Godot and Lolita
One of the pervasive philosophies behind many postmodern forms of art and literature is the idea that human identities are defined more by their social circumstances than by any universal truths. The human is not a self-sufficient entity, but is built through social conventions. This notion reveals itself in the transitional postmodern works by Samuel Beckett and Vladimir Nabokov-specifically, in Lolita and Waiting for Godot. Humbert Humbert is continually attempting to reconcile his life as a suave intellectual with his hidden life as a pedophilic rapist. One way in which he does this is to call himself a "therapist"; which is an acceptable label for one of his faces, but also identifies him more subtly as "the rapist." This duel nature reflects the social limitations imposed upon his freedom, and the consequences they have for both his identity and his actions. Vladimir and Estragon encounter a different aspect of this philosophy: they find that they are forced to define their existence only with reference to their actions, and these actions can only be adequately justified by social circumstances. The pair grapples with the meaninglessness of their lives, debates ending them, but continues because of an abstract social convent
Understanding this traditional definition of human identity, it is possible to see Waiting for Godot as a postmodern objection to Locke's argument. Estragon's only defining characteristic is his relationship to Vladimir. Additionally, Estragon is not even conscious of how far back or forward this relationship stretches-it is momentary and fragmented. Still, Estragon must be considered the same person he was in the Macon country; despite his objection, "No I was never in the Macon country! I've puked my puke of a life away here, I tell you!" (Beckett, 40). This statement is substantial because it is both false and true. Physically, Estragon was in the Macon country, but mentally he was always "here"-in the present. Despite Estragon's inability to remember it, we must assume he is the same person he was in the Macon country because he is still following the same social convention: he is following Vladimir. In this way, social circumstances create who he is, regardless of his conscious link to any past perceptions. The reader is not allowed with Vladimir or Estragon, on the other hand, a detailed glimpse into their mental states. Consequently, we are left to interpret from their actions and words how they perceive themselves. Whereas Humbert is able to hold onto his past conceptions of Lolita, Estragon possesses a far more limited perceptual link to his mental past. When Vladimir asks him about the previous day he responds, "Yes, now I remember, yesterday evening we spent blathering about nothing in particular. That's been going on now for half a century." (Beckett, 42). Importantly, Estragon remembers nothing in particular about the previous day, except that he was kicked (Beckett, 43). Estragon's understanding of himself is based very weakly upon his physical states, and memories are only tied to this construction of himself when associated with these physical states. So, it is reasonable to wonder: who does Estragon think he is? If he is almost utterly unable to understand himself with reference to either of the two most common ways-physical or mental continuance-it would be difficult to claim that he is the same person he was the day before. ion-they are waiting for Godot. This is a powerful demonstration of the emptiness of human action; the most concrete aspect of our existence is the social constraints that define us. Both works exhibit bits of this postmodern ph
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Approximate Word count = 1610
Approximate Pages = 6 (250 words per page double spaced)
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