Jane Eyre and Social Class Essay

Life is do up of bends and patterns. Every human being has their induce unique transcription of how they carry themselves through the day. These systems ar how we survive, and they tend to be head after part of our subconscious. simply in that respect are those who get so caught up in their own conformity that daily career break downs much more demanding than it should be. The results of this perpetual routine can cause someone to forget who they are as a person, and what they are meant to do outside of daily life. Due to the foreboding repeat of their own daily lives, the protagonists in both small town and Waiting for Godot disrespect their confessedly purpose, which suggests holding masking can be destructive to oneself.In Waiting for Godot, Vladimir and estragon set out each day as it passes without some(prenominal) happenings and with this transition comes their demise. The p snap can be described as 2 interchange equal to(p) characters who share the same rou tine. Even from the beginning of the play, Vladimir and Estragon ofttimes argue back and forth. VLADIMIR. It hurts?ESTRAGON. Hurts? He wants to know if it hurtsVLADIMIR. No one perpetually suffers but you. I dont count.Id equal to hear what youd say if you had what I have.ESTRAGON. It hurts?VLADIMIR. It hurts He wants to know if it hurts (Beckett 3). textual repetition between the two is already a sign of something repeat in the lives of our protagonists. Following the basic structure of all stories there is impinge, and with conflict comes the desire to leave. ESTRAGON. Lets go.VLADIMIR. We cant.ESTRAGON. Why not?VLADIMIR. Were take careing for Godot. (Beckett 8).The act of waiting is re markd by the two men who do it day by day. There is no evidence of whom or what Godot is, or what he means to the men. We do not see that there are any physical barriers that are preventing Vladimir and Estragon from getting up and travel on with their lives. All that matters is that everythin g in the finite lives of these two men depends on the arrival of this mysterious figure. A radical magnetic variation of Vladimir and Estragon is seen in the characters of Pozzo and Lucky, who have a daily reappearance in the lives of Vladimir and Estragon. Pozzo is the extreme version of Vladimir, since he is the impulsive, more right-brained one. Lucky is the extreme version of Estragon, since he is the leftfield-brained, more intellectual of the two.However, they represent getting through life with someone else erect like Estragon and Vladimir. Relating Pozzo and Lucky even more so to Vladimir and Estragon, Pozzo overly has a moment of doubt as to whether or not he shall leave this place. I dont seem to be able ( big hesitation) to depart. (Beckett 50). The uncertainty of leaving anticipates the same way that Vladimir and Estragon are left waiting at the end of each act. Despite actually admitting that he cant seem to leave, Pozzo actually does manage to leave, unlike Vladimi r and Estragon who remain even as the curtain falls.In Pozzo and Lucky there is an extreme reflection of Vladimir and Estragon, while the messenger represents false hope. He comes unaccompanied to tell the pair Mr. Godot told me to tell you he wont come this evening but certainly to-morrow. (Beckett 55). After learning of this, Vladimir and Estragon accept that they both want to leave. The dialogue of Were waiting for Godot repeats, yet the item that Godot is not coming tonight is still not strong abundant for them to take any direct action. Instead they are left to wait upon their fate from someone or something else to act on.As settlement flummoxs more obsessed with avenging his father, he begins to see more of his own pin as time passes. Seeing the ghost of his father raises settlements suspicions of the unanimous kingdom. Thinking that people will write it off as grief, Hamlet acts strangely, hoping that this will help him catch Cladius as the one who murdered his fathe r. save all this acting and waiting takes up precious time that Hamlet simply does not have, especially as a prince who is not hold up to all of his potential. At the same time,his lover, Ophelia, is forbidden to see him. Ophelias father Polonius takes notice of Hamlets apparent disturbedness, and tells the king and fairy Your noble son is raw/ Mad I call it /for, to define true lunacy, / what ist but to be nothing else but mad? (II.ii.92-94). Now it is more slightly just Hamlet acting mad as a means of trying to catch Cladius, but his madness becomes so realistic that other people in the kingdom take notice. When Cladius later inquires Hamlet about his state of perspicacity, he replies that he is Excellent, ifaith/of the chameleons dish/ I eat the air/ promise-crammed (III.ii.84-86). Since it is not the typical response one would give when one is asked about how they are doing, it only serves to further confirm the fear that Hamlet is acquittance mad. These outrageous acts only push Hamlet further away from his true self.The central point of Hamlets waiting and delaying of action is express with his To be or not to be soliloquy. A significant tally of time is passing, and Hamlet has thus seen the ghost of his father and knows what he must(prenominal) do. Yet he asks himself about suicide, and weighs the moral outcomes of living and dying. Whether tis nobler in the mind to suffer/The slings and arrows of outrageous fortune,/ Or to take arms against a sea of troubles,/ And, by opposing, end them? (HAM.III.i.58-61). Even when he considers suicide as a viable option, he questions what happens in the afterlife. If Hamlet therefore strikes to not file suicide, is he delaying a possibly better life after he dies? He then turns to philosophy as a way to choose between killing Cladius or killing himself.But either itinerary he chooses wont end or solve his misery. And enterprises of gravid pith and moment/With this regard their currents turn awry,/And lose the name of action. (HAM. III.i.87-89). With Hamlet, it is evident that despite how miserable he is, he continually ignores any shed light on of action that can be taken to put an end to this misery. He forgets that he is still the prince and has a significant say it what can be done. The true Hamlet and his purpose are so far deceased from his mind that he contemplates things such as suicide. He waits too long for an outside action to push him forward in the right direction, preferably of taking the first step himself.In order to deal with the tasks of unfluctuating life, humans have been known toset up routines of how they believe they should go about their day. Each pattern is unique, and they nearly always consist of repetition. These systems become a part of us as we go on. But when routines become more than just something we follow and they become who a person is, life becomes a lot more difficult than it needs to be. In both Hamlet and Waiting for Godot, the protag onists become their routines, and in this they destroy themselves and lose set of their true purpose. The product of their blindness to the outside contaminates their souls and leaves them trapped in their own destructive ways.Works CitedBeckett, Samuel. Waiting for Godot. sunrise(prenominal) York Grove, 1954. Print. Shakespeare, William. Hamlet. New York Washington Square, 1992. Print. The New Folger Library Shakespeare.Due to the foreboding repetition of their own daily lives, the protagonists in both Hamlet and Waiting for Godot neglect their true purpose, which suggests holding back can be destructive to oneself. In Waiting for Godot, Vladimir and Estragon experience each day as it passes without any happenings and with this transition comes their demise. As Hamlet becomes more obsessed with avenging his father, he begins to see more of his own downfall as time passes. The product of their blindness to the outside contaminates their souls and leaves them trapped in their own d estructive ways.