Samuel Beckett’s Waiting for Godot is in some cases entertaining, once in a while discouraging, and just about constantly unusual. The play is subtitled: “A Tragicomedy in Two Acts.” As the name recommends, a “tragicomedy” intertwines the miserable class of catastrophe with the laughter-inciting components of comedy. Tragic-comedy is a play which guarantees a plot able for disaster yet which closes joyfully like a comedy. The action is serious in theme and theme and tone likewise once in a while yet it appears to be a tragic catastrophe until a surprising turn in occasions brings out the happy completion. The characters of a tragic-comedy are honorable however they are included in improbabilities. In such a play tragic and comic components are combined up.
The English edition of “Waiting for Godot”, distributed in 1956 portrays the play as a “tragic-comedy” in two acts. There are numerous dialogues, motions, circumstances and activities that are stuff of unadulterated comedy. All musical gadgets are utilized to make laughter in such a tragic circumstance of waiting. The aggregate climate of the play is extremely likened to dark comedy. For instance, Vladimir is determined not to hear Estragon’s bad dream. The last begs him futile to hear him, saying that there is no one else to whom he may impart his private nightmares.
The audience blast out in laughter when they see Estragon putting now and again his boots. Vladimir’s amusement with his cap shows up as though this is going on in a circus. Vladimir is experiencing prostrate issue. Vladimir’s method for strolling with stiff and short strides is as interesting as Estragon’s limping on the stage. Estragon’s signals of swaying Vladimir to urinate off-stage are absurd. The comedy in this play at sure times gives the impression of Vaudeville. There are numerous dialogues:
Estragon: Let’s go.
Vladimir: We can not.
Estragon: Why not?
Vladimir: We are waiting for Godot.
(They don’t move.)
These dialogues happen like a comic standard in the play.
Estragon and Vladimir put on and take off one another’s cap and that of fortunate over and over. It acts that in the realm of tramps, there is no spot of significant activities. The most ludicrous circumstance in the play is the one where the tramps are trying the quality of the rope with which they wish to hang themselves. The string breaks under the strain. One can’t have an uninhabited chuckle at the circumstances for there is likewise something profoundly uncomfortable.
“Waiting for Godot” has a few minutes of anguish and gloom. Somebody beats Estragon every day.
‘Estragon: Beat me? Certainly they beat me’
Estragon’s feet and Vladimir’s kidneys are likewise taken to be allowed. The tramps disdain that they ought to be asked whether regardless it harms. It goes without saying that it harms constantly. At the point when Vladimir asks Estragon whether his boots are harming him, he reacts:
‘Hurts! He wants to know if it hurts!’
Somewhat later Estragon gets some information about his kidney inconvenience and the last answers in the same words:
Hurts! He wants to know if it hurts!
The tramps are inhabiting the barest level of presence. Carrot, turnips and radishes are all they need to consume. Estragon’s comments show disaster and defenselessness:
‘Nothing happens, nobody comes, nobody goes, it’s awful’
The circumstances of Lucky is truly despicable, particularly in perspective of his superb past, as Pozzo depicts it. His discourse lets us know that in his sonar minutes Lucky must have agonized profoundly over the anguish of the human circumstance.
The comedy in “Waiting for Godot” without a moment’s delay transforms into catastrophe when the audience considers the defenselessness of tramps. Estragon and Vladimir are waiting for somebody who never comes. To sit back they enjoy unimportant, pointless action. The component of power blurs away and hopeless state of man poses a potential threat in our creative energy. Their life might be contrasted and that of a detainee for whom there is no departure, even suicide is unthinkable. Each action is a joke of human presence.
The changing of farce into absurdity brings a great deal of tragic opinion in the play. Estragon’s bareness is a picture of ‘man’s hopeless condition’. The absurd living is a real wellspring of disaster. The source is the circumstances of pointless waiting of Estragon and Vladimir. They don’t know who Godot is. They are certain not about the time or about the spot of their arrangement. They even don’t know what will happen if they quit waiting? Absence of fundamental learning makes them completely weak and frail. They are stuck to a circumstance. Nothing is sure whatever they can say is “Nothing to be done”.
The aggregate impact of this blending of tragic and comic recommends that Samuel Beckett’s is a reasonable dramatist who takes a gander at life from a position of a worry wart and a self assured person. The manifestation of tragic-comedy is exceptionally suitable to this vision of life. The peak of Beckett’s tragic-comedy is the part of Lucky. He is wearing servant’s vest while holding his expert’s jacket, a crate and a stool. His neck is tied with one end of the rope. His appearance is incredible as well as. The minute we understand that he is a bonehead; he turns into a picture of man’s wretchedness. We are all the more sad for Lucky when it is uncovered that Pozzo has learnt all the beautiful things of life from fortunate. Be that as it may now Pozzo is taking the same individual to offer in a reasonable. The relationship of a ringmaster and his prepared creature, changes into a relationship of a holder and a slave. It is a misuse of a man by a man who prevents the audience from blasting out into laughter. Comedy has been checked by tragic component or notions, while the impact of disaster has been relieved by sham made through characters, dialogues, signals and actions.