

The first manifestation of destruction at somatic level is noticable in play Eleutheria in which the character Dr. André Piouk has an intention to destroy the humankind; moreover it is his ugly face, which may be considered a kind of somatic destruction as well and serving as a kind of reflection of his mind (another connection with Kafka's attitude is noticeable when reflecting the nature or mind through appearance, both affected by destruction). In the play Eleutheria, there is a character of servant Joseph - at this point, it is possible to notice that the character or a motive of a servant appears in Beckett's plays quite frequently. Apart from Eleutheria and Waiting for Godot, it is also the play Endgame from 1957 displaying the servant Clov.

Although the psychical destruction highly prevails over the somatic one, Beckett's play Endgame may serve as an example of almost perfect fusion of psychical and somatic destruction. The somatic destruction is concerned for the four main protagonists, namely the servant Clov who is not able to sit, his master Hamm who is blind and not able to stand. The other two characters in the play are Hamm's parents, Nagg and Nell who have no legs and they live in dustbins. Somatic destruction is apparent; moreover, when compared to Waiting for Godot the similarity of blindness is may be noticed - it is worth to notice that blindness is relevant always in case of the master who, therefore, becomes dependent on his servant. The difference to be found is the approaching this fate; while the character of Pozzo falls into despair because of his becoming blind (in the second act of Waiting for Godot), Hamm is displayed as a blind man already at the beginning of the play and seems to have put up with his fate:

"Hamm: Did you ever see my eyes? / Clov: No. / Hamm Did you never have the curiousity, while I wass sleeping,to take off my glasses and look at my eyes? / Clov: Pulling back the lids? (Pause.) No. / Hamm: One of these days I'll show them to you. (Pause.) It seems they've gone all white. (Pause.)" (Beckett 5). On the other hand there are few hints of showing Hamm's preference of death as a way of an escape when asking

23 his servant: "Why don't you kill me?"(Beckett 7). The preference of death is noticeable also in Waiting for Godot and Act Without Words I where it is associated with the theme of suicide.

Beckett's plays often operate with the limited number of protagonists, who usually are the people from the periphery of the society, often poor ones and suffering by another limitation and finding themselves in a marginal situation. Spatial destruction is noticeable also in Bekcett's Act Without Words I (1957), which is situated in the desert from which no exit is possible. Also the spatial setting is quite similar to Waiting for Godot since the scenery is created by the palm tree “a single bough some three yards from the ground,” (Beckett, S., Collected Shorter Plays of Samuel Beckett (London: Faber and Faber, 1984), p 4). Another motive which appears also in Waiting for Godot is the rope, possibly acquiring the nature of the symbol for connection or dependency.

One of the most significant themes is the idea of commiting a suicide at the border of despair. In the Act Without Words I it is the protagonist's idea to build a gallows - the kind of polemics over the death is present also in other Beckett's plays - in Endgame it was the aforementioned idea of being killed by the servant. Generally, there are many features which may serve as a typical motives or themes of Beckett's plays, i. e. motive of servant and relevant issue of dependency and hierarchy, waiting, outsiderdom of the protagonists, mutual existential and emotional dependency, despair etc. As far as the relationship between master and his servant is concerned, in Endgame, unlike in Waiting for Godot, it is possible to notice the dependency on each other, underlined by an apology from master's side to his servant: "Hamm (coldly): Forgive me. (Pause. Louder.) I said, Forgive me." / "Clov: I heard you." (Beckett 6). Finally it is also degradation of the relation itself what may be suggested as an object of destruction.

A human identity may be suggested as another subject to destruction, i. e. in Beckett's and also Kafka's work. In Waiting for Godot. The loss of identity may raise the idea of replaceability of every human being. In Kafka's work The Trial it was Joseph K, a bank clerk whose offer to prove his identity when being arrested is refused: "Here are my personal documents - now you show me yours and mainly show me the warrant. "Gosh!" said the guard "I stay in wonder that you are not able to put yourself in the situation and like intentionally you provoke us - the people who are probably the closest to you out of the closest ones!" (Kafka 3).

3. Destruction in Waiting for Godot

One of the crucial parts of the analysis deals with the identification of the destructive features in the play Waiting for Godot. The phenomenon of destruction is noticeable in Beckett's work at many levels.

Firstly it is the somatic destruction what is a subject of the analysis. Its manifestations are limited and it occurs in the form of observable motives. It is displayed either directly or discussed verbally. The branch of psychical destruction realized by mental suffering is manifested in many forms; generally there are numerous features of dehumanization, suffering, loss and limitation. The phenomenon of destruction has its impart also in spatial, temporal and lingual concepts of the play. Its manifestations at spatial level are realized through the limitation of the wings used and the setting the plot in one place only.

At the level of temporal limitation, the loss of memories is one of the features which is previewed as a subject to destruction. Finally, considering the manifestations of destruction in lingual concept, the limitation of power to speech will be discussed as well as the different function of the language and communication. At lingual concept, the analysis is based on the original concept of silence which, which has a significant position in The Theatre of the Absurd, yet it will be viewed also scientifically, i. e. from the point of view of Izydora Dambská who within her essay About semiotic functions of silence (Within the book From Poetry to a Discourse, 2002) is dealing with the meaning of silence in the field of pragmalinguistics and semiotics.

The aim of this analytical chapter is to identify, analyze and mainly justify the reason of the presence of destructive features at aforementioned levels in Beckett's play Waiting for Godot, i. e. in search of their origin in the wider, autobiographical and cultural context.

3. 1. Concept of the term

Based on its definition, the term destruction is explained by The American heritage Colllege dictionary as: "The act of destroying. / The condition of having been destroyed. The cause or means of destroying [...] to ruin completely, spoil. dislocation, annihilation decay or undoing" (385).

Within the thesis, the term of destruction will be previewed not only as complete removal, but also it will be used in the meaning of weakening, disruption, loss, degradation, limitation or transformation of a certain function into another one. In other words, the features, in case of which the understanding and viewing has been changed into untraditional concept, will be considered as a subject to destruction as well.

As far as its consequences are concerned, the term of destruction may be understood not only in a purely negative concept which is implied by its definition, but also in the positive point of view as mentioned in previous chapters.

3. 2. Concept of somatic destruction

The phenomenon of somatic destruction in Waiting for Godot is manifested in the form of externally observable form, i. e. at the level of motives. In the first act, its manifestations are displayed in the form of wounds at Lucky's neck. As externally pronounced, the destruction and pain appear in Estragon's utterance when trying - in vain - to take off his shoe. On the other hand, the somatic destruction is realized also in the form of themes, for example the treatises on suicide.

Many of material motives acquire a symbolic nature and they also serve as hints of longer-lasting temporal context. This claim is valid for Lucky's long white hair suggesting the long state of being Pozzo's servant. In the second act the manifestations of destruction at somatic level are getting extended in the form of Pozzo's becoming blind and Lucky's becoming dumb.

3. 3. Concept of psychical destruction

Unlike at its somatic branch, the manifestations of the offshoot of psychical destruction are less apparent and thus may be connected with the need for interpretation. Based on this, the analysis may acquire slightly subjective nature. Therefore, the following analysis will be made with respect to features which not only cause the psychical destruction but they also occur in other plays by Samuel Beckett. Then, it is possible to assume that these features play a greater role in Beckett's work.

4. Somatic destruction and its manifestations

Somatic destruction in Waiting for Godot may be divided chronologically, i. e. into the first and second act. The theme of somatic destruction, as one of the main parts of the analysis, may be noticed in the play quite frequently, since its features occur in both the acts and for several times. On the other hand, the border between somatic and psychical destruction may flow, for example in case of Lucky's becoming deaf (dumb) where it is possible to see the phenomenon as a limitation at physiological level, as well as the feature connected with mental suffering for the reason of loss of the ability to pronounce own's states of mind.

The first significant scene concerning the somatic injury is the one which occurs on neck of the servant Lucky. The wound is caused by the rope he has around his neck. We may notice the interconnection of several demonstrations of destruction again; since the rope itself may symbolize the dependency and perhaps also hierarchy between the master and a servant: "Vladimir: Look! / Estragon: What? / Vladimir: (pointing). His neck! / Estragon: (looking at the neck). I see nothing. / Vladimir: Here. Estragon goes over beside Vladimir. / Estragon: Oh I say! / Vladimir: A running sore! / Estragon: It's the rope. / Vladimir: It's the rubbing. / Estragon: It's inevitable. / Vladimir: It's the knot. / Estragon: It's the chafing. They resume their inspection, dwell on the face." (Beckett 64). Taking the utterance "It's inevitable" into account, it is possible to pressume that the suffering does belong to the function system which operates at the level of the relationship between the master and his servant. This issue is commented in the work Destruction of Thinking in the chapter The Right to Slavery with reference to Karel Marx5: "As Marx states, the serf flogged by a whip necessarily has to swallow his cries of the rebellion and suffering since the moment when this whip is hereditary and historical, sanctified by years (Finkielkraut 77). The paraphrase of Marx's utterance also implies the idea of habit which is reflected at the level of the relationship and subsequently is acting destructively. The relationship, when based on a habit, is also a source of mental suffering implying the idea of the inability of being together as well as being alone.

5 The original work by K. Marx: Zur Kritik der Philosophie des Rechtes von Hegel. quotation from French translation of the work Pour une critique de la philosophie du droit de Hegel. Oeuvres III. Gallimard, Paris, s. 384 27

As far as treatise on the somatic destruction which is not realistically implemented are concerned, in Waiting for Godot, it is the story about a dog sung by Vladimir in the beginning of the second act which implies not only the motive of death but also the idea of repeatability:

"Vladimir: A dog came in - / Having begun too high he stops, clears his throat, resumes: / A dog came in the kitchern / And stole a crust of bread. / Then cook up with a ladle / And beat him till he was dead. / Then all the dogs came running / And dug the dog a tomb - / He stops, broods, resumes: / Then all the dogs came running / And dug the dog a tomb / And wrote upon the tombstone / For the eyes of dogs to come: / A dog came in the kitchen / And stole a crust of bread. / Then all the dogs came running / And dug the dog a tomb- / He stops, broods, resumes: / Then all the dogs came running / And dug the dog a tomb- / He stops, broods. Softly. / And dug the dog a tomb ... / he remains a moment silent and motionless ..." (Beckett 124).

Not only the content of the song but also the continuous reactions and apparent reflections over the theme of death imply the idea of the sadness and absurdity.

As far as the quantity of the manifestations of somatic destruction is concerned, its more frequent occurrence is noticeable in the second act of the play; therefore it is possible to identify a certain chronological progress of degradation. In the second act, it is the blindness and dumbness as features of limitation of the master and his servant with numerous consequences at the level of mental destruction, since the states given may imply the phenomena as strengthen dependency, absurd suffering and general degradation. The aforementioned features occuring in the secon act will be discussed in a following chapter with the aim to identify possible reasons why the situation occurred.

