Written in 1953, Waiting for Godot was a somewhat late successor to the vibrant experimentation in art and literature of the late 19th and early 20th centuries known as Modernism. Modernist writers saw themselves as dramatically breaking with the past and innovating in all aspects of art, literature, and culture. Beckett's play shares with Modernist works a fascination with pushing the boundaries of literary genre, representation, and etiquette, as well as an interest in language and thought prioritized above action and plot. However, the play can also be seen as somewhat Postmodern, belonging to the literary and artistic period following Modernism. Both Modernism and Postmodernism are rather vague terms, often used differently by different critics. Moreover, it is also debated whether Postmodernism continues the aspirations of Modernism, or is a more radical break with it. In any case, Beckett's play sits on the fence between these two movements.
While Postmodernism is difficult to define exactly, Waiting for Godot displays a number of the defining features of a Postmodern conception of the world. One of these is an alienation from tradition and a questioning of the grand narratives that were previously seen to have some kind of authority. This includes grand narratives of historical progress—that history is the story of human life continually getting better—as well as religious narratives like the Bible. There are some biblical and classical references in the play, but they are only used ironically. Estragon compares himself to Christ in act one, for example, but the comparison is rather ridiculous. And Pozzo invokes "Atlas, son of Jupiter!" but doesn't actually believe in the force of this classical reference (what's more, he gets his mythological family tree wrong). The religious and cultural traditions of the past have lost their authority and centrality in the world of the play. Another Postmodern feature of the play is a pervasive sense of entrapment or enslavement, but a lack of any central authority. Characters are often unable to move or get up from the ground for no apparent reason. Vladimir and Estragon are, in a sense, trapped in their place of waiting, even though no one is forcing them to stay. Pozzo is Lucky's master, but he is far from free or powerful. Everyone in the play seems to be trapped or enslaved in some way, but no one seems to be the master. The characters of Waiting for Godot are also profoundly disoriented: they don't know where, or when, they are. At times, the characters don't even know who they are, as Estragon cannot remember his own past, for example. Finally, some of Beckett's characters feel a separation from reality. Both Vladimir and Pozzo question, in act two, whether they are actually awake or are simply dreaming. This confusion of reality with a dream or a false representation is a central, common feature of Postmodernism.
Seeing Beckett's play as Postmodernist is more than just labeling it as part of a particular literary movement; it gets to the heart of the world Beckett represents, one defined by alienation, entrapment, disorientation, and a questioning of reality. With the play's lack of specifics regarding its place or time, the circumstances of its events, or the particular back stories of its characters, Waiting for Godot can even be seen as a kind of allegory for the Postmodern condition. Beckett wrote his play before Postmodernism really coalesced or was written about as a distinct period or movement. Nonetheless, while in some ways still belonging to Modernism, the play presciently depicts many of the defining aspects of a Postmodern world. In representing these negative features, the play can be seen as either a pessimistic indictment of the present or as a chilling warning of what the future might look like: as how Beckett saw the world to be or as he feared it might become.
Modernism and Postmodernism ThemeTracker
Modernism and Postmodernism Quotes in Waiting for Godot
But what Saturday? And is it Saturday? Is it not rather Sunday? (Pause.) Or Monday? (Pause.) Or Friday?
We're not tied?
To Godot? Tied to Godot! What an idea! No question of it. (Pause.) For the moment.
You are human beings none the less. (He puts on his glasses.) As far as one can see. (He takes off his glasses.) of the same species as myself. (He bursts into an enormous laugh.) Of the same species as Pozzo! Made in God's image!
Why he doesn't make himself comfortable? Let's try and get this clear. Has he not the right to? Certainly he has. It follows that he doesn't want to. There's reasoning for you.
The tears of the world are a constant quantity. For each one who begins to weep, somewhere else another stops. The same is true of the laugh. (He laughs.) Let us not then speak ill of our generation, it is not unhappier than its predecessors. (Pause.) Let us not speak well of it either. (Pause.) Let us not speak of it at all.
He used to dance the farandole, the fling, the brawl, the jig, the fandango, and even the hornpipe. He capered. For joy. Now that's the best he can do. Do you know what he calls it?
The Scapegoat's Agony.
The Hard Stool.
The Net. He thinks he's entangled in a net.
Silence. No one moves.
Christ! What has Christ got to do with it. You're not going to compare yourself to Christ!
Well, shall we go?
Yes, let's go.
They do not move.
It must be the Spring.
But in a single night!
I tell you we weren't here yesterday. Another of your nightmares.
Suppose we got up to begin with?
No harm trying.
They get up.
Simple question of will-power.
Was I sleeping, while the others suffered? Am I sleeping now?
Well? Shall we go?
Yes, let's go.
They do not move.