Beckett condemns humanity as suffering from positive schizophrenic disorder, whose symptoms are hallucinations and delusions. The protagonists live in the perfidious illusion that their "personal god" (30) can resolve their existential crisis and indulge in complex metaphysical arguments resorting to the tormenting Wait for "Godot". Pozzo is trapped in his intricate web of timelessness. In contrast, Lucky is not in a state of spiritual poverty as he has accepted life's absurd revelations despite his grotesque living conditions. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The plot circulates in a cyclical time loop where time does not flow linearly but is a recurring continuum. There is no closure to this dark time cycle, but with each cycle humans have become more and more degenerate. Another pertinent idea delves into notions of how time has been manipulated throughout the plot, from its cyclical structure in the play to its delirious and infinite nature. A fascinating idea to consider is when we ecstatically wait for something; then even a few hours seem like days. This may be explanatory of the human condition that constantly desires Godot to resolve its existential crisis. So he doesn't show up, but the humans continue to wait. Therefore, a sudden lifespan seems eternal in our conceptual reality. Beckett criticizes the ridiculous perspectives of the protagonists who continually formulate prejudicial notions of an external being to replenish their curiosity about the meaning of life. When humanity contemplates its existence through a distorted lens, it essentially finds itself in a condition of deprivation. This philosophical idea can also be explored in Lucky's epiphanic monologue when he contemplates God outside of an extension of time, that is, omnipresent. It ridicules religious perspectives, formatting the “personal God” and the attempts of us “ignorant apes” (10) to create images of gods and manipulate religion to gain power in social spaces. A more effective lens to analyze life is to be a spiritual person who accepts the ridiculous nature of life. Thus, human beings are like spiritual beggars, constantly searching for existential theories and goals. Modernity is a grotesque illusion. Ultimately, men have lost their security and are dictated to by their personal gods. If this euphemistic "advancement" continues, the earth will eventually become a home of stones and human beings, a speck of emptiness, still dictated by religion. Our physical dimension, continually degenerating, and man, a slave to his own subconscious. Living in ignorance, waiting to die. "Nothing to do." (12) “Waiting for Godot” is an absurd commentary that delves into the dimensions of the psychological mind; particularly relating to the way it is used by humans to formulate prejudicial notions of a personal god who helps resolve the grotesque existential crisis that consumes them. The setting replicates a null, empty, void-like structure of our subconscious, which engages in ridiculous metaphysical and conjectural discourses to inflict meaning on life. The work is built on a cyclical time loop with distinct senseless repetitions of events that create the conception of a brain prison. Beckett contemplates how we must transcend this prison of our subconscious and truly access the physical dimension of our reality; time accepting the absurdity of life or decay into nothingness. Providing ourselves with the epiphanic reality of being born astride the tomb, it would be vain to live in the illusion that time has stopped.Examination of the form states that repetition is a prominent motif throughout the plot and contributes to the cyclical structure of the work. Stylistic features of metaphors, symbolism, and absent voices are employed to expose the abundant images that create dramatic effects that contribute to the genre of tragicomedy. The dark, apocalyptic setting (A country road. A tree. Evening.) reinforces the notion of mind subconscious and the sad and banal atmosphere present throughout the work. Beckett uses the character of Lucky to sharply criticize the grotesque idea that humans form prejudicial religions to save a nihilistic purpose. Scrutinizing life by manipulating the subconscious to construct "personal gods" is illustrated when the protagonists have a vague conception of time. Humans create “personal gods” (29) and impart an image to them by giving them a “white beard” (29). Lucky also goes on to criticize religious gods who suffer from “divine heights” (29) to solve our sins. The infinite wait for our "personal god" (29) who is "outside of time" (29) has led humanity to "waste away and pine" (30). Repetition plays an instrumental role in the development of cyclical structure. The ideas of “feeding and defecation” (29) form a monotonous and recurring continuum, whereby each generation engages in ingestion and excretion, and our “personal gods” (29) dictate to us while we live in ignorance. This incessant decay and yearning;” Waiting for Godot” has distorted our conception of time, lengthening it and making it seem infinite. This is illustrated in Lucky's prediction of humanity's dystopian future “in the year 600-something” (30). As if the opera had been composed in 1946, how can “600” (29) be the future? The ridiculous and endless waiting makes time pass slowly, making the human lifespan seem eternal. Beckett establishes that life will eventually degenerate into nothingness, “earthly home