4. 1. Reasoning of Pozzo's blindness and Lucky's dumbness

The phenomena of Pozzo's becoming blind and his servant's becoming dumb have been associated with the idea of destruction of the traditional causality of the plot which brings up the idea about the denial of logical sequence of the events which as such is replaced by a motive of coincidence. Moreover, at this point the motive of coincidence acquires an absurd or existential nature.

The motive of a blind man is pronounced also in the book Albert Camus: Fifty years after death: An Anthology: "And therefore, convinced about the human origin of all human matters, a blind man who wants to see and who knows that the night has no end is constantly on the move. The boulder is still rolling. A human always finds his burden." (129). Within the quotation mentioned, it is possible to see a connection of text by Camus and his Myth of Sisyphos6.

Searching for the possible reason for the state occured, the development of Pozzo's character should be taken into consideration. The crucial part of the quotation from Camus is the idea that "a human always finds his burden" (Camus 129) it is possible to assume that this kind of burden or an absurd fate is concerned for everyone without a difference and regardless their social status. Pozzo may be found as a character standing upon others at the highest post in the hierarchy; his superiority over his servant Lucky is obvious, but, being apparently a member of a higher social class, he also exceeds Estragon and Vladimir, i. e. by his social status. the motive of coincidence has another function, i. e. it implies the unpredictability of the fate. At this point, any actual state is previewed as unstable one and even features as social status, power or self-confidence become to be helpless features; moreover, these features may seem as purely redundant when an absurd coincidence happens. Should be mentioned that the motive of being blind appears also in the play Endgame; also in this play it is character of the master, who suffers by this limitation.

There are two main kinds of an impact of this phenomenon to be found; firstly it is an absurd an unexpected fate which is underlined, secondly the situation given reinforces the dependence within the relationship of the master and his servant. At this point it should be noticed that the protagonists's in Beckett's plays are mutually connected, though the connections may differ in its nature (as developed in the chapter concerning the issue of existential and emotional dependency).

Another kind of interpretation could be understanding Pozzo's blindness by The Myth of Sisyphos connected with irony, i. e. in terms of gaining a certain insight into the destiny of a man. When being focused on the statement pronounced by blind Pozzo: "They give birth astride of a grave, the light gleams an instant, then it's night once more." (Beckett 190). Being affected by the absurd fate, it is also the character of master who

6 The allusion to The Myth of Sisyphos by A. Camus is pronounced within the statement "The boulder is still rolling" (Albert Camus: Fifty years after death: An Anthology 129) 29 realizes the burden of any man, the brevity of life and therefore he gains a kind of insight into the absurd destiny. The aforementioned irony is based on gaining the abilitiy to see (in the menaning of understand) only in the situation when being deprived of the sight at somatic level.

4. 2. Motive of suicide and its concept (Social vs. Existential)

Dealing with the issue of suicide, it is important to realize a variety of its concepts. Generally, a suicide could be defined as a voluntary death. At the sociail or sociological point of view, there are many kinds of suicide to be found, such as impulsive, pretended one or a suicide used to demonstrate the objection. The typology mentioned is based on the intention of the man who is about to commit it.

In its Existential concept, the view on the possible motives is narrower, since the the death has basically the only meaning, i. e. the final solution to the hopeless psychically and existentially marginal situation. Moreover, it is perceived as salvation from further suffering and inevitable part of the life of any human being. Based on this it is possible to polemize with the preferrence or welcome welcoming of the death as a positive feature. However, the border between social and existential suicide is thin one, since the interntion of commiting a suicide is based on the same motives in both the cases, as well as the suicide is understood as a confession for an inability to further living in both concepts.

Another feature, which is noticeable in the field of issue of suicide, is the aforementioned idea of unvoluntary human destiny baring existential undertone. Being tragic and hopeless, intractable when suicide is concepted as the solution, for the reason of having no perspective of current actions. It is also the human individuality and the power of human´s will what is emphasised, at least at the field of making decisions and the issue of resopnsibility for oneself. The work Albert Camus: Fifty Years After Death: An Anthology is commenced by the reflection about the matter of suicide. "The suicide is previewed as serious philosophical problem, mainly because of the importance of the question concerning the meaning of life. Basically, the suicide is defined as making a confession about disability for further living." (Camus 86). Giving the suicide an attribution of being a 'philosophical' problem, Camus' concept tends rather to existential point of view. Within the same anthology, it is stated that Albert Camus previewes the

30 suicide as a means to deal with the past. At this point he claims: "I may resist to this fact, give notice or decide to commit a suicide: I do this magrinal move in connection with the past which is my own; if the steps are aimed to destroy this past it is a prove of its existence and not even the most radical decision of mine is not able to adopt a purely negative attitude to the past. (Camus 571). This kind of concept may be viewed as social one, since it brings up the idea that suicide is the prove of having the past and the suicide as such is a confession to inability to cope with this past. In terms of time, the suicide in its social concept operates with the past or presence; on the other hand, in the existential concept, the idea of suicide is a confession to inability to bare the vision of the future in which no progress is possible.

5. Psychical destruction and its manifestations

This chapter is dealing with the analysis of destructive features of psychical nature. Unlike components of explicitly displayed somatic destruction, its manifestations of psychical nature are derivable purely at the base of motives, ideas, themes and the plot of the play itself. Therefore the subsequent subchapters are dealing with specific motives of the play which may be also considered as mechanisms which presence may be found as origin of the destruction. As stated in Beckett and zen: Dilemma in Samuel Beckett's novels, "If the audience of his dramas did not ask now questions, it would mean they are at the same intelectual level as Beckett himself or, perhaps, at in the same state of mental distress." (Foster 20). Being focused on the features which has contributed to the state of "mental distress" mentioned, the subsequent analysis is an attempt to identify individual features with a negative impact on the mind of the man which are projected through Beckett's experience and point of view in his work.

5. 1. An absurd destiny of a man

Being forced to face an externally assigned and absurd fate, which has a destructive impact on human´s mind, a man is forced to make a decision revealing the power of his will. Generally there are several main ways how to approach this problematics.

Firstly, it is the possibility of fighting this kind of destiny what is suggested. At this point, the level of absurdity is increasing, the hopelessness of a man is being deepen. The repeatability becomes a frequently used motive which as such may be viewed as a feature confirming the vanity of the action, often accompanied by the phenomenon of degradation. Secondary, one of the possible ways how to deal with the absurdity is gaining a kind of reconciliation or insight; in accordance with the thoughts of Myth of Sysiphos by Albert Camus, i. e. the work operating with the idea of gaining a kind of detachment from an absurd destiny of a man which, with regard to the character of Sisyphos, may acquire almost the archetypal nature of the unhappy man's fate, i. e. in the form of an absurd precedence of a vanity of human deeds. According to this myth, "The gods condemned Sisyphos to incessantly roll a boulder to the top of the mountain, from which it fell down under its own power. They supposed, not without any reason, that no worse punishment exists than a useless and hopeless work." (Camus 127).

The last way of emancipation from the absurdity is one through the suicide as analyzed in previous chapter. At this point, the suicide is concepted at existential point in which it is motivated by the struggle to find a solution to hopeless situation.

Further on the issue concerning the emancipation from the absurdity, both the ways of emancipation from the absurdity, i. e. gaining detachment and also idea of commiting a suicide, are present in Waiting for Godot. In terms of chronological assessment, firstly it is a motive of suicide which was pronounced by character of Estragon: "What about hanging ourselves?" (Beckett 46). In the second act Vladimir's realization is noticeable and therefore comparable to the gaining certain insight or enlightenment as suggested in Camus' Myth of Sisyphos:

"Vladimir: Was I sleeping, while the others suffered? Am I sleeping now? Tomorrow, when I wake, or I think I do, what shall I say of today? That with Estragon my friend, at this place, until the fall of night, I waited for Godot? That Pozzo passed, with his carrier, and that he spoke to us? Probably. But in all that what truth will there be? (Estragon, having struggled with his boots in vain, is dozing off again. Vladimir looks at him.) He'll know nothing. He'll tell me about the blows he received and I'll give him a carrot. (Pause.) Astride of a grave and a difficult birth. Down in the hole, lingeringly, the grave digger puts on the forceps. We have time to grow old. The air is full of our cries. (He listens.) But habit is a great deadener. (He looks again at Estragon.) At me too someone is loking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep on. (Pause.) I can't go on! (Pause.) What have I said?" (Beckett 192, 193).

The escape through the realization is relevant not only in case of Vladimir, but also in case of Pozzo who, when blind, also pronounces the statement: "They give birth astride of grave, the light gleams an instatnt, then it's night once more." (Beckett 190). Therefore, it is presumeable an insight is associated with an understanding of the life cycle with an emphasize on its shortness and impermanence. On the other hand, being foused on the last sentence of quoted utterance "What have I said?" (Beckett 193) it is possible to assume that gaining this kind of an insight is ephemeral or temporary and therefore the further repeatability and suffering from lack of unawareness is suggested or expectable. In Beckett's Endgame this kind of gaining an insight is pronounced by Clov already at the beginning, i. e. within his opening monologue as quoted further.

In accordance to the idea suggested in the Myth of Sysiphos, within his work To Be or To Have Erich Fromm states that "Orientation to being always means that the life goal of a human is his own psychic power. A man realizes himself and thus he is liberated." (Fromm 34). Based on Fromm's idea, the focus is made on the importance of own mental strength and a kind of realization of own mental power. This is comparable to Camus' Myth of Sisyphos in which Sisyphos' state of mind is described face to face of his unhappy destiny:

"The hour which is like a breathing and which is comming back just as safely as his unhapiness, this is an hour of consciousness. Having left the top during a gradual penetration into the loneliness of gods, at any moment, he is superior to his fate, he is stronger than the boulder is. [...] Sisyphos, a proletarian of gods, powerless and rebellious, knows the full range of his miserable fate: which is the thing he is thinking about when descending. The vision, which should have been his sufferig, at the same time accomplishes his victory. There is no fate which would not be crossable by a contempt. (Camus 128).

As peviously called as insight or detachment, the libertation is said to be reachable through a 'contempt' over an absurd destiny, as mentioned in Camus's text. On the other hand, within the aforementioned anthology, it is stated that "It would be a mistake to claim that happiness does necessarily have to be born based on the discover of the absurd. Sometimes it happens the feeling of the absurd is born from happiness. "I pressume that everything is all right" claimed Oedipus and these words are sacred. They echoes in a cruel and limited human world. We are taught that not everything has been, not everything is exhausted."7 (Camus 129).

