Master Slave relationship in 'Waiting for Godot'

Name:- Rinkal Dangar 

Roll No:- 18

Semester:- 2 (Batch 2022-24)

Enrollment number: - 4069206420220007

Paper No:- 107

Paper name: - The Twentieth Century Literature: From World War II to the End of the Century 

Paper code:- 22400

Topic: - Master-Slave relationship in 'Waiting for Godot'

Submitted to:- Smt. SB Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Date of Submission:- 31/03/2023

Email Address: - dangarrinkal0609@gmail.com

Introduction of the Play:

Waiting for Godot" is a play by Samuel Beckett, first published in 1952. It is a tragicomedy in which two characters, Vladimir and Estragon, wait endlessly and unsuccessfully for the arrival of someone named Godot. Set against a barren, treeless landscape, the The play explores themes of existentialism, the search for meaning and purpose, the nature of time and the human condition.

The play premiered in Paris in 1953 and quickly gained recognition as a groundbreaking work of post-war literature. Its unique blend of absurdity, humor and philosophical inquiry challenged traditional theatrical conventions and established Beckett as one of the most influential writers of the 20th century.

"Waiting for Godot" has been interpreted in many different ways and has become a touchstone of modern literature, inspiring countless adaptations, imitations, and homages. It is widely considered one of the most important and influential plays of the 20th century, and a landmark in the history of theatre.

Introduction of Samuel Beckett: Samuel Beckett (1906-1989) was an Irish avant-garde novelist, playwright, poet, and literary critic. He is best known for his plays, which are characterized by minimalist stage settings, spare dialogue, and a focus on existential themes such as the search for meaning in a world that often seems meaningless.

Introduction of Samuel Beckett 

Beckett was born in Dublin, Ireland, and attended Trinity College Dublin, where he studied modern languages. He later moved to Paris, where he became a protégé of James Joyce and was associated with the Surrealist and Existentialist movements.

Beckett's most famous works include the play "Waiting for Godot," which premiered in Paris in 1953 and is considered a masterpiece of modern theater. Other notable plays include "Endgame," "Krapp's Last Tape," and "Happy Days."

In addition to his plays, Beckett wrote numerous novels and poems, including "Murphy," "Molloy," and "The Unnamable." He was awarded the Nobel Prize in Literature in 1969, and his work continues to be widely studied and performed around the world.

Characters in 'Waiting for Godot': 

"Waiting for Godot" is a play by Samuel Beckett that features four characters, two of whom are the main protagonists. Here are the four characters:

Estragon: Also known as "Gogo," he is one of the two main protagonists. He is portrayed as being forgetful, pessimistic, and somewhat childlike. He is also more emotional and impulsive than his companion, Vladimir.

Vladimir: Also known as "Didi," he is the other main protagonist. He is portrayed as being more rational and level-headed than Estragon. He is also more concerned with the passage of time and frequently consults a pocket watch.

Pozzo: A wealthy landowner who appears in the first and second acts. He is accompanied by his slave, Lucky, whom he mistreats. Pozzo is pompous, arrogant, and domineering.

Lucky: Pozzo's slave, who appears in the first and second acts. He is described as being physically and mentally debilitated, and he is forced to carry Pozzo's belongings.

Master Slave relationship in 'Waiting for Godot'

The theme of the master-slave relationship is a recurring motif in the literature of the twentieth century. This motif appears in many forms, such as political oppression, social inequality, and racial discrimination, and is often used as a metaphor for power dynamics between individuals or groups.

In "Waiting for Godot," the relationship between Pozzo and Lucky is a clear example of a master-slave relationship. Pozzo is the master, and Lucky is his slave. Pozzo is physically and verbally abusive towards Lucky, treating him as an object rather than a human being. For example, he refers to Lucky as his "pig" and "blockhead," and he physically drags him around on a leash.

The relationship between Pozzo and Lucky is reflected in the physical bond that holds them together—the link of the rope. The relationship between them is that of dominant and dominating, although in the second act it takes on another aspect that of the dumb leading the blind. The relationship also represents the exploitation of the social life where Pozzo is one of the haves, dining on chicken and wine, while Lucky is the have-not to whom he throws the gnawed bones. The drudgery and inhuman treatment have reduced Lucky to the level of an animal. But he is not treated as a man. So he is below the level of animals, rather a mere machine in some respects.

