& # 8217 ; s Miss Julie And Beckett & # 8217 ; s Waiting For Godot Essay, Research Paper
The motives and behaviour of cardinal characters in Strindberg & # 8217 ; s Miss Julie and Beckett & # 8217 ; s Waiting for Godot will be analyzed harmonizing to Eric Berne & # 8217 ; s method of transactional analysis. Eric Berne trades with the psychological science behind our minutess. Transactional analysis determines which ego province is implemented by the people interacting. There are three possibilities which are either parent, grownup, or kid. The cardinal characters in Waiting for Godot are Vladimir and Estragon. Vladimir is the more rational of the two and Estragon is more emotional. Their self-importance provinces are ever switching from minute to minute. In Miss Julie the cardinal characters are Jean and Miss Julie. Jean shifts his self-importance province harmonizing to his state of affairs either to congratulate the self-importance province of the individual he is speaking to or to work the state of affairs. In the relationship between Miss Julie and Jean their self-importance provinces interchange as Miss Julie begins as the parent, so she falls so they are equal on the grownup degree and finally she is on the underside so Jean is on the top as parent self-importance province.
Peoples are made with three basic self-importance provinces which are the parent, grownup, and kid. Some people have a dominant self-importance province and others are invariably altering. All parts are necessary for a well rounded personality. The kid is linked with intuition, creativeness, spontaneousness, thrust and enjoyment. The grownup is the rational, nonsubjective and logical side which allows work to acquire done. This is the portion of us that should be involved in hard determination devising because it weighs the pros and cons of the determination without prejudice. The parent is utile for really raising kids and for everyday determinations that do non necessitate the deductive logical thinking of the grownup. A dealing can be either complementary or crossed and at the same clip simple or subterranean. A simple complementary dealing would be any dealing where the lines do non traverse. It could be a dealing between psychological peers ; these minutess are gossip ( parent-parent ) , job resolution ( adult-adult ) , or playing ( child-child ) .
If the lines of communicating in the dealing are crossed, the communicating will discontinue unless one of the participants alters their self-importance province to congratulate the self-importance province implemented by the other communicant. If the responses of the people interacting continue to traverse they will no longer be pass oning but alternatively there will be bootless reasoning. An illustration is & # 8220 ; I can & # 8217 ; t happen my places do you cognize where they are? & # 8221 ; response & # 8220 ; why don & # 8217 ; t you keep path of your things, you would lose your caput if it wasn & # 8217 ; t attached & # 8221 ; . The inquiry was an grownup one but the response was parent to child so the lines are crossed. There was no positive that came out of the dealing and the conversation can non be sustained.
Subterranean minutess are more complex and more than one self-importance stat is involved at one clip by a participant. An subterranean dealing can be used to take advantage of a vulnerable self-importance province in person else. An illustration is a auto salesman sees a center aged household adult male that appears to be holding some kind of a midlife crisis. The auto salesman shows him an expensive athleticss auto and says & # 8221 ; immature people love these brassy autos, but you look like more of a Lincon town auto type & # 8221 ; . The in-between aged adult male so turns about and buys the expensive athleticss auto. The salesman & # 8217 ; s remarks were both nonsubjective observations that were made by the grownup. They could be received by either the grownup or kid of the center aged adult male. If received by the grownup it would maneuver the center aged adult male to a auto that would be more appropriate and practical for him and his household. Alternatively it is received by the kid which in this instance is dominant and vulnerable and causes the adult male to believe & # 8220 ; I & # 8217 ; m still immature this is every bit much a auto for me as it is for anyone & # 8221 ; .
