Author: pj7fz

Why is it different: Setting, specifically a tree on a hill

What does the nondescript tree in this play represent, and why is this different from reality? Had Godot really been trying to meet our two men, would he have not been more clear about the tree where he wanted to meet them? Perhaps this is the only tree in this world, and it is important enough that everyone knows it:

VLADIMIR:

He said by the tree. (They look at the tree.) Do you see any others?

Trees are somewhat eternal in nature, they continue to grow until they are obstructed by either man, weather, or another tree. Trees are interesting because damage which is inflicted upon them remains a constant scar for their entire existence, even if converted to lumber, they become stronger as time passes but do not lose their history. Beckett’s tree is one which might provide shade to the men below in the same way that a forest canopy shelters the plant and animal life below.

VLADIMIR:

From a bough? (They go towards the tree.) I wouldn’t trust it.

Here, the tree takes on its own personality, it becomes a character in the play. A character which could have provided an ending to the saga, but instead is left alone to continue its eternal existence, life for a tree has no meaning.

Why is it different: Curt Conversations

by Paul Kappel

The play’s major characters Estragon and Vladmir are certainly not characters renowned for their lengthy and wordy conversations, a number of their discussions spanning less than just a few lines:

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.

A major reason for this is Becketts clear disregard for the details of life. Our two men are in a state of purgatory while waiting for Godot, being forced to make small talk in order to pass the endless amount of time which is passing. Conversations which are described as being “curt” are generally a good symbol of people who might not be the greatest of friends or who are simply bored with eachother’s company. All that needs to be said has been said.

Obstacle, Conflict (Act 3) AKA ObCon3

We find Isabella with Claudio at the open of Act 3, where she has returned from appealing to Lord Angelo. She desperately wants to help her brother, but cannot break her own moral code as a nun-in-traning (N-I-T), Claudio, likewise wants to save his life, but is not willing to pay the price of shaming his sister. Both Claudio and Isabella are facing largely internal conflicts with regards to saving Claudio.

Outside of the prison, the Duke encounters Lucio who slanders and insults the Duke and Lord Angelo, the Duke struggles to remain in disguise while sticking to his own beliefs that Lechery should be banned.

Paul Kappel

Obstacles and Conflicts (Act 1)

At the opening of the play, after Lord Angelo’s establishment as temporary ruler, we find Claudio wants to marry Juliet but due to the new laws enacted by Lord Angelo, his impregnation of her is punished by death, and he is thrown in jail. The obstacle here for Claudio is the new law which revokes the previously lenient moral standards imposed by the Duke.

We learn more about the happenings from Mistress Overdone, a prostitute who runs a brothel in Vienna who intends to have a successful business but is also in conflict with the laws forbidding sex in Vienna City. The effect of Lord Angelo’s moral code is far reaching in this society, affecting the Mistress’ business operations, given the business is sex.

While being taken to jail, Claudio reveals that he and Juliet had intended to be engaged to be marries but were opposed by Juliet’s family, a very conservative family who, like Angelo, do not support the morally lesser pursuits of pleasure. He, under the enouragement of Lucio, hopes to appeal Angelo’s warrant for his death, but cannot because the Duke is nowhere to be found.

At the monestary, the Duke explains that he wants to create a more perfect society free of corruption and low moral standards, but is personally in conflict with himself out of fear that be resinding his legislation, he will be frowned upon. Here, Isabella is shown with her commitment to becoming a good nun, but is stopped by her desire to protect her brother Claudio by using her feminine charm on Lord Angelo

by Paul Kappel

Final Stasis

After the action of the play, as in comedies, we return to a similar stasis as where we began.  The Duke returns from his escapades as a friar, pardons Claudio, and proposes marriage to Isabella. His reestablishment as the ruler of Vienna is what brings the play back into the stasis of a functional society.

Although Vienna in the play will continue to exist with a morally-poor society, this is the stasis with which it can continue to exist. The establishment of Lord Angelo as the temporary ruler throws out of balance the delicate nature between the desperate pleasure seekers and the saint-like religious folk, leading to the action of the play. His removal from power brings back the delicate balance between the two morals and groups.

by Paul Kappel

Given Circumstances: Geo, Date, Economic [REVISED]

by Paul Kappel

Geographical Location:

The play is set in Brooklyn, a neighborhood (and one of the five boroughs) of New York City.  Brooklyn is known as being a hotspot for many different cultures including Italian, Russian, Irish, Polish, and German Americans. Although this is the physical location for the Loman home, Willy's imaginary conversations occur in and around New York City and Boston.

Date/Year/Season/Time:

Late 1940's, early spring, taking place over the course of one day.

Economic Environment:

Willy Loman, as a salesman is living soley off of his commissions, and is clearly not able to make ends meet as he frequently seeks loans from Charley. The economic environment is the keystone of this work, with much of Willy's frustration and agony centering on wealth.

Towards the beginning of the play, we see Willy's conversations with Ben, his wealthy brother, who had millions by his 21st birthday- Willy is clearly extremely envious of this fame, and although being unable to replicate it for himself, seeks to pass the wisdom to his sons Biff and Happy.

One of the strongest motifs in the play is Willy's desire for his children's financial security, something which he will never know. In his internal conversations about their planned sports franchise in Florida, he dwells on the duo turning a profit and making money. Willy does never discover this for himself though and remains stuck in his economic class without ambitions for his own success.

It is likely that due to his brothers amazing and unbelievable ease of making money paired with his back breaking and agonizing over every cent which passes through his wallet, that we find the motivation of Willy's character.

Previous Action – Act 1

by Paul Kappel

(in approximate cronological order)

-Willy’s brother Ben went into the jungle when he was seventeen and came out rich when he was twenty-one.
-Willy accepts a job as a salesman.
-Willy decides not to take a trip with Ben to Alaska.
-Willy promises that he will start his own business and spend more time with his family.
-Biff stole a number of basketballs from Bill Oliver.
-Biff nearly flunks math class and has poor grades in school, but Willy encourages him to use his personality and looks.
-Happy moved out of the home and lives in an apartment, drives his own car, and has lots of women.
-The company which Willy works for as a salesman reduces his pay to straight commission.
-Biff lost his job again, this is something which happens almost yearly in the spring.
-Biff sent a letter home saying that he would be returning soon.
-Willy was out driving and had to return home because he could not keep his mind on driving and was dreaming.