对《等待戈多》的圣经原型解读与批评

分类号：校图书馆统一编制单位代码：10140密级：公开或（保密2～20年）学号：4031531417硕士学位论文中文题目：对《等待戈多》的圣经原型解读与批评AnAnalysisandCriticismoftheBiblicalArchetypes英文题目：inWaitingforGodot论文作者：李娜指导教师：廉运杰教授专业：英语语言文学完成时间：二○一八年五月 申请辽宁大学硕士学位论文对《等待戈多》的圣经原型解读与批评AnAnalysisandCriticismoftheBiblicalArchetypesinWaitingforGodot作者：李娜指导教师：廉运杰教授专业：英语语言文学答辩日期：2018年5月20日二○一八年五月·中国辽宁 辽宁大学学位论文原创性声明本人郑重声明：所呈交的学位论文是本人在导师的指导下独立完成的。论文中取得的研究成果除加以标注的内容外，不包含其他个人或集体已经发表或撰写过的研究成果，不包含本人为获得其他学位而使用过的成果。对本文的研究做出重要贡献的个人和集体均已在文中进行了标注，并表示谢意。本人完全意识到本声明的法律结果由本人承担。学位论文作者签名：年月日学位论文版权使用授权书本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学校保留并向国家有关部门或机构送交学位论文的原件、复印件和电子版，允许学位论文被查阅和借阅。本人授权辽宁大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编学位论文。同时授权中国学术期刊（光盘版）电子杂志社将本学位论文收录到《中国博士学位论文全文数据库》和《中国优秀硕士学位论文全文数据库》并通过网络向社会公众提供信息服务。学校须按照授权对学位论文进行管理，不得超越授权对学位论文进行任意处理。保密（），在年后解密适用本授权书。（保密：请在括号内划“√”）授权人签名：指导教师签名：日期：年月日日期：年月日 AbstractInthehistoryofliterature,mythsarewidelyusedbyvariouswritersintheirownworks.However,thevarioustypesofimages,figuresandnarrativestructuresthatrepeatedlyappearintheliteraryworksarethearchetypes.Themythswhicharerelatedtoarchetypesaremythicarchetypes,andcriticsaredevotedtodiscoveringthebasicforms,especiallythemythicarchetypes.Thiskindofschoolwascalledthearchetypalcriticinthe1950sand1960s,whichisveryimportantintheWest.NorthropFrye,themostrepresentativescholarofthisschool,isoneofthefewCanadianworld-renownedcriticsinthe20thcentury.Hisacademicreputationwasduetothesystematicconstructionofthearchetypaltheoryofcriticismwhichhelpshimtoreachthepeak.TheBibleisthemostrepresentativeofthemyths,andalsohasthemostsignificantimpactonWesternliteratureworks.TheBibleisalsothecentralmythofthetheoreticalstudyofFrye.Sowhensomeonewhoanalyzesthearchetypesofanyworks,hecan’tignorethepositionoftheBibleasthecentralmyth.SamuelBeckettisafamousFrenchwriter,whowritesfiction,poetryanddrama.Hegainsthehighestachievementinhisplays.HeisanimportantrepresentativeofTheateroftheAbsurd.HewontheNobelPrizeinLiteraturein1969.WaitingforGodotishismasterpiece,andthemasterpieceoftheTheateroftheAbsurd,aswell.Theplayisconsideredbycriticsasarealinnovationinthehistoryofthetheateranditisthefirstsuccessoftheabsurddrama.WaitingforGodotwaspaidattentiontobycriticsandscholarsforitsuniquestylesinceitwasfirstperformedonthestage.Therearealargenumberofanalysisandresearchabouttheplay,butmostofthemfocusonthetheme,styleortheexpressionsofthework.Thereislittleanalysisaboutthearchetypesintheplay.Asagoodpost-warwork,thescholarscan’tignoretheimpactofTheBibleonthiswork.Therefore,thisstudywilldevoteitselftoapplyFrye'sarchetypalcriticismtoanalyzetheBiblicalarchetypesinWaitingforGodot.Throughsuchaseriesofanalysis,thestudycanhelplearnerstogetabetterunderstandingofthethemeoftheplay.I Thisthesisconsistsofintroduction,themainbodyandtheconclusion.Itsmaincontentsareasfollows:Thefirstpartistheintroduction.Itisabriefintroductiontotheauthor'slife,thebackgroundandtheplay.Theresearchstatusathomeandabroadissummarizedinthispart.ItispointedoutthatanalyzingtheBiblicalarchetypesinthisworkarebothsignificantandnecessary.Asarepresentativeoftheabsurddrama,SamuelBeckettisundoubtedlythemostsuccessfulone.HismasterpieceWaitingforGodothasarousedmuchattentionsincehisfirstperformance.Andthemajorityofscholarsandcriticshavealsopaidattentiontothedrama.AndtherearemanyworksathomeandabroadanalyzingWaitingforGodot.However,mostoftheworksfocusonthelanguagefeatures,themeandplot.TheBibleholdsauniquepositioninWesternliterature.However,therearefewarticlesaboutthebiblicalimpactofplay.Therefore,thepurposeofthisessayistouseFrye'stheorytoanalyzethebiblicalarchetypesandbiblicalinfluenceonthisworksoastoexploretheprofoundconnotationoftheplayanditssignificancetothehumanbeingsinmodernsociety.Thesecondpartisthemainbody,whichiscomposedoffourchapters.ThefirstpartbrieflyillustratesFrye'stheory,theroleofTheBibleintheoryandanoverviewofTheBible'sinfluenceonthiswork.AstherepresentativeofArchetypalCriticismTheory,Frye'sthoughtwasinfluencedbyFrazerandJung,andonthisbasisheproducedhisowntheory.ThefirstsectionofthischapteralsointroducesmainideasofFrye'sArchetypalCriticismTheory.TheBibleisthecoremythologyofFrye'stheory.AndBeckett'sownreligiousbackgroundandmanyreferencesintheplaywhichhavemeaningsinTheBibleindicatethatTheBiblehasitsinfluenceontheplay.ThesecondpartanalyzestheimpactofTheBibleonWaitingforGodot.Thissectionisdividedintothreesections.ThefirstsectionanalyzesthebiblicalarchetypesthataredescribedinthebackgroundofWaitingforGodot.ThesecondsectionanalyzesthebiblicalarchetypesofthecharactersinWaitingforGodot.Thissectionfocusesonanalyzingthebiblicalarchetypesofthefivemaincharactersintheplay.Fromthissection,learnerscanseethatGodotistheGod,VladimirandEstragonaresinnerswhoarewaitingfortheGod’ssalvation,PozzoandLuckyareJesusandGod.II Throughthearchetypalanalysisofcharacters,learnerscangetadeeperunderstandingoftherelationshipbetweencharactersandtheconnotationofcharacters.ThesecondsectionanalyzesthebiblicalarchetypesoftheplotofWaitingforGodot.Throughtheanalysisofthissection,itcanbeseenthatthewaitinginthewholeplayisthewaitingforthesalvationofGodinTheBible.ThethirdpartanalyzestheimpactofTheBibleonWaitingforGodot’sstyle.Thissectionisdividedintotwosections.Thefirstsectionanalyzesthebiblicalinfluenceofthelanguageoftheplay.Readerscanseethatthewordsandthesentencestructureareverysimpleandplain.ThesimplesentencesarethemaininfluenceofGenesisintheOldTestament.TheobjectiveandneutraltoneinWaitingforGodotisinfluencedbytheExodusintheOldTestamentandthequotationsoftheplayarefromTheBibleandquotationsarefromtheExodusandotherbooks.ThesecondsectionanalyzesthebiblicalimpactsofthestructureofWaitingforGodot.WaitingforGodotiswritteninchronologicalorder,whichisexactlythesameasthatofExodus.Therearealsomanyinsertedchaptersintheplay,ObviouslyitisalsorelatedtoExodus.ThefourthpartintegratestheaboveanalysistodiscussthethemeoftheplayundertheinfluenceofTheBibleandthesignificanceofthethemeforallmankind.Thispartisdividedintothreesections.ThefirstsectionmainlyanalyzestherelationshipbetweenthewaitingofEstragonandVladimirinWaitingforGodotandsalvationofGodinTheBible.ThesecondsectionmainlyanalyzestherelationshipbetweenGodot'sabsenceinWaitingforGodotandGod'spromiseinTheBible.ThethirdsectionisthecombinationofthefirsttwosectionsanditconcludesthatdespitethefactthattheSecondWorldWarhasshakenpeople’sfaithinGod,butthethemeoftheworksthattheauthorwantstopassthroughWaitingforGodotisthehopeintheendlesslywaiting.Atthesametime,itisalsothesignificanceofthisworkforallhumankind.Thelastpartistheconclusion.Inthispart,thewholethesisisconcludedandtheessenceofthisarticleispointedout.ThisstudyanalyzesthethemeofWaitingforGodotbasedonFrye'stheory,andthenthestudywillanalyzethethemeofthedramaanditssignificancetoallhumanbeings.Throughtheanalysisontheseaspects,readerscouldhaveabetterunderstandingofthedrama’stheme.ThereaderswillIII understandtheimportantimpactoftheBibleonWesternsocietyaswellasonwesternliterature.KeyWords:ArchetypalCriticism;myth;TheBibleIV 摘要在文学史上，神话被各文学家广泛应用于自己的作品之中。而在文学作品之中反复出现的各种意象，人物类型和叙事结构即为原型，其中与神话相关的即为神话原型，批评家们致力于发现其中的基本形式，特别是神话原型。这一批评流派就是二十世纪五六十年代的原型批评派，这一派是西方十分重要的批评流派。这一流派中最具有代表性的就是诺斯洛普·弗莱，弗莱是20世纪加拿大屈指可数的享有世界性声誉的批评学家，其学术声誉曾因对原型批评理论的系统建构而达到顶峰。《圣经》是神话中最具代表意义的，同时也是对西方文学产生最重大影响的作品。《圣经》也是弗莱神话原型理论研究的核心神话，因此对于任何一作品的原型分析都不能忽视作为核心神话的《圣经》的作用。塞缪尔·贝克特是法国著名作家，创作领域包括小说、诗歌和戏剧。尤其以戏剧成就最高，他是荒诞派戏剧重要代表人物，1969年获得诺贝尔文学奖。《等待戈多》自诞生以来以其独特的风格获得了广大批评家和学者的关注，国内外有大得诺贝尔文学奖。《等待戈多》是其代表作，同时也是荒诞派戏剧的代表作，被评论学家认为是戏剧史上真正的革新，也是第一部演出成功的荒诞派戏剧。大量对于《等待戈多》的分析和研究，但多集中于对此剧主题，风格，表现形式等的研究，对于其中的圣原型分析非常之少。作为一部西方二战后优秀的文学作品，不能忽视其中《圣经》对于这部作品的影响，因此进行了此次研究，致力于应用弗莱的原型批评理论分析《等待戈多》中的圣经原型，希望能通过这样一系列的分析能够帮助读者更好的理解这部作品的主题。本文由导论、正文和结论三部分组成。其主要内容如下：第一部分是导论，简单介绍作者的生平、创作背景和作品。并从国内外研究现状进行分析和总结，指出从圣经原型理论来分析这部作品的意义和必要性。作为荒诞派戏剧的代表人物，塞缪尔·贝克特无疑是最成功的一位，他的代表作《等待戈多》自首次演出后经久不衰，而广大学者与批评家对于这部戏剧的关注也一直居高不下，国内外有不少作品分析《等待戈多》，但大多关注于作品的语言特色，主题以及情节的分析，圣经在西方文学中占有独一无二的地位，然而针对这部作品中的圣经原型批评和《圣经》对于其影响的文章少之又少。因此本文旨在应用弗莱的原型批评理论来分析这部作品中的圣经原型以及《圣经》的影响，从而发掘小说的思想内涵和对现代社会人类的重要意义。第二部分是正文，由四章组成。V 第一部分简单阐述弗莱的神话原型理论、《圣经》在理论中的地位作用以及概述《圣经》对于这部作品的影响。作为原型批评理论的核心代表人物，弗莱的思想的形成受到弗雷泽以及荣格的影响，他在此基础上形成了自己的理论，这一部分第一节还介绍了弗莱的原型批评理论的核心内容，《圣经》是弗莱原型批评理论的核心神话，而贝克特自身的宗教背景以及《等待戈多》中的诸多对于《圣经》的引用，都表明《圣经》对于其作用和影响。第二部分分析《圣经》对于《等待戈多》内容的影响。这一部分分为三节，第一节分析了《等待戈多》中背景描写的圣经原型。第二节分析了《等待戈多》中人物的圣经原型。这一节集中分析剧中五位主要人物的圣经原型，通过这一部分的分析，可以看到戈多就是上帝，弗拉迪米尔和爱斯特拉冈就是等待救赎的罪人，波卓和幸运儿就是圣父父子，通过对人物的圣经原型分析，能更深入的了解人物关系以及人物所赋予的内涵。第三节分析了《等待戈多》中情节的圣经原型。通过这一节的分析可知整个剧中的等待寓意就是《圣经》中人类对于上帝救赎的等待。第三部分分析《圣经》对于《等待戈多》风格的影响。这一部分分为两节，第一节分析了《等待戈多》中语言的《圣经》影响，凡是读过这部剧的读者可知，《等待戈多》的用词以及句子结构是非常简单平实的，以简单句为主，这是《圣经》旧约中《创世纪》对其影响，《等待戈多》中客观中立的语调是《圣经》中《出埃及记》对其影响，《等待戈多》中有很多来自《圣经》中的隐喻，对来自于《出埃及记》等。第二节分析了《等待戈多》中结构的《圣经》影响，《等待戈多》是按照时间顺序来写的，这与《出埃及记》如出一辙，该剧中也有很多插入章节，这些插入章节很明显也与《出埃及记》相关。第四部分综合上述分析讨论在《圣经》影响下，该剧的主题以及该剧主题对于全人类的意义。这一部分分为三节，第一节主要分析《等待戈多》中两位主人公的等待与《圣经》中人类得到上帝救赎的关系。第二节主要分析《等待戈多》中戈多的缺席与《圣经》中上帝与人的约定之间的关系。第三部分综合前两节的分析得出结论：尽管二战动摇了人们对于上帝的信仰，但是通过《等待戈多》这部作品，作者想要传递的作品的主题就是无尽等待中扔要抱有希望，同时这也是这部作品对于全人类的意义。最后一部分是结论。概述全文，指出本文主旨，本文以弗莱的原型批评理论为理论基础来分析《等待戈多》，进而分析该剧的主题以及对人类的意义。《圣经》VI 对这部戏剧的影响涵盖了背景、人物、情节、语言、结构以及主题。通过对这些方面的分析和研究，使得读者对于该剧有更加深刻的理解和认识。使得读者理解《圣经》对于西方社会以及西方文学的重要影响，从而可以更好的理解《等待戈多》这部戏剧的主题。关键词：原型批评；神话；圣经VII Contents摘要....................................................................................................................................ivAbstract...............................................................................................................................iIntroduction.......................................................................................................................1ChapterⅠArchetypalCriticismanditsInfluence........................................................51.1.ArchetypalCriticismbyFrye...................................................................................51.2.TheBibleinArchetypalCriticism..........................................................................111.3.TheInfluenceofTheBibleonWaitingforGodott................................................13ChapterⅡABiblicalStudyoftheWaitingforGodot'sStories............................172.1.BackgroundinthePlayandtheEdenintheBible..............................................172.2.BiblicalArchetypalInfluenceontheCharacters...................................................212.3.WaitingintheplayandPursuingGodintheBible...............................................27ChapterⅢABiblicalStudyoftheWaitingforGodot''sStyle................................313.1.BiblicalArchetypalInfluenceontheSimpleLanguage.........................................313.2.BiblicalArchetypalInfluenceontheChronologicalStructure...............................35ChapterIVABiblicalStudyoftheWaitingforGodot''sTheme..............................414.1.WaitinginthePlayandGettingGod'sSalvationintheBible...............................414.2.AbsenceofGodotandGod'sPromise...................................................................474.3.TheThemetoAllHumanBeings..........................................................................49Conclusion......................................................................................................................53Bibliography....................................................................................................................57Acknowledgements........................................................................................................59攻读学位期间发表论文以及参加科研情况..................................................................61 IntroductionSamuelBeckettisoneofthebestwritersinliterature.HewasborninDublin.HehasaJewishfamily.HismotherwasaPuritan.Hisfatherdidnothaveabelief.HestudiedinTrinityCollege,Dublin.TherehestudiedFrenchandItalian.In1928,hebecameateacherinParisUniversityandtherehemetJamesJoyce.AndhebecametheassistantofJamesJoyce.In1931,hereturnedtoDublinandtaughtFrenchinTrinityCollege.SamuelBeckettreadalotofbooksaboutDescartes.HewasinfluencedbyDescartes.In1932,hetravelledaroundtheEurope.In1938,hestayedinParis.ThentheWorldWarIIbrokeout.HewasstillinParis.Andhejoinedtheundergroundmovementtofightforliberty.In1942,someofthemembersinhisgrouphavebeenarrested.Hewenttoanotherplacewithhiswife.Whenthewarwasover,hereturnedtoParis.Atthattime,hewrotealotofworksasawriter.FromtheexperienceofSamuelBeckettwecouldseethathewitnessedtheworldwar.Beforethewar,Beckettwasamanwithpride.Whileafterthewar,hebelievedthathehastohelpthepeopletorestructthespiritualworld.HehaswroteEleutheriaWaitingforGodotEndgameandthetrilogyMolloyMaloneDiesandTheUnnameable.Inmostofhisworks,thecharactersaredisaffectedwithsocietyandhavestrangefeelingandwanttobealone.HealsowroteanovelMercieretCamiertwobooksofshortstoriesandabookofcriticism.Thetrilogyisconsideredasthemasterpieceinthe20thcenturyandrecievestheattentionofcriticism.HisEndgamewasfirstshowedintheRoyalCourtTheatreinLondonin1957.Beckett’smothertongueisEnglish,buthewritesmostofhisworksinFrench.HislaterworkshavethesamethemeasWaitingforGodotandEndgame.HewroteKrapp’sLastTapeandAllThatFallin1957and1958.Beckett’splayshaveagreatinfluenceonthepostwarphilosophersforexampleAlbertCamusandJeanPaul.Thephilosophersbelievethatthepeoplearethemselvesinsteadofbeinggoodorbad.BeckettisthefirstwriterwhowinstheinternationalfameoftheTheatreofAbsurd.Hisworkshavebeentranslatedintoabouttwentylanguagesandhavesomanydifferentversions.In1969,hewontheNoblePrizeforliterature.HisworksanduniquestylegainaninfluentialstatusnotonlyinEnglandandEuropebutalsointheworld.1 