英文评析《等待戈多》

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语言之外别无他物——从Leech的礼貌原则看《等待戈多》

语言之外别无他物——从Leech的礼貌原则看《等待戈多》
同的风格——从 中发掘这些伟大智者们相异 的语 言观对现代 语言学和语言哲的戏剧 , 往往 以语言的解体来
证明人类存在的荒诞性 。“ 贝克特剧作 中的对话 , 往往是基 于 每一行消除前一 行所 说 的话 的原 则 。 ( ” 艾斯 林 ,92:9 在 19 6 )
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从 L eh的礼貌原则看《 ec 等待 戈多》
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等待高蒂英文概括

等待高蒂英文概括

等待高蒂英文概括
《等待高蒂》的英文概括为“Waiting for Godot”。

它是一部表现主义荒诞派的剧作,也是二十世纪最重要的戏剧作品之一。

作品以几近纯白话的对白方式,深刻地揭示了现实世界的不合理与荒诞,以及对人性的深刻剖析。

这部戏剧主要围绕两个流亡的乡绅(艾斯特拉贡和波卓)展开,他们等待着名为高蒂(戈多)的救世主。

在荒凉孤寂的舞台背景中,两人在等待中谈论着生活、苦难和死亡,但高蒂却始终未出现。

然而,他的名字却在不断地被提及和等待,成为了一个永恒的主题。

该剧的剧情发展几乎停滞在原地,角色们的行为也没有明确的逻辑可循。

这种表现主义的手法使观众无法从情节上获得连贯的体验,而是通过角色的内心独白和情感交流来感受他们的孤独、痛苦和无奈。

《等待高蒂》不仅是一部戏剧作品,也是一部哲学作品。

它探讨了人类的生存状态、生命的无意义以及与命运的抗争等问题。

通过荒诞的表现手法,贝克特成功地揭示了人类的孤独和无奈,以及在无意义的世界中追求希望的荒谬。

等待戈多英文佳句

等待戈多英文佳句

等待戈多英文佳句《等待戈多》是一部充满哲学与人性思考的文学作品,其中有许多精彩的英文佳句值得品味。

以下是一些例子:1. “All we have to decide is what to do with the time that is given us.”—— Gandalf我们所需决定的只是如何利用赋予我们的时间。

2. “Even the smallest person can change the course of history.”—— Galadriel即便是最渺小的人也能改变历史的进程。

3. “Not all those who wander are lost.”—— Bilbo并不是所有漂泊之人都迷失了自我。

4. “The treacherous are ever distrustful.”—— Saruman阴险奸诈之人总是怀疑万事。

5. “The board is set, the pieces are moving. We come to it at last, the great battle of our time.”—— Gandalf 棋局已定,棋子已动,我们终于来到这个时代最伟大的战斗。

6. “End? No, the journey doesn't end here.”—— Gandalf结束了吗?不,旅程并未终止。

7. “I will not say: do not weep; for not all tears are an evil.”—— Gandalf我不会说:不要哭泣,因为并不是所有的泪水都是邪恶的。

8. “The burned hand teaches best.”—— Gandalf被烧伤的手最学得快。

9. “Deeds will not be less valiant because they are unpraised.”—— Aragorn行动不会因为未得到赞美而失去其勇气。

《等待戈多》赏析

《等待戈多》赏析

•艺术教育255《等待戈多》赏析塞缪尔·贝克特(Samuel Beckett,1906—1989年),爱尔兰小说家兼剧作家,曾于1969年获得诺贝尔文学奖。

作为荒诞剧院的奠基之作,《等待戈多》是一部反传统戏剧,甚至没有完整的情节包括开头、主要内容或结尾。

该剧只有5个角色,但不知道他们是谁,来自哪里或经历了什么样的故事,观众在看这部剧时会感到困惑。

1953年,这部戏在巴黎的巴比伦剧院首演时,很少有人认为这将是全球经典戏。

即使在纽约百老汇上映时,它也被认为是一部奇怪的剧本。

但是随着时间的流逝,它得到了广泛的赞誉,并被翻译成数十种语言并在许多国家上演。

整部戏有2个场景和5个角色,景象是黄昏时空无一人的小路,旁边是光秃秃的树。

有两个流浪汉,埃斯特拉贡和弗拉基米尔,正在等待一个叫戈多的人。

但是他们等到了有钱人Pozzo 和他的奴隶Lucky 而不是Godot。

天黑的时候,一个孩子来告诉他们戈多今天不会来了,明天来。

第二个场景是相似的,相同的黄昏,相同的无聊的等待。

但是不同的是,光秃秃的树长出几片叶子,Pozzo 变成了盲人,Lucky 变得愚蠢。

天黑的时候,孩子来告诉他们戈多不是今天来,而是明天再来。

全片结束。

1 写作背景任何文学作品或文化产品一定会诞生于特定的历史背景,或与特定的历史背景有密切的关系。

20世纪人类的巨大发展给人们带来了巨大的压力和分离感。

当《等待戈多》这部作品诞生时,第二次世界大战结束后不久,西方国家陷入了社会动荡和经济萧条。

特别是在两次世界大战中,人们一直信仰的上帝并没有从战争、破坏和死亡中拯救人们和他们的家人或朋友,人们感到困惑、沮丧和绝望,他们不知道应该相信什么,他们的信念遭到破坏,他们失去了对未来的信心和希望。

所有这些改变了人们的长期信念,人们开始怀疑人性是否真的存在。

2 主题关于这部戏剧,我们总会有一个疑问,“谁是戈多?”有人将戈多解释为上帝,但也有一个被大家普遍接受的观点,戈多是贝克特对未来希望的理解,或者就是我们常说的生命的意义。

喜欢哪种戏剧英文作文

喜欢哪种戏剧英文作文

喜欢哪种戏剧英文作文英文:When it comes to drama, I have a preference for tragedies. I find the exploration of human suffering andthe consequences of our actions to be deeply moving and thought-provoking. One of my favorite plays is "Hamlet" by William Shakespeare. The complex character of Hamlet andhis struggle with revenge and madness is a timeless story that continues to resonate with audiences today.Another type of drama that I enjoy is absurdist theater. The surreal and often nonsensical nature of these plays can be both hilarious and profound. One of my favoriteabsurdist plays is "Waiting for Godot" by Samuel Beckett. The two main characters waiting endlessly for someone who may never come is a poignant commentary on the human condition.中文:谈到戏剧,我比较喜欢悲剧。

我觉得探索人类的痛苦和我们行为的后果是深刻动人和发人深省的。

我最喜欢的剧目之一是威廉·莎士比亚的《哈姆雷特》。

分析贝克特《等待戈多》中无为的等待

分析贝克特《等待戈多》中无为的等待

分析贝克特《等待戈多》中无为的等待凌成静胡小玲(内江师范学院外国语学院四川·内江641112)中图分类号:I234文献标识码:A文章编号:1672-7894(2015)27-0152-02文艺传媒基金项目:2014年内江师范学院大学生科研项目哲学社会科学类重点项目(项目编号:14NSD-109)。

作者简介:凌成静(1992—),女,四川甘孜州人,内江师范学院外国语学院2012级4班学生;指导老师胡小玲(1984—),女,四川泸州人,内江师范学院外国语学院教师,讲师,研究方向为英美文学。

摘要《等待戈多》利用“等待”从不同层面突出西方人的幻灭感,处处体现主人公无为的生活状态的循环往复。

从中读者感受到的“等待”是疲软无力的,所看到的“等待”是模糊不清的。

本文通过解读文本从信仰、思想、语言、行为方面详细分析剧中人物的无为的等待。

关键词《等待戈多》无为等待On Inactive Waiting in Beckett 's "Waiting for Godot"//Ling Chengjing,Hu XiaolingAbstract "Waiting for Godot"highlights the westerners'disillu-sion from different perspectives by employing the theme "wait-ing",reflecting the cycle of the inactive life condition.Readers can experience and witness the weak and blurred waiting from the drama.By the interpretation of the text,this paper shows a detailed analysis on the inactive performance of characters from the aspects of belief,thought,language and behavior.Key words "Waiting for Godot";inaction;waiting塞缪尔·贝克特是20世纪法国作家,出生于爱尔兰首府都柏林郊区斯罗克的犹太家庭。

等待戈多group

等待戈多group

Language

The most obvious feature is that of words repeating: Vladimir : Consult his family. Estragon:His friends. Vladimir : His agents. Estragon:His correspondents. Vladimir : His books. Estragon:His bank account.(p18) a tool of passing time
ACTⅠ
1. Vladimir and Estragon alone
ACTⅡ
1. Vladimir and Estragon alone
2. Arrival of Pozzo and Lucky
2. Arrival of Pozzo and Lucky: Lucky’s speech
3. Departure of Pozzo and Lucky: Vladimir and Estragon alone
Waiting for Godot
By Samuel Beckett
ⅠA BrieLanguage; Symbolism
Ⅲ Background; Theme; Conclusion
A Brief Introduction to Samuel Beckett and Waiting for Godot

Symbol

hat: reason? intellect? His hat symbolizes human’s brain and soul.

boot: body? It may suggest that humans try to earn a living and struggle for their life. His boot is the media which connects he himself and the earth. It stands for body and flesh. All he focuses on is human’s basic needs such as eating and sleeping.

爱尔兰剧作家塞缪尔贝克特著名戏剧之一《等待戈多》作品简介剧本鉴赏分析读后感分享PPT模板

爱尔兰剧作家塞缪尔贝克特著名戏剧之一《等待戈多》作品简介剧本鉴赏分析读后感分享PPT模板

02 虽然表面看来荒诞,但这些细节能触及人心 中最微妙的感受,非常感人。这部剧中表现 的是二战之后一种典型的惶恐、尴尬、无所 适从的心理境地。两人等待的结果,最后没 有说明,戈多派了一个男孩来说,他会来的, 似乎有了希望。
04 “God”即神、上帝、造物主之意,故戈多 暗指上帝;亦有人以为戈多象征死亡。当有 人询问“戈多代表什么”时,贝克特说: “我要是知道,早在剧中说出来了。
剧本赏析
《等待戈多》突破文学描述的固有模式,戏剧情节几乎没有发展变化,舞台场景同位 叠合,戏剧动作机械呆板,以此象征生活内容循环往复,却无异于什么也没有发生; 人物对话则悖逆追求妙言隽语的技巧规范,多用无聊的下意识独白和不知所云的废话 对白,以此喻示荒诞社会造成的人类思维及语言表达的极度混乱。
剧作《等待戈多》通过荒诞的人物、荒诞的情节、荒诞的语言、荒诞的舞台设计和荒 诞的戏剧效果,表现了荒诞派戏剧的一个基本主题:世界不可知,命运本无常,人是 低贱的,行为无意义。 在形式技巧上,《等待戈多》则充分体现了荒诞派戏剧场面单 调,既无冲突、更无高潮的“反戏剧’’特征,其艺术感染力主要来自于闹剧式的外 包装和对观众期待视野的突破。
剧本赏析
0 《等待戈多》是荒诞戏剧的代表作。喻示人
1
生是一场无尽无望的等待,表达了世界荒诞、 人生痛苦的存在主义思想,也反映出第二次 世界大战后资本主义世界普遍的空虚绝望的 精神状态。
03 《等待戈多》终其一剧,戈多虽然始终不曾 出场,却在剧中占着重要地位,因为两个流 浪汉对他的等待构成了全剧的中心。有人认 为戈多是从英语“God”演变而来。
戈戈又提议离开,狄狄让他先把裤子拉上来,戈戈照办, 又问:“嗯?咱们走不走?”狄狄回答:“好的,咱们走 吧。”但他们仍然像昨天一样,站着不动。幕落。

《等待戈多》剧本(英文版)

《等待戈多》剧本(英文版)

