Analysis Of John Milton 's ' Waiting For Godot '

Paradise Lost was written by John Milton in 1667. The epic poem focuses on the fall of man and the influence of sin. Milton wrote the poem in order to offer England definition of their culture and an explanation of their own civil war. The story is similar to the book of Genesis, but expanded. The excerpt states, “The infernal Serpent… deceived the Mother of mankind,

Theatre is a complex art that attempts to weave stories of varying degrees of intricacies with the hope that feelings will be elicited from the audience. Samuel Beckett’s most famous work in the theatre world, however, is Waiting for Godot, the play in which, according to well-known Irish critic Vivian Mercier, “nothing happens, twice.” Beckett pioneered many different levels of groundbreaking and avant-garde theatre and had a large influence on the section of the modern idea of presentational theatre as opposed to the representational. His career seemingly marks the end of modernism in theatre and the creation of what is known as the “Theatre of the Absurd.”

Knowledge isn't power. This relates in Flowers for Algernon because he who believed if he was “normal” or smart like everyone else he would have more friends or live a better life. This wasn't true at all. He ended up losing friends and being an outcast. In Adam and Eve they also believed knowledge was power. They believed that if they bit from the tree of knowledge they would gain knowledge and be like god. Another theme is think about it before you risk it all. Charlie risked his happiness to be “normal” or be “just like everyone else” ,Adam and Eve risked their freedom in hopes to find knowledge or

“Satan as archangel, before his fall, is never shown by Milton, but this stage of existence is often alluded to, as is the fact that some of his archangelic powers remain”(Carey pg.162). Satan is a character within Milton’s “Paradise Lost” who exemplifies a being on a journey to achieve goodness for himself by getting back at the being who put him into eternal damnation. Satan is forced by his own mind to rebel against God for what he has done to him by ‘making him fall from the eternal kingdom’. Satan is allowing himself to take up a journey through hell, heaven, and earth for the sole reason of trying to gain the seat of heaven because of his yearning for revenge against God, “Th’ infernal Serpent; he it was, whose guile stirred up with envy and revenge.”(I.34-35). Satan tempts other beings by using a powerful technique known as pathos through his rhetoric seen in the passage, “Look on me, me who have touched and tasted, yet both live.”(IX.687-678) which shows Satan’s style of tempting Eve to eat of the forbidden tree through pathos. He offers himself up as the supernatural being who will take up an adventure which he is hoping will lead him to gain heaven for his own wants and cast God off his heavenly throne. Satan uses the demons in hell to help him achieve his goal of casting out those in power of heaven, which is shown in the quote “We may with more successful hope resolve to wage by force or guile eternal war irreconcilable, to our grand foe”(I.120-122) giving the

God- A giant lightbulb, an orb of ever radiant light which sits atop an unmovable throne in Heaven. Personifies reason and his responses seem cold as a result. Omnipotent being. A chorus like figure in Milton’s poem.

      This lies in contrast to the Miltonian God, who is all-knowing, ever-present Father-figure.  Milton's crafting of God is as a man attempting

Select a novel, play, or epic in which a character experiences such a rift and becomes cut off from “home,” whether that home is the character’s birthplace, family, homeland, or other special place. Then write an essay in which you analyze how the character’s experience with exile is both alienating and enriching, and how this experience illuminates the meaning of the work as a whole. You may choose a work from the list below or one of comparable literary merit. Do not merely summarize the plot. (2010 AP Literature and Composition)

John Milton’s Paradise Lost in an attempt to explain the ways of god to an, portrayed a god who is just and forgiving, but selfish. He is a contradictory figure, whose actions cannot be understood from a human perspective, but through spiritual/logical reasoning. His contradictory behavior places God in a role of ambiguity; a character that places justice, obedience and grace before all else causes him to dole out strict punishments and offer forgiveness in the same manner. God, through the eyes of Satan is unsympathetic, imposing and arrogant authority. However, this “tyrannical” God is also the same character who allows Satan into paradise, and is portrayed to be loving, all knowing, and omnipotent. Milton’s God is not a tyrant, but a complex character whose questionable actions place

Waiting for Godot, Samuel Beckett's existential masterpiece, for some odd reason has captured the minds of millions of readers, artists, and critics worldwide, joining them all in an attempt to interpret the play. Beckett has told them not to read anything into his work, yet he does not stop them. Perhaps he recognizes the human quality of bringing personal experiences and such to the piece of art, and interpreting it through such colored lenses. Hundreds of theories are expounded, all of them right and none of them wrong. A play is only what you bring to it, in a subconscious connection between you and the playwright.

