The Christian Explanation of Samuel Becketts Waiting for Godot :: Waiting for Godot Essays

The Christian Explanation of Waiting for Godot The human predicament described in Becketts first play is that of man living on the Saturday after the Friday of the crucifixion, and not really knowing if all hope is dead or if the next day will bring the life which has been promised. --William R. Mueller In the five dollar bill decades since Waiting for Godots publication, many of the countless attempts to explain the play have relied on some variation of this religious motif proposed by William Mueller. Though Becketts open textbook invites the reader to hunt for an interpretation, statements as decisive as this maven overstep the search and leave little room for any other possibility. His idea has a compelling textual basis, but its finality violates the spirit of the play. Kenneth Tynan suggests that Becketts Waiting for Godot is a dramatic vacuum...It has no plot, no climax, no denouement no beginning, no middle, and no end. Such an idea forces any analyst of this enigmatic ma sterpiece to tread lightly and makes definite criticism nearly impossible. Before examining an explanation as decisive as Muellers we must acknowledge that we cannot hope to determine the meaning of this play. Neither the text nor its author makes a claim to any intrinsic meaning, yet a new meaning is born each time a reader or viewer partakes of the play. With such cautions in mind, we can now approach Muellers religious hypothesis with a safe detachment. The first utterance of Godot phonetically brings God to mind, and evidence throughout the play assures the reader that this path is a valid one to follow. On the most mundane level, Vladimir supports Muellers premise with his guess at the timeframe of the play He said it was Saturday. I think(10). We discover, however, that even this statement hides beneath the disbelief as Estragon challenges, But what Saturday? And is it Saturday? Is it not rather Sunday? Or Monday? Or Friday? (11). His questioning reasserts that this work d efies explanation and reminds us that we are following plainly one possible solution to an unsolvable problem. If we read this drama with the intention of fitting Muellers theory to the play (or perhaps the play to his theory), a vast soma of previously unnoticed interpretive opportunities arise. Though the nondescript tree can be universally symbolic, when viewed from a religious standpoint it conjures an image of Christs cross.