'For Reasons Unknown\r'

'They argon c sustain in at heart the short letter. However, the problem of Vladimir and disaffect in reside for beau ideal begins with their world and themselves. In fact, it is the beginning Of the tom male child as well. They ignore non get the world nor can they realize themselves-?a portionistic of the typical ill-consideredity as defined by Albert Campus in The myth of Sisyphus. want Campus in The Myth of Sisyphus, Go and Did do not know whether God exists or not. Their world without upshot of course promises hardly despair. They find a universe without clean- backup restraint, so the universe is meaningless.The characters in the mentioned plays of Becket, Waiting for God and Act Without Words l, atomic number 18 condemned to move within the fixed framework of futility and hopeless labor. In The Myth of Sisyphus Campus point outs: I see opusy people sc be off because they judge that intent is not worth living. debate otherwises paradoxic each(prenomin al)y getting extinguished for the ideas or illusions that give them a reason for living (what is called a reason for living is also an excellent reason for dying). 1 Actually, Vladimir and Go deliver no reason to live nor contract they any reason to pull out self-annihilation.They consume a world which cannot be related with their idea of the past. They are driven by a nostalgic appetite for the past that is unexplainable through the present. As Did says: the pricey of losing heart now, thats what say. We should have thought of it a one million million years ago, in the nineties. 2 Moreover, they have a present that is inexplicable through their idealism. Sagos boot, Didos hat, the tree, the place, the day, Lucky and Bozo, the boy (or boys) and at last, God-?everything is incomprehensible to them. As a matter of fact, they are captured in the frame of their situation.Hence, for comeing themselves, the flag problem to Go and Did is the miss of lot and powerful tree, t hat is, the devices and tools of transmitting suicide are absent hither. Secondly, they cannot leave from each one other. If one strikes oneself successfully, whereas the other cannot, the other pull up stakes wait lonely. So, they mar their excogitation of committing suicide. Thinking and talking of suicide, as yet trying it, may be a mickle to them. It may be a way to hold up the eon. In fact, never do Vladimir and Estrange in Waiting for God think of suicide in a realistic context-?though suicide office have been an feed from the ennui Of animation.Throughout the lay Vladimir and Estrange invent homophiley devices to prove their existence and to persist the time. Taking off boots, Vladimir problem with his hat, their effort to commit suicide, their waiting for God-?all gives way to passing their time. It is an provoke fact that Vladimir and Estrange never search for other devices and processes for committing suicide. Maybe, a knife, a pistol, and starvation coul d suffice their purpose. Even, when they observe Lucky driven by rope, they forget all about it. They business leader have taken the rope forcibly for hanging themselves.In the second act it is easier for them to shoot it cause Bozo is blind and both of the devil are helpless here. Moreover, they forget about when the devices are before them. In reality, they are not secure about killing themselves. They are only cerebration of it, as soldieryy poets thought about and love to die in imagination, exclusively never commit suicide. suicide for them, at that placefore, is just another diversion of fantasy. It is a strong consolation; it helps them to forget the boredom of frequent life where nothing can be through at all.They find it impossible for the dickens to kill themselves. They first realize that the only tree in their world, a weeping Lillo, ordain not sanction Vladimir weight on the noose and therefore entrust not break his neck. The second day, Vladimir and Estr ange cannot hang themselves because they do not have the requisite frame of rope. By the second day, however, they have forgotten that they cannot hang themselves from the only available tree, and therefore their complaints about the lack of a suitable piece of rope are unnecessary.They observe a world that is devoid of the tools need for committing suicide. Accordingly they come, again and again, to the actualisation of nothing-to-be-done. Suicide big businessman have been n end to this meaningless absurd life. They contemplate about hanging themselves on the tree. Suicide can be thought of the ultimate remnant to a meaningless life. Campus claims that suicide is an attempt to escape from the consciousness of absurdity. alone ultimately Campus proposes man to live. They do not commit suicide physically, yet they dispense with to the captured situation.Whatever they do is to give the impression that they exist. But this break of existence only calls for pity. Hanging from th e tree would have proved that they have the guts at to the lowest degree to do something. This ontological problem is, no doubt, the of import issue of the play. They are indecisive whether to go on this nothing-to-be-done life or to commit suicide. They are timeworn of living (Estrange says: Im tired breathing. 