WaitingforGodotishismasterpiece.ItisBeckett’sfirstpublishedplay.Itwasbornin1952.ThenitwasshowedinParisLondonandMiami.Theplayisthemasterworkasthemajorpostwarstatement.In1953,theplaywasfirstshowedinParis,itbecameaninstantsuccess.Itwasperformedforhundredtimes.Theplaywasperformedfortheconvictsandreceivedthesamesuccess.TheprisonershadthesamefeelingasthetwomaincharactersVladimirandEstragon.Allofthemthinkthatthelifeismeaninglessandhopelesswecoulddonothingbutwaiting.TheplaytellsusthatthetwohomelessmenEstragonandVladimirarewaitingbyawitheredtreeforthecomingofGodot.TheyhaveanappointmentwithGodot.Duringtheprocessofwaiting,theyquarrelwitheachotherdostrangethingsandevenwanttokillthemselves.TheymeetPozzoandLucky.LuckyistheslaveofPozzo.Atlast,aboycomestotellthemthatGodotissuretocometomorrow.Theplayonlyhastwoacts.Thegenreoftheplayistragicomedy.TheplayisseenasoneoftheclassicworkoftheTheatreofAbsurd.Theplayissosuccessfulandmeaningful.Somanyscholarshavepayattentiontotheplay.TherearesomanystudiesaboutWaitingforGodot.Thestudiesoftheplaybeganin1960s.MartinEsslin’sTheTheatreofAbsurdisusefulforustostudyBeckett’swork.MartinEsslin’sworkisoftenusedastheresourcetostudyBeckett’swork.Theearlystudiesconcentrateontheformthecontenttheliteraryinfluenceandthethemeoftheplay.RubyCohn’sSamuelBeckett:TheComicGamutisalsothestudybelongstothisgroup.Form1980HannahCaseCopeland’sworkArtandtheArtistintheWorksofSamuelBeckettisadeepstudy.MarthaDowFehsenfeldandothereditorshascollectedsomeBeckettlettersfrom1920to1956.VivianMercier’sBeckettisthecommentariesamongthestudiesofBeckett.Thentherearemanyscholarspaidattentiontothethemeofhisplay,suchasEugeneWebb’sThePlaysofSamuelBeckettandDavidPattie’sTheCompleteCriticalGuidetoSamuelBeckett.Helsa’sTheShapeofChaos:AninterpretationoftheArtandSamuelBeckettconcentratesontheanalyzingofthephilosophers’influenceonBeckett’sworks.ThephilosophersareHegelKierkegardHusserlSartreorevenScorates.AtkinsonstudiedBeckett’sworksincriticaspect.KennethTryansharedinterestinGodot.AndtherearealsomanyforeignscholarstostudyBeckett’sworks.2 TherearealsomanyscholarsinChinawhostudyBeckett’sworks.ThefirsttranslationversionofWaitingforGodotisalsothefirstintroductionoftheplayinChina.ShiXianrongisthefirstmantodothis.Fromthebeginning,thescholarsinChinaconcentrateonthecriticmeaningoftheplay.Theybelievedthattheplaycriticizedtheexploitationofthecapitalism.Inthemid-1980s,ChinesescholarsbegantocareabouttheTheatreofAbsurd.Theydoalotofresearch.MostofthestudiesofWaitingforGodotconcentrateonthethemetheplotortheformoftheplay.PhilosophercaresaboutthebreakdownofthefaithsystemaftertheWorldWarIIofthewesternpeople.PoliticscaremoreabouttherelationshipsbetweenPozzoandLuckyastheythinkPozzoisatyrantandLuckyishisslave.Manyotherscholarscareaboutthelanguageskillstheplotorthethemeoftheplay.However,therearefewscholarspayattentiontotheBible’sinfluenceontheplay.SoitisnecessarytohaveaprofoundstudytoanalyzetheBiblicalinfluence.Thisisthegoalandthebaseofthisstudy.ThemythissoimportantinbothwesterncountriesandChina.Themythprovideslearnersthechancetoconnectthemoderneventswiththepast.Sothewritersoftenusethemythicarchetypeintheirworks.Ifscholarswanttostudythemythicarchetypeoftheliterarywork,thentheywouldnotneglectNorthropFrye’sArchetypalCriticism.Itisthebaseforthestudyofthemythicarchetype.So,thisanalysiswilluseFrye’sArchetypalCriticismasthetheoreticalbase.AccordingtoFrye,theholyBibleisinthecoreofthemyth.LearnerscouldfindtheBible’sinfluenceonallthewesternworks,andsodoesBeckett’splay.TheBiblicalinfluenceonthewesternworksareinmanyaspectssuchasthecontentthestylethelanguageandtheplot.TheArchetypalCriticismisthesignificanttheorywhenscholarsstudythearchetypesinliteraryworks.TheArchetypalCriticismcomestoitssummitbyNorthropFrye’sanalysis.Thearchetypalcriticismisalsoverypopular.Somanyscholarsusethetheoryintheirstudies.Thestudieswhichusethearchetypalcriticismarelimitedtooneaspect,forexample,theimagesthesymbolorthecharacters.Itisusefulforthereaderstogetabetterunderstandingoftheliterarywork.Butitisnotverycomplete.Thisstudywillusethistheorytoanalyzealltheaspectsofonework.AccordingtoFrye,scholarsshouldstudyoneworkonthewhole.3 TheholyBibleexertsitsinfluenceonthewesternworks.AndWaitingforGodotisnottheexception.ThereareBiblicalarchetypesintheplay.SuchastheidentityofGodot,GodotissimilartoGodinspelling.Isitjustacoincidence?TheanswerisNo.TheauthoroftheplaytransformssomeBiblicalarchetypesinhiswork.Therearesomanyreadersandscholarswhohavepaidattentiontotheplay.WhilefewofthemcaresabouttheBiblicalinfluenceontheplay.ThisstudyaimsatusingFrye’stheorytoanalyzealltheaspectsoftheplaysuchasthebackgroundthecharacterstheplotthelanguagethestructureandthethemetomakereadershaveabetterunderstandingoftheplay.4 ChapterIArchetypalCriticismanditsInfluenceInthisanalysis,NorthropFrye’sArchetypalCriticismisusedasthetheoreticalfoundation.Thischaptercontainsthreeparts.ThefirstpartinthischapterwillintroduceFrye’stheory.Frye’stheoryisbasedonCarlGustavJung’sstudyandabsorbsFrazer’stheory.ThepositionofTheBibleinthetheorywillbeintroducedinthesecondpart.Somebriefreviewoftheauthor’sownreligiousbackgroundandthereligiousstateofthepeopleatthattimewillbetoldinthethirdpart.Thethirdpartwillconnecttheauthorandtheplaytothebiblicalarchetypalanalysis.1.1ArchetypalCriticismbyFryeNorthropFryeisthemostfamousliterarytheoristandliterarycriticin20thcentury.Hehaswrittenmanyvaluableworksduringhislifetime.Mostofhisworksareabouttheliterarycriticism,andhedevoteshimselftoestablishhisowncriticsystem.Hisstudyinliterarycriticismisuniqueandindispensableinthedevelopmentoftheliterarycriticismoftheworld.NorthropFryeisoneofthemostoutstandingscholarsintheArchetypalCriticism.Frye’sArchetypalCriticismismoretheoreticalandhedrawsconclusioninaverywideviewandhisnarrationisalsoverybroad.Hebeginswiththemythandconcentratesontheliteraltext.HeabsorbsFrazer’stheoryofliteralanthropologyandCarlGustavJung’stheoryofpsychologyliteralphilosophy.AllofthisisbaseofFrye’stheoreticalbase.Andheestablishesainterdisciplinaryandmacroscopicalsystemofliteralcriticism.Inthecriticpractice,heholdsanactiveattitudetowardslifeandhashumanisticcare.Duringthe20thcentury,thewesternscholarsshowgreatinterestintheresearchofthemythandsodoestheliterary.ItisakindofRenaissanceinliterature.Itisatrendtogobacktothetraditionalliteratureandtheoriginalbelieforthenaturalculture.Itisthebackgroundofthecriticism.Themythisnotthefinalresultofliteraturebutitliesinthelawoftheliterature.Themythisusedintheliteraturetoshowtherealitycriticizetherealityandgetbeyondthereality.Theliteratureistheexpressionofthemyth.ThisisthebackgroundofliteratureofFrye’stheory.Spengler’sCircularOrganismofLiteratureisimportantforFrye.Thetheory5 holdsthatthiskindoforganismhasexperiencedagrowingprocesswhichfromthebirthtodeath.Duringtheprocess,peoplepayattentiontomythbecauseofitssymbolismandprimitiveness.Themythisthemaintopicinthestudyofliteratureandphilosophy.Themythisconsideredassomeeverlastingmentalresourceinsteadofonekindofmindintheprimitivepeople’shead.So,themythbecomestheparentofliteralcreation.Theliteralcreationabsorbsthematerialandstructurefromthemythandgetsthechanceofdevelopment.Spenglertakescultureasanorganisminhisstudy.Thecircularorganismofliteraturehasexperiencedtheprocessliketheorganism.Itexperiencesthebirththegrowinguptheboomandthedecline.TheprocesslookslikethefourseasonsineveryyearaccordingtoSpengler.ThespringstandsfortheliteratureintheMiddleCentury.ThesummerstandsfortheliteratureinRenaissance.Theautumnstandsfortheliteratureintheendofthe18thcentury.AndthewinterstandsfortheliteratureduringtheperiodofNapoleon.Andthefourseasonshavedifferentliteralstyles.Thespringstandsfortheheroandtheknight,thesummerstandsforWilliamShakespeare,theautumnstandsforKant’sphilosophyandGoethe’spoems,andthewinterstandsfortheturningofthewesternliterature.Thelaterculturalphenomenonandculturalchangeisbasedonthis.Spengler’stheoryissignificanttoFryebecauseitgiveshimwideview.TheotherscholarisimportantforFryeisFrazer.Frazerputsforwardaformulaaboutgeneraldevelopingprocessofhuman’smind.Thatisfromblackmagictoreligiontoscience.AccordingtoFrazer’stheory,people’smindevolvesconstantly.Inthetimeoftheblackmagic,theviewofblackmagicisinthedominantposition.Peopleinthattimecontrolledthenatureinmanywayswhichwereproducedbythewrongreasoning.Thenpeoplecametotheageofreligion,peoplechangedthesupernaturalpowertothegod.Andthismeansthattheycangetridofthebadthingsandgetblessings.Frazerholdsthatthesacrificialritesthemythandthecycleofthenaturehavecloseconnections.Thereplacementofthefourseasonsinnaturalworldleadstotheprimitivepeoplethinkofthereplacementofthedeathandthebirthinhumankind.Thenthepeoplemakeupsomanymythsaboutgettingrebirth.Frazerdrawsconclusionsthatthereiscloseconnectionbetweenthemythandtheritualthroughtheresearchoftheprimitiveritual.6 CarlGustavJungthinksthatthemythisoneformofthecollectiveunconsciousness.Histheoryisinthescopeofpsychology.Heholdsthatthecharacteristicofthearchetypesisexpressedbythecollectiveunconsciousness.Theunconsciousnessmeansthereisnocontentinthemind.Junginsiststhatpeoplecan’tknowaboutthematerialworldinusingtheunconsciousness,aswemustdeprivethesubjectiveworldfromtheobjectiveworldandusetheprimitiveimagethesymbolizingimageandthemythicviewtofeelthematerialworld.Thesymbolizingimagecouldrealizehisobjectivepositionoftheworldanditistheparentofthemyth.Thesymbolizingimageistheexpressionoftheunconsciousnessandthenationalmythicmaterialfortheethnography.Jungcallstheperformanceoftheunconsciousnessarchetypeanditistheoldandprimitiveimagewhichengravesinthemindandtheheartoftheprimitivepeople.Thereisthesameorthealikecollectiveunconsciousnessexistsinthemythindifferentethnographyallthetime.Anditoccursinmodernpeople’sunconsciousness.Thecollectiveunconsciousnesstakescontrolofpeople’slifeandisdecidedbytheprimitivearchetype.Thearchetypechangesintotheconsciousnessandexpressedbythecustom,thenthatisthemyth.Themythisthereappearanceofthearchetypeandthechangingformoftheconsciousness.Frye’sArchetypalCriticism’smainconcernistheliteraryarchetype.Hetransfersthearchetypeinpsychologyandanthropologytoliterature.Andhedefinestheconceptinhisbook.Thearchetypeistherecurrentimageandtherepresentativeone.(NorthropFrye,1998,46)Itcanbeconcludedthatthestructureoftheliteratureistheappearanceofthedifferentmythicimages.TherearefourimportantconclusionsinFrye’stheoryinhisbook.Literatureisthemetastasicmyth.Theliteratureistheconcreteexpressionofthemythandtheritual.Thescopeoftheliteraryanthropologyisbeforetheemergenceoftheliteraturesuchashowthesacrificethemythandthefolktalegestatetheliterature.Andthemythexpressesthewishandthefancyoftheprimitivepeople.Withtheimprovementofthegnosiaofthepeople,thatkindof7 desireiscutoffnaturally.Themythtendstodisappear.Itshiftsinmoderntimes.(NorthropFrye,1998,46)Withtheresearchofthedevelopinghistoryofthewesternliterature,FryedividestheliteraryworksintofiveformsThefirstoneclassistheherowhoisbeyondthecommonpeopleandthatisthemyth,thesecondclassistheherowhoisbetterthancommonpeoplethatisthefairytalethelegendorthefolktale,thethirdoneisthatthecircumstanceoftheheroisbeyondthecommonpeopleanditistheepicorthetragedy,thefourthclassistheherowhoisequaltothecommonpeoplethatisthecomedyortherealisticworks,thefifthclassistheherowhoisunderthecommonpeoplethatistheironyinliteraryworks.(NorthropFrye,1998,223-224)Frye’scontributionisnotonlytheclassificationoftheliteraryworksunderonestandardbutalsohehasrealizedthatthefiveformsarethesynchroniclogicalclassificationandthedevelopmenttrackoftheliteratureinEurope.ThetheoryofthecirculatorydevelopmentinliteratureisanotherimportantbranchinFrye’stheories.Itisthatmythisthebasicelementintheimageworldinthemovementofthecirculatoryworld.Fryededucestheevolvementoftheliteraturefromtheenlightenmentofthefourseasonsinnaturalworldandthedayandnightinoneday.Herearefourclassificationsinhisbook.Thefirstoneisthatthecomedycorrespondsthedaybreakandthespring.Thecomedyisfullofjoyandhopewhichrevealstheyouthconquerstheold.Thesecondoneisthatthelegendcorrespondsthenoonandthesummer.Thelegendisfulloffantasticcolor.Thethirdoneisthatthetragedycorrespondsthesunsetandtheautumnwhichisgrandandtragic.Thetragedyrevealsthesufferingsoftheheroandthedeathofhim.Thefourthoneisthattheironycorrespondthedarknessandthewinterwhichistheworldwithoutanyheroesandisabsurd.Andthisisthecyclefromthespringtowinter.(NorthropFrye,1998,228-229)AccordingtoFrye,theessenceofthearchetypeisakindofreappearanceoftheimage.ThethirdimportantviewintheArchetypalCriticismistheintegralliteraryview.AndthefourthimportantconclusionintheArchetypalCriticismisthestanding8 backwardtheory.ThecharacteristicofFrye’sArchetypalCriticismisthemacroview.InFrye’sAnatomyofCriticism,hewritesthathetriestostudytheliterarycriticism’sscopetheorylawsprinciplesandskillsinamacroview.AllFryehastriedtoestablishistheliterarysystemwhichcouldbeuseinbothancientliteratureandmodernliterature.AllFrye’scriticismisonepartofthewholeliteraryresearchandcivilizationresearch,andhistheoryisthebasicpartoftheresearch.SoFryedefinesthecriticismtheonewhichhascloseconnectionswithliteratureandhasartisticinterests.Hecaresaboutthewholeliteratureratherthansomeworks.Hetriestolookfortheoverallruleofthestructureandthemodelforliteraturecreationwithinalargerscope.Heaimsatestablishinganindependentliterarycriticism.Hedoestheresearchfromtheancientliteraryworkstostudytheoriginofmyth.Hisviewisthecombinationofthewesterncriticismpracticeandhisliteraryexperience.Hestudiestheevolvementoftheliteratureinmacroview,andthenheintegratesthistothewesternlanguagesituationtostudythewesternliterarysystem.Heanalyzestheinternalstructureoftheliteratureinmanyperspectivestomaketheliteraryperfect.Fryeregardstheliterarycriticismasoneindependentsubject.Soheanalyzesthelogiclawoftheliterarycriticism.Hestudiestheancientliteratureespeciallytheoldmyth.WecouldsaythatFrye’ssystemofcriticismrunsthroughthewholewesternliterature.Histheoryhasmacroviewandliteraryexperiencewhichdisplaythedevelopingrouteofthewesterntwothousandyears’culture.Fryesaysthathistheorydoesnotoppressanyoneelseandwillnotholdnegativeattitudetowardsanyone.Histheoryaimsatbreakingthewallinallkindsofcriticismandprovidingatotallynewviewtoallstudies.Fryeinspectstheinnerrelationshipsandtheexternalrelationshipsoftheliteratureandtheothersubjects.Fryeholdsthattheliterarycriticismisbasedontheliteraryworks.Sothetaskoftheliterarystudyistheresearchanddiscussionoftheworks’structure.Fryepersevereshisuniquemethodinliterarycriticismandstandsinthefieldwheretakesthecultureasthebackgroundoftheliterarystudy.Hestudiestheliteratureinthelanguagesituation.Andthisishisfamousstandingbacktheory’sfinalresult.Histheoryissignificantinmoderntimes.9 