The relationship between Pozzo and Lucky serves as a commentary on power dynamics and the human condition. The play suggests that, like Pozzo and Lucky, humans are often caught in a cycle of domination and subservience, with the dominant figures exploiting those who are weaker or less fortunate. Ultimately, the play suggests that this cycle is futile and meaningless, as neither the master nor the slave is truly fulfilled or satisfied in their roles.

Reflecting the historical relationship between England and France. Pozzo, who represents the ruling class, is initially dominant over Lucky, who represents the oppressed working class. However, as the play progresses, Lucky becomes more powerful and eventually overthrows Pozzo, representing a reversal of power dynamics. This can be seen as a commentary on the shifting power dynamics between England and France in the aftermath of World War II.

Master slave relationship between the God and Humans 

The master-slave relationship between God and humans is a concept that has been explored in many religious and philosophical traditions. In many religious traditions, God is seen as the ultimate authority figure and humans are seen as subordinate to God's will. This can be seen as a form of master-slave relationship, where God is the master and humans are the slaves.

Pozzo and Lucky both are the characters who have been interpreted as the reflection of the relationship between God and Humans. As the bag Lucky was carrying had nothing but the Sand in it, Somewhere, we humans are also following the things as religion told us that it's God who punishes and rewards us and we are believing and doing such silly things as Lucky.

Pozzo: Good. Is everyone ready? Is everybody looking at me? (He looks at Lucky, jerks 

the rope. Lucky raises his head.) Will you look at me, pig! (Lucky looks at him.) 

Good. (He puts the pipe in his pocket, takes out a little vaporizer and sprays his 

Throat, puts back the vaporizer in his pocket, clears his throat, spits, takes out the 

vaporizer again, sprays his throat again, puts back the vaporizer in his pocket.) I 

I am ready. Is everybody listening? Is everyone ready? (He looks at them all in 

turn, jerks the rope.) Hog! (Lucky raises his head.) I don't like talking in a 

vacuum. Good. Let me see.

He reflects.

ESTRAGON:

I'm going.

POZZO:

What was it exactly you wanted to know?

VLADIMIR:

why he—

POZZO:

(angrily). Don't interrupt me! (Pause. Calmer.) If we all speak at once we'll never get anywhere. (Pause.) What was I saying? (Pause. Louder.) What was I saying?

Vladimir mimics one carrying a heavy burden. Pozzo looks at him, puzzled.

ESTRAGON:

(forcibly). Bags. (He points at Lucky.) Why? Always hold. (He sags, panting.) 

Never put down. (He opens his hands, straightens up with relief.) Why?

POZZO:

Ah! Why couldn't you say so before? Why doesn't he make himself comfortable? 

Let's try and get this clear. Has he not the right to? Certainly he has. It follows 

that he doesn't want to. There's reasoning for you. And why doesn't he want to? 

(Pause.) Gentlemen, the reason is this.

VLADIMIR:

(to Estragon). Make a note of this.

POZZO:

He wants to impress me, so that I'll keep him.

That dialogue is all that suggests the Master slave relationship between Pozzo and Lucky as well as God and Humans. The difference is that, Lucky knew that Pozzo is existing and he is alive where humans even don't know God is existing or not.

In Christianity, for example, humans are often seen as sinners who are in need of redemption through faith in God. This relationship is characterized by submission to God's will and a recognition of God's power and authority over human life. In this sense, humans are seen as the slaves of God, who must obey God's commandments and live in accordance with God's will.

However, this relationship is not necessarily seen as negative or oppressive in religious contexts. Rather, it is often seen as a source of comfort and guidance for believers, who trust in God's wisdom and power. Many religious traditions also emphasize the importance of free will and personal responsibility, suggesting that humans have agency and can choose to submit to God's will or not.

In philosophical contexts, the master-slave relationship between God and humans is often seen as problematic. Some argue that it reinforces hierarchical power structures and undermines human dignity and autonomy. Others argue that it is a necessary part of religious faith and can provide a framework for moral guidance and ethical decision-making.

master-slave relationship between God and humans is a complex concept that has been explored in many religious and philosophical traditions. While it can be seen as a form of oppression, it is also often viewed as a source of guidance and comfort for believers. Ultimately, the meaning and implications of this relationship depend on the specific religious or philosophical context in which it is situated.

Conclusion 

In conclusion, the master-slave relationship is a pervasive theme in twentieth-century literature. It serves as a metaphor for power dynamics and explores issues of oppression, inequality, and discrimination. These works remind us of the importance of recognizing and challenging power imbalances in society.

As Lucky was mistreated by Pozzo was the clear image of the society where slaves were being treated, however in all the contexts as Religious, Social and Political.