With the focus on the claim that feeling of the absurd may be born from happines, it is possible to polemize with a kind of 'Faustian situation' which brings up the idea about an excess and surplus which subsequently create a starting point for the feeling of frustration. The life therefore makes sense only in case when being directed to a specific

7 At this point, a connection to Beckett's Endgame may be noticed, in which the character of servant Clov has his opening monologue saying: "It's --- pointin out at that all the options have been exhausted and the end of the suffering is closing: Clov: (fixed gaze, tonelessly): Finished, it's finished, nearly finished, it must be nearly finished. (Pause.) Grain upon grain, one by one, and one day, suddenly, there's a heap, a little heap, the impossible heap. (Pause.) i can't be punished any more. (Pause.) I'll go now to my kitchen, ten feet by ten feet by ten feet, and wait for him to whistle me.) 34 aim wihch is not fulfilled yet. The vision of its fulfillment serves as a driving force to further living. This may be another explanation for Beckett's anti-materialistic approach.

5. 2. Issue of hierarchy, subordination and manipulation

Within the play, the issue of hierarchy is manifested at many kind of levels. It has a connection to an issuea of relevant dependence and also it is implied at the level of motives. Should be noticed that terms hierarchy, subordination, superiority, inferiority, manipulation and dependence stand in a narrow connection.

As far as the features of symbolic nature implying the issue of hierarchy are concerned, there are two main manifestations at this point, i. e. Lucky's humbled position which serves as one symbolizing his subordination to his master and also the motive of rope by which the characters are physically connected acquires a symbolic nature, the more in second act, when is shortened thus suggests the strengthening of mutual dependence.

Dealing with the relationship between master and his servant, in Waiting for Godot this relationship is described only in the way of hints revealing the time of living together and gradual decline of the relationship itself. Unlike in Waitinf for Godot, in the play Endgame servant Clov and his master Hamm seem as openly discussing their relationship with a parallel to Lucky and Pozzo. This is even eveidenced by the fact, that chronologically, it was the play play Waiting for Godot from 1953 followed by play Endgame (1957), perhaps revealing more about the relationship between master and servant, on the other hand the degradation of the relationship reaches the higher level in Waiting for Godot.

Clov: I don't complain. / Hamm: You feel normal? / Clov: (irritably): I tell you i don't complain. / Hamm: I feel a little strange. (Pause.) Clov! / Clov: Yes. / Hamm: Have you not had enough? / Clov: Yes! (Pause.) Of what? / Hamm: of this... this... thing. / Clov: I always had. (Pause.) Not you? / Hamm (gloomily): then there's no reason for it to change. / Clov: It may end. (Pause.) All life long the same questions, the same answers. (Beckett 5, 6). The quotation mentioned serves as a kind of evidence for the claim that the relations are debilitating, the idea of repeatability is also suggested. Another comparable feature which both the plays, Waiting for Godot and Endgame share is the the thought

35 about getting rid of the servant and at the same time, the inability to do so for the reason of being dependent, perhaps for the reason of habit. Which again, raises the issue of dependency, yet taking into account the unhappy state of the servant and his master their position within the hierarchy becomes less aparent, since they both become dependent at the same level, yet in different way.

Another frequent motive in Beckett's plays and also in Waiting for Godot is the display of relationships based on the habit or relationship which becomes a kind of habit. This relationship may be previewed as long-term lasting iniciators of psychical destruction and they cause the protagonists' being a witness to the slow degradation of each other as in Waiting for Godot: "Vladimir: "You want to get rid of him? / Pozzo: I do. But instead of driving him away as I might have done, I man instead of simply kicking him out on his arse, in teh goodness of my heart i am bringing him to the fair, where I hoep to get a good price for him." (Beckett 77). In spite of the intention to sell his slave at market, Pozzo's dependence on him is subsequently, i. e. within the second act the other day, strengthened by his becomming blind. The degradation of the relationship is noticable also in the play Endgame: "Hamm: You don't love me. / Clov: No. / Hamm: You loved me once. / Clov: Once! / Hamm: I've made you suffer too much. (Pause.) Haven't I? / Clov: It's not that. / Hamm: I haven't made you suffer too much? / Clov: Yes!" (Beckett 6)

5. 3. Issue of dependency

As mentioned previously, there are several kinds of dependency in Waiting for Godot. Generally, it si possible to divide the issue of being dependent into two lines, i. e. emotional dependency and existential dependency. At this point, it is possible to notice general interconnectivity of all the protagonists, which are mutually influenced.

As far as the emotional dependence is concerned, it is manifested by Vladimir's attitude to Estragon in the scene revealing the feeling of loneliness of the protagonist when being separated from the other: "Estragon: (resorted to the horror of his situation). I was asleep! (Despairingly.) Why will you never let me sleep? / Vladimir: I felt lonely." (Beckett 43). Emotional dependency is manifested also in other, though short, utterances, e. g. when Vladimir asks Estragon to hug him.

The existential branch of dependency may be seen as more severe one, since it is contained in the relations almost among all the protagonist. To make the analysis clear, it is possible to divide the manifestations of existential dependency chronologically into individual acts of the play. In the first act of the play, the first manifestation of existential dependecne is the one revealed to be between Godot and two main protagonists, sicne Godot is expected to change their life and future. When the Pozzo and Lucky enters the scene, another apparent dependency is the one between servant and the master, who feeds and cares about the servant.8. Assuming that Godot should be understood as a higher power, the connection or dependence of all the protagonists may thus be suggested, especially when the idea about Godot as an initiator of the destruction is valid. The issue of dependence is strengthened in the second act of the play, when somatic destruction serves a sa feature disrupting the hierarchy between a master and his servant and they subsequently complement each other in terms of their limitation and relevangt suffering.

5. 4. Loss of dignity

The issue of the loss of digninty is one of the features contributing to the idea of dehumanization of a man. This phenomenon is relevant for the cahracter of Lucky, who is, within the utterance pronounced by his master, directly addressed as 'dog': At this point, it is possible to see a paralel between this addressing and Vladimir's song, since they both imply the fatal suffering and inferiority of the 'dog', i. e. the servant, and destructive domination of his master over him. In the work by William York Tindall, it is said that "master and dog, are Pozzo and Lucky again" (Tindall 43), based on this, Tindall directly points out at the similarity of Lucky and a dog.

The motive of loss of dignity results from a hierarchy between the characters Pozzo and Lucky. Another feature which even enforces the motive or theme of loss of dignity is being derogatory addressed by the master in other ways: "Pozzo: Is everybody looking at me? He looks at Lucky, jerks the rope. / Lucky raises his head. / Will you look at me, pig! / Lucky looks ..." (Beckett 74).

Moreover, within the scene in which Pozzo pronounces the idea of preferrence to shoot his servant rather than sell him on market, finding this way more mercifull, Lucky

8 in the story it was the act of giving him bones from the meal, which emphasizes Lucky's association to dog as developed in the chapter concerning The loss of dignity 37 reacts by crying: "Lucky weeps. / Estragon: He's crying! / Pozzo: Old dogs have more dignity. / He proffers his handkerchief to Estragon." (Beckett 77). By his statement, Pozzo places his servant into an inferior position than a dog's is. Within the first act, there is also another parallel suggesing the similarity of Lucky and a dog, i. e. the scene in which he is given the bones from Pozzo's meal. What is more, when asked by Estragon when he would like to keep them, he does not react verbally, but without a word, Lucky is staring at him, which suggest another similarity to a dog, as well as in Pozzo's warning that Lucky is wicked with strangers, which is a relevant utterance when talking about a god, again;

The loss of dignity is also parodied as a kind of pastime, in which Vladimir and Estragon are playing the roles of Pozzo and Lucky. The absurdity is noticable again, since the humiliation of man becomes a game or a passtime only.

5. 5. Loss of power to speech

The loss of power to speech is relevant for the characret of Lucky and may be found as another feature contributing to his dehumanization. Before the scene in which he is giving a monologue when asked by his master entertain others by thinking, his character seemed as quite dehumanized and subordinated since he refused to react verbally even when asked to do so. His monologue may be understood in several concepts. Firtsly, it may be understood as an exception from his dehumanization in which he temporatily acquires the ability to speak and think. At this concept the subsequent loss of this ability and his becoming deaf would underline the destruction which occurs in the second act of the play.

As far as Lucky's remaining silent even when directly asked a question is concerned, the analysis of this phenomenon could be based on the aforementioned study by Yzydora Dambská who within her contribution to the committee of literary theory From Poetics to A Discourse agrees with F. Kainz about "Silence is understood as refraining from speaking. [...] Silence is something quite different from not-speaking." (Trávníček 15). Assuming the validity of this different concept of remaining silent, the idea of being given up to express his own will. The phenomenon of becoming deaf in the second act thus only generalizes Lucky's refusal or resignation.

Another kind of intepretation or the way how to understand Lucky's loss of power to speech is based on viewing him as purely dehumanized character who serves only as a kind of mediator of a message discussing the human destiny. This claim would be supported by the nature of his speech which is quite fragmental one with freqent repetition of words and created in the form of psychic automatism is spewing phrases and ideas, externally acts as a machine used to deliver this message. At this point the question may be raised where is the origin of this message or, more precisely, who is the sender of the message. The possible answer could be either viewing Lucky as one knowing the true about the existence of personal god himself or admitting the existence of higher power, it is possible to presume that this was mediated by god, who, because of his 'divine aphasia' (Beckett 99) as stated in Lucky's monologue is unable to speak (based on the definition of the term) and therefore has to use Lucky as his mediator or the character of boy who appears in the end of each of the act as his messenger.

6. A comparison of somatic and psychical destruction

Being generally divided into two groups of somatic and psychical one, individual manifestations of destruction do not rarely overlap each other and have mutual connection.

Persumming that the voluntary death (realized by a motive of suicide) was preferred to carry on waiting, we may consider the somatic destruction to be concepted as 'lesser evil'. Based on this comparison, it is possible to polemize with the idea that the somatic destruction is a way of escape to psychical one (motive of suicide), as suggested within the chapter concerning the dealing with absurdity. Another feature to be noticed is a mutual logic connection between these kinds of destruction. Let us take the example of the master Pozzo who under the fate of being blind, becomes dependent on his servant and thus becomes a subject to dependency, which was an irrelevant feature in his case so far. In other words, thorough the limitation of somatic nature, Pozzo is also suffering from limitation at psychical level.

The destruction is noticeable in a wider temporal context which is revealed appearing thorough a retrospective narration or short utterances pointing out at the change in the meaning of degradation. For instance, this is concerned for the relationship of Pozzo and Lucky in Waiting for Godot, when Pozzo reveals: "(sobbing). He used to be so kid... so helpful... so entertaining... my good angel... and now... he's killing me" (Beckett 81). He also points out at the future continuation in destruction he states "Now it's gonna be so much worse to me." (Beckett 67)". Based on this utterance, the degradation not only precedes but also it is expected to continue, as previously compared to Beckett's Endgame in which the relationship between Hamm and Clov which is comparable to Pozzo and Lucky's in terms of an inability to be together as well as to be separated; their relationship is then a starting position for frustration and mental degradation.