TheothercharacteristicofFrye’stheoryishistranscendentalmethod.Thetranscendentalmethodmeansthattheinnervalueinmythicarchetypeswhichsurpassthetextthehistoryandthesocialideology.InFrye’stheory,theliterarycriticismistranscendental.Thatmakestheliterarycriticismhascloseconnectionswiththesocialcriticismculturalcriticismandthehistoricalcriticism.Thischaracteristicrevealsintwoaspects.First,Fryebreaksthelawofthetraditionalculturalcriticismandmakestheschoolsofitinfluenceseachother.Heanalyzesthedefectsofdifferentwesternschoolsofliterarycriticism.Andheabsorbsthemeritsofthetraditionalhistoricalcriticismthenewcriticismandthepsychologycriticism.Atlasthetriestoestablishaprofoundandoverallsystemofcriticismtobreakthesituationthatthenewcriticismisinthetopposition.Second,thetranscendentalmethodisrevealedintheinterdisciplinarystudies.Fryehassaidthathistheoryistogetridoftheinnerrestrictions.Intheprocessofestablishinghisowntheory,FryeusesFrazer’sachievementinliteraryanthropologyandJung’scollectiveconsciousness.Hestartsfromthemythicarchetypetoanalyzetheliteraryphenomenonintegrallyandunderstandtheliteraryworkscompletely.Frye’smethodisasuccessfulexampleincritichistory.Hisresearchmethodmakeshisstudyrelatetoothersubjectsandinharmonywithothersubjects.AccordingtoFrye,alltheproblemsmentionedinhistheoryaretransdisciplinaryespeciallytheproblemsoftheComparativeLiterature.Fryehimselfdoesnotberestrictedtohisnativelanguage.Hedoestheresearchinotherlanguage.Thetranscendentalmethodandtheharmonyofthepowerfulliteraryaresosignificantthatotherscholarsandspecialistscometofollowit.ThepositivesignificanceofFrye’sArchetypalCriticismisthatitprovidesthecommunicationsinpolynaryculturewithanopenilluminationspace.Anditalsohastheinterdisciplinarystudies’space.Themainpointintheunderstandingandthecomprehensionbetweenculturesisgainingmoreculturalresource.Itisnotforgettingridofthedifferentculturestogetthesameness.Insomecriticaltheoriesbefore,theyusethesingletheoreticalformtolimitallthecultures.Thenthatwillleadtotheabsoluteculturalcriticism.AlthoughFrye’stheoryistheconclusionfromthewesterncriticismpractice,hisviewtowardsilluminationismacroandunique.Andhistheorygivesthespaceforthecommunicationsbetweenthewesterncultureandtheother10 cultures.ThepositivesignificanceofFrye’sArchetypalCriticismisthatitconcentratesonthestudyofliteratureandintegratesthemeritsoftheliterarycriticismandculturalstudy.Forexample,Fryeputstheliteratureintheculturallanguagesituationtodohisresearchthroughhispractice.Andhegivesdramaticchangetotheliterarycriticism.Meanwhile,thespreadingofhistheoryindifferentspheresoflearningexertsasignificantinfluence.Asitputsthedifferentculturalstudiesinordertomaketheculturalstudyandculturalcriticismintegrateandbethecomplementofeachother.Thismakesthecriticismtheoriesrationalandideal.Thereisapluralismtrendinmodernculturalstudies.Inmodernculturalstudies,Frye’stheoryprovidesuswithatotallynewspaceandcriticalform.Thepowerofthetheoryismoreandmoreevident.TheimaginationandthevalueofliteratureitselfplayanimportantroleinFrye’sArchetypalCriticism.AndFrye’stheorypromotesthedevelopmentofthestudiesofculturalcriticismandculturalresearch.Lastbutnottheleast,theArchetypalCriticismisstandingintheimportantpositioninthewesterncriticism.Itintegratesthearttothemodernpsychologytheculturalanthropologyandotherhumanisticstudies.Itexpandsthementalspaceoftheliteraryresearchandstandsforthedevelopingtrendofthemodernhumanisticstudies.Itrevealsunprecedentedbroadperspectivesandsystematicness.ThemeaningofexistenceofFrye’stheoryistohelphumankindunderstandtheliteraturebetterandthebeautifulworldbetter.Ithelpsustofeelthefantasticworldandtherealisticworld.Ithelpsscholarstogettotheidealworldnomattertheworldisinornot.MaybethatisthevalueofFrye’stheory.1.2TheBibleinArchetypalCriticismTheBibleistheoriginofFrye’sArchetypalCriticism.AccordingtohisAnatomyofCriticism,theoriginoftheliteratureisthemythandtheclassificationsinliteratureareestablishedbythetransformationsoftheliterature.Sothemythintheoldtimesismoresignificant.Thecoremythhasthemostprofoundinfluenceandisoriginal.TheframeofthecoremythofFrye’stheoryisbaseduponTheBible.AndtheframeisthecenterofhisArchetypalCriticism.TheArchetypalCriticismhasakindofunique11 colorinwesternworld,andtheperspectiveofitisthewesternculturewhichrelatestotheheritageoftheancientGreeceRomeandtheChristianity.FryetendstotheChristianity.HehassaidinhisworksthathewillusethesystemintheBibleandasmallpartoftheclassicmythasthebasiclawintheArchetypalCriticism.HedoesthatbecauseChristianityistherootofthewesterncultureandsociety.AndhethinksthattheBiblecouldtellthemeaningoftheArchetypalCriticismbetter.FryerelatesTheBibleandtheclassicworks.Andunderthiscondition,FryechoosesthemoreattractiveoneTheBible.FryethinksthatTheBibleisthemainsourceofthecoremythinwesterntradition.Andtheromancethetragedythecomedyandtheironyarethetransformationsofthecoremyth.`AccordingtohisAnatomyofCriticism,thearchetypeistheemergenceofsymbolwhichappearsrepeatedlyandalwaysonekindofimage.ThedefinitionofthearchetypebyFryeistheliterarydefinitionwhichFryeborrowsfromthepsychologyandanthropology.Wecandrawconclusionsfromthework,themythandthearchetypearethetwosidesofonecoinandthemythisthearchetype.Heholdsthispointallthetime.Fryethinksthemythisinconstantchangesoweneedonecentre.Fromhispointofview,theBiblecouldgiveusthechancetogetthecentre.SohebeginswiththeBibleandthemythistheoriginofalltheliteraryworks.TheBiblecouldbedividedintosevenstages.TheseareGenesisExoduslawsintelligenceprophettheGospelandtheenlightenment.(NorthropFrye,1998,62)Inthefirststage,themeaningofBibleisthecoherenceofitsworkswhichisnotthefragment.Themeaningintheworksiscoherent.Themythtellspeopleaboutthecreationoftheworld.ThecommonpointiscalledthelanguagecreationwhichistheGenesisversionoftheGospelofJohnintheNewTestament.Thenaturaluniverseisintheindefinitespace-time,thissituationisendedbytheappearanceofhumankind.Themethodofthebeginningistotestifytheemergenceofhuman’sconsciousness.Inthesecondstage,theGodmakesanewcovenantwithhumankind.AdamNoahAbrahamIsaacandJacobarethefirstpeoplewhomakeacovenantwiththeGod.Thisstageisaperiodofrevolution.Aftermakingthecovenantwithpeople,GodasksMosestogotoEgypt.The12 thirdstageisthelaw.ThesevenlawsaremadebytheGodandAdamNoahAbramIsaacandJacob.Thelawcontainstwopartswhicharethesocialresponsibilityandhuman’sresponsibilitytowardsthenaturalcycle.(NorthropFrye,1998,63-65)Frye’sArchetypalCriticismisusedasthetheoreticalbaseinthisanalysis.Asthecoreofthetheory,TheBiblecan’tbemissed.Andinthenextchapter,theBiblicalarchetypeswillbeusedtoanalyzethemainfactorsintheplayandthemeofit.1.3TheInfluenceofTheBibleonWaitingforGodotTheChristianmindandtheholyBiblehavegreateffectsonthewesternpeopleinboththeirthinkingandtheirlife.Theeffectsareeverlastingsinceitcomesintobeinginthe1stcentury.MostwesternpeoplehasbeenaffectedbyTheBiblenomattertheyhaverealizedornot.ManywritersandscholarsuseTheBibleortheimagesortheimplicationsofitintheirownworks.ThefamouswriterssuchasWilliamShakespeare,JohnMiltonandJohnDonne,theyallhavedonethis.TheholyBiblehasinfluencedtheromanticworksandtherealisticworks.Eveninmoderntimes,themodernismandthepostmodernismareveryprevailing,TheBibleisstillintheuniqueposition.SoSamuelBeckett’sworkWaitingforGodotisnottheexception.TheinfluenceofTheBibleontheplayisevidentespeciallyonitsbackgrounditscharactersanditsplot.Thebiblicalarchetypesintheplaycan’tbeneglectedifsomewhotriestofindanewinsightintotheunderstandingofthethemeoftheplay.TheplayWaitingforGodotisconsideredasthemasterpieceofSamuelBeckett.AndtheplayisthelandmarkinFrenchliteratureandtheworldliterature.AndtheplayisasignificantmasterworkwhichbelongstotheTheaterofAbsurd.Ithashazythemeandextraordinarystyleandthespecialimages.Theemergenceoftheplayhasreceivedalotofdiscussionsandattentionsfromthescholarsandtheordinarypeople.ThereisafamoussentencefromHamletbyWilliamShakespeare.TherearethousandsofHamletsinthousandsofpeople’shearts,soitisrighttosaythatherearethousandsofGodotinthousandsofpeople’shearts.Theplayhasgreatinfluenceonthepostwarphilosophers,forexampleAlbertCamus.BeckettisthefirstauthortowintheinternationalfameintheTheatreof13 Absurd.HisrepresentativeworkWaitingforGodothasbeentranslatedintomanykindsoflanguages.TheplaygainsauniquelypositionnotonlyinBritishandFrancebutalsointhewholeEuropeandtheworlddrama.Almostallthestudiesfocusontheplay’sthemeortheliterarystyles.Sointhestudy,Frye’sArchetypalCriticismhasbeenusedasthetheoreticalbasetogivereadersatotallynewperspectiveoftheplay.Intheliteraryhistory,themythexertsimportantinfluenceonthewritersandtheirworks.Asthecoremythinthewholemythsystem,TheBiblemusthavegreatinfluenceontheplay.Sointhechapterswhichfollowsthischapter,theBiblicalarchetypesinitsstorywillbediscussed,suchasthebackgroundofthestorythecharactersofthestoryandtheplotofthestory.Thereasonwhyeventoomanyyearshavepassedandtheplayappearssosimpleandshort,itstillhassomanyreadersandgivesussomanyideasisthattheremustbesomethingprofoundanduniversalintheplay.ManyscholarsbelievethatBeckettissonegativebecauseGodotnevercomes.Ifsomeonejustcouldseethesurfaceoftheplayortheauthor,itmustbesuperficial.Thereadersshouldgototheinnersideoftheauthorandtheplay.Themaincharacters,EstragonandVladimirseemsoridiculous,butifsomeonecouldputhisheartintotheplayandifhecanuseFrye’stheorytounderstandtheplay,hewouldnotlaughatthembecausetheymaybeyouorhim.TherearetwototallynewvisualanglesinthestudyoftheinfluenceoftheBiblicalarchetypesintheplayespeciallytheanalysisofitstheme.Firsttheinfluenceofthesocialbackgroundonthethemeorthefinalresultoftheplayisquiteworththinking.WesternpeoplehavefirmbeliefinGodandwhathasbeensaidinTheBiblebeforetheWorldWarII.Theyhavewitnessedtheboomofthesociety.Butafterthemercilesswar,dothepeoplestillhavethefirmbeliefornot,itisquiteworththinkingaswell.Duringthewartheyhaveseenthedestroyingpowerofthedevelopingoftheeconomyandthetechnology.Secondtheinfluenceoftheauthor’slifeexperienceontheanalysisofitstheme.SamuelBeckettwasborninaProtestantfamily.AndhismotherisaProtestant.Hisfatherdoesnothaveanybeliefs.Howevernomatterhisfatherhismotherorthepeoplearoundthemhavedifferentbeliefs,allofthembelieveinTheBible.Duringthe14 WorldWarII,theauthorstayedinParis.HekeptstayinthereevenafterithasbeenoccupiedbytheGermans.AndBecketttookpartintheundergroundmovementandfoughtforthewar.Butlater,somepeopleinhisgroupwerearrestedandhewasforcedtogotheotherplacewithhiswife.Afterthewar,hewentbacktoParis.Theauthorhaswitnessedthewholeprocessofthewarandthebrutalityofthewar.DoesthislifeexperiencehasinfluencedhisbeliefintheBibleandtheninfluencedtheexpressionsofthetheme?Aftertheanalysisofthebiblicalarchetypesoftheplay’sbackgroundcharacteristicsandplot,thethemeoftheplaywillbeanalyzedinusingtheformeranalysisofthestudy.Andthesetwoquestionswillbesolvedinthelaterchapter,atthattimereaderswillgettheanswer.15 ChapterIIABiblicalStudyintheWaitingforGodot’sStoriesAccordingtoFrye’stheory,TheBibleistheoriginofthewesternliterature,andsomanywritersuseTheBibleintheirworks’themebackgroundcharacteristicsortheplot.SamuelBeckettisoneamongthemandsodoeshisgreatworkWaitingforGodot.Andtherearethreemajorfactorsinoneworktotellreadersthestoryaswell.Thethreemajorfactorsarethebackgroundthecharactersandtheplot.Inthischapter,thebiblicalarchetypesintheplayWaitingforGodotwillbeanalyzedfromthesethreeaspects.Thisisthemainconcerninthischapter.2.1BackgroundinthePlayandtheEdenintheBibleThereisonlyonesentenceaboutthebackgroundintheplay:Acountryroad.Atree.Evening.(SamuelBeckett,2002,1)Thereissomeinformationreaderscouldknowfromthetwocharacters’dialogue.VladimirsaysthattheyarewaitingforGodot.ThenEstragonasksifVladimirissureabouttheposition.Vladimirdoesnothearclearlyandheansweredwithawordwhat.EstragonrepeatshiswordstoconfirmwhethertheyhavetowaitforGodotbythetree.Thenbothofthemlookatthetree.Estragonaskswhatkindofthetree.Vladimiranswersthathedoesn’tknowanditisawillow.ThenEstragonaskswheretheleavesare.Vladimiranswersthatthetreemustbedead.Estragonsaysthatthetreeisnomoreweeping.Vladimirsaysthatmaybeitisnottheseason.Estragonsaysthatthetreelikeabush.Vladimirsaysthatitisashrub.Wecouldknowthatnomatterthetreeisashruborabush,thetreeistheonlyplacetheyhavestayedforwaitingandthetreeiswitheredwithoutanyleaves.ThetreeintheplayissospecialbecauseVladimirandEstragonhavetowaitforGodotbythetree.Andmaybetheythinktheyarethetreeandthetreeiswithered.ThewitheredtreeistheBiblicalwordwhichBeckettborrowsfromTheBible.ThewitheredtreeintheBiblereferstheguiltyman.16 Jesussaidtothecryingwoman:Youhavedonethistotheflourishtreethenwhatwillyoudotothewitheredone.Theflourishtreeshouldnotbeburntbutithasbeenburnt.TheinnocentJesusshouldnotdiebuthehasbeenkilled.Thewitheredtreeisworsethantheflourishtreeinthefuture.