Modernist fiction is incredibly dense and abstract. Writers from the twentieth century also seem to carry with them the weight of the world, and thus their fiction has been filled with realistic misery and pain. Still, these writers often add to this element with existentialist thematic structures, which construct a very unique and experimental viewpoint on a modern existence. This is what is occurring in both Samuel Beckett's Waiting for Godot as well as Albert Camus' The Stranger. The two a very different in format, yet both play upon the modernist idea of abandonment by God and the idea that there is an underlying sense of nothingness that guides modern life. Each focuses on the notion of free will and how it determines our lives in a world devoid of God. Together, these great works of contemporary fiction are a telling testament to the changing nature of sentiments regarding both religion and the meaning of life in a tumultuous twentieth century paradigm.

Who is Godot and what does he represent? These are two of the questions that Samuel Beckett allows both his characters and the audience to ponder. Many experiences in this stage production expand and narrow how these questions are viewed. The process of waiting reassures the characters in Beckett's play that they do indeed exist. One of the roles that Beckett has assigned to Godot is to be a savior of sorts. Godot helps to give the two tramps in Waiting for Godot a sense of purpose. Godot is an omnipresent character that helps to give meaning and function to the lives of two homeless men.

In this essay, I will be comparing the importance of knowledge in terms of power in The Tempest and Paradise Lost. Adam and Eve are the main characters I will focus on in Paradise Lost, and the main character in The Tempest will be Prospero. During the English Renaissance, knowledge was becoming easier to obtain, and the literature became concerned with telling people about the possible unforeseen dangers of certain types of knowledge. In The Tempest and Paradise Lost, knowledge becomes more important than anything else to the main characters of each story. Also, these two literary works help reinforce the idea that the pursuit of knowledge can have devastating effects. Consequently, both stories end with Adam and Eve of Paradise Lost and Prospero of The Tempest being left to deal with the consequences of their actions.

Knowledge and power are two metaphysical notions that play important roles within society. Power is demonstrated through physical or mental prowess but the power of knowledge is greater as it directs action through thinking. This ability to think allows for plans to come to fruition after meticulous planning, which makes knowledge man’s greatest weapon to overpower his fellow man. French philosopher, Michel Foucault realized the correlation between the two, stating, “Power and knowledge are not seen as independent entities but are inextricably related – knowledge is always an exercise of power and power always a function of knowledge” (“Michel Foucault”). J.M. Coetzee illustrates the theory in Waiting for the Barbarians as the colonial Empire encroaches on native lands through its use of propaganda. In Coetzee’s novel, the relationship between knowledge and power is evident through the corrupted Empire’s manipulation of its denizens to wage war against the barbarians which relates to Foucault’s theory of the correlation between power and knowledge.

John Milton's poems, "How Soon Hath Time" and "When I Consider How My Light Is Spent" both focus on life and how the time we are given is or should be spent. Milton uses the word "How" in both the titles and I cant help but wonder "Is there something to examine there?" How by itself is a question of is it possible, and if so then what needs to be done to make it possible. It, in this case is time: Is time possible or better yet, is it possible to stop time? If so then how will it be accomplished? What needs to happen to cause time to stop? Milton uses the speaker in this poem to explain a way of looking at time and how quickly time really does fly by. In these two poems the speakers refer to

In Waiting for Godot, Beckett often focused on the idea of "the suffering of being." Most of the play deals with the fact that Estragon and Vladimir are waiting for something to relieve them from their boredom. Godot can be understood as one of the many things in life that people wait for. Waiting for Godot is part of the ‘Theater of the Absurd’. This implies that it is meant to be irrational and meaningless. Absurd theater does not have the concepts of drama, chronological plot, logical language, themes, and recognizable settings. There is also a split between the intellect and the body within the work. Vladimir represents the intellect and Estragon the body, both cannot exist without the other.