Waiting for Godottragicomedy in 2 actsBySamuel BeckettEstragonVladimirLuckyPozzoa boyACT IA country road. A tree.Evening.Estragon, sitting on a low mound, is trying to take off his boot. He pulls at it with both hands, panting. He gives up, exhausted, rests, tries again.As before.Enter Vladimir.ESTRAGON:(giving up again). Nothing to be done.VLADIMIR:(advancing with short, stiff strides, legs wide apart). I'm beginning to come round to that opinion. All my life I've tried to put it from me, saying Vladimir, be reasonable, you haven't yet tried everything. And I resumed the struggle. (He broods, musing on the struggle. Turning to Estragon.) So there you are again.ESTRAGON:Am I?VLADIMIR:I'm glad to see you back. I thought you were gone forever.ESTRAGON:Me too.VLADIMIR:Together again at last! We'll have to celebrate this. But how? (He reflects.) Get up till Iembrace you.ESTRAGON:(irritably). Not now, not now.VLADIMIR:(hurt, coldly). May one inquire where His Highness spent the night?ESTRAGON:In a ditch.VLADIMIR:(admiringly). A ditch! Where?ESTRAGON:(without gesture). Over there.VLADIMIR:And they didn't beat you?ESTRAGON:Beat me? Certainly they beat me.VLADIMIR:The same lot as usual?ESTRAGON:The same? I don't know.VLADIMIR:When I think of it . . . all these years . . . but for me . . . where would you be . . . (Decisively.) You'd be nothing more than a little heap of bones at the present minute, no doubt about it. ESTRAGON:And what of it?VLADIMIR:(gloomily). It's too much for one man. (Pause. Cheerfully.) On the other hand what's the good of losing heart now, that's what I say. We should have thought of it a million years ago, in the nineties.ESTRAGON:Ah stop blathering and help me off with this bloody thing.VLADIMIR:Hand in hand from the top of the Eiffel Tower, among the first. We were respectable in those days. Now it's too late. They wouldn't even let us up. (Estragon tears at his boot.) What are you doing?ESTRAGON:Taking off my boot. Did that never happen to you?VLADIMIR:Boots must be taken off every day, I'm tired telling you that. Why don't you listen to me? ESTRAGON:(feebly). Help me!VLADIMIR:It hurts?ESTRAGON:(angrily). Hurts! He wants to know if it hurts!(angrily). No one ever suffers but you. I don't count. I'd like to hear what you'd say if you had what I have.ESTRAGON:It hurts?VLADIMIR:(angrily). Hurts! He wants to know if it hurts!ESTRAGON:(pointing). You might button it all the same.VLADIMIR:(stooping). True. (He buttons his fly.) Never neglect the little things of life. ESTRAGON:What do you expect, you always wait till the last moment.VLADIMIR:(musingly). The last moment . . . (He meditates.) Hope deferred maketh the something sick, who said that?ESTRAGON:Why don't you help me?VLADIMIR:Sometimes I feel it coming all the same. Then I go all queer. (He takes off his hat, peers inside it, feels about inside it, shakes it, puts it on again.) How shall I say? Relieved and at the same time . . . (he searches for the word) . . . appalled. (With emphasis.) AP-PALLED. (He takes off his hat again, peers inside it.) Funny. (He knocks on the crown as though to dislodge a foreign body, peers into it again, puts it on again.) Nothing to be done. (Estragon with a supreme effort succeeds in pulling off his boot. He peers inside it, feels about inside it, turns it upside down, shakes it, looks on the ground to see if anything has fallen out, finds nothing, feels inside it again, staring sightlessly before him.) Well?ESTRAGON:Nothing.VLADIMIR:Show me.ESTRAGON:There's nothing to show.VLADIMIR:Try and put it on again.ESTRAGON:(examining his foot). I'll air it for a bit.VLADIMIR:There's man all over for you, blaming on his boots the faults of his feet. (He takes off his hat again, peers inside it, feels about inside it, knocks on the crown, blows into it, puts it on again.) This is getting alarming. (Silence. Vladimir deep in thought, Estragon pulling at his toes.) One of the thieves was saved. (Pause.) It's a reasonable percentage. (Pause.) Gogo. ESTRAGON:What?Suppose we repented.ESTRAGON:Repented what?VLADIMIR:Oh . . . (He reflects.) We wouldn't have to go into the details.ESTRAGON:Our being born?Vladimir breaks into a hearty laugh which he immediately stifles, his hand pressed to his pubis, his face contorted.VLADIMIR:One daren't even laugh any more.ESTRAGON:Dreadful privation.VLADIMIR:Merely smile. (He smiles suddenly from ear to ear, keeps smiling, ceases as suddenly.) It's not the same thing. Nothing to be done. (Pause.) Gogo.ESTRAGON:(irritably). What is it?VLADIMIR:Did you ever read the Bible?ESTRAGON:The Bible . . . (He reflects.) I must have taken a look at it.VLADIMIR:Do you remember the Gospels?ESTRAGON:I remember the maps of the Holy Land. Coloured they were. Very pretty. The Dead Sea was pale blue. The very look of it made me thirsty. That's where we'll go, I used to say, that's where we'll go for our honeymoon. We'll swim. We'll be happy.VLADIMIR:You should have been a poet.ESTRAGON:I was. (Gesture towards his rags.) Isn't that obvious?Silence.VLADIMIR:Where was I . . . How's your foot?ESTRAGON:Swelling visibly.VLADIMIR:Ah yes, the two thieves. Do you remember the story?ESTRAGON:No.VLADIMIR:Shall I tell it to you?No.VLADIMIR:It'll pass the time. (Pause.) Two thieves, crucified at the same time as our Saviour. One? ESTRAGON:Our what?VLADIMIR:Our Saviour. Two thieves. One is supposed to have been saved and the other . . . (he searches for the contrary of saved) . . . damned.ESTRAGON:Saved from what?VLADIMIR:Hell.ESTRAGON:I'm going.He does not move.VLADIMIR:And yet . . . (pause) . . . how is it 杢his is not boring you I hope?how is it that of the four Evangelists only one speaks of a thief being saved. The four of them were there 杘r thereabouts?and only one speaks of a thief being saved. (Pause.) Come on, Gogo, return the ball, can't you, once in a while?ESTRAGON:(with exaggerated enthusiasm). I find this really most extraordinarily interesting. VLADIMIR:One out of four. Of the other three, two don't mention any thieves at all and the third says that both of them abused him.ESTRAGON:Who?VLADIMIR:What?ESTRAGON:What's all this about? Abused who?VLADIMIR:The Saviour.ESTRAGON:Why?VLADIMIR:Because he wouldn't save them.ESTRAGON:From hell?VLADIMIR:Imbecile! From death.ESTRAGON:I thought you said hell.From death, from death.ESTRAGON:Well what of it?VLADIMIR:Then the two of them must have been damned.ESTRAGON:And why not?VLADIMIR:But one of the four says that one of the two was saved.ESTRAGON:Well? They don't agree and that's all there is to it.VLADIMIR:But all four were there. And only one speaks of a thief being saved. Why believe him rather than the others?ESTRAGON:Who believes him?VLADIMIR:Everybody. It's the only version they know.ESTRAGON:People are bloody ignorant apes.He rises painfully, goes limping to extreme left, halts, gazes into distance off with his hand screening his eyes, turns, goes to extreme right, gazes into distance. Vladimir watches him, then goes and picks up the boot, peers into it, drops it hastily.VLADIMIR:Pah!He spits. Estragon moves to center, halts with his back to auditorium.ESTRAGON:Charming spot. (He turns, advances to front, halts facing auditorium.) Inspiring prospects. (He turns to Vladimir.) Let's go.VLADIMIR:We can't.ESTRAGON:Why not?VLADIMIR:We're waiting for Godot.ESTRAGON:(despairingly). Ah! (Pause.) You're sure it was here?VLADIMIR:What?ESTRAGON:That we were to wait.VLADIMIR:He said by the tree. (They look at the tree.) Do you see any others?What is it?VLADIMIR:I don't know. A willow.ESTRAGON:Where are the leaves?VLADIMIR:It must be dead.ESTRAGON:No more weeping.VLADIMIR:Or perhaps it's not the season.ESTRAGON:Looks to me more like a bush.VLADIMIR:A shrub.ESTRAGON:A bush.VLADIMIR:A? What are you insinuating? That we've come to the wrong place? ESTRAGON:He should be here.VLADIMIR:He didn't say for sure he'd come.ESTRAGON:And if he doesn't come?VLADIMIR:We'll come back tomorrow.ESTRAGON:And then the day after tomorrow.VLADIMIR:Possibly.ESTRAGON:And so on.VLADIMIR:The point is?ESTRAGON:Until he comes.VLADIMIR:You're merciless.ESTRAGON:We came here yesterday.VLADIMIR:Ah no, there you're mistaken.What did we do yesterday?VLADIMIR:What did we do yesterday?ESTRAGON:Yes.VLADIMIR:Why . . . (Angrily.) Nothing is certain when you're about.ESTRAGON:In my opinion we were here.VLADIMIR:(looking round). You recognize the place?ESTRAGON:I didn't say that.VLADIMIR:Well?ESTRAGON:That makes no difference.VLADIMIR:All the same . . . that tree . . . (turning towards auditorium) that bog . . .ESTRAGON:You're sure it was this evening?VLADIMIR:What?ESTRAGON:That we were to wait.VLADIMIR:He said Saturday. (Pause.) I think.ESTRAGON:You think.VLADIMIR:I must have made a note of it. (He fumbles in his pockets, bursting with miscellaneous rubbish.)ESTRAGON:(very insidious). But what Saturday? And is it Saturday? Is it not rather Sunday? (Pause.) Or Monday? (Pause.) Or Friday?VLADIMIR:(looking wildly about him, as though the date was inscribed in the landscape). It's not possible!ESTRAGON:Or Thursday?VLADIMIR:What'll we do?ESTRAGON:If he came yesterday and we weren't here you may be sure he won't come again today. VLADIMIR:But you say we were here yesterday.ESTRAGON:I may be mistaken. (Pause.) Let's stop talking for a minute, do you mind?VLADIMIR:(feebly). All right. (Estragon sits down on the mound. Vladimir paces agitatedly to and fro, halting from time to time to gaze into distance off. Estragon falls asleep. Vladimir halts finally before Estragon.) Gogo! . . . Gogo! . . . GOGO!Estragon wakes with a start.ESTRAGON:(restored to the horror of his situation). I was asleep! (Despairingly.) Why will you never let me sleep?VLADIMIR:I felt lonely.ESTRAGON:I had a dream.VLADIMIR:Don't tell me!ESTRAGON:I dreamt that?VLADIMIR:DON'T TELL ME!ESTRAGON:(gesture toward the universe). This one is enough for you? (Silence.) It's not nice of you, Didi. Who am I to tell my private nightmares to if I can't tell them to you?VLADIMIR:Let them remain private. You know I can't bear that.ESTRAGON:(coldly.) There are times when I wonder if it wouldn't be better for us to part. VLADIMIR:You wouldn't go far.ESTRAGON:That would be too bad, really too bad. (Pause.) Wouldn't it, Didi, be really too bad? (Pause.) When you think of the beauty of the way. (Pause.) And the goodness of the wayfarers. (Pause. Wheedling.) Wouldn't it, Didi?VLADIMIR:Calm yourself.ESTRAGON:(voluptuously.) Calm . . . calm . . . The English say cawm. (Pause.) You know the story of the Englishman in the brothel?VLADIMIR:Yes.ESTRAGON:Tell it to me.VLADIMIR:Ah stop it!ESTRAGON:An Englishman having drunk a little more than usual proceeds to a brothel. The bawd asks him if he wants a fair one, a dark one or a red-haired one. Go on.VLADIMIR:STOP IT!Exit Vladimir hurriedly. Estragon gets up and follows him as far as the limit of the stage. Gestures of Estragon like those of a spectator encouraging a pugilist. Enter Vladimir. He brushes past Estragon, crosses the stage with bowed head. Estragon takes a step towards him, halts.ESTRAGON:(gently.) You wanted to speak to me? (Silence. Estragon takes a step forward.) You had something to say to me? (Silence. Another step forward.) Didi . . .VLADIMIR:(without turning). I've nothing to say to you.ESTRAGON:(step forward). You're angry? (Silence. Step forward). Forgive me. (Silence. Step forward. Estragon lays his hand on Vladimir's shoulder.) Come, Didi. (Silence.) Give me your hand. (Vladimir half turns.) Embrace me! (Vladimir stiffens.) Don't be stubborn! (Vladimir softens. They embrace.Estragon recoils.) You stink of garlic!VLADIMIR:It's for the kidneys. (Silence. Estragon looks attentively at the tree.) What do we do now? ESTRAGON:Wait.VLADIMIR:Yes, but while waiting.ESTRAGON:What about hanging ourselves?VLADIMIR:Hmm. It'd give us an erection.ESTRAGON:(highly excited). An erection!VLADIMIR:With all that follows. Where it falls mandrakes grow. That's why they shriek when you pull them up. Did you not know that?ESTRAGON:Let's hang ourselves immediately!VLADIMIR:From a bough? (They go towards the tree.) I wouldn't trust it.ESTRAGON:We can always try.VLADIMIR:Go ahead.ESTRAGON:After you.VLADIMIR:No no, you first.ESTRAGON:Why me?VLADIMIR:You're lighter than I am.ESTRAGON:Just so!VLADIMIR:I don't understand.ESTRAGON:Use your intelligence, can't you?Vladimir uses his intelligence.VLADIMIR:(finally). I remain in the dark.ESTRAGON:This is how it is. (He reflects.) The bough . . . the bough . . . (Angrily.) Use your head, can't you?VLADIMIR:You're my only hope.ESTRAGON:(with effort). Gogo light梑ough not break桮ogo dead. Didi heavy梑ough break桪idi alone. Whereas?VLADIMIR:I hadn't thought of that.ESTRAGON:If it hangs you it'll hang anything.VLADIMIR:But am I heavier than you?ESTRAGON:So you tell me. I don't know. There's an even chance. Or nearly.VLADIMIR:Well? What do we do?ESTRAGON:Don't let's do anything. It's safer.VLADIMIR:Let's wait and see what he says.ESTRAGON:Who?VLADIMIR:Godot.ESTRAGON:Good idea.VLADIMIR:Let's wait till we know exactly how we stand.ESTRAGON:On the other hand it might be better to strike the iron before it freezes. VLADIMIR:I'm curious to hear what he has to offer. Then we'll take it or leave it. ESTRAGON:What exactly did we ask him for?VLADIMIR:Were you not there?ESTRAGON:I can't have been listening.VLADIMIR:Oh . . . Nothing very definite.ESTRAGON:A kind of prayer.VLADIMIR:Precisely.ESTRAGON:A vague supplication.VLADIMIR:Exactly.ESTRAGON:And what did he reply?VLADIMIR:That he'd see.ESTRAGON:That he couldn't promise anything.VLADIMIR:That he'd have to think it over.ESTRAGON:In the quiet of his home.VLADIMIR:Consult his family.ESTRAGON:His friends.VLADIMIR:His agents.ESTRAGON:His correspondents.VLADIMIR:ESTRAGON:His bank account.VLADIMIR:Before taking a decision.ESTRAGON:It's the normal thing.VLADIMIR:Is it not?ESTRAGON:I think it is.VLADIMIR:I think so too.Silence.ESTRAGON:(anxious). And we?VLADIMIR:I beg your pardon?ESTRAGON:I said, And we?VLADIMIR:I don't understand.ESTRAGON:Where do we come in?VLADIMIR:Come in?ESTRAGON:Take your time.VLADIMIR:Come in? On our hands and knees.ESTRAGON:As bad as that?VLADIMIR:Your Worship wishes to assert his prerogatives?ESTRAGON:We've no rights any more?Laugh of Vladimir, stifled as before, less the smile.VLADIMIR:You'd make me laugh if it wasn't prohibited.ESTRAGON:We've lost our rights?VLADIMIR:(distinctly). We got rid of them.Silence. They remain motionless, arms dangling, heads sunk, sagging at the knees.