(TheNewTestment,23-31)TheflourishtreereferstothepeoplewhobelieveinGod.AccordingtotheBible,themanwhonotobeythebadpeople’strickordothebadthingsasthebadmannevercontemptothersandbelieveintheGodandtheBible,hewillgettheblessings.Andthemanwhogetstheblessingsshouldlikeatreegrowingupneartheriver.Thetreebearsfruitontimeandtheleaveswillneverbedead.Peoplewholikethetreewilldoeverythingashewishes.Thelifeofthetreedependsonthewater.ThewateristheGod’scontinuousspirit.SoEzekielseesthewaterfromtheHolyPalacebecomesariverundertheguidanceoftheGodandthewaternourishesthetree.Thereareallkindsoftreesoverthetwosidesoftheriver.Thefruitofthetreecanbeeatenandtheleavesoftreewillneverbedead.ThefruitofthetreeiscontinuousbecausethewatercomesfromtheHolyPalace.Theleavesofthetreecouldhealtheillness.Fromtheanalysisaboveitisclearthatthetwomenhavecloseconnectionswiththewitheredtree.Thewitheredtreesymbolizestheguiltymanorthemanhassin.Theywanttoconfesstheirguiltfromthebeginning.Whattheyhavesaidisindecent.Somescholarsinsistthattheyhavethetrendtobegaypeople.Butthroughtheanalysis,Beckettwantstoexpresssomethingmoreuniversal.Thereadersmustcometothebeginning,thebackgroundofthewholesocietytheWorldWarII.Theauthorhaswitnessesthemercilesswar.Hesawthedestroyingpowerandthepeoplekillthepeoplebecauseofnothing.ThewitheredtreerepresentsVladimirandEstragonorthesinnerswhoaretherepresentativesofthepeopleinmoderntimes.Theauthorhasseenthehypocrisyofthecapitalismandtheunfairnessofthesociety.Peopleenjoytheboomwhichhasbeenbroughtbytheeconomicaldevelopmentsandthetechnology.Atthesametime,theybecomeheartlessandkilltheotherpeople.Thewitheredtreestandsfortheguiltymaninmoderntimes,maybeitisthepeopleintheWorldWarorthepeopleliveinthesametimewiththeauthor,maybeitisthepeoplejustlikeyouorhim.Withthedevelopingofthesocietyandtheeconomy,peopledonothaveany17 beliefsanddonotbelieveinGodanymore.Theylosttheirmeaningofexistence,justlikeEstragonandVladimir.Fromtheanalysisofthetree,readerscouldseethatthewaterisanimportantimageinTheBibleortothewitheredtreeintheplay.ThenwhatistheBiblicalarchetypeofthewater?AccordingtoFrye’swork,thekeypointoftheimageinwritingtheEdenintheBibleisthewaterandthetree.Thewateristhefoundationofthehomeandnurturesthepeople.Thewatergivesthemanfortuneandhope.InthefirstchapteroftheGenesistherearedescriptionsaboutthefourrivers.ThereisarivergoesoutofEdentowaterthegardenandfromthethenceitbecomesfourheads.ThefirstrivercallsPisonandcompassesthewholeHavilahwhereisalotofgoldandonyxstone.ThesecondrivercallsGihonandcompassesthewholeEthiopia.ThethirdrivercallstheHiddekelandgoestotheeastofAssyria.ThefourthrivercallstheEuphrates.Accordingtothestudy,thefourriversaretheNiletheEuphratestheTigrisandtheGanges.Alltheriversareveryimportantatthattime.SoinTheBible,thewaterstandsforthefortuneandthehope.ThereisanotherimportanttreeinTheBible,inEden,thereisthetreeofknowledgewhichcanhelpthemantoidentifythegoodandtheevil.Thetreeofknowledgeformsasharpcontrastwiththetreeintheplay.Sothatmeansthepeoplecouldnotidentifythegoodandtheevil.Thewholedescriptionoftheplaytheroadthewitheredtreeandeveningaresoflatandgivepeopletheisolatedfeeling.ThewholebackgroundhereformsasharpcontrastwiththeEden.ThesoilisfertileinEden.TherearegrassbeautifulflowersandallkindsofanimalsintheEden.Thepeopleareinharmonywiththenature.ButafterthebanishmentofAdamandEve,theEdenlosesthewater.TheEdenisnotlikebefore.Thewholebackgroundoftheplaystandsforthelostofparadise.EstragonandVladimiraresolonelybythewitheredtreeintheeveningjustlikeAdamandEvewhohaslosttheparadise.ThewholedescriptionofthebackgroundissoisolatedwhichsymbolizestheoriginofourlivesandthecivilizationhavelostjustlikethewaterintheEden.ThewitheredtreeintheplayisnomorethetreeofknowledgeinEden,itistheTyburntreetopeopleortoEstragonandVladimir.Theywanttokillthemselvesinthetree.Thepeopleherearenotinharmonywiththenature.Thepeopleseemtheoppositionofthenature.Thisexposesthetediousanddrearylifeof18 modernpeople.Howevertherearesomeleavesgrownuponthetreeoveronenightintheplay.Thissymbolizestheauthor’shopetogetthepurificationofthesoulandthepossibilitytogettherebirth.Thewholeplaydescribesthecyclefromthewitheredtothedeathtotherebirth.Thisistheframeintheplay.Andtheframeisinconsistentwiththepeople’sexperienceinEdenofTheBible.TheexperienceinEdenisfromtheparadisetobeguiltytosufferfromthesintoconfessandtogetthesaveatlast.ThisstructurecouldbeinaccordancewithFrye’sTheoryofthecirculatorydevelopmentinliterature.Inconclusion,theBiblicalarchetypeofthewitheredtreeinWaitingforGodotisthesinner.AndtheBiblicalarchetypeofthewholebackgroundthecountryroadthetreeandeveninginWaitingforGodotisthelostofparadise.Readerscouldrelatethebackgroundoftheplaytothebackgroundofthesocietyatthattime.Peoplearedisillusionedaftertheworldwar.Theylosetheirmeaningofexistence.Theydonotknowwhattheyarelivingforandhowdotheyliveinadisorderedworld.Underthiscondition,theyareseparatefromthenatureandthesociety.Andtheyevenlosetheiridentityinmodernworld.ButinBeckett’seyes,peoplestillhavethehopetogettheirmeaningbackeventhehopeisverytiny.Butthatisenough.Peoplearealltheguiltymanjustlikethewitheredtreeintheplay,theyhavetosufferandconfessthentheycouldgettheparadisebackatlast.Thedescriptionofthebackgroundservesfortheplotthecharacterandtheprofoundthemewhichtheauthorwantstoconvey.Sothenextpartwillanalyzethebackgroundfirstandthenunderthisbackgroundthecharactersandtheplotwillbeanalyzed.Itisaprocessliketheactionofgoingupstairs,thebackgroundisthefirststep.Whenpeoplestandonthefirststairtheycouldgofurther.EventhoughtheplayWaitingforGodotlookssorepetitiveandwhimsical,theplaystillcouldbecomeaninstantsuccess,andevenrunningforhundredsofperformances,theremustbesomethingprofoundinit.Thewitheredtreeinthebackgroundlookssoisolatedbutithassomeleavesoveronenight,thisisthehopeoftheauthortowardsthefateofthemodernpeople.Thismayberelatedtothefinalresultandtheword“tragicomedy”onthetitlepage.Althoughtherearesadnessinpeople’slife,butiftheyshouldbelievein19 thatthefinalresultmaybegoodjustlikethetreeintheplay.2.2BiblicalArchetypalInfluenceontheCharactersTherearesixcharactersintheplayEstragonVladimirLuckyPozzoaboyandtheunkownmanGodot.ThetwoeducatedbutapparentlyhomelessmenwithoutanyjobskeepwaitingforthearrivalofGodotbyawitheredtree.TheyhaveanappointmenttomeetGodot.AlltheydoiswaitingeventheboyhastoldthemGodotwillnotcometoday.ThenwhatistheBiblicalarchetypeofGodot?Godotisthemostimportantpersoninthestories.ThedescriptionofGodintheplaycomesfromwhathasbeensaidbyLucky.LuckysaidthattheGodhaswhitebeardandheisoutsidetimeandwithoutextension.AccordingtoLucky,theGodcomesfromtheheightofthedivineaphasia.AndtheGodlovesusclearlywithsomeexceptionsandforthereasonsunknownbutthetimewilltell.ThenLuckysayssomethingabouttheheaven.TheBiblicalarchetypeoftheGod’sappearanceofwhichLuckyhassaidisintheBible.ThedescriptionsoftheGodintheplaycomefromthedescriptionsoftheGodintheBookofDanielfromtheOldTestament.DanielseestheGodinhisdream.HesaysthattheGodsetsinplacewithwriteclotheswhichareaswhiteassnow.AndtheGod’sheadisalsowhitewhichaswhiteaswool,andhisthroneisflamingwithfire.Ariveroffirecomesoutbeforehimandsomanypeopleserveforhim.TheGodsitsandthebooksareopen.TheGodisgiventheauthoritygloryandsolemnpower.Allthepeopleallthecountriesbelieveinhimandhispoweriseverlasting.DanielsaysabouttheGodinanotherhisdream.TheGoddressesinlinenwithagoldbeltandhisbodylikeschrysolite.ThefaceoftheGodlikesthelighteningandhiseyeslikeflamingfire.God’sarmsandlegsliketheshiningbronzeandhisvoicesoundlikethecommonperson.(TheOldTestment,7-10)EstragonandVladimirhaveaskedtheboythecolorofthebeardofGodot.Theansweriswhite,thenVladimirsaysmaytheGodblessus.ItisobviousthatGodotistheGodThedescriptionofGodotintheplayaccordswiththedescriptionofGodinThe20 Bible.EstragonandVladimirwaitsforhimandtheysaytheyknowhim.ButitseemsthattheydonotknowaboutGodotfromtheplay.ThewesternreligiouspeoplethinkthatGodisunusualandbeyondanydefinitions.TheyalsothinkthatpeoplecoulduseanywordstoidentifyGod’sstatus.IntheBible,theGodisthefatherofeverythingandhecreateseverything,andtheGodisinthetopofallthekings.TheGodisawholewhichislimitlessabsoluteandeternalaccordingtothestudyofthereligiouspeople’sviewtowardstheGod.Godothasbeenmentionedintheplayasthemancouldsavepunishpeople.VladimircallshimthesaverandPozzocallshimthemanwhocancontrolyourlife.Fromthispointofview,GodotistheGod.ThebiblicalarchetypeofGodotistheGod.InTheBible,godwillsavepeoplewhentheyareattheendoftheirropes.Thisisthepromise.Butinmodernsociety,people’sbeliefinGodhasbeenshook.TheGodinTheBibleisdead.TheGodwhohasmadeapromisebecomesGodotintheplay.Godotnevercomes.Themodernpeoplelosetheirfirmbeliefandbecomeisolateddespairanxiousandlost.AlthoughGodotdoesnotcome,butEstragonandVladimirkeepwaitingforhim.Attheendofthestory,theysaytheywillgobuttheydonotmove.Eventhoughtheydonotknowwhatwilltheydoandwhattheyaredoing,thereisonecertainthingthattheyarewaitingforGodotinsuchmess.Fromthisperspective,althoughtheplayrevealsthatmodernwesternpeoplehaslosttheirtraditionalreligiousbelief,Beckettfindsoutwaysforthem.Beckettdoesnotknowwhichvaluesystemwouldwork.Buthetriestoestablishthevaluesystemandgetridofthestate.ThroughtheconstructionoftheimageoftheGod,BeckettmakesthedarkimageofGodshineagain.Thisisalsohishopethatthemodernpeoplerebuildthedominicalsystem.EstragonandVladimirarethemaincharactersintheplaywhokeepwaitingforthecomingofGodot.Thetwomendoabsurdthingswithoutanymeaningsfromthebeginningoftheplay.EstragontriestoputoffhisbootsandVladimirkeepsplayingwithhishat.Vladimirputshishatoffandtouchesitandthenputsitbacktohishead.Formtheirtalking,readerscouldknowthattheyhavebeenthenormalmanbeforeandhavetheirhopetowardsfuture.Becauseofthis,theybelievethatGodot’scoming21 couldhelpthemtogetridofthemisery.Sotheykeepwaiting.Theydependoneachotherandoftenquarrelwitheachother.Theirexistencegivesthemconfidence.ThebiblicalarchetypeofEstragonandVladimirishumankind.WaitingistheonlymeaningfulthingtoEstragonandVladimir.Thisactiongivesthemthemeaningofexistence.Theyfeellonelyandkeeptalkingallthetime.Theytrytoputoffthebootseatcarrotandeventhinkabouthowtokillthemselvestogetridofthefeelingofisolation.Eventhough,theyknowthatthereisnouseofstrugglingandnoways,buttheystilltrytokeeptheirpromise.Theyknowthattheyarenotthesaintsbuttheykeepthepromise.KeepingpromiseisthemainthemeinTheBible.TheGodsavethepeoplethroughthefivepromises.ThefirstpromiseisintheGenesisoftheOldTestament.ThepromiseismadebytheGodandNoah.TheGodsaysthatalltheanimalsonthegroundandthebirdsintheskywillbefearfulofNoah.AndtheGodwillgivethemalltheinsectsandthefishinthesea.AllthelivingthingscanbefoodforNoahandhispeoplejustlikethegreenvegetables.ButtheGodsaysthattheyshouldnoteatthemeatwithbloodandthemeathaslife.TheanimalsorthepeoplewhokillNoahandhispeople,theGodwillpunishthem.That’swhattheGodhastoldNoahandhissons.ThentheGodestablisheshiscovenantwiththemandtheirdescendants.TheGodsaysthatallthelivingthingswhichincludesthebirdsthecattleandalltheanimalsonearthwouldnotbekilledbytheblood.Andsodoesthefield.AndNoahandhisdescendantsshouldbefruitfultomaketheearthlively.ThesecondpromiseisintheGenesis,too.ThepromiseismadebytheGodandAbram.WhenAbramisninety-nineyearsold,Jahappearedtoseehim.AndJahtellshimthatheisthealmightygodandyouwillbeperfect.ThenAbramcomestoJahandmakesapromisewithhim.JahsaysthathewillmakeAbramhavetoomanydescendantsandthefatherofmanynations.Fromnowon,AbramshouldcallAbrahambecauseheisthefatherofmanycountries.Jahshouldmakehimfruitfulandmakenationsorkingsofhim.ThepromiseiseverlastingaccordingtotheJahandJahwantstobetheGodofAbramandhisdescendants.CanaanwhereAbramliveswillbetheeverlastingpossessionofAbram.ThethirdpromiseisinExodusoftheOldTestament.ThepromiseismadebytheLordandMoses.Oneday,Moseswastending22 thesheeptothewild.WhenhegoestothemountainofGod,theLordappearstoMosesintheflamesoffire.ThenMosesgoestoseethemystery.ThentheLordtellsMoseshisidentityandthesufferingsofthepeopleofIsraelitesinEgypt.TheLordasksMosestotakethepeopletheretoagoodandspaciousland.ButMosesisnotsureaboutwhetherhewouldbesuccessful,sotheLordmakesapromisethathewillhelpMoseswithallthewonders.ThethirdpromiseisintheBookofSamueloftheOldTestament.ThepromiseismadebyDavidandGod.ThepromiseisthattheDavid’sfamilyandhiscountrywillbeeverlasting.ThefourthpromiseisinLukeoftheNewTestament.Fromallabove,readerscouldseethatkeepingpromiseisthemostsignificantthemeintheBible.SoEstragonandVladimirtrytheirbesttokeepthepromiseeventheydonotreallyknowwhethertheGodotwillcomeornot.EstragonandVladimir’sBiblicalarchetypeisthecommonpeoplelikeyouorhiminmoderntimes.Thentwopersonscan’tbemissed.SomescholarsbelievethatVladimirandEstragonaretwopersons.Andsomescholarsbelievethattheyarejustoneperson.Butwhethertheyaretwopeopleoroneisnotveryimportant.Thereasonwhytheabbreviatedplaycouldbeaninstantsuccessisthattheremustbesomethinguniversalintheplay.EstragonandVladimirarecommonpeople.Andthetwomenwhohavetotallydifferentcharacteristicsmaybeoneperson.FromtheplayreaderscouldknowthatEstragonkeepsputtingoffhisshoesandisgoodatactionwhileVladimirkeepsplayingwithhishatandisgoodatthinking.Sotheymaybethetwotrendsineverybody’smind,whichconsistsoftheconsciousnessofreasonandconsciousnessofsensibility.Thereisn’tanysinglethingintheworldanditmusthaverelationwithotherthings.Andthereisnotanyonewhojusthasthereasonablespiritwithoutanysensiblespirit.Noonecouldsaywhetherthereasonablespiritisgoodorthesensibleone.Fromtheplay,EstragonisdistinctiveandpursuitshappinesswhileVladimiristhinkinganddepressessomedistinctiveactivities.Intheplay,VladimirandEstragonwanttohangthemselveswiththebough.VladimirasksEstragontohanghimselffirst.ThenEstragonsaysthatasheislighttheboughcouldnotbreakandthenhewilldie.BecauseVladimirisheavythentheboughwouldbreakthenVladimirwillbealone.23 AtlasttheydecidetowaitforGodotandwillnothangthemselves.SonomatterEstragonandVladimirareonepersonortwotheyrelyoneachother.Ifonepersondiestheotheronewillbeisolated.Readerscouldseethesameexpressionfromtheotherplace,attheendofthestory,Estragonsaysthattheywouldbebettertostayalone.Estragonsaysthattheyarenotmadeforthesameroad.ThenVladimirshowsthatheisnotverysureaboutthat,whileEstragonsaysthatnothingiscertain.Throughsometalks,theydecidetostaytogether.Eventhough,EstragonandVladimirarequitedifferentandoftenquarrelwitheachotherbuttheydependoneachother.TheexistenceofEstragongivesconfidencetoVladimirandmakeshimfeellesslonely.AndsodoesVladimir.Tosumup,theBiblicalarchetypeofEstragonandVladimiristhecommonpeoplewhosufferfromthemodernsocietyandhopetogetthesalvationoftheGod.Intheplay,GodotdoesnotcomeandthenEstragonandVladimircouldnotdoanythingbutwaiting.Livesofthemaremeaninglessvacuousandincrediblejustastheboringdailylives.Theembarrassingsituationisworsethanthedeath.PeoplecouldrelatethesituationtotheworldaftertheWorldWarII.Thepeoplein1950sarehopelessandconfusedaboutthefuture.ButEstragonandVladimirarestillwaitingintheplay.Now,eventherearestillfulloftheimpoverishmentdisasterandhypocrisy,peoplestillhavethehopetobebetter.ThereareanothertwomenintheplayPozzoandLucky.PozzoisatyrantandLuckyishisslave.PozzodragsLuckyalongonarope.Intheplay,Luckyisthefirsttoenter.Butthen,EstragonandVladimirtakePozzoforGodot.AndinactII,EstragonandVladimiralsotakehimforGodot.TheydonotknowhowLuckygetinjured.EstragoncallsLucky’sdancingtheScapegoat’sAgony.VladimirsaysthatLuckyisboldandcrucifyhim.AndwhenPozzotalksaboutLucky,VladimirsaysasksPozzowhetherhewantstogetridofLucky.ItisthefifthtimeforVladimirtosaysomethinglikethat.AccordingtoLukeintheNewTestament,JesussaidthatwhyhisGodwantstogetridofhimwhenJesuswascrucified.IntheLuke,thechiefpriestandthescribeslookforachancetokillJesusbuttheyareinfearofthepeople.ThenSatanenterstheheartofJudasandbecomesoneofthetwelvemembers.ThenJudasbetraysJesusformoneyandthenJesusiscrucified.AndwhenPozzotalksabout24 