This paper highlights that critics comments when this comedy premiered in France in 1953 ranged from enigmatic to simply bad. Little did the French audience know, that it was later to become one of the most significant works in post-war literature. In literary tradition, Waiting for Godot belongs to the theater of the absurd, in which the plots consist of seemingly disjointed absurd situations that represent real life. In this play, form is content because the writer uses techniques such as symbolism, and contradiction to comment on human society. To date, Waiting for Godot is considered groundbreaking work about a universal and timeless subject: hope. Through the elements of contrast and symbol, Waiting for Godot establishes that hoping is instinctive among human beings even in the absence of justification.
This study outlines that first to be addressed in this paper are the symbolisms found in the comedy that would allow the audience to conclude this. Symbolism as a dramatic element in theater is defined as the use characters, gestures, stage objects, dialog to mirror real life situations, people and ideas. The play, Waiting for Godot, through these symbolisms, creates representations of the hope of humanity. Certainly though, in order to prove that the stage play Waiting for Godot is about peoples obstinate sense of hope, it is first necessary to show that its characters are in fact representative of humanity. There is a moment in the dialog when Vladimir speaks about religion, specifically retelling a story in the Bible. After this he surmises, "Suppose we repented". According to the Bible, those who repent shall be saved from damnation and pardoned for sin. The death of Christ on the cross which Vladimir alludes to is to save humanity. It may be assumed that "we" in his statement refers to humankind as though to suggest that repenting might make peoples circumstances better than they are.