7. Temporal concept of the play

The aim of this chapter is to analyze the temporal setting of the play, regarding its formal setting as well as temporal analysis of the story itself, not only dealing with the storyline but also taking into account the perception of flow-time as such. Assuming this, it is possible to state that temporal concept of the play may be viewed as both, objective or subjective matter. Another milestone within the analysis is the issue of keeping memories and their function as well as the search for the reason of their being the subject of destruction within the play.

Finally, within the context of the Theatre of Absurd, the problematics of removal of traditional causality of the plot will be brought under the discussion, as well as its replacement by a new motive of coincidence having existential undertone. The lack of importance of time in Waiting for Godot; which is emphasized by the loss of the vast majority of memories which therefore suggest no possible development and underline the idea of repeatability.

7. 1. General temporal setting of the play

The unimportance of the time-flow is expressed in Beckett's Endgame within the dialogue of the master Hamm and his servant Clov: "Hamm: (Pause.) What time is it? Clov: "The same as usual." (Beckett 5). The quote mentioned serves as a kind of evidence for the claim that the significance of the time is neglecting. The temporal setting of the play Waiting for Godot, when put into objective kind of perspective, displays the storyline within two days. Based on this, the play is formally divided into two acts.

Regarding the time of narration, the time of the plot generally corresponds with the time of storyline to a high degree, yet there are few exceptional parts to be found. The aforementioned exceptions not belonging to the main storyline could be called as 'temporal digressions' describing the wider temporal context, and therefore being likeable to be found as standing out from the main narration. These are short utterances, usually of retrospective nature, whose relativity could be questioned. Despite the fact they do not belong to the main storyline, these textual passages might be found as explaining the story and pointing at the change of current events when brought into comparison to their past state. Therefore they could be viewed as declaring the oppinion that the main storyline is not torn out of context but has its previous and following happening, as stated

41 above within the utterance of Pozzo: "(sobbing). He used to be so kind... so helpful... [...] and now... he's killing me." (Beckett 81). Within this utterance about his servant, Pozzo points out at personality change of his servant - in this way he also outlines the events that preceeded their current alienation.

The treatises discussing the memories as embodied experience or a prove of it are concern for the character of Estragon, to whom the place, in which the protagonists occur during the play, seems to be familiar and at this point, he makes several remarks on possible having been there yesterday already. Moreover, at the beginning of the play already, the character of Estragon, within the dialogue with Vladimir, says he was beated by "them", who are said to be "the same as usual" (Beckett 5). Based on this, we may notice the foreseeability of existence of several preceeding repeated events which where happening or happened before the current situation. These retrospective narrations may go into more distant past, even though they may seem as only outlined, i. e. within short utterance.

The presence of retrospective utteraces is the feature which increases the difference between story and plot when years of story are confronted with short utterance of concerning plot. As an example, the relation of Pozzo and Lucky may be suggested. In spite of being displayed in two scenes only (i. e. two days) the history of their living together goes back to past in range of years. In other words and in terms of temporal analysis, the time of fable is expanding over the time of storyline (i. e. the time of narration itself). Therefore, the restriction of plot is not apparent, since we may pressume that the plot is a part of wider temporal context, to which several short retrospective narrations or utterances are made. Moreover, the remarks to possible future happening appear in the play as well.

As far as the subjective point of view at temporal setting of the game is concerned, it is possible to notice the subjective perception of the flowtime described thorough the individual utterances or dialogues of protagonists. This kind of perspective points at relativity of the perception of time, which could be viewed as changing due to circumstances and therefore one changing its nature with dependence on any happening - or its absence causing the perception of time as endless waiting baring the existentional undertone.

The play Waiting for Godot is said to be a one about waiting; without any further specification concerning its undertone or interpretation. On the other hand, the play may be interpreted as allegorical scene about the fate of human existence, in which the waiting and its futility play the crucial role. In this conception it will be also understood further. The idea of a deeper meaning is suggested by Søren Kierkegaard who, within the book A Philosophy of Existence by Wolfgang Janke, claims that "An unchanging monotony gives us a feeling of emptiness. Therefore the feeling of boredom is characterized by gloom and catches us up to despair; since it gives us a feeling of a nothingness of the existence which is one without hope and given at the mercy of death." (Janke 48)

The significance of objective kind of time is weakened, we even may argue with the idea of being lost in time, which could be previewed as a synonym to never-ending waiting of protagonists and defined by events which are helpfull to pass it quicklier; The scenes conducted in this spirit are for example meeting Pozzo and Lucky, having meaningless conversations in which they change words of no significant meaning or dialogues which have no predictive value. The past is perviewed as a time of waiting and 'suffering from waiting', searching for any way how to spend time - even by planning purely spontaneous gestures (such as hugging) or planning when protagonists will or will not speak.

The subjective perception of time as endless waiting may be prooved by the utterance by character of Vladimir, which states that "So long we haven´t seen" (Beckett 124) while further in the text he points at the fact, that both the characters spent the day before waiting as well. As a result of this, the time of their separation lasted for one night only, which is proved by Vladimir's question to Estragon "Where his highness spent a night?" (Beckett 30). Therefore we may presume that while the elapsed time is objectivly short, its individual-subjective perception is different perceiving the time as further, emphasing its longiness. At this point, the connection with the issue of emotional dependence between Estragon and Vladimir is noticeable.

Another dialogue dealing with the temporal perception and issue of time is the scene in which Vladimir points out on the time flow symbolized thorough the tree and its change within the only night: "(Act I.) Estragon: Where are the leaves? / Vladimir: It must be dead. (Act II. - following day) Estragon: The tree? / Vladimir: Do you not remember? / Estragon: I'm tired. / Vladimir: Look at it. They look at the tree. " Estragon: I see nothing. / Vladimir: But yesterday evening it was all black and bare. And now it's

43 covered with leaves. / Estragon: Leaves? / Vladimir: In a single night. / Estragon: It must be the Spring. / Vladimir: But in a single night!" (Beckett 140, 141)

The scene described above also points out at the limitation of significance of time-flow. The time needed for the complementation of the process is not objectively displayed, it is only the result itself what is an object of interest. The focus on the result is noticable rather than on the process leading to its complementation.

7. 2. Subjects to destruciton at temporal level (Issue of memories)

As previously mentioned, not only the weakening of the significance of the tme in Beckett's play is the manifestation of destruction at temporal level. At this point the neglecting importance of the time-flow may be proved by the quotation from Beckett's Endgame: "Hamm: What time it is? Clov: The same as usual." (Beckett 5). This is comparable to Waiting for Godot: "Estragon: (very insidious). But what Saturday? And is it Saturday? Is it not rather Sunday? (Pause.) Or Monday? (Pause.) Or Friday?" (Beckett 42).

Another feature stanging in a narrow coherence with temporal perception is the question of baring memories of the past. At this point, the memories could be characterised and understood as a certain proof of real development of events, distinguisting feature between past events and immediate presence. Within the play Waiting for Godot, the memories could be viewed as those being a subject to destruction to a high degree. Based on this, the development of the storyline is denied. Unlike the character of Estragon, who almost always forgets the previous happening, claiming "I remember forever or I forget immediately." (Beckett 130), the character of Vladimir seems to remember the events, despite several times of being uncertain about them. Estragon's memory could be previewed as more selective one - he is able to remember the matters which had direct influence on him or have caused the present consequences. Other events are forgotten, not only in case of Estragon, but apparently also in case of other characters, i. e. Pozzo, perhaps also Lucky and the boy who appears in the end of each act.

At the point of keeping memories Jean Paul Sartre agrees with George Santayana, who in his work Life of Reason I claims that "Those who do not remember the past are condemned to repeat it" (Santayana 184). This is fully valid in the play Waiting for Godot

44 in which the protagonists are condemned to wait for Godot endlessly. It is also Jean Paul Sartre who, within the secnd chapter named Temporality of his work Being and Nothingness, is dealing with the past claiming: "Since the past has fallen into nothingness and does not exist any longer, the memory exists still" (Sartre 153). It is possible to notice that this claim is not true in case of the play Waiting for Godot, since the memories are subject to destruction till a high degree. Therefore, it is presumeable that also the past as such is subject to destruction, leaving only an apparent hints of the time-flow (such as the leaves on the tree or Lucky's long white hair).

In search for the reason for the destruction of memories, the emphased perception of presence may be suggested as an explanation. It is possible to notice the inability of protagonists to emerge from the 'immediate presence' and permanent clamping to future event of meeting Godot, who is said to change their 'immediete future'. Dealing with the phrase 'immediate future', the nature of oxymoron may be detected. Personally, I pressume that the proper synonym to be found is 'verdict' undestood as immediately assigned destiny, which may represent the deed expected to be done by Godot.

7. 3. Destruction of temporal causality of the plot

"POZZO: "Have you not done tormenting me with your accursed time! It's abominable! When! When! One day, is that not enough for you, one day he went dumb, one day I went blind, one day we'll go deaf, one day we were born, one day we shall die, the same day, the same second, is that not enough for you? (Calmer.) They give birth astride of a grave, the light gleams an instant, then it's night once more. (He jerks the rope.) On!" (Beckett 190). Based on the above-mentioned statement from Waiting for Godot pronounced by character of blind Pozzo within the Act II, it is apparent that the play does not operate with the way of narration called as traditional causality. The term of 'traditional causality' may be understood as a sequence of happening in which the cause preceeds the further events and vice-versa, the following events are determined by the cause.

The feature of breaking down the causality of plot is one of the most typical in terms of the Theater of Absurd. Unlike this way of narration, in Waiting for Godot the traditional causality of the storyline is replaced by a motive of coincidence; the coincidence is baring the meaning of externally assigned fate of existence, which is not

45 caused by a human himself and also possibly seen as an unavoidable one. In other words, the destiny of a man is not influenceable by the man himself or possible to be deduced based on the analysis of the circumstances. At this point it would be predictable; yet in Beckett's plays the destiny is influenced by a motive of coincidence which as such in the context of Existentialism and The Theatre of the Absurd appears as inexplicable, and in extreme cases also fatal one.

7. 4. Motive of coincidence and its function

Taking into consideration the presence of an absurd fate and its impact on the plot, it is justified to pressume that the traditional causality of the plot is replaced by a new motive, i. e. the motive of coincidence. This coincidence also has an existential nature for the reason of its ability to cause suffering. Moreover, the motive of coincidence may be perceived as a feature denying an importance of time-flow.

Dealing with the functin of a coincidence within Beckett's play Waiting for Godot, it is justified to claim that the main function to be found is the emphasis on inability to emerge from the system of the world controlled by an absurdity. In this regard, it is possible to point out at the projection of the war disillusionment when the war represents the absurd fate with tragic consequences.

