I think that if we are examining "comic" in the way of
bringing harmony and unity to a particular narrative, there will not be much to find.
Perhaps, the only real "comedic" or "comic" end to the drama is that Vladmir and
Estragon have one another, and that is all they have. Perhaps, the comedy here is that
this might be all they need in order to deal with consciousness in the modern setting.
In terms of any other elements that would represent humor, I would say that the play
acquires a level of comic significance when seen as a "buddy" narrative. Vladmir and
Estragon play off one another quite nicely and this becomes the comedy present.
Estragon's nature of doubting and being "second fiddle" is a stark contrast to
Vladimir's grandiose nature of self and the optimistic one. Laurel and Hardy, Abbot and
Costello, Fred Flintstone and Barney Rubble, Yogi Bear and Boo- Boo, as well as Pinky
and the Brain for the more modern cartoons are all representative of the same dynamic
that is present in Beckett's work. In this relational association, both characters
represent comic ends because they play off one another's states, with both equally
unable or able to lay claim to success. In this, one sees humor in that both struggle,
despite being opposites to one another. It is here where comic or farce can actually
feed into the harmonious vision of unity and totality in one
another.
Sunday, November 2, 2014
What are the comic elements in Waiting for Godot?
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