(feebly). We're not tied? (Pause.) We're not?VLADIMIR:Listen!They listen, grotesquely rigid.ESTRAGON:I hear nothing.VLADIMIR:Hsst! (They listen. Estragon loses his balance, almost falls. He clutches the arm of Vladimir, who totters. They listen, huddled together.) Nor I.Sighs of relief. They relax and separate.ESTRAGON:You gave me a fright.VLADIMIR:I thought it was he.ESTRAGON:Who?VLADIMIR:Godot.ESTRAGON:Pah! The wind in the reeds.VLADIMIR:I could have sworn I heard shouts.ESTRAGON:And why would he shout?VLADIMIR:At his horse.Silence.ESTRAGON:(violently). I'm hungry!VLADIMIR:Do you want a carrot?ESTRAGON:Is that all there is?VLADIMIR:I might have some turnips.ESTRAGON:Give me a carrot. (Vladimir rummages in his pockets, takes out a turnip and gives it to Estragon who takes a bite out of it. Angrily.) It's a turnip!VLADIMIR:Oh pardon! I could have sworn it was a carrot. (He rummages again in his pockets, finds nothing but turnips.) All that's turnips. (He rummages.) You must have eaten the last. (He rummages.) Wait, I have it. (He brings out a carrot and gives it to Estragon.) There, dear fellow. (Estragon wipes the carrot on his sleeve and begins to eat it.) Make it last, that's theend of them.ESTRAGON:(chewing). I asked you a question.VLADIMIR:Ah.ESTRAGON:Did you reply?VLADIMIR:How's the carrot?ESTRAGON:It's a carrot.VLADIMIR:So much the better, so much the better. (Pause.) What was it you wanted to know? ESTRAGON:I've forgotten. (Chews.) That's what annoys me. (He looks at the carrot appreciatively, dangles it between finger and thumb.) I'll never forget this carrot. (He sucks the end of it meditatively.) Ah yes, now I remember.VLADIMIR:Well?ESTRAGON:(his mouth full, vacuously). We're not tied?VLADIMIR:I don't hear a word you're saying.ESTRAGON:(chews, swallows). I'm asking you if we're tied.VLADIMIR:Tied?ESTRAGON:Ti-ed.VLADIMIR:How do you mean tied?ESTRAGON:Down.VLADIMIR:But to whom? By whom?ESTRAGON:To your man.VLADIMIR:To Godot? Tied to Godot! What an idea! No question of it. (Pause.) For the moment. ESTRAGON:His name is Godot?VLADIMIR:I think so.ESTRAGON:Fancy that. (He raises what remains of the carrot by the stub of leaf, twirls it before his eyes.) Funny, the more you eat the worse it gets.VLADIMIR:With me it's just the opposite.ESTRAGON:In other words?VLADIMIR:I get used to the muck as I go along.ESTRAGON:(after prolonged reflection). Is that the opposite?VLADIMIR:Question of temperament.ESTRAGON:Of character.VLADIMIR:Nothing you can do about it.ESTRAGON:No use struggling.VLADIMIR:One is what one is.ESTRAGON:No use wriggling.VLADIMIR:The essential doesn't change.ESTRAGON:Nothing to be done. (He proffers the remains of the carrot to Vladimir.) Like to finish it?A terrible cry, close at hand. Estragon drops the carrot. They remain motionless, then together make a sudden rush towards the wings. Estragon stops halfway, runs back, picks up the carrot, stuffs it in his pocket, runs to rejoin Vladimir who is waiting for him, stops again, runs back, picks up his boot, runs to rejoin Vladimir. Huddled together, shoulders hunched, cringing away from the menace, they wait.Enter Pozzo and Lucky. Pozzo drives Lucky by means of a rope passed round his neck, so that Lucky is the first to enter, followed by the rope which is long enough to let him reach the middle of the stage before Pozzo appears. Lucky carries a heavy bag, a folding stool, a picnic basket and a greatcoat, Pozzo a whip.POZZO:(off). On! (Crack of whip. Pozzo appears. They cross the stage. Lucky passes before Vladimir and Estragon and exit. Pozzo at the sight of Vladimir and Estragon stops short. The rope tautens. Pozzo jerks at it violently.) Back!Noise of Lucky falling with all his baggage. Vladimir and Estragon turn towards him, half wishing half fearing to go to his assistance. Vlamdimir takes a step towards Lucky, Estragon holds him back by the sleeve.VLADIMIR:Let me go!ESTRAGON:Stay where you are!POZZO:Be careful! He's wicked. (Vladimir and Estragon turn towards Pozzo.) With strangers. ESTRAGON:(undertone). Is that him?VLADIMIR:Who?ESTRAGON:(trying to remember the name). Er . . .VLADIMIR:Godot?ESTRAGON:Yes.POZZO:I present myself: Pozzo.VLADIMIR:(to Estragon). Not at all!ESTRAGON:He said Godot.VLADIMIR:Not at all!ESTRAGON:(timidly, to Pozzo). You're not Mr. Godot, Sir?POZZO:(terrifying voice). I am Pozzo! (Silence.) Pozzo! (Silence.) Does that name mean nothing to you? (Silence.) I say does that name mean nothing to you?Vladimir and Estragon look at each other questioningly.ESTRAGON:(pretending to search). Bozzo . . . Bozzo . . .VLADIMIR:(ditto). Pozzo . . . Pozzo . . .POZZO:PPPOZZZO!ESTRAGON:Ah! Pozzo . . . let me see . . . Pozzo . . .VLADIMIR:Is it Pozzo or Bozzo?ESTRAGON:Pozzo . . . no . . . I'm afraid I . . . no . . . I don't seem to . . .Pozzo advances threateningly.VLADIMIR:(conciliating). I once knew a family called Gozzo. The mother had the clap. ESTRAGON:(hastily). We're not from these parts, Sir.POZZO:(halting). 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!VLADIMIR:Well you see?POZZO:(peremptory). Who is Godot?ESTRAGON:Godot?POZZO:You took me for Godot.VLADIMIR:Oh no, Sir, not for an instant, Sir.POZZO:Who is he?VLADIMIR:Oh he's a . . . he's a kind of acquaintance.ESTRAGON:Nothing of the kind, we hardly know him.VLADIMIR:True . . . we don't know him very well . . . but all the same . . .ESTRAGON:Personally, I wouldn't even know him if I saw him.POZZO:You took me for him.ESTRAGON:(recoiling before Pozzo). That's to say . . . you understand . . . the dusk . . . the strain . . . waiting . . . I confess . . . I imagined . . . for a second . . .POZZO:Waiting? So you were waiting for him?VLADIMIR:Well you see?POZZO:Here? On my land?VLADIMIR:We didn't intend any harm.ESTRAGON:We meant well.POZZO:The road is free to all.VLADIMIR:That's how we looked at it.POZZO:It's a disgrace. But there you are.ESTRAGON:Nothing we can do about it.POZZO:(with magnanimous gesture). Let's say no more about it. (He jerks the rope.) Up pig! (Pause.) Every time he drops he falls asleep. (Jerks the rope.) Up hog! (Noise of Lucky getting up and picking up his baggage. Pozzo jerks the rope.) Back! (Enter Lucky backwards.) Stop! (Lucky stops.) Turn! (Lucky turns. To Vladimir and Estragon, affably.) Gentlemen, I am happy to have met you. (Before their incredulous expression.) Yes yes, sincerely happy. (He jerks the rope.) Closer! (Lucky advances.) Stop! (Lucky stops.) Yes, the road seems long when one journeys all alone for . . . (he consults his watch) . . . yes . . . (he calculates) . . . yes, six hours, that's right, six hours on end, and never a soul in sight. (To Lucky.) Coat! (Lucky puts down the bag, advances, gives the coat, goes back to his place, takes up the bag.) Hold that! (Pozzo holds out the whip. Lucky advances and, both his hands being occupied, takes the whip in his mouth, then goes back to his place. Pozzo begins to put on his coat, stops.) Coat! (Lucky puts down the bag, basket and stool, helps Pozzo on with his coat, goes back to his place and takes up bag, basket and stool.) Touch of autumn in the air this evening. (Pozzo finishes buttoning up his coat, stoops, inspects himself, straightens up.) Whip! (Lucky advances, stoops, Pozzo snatches the whip from his mouth, Lucky goes back to his place.) Yes, gentlemen, I cannot go for long without the society of my likes (he puts on his glasses and looks at the two likes) even when the likeness is an imperfect one. (He takes off his glasses.) Stool! (Lucky puts down bag and basket, advances, opens stool, puts it down, goes back to his place, takes up bag and basket.) Closer! (Lucky puts down bag and basket, advances, moves stool, goes back to his place, takes up bag and basket. Pozzo sits down, places the butt of his whip against Lucky's chest and pushes.) Back! (Lucky takes a step back.) Further! (Lucky takes another step back.) Stop! (Lucky stops. To Vladimir and Estragon.) That is why, with your permission, I propose to dally with you a moment, before I venture any further. Basket! (Lucky advances, gives the basket, goes back to his place.) The fresh air stimulates the jaded appetite. (He opens the basket, takes out a piece of chicken and a bottle of wine.) Basket! (Lucky advances, picks up the basket and goes back to his place.) Further! (Lucky takes a step back.) He stinks. Happy days!He drinks from the bottle, puts it down and begins to eat. Silence.Vladimir and Estragon, cautiously at first, then more boldly, begin to circle about Lucky, inspecting him up and down. Pozzo eats his chicken voraciously, throwing away the bones after having sucked them. Lucky sags slowly, until bag and basket touch the ground, then straightens up with a start and begins to sag again. Rhythm of one sleeping on his feet. ESTRAGON:What ails him?VLADIMIR:He looks tired.ESTRAGON:Why doesn't he put down his bags?VLADIMIR:How do I know? (They close in on him.) Careful! ESTRAGON:Say something to him.VLADIMIR:Look!ESTRAGON:What?VLADIMIR:(pointing). His neck!ESTRAGON:(looking at the neck). I see nothing.VLADIMIR:Here.Estragon goes over beside Vladimir.ESTRAGON:Oh I say!VLADIMIR:A running sore!ESTRAGON:It's the rope.VLADIMIR:It's the rubbing.ESTRAGON:It's inevitable.VLADIMIR:It's the knot.ESTRAGON:It's the chafing.They resume their inspection, dwell on the face. VLADIMIR:(grudgingly). He's not bad looking.ESTRAGON:(shrugging his shoulders, wry face.) Would you say so? VLADIMIR:A trifle effeminate.ESTRAGON:Look at the slobber.VLADIMIR:It's inevitable.ESTRAGON:Look at the slaver.VLADIMIR:Perhaps he's a halfwit.ESTRAGON:VLADIMIR:(looking closer). Looks like a goiter.ESTRAGON:(ditto). It's not certain.VLADIMIR:He's panting.ESTRAGON:It's inevitable.VLADIMIR:And his eyes!ESTRAGON:What about them?VLADIMIR:Goggling out of his head.ESTRAGON:Looks like his last gasp to me.VLADIMIR:It's not certain. (Pause.) Ask him a question.ESTRAGON:Would that be a good thing?VLADIMIR:What do we risk?ESTRAGON:(timidly). Mister . . .VLADIMIR:Louder.ESTRAGON:(louder). Mister . . .POZZO:Leave him in peace! (They turn toward Pozzo who, having finished eating, wipes his mouth with the back of his hand.) Can't you see he wants to rest? Basket! (He strikes a match and begins to light his pipe. Estragon sees the chicken bones on the ground and stares at them greedily. As Lucky does not move Pozzo throws the match angrily away and jerks the rope.) Basket! (Lucky starts, almost falls, recovers his senses, advances, puts the bottle in the basket and goes back to his place. Estragon stares at the bones. Pozzo strikes another match and lights his pipe.) What can you expect, it's not his job. (He pulls at his pipe, stretches out his legs.) Ah! That's better.ESTRAGON:(timidly). Please Sir . . .POZZO:What is it, my good man?ESTRAGON:Er . . . you've finished with the . . . er . . . you don't need the . . . er . . . bones, Sir?。

