“Then once more I must bring what is dark to light.”
This brave statement is ironic because it is not brave at all. The underlying meaning is that these words foreshadow his future blinding. It is foreshadowing because the investigation will reveal the dark secret of his incest, which metaphorically enlightens him with the truth, therefore giving him back his identity and individuality, but literally blinds him. This foreshadowing comes to the forefront when presented in the desperate tone of the comment:
“Let all come out,
However vile! However base it be,
I must unlock the secret of my birth.”
At this point Oedipus realizes he can no longer bear to look at his family, so he blinds himself by extracting his eyes with the Queen’s brooches. He is famed for his clear-sightedness and quick comprehension, which is ironic because he has been blind to the truth and is now physically blind. This blinding symbolizes that he cannot accept his true identity and has therefore lost his sense of self.
The search for identity is also a theme in Samuel Beckett’s “Waiting for Godot”. The character Pozzo is constantly in need of confirmation of his identity, since he does not truly know whether he is recognised as an individual entity by those in his surroundings. The two most frequent characters, Vladimir and Estragon also need confirmation of existence. However, this is due to the fact that they are contemplating whether they truly exist. In complete contrast to these characters, there is Godot. He is a character that never appears, and rather than having his own obscure beliefs about his own identity, it is questioned by Vladimir and Estragon. Although, he does not have a search for identity, Vladimir and Estragon question his identity.
A display of the constant need for confirmation of existence is shown through the character Pozzo. He attempts to achieve this confirmation through needing to be witnessed at all times. He demonstrates this in two ways: through material possessions, and through voice. Pozzo owns many material items such as a watch, a slave, and a food basket with wine and chicken, which is in complete contrast to the turnips and carrots consumed daily by Vladimir and Estragon. This contrast between Vladimir and Estragon and Pozzo provide Pozzo with his identity, and because he can compare himself to them, he knows he is Pozzo. He often consults his possessions such as his watch and his slave, he also pretends he has a need to use them like when “he puts on his glasses…he takes off his glasses.” Pozzo is lonely and starving for attention, which is why he strives for companionship in Lucky and attempts to stay as long as possible in Vladimir and Estragon’s company. A strong proof for this need of attention is presented in his “|terrifying voice|”;
“I am Pozzo! Pozzo! Does that name mean nothing to you? I say does that name mean nothing to you? ...PPPOZZZO!”
This authorative language is a façade covering his insecurities with himself, as is his use of power and cruelty over his slave, ironically named Lucky. Pozzo knows who he is, it is evident in the way he informs everyone he is “PPPOZZZO!” However, he needs confirmation of his identity from other people’s perception, which is why he always consults Vladimir and Estragon, questioning, “I am perhaps not particularly human, but who cares?” In this there is a great lack of self-acceptance, which demonstrates Pozzo’s strongest weakness. Additionally, Pozzo wants to make an impression on whomever he meets so that they can confirm his existence for him.
Furthermore, the search for confirmation of existence is apparent in the characters Vladimir and Estragon. The fact that they are living in a bare setting already gives them a lack of identity. Yet, they have an identity and know who they are by their names; they just crave confirmation from each other. The two characters are extremely sensitive and vulnerable which is why they can never leave each others’ sides; they feel weak alone. This neediness shows a sufficient lack of individuality. For example, at the beginning of the play Estragon questions his presence;
VLADIMIR: “So there you are again”
ESTRAGON: “Am I?”
They then state how happy they are to be “together again at last!” after Estragon has been away one night. This proves that they seek companionship from one another. Vladimir is caring and protective of Estragon, whereas Estragon is needier and often experiences memory loss. Memory loss, in this case, symbolizes a loss of a certain part of identity, because remembering the past is a key to knowing who you are and if you exist. They often forget what they have done, shown in their repetition of the same scenario daily and in the fact that they cannot remember their age when Pozzo asks:
POZZO: “What age would you say he was?”
ESTRAGON: “Eleven”
Clearly he is not eleven because they are fully grown men. When Vladimir asks the boy, “I’ve seen you before, haven’t I… You don’t know me?” he replies “No, sir”; we further see that although they know that they are Vladimir and Estragon, they need other people to acknowledge them as individuals. This is so that they can gain their sense of self and therefore feel that they exist as members of society.
Godot is the title character of the play even though he is never seen or heard. He is waited for by Vladimir and Estragon for the duration of the play. Godot seems to be an indefinite figure. At the end of each day, the boy arrives on behalf of Godot with a promise that he will come tomorrow. However, Godot will never come and Vladimir and Estragon will never be sure of this because there always seems to be some reason or hope to wait for him. The fact that they ask; “His name is Godot?”and state that “Personally I wouldn’t even know him if I saw him” could argue the point that Godot may have come today but they did not realize, and give them more reason to wait. They wait in hope because they believe that Godot can ultimately confirm their existence by coming to rescue them from the daily problems they face.
Unlike the other explorations of identity, Godot’s identity is questioned from an external point of view. His identity only exists through the words of his followers: Vladimir and Estragon and the boy. I believe that Godot is not supposed to come at all and that he/she/it can not be made to represent any one idea, ideal or person, precisely because he represents an absence and does not have a confirmed identity. Godot is an indefinite figure, (unlike Vladimir and Estragon), whose non-presence is the play’s centre.
I believe that both plays address the human condition. “Waiting for Godot” and “King Oedipus” prove that we appear to be born without complete awareness of our selves and the environment we live in. In growing as humans, we gain a sense of identity; however, this sense may be full of illusions. Vladimir and Estragon live in an empty world that does not have many characteristics from which they can draw a sense of identity; in a world where there is no importance of work and achievement, and where nothing is certain. They accept violence, live without amenities, fill their time with irrelevant and repetitive business, and are living in hope of an indefinite figure that will never come and save them. In contrast, Oedipus, as a king, lives in a world where he has everything that Vladimir and Estragon do not. However, he too has an illusory identity and the same need for a sense of self. Ironically, his outcome is more tragic, as he loses everything because he finds his true identity, where as Vladimir and Estragon lose nothing. They continue their lives in exactly the same way as when they started.
VLADIMIR: “We’ll hang ourselves tomorrow. Unless Godot comes.”
ESTRAGON: “And if he comes?”
VLADIMIR: “We’ll be saved.”
Word count: 1,585
Bibliography:
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Sophocles, The Theban Plays, translated by E.F. Watling
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Samuel Beckett, Waiting for Godot, translated by Samuel Beckett.
Pg. 53, Sophocles, The Theban Plays
Pg. 55, Sophocles, The Theban Plays
Pg. 15, Samuel Beckett, Waiting for Godot
Pg. 15, Samuel Beckett, Waiting for Godot
Pg. 21, Samuel Beckett, Waiting for Godot
Pg. 1, Samuel Beckett, Waiting for Godot
Pg. 1, Samuel Beckett, Waiting for Godot
Pg. 38, Samuel Beckett, Waiting for Godot
Pg. 44, Samuel Beckett, Waiting for Godot
Pg. 13, Samuel Beckett, Waiting for Godot
Pg. 16, Samuel Beckett, Waiting for Godot
Pg. 87, Samuel Beckett, Waiting for Godot