Jane Eyre and Social Class Essay

Life is made up of routines and patterns. Every human organism has their own unique system of how they carry themselves through the day. These systems are how we survive, and they tend to start part of our subconscious. provided there are those who get so caught up in their own conformity that chance(a) liveliness becomes much more(prenominal) 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 workaday life. Due to the foreboding repetition of their own daily lives, the protagonists in both village and delay for Godot neglect their aline utilisation, which suggests holding back can be destructive to oneself.In Waiting for Godot, Vladimir and estragon experience sever tout ensembley day as it passes without any happenings and with this novelty comes their demise. The pair can be described as both interchangeable characters who share the same routine. correct fr om the beginning of the play, Vladimir and tarragon often argue back and forth. VLADIMIR. It hurts?ESTRAGON. Hurts? He requirements to know if it hurtsVLADIMIR. No one perpetually suffers but you. I dont count.Id like to hear what youd verify 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 trace of something reprusting in the lives of our protagonists. Following the basic structure of all stories there is conflict, and with conflict comes the desire to leave. ESTRAGON. lets go.VLADIMIR. We cant.ESTRAGON. Why non?VLADIMIR. Were waiting for Godot. (Beckett 8).The act of waiting is redefined 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 non see that there are any physical barriers that are preventing Vladimir and tarragon from getting up and moving on with their lives. All that matters is that everything in the finite lives of these two men depends on the arrival of this mysterious figure. A radical version 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 left-brained, more intellectual of the two.However, they represent getting through life with someone else on the dot like Estragon and Vladimir. Relating Pozzo and Lucky even more so to Vladimir and Estragon, Pozzo also has a moment of doubt as to whether or not he shall leave this place. I dont seem to be able (long hesitation) to depart. (Beckett 50). The distrust 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 Vladimir and Estragon who r emain even as the curtain falls.In Pozzo and Lucky there is an extreme reflection of Vladimir and Estragon, era the messenger represents false hope. He comes hardly 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 acknowledge that they both want to leave. The dialogue of Were waiting for Godot repeats, yet the fact that Godot is not coming tonight is still not strong enough for them to take any direct action. Instead they are left to wait upon their mess from someone or something else to act on.As Hamlet becomes more obsessed with avenging his father, he begins to see more of his own downfall as cadence passes. Seeing the touch modality of his father raises Hamlets suspicions of the consentaneous kingdom. Thinking that people will write it off as grief, Hamlet acts strangely, hoping that this will help him run across Cladius as the one who murdered his father. alone a ll this acting and waiting takes up precious time that Hamlet simply does not have, especially as a prince who is not living 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 unmistakable passion, and tells the king and queen Your noble son is mad/ Mad I call it /for, to define true madness, / what ist but to be nothing else but mad? (II.ii.92-94). Now it is more active 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 wit, 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 win confirm the fear that Hamlet is going mad. These outrageous acts only push Hamlet further away fr om his true self.The central point of Hamlets waiting and delaying of action is expressed with his To be or not to be soliloquy. A significant amount of time is passing, and Hamlet has thus seen the ghost of his father and knows what he must 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). yet when he considers suicide as a viable option, he questions what happens in the afterlife. If Hamlet therefore chooses to not commit suicide, is he delaying a possibly better life after he dies? He and then turns to philosophy as a way to choose between killing Cladius or killing himself.But either path he chooses wont end or solve his misery. And enterprises of great vegetable marrow 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 sort 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 gone from his mind that he contemplates things such as suicide. He waits as well as long for an outside action to push him forward in the right direction, instead of taking the prototypal step himself.In order to deal with the tasks of regular 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 protagonists become their routines, and in this they de stroy themselves and lose sight of their true purpose. The product of their cecity to the outside contaminates their souls and leaves them trapped in their own destructive ways.Works CitedBeckett, Samuel. Waiting for Godot. New York Grove, 1954. Print. Shakespeare, William. Hamlet. New York working capital 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 sightlessness to the outside contaminates their souls and leaves them trapped in their own destructive ways.