himselfhesayssomethingjustliketheJesuscomesbacktolife.SotheBiblicalarchetypesofPozzoandLuckyaretheHolyFatherandtheHolySon.ThefutureofEstragonandVladimirisindicatedbyPozzoandLucky.PozzoandLuckyaretheGodandJesus.SotheyhavesomeholycolorsLuckyisdrivedbytheropeinPozzo’shandandEstragonandVladimiraredrivedbytheropeinGodot’shand.WhenPozzoandLuckycomeback,Pozzobecomesablindman.AccordingtotheBible,theblindandthemutestandfortheguiltymenwhokeepwaitingforsaving.AccordingtheLukeintheNewTestament,Jesushealssomanypatientsandisfamousforhealingtheblindandthemute.JesuscouldhealthesickbecauseofhisidentitythatheistheHolySon.Theblindandthemutecouldbesavedbecauseoftheirconfessing.Theyconfessthattheyareguilty.PozzoandLuckyaretheGodandJesusbutPozzobecomestheblind.Theillnessandthehealingarethesymbolsofthesavingofmen’ssouls.Thepatientsmustbelievethattheyaresickbecauseoftheirsin.ThentheycometoJesusandbelieveinhim.Onlyinthisway,doesthemiraclehappen.Fromthisperspective,PozzoandLuckycouldnotsavethemselves.Thatistosay,ifmodernpeoplewanttogetthesavingoftheGod.Theyhavetowait.Inconclusion,thebiblicalarchetypeofGodotisGod.ThebiblicalarchetypesofEstragonandVladimirarecommonpeople.ThebiblicalarchetypesofPozzoandLuckyareGodandJesus.TherearesixcharactersintheplayincludingtheneverappearedmanGodot.Allofthesecharactersaremale.Theabsenceofthefemalecharactersisn’tthefaultofBeckett’scarelessness.Theremustbesomethingprofoundintheabsenceofthefemalecharacters.IntheGenesisoftheOldTestament,ontheseventhdayGodendhisworkandhasrest.Godhascreatedeverythingonearthsuchastheplantstheanimalwaterandtheair.TheLordGodmakestheearthandheaven.ThereisnotgrassintheearthandtheherboffieldbeforeitgrowsbecauseLorddoesnotcauseittorain.Andthereisnotamanintheworld.Butthereisthemistfromtheearthtowatertheearth.ThenLordGodmakesamanbythedustofthegroundandbreathsintohisnoisetogivehimlife.ThenGodcallshimAdam.TheGodputshimintheeastofEden.ThentheGodmakesthetreestogrowandthefruitofthemcanbeeaten.Thereisthetreeofknowledgetomakepeopleidentifythegoodandevil.And25 theGodsaysthatitisnotverygoodforAdamtolivelonely.ThenGoddecidestomakeamateforhim.WhenAdamfallsasleep,Godtakesoneofhisribstomakeawoman.ThenAdamcallsherwomanbecauseshewastakenoutoftheman.Thusamanshouldleavehisfatherandmothertointegratewithhiswife.Thentheybecomeone.AdamandEveareancestorsofus.AfterAdamandEvehavebeenexpelledfromtheEden,theyworkhardandgivebirthtobabies.Thenpeoplebecomethedescendents.Butintheplay,thefemalecharacterEveisomitted.ThefemaleisindispensableaccordingtoTheBible.Accordingtothis,intheplaytherearenotanyfemalesinmodernsociety.Thenthemalelosesthehelpandtherestrictionfromthefemale.Themalecouldnotmultiplythedescendents.Themoderncivilizationwoulddisappear.Andthemalewouldbeinmessandcan’tgetridofit.ThereasonwhyGodmakesEvefromAdamismissing.Thenwhatshouldpeopledoinsuchembarrassingsituation?IntheEden,peopleareinharmonywithnature.Maleandfemalearehappywithoutanyanxiety.ButinBeckett’sworldorintheworldofwaitingforGodot,themanisseparatedfromthenature.Themanandthenaturearepartite.Themanisisolatedanddepressed.Fromthefirstpartinthischapterthereisnowaterofthebackground,thenwhereisouroriginoflives?Thetreeofknowledgebecomesthewitheredonetokillpeoplethemselves.Theirspiritlosesdependencyandcomesintothedepressedsituation.Thenwithoutthefemalecharacters,thereissomethingwrongwiththemultiplyingofhumankind.PeopleinmodernsocietywholosetheEdenwouldknowhowtofindthespiritualhomeornot.ThatisalsotheconfusingquestionofBeckett’s.WhenthewesternpeoplelosethetraditionalChristianbelief,whatshouldtheydo.ThatisthefinalquestionwhichBeckettwantstoaskthemodernpeople.2.3WaitingintheplayandPursuingGodintheBibleInthisplay,thetitleWaitingforGodotdescribestheactionortheplotexactly.ThetwomenEstragonandVladimirarewaitingforthearrivalofGodot,whomtheyhaveanappointmenttomeetbyawitheredtree.Thetwomanquarrelcontemplatesuicidesleepeatacarrottrytoputoffthebootsplaywiththehatandbitethechicken26 bones.ThentheymeetPozzoandLucky.PozzoandLuckycomebackthesecondtimewhenPozzoisblind.Attheendofthetwoacts,aboycomestotellthemGodotwillcometomorrow.EstragonandVladimirsaytheywillleavebuttheystillkeepinthesameposition.ThemainplotintheplayisEstragonandVladimir’swaitingandtheabsenceofGodot.TheBiblicalarchetypeofwaitingisthepursuingoftheGod.ButwhetherEstragonandVladimircouldgettheGod’ssavingisuncertain.ThedialogueinActIhavementionedaboutthis.VladimirandEstragontalkabouttheBible.VladimirasksEstragonwhetherhehasreadTheBible.Estragonsaysthathehastakenalookatit.ThenVladimiraskshimifhecanremembertheGospels.ThenEstragonanswershecanrememberthemapsoftheHolyLandanddescribestheDeadSeawherewaspalebule.AndaccordingtoEstragon’swords,thelookoftheDeadSeamakeshimthirsty.Afterthis,VladimirasksEstragonifhecanrememberthestoryofthethieves.VladimirtellsEstragonthatthetwothieveswhohavebeencrucifiedatthesametimeastheirSavior.AndaccordingtoVladimir’swords,onethiefissupposedtohavebeensavedandtheotherhasnotbeensaved.ThenVladimirtellshimthethievesaresavedfromtheHell.ThenVladimirasksthathowisthatoffourEvangelistsonlyonespeaksofathiefbeingsavedandthefourofthemwerethere.AndVladimirsaysthattheotherthreetwodonotmentionanythievesatallandthethirdsaysthatbothofthemabusedhim.Atlast,Estragonsaysthattheydonotagreeandthatisallthereistoit.ThustheBiblicalarchetypeoftheplotofwaitingislosingfortheSavior.Theactionortheplotofwaitinghassomanymeaningsforscholars.Criticsexplainthemeaninginmanyperspectivessuchastheexistentialismsociologyandautobiographyoftheauthor.ButwhoisGodot?EstragonandVladimirdonotknow.Andtherearenotanyexplanationsoftheauthor.Godot’sbiblicalarchetypeistheGod.GodotisEstragonandVladimir’sSavior,andthewesternpeople’sSaviorisGod.ButGodotdoesnotcome,hedoesnotkeephispromise.Hebreakshisword.Vladimirsaysthattheyhavealreadykepttheirpromiseandberesponsible.Vladimirsaysthateventheyarenotthesaintsbuttheystillkeeptheirpromise.AndifGodotcomes,theywillbesaved.AccordingtotheBible,theGodisthedefinitionwhichsurpasseseverything.TheGodisineverywhereandknowseverything.AndtheGod27 candoeverything.TheGodstandsfortheorderthedisciplineandtheharmonyoftheuniverse.Intheplay,thementionofGodothasbeenrelatedtotheSaviorthepunishmentandtheLastJudgement.SothewaitingintheplayisthewaitingforGod.ButGodotdoesnotcomeevenhehaspromised.SoEstragonandVladimirhavetocontinuetowaitindespair.TheabsenceofGodotimpliestheabsenceoftheGod.WaitingforGodbecomestheembarrassingconditionofthemodernpeoplewhohavelosttheirrelief.WhydotheywaitandwhatshouldtheydoundertheconditionofGodot’sabsence?Thesearequestions.Theyaresoboredinwaitingandtheywanttokillthemselvesonthewitheredtree.Committingasuicideiseasyandistherelieftosomeone.Butithasnothingsubstantialtothematerialworld.Thesuicidecan’tmaketheGodappeartosavehumanbeings.SoEstragonandVladimirkeepwaitingtoexpresstheiranxietytowardstheabsenceofGod.Meanwhile,theuncertaintimewhenGodotwillcomebecomesanuncertainexistence.Accordingly,theGodbecomestheuncleardistanthope.Godotmaycomeornot,butthemenwhowaitforhimshouldkeepwaitingbecausethisistheonlymeaningoftheirexistence.Theplotinoneplayisthesignificantpart.Theplotinmanyworkshasanobviouscontradictionorconflict.Thismakestheworkmoreattractive.Thetraditionalplotcontainsthebeginningthedevelopmenttheupsurgeandtheending.Thesearethefourtraditionalpartsoftheplot.Thefunctionsofcontradictionsandconflictsaremakingaudiencetoenterintotheplayandlookforwardtotheupsurgeofthestory.However,WaitingforGodotconcentratesonthemeaninglessandemptinessofthepeoplewithouttheendingofthestory.Theabsenceoftheendinginthestorycouldmakepeoplehavemoreinterestsinthinkingaboutitandmakethestoryhaveakindofmysteryfeeling.Theplothereisnotcoherent.Andthethemeoftheplayisthemeaninglessandemptinessinpeople’slives.BeckettusesthewaitingforGodottoexpresstheabsurdconditionsofthemodernpeople.Howevertheauthordoesnotstopoverthedescriptionsofthemessanddespair.Inhisdescriptionsofthedespair,itrevealssomerealisticthinkingoftheauthortowardsthemodernpeople.Themodernpeople’slonelinessandanxietycomefromtheabsenceoftheGod.TheabsenceoftheGodgivesthemlibertyandthehardtest.Peoplehavetofacethesufferingsoflifeandthemessofthemeanings.The28 resourceofthespiritisdryup,themodernpeoplehowtofindthemeaningofexistencebythemselvesandthesocietybecomesthecentralprobleminBeckett’sheart.29 ChapterIIIABiblicalStudyintheWaitingforGodot’sStyleAccordingtoFrye’stheory,thewritersandtheirworksareinfluencedbytheBibleinmanyaspects.Thestyleofoneworkisincludedintheseaspects.Thestyleisalsoveryimportantforreaderstounderstandthework’stoneandthethemeorthefeelingwhichtheauthorwantstoconvey.Sointhischapter,thebiblicalarchetypesintheplay’sstylewillbeanalyzedfromtwoaspects.ThefirstaspectistheBiblicalarchetypalinfluenceonthesimplelanguage,thesecondaspectisthebiblicalarchetypalinfluenceonthechronologicalstructure.3.1BiblicalArchetypalInfluenceontheSimpleLanguageFromtheanalysisinthelastchapter,readerscouldknowthattheplayisinfluencedbytheOldTestamentmorethantheNewTestament.SamuelBeckettmakesgooduseoftheBible.ComparedwiththeplayandtheOldTestament,therearemanysimilaritiesbetweentheminlanguageandthestructure,especiallyintheusingofthewords,thesentencepatternandthetone.ThewriterwritestheOldTestamentinanobjectiveway.Thewordsaresimpleandplainandthesentencesaresimpleandshort.Moreover,theplayhasusedalotofquotationsintheBible.Inthispart,theinfluenceontheplay’slanguageisanalyzedfromthreeaspects.BeforetheanalysisoftheBiblicalarchetypalinfluenceontheplay’slanguage,thereadersshouldseethecharacteristicsofthelanguageoftheplay.Thelanguageinaplayisusuallyexpressedbythewordswhicharespokenbythecharacters.Sodoesthisplay.Butthewordsorthedialogueinthisplayarefragmentsandarenotlogical.SometimesthedialoguebetweenEstragonandVladimirisnotinacorrectorder.Thatmakespeopleconfusing.Thelanguageinthisplayhaslostthebasicfunctionofcommunications.Thisismadebytheauthoronpurposetomakepeoplehaveakindoffeelingthatintheabsurdsocietyinmoderntimes,whatpeoplehavesaidisnotas30 importantasbefore.ThisisthecharacteristicsoflanguageoftheTheatreofAbsurd.ThenthefundamentalruleunderthesurfaceoftheplayortheBiblicalinfluenceontheplay’slanguagecouldbeseen.ThefirstinfluenceoftheBibleonthewordsandthestructureofthesentencesaretheseaspects.ThewholeplayisdevelopedinthedialoguebetweenEstragonandVladimir.Soreadersshouldreadthedialoguebetweenthem.Atthebeginningofthestory,theydecidetowaitforGodotbyatree.Thenthedialoguehappens.VladimirsaystheyarewaitingforGodot.ThenEstragonaskshimwhetherheissureitwashere.ThenVladimirsays:what?Estragonanswers:thatweweretowait.ThenVladimirsays:Hesaidbythetree.ThenEstragonasksagain:Whatisit.ThenVladimiranswersthathedoesnotknowanditmaybeawillow.Estragonaskshim:wherearetheleaves?Vladimiranswersthatthetreemustbedead.Estragonrepeatswiththesentencenomoreweeping.Fromthedialogueabovereaderscouldseethatthewordsintheplayareverysimpleandplain.Therearenotanydifficultandcomplexwordsinthewholeplay.Thebiblicalinfluenceonwordsisevident,thewordsintheplaylikethewordsinGenesis.AtthebeginningoftheGenesis,thewordsareusedasthedescriptionstoshowhowtheGodcreateseverythingoneartharesimpleandplainaswell.Inthebeginning,Godcreatedtheheavenandtheearth,andtheearthwaswithoutformandvoid;andthedarknesswasuponthefaceofthedeep.WordsintheGenesisaresimpleandplainwhichwithoutanydecoration.TherearenotanyadjectivesandadverbsinGenesis,sodoestheplay.ThisistheinfluenceoftheBible.ThedialogueintheGenesisisassimpleasitintheplay.Evesaidtotheserpentthattheymayeatofthefruitofthetreesofthegarden.TheserpentsaidtoEvethatyoushallnotsurelydie.Thewordsareplainanddirectwithoutanyunwantedwords.Thenthestructureofthesentenceswillbediscussed.WhenEstragonsuggeststhattheycouldhangthemselves.Estragonsays:Whatabouthangingourselves?Vladimirsays:it’dgiveusanerection.ThenEstragonsays:let’shangourselvesimmediately.ThenVladimirchallengeshimidea.Vladimirsays:Fromabough?Iwouldn’ttrustit.Allthesentencesaresimplesentencesandarenotcompoundsentencesorcomplexsentences.ThesentencesaresimpleastheminGenesis.Orthereaderscouldseethe31 sentencesintheOldTestament.AndGodsayslettherebelightandthereislight.AndtheGodseesthelight,thatisgoodandtheGoddividesthelightfromthedarkness.ThesentencestructureinGenesisisalsosimpleandplain.Inconclusion,thefirstBiblicalinfluenceonthelanguageisthatthewordsandsentencesstructureissimpleandplain.Thesecondaspectisthebiblicalinfluenceonthetoneofthelanguage.InActIintheplay,whenPozzoandLuckycome,PozzodrivesLuckybymeansofarope.TheninthedialoguebetweenPozzoandLucky,readerscouldoftenhearwordssuchaspigandhog.Asthemaincharactersintheplay,EstragonandVladimirdonotshowanycareaboutLucky,theyjustcareaboutthechickenbone.InActIIintheplay,theboycomestotellthemthatGodotissuretocometomorrow.Vladimirsaysthatiftheypartitwouldbebetter.ThenEstragonsaysthatitisnotworthwhilenow.Vladimirrepeatsthewords.ThenEstragonsaysthattheyshouldgo.ThenVladimirrepeats.Buttheydonotmove.Fromallthesesentences,thetoneintheplayissoobjectiveandcalmwithoutanyemotions.ThiskindoftoneisalsoinExodusintheOldTestament.InthelastchapterinExoduswhenMosestakesthepeopleofIsraeloutofEgypttheGodtellspeoplethelawthatwasmadebyhim.HerearethedescriptionsinExodus:Inthethirdmonth,whenthechildrenofIsraelweregoneforthoutofthelandEygpt,thesamedaycametheyintothewildernessofSinai.Andwealsocouldseethetoneinthechapterfollowsit.TheLordtoldthepeoplethat:Rememberthesabbathday,tokeepitholy.Onsixdaysdoallyourworks.