The Purpose Of Human Life Essay Research free essay sample

The Purpose Of Human Life Essay, Research Paper The intent of human life is an unanswerable inquiry. It seems impossible to happen an reply because we don # 8217 ; T know where to get down looking or whom to inquire. Being, to us, seems to be something imposed upon us by an unknown force. There is no evident significance to it, and yet we suffer as a consequence of it. The universe seems utterly helter-skelter. We therefore attempts to impose intending on it through form and fabricated intents to deflect ourselves from the fact that our state of affairs is hopelessly unfathomable. # 8220 ; Waiting for Godot # 8221 ; is a drama that captures this feeling and position of the universe, and characterizes it with originals that symbolize humanity and its behavior when faced with this cognition. Harmonizing to the drama, a human being # 8217 ; s life is wholly dependent on opportunity, and, by extension, clip is meaningless ; hence, a human+s life is besides nonmeaningful, and the realisation of this thrusts worlds to trust on cloudy, outside forces, which may be existent or non, for order and way. We will write a custom essay sample on The Purpose Of Human Life Essay Research or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The basic premiss of the drama is that opportunity is the implicit in factor behind being. Therefore human life is determined by opportunity. This is established really early on, when Vladimir mentions the fable of the two stealers from the Bible. # 8220 ; One of the stealers was saved. It # 8217 ; s a sensible per centum # 8221 ; ( Beckett, 8 ) . The thought of # 8220 ; per centum # 8221 ; is of import because this represents how the destiny of humanity is determined ; it is random, and there is a per centum opportunity that a individual will be saved or damned. Vladimir continues by mentioning the disconcordance of the Gospels on the narrative of the two stealers. # 8220 ; And yet # 8230 ; how is it # 8211 ; this is non tiring you I hope how is it that of the four Evangelists merely one speaks of a stealer being saved. The four of them were at that place # 8211 ; or thereabouts # 8211 ; and merely one speaks of a stealer being saved # 8221 ; ( Beckett, 9 ) . Beckett makes an of import point with this illustration of how opportunity is woven into even the most sacred of texts that is supposed to keep ultimate truth for humanity. All four adherents of Chirst are supposed to hold been present during his crucifixion and witnessed the two stealers, crucified with Jesus, being saved or damned depending on their intervention of him in these concluding hours. Of the four, merely two study anything curious go oning with the stealers. Of the two that study it, merely one says that a stealer was saved while the other says that both were damned. Therefore, the per centums go from 100 % , to 50 % , to a 25 % opportunity for redemption. This whole affair of per centums symbolizes how opportunity is the finding factor of being, and Beckett used the Bible to turn out this because that is the text that humanity has looked to for intending for millenia. Even the Bible reduces human life to a affair of opportunity. On any given twenty-four hours there is a certain per centum opportunity that one will be saved as opposed to damned, and that individual is powerless to impact the determination. # 8220 ; The destiny of the stealers, one of whom was saved and the other damned harmonizing to the 1 of the four histories that everybody believes, beco Maines as the drama progresses a symbol of the status of adult male in an unpredictable and arbitrary existence # 8221 ; ( Webb, 32 ) . God, if he exists, contributes to the pandemonium by his silence. The really fact that God allows such an arbitrary system to go on makes him an confederate. The Gallic philosopher Pascal noted the flightiness of life and that the existence worked on the footing of per centums. He advocated utilizing such flightiness to one # 8217 ; s advantage, including believing in God because, if he doesn # 8217 ; t be, cipher would care in the terminal, but if he does, one was on the safe side all along, so one can # 8217 ; t lose. It is the same concluding that Vladimir uses in his comment quoted above, # 8220 ; It # 8217 ; s a sensible percentage. # 8221 ; But it is God # 8217 ; s hush throughout all this that causes the existent hopelessness, and this is what makes # 8220 ; Waiting for Godot # 8221 ; a calamity amidst all the amusing actions of its characters: the soundless supplication to God for significance, for replies, which symbolizes the supplication of all humanity, and God # 8217 ; s silence in response. # 8220 ; The resort to clerking by the philosopher [ Pascal ] no less than the buffoonish hobo shows how incapacitated we are with regard to God+s silence # 8221 ; ( Astro, 121 ) . Either God does non be, or he does non care. Whichever is the instance, opportunity and arbitrariness determine human life in the absence of godly engagement. The universe of # 8220 ; Waiting for Godot # 8221 ; is one without any meaningful form, which symbolizes pandemonium as the ruling force in the universe. There is no orderly sequence of events. A tree which was bare one twenty-four hours is covered with leaves the following. The two hobos return to the same topographic point every twenty-four hours to wait for Godot. No 1 can retrieve precisely what happened the twenty-four hours before. Night falls immediately, and Godot neer comes. The full scene of the drama is meant to show that clip is based on opportunity, and therefore human life is based on opportunity. Time is meaningless as a direct consequence of opportunity being the underlying factor of being. Hence there is a cyclic, albeit indefinite, pattern to events in # 8220 ; Waiting for Godot. # 8221 ; Vladimir and Estragon return to the same topographic point each twenty-four hours to wait for Godot and see the same general events with fluctuations each clip. It is non known for how long in the yesteryear they have been making this, or for how long they will go on to make it, but since clip is meaningless in this drama, it is assumed that past, present, and future mean nil. Time, basically is a muss. # 8220 ; One of the apparently most stable of the forms that give form to see, and one of the most distressing to see crumble, is that of clip # 8221 ; ( Webb, 34-35 ) . The branchings of this on human being are symbolized by the difference between Pozzo and Lucky in Act I and in Act II. Because clip is based on opportunity and is hence nonmeaningful, human life is treated randomly and in an about ruthless mode, and is besides nonmeaningful. In Act I Pozzo is going to the market to sell Lucky, his slave. Pozzo is healthy as can be, and at that place seems to be nil incorrect. Lucky used to be such a pleasant slave to hold around, but he