(英语毕业论文)贝克特戏剧《等待戈多》的主题探析

(英语毕业论文)贝克特戏剧《等待戈多》的主题探析

中西方奢侈品消费文化之比较英汉文化差异对英语俚语汉译的影响浅析英语外加状语的语用功能汽车商标词的翻译特征和方法A Comparative Study of Cultural Connotations of Y ellow and Huang in English and Chinese男女二元等级对立的颠覆--《奥兰多》之女性主义解读从《纯真年代》的女性角色看旧纽约的女性地位田纳西•威廉斯《玻璃动物园》中的南方淑女形象《简爱》中女主人公的心路历程幽默语言的语用分析高中英语听力课中的文化教学论英语俚语的汉译—以奈达的功能对等理论为指导论新闻英语中隐喻的运用及其翻译技巧An Analysis of Sexism in English Proverbs论《荆棘鸟》中的女性意识英语外贸信函的特点及翻译词块法在高中英语写作教学中的应用论美国文学中的自然主义产生的社会文化根源从人际功能和言语行为理论解析《儿子与情人》的对话On the Factors Leading to Different Destinies of Rhett Butler and Ashley Wilkes in Gone with the Wind中英文化差异对成语翻译的影响《红楼梦》杨译本与霍译本文化意象的翻译对比从Salsa舞解析墨西哥人的性格跨文化交际中文化移情能力的培养商务谈判策略研究A Brief Discussion on the Translation of the Public Signs商务英语中的委婉表达及其翻译论英汉动物词汇的翻译方法嘉莉妹妹失去自我的悲剧性命运对中国女性自我价值体现的启迪《虹》的生态女性主义解读英语中显性和隐性的性别歧视论哈罗德•品特三部剧作中的权力斗争主题论西尔维娅•普拉斯诗歌中的死亡意象任务型教学在高中英语阅读课中应用的调查女权主义及其对英语语言中性别歧视的影响中美教育制度与教育理念的对比研究李白《静夜思》六种英译本的对比研究论《喧哗与骚动》中凯蒂•康普生的悲剧世纪以来英汉委婉语的语义变迁商务谈判中的中西文化差异及其对策The Tragedy Characteristics of Sister Carrie and An American Tragedy《恋爱中的女人》欧秀拉和古迪兰的性格对其爱情观的影响从心理学角度试析简爱性格的对立性《野性的呼唤》中的人性和野性浅析哈克贝利的叛逆精神关联理论视角下幽默的英汉翻译从《丧钟为谁而鸣》看海明威的生死观浅谈汉语成语的英译Roberta’s Role in An American Tragedy英语报刊中的新词浅析英语阅读中的词汇教学英汉思维方式差异对英译汉结构处理的影响A Comparison of the English Color Terms归化和异化策略在《红楼梦》文化负载词翻译中的应用论多丽丝•莱辛《野草在歌唱》中玛丽的悲剧成因海明威文学创作中主题的转折点——《乞力马扎罗的雪》从礼貌原则看中英委婉语的差异《老人与海》和《白鲸》的生态意识对比从爱伦·坡《黑猫》探讨人性的善良与邪恶论广告翻译中的跨文化因素英汉衔接手段对比分析--基于The Old Man and the Sea及其译本的对比分析艾米丽•狄金斯诗歌死亡主题分析从追求走向幻灭与死亡——谈马丁伊登的美国梦索尔•贝娄《挂起来的人》的存在主义解读约翰•欧内斯特•斯坦贝克《愤怒的葡萄》中的生态整体主义观中式英语与标准英语的差别第二语言习得中的正迁移与负迁移原罪论与赎罪观对西方文化的影响马克•吐温《汤姆•索亚历险记》的讽刺浅析《德伯家的苔丝》中苔丝的反叛精神(英语系经贸英语)国外对华“双反”的现状、原因及对策研究网络英语词汇的构词特点英语新闻的互文性研究A Comparison of the English Color Terms你是爱丽丝吗?从《爱丽丝梦游仙境》中人物看作者刘易斯.卡罗尔的写作意图Paradox in American Culture: Mainstream and the Trend of Multiculturalism《白鲸》与《老人与海》中的海之意象分析从男性角色解读《简爱》中的女性反抗意识The Archetype of the Ugly Duckling in The Secret Garden合作原则在动画中的应用文化交际视野下的语用失误分析《推销员之死》中的反英雄主义世纪年代的摇滚乐对美国传统价值观的影响研究《老人与海》中的和谐关系合作原则视角下探析广告语篇中省略的会话含意《汤姆·索亚历险记》中所反映的社会问题《屋顶丽人》中的多重冲突及其张力从妇女主义角度分析《紫色》中三位女性人物特征英汉句子状语的对比与翻译《黄鹤楼》五个英译本的语义等值研究浅析《老人与海》中桑提亚哥丰富的精神世界论《白象似的群山》中海明威独特的写作风格A Comparison of the English Color Terms认识、寻找和实现自我价值——剖析《飘》中的人生价值英文电影题目翻译的异化与归化研究中西戏剧发展快慢对比及其原因Gothic Romance: Inheritance and Development of Medieval Romance--A Case Study of The Castle of Otranto古诗词英译关于夸张的翻译策略研究A Study of Translation of Chinese Idioms with Numeral “San”《园会》中男性人物性格作用分析The Same Experience, Different Life—The Comparison between Jane Eyre and Lin Daiyu分析《了不起的盖茨比》中的金色的象征意义Translator’s Subjectivity in Three Translated V ersions of Y eY uJiBei英语广告中的礼貌原则朗读在中学英语教学中的作用论《被遗弃的韦瑟罗尔奶奶》中象征主义和意识流的运用《了不起的盖茨比》的叙事技巧分析英汉动物词汇文化内涵意义对比研究外来词的翻译方法初探从《培根论人生》分析弗朗西斯•培根的人生观《老人与海》中的孤独初中英语课堂教学的任务型活动设计从《洛丽塔》看美国世纪中期的消费文化从《美国的悲剧》解析美国梦笛福《鲁宾逊漂流记》中鲁宾逊形象解析A Comparison of the English Color Terms论商业美学指导下的英文电影片名翻译从美国总统就职演说看美国文化价值观《本杰明•富兰克林自传》和《嘉莉妹妹》美国梦的对比研究美国犹太文化与传统犹太文化的冲突——浅析《再见吧,哥伦布》《德伯家的苔丝》环境细节描写的作用比较《百万英镑》和《阿Q正传》《远大前程》中通过研究匹普对乔的态度转变来探讨他的成长经历论《拉合尔茶馆的陌生人》中昌盖茨“美国梦”的转变欧•亨利短篇小说中幽默的翻译精神之光——《到灯塔去》中拉姆齐夫人的人性解析Strategies of Translating Chinese Proper Nouns in Tourism Texts从目的论看电影《音乐之声》中对白的汉译从简爱和安娜卡列尼娜的不同命运看女性意识的觉醒Growing Pains: An Analysis of the Hero in Catcher in the Rye尤金·奥尼尔戏剧中的父亲形象如何提高小学生对英语学习的兴趣论《夜色温柔》中的感伤主义《洛丽塔》的精神生态解读中式菜名的英译关联理论视角下唐诗的翻译从文化角度浅析新闻英语的翻译影响英语听力理解效率的非语言因素从归化与异化角度浅析《毛泽东选集》英译本中文化负载词的翻译英汉姓名的文化阐释Impact of Latin on English V ocabulary浅谈中国英语与中式英语之差异女性主义解读《威尼斯商人》中的女主角从《野性的呼唤》看杰克伦敦自然主义观从生态女性主义视角解读《喜福会》从精神分析法角度分析《麦田里的守望者》中霍尔顿的成长浅析《呼啸山庄》女主人公凯瑟琳的悲剧命运《永别了,武器》中的自然象征意义论翻译美学视角下的公示语翻译从校园官方网站角度对比研究中美校园文化An Ana lysis of Symbolism in Tess of the D’Urbervilles杰克•伦敦《海狼》中海狼拉尔森的性格分析A Comparison of the English Color Terms《雾都孤儿》中的正邪儿童形象外贸英语句子分隔的研究及其翻译A Comparative Study of Sino-US Courtesy英语课堂焦虑对小学生英语学习的影响及解决策略中西文化禁忌语的异同研究《傲慢与偏见》中的婚姻观从合作原则看卡尔登的性格特点《呼啸山庄》中男主人公希斯克利夫复仇动机分析形合与意合对比研究及翻译策略从现代主义角度分析《无名的裘德》中裘德的无根性《麦田里的守望者》中的象征主义分析王尔德童话中的毁灭与拯救A Comparison of Western and Eastern Privacy Concepts浅谈《红楼梦》诗词的文化意象翻译A Comparison of the English Color Terms《紫色》中黑人男性形象研究解析《喜福会》中的母女关系《夜色温柔》男主人公迪克的精神变化研究从言语行为理论看商务沟通中的委婉语从《所罗门之歌》看美国的黑人文化现代人对超人的需求--超人形象演变综述论<<禁食与欢宴>>中乌玛的觉醒英汉语中与饮食相关习语的文化含义及形象意义对比从中西文化差异的角度浅析商宴之道试析《到灯塔去》中的女性主义论英语委婉语的构成与翻译文化差异对中美商务谈判的影响《安尼尔的鬼魂》中“鬼魂”的象征意义探究从拉尔夫·艾里森《隐形人》看美国妇女解放与黑人自由斗争的关系An Analysis of the Cultural Identity in Amy Tan’s The Joy Luc k Club从性别歧视浅析两位复仇女性之困境——美狄亚及莎乐美ESA理论在大学英语口语教学中的运用An Analysis of Female Images in The Thorn Birds从服饰看中西方文化差异与融合从美学视觉浅析化妆品广告的英汉翻译英语中的女性歧视从大众对汽车的选择看美国社会价值观的变化对中西方传统节日之文化差异的研究汽车广告中的双关研究:关联理论视角论《爱玛》中的新女性形象An Analysis of Mulan's Character in Moment in PekingWTO法律文本的语言特点及翻译策略研究《宠儿》中的女性形象分析从功能对等视角看董乐山《》的翻译《呼啸山庄》和《远离尘嚣》中女主人公的女性意识的对比。