In Waiting for GodotEstragon and Vladimir converse on all degrees with each other. Through the drama they are killing clip while waiting for Godot. Estragon realizes that their being is dead and he has problem retrieving things because of the repeat. In the 2nd act he does non remember what happened in the first act. For him, retrieving the twenty-four hours before would be like seeking to retrieve a specific rain bead in a rain storm. Godot, the unobserved character represents a hope of alteration that is to come. Their meeting with him is ever delayed which defers their hope, but does non snuff out it because they agree to run into him once more the following twenty-four hours. At some points they play with each other, this is an effectual manner to kill clip. An illustration of them playing is when they are inquiring what to make while waiting for Godot, Estragon comes up with the thought of hanging themselves. Vladimir says it will give them an hard-on and Estragon gets excited. They play about giving grounds why the other should be hanged foremost. Estragon says that Vladimir should be hanged foremost because he is heavier and the subdivision of the tree might interrupt. If it doesn & # 8217 ; t interrupt for Vladimir there will be no problem hanging him so they will both be dead. Whereas, if Estragon is hanged foremost and the subdivision supports his weight but is unable to back up Vladimir he will be entirely. Vladimir is more likely to take a parental function than Estragon. An illustration of this is when Estragon is trying with great trouble to take his boots he asks for aid. Vladimir lectures him by stating & # 8220 ; Boots must be taken off every twenty-four hours I & # 8217 ; m tired of stating you that. Why Don & # 8217 ; t you listen to me. & # 8221 ; 1
They besides converse on an grownup to adult degree. An illustration of this is in act II they have an abstract conversation about believing. They come up with the thought to inquiry is to believe and the route to enlightenment is a inactive journey. Here is a part of their grownup duologue.
Vladimir: When you seek you hear
Tarragon: You do
Vladimir: That prevents you from happening
Tarragon: It does
Vladimir: That prevents you from believing
Tarragon: You think all the same 2
They meet a adult male named Pozzo and his slave Lucky. Pozzo is a rich adult male and Lucky is a former intellectual who is no longer able to believe. Pozzo is invariably speaking down to everyone, as he is steadfastly locked in the parent self-importance province. Almost every clip Pozzo negotiations to Vladimir and Estragon, it is an independent address because he ever talks from the parent to child place and Vladimir and Estragon do non like to react to him from the kid degree. When Estragon asks Pozzo an grownup inquiry which is why doesn & # 8217 ; t Lucky put down his bags and Pozzo ignores the inquiry a few times until Vladimir tells him he is being asked a inquiry. He finally answers after speaking down to them a twosome of times. Two illustrations of this are Pozzo stating
& # 8220 ; Don & # 8217 ; t disrupt me. If we all speak at one time we & # 8217 ; ll ne’er acquire anyplace & # 8221 ; and & # 8220 ; why couldn & # 8217 ; t you say so earlier & # 8221 ; 3.
In Miss Julie Jean is the retainer in the Count & # 8217 ; s house. Throughout the drama whenever the Count is mentioned Jean shrivels up with fright and is in T
he child ego province. Miss Julie, the count’s girl is originally is in a place of authorization over Jean because he is a retainer in her house. Through the class of the narrative a reversal of functions is seen. It starts with Jean being in the kid self-importance province while speaking to Miss Julie to congratulate the parent self-importance province that she talks to him from. Miss Julie was a really passionate adult female and frequently would catch one of her retainers to dance with. A combination of factors brought Jean and Miss Julie together. Some of these factors are being in the right topographic point at the right clip, her fianc? interrupting off their battle, her endocrines and the ambiance of a summer solstice dark. Once Jean has been with Miss Julie for a piece he plays games with her to do her privation to acquire with him. He does this after she was badgering him sexually but would non allow him snog her. He senses a strong romantic kid in her and he exploits this by stating her a narrative he made up about him seeing her from across the gate to the estate and he desired to be with her. He said that he slept under an senior shrub because he had remembered it could be fatal but he did non decease, he merely became really badly. He said he did this because he realized because of their category difference he could ne’er hold her, and she was a symbol of hopelessness of him of all time mounting up from his low category. This narrative evokes sympathy and triggers her kid which wants to arise against the established order that says they can ne’er acquire together. This scheme works as Jean ends up kiping with Miss Julie.