(TheOldTestament;22)ThetoneinExodusisalsoveryobjectiveandcalm.SotheinfluenceonthetoneofthelanguageoftheplaymustcomefromtheOldTestament,especiallytheExodus.Third,theinfluenceonthelanguageoftheplayistheusingofthequotationsfromtheBible.WhenVladimirasksEstragonifhehasreadtheBible,EstragonanswersthathecanremembertheHolyLand.HesaysthatthecoloroftheHolyLandisveryprettyandtheDeadSeaispaleblue.TheHolylandisthequotationsintheBible,bothinIsaiahandExodus.HereisthedescriptioninIsaiah.Jersualem,theholytownforfromnowtherewillneveragaincomeintoyoutheuncleanandthose32 withoutcircucision.HereisthedescriptioninExodus.Inthebeginningofthestory,Moseskeepsthesheepandleadthemtothewild.ThenhecomestothemountainofGodwhereiscalledHoreb.BoththeholymountainandtheholytownaretheHolyLand.WhenPozzoaskstheEstragon’sname,EstragonanswersthathisnameisAdam.ThequotationalsocomesfromGnesisoftheOldTestament.TheGodmakesallthingssuchasthedayandnighttheairandthewatertheanimalsandtheplants.Butthereisnoonetillstheground.ThenGodmakesamanofthedustandbreathesintohisnoisetogivehimlife.ThentheGodcallshimAdam.Inthesecondchapterofthestudy,thefirstparttellsreadersthatthewitheredtreeintheplaystandsforthesinner.AndthesecondparttellsreadersthatEstragonandVladimirstandsfortheguiltymen.Inthisparagraph,EstragonsayshisnameisAdam.ThisisthequotationfromtheBible.Therearesomanyquotationsintheplay.ThelastoneIwanttoshowyouisinthelastoftheplay.ThelittleboytellsthemthatGodotissuretocometomorrow.ThenEstragonandVladimirtalkaboutsomethingabouttheChrist.ThenVladimirsaysthatwherethegodlivesitwaswarm.ThenEstragonsaysthattheycrucifiedquick.ThewordcrucifiedisalsoaquotationfromtheOldTestament.InMatthew,JudasbetraysJesus.ThenJesushasbeencrucified.ButtheLordcomestolifeagain.Thelanguageintheplayissometimesabsurdwhichisnotlogicalandisrepetitive.Thebasicfunctionofthelanguageistocommunicateseemshaslostitsmeaningintheplay.ThedialoguebetweenEstragonandVladimirisconfusingandunrelated.ThesamesituationshappeninthedialoguebetweenPozzoandLucky.Ononehand,thiskindoflanguageisthecharacteristicoftheabsurdplay.Ontheotherhand,theauthorusesthiskindoflanguagetoexpresstheabsurdsituationwhichthemodernpeoplearein.What’smore,somespecialwordswhichpeoplethinkisunrelatedtotheplaymaybethequotationsfromtheBible.Fromthisperspective,readerscouldgetabetterunderstandingofthelanguageoftheplay.Inconclusion,thebiblicalinfluenceonthelanguageofWaitingforGodotarethesimpleandplainwordsandsentencesstructuretheobjectiveandcalmtoneandtheusingofquotationsfromtheBible.TherearesofewscholarswhoshareinterestintheBiblicalinfluenceontheplay’slanguage.Andsomepeoplethinkthatthelanguage33 hereissomodernandnotlogical.Butinfact,thelanguageintheplayseemssotraditionalasitcan’tgetridoftheinfluenceoftheBible.Andsomepeoplethinkthatthelanguageisnotlogicalandsomewordsseemhavenorelationswiththetext.Onthecontrary,thewordsaretheexpressionsofEstragonandVladimir’smind.Theirwaitingisfruitlessandtheirconditionisembarrassed.Theyareinthedilemmajustaseverycommonperson.Thereadersmusttaketheunderstandingoftheplayasawhole.Inlastchapterinthestudy,theBiblicalinfluenceontheplay’sbackgroundcharactersanditsplotwillbeanalyzed.Thewholestoryistoldbyitslanguage.Thereaderscan’tseetheBiblicalinfluenceinjustoneaspect.Ortheycan’tregardtheaspectsoftheBiblicalinfluenceasthedisunitedones.Thewordsandthesentencestructureintheplayissosimpleandplain.Andthetoneofthelanguageisobjectandcalm.Noonecansaythattheplayissimpleorthethemeoftheplayisjusttheuselesswaiting.Thethemewhichtheauthorwantstoconveymustbeprofoundandlieunderthesurfaceofthestory.Thecontrastofthesimplelanguageandthegrandthemeisremarkable.Somepeoplethinkthatthemodernismoftheplayintheplayisnewandhelptoseparateitfromthetraditionalworks.Butfromalltheanalysisabove,readerscouldseetheinfluencesoftheBiblefromallthefactorsintheplay.Maybeinsomeaspects,theplayseemstobemodernandnew.ButfromtheperspectiveofFrye’sArchetypalCriticism,theplayistraditionalandisnotanexceptionwhichcouldgetridoftheinfluenceoftheBible,especiallytheOldTestamet.3.2BiblicalArchetypalInfluenceontheChronologicalStructureSomanyscholarsshareinterestinthestudyoftheplay’sthemelanguageandtheplot.Thereisfewpeoplecareaboutthestructureoftheplay.So,fromtheanalysisabove,itisclearthattheBiblehasinfluencedtheplayinsomanyaspects.Sodoesthestructure.Somepeoplethinkthattheplayissorepetitiveanditseemsthatthereisnoformalstructureintheplay.Inthispart,theBiblicalArchetypalinfluenceonstructurewillbeanalyzed.Thispartisnotindependentasthelanguageservesforthestructureandthestructureservesfortheexpressionsofthethemeinthenextchapter.Soreaderscan’toverlooktheproblemofthestructureintheplay.34 BeforetheanalysisoftheBiblicalinfluenceontheplay,learnersshouldseetheclassificationsofthestructureinplay.Theconflictoftheplotandthecharactersintheplayarerestrictedbythelengthofthetimeandthespaceandthemedium.Soitisdifficulttocombineallthefactorsinaperfectway.Thestructurebecomesadifficultproblem.Therearesomanystructures.Herearethethreemainkindsofthestructures.Thefirstoneistheclosedstructure.Theclassicalunitiesbelongtothisclassification.Thatistosaythestoryintheplayshouldbehappeninonedayandonescenewhichserveforonetheme.Theplayinthisstructurehashighlycentralizedplot.Secondtheopenstructure.Theplotinthiskindofplayshouldbepaidattentiontobeinalinearcausalsequence.Thetimeandthespaceinthiskindofplayseemtobefree.Thethirdoneistheplayofgroupofportraits.Thisplayhassomanycharactersandtheplotisunderthesurfaceofthepeople.Thiskindofplayisdevelopedbythecomplexrelationshipsofcharacters.Thesceneisinterspersedwitheachother.Thereareonlytwoscenesintheplay.Itisobviousthatthestructureoftheplaybelongstotheclassicalone.Theplayhastheclosedstructure.ThetwoscenesintheplaystandforthetwodaysofEstragonandVladimirduringtheirwaiting.Fromthisperspective,theplothappensintheplayaccordingtothechronologicalorder.Andatthesametimetherearesomeinsertparttointroducethebackgroundoftheenvironmentandthetwocharactersandtherelationshipsbetweenthecharacters.ThiskindofstructureissimilartothestructureofExodus.First,thestoriesinExodusaretoldinthechronologicalorder.InthebeginningofExodus,thepeopleofIsraelcometoEgypt.Theyarefertileandincreaseinalargenumberandinpower.Thenewkingisfearfultothepopulationsofthepeoplesohewantstosolvetheproblem.Thenewkingasksthemtodotheheavywork.Butitdoesnotworksothekingwantstocontrolthepopulationinkillingthebabyboys.Oneday,Pharoah’sdaughtersavesonebabyboyandcallshimMoses.WhenMosesgrowsup,hebecomesthesonofPharoah’sdaughter’sson.MosesseestheterriblesituationoftheHebrewandhelpsthem.ThenPharoachknowsthatandhewantstokillMoses.MosesescapestoanotherplaceandmarriedwithawomancalledZipporah.Thepeoplewerestillinaterriblesituationafterthedeathoftheking.ThepeopletelltheGodabouttheirsituations.OnedaywhenMosestakestheflocktothedesertland35 wherenearthemountainofGod.ThenGodcomesoutfromthefiretoseehimandaskhimtoleadtheIsrealpeopleleaveEgypttogoafineplace.TheGodaskshisbrothertohelphim.ButPharoachdoesnotallowMosestotakethepeopleaway.ThenGodmakesswarmsoffliestoPharoachandhisservants.Mosesasksthemtocompromise,butPharoahdoesnotkeephispromise.PharoachhasahardheartanddoesallowpeoplegowithMoses.ThentheGodshowssomewonder-worktoPharoah,finallyPharoahagrees.OntheirwayleavingEgypt,Pharoachcomestocatchthem.WiththeGod’shelp,thearmyofPharoachfallsdowntheRedSea.OntheirwayleavingEgypt,thepeoplehavenowaterandfood.SotheGodhelpsthemandwantstoseeifthepeoplewillkeephislawornot.Aftersometest,thepeoplekeeptheGod’slaw.Mosesteachesthepeopleruleandlawandtakesthepeoplewithgoodqualitiestobethecaptainofthepeople.TheGodasksthepeopletobelieveinhimandwordsixdaysaweek.AccordingtotheGod,thepeopleshouldbecleanandrespecttheirparents.AndthepeoplecouldnotgoneattheHolyMountainandbefearfulofGod.TheGodmakesthelawforpeopletoobey.ThepeopleshouldbegoodandkindortheGodwillpunishtheminthesameway.Afterawhile,theGodbecomesangrybecausethepeopleturnawayhislawandgivetheirworshipofametalox.TheGodwanttokillthem.ThroughthepunishmentoftheguiltypeopleandthebeggingofMoses,atlasttheGodforgivesthepeople.IntheExodus,thestoryhappensinachronologicalorder.Sodoesthestoryintheplay.TherearetwomannamedEstragonandVladimirwhokeepwaitingforGodot.Duringtheirwaiting,theymeettwopeoplenamedPozzoandLucky.LuckyisPozzo’sslave.Attheendofthefirstday,aboycomestotellthemthatGodotwillnotcometoday.Thentheykeepwaitingforthesecondday.ThentheymeetPozzoandLuckyagain.But,Pozzobecomesblind.ThenattheendofthedaythesameboycomestotellthemGodotissuretocometomorrow.EstragonandVladimirsaytheywillpartandleave.Buttheystillkeepwaiting.BoththeplayandExodusareinchronologicalorder.TherearesomewordsinExodustotellusaboutthepassingofthetime.TherearefewwordsinWaitingforGodotcantellreadersthepassingofthetime.Butifthe36 playisseenasawholethenreaderscouldseethatthestoryhappenintheplayisinchronologicalorder,too.ThebeginningofthestoryistheirwaitingthemiddleofthestoryistheprocessoftheirwaitingandtheendofthestoryistheychoicetowardsGodot’sabsence.Secondly,therearesomeinsertpartsintheplaytotellreadersmoreinformationaboutthebackground.Atthebeginningoftheplay,VladimirsaysthatheisgladtoseeEstragonbackandhehasthoughtEstragonisgoneforever.ThenEstragonsaysthathealsothinkthat.ThenVladimiraskswhichplacedoesEstragonspendhisnight.ThenEstragonanswersthathestaysinaditchoverthere.ThenVladimiraskshimwhethertheybeathim.Estragonanswersthattheyhavedonethis.ThenVladimiraskshimwhethertheirbeatingisasthesameasusual.FromthedialoguebetweenEstragonandVladimir,wecouldknowthatEstragonandVladimirareoldfriends.Theyknoweachotherbefore.Estragonisoftenbeatbypeople.Thishelpspeopletoknowmoreabouttherelationshipsofthemaincharactersandthesituationsofthem.Therearesomanyinsertpartsintheplay.VladimirsaysthattheyarewaitingforGodotbythetreebecauseGodothassaidthat.Thentheydecidetowaitforhimbythetree.VladimirsaysagainGodotdoesnotsayforsurehewouldcome.Fromthesewords,readerscouldseethattheyarewaitingforsomeonewhoiscalledGodot.Godotasksthemtowaitbythetreebuthedoesnottellthemwhetherhewouldcome.Thisinsertpartcouldhelpthemtounderstandtheactionofthetwopeopleandthereasonwhytheydosuchthings.ThedescriptionsofPozzoandLuckyalsohaveinsertpart.Attheendoftheplay,aboycomestotellthemsomethingaboutGodot.ThenVladimiraskstheboywhetherheknowsVladimir.TheboyanswersthathedoesnotknowaboutVladimir.AndVladimiraskshimwhetheritwashimtocomeyesterday.TheboyalsoanswersNo.FromthedialoguebetweenVladimirandtheboy,readerscouldknowthattheboyisanewonetocome.Andthereisanotherboywhocomestotellthemsomething.Therearesomanyinsertpartsintheplay,andithassimilaritieswithExodus.Exodusalsohasinsertpartstotellusmoreinformation.SuchasthesixthchapterinExodus,whenGodasksMosestosavethepeopleofIsrael,theGodtellshimthathehasmadeanagreementwiththemtogivethemthelandofGanaan.Thelandisgood37 withblessings.AndtheGodhearsthecryofthepeopleofIsraelandrememberstheagreement.ThesetwosentencesaretheinsertparttotellusthereasonwhytheGodwantstosavethepeopleofIsraelastheyhaveanagreement.Thispartistheinsertpartinthestory.Itshouldbeinthebeginningofthestory.Buttheauthorhasputitinthisplacetomakereaderstoreadthestorywithastrongfeelingofcuriosity.Inthischapter,theGodtellsMosesthatheshouldremembertheheadsoftheirtathers’family.ThesonsofRebenaretheoldestofIsrealwhichcontainsHanochPalluHeronandCarmi.ThesonsofSimeoncallJemuelJaminOhadJachinZoharandShaul.ShaulisthesonofawomaninCanaan.TheyarefamiliesofSimeon.ThesonsofLevicallGershonKohathandMerariaccordingtotheirgenerations.Levicouldliveforonehundredandthirty-sevenyears.ThesonsofGershoncallLibniandShimeiaccordingtotheirfamilies.ThesonsofMerariareMahliandMushi.ThisisthebomeofLevi.AmramgetsmarriedwithJochebedwhoisthesisterofhisfather.AndAaronandMosesareJochebed’ssons.Amramcouldliveforonehundredandthirty-sevenyears.ThesonsofIzharareKorahNephegandZichri.ThesonsofUzzielareMishaelElzaphanandSithri.AarongetsmarriedwithElishebawhoisthedaughterofAmminadabandthesisterofNahshon.AndshegivesbirthtoNadabAbihuEleazarandIthamar.ThesonsofKorahcallAssirElkanahandAbiasaph.ThesearefamiliesofKorahites.Aaron’ssonEleazargetsmarriedwiththedaughterofPutiel.AndPhinehasistheirson.ThesearethefamiliesofLevitesaccordingtotheirfamilies.ThentheGodasksMosesandAarontotakethepeopleofIsraeloutofEgypt.Thisisalsoainsertpart.FromtheinsertpartreaderscouldknowtherelationshipsofthepeopleofIsrael.AndtheycouldalsoknowthattheGodknowsthemfromaverylongtimeandhealwaysknowabouttheirsituations.Fromthisperspective,peoplecouldknowthattheGodknowsabouteverythingandknowsallthesituationsofeveryone.TheinsertpartsinExodusgivepeopleakindoffeelingthattheGodisaprophet.ThewholeExodusisinaprescienttone.TheinsertpartsinExodusandWaitingforGodotcouldgiveusmoreinformationaboutthebackgroundoftheplaceandthecharactersandtherelationshipsofthemaincharacters.Third,therearetwoactsintheplay.AlthoughthetwoactsareinchronologicalorderbuttheyaresorepetitiveespeciallytheactIIistherepeatingoftheactI.Ithink38 theauthormakesthisstructureonpurposeashewantstoconveyakindoffeelingthatwerepeatdoingthesamethingsinmoderntimes.Thethingsaresoboringandtediousbecauseofrepeating.Thiskindofstructuregivestheaudienceakindoffeelingthatitisacircle.FryehasstudiedtheBiblicalarchetypesandheputsforwardtheUstructurefromthestudyoftheprophets.Therepetitivestructureinthisplayisinaccordancewithhistheory.AccordingtoFrye,theUstructureisthemajorformoftheprophet.TheprophetintheBibleisthelastpartintheOldTestamentandfacesthefuture.TheprophethastheculturalfactorsoftheNewTestament.TheUstructureisthatpeopleisinthepartinthemiddleofthepastbeautifulworldandthefutureworldwithhopes.ThethirdinfluenceoftheBiblicalarchetypesontheplay’sstructureistheUstructure.Ingeneral,theBiblicalinfluencesontheplay’sstructurearethechronologicalorderinstructuretheinsertpartsinstructureandtheUstructure.Thestructureisrealizedbytheusingofthelanguageplotandthecharacters.Andthestructureisnottheindependentpartinliteraryworks.Itservesfortheexpressingofideasorwecouldcallitthemewhichisthemainideainthework.Theplayistraditionalfromsomeperspectives.AnditstillhassomethingspecialsuchastherepetitivepartinthetwoactswhichpeoplecancallittheUstructureaccordingtoFrye’stheory.ThisisthefeatureoftheTheatreofAbsurd.39 ChapterIVABiblicalStudyinWaitingforGodot’sThemeFromalltheanalysisabove,alltheelementsareservingfortheexpressingofthethemeorthetrueideainauthor’smind.Thedescriptionsofthebackgroundcharactersandplotarerevealedthroughlanguageandarearrangedbystructure.Andallthesefactorshaveoneclearidea.Thisisthethemeoftheplay.ThischapterwilltalkabouttheBiblicalarchetypalinfluenceonthetheme.Andthispartcontainsthreesections.ThefirstsectionwillanalyzetherelationsbetweenwaitingoftheplayandgettingthesalvationofGodintheBible.ThesecondsectionwillanalyzetherelationsbetweentheabsenceofGodotandthepromiseofGodintheBible.Thethirdsectionwillanalyzewhatthethemeoftheplaymeanstohumanbeingsinmoderntimes.4.1WaitinginthePlayandGettingGod’sSalvationintheBibleEstragonandVladimirkeepwaitingeventhoughGodotdoesnotkeephispromise.Attheendoftheplay,theboycomestotellthemGodotissuretocometomorrow.Thentheydecidetopartandleave,buttheystilldonotmove.Allthingstheydoarejustwaiting.Waitingaretheonlyactionandthethemeoftheplay.EveryonewhohasreadtheBiblebeforewillknowtheBiblewouldsavepeopleatlast.AllthepeopledoinhislifeistogetGod’ssalvation.Then,whatistherelationshipbetweenwaitingintheplayandgettingGod’ssalvationintheBible?InGenesis,theGodmakesthedayandnighttheairandwatertheanimalsandplants.Intheseventhday,theGodbeginstorestbuthefindsthatthereisnoonetoplowthefield.SohemakesAdambydirtandbreathesintohisnoisetogivehimlife.TheGodputsAdaminAden.Adenissobeautifulandthereisatreeofknowledgetomakepeopleidentifythegoodorevil.ThenGodmakesEvefromoneofAdam’sribs.TheGodtellsthemtheycan’teatthefruitofthetreeortheywilldie.TheserpenttellsEvethatiftheyeatthefruittheywillnotdie.ThentheyeatthefruitandarefoundbytheGod.TheGodpunishesthemandexpelthem.CainandAbelaresonsofAdamandEve,butCainkillsAbelbecauseofjealousy.GodpunishesandexpelsCaintothe40 