等待戈多读后感

等待戈多读后感

文学结课论文题目:Waiting and Hoping --Review of Waiting for Godot 等待和希望——等待戈多读后感姓名:学号:班级:Waiting for Godot is not only a masterpiece by Samuel Beckett, but also a representative of the western absurd theater. The author demonstrates the absurdity of the world with absurdness. People express their hope in their absurdity and it is shown that hope is only cherished in the absurd behavior of waiting. At the same time, it is also reflected that people carry a line of hope for the absurd world, because it is the only hope to wait.The process of waiting is painful. In a long time, two ragged vagrants named Estragon and Vladimir have been waiting for Godot, which was their ultimate goal of their lives. In the process of waiting, they had incoherent speech, repeated boring actions in order to change their hopeless waiting of every day life. All these behaviors shown the pain in this process and recorded postwar people’s anxiety, desire, panic.The reason of waiting is hope. The two haggard vagrants lived for Godot’s coming to change everything. The messenger of Godot, a little boy’s emergence cheered them up and gave them hope that Godot might come the next day. In the process of waiting, they constantly recalled nice things to make them full of confidence for the future, such as Eiffel Tower, the Bible and so forth. To spend the dull time, they did ridiculous games one after another except hanging themselves just because they kept Godot and hope in their mind and looked forward to a new life.“Until the day when God sh all deign to reveal the future to man, all human wisdom is summed up in these two words,--'Wait and hope.'”[1]This is the famous sentence from the last chapter of The Count of Monte Cristo. We can find that Alexandre Dumas suggested us a truth of life. To wait, do not rush into the irrationalemotion and indulge ourselves in the instinct of human nature and to hope, as the misery would be gone and we haven’t experience the best that life has to offer. Here he showed us a positive perspective of life: we are waiting for hope and finally we can get salvation. While in Waiting for Godot, its core also is wait and hope but the author is comparatively more negative because of the lack of hope and the frustrations that fill the dialogue. Waiting for Godot is depr essing and inexplicable for it’s a story about random oppression, brutality, and dreams deferred by harsh realities."Nothing happens, nobody comes, nobody goes, it's awful!"[2]That phrase, said by one of the main characters of the play, somehow sums up the whole plot of this short tragicomedy in two acts. The play starts with two men, Vladimir and Estragon, sitting on a lonely road. They are both waiting for Godot. They don't know why they are waiting for him, but they think that his arrival will change things for the better. The problem is that he doesn't come, although a kid does so and says Godot will eventually arrive. Pozzo and his servant Lucky, two other characters that pass by while our protagonists are waiting for Godot, and add another bizarre touch to an already surreal story, in which nothing seems to happen and discussions between the characters don't make much sense. Nevertheless, maybe that is exactly the point that the author wanted to make. He was one of the most accomplished exponents of the "Theatre of the Absurd", that wanted to highlight the lack of purpose and meaning in an universe without God.Not everyone has a God, but who doesn't have a Godot? Does Godot, the person that Vladimir and Estragon endlessly wait, symbolize God? According toBeckett, when hard-pressed to answer that question, "If I knew who Godot was, I would have said so in the play."[3]Whether Pozzo is Godot? According to the answer that Beckett to Colin Duckworth, he isn’t.[4]Is Godot hope? It’s hard to ide ntify. So we don't know. The result is a highly unusual play that poses many questions, but doesn't answer them. I think Godot here is not a real person. He is the symbolism of hope and belief. In the play, Vladimir and Estragon waited for Godot everyday and they will still wait for him all their life, with disquietude and expectation, from which I can only see the void of life, but may be it is the real life. From my point of view, it is what Samuel Beckett wanted to show to the public. Human beings’ life is based on endless wait, which is always full of desperation, uncertainty, and perturbation; meanwhile we can just see a slight light of hope which is hard to reach. From a philosophic view, there are certain fundamental questions that every human being must come to terms with if they are to take their subjective existences seriously and with intrinsic value. Questions such as death, the meaning of human existence and the place of (or lack of) God in that existence are among them. By and large, the theories of existentialism assert that conscious reality is very complex and without an "objective" or universally known value: the individual must create value by affirming it and living it, not by simply talking about it or philosophize it in the mind. The play may be seen to touch on all of these issues. Existentialism means that existence precedes essence. So, your essence (who you are, what you think, and how you choose to interact with others and the world) is created manifested after you exist. You are not predetermined (aside from genetic predispositions, etc.). Your essence is yourcreation. There is great freedom there, but also great responsibility and with that responsibility, there can be anxiety because the choices you make manifest that essence, or meaning in life. In Waiting for Godot, Vladimir and Estragon (and the audience) are duped, thinking that the climax, epiphany, or any significant meaning will come when Godot arrives. To the contrary, the meaning is the interaction of the characters as they wait. They are waiting for someone or some sign to give some message; when, existentially speaking, it is the waiting - from birth to death - that is life itself. The existentialist would treat the waiting as the significance and meaning in life: the degree and profundity of that meaning is up to each individual. Vladimir and Estragon are waiting, even clinging to an idea of something more; instead, they should be Godot: in other words, they should take responsibility for their own happiness. So we are the master of our life, and we should control our life by ourselves not just wait for somebody else to help. Life is filled with wait, but we must wait to go. Each of us is the Godot of ourselves.Beckett's achievement comes from his ability to link such nihilistic sentiments to extremely comic moments, and it is the humor that carries the reader or the theatergoer through what would otherwise be an unbearably cynical play. These lines of the play have become representative of modern man's ambivalence towards a cruel and uncaring world, which will always remind the people of the question whether you are waiting for Godot who is always there in your life.From the Waiting for Godot , we can find that the human beings just look for the evidence and meaning of life through the painful waiting. As long as people wait, theycan have hope. This is exactly what this drama offers us——enlightment and fascination that make it an ever- lasting drama.So don’t wait for Godot, because you have already met him!WORKS CITED[1]Andonian, Cathleen Culotta. The Critical Response to Samuel Beckett. West Port,Conn: Greenwood Press, 1998.[2]Baldick, Chris. Oxford Concise Dictionary of Literary Terms. Oxford: OxfordUniversity Press, 1996.[3]Baym, Nina et al. The Norton Anthology of American Literature. 6th ed. 5 vols.New York and London: W.W. Norton & Company, 2003.[4]蓝仁哲. “感受荒诞人生见证反戏剧手法—《等待戈多》剧中人及其处境.” 外国文学评论. 3 (2004): 74-80.。

贝克特《等待戈多》分析

贝克特《等待戈多》分析

《等待戈多》讲的并不是一个故事,而是探讨一种静态的情境。

“什么也没有发生,谁也没有来,谁也没有去,这实在糟透了。

”在一条乡间的路上,靠近一棵树有两个老流浪汉弗拉基米尔和埃斯特拉冈在等待着什么。

这就是剧中第一幕开头时的情境。

在第一幕结束时,有人告诉他们说,他们认为与之约好了的戈多先生不来了,但他明天一定会来。

贝克特的《等待戈多》《等待戈多》并不是荒诞派最早的剧本,但它却使荒诞派戏剧引起了广泛注意。

一九五三年一月,《等待戈多》在巴黎的一个小剧场——巴比伦剧场上演,由于其表现世界荒诞性的思想与迥异于传统戏剧的技法,使观众目瞪口呆,毁誉不一。

观众中间形成了两种力量。

誉之者对此剧持赞赏态度,他们声称,《等待戈多》“标志着法国的戏剧革命”,是“异化的里程碑”。

毁之者则对此剧大加批评。

两种力量在剧场休息室便各执一词,争得不可开交。

事后,女评论家玛丽亚·曼内斯评论该剧时说:“没有比它更糟的了”,“我他妈的一点也不懂”。

然而,人类总有这样一种好奇心理,越是遭到诋毁的东西,便越是引起人们的兴趣。

人们争先恐后地涌进剧场,观看此剧。

《等待戈多》一剧,仅在巴黎就上演了三百多场,引起了巨大轰动。

据说,演出期间,巴黎大街小巷与咖啡馆、酒吧间里,到处有人在议论此剧。

两个熟人见面寒喧,一个问“你在干什么”,另一个就说“我在等待戈多”。

《等待戈多》改变了早期荒诞派戏剧默默无闻、不为人知的状况。

几十年来,该剧被译成二十几种语言,在世界各国上演。

一九六一年,该剧获得了国际出版奖。

《等待戈多》不仅成为荒诞派的代表作,而且也成为二十世纪现代主义文学的经典作品之一。

《等待戈多》是一出两幕剧,剧中有五个人物。

两个流浪汉:爱斯特拉冈和弗拉季米尔,奴隶主波卓与他的奴隶幸运儿,此处还有一个报信的男孩子。

第一幕黄昏时分,在荒郊野外的一条小路上,有一棵光秃秃的树。

爱斯特拉冈正坐在一个土墩上费力地脱靴子,弗拉季米尔来了。

通过交谈,观众知道他们每天都要来到这个地方,等待一个叫戈多的人,但他们既不认识戈多,也不知道戈多什么时候来。

等待戈多论文

等待戈多论文

2014-2015学年第一学期硕士研究生课程论文题目:浅析《等待戈多》的多重主题课程名称《西方文学专题》任课教师杨晓莲年级2014 级专业法语语言与文学班次学号**************姓名李烜浅析《等待戈多》的多重主题摘要塞穆尔·巴克利·贝克特的剧本《等待戈多》是荒诞派戏剧的杰出作品。

荒诞派戏剧其实并非没有主题,看似荒诞的情节对话之下,往往隐藏着许多引人深思的主题。

现代派戏剧表面上看是胡闹,不清楚人物由来,事件始末,人物性格特征,可是当仔细一想,这些人又分外地认真。

戏剧本身不是以娱乐观众为目的,而是以一种出位的想象勾起读者的思考,它可能是人的生活中切出来的某一个片段,让读者注意到这些情景是反常的。

正是在反常的戏剧中,目的才有真正的意义,便是在于它是一种让给人思考的哲学。

现代派戏剧又是最严肃的戏剧,它们是以最哲学的方式去演戏。

在《等待戈多》这部戏剧中,实则作者也以严肃认真地态度,用滑稽荒诞的情节为众多主题埋下伏笔。

正如尼采所说的“人生没有目的,只有过程,所谓的终极目的是虚无的。

”由于这部剧过于抽象和深奥,长期以来,批评学者对主题方面的研究一直避而不谈。

或许也是因为剧本的残酷性,人们更多的愿意单独去解读戈多的含义。

在本文中,作者试图从主题学的方面入手,从多角度地解析《等待戈多》的主题意义。

本文第一章在于介绍《等待戈多》的创作内容和创作背景。

以便对《等待戈多》这部剧本进行更加深入的解读和分析。

第二章在于对《等待戈多》的人物形象的分析和剧情的结构,以便从这些当中成功提取出其明确的主题和不明确的主题。

接下来,在第三章,作者对《等待戈多》的多重主题进行解读和浅析,从而对支离破粹的剧情做出总结,深刻地理解贝克特所要传达出来的关于等待的命题的答案。

关键字:等待,荒诞,时间,孤独,戈多第一章《等待戈多》剧本简介及创作背景一.作者简介塞穆尔·巴克利·贝克特(1906年~1989年),他是爱尔兰裔的小说家和剧作家,但他长期居住在法国。

