Religious Study of Waiting for Godot

Samuel Beckett was a famous Irish dramatist and novelist. Waiting for Godotis his masterpiece.
Although it is recognized as the masterpiece of theater ofthe absurd, it is filled with religious
feelings of the writer.The play seems absurd but with a deepreligious meaning.His early
education regarding religion had massive impact on his literary creations. “Original sin,
salvation, second coming of Jesus and other themes in Holy Bible” among other religious
discussions are echoed in this play.

The very title of the play has religious undertone since the name Godot itself phonetically
resembles the word God. In addition to that there are numerous symbols and descriptions strewn
across the text of the play which hints at the idea that Godot is God whom the human race
(Estragon and Vladimir) are waiting to come and fulfill whatever was promised and help them
make some sense of their otherwise senseless and absurd circumstances. From the description of
appearance, Godot has similarities with God.The two men once asked him what color Godot’s
beardis. There is a conversation between them. The Boy explains that Godot has a “beard” upon
further inquiry it is further revealed that the beard is “white”. This strikes up an image that is
very close to the Christian image of God. Vladimir’s comment that they will be saved when
Godot comes also serve as a proof of God like image of God.

Another thing which proves Godot to be the symbol of God is the boy who is sent to deliver
Godot’s message. The boy could be taken as a prophet. Like prophets he is the only one who has
actually seen Godot (God). Furthermore, when he is inquired about his job he says that he
“minds the goats”. In Christian theology it is widely believed that prophets are the guiders of
goats (Which will be saved in comparison to sheep which will be damned). Prophets were used
by God to rely His messages to His creation. The boy’s declaration that “Mr. Godot won’t come
this evening but surely tomorrow” can be interpreted as a signal for patience to humanity which
was then in dire need of help. Similarly, Prophets are the only source of information regarding
God. The boy proves it by letting on the first detailed description of Godot’s intentions and his
ways. Prior to this, both Vladimir and Estragon and Vladimir are clueless as to what Godot looks
like or when he intends on coming.

In Waiting for Godotboth positive and negative attitude towards religion are portrayed through
various symbols, gestures, allusions etc. On one hand religion is being taken as the only ray of
hope in an otherwise dark and murky world. The very title of the play suggest that Godot, who
has already been discussed as a probable symbol of God is providing both Estragon and Vladimir
a reason to live or in other words he is giving a purpose to their life in which they practically
have “nothing” neither they do anything about it.Though they are not sure about most of the
things that is going around but they are certain about one thing that they are “waiting for Godot”.
Moreover, Gogo and Didi are found speculating on the option of praying and discussing what
would happen if they “repented”. Although they are not clear about what they should repent
about they still have some vague idea and some hope left in religion. The act of looking
repeatedly at “sky” may also be interpreted as a plea to heaven for help to save them from the
wretched fate modernism has doomed them to. In addition to that both of them are “curious to
hear what he has to offer”, this shows their hope in religion. Moreover, the barren and “dead”
“tree” near which they are standing is shown to have a few leaves by the end of the play that
clearly depicts that their hopes in religion are not yet annihilated.

This hope is accompanied by skepticism, doubt and hopelessness regarding religion. The barren
tree which they are standing beneath confirms their hopeless view of religion. The fact that they
consider hanging themselves from that tree also suggest that they consider religion and its
suffocating whims would be their death. The idea that they are “tied down” i.e. unable to move
forward is because of Godot (God/religion) who has their “future in his hands” and is making
them writhe in misery on purpose by keeping them waiting. In addition to this their skeptic view
of religion is revealed when they talk about the discrepancies in religious interpretation about
crucifixion of Jesus and the two thieves who were present there. Didi sarcastically finds it
“extraordinally interesting” that “how is that of the four Evangelists only one speaks of a thief
being saved”. Moreover, while talking about Christ when Estragon compares himself with Christ
Didi remarks that their condition has nothing to do with Christ. Estragon argues that “All my life
I’ve compared myself to Christ” upon which Didi retorts that the time he lived in was different
then what they are enduring. This clearly suggest their view that they no longer believe in the
authenticity of religion or at least they don’t think that the religious apply to the modern, more
gruesome affairs of the world.

The play also has religious overtones in terms of the biblical allusions used in it. The tree which
has already been discussed as a symbol of hope as well as hopelessness can also be taken as a
symbol of the tree bearing the forbidden fruit in paradise. Moreover, it has been interpreted as
the cross of Jesus as well. In one of their seemingly nonsensical dialogues Estragon calls himself
Adam. This can be interpreted that maybe just like Adam they are the fallen man who
themselves are responsible for their misery and wretched condition.Vladimir says the days of joy
are over “They wouldn’t even let us up”. This is similar to Adam’s condition after he was thrown
on earth for disobeying God. There are a lot of references alluding to the humble and miserable
beginnings of man after he was thrown out of heaven. In Act 1 Vladimir suggests to Estragon
that “suppose we repented” Estragon asks whether they should repent about being born. This
clearly refers to the original sin of Adam and even after which they spent a lot of years in
praying and repenting waiting for God to rescue them. Another Biblical allusion regarding the
boy bearing Godot’s message is that he and his brother can be taken as the two sons of Adam,
Abel and Cain. According to Christian belief God loved one of the brothers and hated the other
for his wickedness. In Act 1, after finding out that the boy minds the goats Vladimir asks if
Godot is good to him he answers in affirmative. The boy adds that Godot does beat his brother
this hints at the biblical reference clearly.