eastofEden.AdamandEvehavesomanydescendantsonearth.Godseesthesinofpeopleandhewantstodestroyeverything.Beforethebloodiscoming,theGodasksNoahtobuildawoodboattoprotecthimselfandhisfamilybecauseNoahisagoodandjustman.TheGodmakesacovenantwithNoah.Thenwhentheyaresafefromtheflood,theGodmakesacovenantwithNoahandhissons.Allthingsandpeoplediefromtheflood.OnlydoNoahandhisfamilyliveonearth.ThentheworldisfullofNoah’sdescendants.TheGodgivesAbramagreatnationCanaan.GenesisisthebeginningoftheBible.Accordingtoit,theGodcreatesanationbyselection.Eventhoughtheyhavedonesomethingwrong,buttheGodhelpsthemandbeginstosavethepeople.ExodustellsusthattheGodhearstheroarofthepeopleofIsraelinEgypt.Pharoahtreatsthepeoplebadly.SotheGodasksMosestotakepeopleawayfromEgypt.TheGodmakesacovenantwithMoses.ThenwiththehelpoftheGod,Mosestakesthepeopleaway.TheGodmakeslawsforpeopletoaskthemtoobeyandkeeptheirpromise.IntheLeviticus,theGodtellspeoplehowtokeepthemselvesholyandhowtomaketheGodfeelhappy.WithoutGod’shelp,theycan’tdothis.InNumbers,ittellsusthateventhepeoplealwaysdosomethingwrong,buttheGodkeepshispromise.InDeuteronomy,MosestalkswithIsraelpeopleneartheJordanRiver.TheGodasksthemtogotoAmoriteswheretheGodhaspromisedtogivethedescendantsofAbrahamIsaacandJacob.ButthepeoplearegoingagainsttheorderoftheGodandsaysomethingtoblameGodthathewantstogivepeopletothehandsoftheAmoritestokillpeople.MosestellsthemthattheyshouldnotbeafraidandbebravebecausetheGodwillhelpthem.TheLordhasheardwhatthepeoplehavesaidandbecomesangry.TheLordsaysthathewillnotgivethegreatplacetothepeople.WiththeGod’shelp,theygettheregionofArgob.MosestellsthemtohavenofearastheGodisfightingforthem.ThenMosesaskstheGodtoshowhispowerandtolethimgooverandseethegoodlandofJordan,butherefuses.TheGodisangrybecauseofthepeople.Mosestellsthepeoplethelawsthedecisionsandasksthemtokeepanddothem.MosessaysthattheLordhasmadeanagreementwiththem.TheGodtakes41 themoutfromthereandgivethemthelandwhichtheGodhaspromisedtotheirfathers.MosesasksthemtokeepallthelawsandfeelfearfuloftheGod.Itisgoodforthemtodothat.Theykeepallthepromises.IntheDeuteronomyeventhepeoplealwaysbreakthelaws,butthebookwillremindthepeopletorememberloveandhonesty.Accordingtothebook,thepeopleshouldrespecttheGodandfeelfearfulofhimandbelieveinhim.Attheendofthebook,ittellsreadersthatifthepeopledothethingsastheGodtellsthemtheywillgetblessingsfromGod.InJoshua,afterthedeathofMoses,GodestablishesacovenantwithJoshuawhoisthesonofNun.TheGodasksJoshuatotakethepeopletotheplacewhichhepromisestogivetothem.JoshuasendsouttwomentosearchthelandandJericho.Thetwomenhavebeendiscoveredbutareabletoescapewiththehelpofawoman.ThenJoshuaknowsaboutthesituation.WiththeGod’shelp,JoshuatakesthepeopletogotoJordan.PeopleshowtheirrespecttoJoshuaastheyrespectMoses.Duringtheprocess,IsraelmenhavedonesomethingwronganddonotkeepthelawoftheGod.Theytakethecursedthinganddofalsethingssuchasstealingandracketeering.SotheIsraelmencouldnotstandbeforeenemies.TheGodsaysthatiftheydonotputawaythecursedthingshewillnothelpthemagain.JoshuaandhispeopleconfesstheirsinandtheGodforgivesthem.Attheendofthestory,thepeoplegettheplaceandtheGodasksthemtobelieveinhimandkeepthepromise.JudgestellsreadersthatafterthedeathofMosesandJoshua,theGodraisesupjudgestohelphimtomanagecontrolandsavethepeople.RuthtellspeoplethatawomannamedNaomitakestwowivesofhissonstoMoabs.Andhersonsdied.Naomiasksthetwowomentogobacktotheirpeople.OneofthetwowomenwhosenameisRuth,shecomeswithNaomitogotoBethlehem.ThenRuthgoestocutwheat.TheownerofthefieldisBoaz.HehelpsRuthbecausesheishardworkingandgoodtoherstepmother.NaomiwantstogiveRuthanotherfamily.AtlastBozagetsmarriedwithRuthandgivesNaomioneoftheirchildren.BozasaysthatNaomishouldthanktheLordbecausetheLordmakesRuthstaywithher.InSamuel,Israelpeoplefacesthedarkageinhistory.Therearethecorruptionin42 religionbankruptcyinreliefandbreakingoflawsofpeople.Thepeoplealsohavetofacetheirstrongenemies.ThisbooktellspeoplehowSamueltakesthepeoplebacktotheLordandmakesthepeoplebelieveinLord.IsraelpeoplerefusetheGodtogovernthemandwanttohaveakingtocontrolthem.Thentheygetaking.Kingstellsusabouttheconditionsofthenationindifferentdynasties.ItsaysthatthepeoplebetraytheLordundertheleadershipoftheirkingbuttheLordhaskepthispromise.TheotherbooksintheBibletellthatpeopleshouldrespectandbelieveintheLord.AndpeopleshoulddosomethinggoodandkeepourpromiseortheywillgetthepunishmentfromtheGod.TheNewTestamenttellspeopleabouthowthesonofLordJesuscomestosavethepeople.Fromtheanalysisabove,readerscouldseethatthewholestoryinBibleishowtheGodcreatesthemanandsavesthemanbystepsandhiscovenants.Inthesecondchapter,ithasbeenanalyzedthatGodotisGod.ThenthereasonwhyEstragonandVladimirkeepwaitingisobvious.TheywanttogetthesalvationoftheGod.EventhoughtheydonotknowhowlongtheyhaveusedinwaitingandwhetherGodotwouldcome,theystillkeepwaiting.Itisclearthatthewholeplay’sarchetypeistheBible.VladimirandEstragonarecommonpeoplewhoaremadebyGod.TheyareguiltyandwaitforthesalvationofGod.TheBibleandtheGodarethestrongestbeliefinwesternpeople’smind.TheinfluencesoftheBibleareinallaspectsofthepeople’slife.Beckettisnottheexceptionamongthesepeople.Soundertheauthor’spen,EstragonandVladimirarealwayswaitingforGod.Thereissomethingspecialandsignificantintheplay,atthebeginningoftheplay,fromVladimir’swordswecouldknowEstragonisoftenbeatenbysomepeople.AndinActItheyhavementionedthestoryofthieves.EveryonewhohasreadtheOldTestamentknowsthatstealingofpeopleisforbiddenbytheLord.AndifthepeoplebreakthelawofGodanddosomethingwrong,theywillgetpunishmentfromtheGod.SothethemeofwaitingisinconsistentwithgettingthesalvationofGod.AccordingtoFrye’stheory,theUstructureintheBibleisthehuman’sexperiencefromtheparadisetocommitcrimetosufferfromthesintoconfesstogetsalvation.Fromthispointofview,thethemeofwaitingintheplayisinconsistence43 withtheBible.Fromformeranalysis,EstragonandVladimirareguilty.Theirboringwaitingandeventheirattempttokillthemselvesindicatethattheyaresufferingfromthesin.TheyhavementionedthepromisewhichwasmadebythemandGodot.ThatmeansthattheyhaveconfessedtheirsinandwanttokeepthecovenantofGod.TheykeepwaitingmeanthattheybelieveinGodandbelievetheywillgethissalvationatlast.SotheplayisinaccordancewiththeBible.WaitingarethethemeoftheplayanddeformationofgettingsalvationofGodinBible.Alltheplayisaboutwaitingandwaitingistherealthemeofthetwoacts’play.Thethemeintheplayrevealstheembarrassingsituationofthemodernpeople.Theyareembarrassedanduneasy.Theyhavenosimilesandlookunhappyeveryday.Buttheyarenotreallyhopeless.Eventheprocessofwaitingisalittlebitbitter,theystillhavethehope.EventhoughEstragonandVladimirhavesaidtheywanttokillthemselvesandleavetheplace,buttheyarestillinthesameplace.ModernpeoplearethesamewithEstragonandVladimir.Dayshavepassed,theystilldothesamethings.Alltheyhavedoneexpressesthattheyhavestrongbeliefinthefutureofmen.Maybeundersomesituations,tomorrowisnotbetterthantoday.Butasawholethefuturewillgobeyondnowadays.Thereisonesentenceintheplay:thereisacertainamountoftearsintheworld,thereisapersoncryingandthereisapersonnotcrying.Thesentenceinspirespeople.Iftheamountoftearsintheworldiscertain,thenhewillgetahappyendingafterhavingexperiencedsomanybadthings.Nomattertherecurrentstructureoftheplayortherecurrentdialogueintheplay,theyallhaverevealedthethemethatlifeisinaspiraldevelopingprocess.ManypeoplehaveseenthebrightsunlightbehindthepessimismofBeckett.Itisthekeypoint.Infact,theamountoftearsisfixed,sodoesthesmile.Thesmilesandtearsarecomplementofeachother.Theyareinmutualtransformation.Whensomeonehasgotenoughsmiles,thenhewilltastetears.Whenhehasgotenoughtearsthenhewillsmile.JustaspeoplehavebeentoldbytheBible,eventhepeoplebetraythelawofGodformanytimesanddolotsofbadandwrongthings.TheGodstillkeepshispromise.IftheguiltypeoplecanconfesstheirsintheywillgettheGod’shelpandsalvationasbefore.Thisisthefundamentalbeliefineverywesternpeople’sheart.Becauseofthebelief,thepeoplecanenduretheboringmodernlife.JustasVladimir44 andEstragon,theydonotknowmuchaboutGodotanddonothaveaclearmindinmanyaspects,theystillchoosetowait.WaitingintheplayisthewaitingforGod’ssalvationintheBible.VladimirandEstragonkeepwaitingeventheyarenotsureaboutwhetherGodotwillcomeornot.Waitingintheplayformodernpeoplemeansthatthepeoplestillhavehope.Thehopeintheplayorinpeople’slivesistheawarenessthatthedreamorthetaskmaynotbecompletedattheend.Peoplehaveclearmindaboutthesituationsthentheycanmakethechoiceofbeinghopefulorbeinghopeless.SodoEstragonandVladimir.TheyhavealreadybeenawareofthepossibilitythatGodotwillnevercome.Sotheychoosetokillthemselves.Buttheydonotdothisatlast,theychoosetocontinue.Thetwocharactersalwayshaveaclearmind,theyareawareofthemeaninglessworld.Beinghopefulisnottheignoranceofthedifficulties,itisnottakingpainssoseriouslyandtheenduranceofthelife’suncertaintiesandthefate.WaitingintheplayistheonlywayforEstragonandVladimir.Itgivesthemthefeelingofsafety.TheyhavenothingbutthehopethatGodotwillcometomorrow.Waitingistheirhopeandtheiractionwhichtheytaketofightagainsttheworld.EvenGodotdoesnotcomeorwillnevercomeandEstragonandVladimirhavesaidtheyshouldleave,buttheystillchoosetowait.Itmeansthatthereisthehopeinthedespair.Thehopegivesthemthemeaningofexistence.Intheplay,thereisanotherwaywhichisprovidedbyBecketttohelpthemantogetsalvationwhentheGodisbusy.Inlastparagraph,thereisthesentenceaboutthesmilesandtearshavebeenmentioned.ItissaidbyPozzo,fromformeranalysis,PozzoisJesus.Jesushastoldpeoplethatiftheycouldendureallthebadthingsoflifethenallthingswouldbebetterastheamountoftearsisfixed.WhentheGodisbusyorheisjustintheheaventoseewhatactionstheywilltake,theystillhavetobehopefuljustasEstragonandVladimir.PeopleshouldbelieveinGodandbelieveinthemselveseventhewholeworldisabsurdandtherearetoomuchuncertaintiesinlife.KeepingwaitingistheonlywaytoEstragonandVladimir.Itistheonlywayforeveryone.Inthesecondchapter,ithasbeenmentionedthatPozzoandLuckyareGodandJesus.InActIIPozzobecomesblind.Thatmeansifpeoplewanttogetsalvationtheyhavewaitedforsometime.AsEstragonandVladimir,wemusthaveclearmind45 towardsoursituationandhavestrongbeliefinthefuture.4.2AbsenceofGodotandGod’sPromiseIntheplay,readerscouldknowthatGodotdoesnotcome.Fromtheformeranalysis,theycouldknowGodotstandsforGod,thenwhatdoesGodot’sabsencemean?DoesSamuelBeckettbelieveinthedeathofGod?FromtheBible,itissaidthattheGodcreatespeopleselectspeopleandsavepeople.InGenesis,theGodmakesAdamandgivehimlife.EveisalsomadebytheGodtobethecompanyofAdam.AdamandEvearehumanbeings’ancestors.InExodus,theGodasksMosestotakepeopletoagoodplacetoavoidthesufferingofthekinginEygpt.InExodusandLeviticus,theGodteachespeoplethelawandrule.EventhepeoplebetraytheGod,iftheycanconfessandbelieveinGodagain,theGodwillforgivethemandhelpthem.NomatterintheOldTestamentortheNewTestament,theGoddoesalotofthingstosavepeopleandaskthemtobegoodandjust.InRuth,peoplecouldknowifanyonewhocandothingsinaccordancewiththeGod’sprinciples,andhecangetthereward.Tosumup,theGodisalwayswithpeopleandhelppeople.Then,doestheabsenceofGodotintheplaymeantheGodhasbrokenhispromise?AstheGodhaspromisedthathewillsavethepeople.Inthefirstchapterofthestudy,ithasbeensaidthattheauthorhasexperiencedtheworldwar.Andonequestionattheendofthefirstchapterhasbeenputforward.Thenreaderscouldseetheinfluenceoftheworldwarontheauthorandtheplay.Inthefirstchapter,ithasbeenmentionedthattheauthorisaJew.BecketthaswitnessedtheoppressionsofJewishpeopleintheworldwar.AndhetakespartintheundergroundmovementinParis.HewantstoresistNaziGermany.Butsomemembersinthegroupwerearrested.Thenhefleestoanotherplacewithhiswife.Afterthewar,hereturnstoParisandbecomesarealwriter.Fromtheauthor’sexperience,readerscouldseethatthewarmusthaveaneffectontheauthor.AndBeckettisthemanwhoreallyseesthepainofpeopleduringthewar.Theworksofhimmustcontaintheeffectofthewar.DuringtheperiodofWorldWarII,somanypeoplearekilled.Thebuildingsweredestroyed.Everythingaredamagedwhichincludesthemen.Themeninthewar46 arehurtphysicallyormentally.Everycountryinthewarsuffersaheavyloss.Eventhewinningcountrysuffersaloss,too.Thepeopleandthecountriesneedsometimetorecoverfromthewar.Thepeopleandthecountriesarehurtmentallyandphysically.Afterthewar,theworldisdividedintotwoparts.OnepartistheunionwhichisleadingbyAmerica.TheotherpartistheunionwhichisleadingbySovietUnion.Thetwounionscompetewitheachotherinalmosteveryaspectespeciallythemilitaryaffairs.ThepeopleatthattimefeelfearfulofthepossibilitiesoftheThirdWorldWar.Thesituationofthepeopleatthattimeshouldbeanalyzed.Westernpeople’sworldofspiritcollapses.TheybegintosuspecttheGodandtheBible.TheyfindthattheGoddoesnotsavethepeoplewholosetheirlivesinthewar.Theybegintosuspectthefutureofthemselves.Theyaredisillusioned.Godseemstobehelplesstothesituationofmen.Theydonotknowwhattodowiththeirrelief.TheyhavebelievedinGodforsolongtime.ButtheyfindmaybetheGodisfakeandhenevercomestohelpthem.IftheydonotbelieveinGod,thentheyhavenohopesatall.Iftheylosethelaststraw,theywilllosethemeaningofexistenceintheworld.Theyareintheembarrassingsituation.Theydonotknowwhattodo,justlikeEstragonandVladimirintheplay.Underthiscondition,theplayWaitingforGodotisborn.BeckettisoneofthemenwhoareconfusedabouttheworldtheLordtheBibleandeventhemselves.Sotheplayissohelplessandabsurdjustathumanbeings.VladimirandEstragoniswaiting,butGodotdoesnotcome.ThentheboycomesandsaystothemthatGodotissuretocometomorrow.Theykeepwaiting.ThentheboycomesagainandsaystothemGodotissuretocometomorrow.Godotistheironlyhope.TheyknowthatGodotmaynotcome.Buttheyhavenochoicebutwaiting.Atlast,theabsenceofGodotdoesmeanthattheGoddoesnotkeephispromise.TheGodintheBiblewillsavepeopleatlastandalwayskeephimpromiseeventhepeoplemaybreakfaith.AccordingtotheBible,theGodisalwayswithpeopleandhelpspeople.Butinmoderntimes,theGoddoesnotcome.Andthebeliefseemshavenothingsubstantialtosolvetheproblemsofthesocietyandthepeople.AccordingtotheBible,theGodasksthementobelieveinhimandkeeptheirpromise.ThisisthelawinthewholeBible.Thepeoplebelieveinthiswithoutanydoubt.Butnow,the47 