等待戈多经典句子赏析

等待戈多经典句子赏析

等待戈多经典句子赏析1. 《等待戈多》中比较富有哲理的语句或段落弗拉季米尔:手拉着手从巴黎塔①顶上跳下来,这是首先该做的。

那时候我们还很体面。

现在已经太晚啦。

他们甚至不会放我们上去哩。

(爱斯特拉冈:使劲拉靴子)你在干嘛?────①指巴黎的埃弗尔铁塔,高三百米。

爱斯特拉冈:脱靴子。

你难道从来没脱过靴子?弗拉季米尔:靴子每天都要脱,难道还要我来告诉你?你干嘛不好好听我说话?爱斯特拉冈:(无力地)帮帮我!弗拉季米尔:你脚疼?爱斯特拉冈:脚疼!他还要知道我是不是脚疼!弗拉季米尔:(忿怒地)好象只有你一个人受痛苦。

我不是人。

我倒是想听听你要是受了我那样的痛苦,将会说些什么。

爱斯特拉冈:你也脚疼?弗拉季米尔:脚疼!他还要知道我是不是脚疼!(弯腰)从来不忽略生活中的小事。

爱斯特拉冈:你期望什么?你总是等到最后一分钟的。

弗拉季米尔:(若有所思地)最后一分钟……(他沉吟片刻)希望迟迟不来,苦死了等的人。

这句话是谁说的?爱斯特拉冈:你干嘛不帮帮我?弗拉季米尔:有时候,我照样会心血来潮。

跟着我浑身就会有异样的感觉。

(他脱下帽子,向帽内窥视,在帽内摸索,抖了抖帽子,重新把帽子戴上)我怎么说好呢?又是宽心,又是……(他搜索枯肠找词儿)……寒心。

(加重语气)寒──心。

(他又脱下帽子,向帽内窥视)奇怪。

(他敲了敲帽顶,象是要敲掉沾在帽上的什么东西似的,再一次向帽内窥视)毫无办法。

【爱斯特拉冈使尽平生之力,终于把一只靴子脱下。

他往靴内瞧了瞧,伸进手去摸了摸,把靴子口朝下倒了倒,往地上望了望,看看有没有什么东西从靴里掉出来,但什么也没看见,又往靴内摸了摸,两眼出神地朝前面瞪着。

嗯?爱斯特拉冈:什么也没有。

弗拉季米尔:给我看。

爱斯特拉冈:没什么可给你看的。

弗拉季米尔:再穿上去试试。

爱斯特拉冈:(把他的脚察看一番)我要让它通通风。

弗拉季米尔:你就是这样一个人,脚出了毛病,反倒责怪靴子。

(他又脱下帽子,往帽内瞧了瞧,伸手进去摸了摸,在帽顶上敲了敲,往帽里吹了吹,重新把帽子戴上)这件事越来越叫人寒心。

《等待戈多》(Waiting for Godot)1000字观后感

《等待戈多》(Waiting for Godot)1000字观后感

《等待戈多》(Waiting for Godot)1000字观后感《等待戈多》是塞缪尔·贝克特的代表作之一,被誉为现代戏剧的经典之一。

这部戏剧以其独特的结构、深沉的主题和荒谬的对话而著称,给观众留下了深刻的思考和印象。

剧中的主题主要围绕等待展开。

两位主角弗拉基米尔和埃斯特拉贡在一片荒凉的地方等待着一个名叫戈多的人,然而,戈多始终没有出现。

等待成为戏剧的核心,但戏剧情节的极简和单一性使得观众陷入了一种深沉的思考。

等待在剧中被描绘得如此重复、漫长和虚无,观众难免思考这等待的意义和生命的本质。

戈多的缺席成为观众关注的焦点。

弗拉基米尔和埃斯特拉贡对于戈多的期待和他未能出现的失望成为戏剧的主要情节。

这种等待与失望的循环使观众思考,人们是否注定要在生活中等待一些无法实现的东西,以及这等待是否构成了人生的一部分。

戏剧中的对话是贝克特作品的独特之处。

对话充满了荒谬、反讽和幽默,却又深含着对人生困境和存在的深刻思考。

弗拉基米尔和埃斯特拉贡之间的对话如同生活中的废话一般,却又暗示着无奈和迷茫。

这种语言的独特性使观众在戏剧中感受到一种既搞笑又深刻的氛围,引导着观众深入思考人生的意义和困境。

剧中的两个主角弗拉基米尔和埃斯特拉贡之间的关系也是观众关注的焦点。

他们之间的互动充满了亲密、依赖和深刻的默契。

这使得观众不仅仅看到了等待戈多这一主线,也看到了两个人在这漫长的等待中对彼此的情感和支持。

这种关系在人际关系的无常和孤独中产生了一种共鸣。

最后,戏剧的结尾再次强调了等待的主题。

弗拉基米尔和埃斯特拉贡决定离开,却又留恋地留在原地,表示他们仍然在等待。

这一矛盾的结局使观众陷入更深的思考,等待是否永远都是人生的一部分,而对于等待是否能带来真正的改变和满足的问题则成为人们思考的焦点。

总体而言,《等待戈多》是一部充满思考的戏剧作品。

贝克特通过对等待、失望、生命本质和人际关系的描绘,呈现了一个荒谬而深刻的生命画卷。

观众在戏剧中所面对的虚无、循环和困境,引导着人们对于生命的真谛进行深刻的思考。

WaitingforGodot、等待戈多

WaitingforGodot、等待戈多

WaitingforGodot、等待戈多第一篇:Waiting for Godot、等待戈多Waiting for GodotI still remember the sentence of the last chapter ofThe Count of Monte Cristo, “ Until the day when God shall deign to reveal the future to man, all human wisdom is summed up in these two words----Wait and hope”.This novel shows us a positive spirit of life, and tells us that if we are waiting for hope sincerely and finally we can get salvation.While in Waiting for Godot, it mainly tells us a story of waiting and hoping, but it’s comparatively more negative because of the lack of hope and the frustrating dialogues.This novel uses the dramatic way to reveal both the ridiculous and ugly world and the chaotic reality, to describe the painful and hopeless life of the people at that time.In the story, Godot is just a windy image and he never appear.Although he hadn’t appear, he is the key of the characters’ destinies.The two main characters live in a harsh environment, they even can’t have a chance to die freely.But they are always waiting and hoping, waiting for the windy Godot and hoping he can come.No matter Godot will come or not, no matter whether the hope will come true, this kind of hope really gives them spiritual.This waiting may hopeless, but it makes us moved.The two days waiting in the play is the symbol of the long years.This story not only shows us a cruelreality but also gives us great enlightenment.It tells us that hope is existed, but the reality of waiting the hope is unknown, if you decide to wait, it will left you disillusioned.What are they waiting for? Are they really waiting for Godot? Where is Godot? Godot is already in your life actually.So don’t wait for Godot,because you have already met him!第二篇:《等待戈多》读后感自从五十多年前,萨缪尔·贝克特写了《等待戈多》,我就倍受煎熬。

等待戈多(英文2500

等待戈多(英文2500

ContentsAbstract (I)1.Introduction (1)2.uncertainty (1)2.1 The uncertainty of the characters (1)2.2the uncertainty of the time and space (2)2.3The uncertainty of the theme (4)Conclusion (4)References (5)漳州师范学院A nalyzing the uncertainty in waiting forGodot浅析《等待戈多》中的不确定性姓名:蓝珠英学号:100205607系别:外国语言文学系专业:英语年级:2010级指导教师:刘熠组别:六2012 年12 月24 日AbstractWaiting for Godot is one of the masterpiece of Samuel Beckett,it is a scriptures of the theatre of absurd,which is favored by domestic and foreign scholars. Godot is the symbolism of hope and belief. But throughout the whole play , we have no idea of anything but fruitless wa iting. “Nothing happens, nobody comes, nobody goes, it's awful.According to Ihab · Hassan's uncertainty theory ,the article tries to analyze three kinds of uncertain factors in waiting for Godot.Key word :uncertainty; characters; time; space; theme摘要《等待戈多》是塞缪尔·贝克特的代表作,一直以来作为荒诞剧夫人经典,深受国内外学者的喜爱。