8. Spatial concept of the play

In this chapter, an attempt is made to analyze the spatial setting of the play and detect the features which may serve as subjects to destruction at spatial level. Firstly, this is concerned for the limitation of the space in which the play takes place and also the limited number of wings used is noticeable. Based on this limitations of the spatial setting of the play, another milestone in the analysis is defined, i. e. to find the reason for this spatial limitation.

The issue of spatial setting has a connection to Existentialism, The Theatre of the Absurd and also materialism and axiology. At this point, the destruction will be found as a positive phenomenon, since it may be viewed as a starting point for the reassessment and making of the judgement from a different point of view.

8. 1. General spatial setting of the play

"Vladimir: (looking round). It's indescribable. It's like nothing. There's nothing. There's a tree." (Beckett 185). The quotation mentioned providing the description of the place is, though subjective, quite accurate. The analysis of spatial setting of the play could be possibly based on the fact that space is limited to the minimal range. Moreover, the number of elements occuring within is also a tiny one. The performance takes place in one space only and, as far as its description is concerned, the place is almost empty, displaying the country road and the dead tree standing nearby only. Beckett begins his description of the scene by words "A country road. A tree. Evening". (Beckett 29). The emptiness of the place is underlined by the statement: “Everything is dead but the tree”. (Beckett 197).

One of the possible interpretations suggest the concept in which the space is not the limitation of larger spacial reality but it is rather an alegory for the display of human existence. Therefore a limited place is enough to focus on the meaning of the being. At this point, the stage could be understood as a kind of periphery between life and death. Assuming the correctness of this conception, the only possibility of leaving the place would be the death, to which is pointed within the dialogue of protagonists, as discussed within the chapter dealing with the issue of suicide: "Vladimir: What do we do now? / Estragon: Wait. / Vladimir: Yes, but while waiting. / Estragon: What about hanging ourselves?" (Beckett 46).

When an unchanging spatial setting of the play is a subject of the analysis, taking the inability to leave the place into account, the idea is suggested that the only possibility of abandoning this place is through death, moreover when assuming that the place displayed serves as an allegory to world and human existence in it.

8. 2. Subjects to destruction at spacial level

In this chapter, an attempt is made to expand on the issue concerning the subjects to destruction at spacial level, as well as to appoint the reason of this limitation manifested at the spatial setting of the play. The way of limitation of spatial significance also follows from the dialogue of main protagonists within the first act: "Estragon: In a ditch. / Vladimir: (admiringly). A ditch! Where? / Estragon: (without gesture). Over there. (Beckett 30). Supposing that the participians of the conversation are not previously familiar with the place suggested, the utterance "over there" lacking the relevant gesture leading to the specificaton and therefore making the utterance meaningful, may be understood as denying the importance of the place. What is more, this feature also puts the emphasis on the place in which the protagonists occur immediately.

In the same way as within the issue of temporal concept of the play, it is also the inability to leave the place what suggests the focus on the perception of immediate presence. The last demonstration which serves as an evidence for negligible importance of the place is several times pronounced appeal 'Let´s go.' (especially the very last one in the play) connected to indicative reaction 'I'm going.' Despite the agreement on leaving the protagonists do not even move or depart from the place: "Estragon: I'm going. He does not move." (Beckett 121).

As suggested previously, another manifestation of destruction is noticeable in the form of limited number of wings within. Taking into account the characteristics of The Theatre of the Absurd and its existential features, it is possible to see the specific significance and purpose of this kind of environment. Perceiving only few elements in surroundings, a man is given the starting position for being focused on the reflection of our existence and also his/her self-reflection, with the aim to get the essence of the being and discover a human nature at his very basic point. Therefore, the limitation of things

48 occuring in the surroundings may be understood as the struggle for an elimination of any redundant wings, which could cause a subsequent fragmentation of concentration, when being focused on the perception of many features. The perception as such would be fragmented and thus weakened. Based on this presumption, within the deliberate choice of minimal number of elements in space, it is possible to notice the intention of the abandonment of perception of external features and making the protagonists to be able to perceive the internal elements instead. Therefore, under the influence of surrounding spatial emptiness, one resorts to the reflection of his own nitrated and self-reflection. At this point, te existential nature of the feelings and reflections increases subsequently.

9. Concept of language function in the play

Within his work Beckett and zen: Dilemma in Samuel Beckett's novels, Paul Foster raises the question "Is Waiting for Godot simply an exercise full of words and pompous pauses which does not want to express more than waiting as such?" (Foster 21) Within the following analysis, an attempt is made to find an appropriater answer to the question suggested.

Within the context of The Theatre of the Absurd, the communication is said to break down and the dialogue thus consists of meaningless phrases only. The subsequent silence serves as as a kind of confession to the inability to communicate. On the other hand, Izydora Dąmbska, within her essay incorporated in the set of states From Poetics to Discourse, is dealing with the pragmlingual meaning of silence or remaining silent. The main claim of her essay is that the silence as such does have a predictive value in dependence on the communicative situation. Martin Esslin therefore may stand in opposition to Dąmbska when, within his book The Theatre of the Absurd, claiming that silence is just a loss of ability to communicate. Izydora Dąmbska in her essay provides the definition of language in its connection to epistemology and communication function: "Language may be viewed as the means of objectivization of the results of cognition; as well as the means for the creaton of the information but also the means of communication with other people as well as for the poossibility to influence their behaviour." (Trávníček 13). Silence or remaining silent is defined as "not only not-speaking" (Trávníček 14). On the other hand, Martin Esslin in his work The Theatre of the Absurd, within the Introduction states that: "The theatre of the absurd, on the other hand, tends toward a radical devaluation of language" (Martin Esslin xxi). These two approaches, when compared, concept the language in two different ways: while Dąmbska consideres the language as a means to communication and cognition, also suggesting its conative function when pointing out at a possible inflence on adresee's behaviour, Esslin, within the context of The Theatre of the Absurd, denies the usage of the language at the point suggested by Dąmbska.

9. 1. General concept of the language

Dealing with the functions of language, several kinds may be found in the field of linguistics in general, yet in the play Waiting for Godot itself, there are two main language functions, i. e. informative and expressive one. The informative function is manifested as the ability of the word or the utterance to transmit specific piece of information to the recipient. Another language functon to be noticed is expressive one, the main idea of which lies in the ability of words to evoke emotions of the listener. Moreover, it is also the conative function, which is most frequently noticeable in the orders given by Pozzo to his servant, since this function, as one within the typology of Jacobson's functions of lanugage, is defined by funcionating as an appel or order connected with the addressing realized by the vocative.

In a narrow coherence to informative function, the term predictive value may be found. The predictive value could be understood as a kind of pressumption and condition for the presence of informative function. In further analysis it will be pointed out on the fact that while the predictive value of the utterances within dialogues is often low or almost none, the emotive language function is often emphasized.

9. 2. Predictive value as a subject to destruction

In accordance to the Theatre of Absurd, the communication is said to break down as a result of the loss of predictive value of individual utterances. This is relevant also for the dialogues of the protagonists in the play, as well as for other characters:

Estragon: A kind of prayer. / Vladimir: Precisely. / Estragon: A vague supplication. / Vladimir: Exactly. / Estragon: And what did he reply? / Vladimir: That he'd see. / Estragon: That he couldn't promise anything. / Vladimir: That he'd have to think it over. / Estragon: In the quiet of his home. / Vladimir: Consult his family. / Estragon: His correspondents. / Vladimir: His books. / Estragon: His bank account. / Vladimir: Before taking a decision. / Estragon: It's the normal thing. / Vladimir: Is it not? / Estragon: I think it is. / Vladimir: I think so too. Silence. (Beckett 49, 50)

As a result of such as conversation, there is no point to be noticed and words, or the language in a larger concept, looses its main function, i. e. communicative function for

51 the reason that the words are used in order to fill out the silence. The new function of language is not to convey something but rather not to remain silent. In addition, the ability of speech, as one of typical human features may serve as a feature contributin to dehumanization in case of its absence. This claim is valid for the character of Lucky which degradation is underlined by his remaining silent untill the scene concerning his monologue.

Another feature remarkable at the field of language is the inability to mutual understanding which may be a subjec to interpretaion when searching its reason. One of the possible explanations to be found is the assumption that this 'communication barrier' is built of egocentrism and arrogance, obstructing to and preventing from mutual understanding. This is concerned for the character of Pozzo: "POZZO: [...] Thank you for your society. (He reflects.) Unless I smoke another pipe before I go. What do you say? (They say nothing.) Oh I´m only a small smoker, a very small smoker, I´m not int he habit of smoking two pipes one on top of the other, it makes (hand to heart, sighing) my heart go pit-a-pat. (Siclence.)" (Beckett 70). With the focus on the passages in which this restriction does not occur, we may notice that one of secondary language functions, the emotional function, is not only maintained in the play, but within two scenes it is even reinforced by the intense reactions of the listener(s) / addressee. The aforementioned scenes are Lucky-weeping under the pressure of his master´s utterance and scene with Lucky's thinking monologue. In both scenes, an efect of people's utterance has an apparent impact on their mind and experiencing. The first scene of weeping Lucky is kind of turning point also in the field of the idea of his dehumanization: "Vladimir: "You want to get rid of him? / Pozzo: "I do. [...] The truth is you can't drive such creatures away. The best thing would be to kill them. Lucky weeps." (Beckett 77). Lucky's character seemed as quite dehumanized so far, yet under Pozzo's utterance about him he bursts into tears and the emotional function of the language is underlined. In the field of Lucky's dehumanization, it is also being called as 'creature' by his master.

Taking the scene of Lucky' monologue when ordered to think into consideration, the power of speech apparently has the ability to evoke the emotions by its content and meaning. The scene displaying Lucky's monologue stays at the overlaps with issue of assigned fate with existential undertone. The main point derived from relatively unclear monologue could be the realization of existence of 'personal God' who is said to have

'divine apathy', i. e. not to be caring, maybe found merciless, who "loves us dearly with some exceptions". (Beckett 99) For these exception the the issue of damnation and suffering "for reasons unknown" is relevant. (Beckett 99)

In conclusion, although fragmentarily and in hints only, Lucky's monologue may be understandable with the focus on the identification of keywords. Based on the crucial ideas pronounced within the monologue, it is possible to summarize his thoughts as: admittion of the existence of a personal god, this god is said to have a white beard, the mention concerning the survey which is being done and not finished yet, the god is given the aforementioned attributions of aphatia, aphasia and athambia, the motive of somatic and psychical degradation is suggested when pointing at the subtracting of the weight destpite an adequate nutrition, mercy of the personal god with some exceptions to be found.