Several Christ-like images accompany the religious symbols and references scattered throughout
the play. When Estragon and Vladimir must lift Lucky, one on each side, we see an image much
like that of Christ in his dying moments. The same representation appears again when Pozzo
suffers in blindness and must be supported by Vladimir and Estragon. Unbelievably enough,
Estragon himself makes appearances that seem to mirror Christ's final earthly days. He talks of
spending the night in a ditch, an analogy to the cave that housed the Lord after his death.
(Perhaps, this thought makes Vladimir's song and its five references to the word "tomb" more
significant than it otherwise seems) After discussing the ditch and learning that Estragon has
been beaten, Vladimir takes the persona of Veronica and tenderly reaches out to embrace him.
The final expression of the image comes when Estragon rises from sleep and Pozzo examines the
cut on his leg, thus recalling the Apostle's examination of Christ’s wounds after his rising.

Pozzo and Lucky provide a whole new religious perspective. Lucky’s speech also comprises of
religious subtext.Pozzo says ‘He used to be so kind…so helpful…and entertaining…my good
angel…and now…he’s killing me.”Pozzo, in past, had benefits from Lucky which are no more
there. This indicates of something that happened between the two that has reduced Lucky’s
capabilities and overall effect. This affect is abstract one rather than material as it was used to be,
that has become worst because Lucky remains a luggage carrier. Now, Lucky don’t have
soothing and satisfying effect over Pozzo’s spirit. Pozzo’s comment “he’s killing me” refers to
spiritual abuse. Now ucky has become a liability to Pozzo, prompting his plans to discard the
slave. Banana peel has described as the disposal of a faithful human and this symbol reduces the
worth of Lucky as a banana peel is trash. Lucky can be considered as dying Christ which
exchanges two things. First, sacrifice of Jesus is of no worth as once it was and second is that
this failure of sacrifice translates into spiritual failure and of Christianity. As Jesus’ sacrifice is
worthless, hence Lucky’s actions have also become worthless and degenerated.

Pozzo: “He used to dance the farandole, the fling, the brawl, the jig, the fandango, the hornpipe.
He capered. For joy. Now that’s the best he can do.”

Lucky’s broad range of mirthful dances has now reduced to some movements in order to cheer
up others. This reduction and sacrifice of Christ to suffering man has now become a mechanical
activity for pleasing the bored men. Same like this dance, religion has now changed and the
actual foundations and bases of its faith have deteriorated from graceful fluidity to rusty
creaking. Lucky’s words present Christ’s eloquent stories. Once, Lucky “used to think pretty”
but now he speaks in a running babble that presents a view towards all departments of life and
theology especially. His speech resembles a runaway parable; his verbal “tirade” almost conceals
all his meaning. On a closer view, the speech furthers the idea of the dwindling value of the
Christian faith:
Lucky: “Given the existence as uttered forth in the public works of Puncher and Wattmann of a
personal God quaquaquaqua with white beard … who from the heights of divine apathia divine
athambia divine aphasia loves us dearly…”

Lucky’s speech can be called as masterpiece for hidden examples that suggest religious
messages. His speech may appear nonsense, but his start is astonishing as he mentions a
“personal God” with a “white beard” and that’s what prompts Vladimir to ask the Boy if Godot
has a white beard. By this very speech pulls out “Given the existence […] outside time […] who
[…] loves us dearly” is amongst many other messages. Though, Lucky speaks in complexity and
mimicking scientific style but his speech lacks scientific organization and coherence. Under this
incoherence, Lucky states the subject of his discourse: Christ, the “personal God”. The
opposition of tone and topic of faith hints at the struggle for finding its place within the other.
Faith and science detract from each other, diminishing both of their values, comes up again in
exploration of Bishop Berkeley, a scientific theologian. “Personal God” promotes Christian
believe, Christ was God as well as a human who lived among heights of humanity’s
shortcomings which Lucky paraphrases in “apathia” (lack of caring) “athambia” (inability to
speak) and “aphasia” (atheism or belief in no God). Christ was introduced to such spiritual
empty world having these “A’s” also lacking interest, expression and belief in God. But with the
use of his spiritual tools, Christ got the opportunity to fill man’s hollow. But the emptiness is still
present which shows that Christ has failed in his purpose. Lucky continues this tirade in same
manner, speaking of the antipodal places in Christ’s teachings, heaven and hell:

“… that is to say blast hell to heaven so blue still and calm so calm so calm with a calm which
even though is intermittent is better than nothing…”

Lucky’s rhetoric restates the preaching of Christ, but also another aspect is shown that how
teachings can be confusing and contradictory. By separating “blast hell” from “to heaven”, we
give rise to two separate commands which becomes an instruction to turn away from temptations
of hell and look toward the peace of heaven, which is central theme of Christ’s preaching. But
“blast hell to heaven” as one phrase by Lucky refers to place sin and temptation together in the
middle of heaven. Not only the peace of heaven will be lost, but also hierarchy of Christianity
will be flattening as it places GOD and the Devil on plane level. Lucky also points out
weaknesses of faith because the creation of faith creates the shortcomings of faith as a corollary.
Lucky’s speech as Christ’s words also establish the spatial hierarchy of Christian faith and also
flatten the same faith and same space.