waiting for godot 等待戈多

waiting for godot 等待戈多

A country road. A tree.Evening.Estragon, sitting on a low mound, is trying to take off his boot. Hepulls at it with both hands, panting. #Image from He gives up, exhausted, rests, tries again.As before.Enter Vladimir.ESTRAGON:(giving up again). Nothing to be done.VLADIMIR:(advancing with short, stiff strides, legs wide apart). I'm beginningto come round to that opinion. All my life I've tried to put it from me, saying Vladimir, be reasonable, you haven't yet tried everything. And I resumed the struggle. (He broods, musing on the struggle. Turning to Estragon.) So there you are again.ESTRAGON:Am I?VLADIMIR:I'm glad to see you back. I thought you were gone forever.ESTRAGON:Me too.VLADIMIR:Together again at last! We'll have to celebrate this. But how? (He reflects.) Get up till I embrace you.ESTRAGON:(irritably). Not now, not now.VLADIMIR:(hurt, coldly). May one inquire where His Highness spent the night? ESTRAGON:In a ditch.VLADIMIR:(admiringly). A ditch! Where?ESTRAGON:(without gesture). Over there.VLADIMIR:And they didn't beat you?ESTRAGON:Beat me? Certainly they beat me.VLADIMIR:The same lot as usual?ESTRAGON:The same? I don't know.VLADIMIR:When I think of it . . . all these years . . . but for me . . . where would you be . . . (Decisively.) You'd be nothing more than a littleheap of bones at the present minute, no doubt about it.And what of it?VLADIMIR:(gloomily). It's too much for one man. (Pause. Cheerfully.) On theother hand what's the good of losing heart now, that's what I say. We should have thought of it a million years ago, in the nineties. ESTRAGON:Ah stop blathering and help me off with this bloody thing.VLADIMIR:Hand in hand from the top of the Eiffel Tower, among the first. We were respectable in those days. Now it's too late. They wouldn't even let us up. (Estragon tears at his boot.) What are you doing?ESTRAGON:Taking off my boot. Did that never happen to you?VLADIMIR:Boots must be taken off every day, I'm tired telling you that. Whydon't you listen to me?ESTRAGON:(feebly). Help me!VLADIMIR:It hurts?ESTRAGON:(angrily). Hurts! He wants to know if it hurts!VLADIMIR:(angrily). No one ever suffers but you. I don't count. I'd like to hear what you'd say if you had what I have.ESTRAGON:It hurts?VLADIMIR:(angrily). Hurts! He wants to know if it hurts!ESTRAGON:(pointing). You might button it all the same.VLADIMIR:(stooping). True. (He buttons his fly.) Never neglect the little things of life.ESTRAGON:What do you expect, you always wait till the last moment.VLADIMIR:(musingly). The last moment . . . (He meditates.) Hope deferred maketh the something sick, who said that?ESTRAGON:Why don't you help me?VLADIMIR:Sometimes I feel it coming all the same. Then I go all queer. (He takes off his hat, peers inside it, feels about inside it, shakes it, puts it on again.) How shall I say? Relieved and at the same time . . . (he searches for the word) . . . appalled. (With emphasis.) AP-PALLED. (He takes off his hat again, peers inside it.) Funny. (He knocks on the crown as though to dislodge a foreign body, peers into it again, putsit on again.) Nothing to be done. (Estragon with a supreme effort succeeds in pulling off his boot. He peers inside it, feels aboutinside it, turns it upside down, shakes it, looks on the ground to see if anything has fallen out, finds nothing, feels inside it again,staring sightlessly before him.) Well?ESTRAGON:Nothing.VLADIMIR:ESTRAGON:There's nothing to show.VLADIMIR:Try and put it on again.ESTRAGON:(examining his foot). I'll air it for a bit.VLADIMIR:There's man all over for you, blaming on his boots the faults of his feet. (He takes off his hat again, peers inside it, feels about inside it, knocks on the crown, blows into it, puts it on again.) This is getting alarming. (Silence. Vladimir deep in thought, Estragon pulling at his toes.) One of the thieves was saved. (Pause.) It's a reasonable percentage. (Pause.) Gogo.ESTRAGON:What?VLADIMIR:Suppose we repented.ESTRAGON:Repented what?VLADIMIR:Oh . . . (He reflects.) We wouldn't have to go into the details. ESTRAGON:Our being born?Vladimir breaks into a hearty laugh which he immediately stifles, his hand pressed to his pubis, his face contorted.VLADIMIR:One daren't even laugh any more.ESTRAGON:Dreadful privation.VLADIMIR:Merely smile. (He smiles suddenly from ear to ear, keeps smiling, ceases as suddenly.) It's not the same thing. Nothing to be done. (Pause.) Gogo.ESTRAGON:(irritably). What is it?VLADIMIR:Did you ever read the Bible?ESTRAGON:The Bible . . . (He reflects.) I must have taken a look at it. VLADIMIR:Do you remember the Gospels?ESTRAGON:I remember the maps of the Holy Land. Coloured they were. Very pretty. The Dead Sea was pale blue. The very look of it made me thirsty. That's where we'll go, I used to say, that's where we'll go for our honeymoon. We'll swim. We'll be happy.VLADIMIR:You should have been a poet.ESTRAGON:I was. (Gesture towards his rags.) Isn't that obvious?Silence.VLADIMIR:Where was I . . . How's your foot?ESTRAGON:Swelling visibly.VLADIMIR:Ah yes, the two thieves. Do you remember the story?ESTRAGON:No.VLADIMIR:Shall I tell it to you?ESTRAGON:No.VLADIMIR:It'll pass the time. (Pause.) Two thieves, crucified at the same time as our Saviour. One—ESTRAGON:Our what?VLADIMIR:Our Saviour. Two thieves. One is supposed to have been saved and the other . . . (he searches for the contrary of saved) . . . damned. ESTRAGON:Saved from what?VLADIMIR:Hell.ESTRAGON:I'm going.He does not move.VLADIMIR:And yet . . . (pause) . . . how is it –this is not boring you I hope–how is it that of the four Evangelists only one speaks of a thief being saved. The four of them were there –or thereabouts– and only one speaks of a thief being saved. (Pause.) Come on, Gogo, return the ball, can't you, once in a way?ESTRAGON:(with exaggerated enthusiasm). I find this really most extraordinarily interesting.VLADIMIR:One out of four. Of the other three, two don't mention any thieves at all and the third says that both of them abused him.ESTRAGON:Who?VLADIMIR:What?ESTRAGON:What's all this about? Abused who?VLADIMIR:The Saviour.ESTRAGON:Why?VLADIMIR:Because he wouldn't save them.ESTRAGON:From hell?VLADIMIR:Imbecile! From death.ESTRAGON:I thought you said hell.VLADIMIR:From death, from death.ESTRAGON:Well what of it?VLADIMIR:Then the two of them must have been damned.ESTRAGON:And why not?VLADIMIR:But one of the four says that one of the two was saved.ESTRAGON:Well? They don't agree and that's all there is to it.VLADIMIR:But all four were there. And only one speaks of a thief being saved. Why believe him rather than the others?ESTRAGON:Who believes him?VLADIMIR:Everybody. It's the only version they know.ESTRAGON:People are bloody ignorant apes.He rises painfully, goes limping to extreme left, halts, gazes into distance off with his hand screening his eyes, turns, goes to extreme right, gazes into distance. Vladimir watches him, then goes and picks up the boot, peers into it, drops it hastily.VLADIMIR:Pah!He spits. Estragon moves to center, halts with his back to auditorium. ESTRAGON:Charming spot. (He turns, advances to front, halts facing auditorium.) Inspiring prospects. (He turns to Vladimir.) Let's go.VLADIMIR:We can't.ESTRAGON:Why not?VLADIMIR:We're waiting for Godot.ESTRAGON:(despairingly). Ah! (Pause.) You're sure it was here?VLADIMIR:What?ESTRAGON:That we were to wait.VLADIMIR:He said by the tree. (They look at the tree.) Do you see any others? ESTRAGON:What is it?VLADIMIR:I don't know. A willow.ESTRAGON:Where are the leaves?VLADIMIR:It must be dead.ESTRAGON:No more weeping.VLADIMIR:Or perhaps it's not the season.ESTRAGON:Looks to me more like a bush.A shrub.ESTRAGON:A bush.VLADIMIR:A—. What are you insinuating? That we've come to the wrong place? ESTRAGON:He should be here.VLADIMIR:He didn't say for sure he'd come.ESTRAGON:And if he doesn't come?VLADIMIR:We'll come back tomorrow.ESTRAGON:And then the day after tomorrow.VLADIMIR:Possibly.ESTRAGON:And so on.VLADIMIR:The point is—ESTRAGON:Until he comes.VLADIMIR:You're merciless.ESTRAGON:We came here yesterday.VLADIMIR:Ah no, there you're mistaken.ESTRAGON:What did we do yesterday?VLADIMIR:What did we do yesterday?ESTRAGON:Yes.VLADIMIR:Why . . . (Angrily.) Nothing is certain when you're about. ESTRAGON:In my opinion we were here.VLADIMIR:(looking round). You recognize the place?ESTRAGON:I didn't say that.VLADIMIR:Well?ESTRAGON:That makes no difference.VLADIMIR:All the same . . . that tree . . . (turning towards auditorium) that bog . . .ESTRAGON:You're sure it was this evening?VLADIMIR:What?ESTRAGON:That we were to wait.He said Saturday. (Pause.) I think.ESTRAGON:You think.VLADIMIR:I must have made a note of it. (He fumbles in his pockets, burstingwith miscellaneous rubbish.)ESTRAGON:(very insidious). But what Saturday? And is it Saturday? Is it notrather Sunday? (Pause.) Or Monday? (Pause.) Or Friday?VLADIMIR:(looking wildly about him, as though the date was inscribed in the landscape). It's not possible!ESTRAGON:Or Thursday?VLADIMIR:What'll we do?ESTRAGON:If he came yesterday and we weren't here you may be sure he won't come again today.VLADIMIR:But you say we were here yesterday.ESTRAGON:I may be mistaken. (Pause.) Let's stop talking for a minute, do youmind?VLADIMIR:(feebly). All right. (Estragon sits down on the mound. Vladimir paces agitatedly to and fro, halting from time to time to gaze into distance off. Estragon falls asleep. Vladimir halts finally before Estragon.)Gogo! . . . Gogo! . . . GOGO!Estragon wakes with a start.ESTRAGON:(restored to the horror of his situation). I was asleep! (Despairingly.) Why will you never let me sleep?VLADIMIR:I felt lonely.ESTRAGON:I had a dream.VLADIMIR:Don't tell me!ESTRAGON:I dreamt that—VLADIMIR:DON'T TELL ME!ESTRAGON:(gesture toward the universe). This one is enough for you? (Silence.)It's not nice of you, Didi. Who am I to tell my private nightmares toif I can't tell them to you?VLADIMIR:Let them remain private. You know I can't bear that.ESTRAGON:(coldly.) There are times when I wonder if it wouldn't be better for usto part.VLADIMIR:You wouldn't go far.ESTRAGON:That would be too bad, really too bad. (Pause.) Wouldn't it, Didi, be really too bad? (Pause.) When you think of the beauty of the way. (Pause.) And the goodness of the wayfarers. (Pause. Wheedling.)Wouldn't it, Didi?VLADIMIR:Calm yourself.ESTRAGON:(voluptuously.) Calm . . . calm . . . The English say cawm. (Pause.)You know the story of the Englishman in the brothel?VLADIMIR:Yes.ESTRAGON:Tell it to me.VLADIMIR:Ah stop it!ESTRAGON:An Englishman having drunk a little more than usual proceeds to abrothel. The bawd asks him if he wants a fair one, a dark one or a red-haired one. Go on.VLADIMIR:STOP IT!Exit Vladimir hurriedly. Estragon gets up and follows him as far as the limit of the stage. Gestures of Estragon like those of a spectator encouraging a pugilist. Enter Vladimir. He brushes past Estragon,crosses the stage with bowed head. Estragon takes a step towards him, halts.ESTRAGON:(gently.) You wanted to speak to me? (Silence. Estragon takes a step forward.) You had something to say to me? (Silence. Another step forward.) Didi . . .VLADIMIR:(without turning). I've nothing to say to you.ESTRAGON:(step forward). You're angry? (Silence. Step forward). Forgive me. (Silence. Step forward. Estragon lays his hand on Vladimir's shoulder.) Come, Didi. (Silence.) Give me your hand. (Vladimir half turns.)Embrace me! (Vladimir stiffens.) Don't be stubborn! (Vladimir softens. They embrace. #Estragon recoils.) You stink of garlic!VLADIMIR:It's for the kidneys. (Silence. Estragon looks attentively at the tree.) What do we do now?ESTRAGON:Wait.VLADIMIR:Yes, but while waiting.ESTRAGON:What about hanging ourselves?VLADIMIR:Hmm. It'd give us an erection.ESTRAGON:(highly excited). An erection!VLADIMIR:With all that follows. Where it falls mandrakes grow. That's why they shriek when you pull them up. Did you not know that?ESTRAGON:Let's hang ourselves immediately!VLADIMIR:From a bough? (They go towards the tree.) I wouldn't trust it. ESTRAGON:We can always try.VLADIMIR:Go ahead.ESTRAGON:After you.VLADIMIR:No no, you first.ESTRAGON:Why me?VLADIMIR:You're lighter than I am.ESTRAGON:Just so!VLADIMIR:I don't understand.ESTRAGON:Use your intelligence, can't you?Vladimir uses his intelligence.VLADIMIR:(finally). I remain in the dark.ESTRAGON:This is how it is. (He reflects.) The bough . . . the bough . . . (Angrily.) Use your head, can't you?VLADIMIR:You're my only hope.ESTRAGON:(with effort). Gogo light—bough not break—Gogo dead. Didi heavy—bough break—Didi alone. Whereas—VLADIMIR:I hadn't thought of that.ESTRAGON:If it hangs you it'll hang anything.VLADIMIR:But am I heavier than you?ESTRAGON:So you tell me. I don't know. There's an even chance. Or nearly. VLADIMIR:Well? What do we do?ESTRAGON:Don't let's do anything. It's safer.VLADIMIR:Let's wait and see what he says.ESTRAGON:Who?VLADIMIR:Godot.ESTRAGON:Good idea.VLADIMIR:Let's wait till we know exactly how we stand.ESTRAGON:On the other hand it might be better to strike the iron before it freezes.VLADIMIR:I'm curious to hear what he has to offer. Then we'll take it or leave it.ESTRAGON:What exactly did we ask him for?VLADIMIR:Were you not there?ESTRAGON:I can't have been listening.VLADIMIR:Oh . . . Nothing very definite.ESTRAGON:A kind of prayer.VLADIMIR:Precisely.ESTRAGON:A vague supplication.VLADIMIR:Exactly.ESTRAGON:And what did he reply?VLADIMIR:That he'd see.ESTRAGON:That he couldn't promise anything.VLADIMIR:That he'd have to think it over.ESTRAGON:In the quiet of his home.VLADIMIR:Consult his family.ESTRAGON:His friends.VLADIMIR:His agents.ESTRAGON:His correspondents.VLADIMIR:His books.ESTRAGON:His bank account.VLADIMIR:Before taking a decision.ESTRAGON:It's the normal thing.VLADIMIR:Is it not?ESTRAGON:I think it is.VLADIMIR:I think so too.Silence.ESTRAGON:(anxious). And we?VLADIMIR:I beg your pardon?ESTRAGON:I said, And we?VLADIMIR:I don't understand.ESTRAGON:Where do we come in?VLADIMIR:Come in?ESTRAGON:Take your time.VLADIMIR:Come in? On our hands and knees.ESTRAGON:As bad as that?VLADIMIR:Your Worship wishes to assert his prerogatives?ESTRAGON:We've no rights any more?Laugh of Vladimir, stifled as before, less the smile.VLADIMIR:You'd make me laugh if it wasn't prohibited.ESTRAGON:We've lost our rights?VLADIMIR:(distinctly). We got rid of them.Silence. They remain motionless, arms dangling, heads sunk, sagging at the knees.ESTRAGON:(feebly). We're not tied? (Pause.) We're not—VLADIMIR:Listen!They listen, grotesquely rigid. #ESTRAGON:I hear nothing.VLADIMIR:Hsst! (They listen. Estragon loses his balance, almost falls. He clutches the arm of Vladimir, who totters. They listen, huddled together.) Nor I.Sighs of relief. They relax and separate.ESTRAGON:You gave me a fright.VLADIMIR:I thought it was he.ESTRAGON:Who?VLADIMIR:Godot.ESTRAGON:Pah! The wind in the reeds.VLADIMIR:I could have sworn I heard shouts.ESTRAGON:And why would he shout?VLADIMIR:At his horse.Silence.ESTRAGON:(violently). I'm hungry!VLADIMIR:Do you want a carrot?ESTRAGON:Is that all there is?VLADIMIR:I might have some turnips.ESTRAGON:Give me a carrot. (Vladimir rummages in his pockets, takes out a turnip and gives it to Estragon who takes a bite out of it. Angrily.) It's a turnip!VLADIMIR:Oh pardon! I could have sworn it was a carrot. (He rummages again inhis pockets, finds nothing but turnips.) All that's turnips. (He rummages.) You must have eaten the last. (He rummages.) Wait, I have it. (He brings out a carrot and gives it to Estragon.) There, dear fellow.#(Estragon wipes the carrot on his sleeve and begins to eat it.) Make it last, that's the end of them.ESTRAGON:(chewing). I asked you a question.VLADIMIR:Ah.ESTRAGON:Did you reply?VLADIMIR:How's the carrot?ESTRAGON:It's a carrot.VLADIMIR:So much the better, so much the better. (Pause.) What was it you wantedto know?ESTRAGON:I've forgotten. (Chews.) That's what annoys me. (He looks at the carrot appreciatively, dangles it between finger and thumb.) I'll never forget this carrot. (He sucks the end of it meditatively.) Ah yes, now I remember.VLADIMIR:Well?ESTRAGON:(his mouth full, vacuously). We're not tied?VLADIMIR:I don't hear a word you're saying.ESTRAGON:(chews, swallows). I'm asking you if we're tied.VLADIMIR:Tied?ESTRAGON:Ti-ed.VLADIMIR:How do you mean tied?ESTRAGON:Down.VLADIMIR:But to whom? By whom?ESTRAGON:To your man.VLADIMIR:To Godot? Tied to Godot! What an idea! No question of it. (Pause.) Forthe moment.ESTRAGON:His name is Godot?VLADIMIR:I think so.ESTRAGON:Fancy that. (He raises what remains of the carrot by the stub of leaf, twirls it before his eyes.) Funny, the more you eat the worse it gets. VLADIMIR:With me it's just the opposite.ESTRAGON:In other words?VLADIMIR:I get used to the muck as I go along.ESTRAGON:(after prolonged reflection). Is that the opposite?VLADIMIR:Question of temperament.ESTRAGON:Of character.VLADIMIR:Nothing you can do about it.ESTRAGON:No use struggling.VLADIMIR:One is what one is.ESTRAGON:No use wriggling.VLADIMIR:The essential doesn't change.ESTRAGON:Nothing to be done. (He proffers the remains of the carrot to Vladimir.) Like to finish it?A terrible cry, close at hand. Estragon drops the carrot. They remain motionless, then together make a sudden rush towards the wings.Estragon stops halfway, runs back, picks up the carrot, stuffs it inhis pocket, runs to rejoin Vladimir who is waiting for him, stops again, runs back, picks up his boot, runs to rejoin Vladimir. Huddled together, shoulders hunched, cringing away from the menace, they wait. #Enter Pozzo and Lucky. Pozzo drives Lucky by means of a rope passedround his neck, so that Lucky is the first to enter, followed by therope which is long enough to let him reach the middle of the stagebefore Pozzo appears. Lucky carries a heavy bag, a folding stool, apicnic basket and a greatcoat, Pozzo a whip.POZZO:(off). On! (Crack of whip. Pozzo appears. They cross the stage. Lucky passes before Vladimir and Estragon and exit. Pozzo at the sight of Vladimir and Estragon stops short. The rope tautens. Pozzo jerks at it violently.) Back!Noise of Lucky falling with all his baggage. Vladimir and Estragon turn towards him, half wishing half fearing to go to his assistance.Vladimir takes a step towards Lucky, Estragon holds him back by the sleeve.VLADIMIR:Let me go!ESTRAGON:Stay where you are!POZZO:Be careful! He's wicked. (Vladimir and Estragon turn towards Pozzo.)With strangers.ESTRAGON:(undertone). Is that him?VLADIMIR:Who?ESTRAGON:(trying to remember the name). Er . . .VLADIMIR:Godot?ESTRAGON:Yes.POZZO:I present myself: Pozzo.VLADIMIR:(to Estragon). Not at all!ESTRAGON:He said Godot.VLADIMIR:Not at all!ESTRAGON:(timidly, to Pozzo). You're not Mr. Godot, Sir?POZZO:(terrifying voice). I am Pozzo! (Silence.) Pozzo! (Silence.) Does that name mean nothing to you? (Silence.) I say does that name mean nothingto you?Vladimir and Estragon look at each other questioningly.ESTRAGON:(pretending to search). Bozzo . . . Bozzo . . .VLADIMIR:(ditto). Pozzo . . . Pozzo . . .POZZO:PPPOZZZO!ESTRAGON:Ah! Pozzo . . . let me see . . . Pozzo . . .VLADIMIR:Is it Pozzo or Bozzo?ESTRAGON:Pozzo . . . no . . . I'm afraid I . . . no . . . I don't seem to . . . Pozzo advances threateningly.VLADIMIR:(conciliating). I once knew a family called Gozzo. The mother had the clap.ESTRAGON:(hastily). We're not from these parts, Sir.POZZO:(halting). 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 speciesas myself. (He bursts into an enormous laugh.) Of the same species as Pozzo! Made in God's image!VLADIMIR:Well you see—POZZO:(peremptory). Who is Godot?ESTRAGON:Godot?POZZO:You took me for Godot.VLADIMIR:Oh no, Sir, not for an instant, Sir.POZZO:Who is he?VLADIMIR:Oh he's a . . . he's a kind of acquaintance.ESTRAGON:Nothing of the kind, we hardly know him.VLADIMIR:True . . . we don't know him very well . . . but all the same . . . ESTRAGON:Personally, I wouldn't even know him if I saw him.POZZO:You took me for him.ESTRAGON:(recoiling before Pozzo). That's to say . . . you understand . . . the dusk . . . the strain . . . waiting . . . I confess . . . Iimagined . . . for a second . . .POZZO:Waiting? So you were waiting for him?VLADIMIR:Well you see—POZZO:Here? On my land?VLADIMIR:We didn't intend any harm.ESTRAGON:We meant well.POZZO:The road is free to all.VLADIMIR:That's how we looked at it.POZZO:It's a disgrace. But there you are.ESTRAGON:Nothing we can do about it.POZZO:(with magnanimous gesture). Let's say no more about it. (He jerks the rope.) Up pig! (Pause.) Every time he drops he falls asleep. (Jerks the rope.) Up hog! (Noise of Lucky getting up and picking up his baggage. Pozzo jerks the rope.) Back! (Enter Lucky backwards.) Stop! (Lucky stops.) Turn! (Lucky turns. To Vladimir and Estragon, affably.) Gentlemen, I am happy to have met you. (Before their incredulous expression.) Yes yes, sincerely happy. (He jerks the rope.) Closer! (Lucky advances.) Stop! (Lucky stops.) Yes, the road seems long whenone journeys all alone for . . . (he consults his watch) . . . yes . . . (he calculates) . . . yes, six hours, that's right, six hours on end,and never a soul in sight. (To Lucky.) Coat! (Lucky puts down the bag, advances, gives the coat, goes back to his place, takes up the bag.)Hold that! (Pozzo holds out the whip. Lucky advances and, both hishands being occupied, takes the whip in his mouth, then goes back tohis place. Pozzo begins to put on his coat, stops.) Coat! (Lucky puts down the bag, basket and stool, helps Pozzo on with his coat, goes backto his place and takes up bag, basket and stool.) Touch of autumn inthe air this evening. (Pozzo finishes buttoning up his coat, stoops, inspects himself, straightens up.) Whip! (Lucky advances, stoops, Pozzo snatches the whip from his mouth, Lucky goes back to his place.) Yes, gentlemen, I cannot go for long without the society of my likes (heputs on his glasses and looks at the two likes) even when the likenessis an imperfect one. (He takes off his glasses.) Stool! (Lucky putsdown bag and basket, advances, opens stool, puts it down, goes back tohis place, takes up bag and basket.) Closer! (Lucky puts down bag and basket, advances, moves stool, goes back to his place, takes up bag and basket. Pozzo sits down, places the butt of his whip against Lucky'schest and pushes.) Back! (Lucky takes a step back.) Further! (Luckytakes another step back.) Stop! (Lucky stops. To Vladimir and Estragon.) That is why, with your permission, I propose to dally with you a moment, before I venture any further. Basket! (Lucky advances, gives the basket, goes back to his place.) The fresh air stimulates the jaded appetite. (He opens the basket, takes out a piece of chicken and a bottle of wine.) Basket! (Lucky advances, picks up the basket and goes back tohis place.) Further! (Lucky takes a step back.) He stinks. Happy days!He drinks from the bottle, puts it down and begins to eat. Silence. # Vladimir and Estragon, cautiously at first, then more boldly, begin to circle about Lucky, inspecting him up and down. Pozzo eats his chicken voraciously, throwing away the bones after having sucked them. Luckysags slowly, until bag and basket touch the ground, then straightens up with a start and begins to sag again. Rhythm of one sleeping on hisfeet.ESTRAGON:What ails him?VLADIMIR:He looks tired.ESTRAGON:Why doesn't he put down his bags?VLADIMIR:How do I know? (They close in on him.) Careful!ESTRAGON:Say something to him.VLADIMIR:Look!ESTRAGON:What?VLADIMIR:(pointing). His neck!ESTRAGON:(looking at the neck). I see nothing.VLADIMIR:Here.Estragon goes over beside Vladimir.ESTRAGON:Oh I say!VLADIMIR:A running sore!ESTRAGON:It's the rope.VLADIMIR:It's the rubbing.ESTRAGON:It's inevitable.VLADIMIR:It's the knot.ESTRAGON:It's the chafing.They resume their inspection, dwell on the face.VLADIMIR:(grudgingly). He's not bad looking.ESTRAGON:(shrugging his shoulders, wry face.) Would you say so?VLADIMIR:A trifle effeminate.ESTRAGON:Look at the slobber.VLADIMIR:It's inevitable.ESTRAGON:Look at the slaver.VLADIMIR:Perhaps he's a halfwit.ESTRAGON:A cretin.VLADIMIR:(looking closer). Looks like a goiter.ESTRAGON:(ditto). It's not certain.VLADIMIR:He's panting.ESTRAGON:It's inevitable.VLADIMIR:And his eyes!ESTRAGON:What about them?VLADIMIR:Goggling out of his head. #ESTRAGON:Looks like his last gasp to me.VLADIMIR:It's not certain. (Pause.) Ask him a question.ESTRAGON:Would that be a good thing?VLADIMIR:What do we risk?ESTRAGON:(timidly). Mister . . .VLADIMIR:Louder.ESTRAGON:(louder). Mister . . .POZZO:Leave him in peace! (They turn toward Pozzo who, having finished eating, wipes his mouth with the back of his hand.) Can't you see he wants to rest? Basket! (He strikes a match and begins to light his pipe.。

