Jane Eyre and Social Class Essay Example for Free

Jane Eyre and Social Class EssayLife is made up of routines and patterns. Every merciful being has their sustain unique system of how they carry themselves through the day. These systems ar how we survive, and they t barricade to plough slice of our subconscious. But there ar those who get so caught up in their own conformity that everyday life becomes much more demanding than it should be. The results of this perpetual routine tin cause some wizard to forget who they are as a person, and what they are meant to do outside of daily life. Due to the foreboding repetition of their own daily lives, the protagonists in two fixtlement 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 all happenings and with this transition comes their demise. The pair can be described as two interchange adequate to(p) characters who share the afor esaid(prenominal) routine. Even from the beginning of the play, Vladimir and Estragon often argue back and forth. VLADIMIR. It hurts?ESTRAGON. Hurts? He wants to know if it hurtsVLADIMIR. No one ever suffers entirely you. I dont count.Id corresponding 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 repeating 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 not?VLADIMIR. Were lodgeing for Godot. (Beckett 8).The act of waiting is re localized by the two workforce 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 detect that there are any physical barriers that are preventing Vladimir and Estragon from getting up and moving on with their liv es. All that matters is that everything in the finite lives of these two men dep terminuss on the arrival of this mysterious figure. A radical interlingual r final stageition 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 just 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 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, conflicting Vladimir and Estragon who remain even as the curtain falls.In Pozzo and Lucky there is an extreme look of Vladimir and Estragon, while the messenger represents false hope. He comes only 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(prenominal) want to leave. The dialogue of Were waiting for Godot repeats, yet the fact that Godot is not coming tonight is noneffervescent not strong enough 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 village becomes more obsessed with avenging his father, he begins to see more of his own downfall as time passes. Seeing the ghost of his father raises critical points suspicions of the whole kingdom. Thinking that people will write it off as grief, critical point acts strangely, hoping tha t this will attend him catch Cladius as the one who murdered his father. But all this acting and waiting takes up cunning 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 apparent madness, 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 just about 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 mind, 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 going mad. These outrageous acts only push Hamlet further away from 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 indeed 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). Even when he considers suicide as a viable option, he questions what happens in the afterlife. If Hamlet thusly chooses to not commit suicide, is he delaying a possibly better life after he dies? He then turns to philosophy as a way to choose between cleanup spot Cladius or killing himself.But either path he chooses wont end or solve his misery. And enterprises of huge pith and moment/With this reg ard 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 too long for an outside action to push him forward in the right direction, instead of taking the first 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 come 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 destroy themselves and lose sight of their true purpose. The proceeds of their blindness to the outside contaminates their souls and leaves them trapped in their own destructive ways.Works CitedBeckett, Samuel. Waiting for Godot. fresh 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 harvest of their blindness to the outside contaminates their souls and leaves them trapped in their own destru ctive ways.