“. . .that man in short that man in brief in spite of the strides of alimentation and defecation
wastes and pines wastes and pines and concurrently simultaneously. . .”

Lucky then explore how faith is reduced by the help of pseudo-scientific talk "no matter what
matter the facts are there". The dual "matters" allude to Bishop Berkeley, who was an Irish
Bishop. He attempted to create compatibility among science and the Christian doctrine.
According to Berkeley, matter exists if it is perceived by some mind, and that matter, therefore,
exists because God is always thinking of everything. Hence as a result, he was able to harmonize
God and science. Science exists because God thinks about it; thinking about science constitutes
God. Here, Lucky’s tirade is making a weak attempt to revive Berkeley’s ideas through his
language. But instead of harmonizing, they clash.

Furthermore, by referring towards “Cunard”, Lucky is basically showing the devaluation of

Christian faith. In the mid- nineteenth century Sir Samuel Cunard’s ship played a pivotal role in
the Crimean War (1853-1856), which was caused by a dispute between Russia, France, and
Turkey over Holy Places in Jerusalem. This reference is particularly apt because in early 1948,
the year Beckett wrote this play, Israel became a nation which contained many of the same Holy
Places. The very next day the Arabs, composed partially of Christians, attacked the Israelis and
stormed East Jerusalem and the Holy Places. At the very time when Beckett conceived Godot ,
People were murdering each other to possess the city where one religion of peace and sharing
began Christianity made the city of Jerusalem special which led to loss of lives.

“. . .in spite of the tennis on on the the beard the flames the tears the stones so blue so calm alas
alas on on the skull the skull the skull in Connemara in spite of the tennis the labors abandoned
left unfinished. . .”

This part of Lucky’s speech can be directed to many directions. Lucky refers to the sport
‘Tennis’ which was originally names as jeu de paume, meaning "a game of the palm." This
could be a reference to Christ's mark, which he showed to Thomas as evidence of his identity
and resurrection. The flames point to the Flames during baptism upon the messenger as tongues
of fire which were used for filling them with the Holy Spirit and allowing them to speak in
foreign tongues so as to communicate the word of God to foreigners.
The tears, of Lucky can be referred to Mary Magdalene's tears upon finding Jesus' tomb empty.
She then saw a man who asked her why she was weeping, to which she replied because Jesus'
body had been removed from the tomb. That man then revealed himself to be Jesus, and Mary
became the first witness of Jesus' resurrection

In the speech there is a reference of the stone as well which refers to the giant stone which was
sealed over the opening of Jesus' tomb. According to Matthew, a messenger, an angel appeared
to the tomb's guards, moved the stone as if it were a pebble, and made the guards believers.
Lastly, the skull refers to Golgotha, or Skull Place, which was a place where Jesus was
crucified. According to the New Testament at this very place the earth shook as God eclipsed
the sun and at that moment Jesus died, fulfilling Christ's own prophecy of the events of his death

The speech finally ends when Pozzo, Estragon, and Vladimir triumphantly tackle Lucky just like
the mob which tries to attack Jesus for silencing him and they all shouted "Crucify him! Crucify
him!" Lucky serves Pozzo well, insisting on carrying his burden. His burden is an empty symbol
which is about bags filled with sand. In the very same way Christ taught humanity to carry
burden. According to Waiting for Godot, the burden is not worth carrying. Christ was both the
beginning and the end of Christianity, just as Lucky began his service with high intentions, but
ends as a slave who speaks only rubbish.

It is strongly believed that the play has ideas of existentialism. But event to support
existentialism, writer shows religious ideas. And he also tries to deconstruct it. Consciously or
unconsciously, writer presents many Christian myths and Biblical images.As biography suggests,
Beckett knows about all the Christian philosophical, spiritual ideas from childhood. So, the play
has many Christian values like repentance, craving for salvation, faith in God, fear of God and
hope for to be saved, and ‘coming of Mr. Godot’.
Bibliography

Beckett, Samuel. (2006). Waiting for Godot. Selected Works of Samuel Beckett. Trans. By
Zhongxian Yu. Changsha:
Hunan Art Publishing House.
Sun, Caixia. (2005). Western Modernist Literature and Holy Bible. Beijing: China Social
Sciences Press.
[Canada] Xu, Zhiwei. (2006). Introduction to Christian Theology. Beijing: China Social
Sciences.
Zeng, Chuanhui. (1994). The Stories of Holy Bible. Beijing: China Social Sciences Press.

http://www.novelguide.com/waiting-for-godot/essays-and-questions