As far as the emotive laguage function is concerned, it is also manifested on the reactions of the other characters when the Lucky's monologue is being pronouced: "1) Vladimir and Estragon all attention, Pozzo dejected and disgusted. / 2) Vladimir and Estragon begin to protest, Pozzo´s sufferings increase. / 3) Vladimir and Estragon attentive again, Pozzo more and more agitated and groaning. / 4) Vladimir and Estragon protest violently. Pozzo jumps up, pulls on the rope. General outcry. Lucky pulls on the rope, staggers, shouts his text. All threethrow themselves on Lucky who struggles and shouts his text." (Beckett 98 - 101)

Based on the record of the sequence of individual reactions, the growth and gradation towards the negative pole is apparent. The emotions displayed could be understood as the expression of desperation about the helplessness to face this fate, which was suggested within the monologue. To draw the conclusion, while the communicative function of the language is significantly reduced or even removed, the emotional language function is strengthened.

10. The origin of destructive features

Within this chapter, an attempt is made to find the possible origin and the reason for the presence of destructive features in Beckett´s play. As mentioned above, the analysis takes into the account author's refusal of an external movement, ideology or a system to have an influence on his work. Therefore, the analysis is based on directly influential autobiographical features and the argument that the destructive features in Beckett's Waiting for Godot should be seen at the basis of projection of author's inner state of mind into his work.

As stated in the work Nausea by Jean Paul Sartre, "The Life begins on the other side of despair." (Sartre 188). With a regard to this utterance, the negative state of mind may be previewed as a starting position to true perception of the reality and experience. The aforementioned negative experience was contained in Beckett's life already, i. e. in the form of loss and mental suffering. The play Waiting for Godot may serve as a kind of allegory and also author's subjective parable in the form of expression of the wrod's absurdity on the background of which the author's war experience may be found as one of the most influential features.

10. 1. Beckett's stay in Tavistock centre

Beckett's stay in the Tavistock cenre in London has significantly influenced his work. Beckett witnessed lectures given by Carl Gustav Jung here; concretely it was his third lecture in a row, discussing the topic of being "never properly born" (as stated in the book record of Jung´s lectures collected in the book Analytical Psychology: its Theory and Practice: the term has been mentioned within the story about the little girl who "died a year later of an infectious disease. She had never been born entirely." (107). The meaning of the phrase used still remins at dark since it was not explained by Jung himself. But the phrase may be understood as having a kind of trauma of birth which has caused a gap at the level of emotional perception of a man. Also the person, affected in this way, is said not to have a full consciousness. Based on the quotation stated above it is possible to assume that the feature of destrucion may be regarded as an natal phenomenon already, which causes the limmitation of people's full perception at the level of emotions or general cognition, at this point it may overlap with the issue of epistemology. Specifically in Beckett's work, the idea of being never properly born was

54 suggested within the second act, where the character of Pozzo states: "(Calmer.) They give birth astride of a grave, the light gleams an instatn, then it's night once more." (Beckett 190).

10. 2. War experience and feeling of alienation

Beckett's war experience and his involvement in the anti-fascist resistance movement are important life experiences which influenced the author at level of his creation and also mindset. Within the chapter Camus Versus the Absurd, Ján Pavlík, Head of the Department of Philosophy at the University of Economics in Prague, is dealing with the phenomen of war, bringing it into existential context:

"In accordance with traditional interpretation, the fascination by Existentialism should have had its origin in the experience from marginal situations during the World War II; this interpretation, when accepted, suggests that the decline of "existential wave" is associated with the emergence of new generations, who lack the experiences mentioned. In other words, it is mainly long-lasting peace which is, viewed from evolutionary perspective, the way how the pressure make reduced. This is the reason of the weakening of the intensity and consistency of intellectual vision and causes the succumbing to the illusion that a human existence is not absurd" (Camus 31).

Based on the quotation mentioned above, it is possible to polemize with the positive meaning of war and war experience. On the other hand, in Pavlík's text the idea is suggested that understanding the Existentialist movement and being familiar - or have an experience - with existential feelings is conditioned by a war experience, i. e. the period, which has brought about the origin and extension of the Existentialist movement. Based on the claim suggested in Pavlík's utterace, the idea of gradual decline and distancing from Existentiallism is proposed. However, It could be argued that war is not the only source of negative feelings and life experiences, since the marginal situtation may arise from events of purely individual nature, e. g. the loss and subsequent suffering, as was the loss of Beckett´s father, as mentioned in his autobiography. At this point, not only did Beckett suffer by being affected by World War II and its consequences he witnessed also during his cooperation with Irish Red Cross but also he has experienced the loss and

55 mental suffering at purely personal nature when having lost his father who has played an significant role in Beckett's life.

The idea of viewing the war as a positive feature is also supported by Immanuel Kant, who within his work The Critique of Pure Reason consideres the war views the war as "a driving force which brings about the development to the highest level of all the talents which serve the culture" (Kant 32). Moreover, the war connected with the issue of loss has the positive meaning at the level of values, i. e. in teh field of axiology.

As far as Beckett's feeling of alienation is concerned, it may be said to have escalated during Beckett's stay in Paris as In Tindall's claim: "Like Joyce, Beckett preferred life in Paris, where, keeing himself to himself, he seems again the insulated man or, better, the man in pot or garbage can. Going to pot became his theme." (Tindall 3). The origin of the theme of alienation as a feature present at his work may be also find in his autobiography; moreover it may serve as a kind of explanation for the limited number of protagonists and limitation of the space in which his plays take place.

10. 3. Godot as an initiator of the destruction

"Out of the world, they are expelling the God who has come into the world with dissatisfaction and the interest in unnecessary pains. These words make the man's destiny to be a human matter which must be solved by the people themselves." (Camus 129). The quotation mentioned within the Anthology of Camus' work implies the idea of God's existence, yet it previews him as a kind of torturer. At christian point of view, the story of Job from The Old Testament may therefore be applicable to every human being with the intention to cause a pain only. Moreover, the idea of repudiation of this kind of God is suggested and the responsibility of people's faith or destiny becomes purely human matter.

Generally, expanding on the idea of Godot's presence in the work, the aim of this chapter is question the absence of Godot, supposing the identity of the character of Godot and God. In the most general and typical concept, the play is understood as an endless waiting of two protagonist for uncertain character of Godot (perhaps identical with traditional christian God), who never arrives. The character of Godot, causes the protagonists' suffering due to his absence, though this absence is undoubtedly physical, there is no prove of his absence at an abstract level - in this concept he could be

56 understood as an externally functioning higher power. At this point, several questiones are raised concerning the relevance of an atheistic point of view, taking into account the possibility of deism.

As suggested previously, the character of Lucky seemed to be quite dehumanized with the exception of his thinking monologue, in which he was said to temporarily overcome and change his subordinated possition within the the hierarchy, which had been working so far. Supposing this scene was not understood as mitigate of his dehumanization (or exception within it), we may preview him as a tool of convey about higher power, mainly taking into account the content of the speech pointing out at the existence of personal God, issue of agony, damnation, hell and heaven, being a subject to a certain survey, which is said to be unfinised (similarity to biblical Job). Should be mentioned that the nature of the speech was incoherent, as such was done by the way of psychological automatism and words were often repeated. Therefore, it could be pronounced by Lucky, yet could be understood as being created possibly by higher power (let us suggest Godot, or God), which was using Lucky just to transmit the true to the listeners. With regard to the phrase 'divine aphasia' suggested in the speech, the inability of 'personal God' (Godot possibly or christian God) to speak may be derived, which would explain the character of boy as Godot's messanger only, or using Lucky as a kind of intermediary for the reason of inability of direct access to a man.

The three features given to God within Lucky's speech display the God as merciless on one side ('aphatia'), but on the other side he is said to be unable to act ('athambia'). To clarify the phrase 'divine apathia', the lack of caring or being merciless could be suggested as an appropriate definition. Supposing the God(ot) is the initiator of the destructon of Pozzo (by making him blind) or Lucky (by making him dumb) he could be found as a merciless, punishing or examining the characters, as well as he could be found merciless to Estragon and Vladimir when leaving them wait endlessly.

This kind of concept is comparable to the work Beckett and zen: Dilemma in Samuel Beckett's Novels: "[...] the overwhelming sense of isolation in the exists in the world which seems not to be controlled by all-loving God, but rather some monstrous taskmaster." (Foster 23).

Another feature attributed to God is 'divine aphasia', understood as an inability to speak, similarly to 'divine athambia', defined as an inability to express oneself. The last two

57 features are limiting the God's power objectively. Based on this, the only way how his presence could be noticed or demonstrated is thorough his observable deeds, as analyzed in subsequent chapter.

The subsequent analysis, woking with the previous question concerning the presence of Godot (identical with the God) and a relevant issue of previewing him as an initiator of destruction is divided into two concepts, describing two kinds of perspective. Firstly, character of God(ot) is said ro have an influence on happening, as outlined within Lucky´s monilogue, and also initiatin the unfinished survey by making them face the features of their destruction. In other words he is showing his power despite his standing aside or physical absence, in order of examination of their will or loyalty. The similarity to biblical Job is aparent at this point of view. Another concept could be the the displayment of an unhappy human in the world without God and faith (Godot is really absent, which rasises the issue of atheistic kind of perspective at the interpretative problem. The last possiblity of understanding the character of Godot is admitting his existence, which as such is limited for the reason that he is unable for any action as suggested in Lucky's monologue by the phrases 'divine apathia', 'divine aphasia' and 'divine athambia' as explained above.

It should be repeated, that there is no reason for Lucky's becoming dumb or Pozzo's becoming blind, as well as there is no reason for the tree to bloom overnight. One of the explanations suggested may be the one bringin up the motive of coincidence again and understanging the events eccured in purely unconditioned concept. On the other hand, refusing to cope with obviousness ot the situation arisen and searching for the reason of the doer of these phenomena, we may see the origin of these deeds in kind of higher power, which could point at God(ot)'s presence - at least at the level of his acting.

Relevantly to the tematically determinated analysis, when concepting the Godot as the doer of theese features, he could be seen as the initiator of the destruction as well; i. e. not only destruction as such, but also at level of many kinds of it. At this kind of perspective God(ot) could be found as not externally shown and outside standing, but still an acting and influential force.

Taking into account the variteties of interpterations of Beckett´s play Waiting for Godot, the majority of them is based on the idea of Godot´s personification and his physical absence since this character is introduced, though implying the idea of being

58 powerful, based on his ability to change the life and future of protagonists, as a man - either an ordinary one or personificated higher power. This is also emphasized by the fact of being described as a man with white beard and being able to regularly send his messenger, i. e. the boy who comes in the end of both/each act.