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Waiting and Hoping——A Brief Analysis of Waiting for Godot by Samuel Beckett Waiting for Godot is not only a masterpiece by Samuel Beckett, but also a representative of the western absurd theater. The author demonstrates the absurdity of the world with absurdness. People express their hope in their absurdity and it is shown that hope is only cherished in the absurd behavior of waiting. At the same time, it is also reflected that people carry a line of hope for the absurd world, because it is the only hope to wait.
The process of waiting is painful. In a long time, two ragged vagrants named Estragon and Vladimir have been waiting for Godot, which was their ultimate goal of their lives. In the process of waiting, they had incoherent speech, repeated boring actions in order to change their hopeless waiting of every day life. All these behaviors shown the pain in this process and recorded postwar people’s anxiety, desire, panic.
The reason of waiting is hope. The two haggard vagrants lived for Godot’s coming to change everything. The messenger of Godot, a little boy’s emergence cheered them up and gave them hope that Godot might come the next day. In the process of waiting, they constantly recalled nice things to make them full of confidence for the future, such as Eiffel Tower, the Bible and so forth. To spend the dull time, they did ridiculous games one after another except hanging themselves just because they kept Godot and hope in their mind and looked forward to a new life.
From the Waiting for Godot , we can find that the human beings just look for the evidence and meaning of life through the painful waiting. As long as people wait, they can have hope. This is exactly what this drama offers us—— enlightment and fascination that make it an ever- lasting drama.。

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