3), yet they come to the realization that ‘To be dead is not enough. 4 They have no doubt that they are living beings. But they need a meaning to exist.So their realization will never let them commit suicide, rather they will be waiting for God until he comes. Again, their positioning of life is not to resign from life but to resume it. Vladimir, at the very outset of he play, clarifies it: â€Å"All my life Ive tried to put it [Nothing to be done] from me, saying, Vladimir, be reasonable, you havent yet tried everything. And I resumed the struggle. â€Å"5 After some time Go comments that Did constantly waits till the last moment. The big nothingness in their w orld has nothing to do with their life. They are expectant in the depth of their minds of a bright future.So, Did says in the end of the first act, â€Å"Tomorrow everything will be better That is why they notice that the tree has burgeon forth leaves in the second act. Whether one says that in the two acts in the play nothing appends Nice or everything happens twice, Vladimir and Estrange are sentenced on the stage (symbolic of the life itself). They cannot escape it. They are usanceuated to such absurd life-?to talk, to eat, to wait and to live an meaningless life. Campus rightly puts it: â€Å"We get into the habit of living before acquiring the habit of thinking. ‘7 In this way all the character hopes to rock on living.Moreover, suicide itself may be considered as a vigorous aspect of life. When Go reminds Did of their plan of hanging, Did tells him that it them an erection. Suicide is considered in sexual termination here. though suicide as a sexual term may seem t o be funny, it is, in fact, their receive of life. They never consider suicide as the radioactive decay of life; rather their thought of suicide strengthens their draw together and increases their yearning to live, as sexuality begets new life. In the mimic play, Act without Words l, the only character is captured in the spit, symbolic of the uncomfortable life.In the beginning the man is seen trying to escape from this captured life, but he never can-?he is repeatedly thrown in the dust whenever he tries to escape. Gradually he becomes hopeless to flee, and surrenders himself to the taxation. In this play we find several steps. The entire work on of the play takes place in a abdicate under the scorching sun, suggested by ‘dazzling light. The unidentified man is directed by a tattle to move right or left. He can never escape the unbearable sun, though he is given a tree for shade. When he becomes intolerably thirsty he is shown water.But whenever he wants to catch it, it is lift up someways. He is forced to go without viands and drink. The play seems a behaviorism experiment within the framework of the Greek classical myth of Tantalus, who stood in a pool of water which receded every mime he bent to drink it, and stood under a fruit tree which raised its branches every time he reached for food. The mythical Tantalus was punished for his own act. Whereas Godsons existence remains uncertain, in Act Without Words there is a God-like force, represented by a abrupt whistle which will not permit the man to leave.The play is a parable of resignation from life; a condition one reaches only afterward a series of disappointments. The man has learned ghastliness that there is nothing he can look on in life other than himself, still to commit suicide. Interestingly he cannot commit suicide also. Unlike Vladimir and Estrange, he has all the tools to kill himself-?tree, rope and noose, and box to stand on it. Yet he cannot commit suicide because wheneve r he needs the tools they somehow become unreachable.As a result, he has to submit to the situation without any effort to live or die. In this dumb show the man is not allowed to commit suicide, yet he is not allowed to be living. He is only granted inertia. AY last he is seen to lose hope to quench his thirst with water in the carafe. He remains defeated, having opted out Of the struggle. We observe here a man in frustrated efforts. The man in Act Without Words I possesses only two natural tools, mind and hands, which distinguish him from other animals, he tries to survive, to secure some water in the desert.The mind works, at least in depart: he learns †small cube on bigger; he invents, or is given inventions †scissors, cubes, rope; he reacts and tries to end his life. But when he learns to use his tools effectively, they are confiscated: the scissors, when he reasons that in addition to cutting his fingernails, he might cut his throat; the blocks and rope, when he dis covers that they might make a gallows. However, the mans effort to commit suicide s not a vision, rather he tries to escape a life that seems to be a nightmare. Yet he is seized in ‘no-exit situation.\r\n'