The following interpretation is based on the idea of refusal of viewing Godot as externally existing character, with the focus on the utterance from Lucky's speech "Given the existence as uttered forth in the public works of Puncher and Wattmann of a personal God quaquaquaqua with white beard quaquaquaqua outside time without extension..." (Beckett 98) may be raising the issue of personal god's existence, suggesting that Godot (supposed to be identical with this 'personal god') is rather a subjective part of everyone and therefore logically excludes his external existence outside of people's mind. Assuming this, in such concept Godot of course acquires an abstract nature and may be viewed as component of consciousness or mind of every single human being.

The idea of Godot as an initiator of the destruction automatically implies the idea of Godot's presence in the play, yet the form of his existence does not have to be necessarily specified. As mentioned above, one of the ways how to emerge from the absurdity is the way of realization and gaining a kind of insight or detachment from the absurd reality, as suggested in Myth of Sysiphos by Albert Camus. Based on this, another kind of interpretation to be suggested is, that Waiting for Godot could also mean waiting for gaining this kind of an insight. At this concept, this could be viewed as an individuall given chance to understand the reality; suffice it to say that it is enough to demonstrate this fact within two days of the plot, i. e. formally in two acts of the play, since the repeatability in the future is clear and easily deducible. Assuming this, Godot would not be physical person, not even person with supernatural power usually understood as traditional christian God, but his character would be rather an abstract value in a mind of every single human being which, as such, has not been discovered yet. Subsequently, supposing the validity of this claim, it is not the character of Godot who is supposed to come, but it is a matter of the protagonists (and generally every single human) to find this "Godot" within, i. e. gain the aforementioned insight and see the world and its absurdity through and with a certain kind of detachment.

In this concept, it would be possible to explain the words pronounced in Lucky's speech, i. e. the "divine apathia, divine athambia, divine aphasia" as being an evidence for the claim this insight is reachable only through individual thought process and

59 experience since the "godot" itself, however concepted, has no power of controll over this enlightment, since 'godot! becomes the term for the enlightment as such. Therefore, the idea of external existence of a character of Godot is denied. Moreover, this kind of insight is reachable only through the pain closely overlapping with the issue of suffering or destruction which serve as the means or conditions for its achievement.

The analysis above corresponds with an atheistic branch of existentialism, the main idea of which is the display of the loss of a human in the world without traditional christian God. At this point, the traditional christian divine domination, which was common for each individual, has transformed into the form of individual's own god and responsibility for oneself. This concept could be compared to Kundera´s work Immortality (L'Immortalité, 1990) in which he deals with the issue of achievement of immortality in the world without God and individually accessable immortality preconditioned by human legacy and idea of perpetuation of oneself. Based on this, the idea of having the choice to influence the happening within the issue of being a subject to destruction is derivable, implying the idea the disengagement is individually accessable. The evidence for the kind of interpretation mentioned above may be also found in scientifical (i. e. psychological) field. Specifically this kind of understanding is based on Lectures given by Carl Gustav Jung in Tavistock Centre Clinic, where Samuel Beckett witnessed Jung´s lecture on 2nd October 1935. The first lecture had been dedicated to the issue of conscious and unconscious mind. The claim of C. G. Jung concerning the limitation of human perception is, within the play Waiting for Godot, valid for the character of Estragon, as well as the characters of Pozzo and Lucky:

"The conscious mind moreover is characterized by a certain narrowness. It can hold only a few simultaneous contents at a given moment. All the rest is unconscous at the time, and we only get a sort of continuation of a general understanding or awareness of a conscious world through the succession of conscious moments. We can never hold an image of totality because our consciousness is too narrow; we can only see flashes of existence. It is always as if we were observing through a slit so that we only see a particular moment; all the rest is dark and we are not aware of it at that moment. The area of the unconscious is enormous and always continuous, while the area of consciousness is a restricted field of momentary vision." (Jung 7, 8)

The idea within the utterance from Jung´s lecture again raises the theme of temporal concept and the idea of memories as an evidence of its flow. Likewise, it explains the focus on the immediate present which is, in consistence with this statement, the only knowable and understandable since the past is, with one exception of the character of Vladimir, forgotten and the future is attacherd only to a non chronologically defined point, i. e. the event of meeting Godot (or finding Godot in an abstract concept of this character).

Naturally, there are certain arguments to be found standing in the opposition to this concept. One of them is the idea dedived from the dialogue between Vladimir and the boy in the end of the second act, in which the boy claims that Mr Godot has a white beard. This utterance describing the characteristic of purely physically existing person again implies the idea of personification of Godot and his displayment as an externally existing character. On the other hand, when understanding this in an abstracct way, the utterance could acquire a nature of symbol of long-time duration of a certain process. By this process the waiting for protagonists to realize the absurdity may be understood. Another argument could be the fact, that the character of boy, as Godot's messagner, comes also in teh end of the second act, in which Vladimir realizes the vanity and absurdity:

"Vladimir: Was I sleeping, while the others suffered? Am I sleeping now? Tomorrow, when I wake, or think i do, what shall i say of today? That with Estragon my friend, at this place, until the fall of night, I waited for Godot? That Pozzo passed, with his carrier, and that he spoke to us? Probably. But in all that what truth will there be? (Estragon, having struggled wtih his boots in vain, is dozing off again. Vladimir looks at him.) He´ll know nothing. He´ll tell me about the blows he received and I´ll give him a carrot (Pause.) Astride of a grave and a difficult birth. Down in the hole, lingeringly, the grave digger puts on the forceps. We have time to grow old. The air is full of our cries. (He listens.) But habit is a gread deadener. (He looks again at Estragon.) At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep on. (Pause.) I can´t go on! (Pause.) What have I said? He goes feverishly to and for, halts finally at extreme left, broods. Enter boy right. he halts. Silence." (Beckett 192, 193)

Though the sample of Vladimir´s thought process is semantically connected to The Myth of Sisyphus, the whole thought is finally questioned or denied within the utterance "What have I said" which may suggest the idea of the inability to retain the idea of an insight gained; moreover, the speed of its destruction is emphasized since, in other words, the idea is forgotten immediately after being pronounced. The possible explanation to be found is that an insight and understanding of protagonists is mutually connected and they both are dependent on each other till such a high level, that they can act as one person oly, which again raises the issue of mutual dependence, which, at this point, it is its existential or, more precisely, epistemological one. At this point, the character Vladimir would represent the conscious mind (even temporally) and Estragon unconscious mind, when the the cognition is accutal, but temporary and limited by (and dependent on) an immediate perception.

Based on ideas and concepts mentioned above, it is possible to assume that inflammatory destruction and suffering are tools and a specific conditions for this final enlightenment. The reality is understandable only through pain and suffering, i. e. mental and somatic destruction having its origin in an externally assigned fate, possible previewed as an absurd one.

10. 4. Idea of Beckett's deism

Paul Foster, within his work Beckett and zen Dilemma in Samuel Beckett's novels claims that "What I call Beckett's impasse and what we could briefly summarize into this: The God does not exist, and yet he must exist." (Foster 13)

The idea of Beckett's deism is proposed within the attributes given to the personal god, as mentioned in Lucky's speech: "divine apathia divine athambia divine aphasia". (Beckett 99). The existence of this god is not denied, butt his powers are said to be limmited. The consequences of a human deeds become purely human matter, which is associated with the Existentialisticly concepted issue of responsibility whch, unlike as within the religious concept, operates rather with the consciousnes and the phenomenon of being responsible is viewed as a serious problem or even a threat. Unlike religion does, Existenialism operates rather with the issue of consciousnes, not the God's punishment; viewing the war as purely absurd human deed, not a punishment which origin should have a supernatural nature. Moreover, as Jean Paul Sartre has stated in his best know

62 work Huis-clos "L´enfer, c´est les autres - Hell is other people". (citace) Should the idea be expanded, it is possible to pressume that all the influence with an effect on the personality of a man comes from outside without any possibility for a human to influence, streamline or eliminate this phenomenon.

Camus raises the ida about "the God who, perhaps, could deliver a meaning to the life. These observations are dealing with the nature of consciousness and personal identity; they ask how truthful the cognition is, and whether the communication between the God and his creation is possible." (Camus 46)

10. 5. Idea of Beckett´s atheism

Based on the anthology Albert Camus: Fifty years after death: An Anthology: "...convinced about the human origin of all human matters, a blind man who wants to see and who knows that the night has no end is constantly on the move. The boulder is still rolling. A human always finds his burden." (129). When taking the phrase "the human origin of all human matters" the idea of seeing a higher power (often understood as traditional christian God) is therefore denied and human fate becomes a responsibility of purely human nature. The aforementioned concept may be supported by Immanuel Kant's point of view who understands the vision of the God as a driving force against the absurdity of the world and therefore he struggles for the cognition, yet the God as such does not exist. The God is rather a consciousness - creating the morality. Kant's agnosticism suggests the idea concerning the apriori nature of a phenomenon of the God who serves as a kind of consciousness rather than higher power.

In her work Loneliness and alienation, Kathrin Asper claims that "For the one who has no basis within, an absent God becomes a deeply affecting experience, which appears as a hidden one and demands the act of faith, even the faith in Nothing, while this is a faith which has learned to stand upon nothing, as defined by Luther. The experience of a hidden God comes with a deep experience of melancholy which is not symptomatically different from endogenous factor of depression, nevertheless it is differenciated from it by the fact that a disabled person is going through the experience with his eyes open, in spite of the distress, anguish and pain and he and he is tenaciously adhered to the vision that God does exist, despite his absence and the darkness in which he is veiled." (Asper 23). The need for the existence of the personal God is suggested also

63 in Asper's quotation when suggestively convinced God's existence prevails over the suffering.

One of the characteristic of Existentialist movement, the activity towards one-self and one's own future is highlighetd. This has led to the denial of a God and therefore also christian morality. Despite the validity of this claim, there in no active aproach of the protagonists in Waiting for Godot. It is just the opposite attitude which is noticeable, since the protagonist passively wait for the other person (Godot) to take responsibility for themselves. This may be seen as a feature which lies beyond the characteristics of Existentialism.

10. 6. Beckett's approach to materialism

In spite of being a member of middle or upper-middle social class, Samuel Beckett was forced to face difficult life experience, under the influence of which the material things seem to be meaningless or loose their value. Also the mentioned events in Beckett's life may be considered as influential ones for his work. The unfortunate life experiences and moments of suffering were a basis for a reassessment of Beckett's values and his the focus on inner perception. The loss of his father and subsequent stay in psychiatric Tavistock Clinic had a significant effect on his personality and his work.

The experiences as such have made the feature and idea of possession an unimportant, purely superficial value, which serves as a cover of the actual gist only. The features of an abusurdity and destruction are features by which Beckett reaches and discovers the true nature of being and values. Therefore, the protagonists of Beckett´s works are also peple living living on the periphery of society, periphery of life or, perhaps, even beyond its border.