of stones…great cold” (30). This destruction that began with the “subjective idealism” of “Bishop Berkeley” (30), pertaining to physical reality, is only a projection of our subconscious that causes human beings to consciously conjugate with their unconscious mind instead of with their reality . The protagonists continually contemplate Godot's arrival offering vague alternatives, “…. Saturday? …is it Saturday? Isn't it... Sunday? (Pause).... Monday? (Break). Or Friday?” (11) and have a “faulty” memory. If viewed logically, most religions (Godot) would extend to millennials. However, since time has practically stopped in our subconscious, this process is condensed into weeks since our unconscious mind is not trapped by the physical dimensions of space and time. The stylistic features of repetition are further emphasized when Vladimir continually repeats: "we are waiting for Godot" (10). This monotonous “Waiting” makes time virtually infinite and life an agonizing search for nihilistic purpose. Humanity has lost all sense of security and humans have become a meaningless “speck of emptiness” that strives to give meaning to life despite having none. Beckett formulates the motif of Vladimir and Estragon being “bound to Godot” (15), making life a torturous, constipated torture. Beckett appeals to the idea that humans are a tragic comedy, essentially “ignorant apes” (10). Ironically, the rope that binds Vladimir and Estragon to Godot is the same rope that they may have used to hang themselves. Beckett contemplates the annihilation of the brain prison by acknowledging the absurd notion of life. By giving up ignorant analytical lenses to dissect life, life would not be a gloomy wait. In modern society, “time has stopped” (25) and isbecome superfluous, which is an insidious illusion. In constant waiting, time has become non-existent for man, trapped in a null and meaningless void. Beckett inserts Pozzo's speech to explicate the notion of human beings constantly living in spaces of self-inflicted (subconscious) torture, with “cursed time” (58). It uses punctuation and repetition to create dramatic effect by stating that this is the moment of epiphanic realization. The excessive incorporation of exclamation points and commas creates long pauses that cause theatrical effects. The clear repetition of “When! “(58), “one day” (58), “the same” (58) further enhances this moment of self-introspection that life is minute and death is sudden. Pozzo in this distinct and exhilarating moment examines the memory. His revelations about time explain that time passes instantaneously and memory is essentially useless. Then, when questioned, Pozzo does not give a factual answer, but something more abstract, “One day” (58), “The same second” (58). The suddenness of time is further illustrated when humans are given "...birth astride a grave" (58) and the "...light shines an instant" (58). Then, inevitably, we will degenerate into nothingness and "it is night again" (58). Beckett posits how we must accept the absurdity of life as the “willow tree” (10) that camouflages itself in its immediate vicinity and abandon the tumultuous expectation that Godot will provide hope in the configuration of a tree with “… leaves” (43). As a result, Beckett invents a notion of a stagnant human condition, exposed in the quote: “…. do not speak ill of our generation... no more unhappy than its predecessors” (22). Examining it, generation after generation, the same things recur. Beckett claims that everything in this world is fixed, the “laughter” (22) and “tears” (22) are in constant quantity as time has practically stopped due to the gloomy expectation. Time is the distinct quantity that simultaneously affirms order and chaos in our lives. The protagonists continue to live waiting for Godot but are tormented by the same wait. Lucky constantly bears the weight of his bags despite Estragon asking him "...why doesn't he put down his bags" (17). Beckett inserts this motif to show that it is necessary to hold onto the weight of life in order to have a conception of time. The sand in Lucky's bag (57) metaphorically shows an hourglass. So, if Lucky puts the bags down; the sand will not flow. But if Lucky holds the bags and moves continuously; he will be liberated as time passes and will not be distorted in his conceptual reality. This concept is strongly similar to the myth of Sisyphus; Who accepted the meaninglessness of his reality rather than living life as a grotesque torture. Beckett appeals to the tragicomedy genre of humans by constructing the play in a cyclical time loop, consciously repeating plot points as the play progresses. Analyzing Vladimir's soliloquy, there is a clear repetition of events. The dog “came in running…. kitchen” (37) and “stole a crust of bread” (37). Despite this violent act, this action was resumed establishing that humanity will never abandon the wait for “personal gods” (29). The rhyme of (bread, dead) and (grave, come) creates an oddly lively tone that emphasizes repetition. The setting is absolutely empty in both scenes, with a desolate country road and a bare tree. The plot circulates with the return of Pozzo and Lucky, but more decadent. Beckett builds the work on numerous ambiguous notions. He deliberately described the tree as “covered with leaves” (43), leaving the audience to contemplate how much redemption is present for humanity. Beckett resolves his inner turmoil in finding meaning by resolving the.