GoddoesnotcomejustlikeGodot,GodotdoesnotcomejustliketheGod,theGoddoesnotkeephispromise.Thenwhatshouldpeopledo?DotheyhavetobelieveinGodandtheBible?Or,theyhavetothrowtheBibleandtheGod.Innextsection,therewillbeananswer.4.3TheThemetoAllHumanBeingsSomepeopleandscholarssaythatthethemeoftheplayisthehopelessnessinlifeastheGodnevercomes.ButevenGodotdoesnotcomeandhedoesnotkeephispromise.Thetrueideatheauthorwantstoexpressisthateventherearesomanyuncertaintiesinlifebutpeoplestillhavethehope.Therearesomanyhopesexpressedintheplay.Fromformeranalysis,theBiblicalarchetypeofthetreeishopeandfortune.Thetreeintheplayiswithered.Itlackswater.ButinActII,therearesomeleavesonthetree.ThewaterisveryimportantintheBible.Anditisalsoveryimportantforpeople,too.Theleavesherestandforhope.Thewholebackgroundoftheplayisacountryroadatreeandevening.Whensomeonementionstheroad,thenreadersmustthinkaboutthewayinlife.Inthischapter,ithasbeenmentionedthatEstragonandVladimirknowtheirembarrassingsituation.Thenthebackgroundoftheplayshouldbepaidattentionto.Eveningseemstobesofrustrating.Butiftheeveninghaspassed,theremustbethemorning.Thewholebackgroundshouldbetakenasawhole,thetreebecomesfreshthewaygivesEstragonandVladimirawayinlifeandtheeveningstandsforthehopeofmorning.ThenwecouldsaythatthebackgroundforVladimirandEstragonishopeful.Thebackgroundformodernpeopleishopeful.Evensomeonehasseenthedepressedsituationsandtheuncertaintiesinlife,butitisnotrighttosaythathehasnochoiceandheishopeless.Hestillhasthehope.Ifsomeoneknowsandfacesthedifficulties,thenitwillbethefirststepforhimtosolvetheproblem.Thenhewillhaveabetterfutureandseethebeautifulsunriseafterthedarkevening.Thenthemaincharactersshouldnotbemissed.Fromtheformeranalysis,PozzoandLuckyareGodandJesus.ButinActII,Pozzobecomesblindthatmeansifthepeoplewanttogetsalvation,theyshouldwait.AccordingtotheNewTestament,Jesusdoessomanythingstosavethepeople.Thenfromtheplay,Pozzobecomesblind48 justasJesushasbeencrucified,peoplehavetowait.Attheendoftheplay,EstragonandVladimirsaytheyshouldpartandleave.Inthesecondchapter,ithasbeenanalyzedthatthewitheredtreestandsforsin.Thentheykeepwaitingunderthetreemeanstheyareguilty.ThentheywanttoconfessandwaitforGod’ssalvation.Formtheplay,eventheGodotdoesnotcome,atlasttheystillchoosetowait.Itrevealsthattheystillhavehope.Sointhisperspective,theplaywantstoexpressthehopeintheabsurdworld.Inthischapter,theBiblicalinfluenceontheplay’sstructureisdiscussed.AccordingtoFrye’stheory,theplayusestheUstructureastheBible.SotheUstructureintheBiblestandsfortheexperienceofhumanfromgettingparadisetocommitthecrimetosufferfromthecrimetoconfesstogetthesalvationofGod.Fromthisperspective,thisplayalsoexpressesthethemelikethis.AttheendoftheUstructure,humancouldgetthesalvationofGod.Nowthatthethemeoftheplayisthehopeintheendlessandhopelesslife,thenwhatdoesthethememeantomodernpeople?Inmoderntimes,peopleworkeveryday,theyhavenosparetime.Theyfeelsolostbecausetheyareworkingtohaveabetterlife.Buttheydonothavetimetoenjoylife.Thetimeisspentonworking.Insomedays,theycan’tbehappyandarelost.Theyareconfusedaboutthemeaningofthework.Inmoderntimes,theyworkeverydayandtheydonothavetimetogetcloseintothenature.FromthewebsiteorTV,peoplecouldseethenewseverydaythatthenatureisdamagedbythem.Peoplecan’tbreathethefreshandcleanair.Thevegetablestheyeateverydayispolluted.Theyfeelunhappyandarelost.Whatstupidthingstheyhavedonetothenatureandwhatwillbeinthefuture.Thenwhatcantheydointhefutureiftheylosethenature.Inmoderntimes,everyoneworkorstudyveryhard.Buthecan’tgetarewardbecausehedoesnothaveagoodchance.Thenhetellshimself,justtryhisbestornexttime,hewillbesuccessful.Butitdoesnotwork.Hestilldoesnothavegoodluck.Someonewhodoesnotworkhardorstudyhardashim,buthehasgoodluckandgetsareward.Thenhefeelslost,whereisthefairness.Hedoesnotknowwhattodo.Everytimeheworkshardorstudyhardtomakepreparationsforthetestorsomethingelse,hecan’tgettheidealresultatlast.Sometimesheknowsthereasonbutsometimeshedoesnotknow49 thereason.Thenhefeelssolost,hedoesnotknowwhytherearesouncertaintiesinyourlife.Insomeday,hemaymeetagirloraboythenhefeelshelikehim.Thenhetrieshisbesttogetabetterunderstandingofhimorher.Hehasdonemanythingstoshowhisfeeling.Hegiveshimorherallhisheart.Butthegirlrefuseshim.Ormaybesomeonegetsmarriedwithsomeonehelovesorhethinkshelovesthegirlsomuch.Thenonedayhefindsthathehasbeenbetrayedorthelifeaftermarriageisnotinthewayashehasimagined.Thenhefeelssolost,whereislove?Whatisthemeaningoflove?Maybe,hethinkshehassomanygoodfriendsashehasdonesomanythingsforthem.Butonedayhemayfindthathedoesnotbeenregardedasagoodfriend.Thenheisunhappy.Whenhehasexperiencedthisformoretimes,hefeelslost,hecan’tbelieveinsomeone.Someday,heisworkingwhenhegetsacallfromhospitalorfamily.Hehasbeentoldthathisfatherormotherisbadlyill.Hewillbesodepressedandfeelhurtashecan’tdoanythingtohelpthem.Heknowswhethertheyareillornot,hewilllosetheminsomeday.Thenhefeelssolost.HebeginstosuspecttheGod.WhereistheGod?Whyisheabsentfromthelife?Allthingshavebeenmentionedaboveissocommonindailylives.Sometimes,peoplearenotsureaboutthemselves.Sometimestheyarenotsureaboutothers.Sometimes,theyarenotsureaboutthefate.SometimestheyarenotsureabouttheGod.Thenitistheperiodthatpeoplefeelconfusedlostandmaybedepressed.ButasthePozzosaystheamountoftearsisfixed,thereissomeonecryingandthereissomeonenotcrying.Theamountofsmilesisfixed,thereissomeonesmilingandthereissomeonenotsmiling.Aftertheanalysisofthethemeoftheplay,itissafetosaythatthetearsandsmilesinone’slifeisfixed,thereisthemomentsomeoneiscryingandthereisthemomentheisnotcrying,thereisthemomentheissmilingandthereisthemomentheisnotsmiling.JustlikeEstragonandVladimir,peoplehavesomemomentswhentheyfeellostortheyhaveseenworldclearly.Oreventheycan’tfindoutthemeaningofexistenceeventheywanttokillthemselves.Butjustlikethetreeintheplayandtheeveningintheplay.Lifeisabsurdandfullofuncertainties.Butiftheyhaveaclearmindinlifeandinsistinthedifficulties,theystillhavehope.EventhereisnoGodonearth,andthereisnotanyonewantsto50 helppeople,peoplestillhavehopeandstillhavethemselves.TheycansavethemselvesandtheGodwillsavethem.Thereisalwaysahardtimeineveryone’slife,maybethegoodluckisoverthecorner,sojustkeepwaitinglikeEstragonandVladimir.Thentheystillhavehopeandanyhardtimewillpasssoonerorlater.Sometimestheycan’tdoanythingbutwaiting.Ithinkifthewitheredtreecanbefreshthenallofthemcouldgetagoodresultafterwaiting.51 ConclusionLiteratureishumanbeings’fortuneasitrevealstherealityofsocietyandexpressesthelawofthesociety’sdevelopment.Literaturehasdifferentkindsofforms.Itcanbeexpressedbypoemsnovelsorplay.Differentkindsofworkshavedifferentstylesbuttheyexpresssomeeternalthemes,forexampleloveintheworldfateofhumanbeingsorthecriticismofthesociety.Religionisalsoasignificantpartinhumansocieties.Ithasagreatinfluenceoneveryaspectofhumanbeings,andsodoestheliterature.TheBibleisonepartofthereligion.TheholyBibleisthebaseofwesternculture.TheBiblehasaninfluenceonwesternpeople’smindandlife.Therearesomanyscholarswhoshareinterestintherelationsbetweenthereligionandtheliterature.SamuelBeckettisoneofthebestwritersallovertheworld.HisuniquestylestandsfortheschooloftheTheatreofAbsurd.AndheisalsooneofthegreatwritersaftertheWorldWarII.Hehassomanygreatworksandhehasagreatinfluenceonthelaterwritersandphilosophers,suchasAlbertCamusandJean-Paul.Hisworkshavebeentranslatedintotwentylanguagesanddifferentversions.In1969,hewonNobelPrizeforliterature.HisplaysgaininfluentialstatusnotonlyinEnglandandEuropebutalsointhewholeworld.Ashismasterwork,WaitingforGodothasgainedreputationsinbothEuropeandoverseas.Therearenotmanywordsintheplaybutitbecomesaninstantsuccesswhichisperformedonthestageforfourhundredtimes.Itisagreatsuccess.Therearesomanyscholarswhoareinterestedinthestudyoftheplay.Theplayhasakindofconstantcharm.Mostofthemconcentrateonthestylethethemeorcharactersoftheplay.FewscholarswanttoanalyzetheBiblicalinfluenceontheplay.Sothisstudyoftheplaycomesfromanewperspective.SamuelBeckettsuccessfullyusedhisuniquestyleofwritingintheplay.PeoplewhohavereadtheBiblemayfindsomethingsimilarbetweentheplayandtheBible.TheBiblehasaninfluenceonthenovel.ThebackgroundoftheplayformsasharpcontrastofthebackgroundinGenesis.Thereisawitheredtreeacountryroadandeveningasthewholebackgroundintheplay.ThewitheredtreeintheBiblestandsforthesinners.Thewitheredtreelacksofwater.Wateristhemostimportantimageinthe52 Bible.Itstandsforhopeandfortune.AndthewitheredtreealsoformsasharpcontrastwiththetreeofknowledgeinEden.Thewholebackgroundgivesthereadersakindofdepressedfeeling.ButinactII,therearesomeleavesonthetree.Thischangeinthebackgroundintheplaystandsforthehopewhichtheauthorwantstoconveyintheplay.Thetreelaysthefoundationofthestory.ThereisnodoubtthatGodotisGod.EstragonandVladimirarecommonpeoplewhoareguiltyandwaitingforGod’ssalvation.PozzoandLuckyareJesusandGod.InactII,Pozzobecomesblind.ThatmeansifthecommonpeoplewanttogetGod’ssalvation,theyhavetowaitforalongtime.TheplotintheplayisthewaitingofVladimirandEstragon.Godotdoesnotcomeintheplay.EstragonandVladimirsaytheyshouldpartandleave,buttheystillstandinthesameplace.ThewholeplotiswaitingjustasitintheBible.Godcreatesmenanddolotsofthingstosavemen.SoEstragonandVladimirshouldwait.TheBiblealsohasaninfluenceonthestyleoftheplay.ThelanguageintheplayissimpleandplainjustlikeitinGenesis.Thewordsandsentencestructurearesimpleandeasytounderstand.ThetoneofthewholeplayisjustandobjectjustasitinExodus.AndtherearealsomanyquotationsfromtheBibleintheplay.Ifpeoplewanttounderstandtheplaybettertheymustpayattentionstothesequotations,thentheywillhaveabetterunderstandingoftheplay.TheplotintheplayisarrangedinthechronologicalorderjustasExodus.Thetwoactsintheplayaretwodaysoftheirwaiting.TherearemanyinsertpartintheplayjustasExodus.Theinsertpartsintheplaycouldmakereadershaveabetterunderstandingthebackgroundoftheplaceandthecharactersandtherelationshipsofthecharacters.Thetwoactsintheplayseemsorepetitive.AccordingtoFrye’stheory,itcorrespondswiththetheoryofUstructure.ThisstructurealsocanbefoundintheBible.Inconclusion,theBiblicalhasagreatinfluenceonallaspectsoftheplay.Andalltheanalysisservesfortheexpressionofthetheme.ManypeoplebelievethattheauthorispessimisticasGodotdoesnotcomeandmaynevercomeintheplay.Andmanyscholarsthinkthattheplayrevealstheembarrassingsituationsofpeopleatthattimeoreveninmoderntimes.Fromsomeaspects,thismaybecorrect.Butinthestudy,thethemeoftheplaywhichtheauthorwantstoconveyisthehopeinthemeaninglessorhopelesslife.Thewaitinginthe53 playisthewaitingforGod’ssalvationintheBible.FromtheBible,itisclearthattheGodalwaysstayswithpeopleandhelpthepeople.TheGodintheBibleteachesmenthelawsandasksthemtokeeptheirpromise.ThemenhavemademistakesoreventheydoguiltythingsbutiftheyacceptthepunishmenttoconfesstheyalsocanbeforgivenbytheGod.Soinwesternpeople’sheart,theyfirmlybelieveinthat.SointheplayVladimirandEstragonkeepwaitingevenGodotdoesnotkeephispromise.Godot’sabsenceintheplaystandsfortheGoddoesnotkeepthepromise.FormtheBible,theGodwillalwayskeephispromiseeventhepeoplebreakthelawordonotkeepthepromise.Butintheplay,Godotdoesnotcome.TheabsenceofGodotintheplayrevealsthesituationsofthepeople’sstatusaftertheWorldWarII.Thepeoplehaveseenthedestroyingpowerofthewarandlosttheirfriendsorrelativesinthewar.TheGoddoesnotcometohelpthemorstopthewar.SotheybegintosuspecttheGodandtheBible.Theyevenhavelostthemeaningofexistence.Theyareintheembarrassingsituations.ButjustlikeEstragonandVladimir,theyknowthatGodotmaynevercomebuttheystillkeepwaiting,theauthorwantstoconveypeopletheimportanceofhopeinthehopelesslife.Thethemeintheplayalsohasagreatinfluenceonallhumanbeings.Inmoderntimes,allthepeoplehavethetimeofbeinglostintheirlives.Theyallmaymeetthedifficulties.Maybesometimestheyevencan’tfindthemeaningofourexistence.Butitdoesnotmatter.Theyshouldhavethehope,everythingwillbebetterifitisalreadyintheworstcondition.Ifthethingscan’tbebetterintheperiodorpeopledonotbelieveinGodortheGoddoesnotcometohelpyou,itdoesnotmatter,thepeoplestillhavethemselvesandthehope.Thehopeinthehopelesslifeorthehopeinthefatewithsomanyuncertaintiesistheprofoundthemeundertheplay’ssurfaceandistheonewhichtheauthorwantstoconvey.Therearesomedeficienciesinthestudy.First,thematerialsinthestudytoanalyzetheinfluenceoftheBibleontheplayarenotsoabundantenoughtomakethestudyperfect.Second,thetheoreticalbaseinthestudythetheoryofFryehassomedeficiencies.AllthestudyisbasedonFrye’stheory,sothestudycan’tbetheexceptionoftheinfluenceofthetheory’sdeficiency.Third,therearelittlestudiesabouttheBiblicalarchetypeofWaitingforGodotinChina.Sothereisnocomparison54 withthestudy.Allinall,WaitingforGodotisagreatworkandSamuelBeckettreproducessomeBiblicalarchetypeinthestoryandgivesthesearchetypesnewmeaningthroughtheplay.Theplayistherepresentativeworkatthattimeandrevealssomethingnewtothepeople.Theauthorhasexpressedtheuniversalproblemintheplay.Onethousandpeoplewhoreadtheplaywillhaveonethousandideasabouttheplay.Theplayisuniqueinliteratureforitsstylelanguageanditstheme.TheplayisnotonlysuitableforthepeopleaftertheWorldWarIIbutalsosuitableforthepeopleinalltimes.Theauthorsuccessfullyrelatesthereligiousproblemtothehuman’sbelief.Everypeoplewillfeellostinsomedays,buttheycanalsofindthehopeinthehopelesslifeatlast.Thisistheideathattheauthorwantstotellthem.Itisthefortuneintheplay.AndthestudywillbehelpfulforthescholarsorpeoplewhosharethesameinterestsinthestudyoftheBiblicalarchetypeofWaitingforGodot.55 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AcknowledgementsInwritingthisstudy,anumberofpeoplehavehelpedmeandIwouldliketoexpressmyheart-feltthankstoallofthem.Theyareteachersandfriends,familyandrelatives.Firstofall,Iwanttoshowmyprofoundgratitudetoalltheindividualswhohelpedmetowritethispaper.MysupervisorisProfessorLianYunjiewhohasreadmystudymanytimesandgivenmehelpfulcommentsandadvice.Thispapercouldnothavebeendonewithoutherhelp.Then,Iwanttoshowmyappreciationofanumberoffriendswhohaveofferedmetheirimportanthelpincompletingthispaper.Theyalsogivemesomeadviceandtheirsupporttomeisalsoveryprecious.Finally,mythanksarealsoextendedtoallthosewhohaveeverhelpedmeindifferentways.Myparents’supportinspiresmetoinsistinwritingthepaper.Andonthewayofgrowingup,Ihavemetsomanypeoplewhostillpersistwhentheyfeellost.Theyallinspiremeinwritingthispaper.Withalloftheirhelpandsupport,Icouldwritethispaper.Sosomepartsofthestudybelongtothem.Thankyou!58 攻读学位期间发表论文以及参加科研情况一、发表论文、出版专著1.“乔治·艾略特的宗教观成因探究”《青年文学家》，18年4期，第一作者。2.“不同的时代相同的悲剧-对玛格丽特与杜十娘悲惨命运的分析”《青年文学家》，18年4期，第一作者。二、科研项目无59