At this point, Beckett's selection and display of the protagonists can be compared to Bohumil Hrabal, who also displays the people living on the periphery of society. The characters displayed by Hrabal extricat themselves from perception of their appearance and a main attention is paid to their temperament characteristics (Hrabal calles this feature 'a pearl at the bottom' - the beauty of a soul and a feature which should be found by everyone). The intention of Hrabal's displayment of protagonists, as well as in Beckett's work, was to display a human living at the border of his existence to reach their basis. This basis as such may differ in both cases. The aim of Hrabal was to suggest a

64 reflection about originality and uniqueness of this kind of people. On the other hand, Beckett's reflection is considerably more philosophical thus its conclusion bares the idea that people suffering from existential crisis and people viewed as 'a social scum' are rid of material possession by which they could hide, compensate or forget about their suffering. Based on this, they are deprived of possible escape into materialism which would represent temporary forgetfulness of passing time and forthcoming death as suggested also in the work by Egon Hostovský and his novel The Stranger is Looking for a Flat in which the character of Fred pronounces the idea of material compensation: "We are buying time [...] in order to deafen ourselves and not to see our own ticking, to get drunk and not to see how it is getting dark, to narcotize ourselves with a game, success, our good reputation, fame and Got knows what else and to forget that earliness narrows our breath." (Hostovský 398)

In conclusion, a human being, deprived of all the possession, may escape through the feature, which has a human existence in common regardless the social or economical status, i. e. excape into death. The perception and inner reflection of a human on the periphery of life is therefore a significant moment, bringing the idea of reflection at axiological-existential level. One of the motives, which could serve as an evidence of Beckett's condemnation of materialism in the sense of clinging to it is the motive of a hat. In the scene where Vladimir is unable to think without his hat or puts his hat on in order to be able to think may be found, except of being absurd, critical as well. Thinking, as purely human process, is in this case conditioned by purely material thing.

In many of Beckett's attitudes, it is possible to find a similarity with thinking of Erich Fromm who, within his work The Art of Being, is dealing with the orientation of the society towards material posessing: "...in a fully commercialized society, in which the venality and optimal profit are the core of values and in which every human experiences ourselves as "capital" which has to be invested in the market with the intention of an optimal profit or success, in such a society they appreciate their own value so low as a toothpaste or a medical degree." (Fromm 18). Having placed the aforementioned material things at the same level, Fromm has hereby emphasized worthlessness of them in order to mediate a critical point of view on materialist obsession.

Dealing with values and and baring the call for materialistic detachment, the work of E. Fromm undoubtedly operates with the problematics at an axiological level. The thoughts externally pronounced by Fromm could be applied in Beckett's play, since the

65 same reflection is initiated, only in the form of the plot and dialogues. While Fromm delivers his message based on directly mediated point of view, Beckett´s work leads to the reflection without the appeal directed towards the recipient.

In conclusion, it is possible to presume that while the possession has helped Beckett to education and knowledge, his antimaterialistic approach has helped him to create a point of view at life and being. This point of view is subsequently reflected in his work, and interpretable even without author's appeal to the recipient or deliberate usage of hints or symbols in his work.

11. Conclusion

In conclusion, it is justified to claim that the destruction as a main issue of the thesis is present in the form of an autobiographical feature of Beckett and subsequently it is reflected in his work in the form of themes and motives. Supposing the validity of the claim that the interpretability of an existential work is preconditioned by the war experince, the interpretation of Becett's work would not be possible for the recipients' who lack this war experience as well as feeling of disillusionment resulting from it. Partly due to reason of Beckett's refusal of Existentialim as an interpretative key to his work, the themes and motives concerning the destruction in Beckett's work may seem firstly as purely personal and also timeless one when analyzing the motives in detail since the issue of the loss, alienation, inability to understand each other or the emptiness of the phrases may be concerned for everyone regardless the temporal context. At the same way the war was concepted as an absurd fate with fatal consequences, the motive of an unhappy coincidence implied may be understood as valid timelessly as well, yet it is not the war which causes the subsequent disillusionment. This source of despair may be the loss at purely personal and individual level.

The war was one of the features which has helped Beckett to see the truth about the absurdity of the world and human deeds. Beckett's work becomes thus a kind of reflection of this enlightment, as suggested within the idea of previewing the war as a destiny. The limitation of human understanding of the absurdity of the world is not only natal, as suggested in the idea of being never properly born but also it is emphasized by mental suffering which has its origin in war, loss and limitation. The understanding of the absurdity of life and word may be seen as possible only at the periphery of the life as

66 such, i. e. in the marginal situation accompanied with the feeling of hopelessness in the world where the death becomes a solution from neverending suffering and the God, if his existence is admitted at all, is not a merciful one, but rather a torturer who makes a biblical Job practically out of every single human being. Beckett's work is therefore a kind of testimony of the human existence in the form of alegory at its very basic level. Assuming that his work is supposed to serve as communiqué, i. e. the text intended for the delivery of the message, the play Waiting for Godot may also be viewed as an indirect appeal to reflection about the human existence and values, especially when recipients are the witnesses of mediated magrinal life situation which the audience may identivy themself with. At this point, the destruction, though mostly concepted as a negative phenomenon, may have a positive meaning leading to the change of the point of view, realization or a creation of a new, different concept.

The limitation in the spatial, temporal and lingual setting of the play may be seen as a starting position for the realization of the intention to highlight the human existence at its very basic level, i. e. in terms of being deprived of any material ties, set in one place only and unable to communicate. This kind of atmosphere causes the reflection of a human, who standing at the periphery of the society, realizes the absurdity of the world when having experienced the long-lasting suffering. At this point, the claim is proved that the world is cognizable only through the pain.

However, as far as the issue of an interpretability of Beckett's work is concerned, the element of subjectivity necessarily will be always present. In general, it is possible to understand the play Waiting for Godot as an allegory for human life and his unhappy fate. The absurdity resulting from the repeatability and mechanical nature of living is killing the man's will, moreover the idea about substitutability any of man is introduced in this way. At this point the loss of identity appears as a relevant feature.

12. Literary sources

Primary source (subject of the analysis and interpretation)

BECKETT, Samuel. Waiting for Godot: a tragicomedy in two acts. London: Faber and Faber, 2000. Print. 87 s. ISBN 0-571-05808-6.

BECKETT, Samuel. Čekání na Godota. Trans. Patrik Ouředník. Brno: Větrné mlýny, 2010. Print 232 s. ISBN 978-80-7443-002-2.

Beckett´s autobiography, work and thoughts

BECKETT, Samuel. Eseje. Brno: Petrov, 1992. Print. 115 s.

BECKETT, Samuel. Konec hry. Praha: Divadelní a literární agentura, 1994. Print. 63 s. ISBN 80-203-0208-5

FOSTER, Paul. Beckett a zen, Dilema v románech Samuela Becketta. Trans. Tomáš Dvořák. Praha: Mladá fronta, 2002. Print. 398 s. ISBN 80-204-0951-3

JUNG, Carl Gustav. Analytical Psychology : Its Theory and Practice (Orig.) : Analytická psychologie : její teorie a praxe : tavistocké přednášky. London: Routledge and Kegan Paul, 1968. Print. 205 s. ISBN 80-200-0480-7

JUNG, C. G. Analytical psychology: its theory and practice : the tavistock lectures. London: Routledge, 1968. Print. 224 s. ISBN 0-7100-8414-5

Tindall, William York. Samuel Beckett by William York Tindall. New York: Columbia University Press, 1966. Print. 48 s.

Cultural and ideological context

ASPER, Kathrin. Opuštěnost a sebeodcizení. Praha: Portál, 2009. Print. 263 s. ISBN 978-807367-453-3

CAMUS, Albert. Mýtus o Sisyfovi. 1. vyd. Praha: Svoboda, 1995. Print. 186 s. ISBN 80- 205-0477-X.

DAMBSKÁ, Izydora. "O sémiotických funkcích mlčení" Od poetiky k diskursu: výbor z polské literární teorie 70. - 90. let XX století. Ed. Jiří Trávníček. Brno: Host, 2002. 13 - 27. Print.

ESSLIN, Martin. The theatre of the absurd [Esslin, 1969]. Rev. and updated. ed. Garden City, N.Y.: Anchor Books, 1969. Print.

FINKIELKRAUT, Alain. Destrukce myšlení. Brno: Atlantis, 1993. Print. 110 s. ISBN 80-7108-0632

FROMM, Erich. To Have or To Be. Praha: Aurora, 2001. 242 s. ISBN 80-7299-036-5

FROMM, Erich, The Art of Being. Praha: Naše vojsko, 1994. Print. 124 s. ISBN 80-206- 0225-9

JANKE, Wolfgang. Filosofie existence. Trans. Jaromír Loužil. Praha: Mladá fronta, 1995. Print. 247 s. ISBN 80-204-0510-0

KANT, Immanuel. Kritika čitého rozumu. Praha: OIKOYMENH, 2001. Print. 567 s. ISBN 80-7298-035-1

Loužek, Marek, ed. Albert Camus: padesát let od úmrtí: sborník textů. Praha: CEP - Centrum pro ekonomiku a politiku, 2010. Print. 139 s. ISBN 978-80-86547-88-6

SANTAYANA, George. Reason in common sense. New York: Collier Books, 1962. Print. 188 s.

SARTRE, Jean-Paul. Théatre: Les Mouches, Huis-Clos, Morts sans Sépulture, La Putain respectuese. Paris: Gallimard, 1947. Print. 297 s.

SARTRE, Jean-Paul. Bytí a nicota: pokus o fenomenologickou ontologii. Ed. Kuba Oldřich. Praha: OIKOYMENH, 2006. Print. 717 s. ISBN 80-7298-097-1

The American Heritage college dictionary. Boston: Houghton Mifflin, 2002. Print.

Other literary works used for a comparison

HAVEL, Václav. Largo desolato: hra o 7 obrazech. München: Obrys/Kontur-PmD, 1985. Print. 98 s.

HOSTOVSKÝ, Egon. Cizinec hledá byt. Praha: Melantrich, 1947. Print. 166 s.

KAFKA, Franz. The Metamorphosis. Trans. Karen Reppin. Praha: Vitalis, 2006. Print. 112 s. ISBN 80-7253-109-3

KAFKA, Franz. The Trial. New York: Vintage Books, 1969. Print. 340 s.

KAFKA, Zámek. Praha: Československý spisovatel, 2009. Print. 301 s. ISBN 978-80- 87391-07-5

KUNDERA, Milan. Nesmrtelnost. Brno: Atlantis, 2006. Print. 382 s. ISBN 80-7108-276-7

SARTRE, Jean-Paul. Nevolnost. Praha: Odeon, 1993. Print. 187 s. ISBN 80-207-0387-X

SARTRE, Jean-Paul. Zeď. Praha: SNKLU, 1965. Print. 236 s.