In their relationship the tides turn from Miss Julie being the parent to them being equal to Jean being the parent. The ego provinces of Miss Julie and Jean will be looked at in chronological order as they rotate like on a wheel where Miss Julie starts out on top but ends up on the underside with Jean on the opposite side of the wheel. Miss Julie is in a place of power over Jean and this causes her to speak to him as a kid from a parent & # 8217 ; s point of view. An illustration of this is when Jean has something in his eyes Miss Julie says & # 8220 ; & # 8230 ; sit down and I & # 8217 ; ll take it out. Sit still now, rather still! ( she slaps his custodies ) Come, obey me! & # 8221 ; & # 8220 ; Sit still, will you! There! Now it & # 8217 ; s gone. Snog my manus and thank me. & # 8221 ; 4
As they continue to speak their conversation impetuss into that of psychological peers on the grownup degree. At this point they begin to discourse their hereafter. Jean gives the thought of traveling off & # 8220 ; to Switzerland, to the Italian lakes! & # 8230 ; & # 8221 ; so he could get down a hotel and she could be & # 8220 ; the pearl of the constitution & # 8221 ; . Jean is stating her narratives of how great it would be as they discuss the feasibleness of their budding program. Miss Julie, in response to Jean & # 8217 ; s expansive programs says & # 8220 ; They seem to me rather reasonable but & # 8211 ; merely one inquiry. A large undertaking like that needs a batch of capital. Have you that? & # 8221 ; Jean says that she would be able to happen a angel if she went with him. Miss Julie says & # 8220 ; I couldn & # 8217 ; t. And I haven & # 8217 ; t any money of my own. & # 8221 ; Jean says & # 8220 ; Then our whole program collapses. & # 8221 ; As they rationally discuss Jean & # 8217 ; s plans they come to the decision that his program is non possible to put to death because of their deficiency of financess. 5
After their programs are shot down, Miss Julie moues and becomes really childly. She immediately drops from the grownup self-importance province into the kid and this prompts Jean to switch into the parent self-importance province. Miss Julie calls Jean a retainer and flunky. Jean responds with & # 8220 ; servant & # 8217 ; s whore, lackey & # 8217 ; s bitch, close your oral cavity and acquire out of here. You dare stand there and name me foul.. & # 8221 ; Miss Julie becomes submissive & # 8220 ; You & # 8217 ; re right. Hit me, trampling on me, I & # 8217 ; ve deserved nil better & # 8230 ; assist me out of this & # 8230 ; & # 8221 ; It is clear from predating duologue that Jean is now moving the parent after Miss Julie has fallen from her great tallness in societal standing and besides dropped to a kid self-importance province. Right near the terminal of the drama, Miss Julie is really submissive and childlike so Jean is really parent like with her. Unlike Miss Julie, Jean has non had an inspection and repair of his self-importance, but alternatively he merely reacts to the self-importance provinces of the people speaking to him. This can bee seen by his response to the count & # 8220 ; It & # 8217 ; s Jean milord. Yes, milord. Yes, milord. Immediately. At one time, milord. Very good, my Godhead. In a half an hour. & # 8221 ; 6 He is still fearful and submissive towards the count while at the same clip being important from the parent self-importance province towards Miss Julie. Miss Julie wants to kill herself but needs to be told to make so by Jean. Jean ends up giving her a sharpened razor and stating her to travel.
In decision, in Waiting for Godot Vladimir and Estragon are invariably switching ego provinces from minute to minute. Sometimes they play like kids and at other times they talk earnestly on an grownup degree, and at other times they talk down to each other from the parent to child ego provinces. Pozzo is ever speaking down to everyone he comes into contact with. Unlike Jean in Miss Julie, Vladimir and Estragon do non readily switch their ego provinces to suit others such as Pozzo. Pozzo has no purpose of making anything but speak down to others, therefore his conversation with Vladimir and Estragon starts and terminals rapidly because they are non on complimentary self-importance degrees. Most times Pozzo negotiations it is an independent address and seems he isn & # 8217 ; t truly directing his ideas towards anyone in peculiar. Vladimir and Estragon do non remain in one self-importance province for a drawn-out length of clip, but are exchanging at random. In Miss Julie, Jean and Miss Julie & # 8217 ; s ego provinces rotate like on a wheel where Miss Julie starts out on top as the parent but in the terminal the wheel has turned and she is the kid on the underside. Jean is like a Chamaeleon when it comes to what self-importance province he is in. He adapts to the self-importance provinces of the people he is transacting with. He does this so that their self-importance provinces are complimentary and conversation is allowed to flux. He besides manipulates Miss Julie & # 8217 ; s emotions by appealing to the romantic kid in her. It is Miss Julie & # 8217 ; s autumn from her high societal position and her attendant autumn to a infantile self-importance province that makes Jean accommodate his self-importance. She starts out believing she is better than Jean because he is her servant. As they get closer she feels he is her equal so she negotiations to him as an grownup from an grownup point of view. By the terminal when she has fallen from grace she feels so low that she is speaking up to Jean and wants him to state her what to make. All the piece Jean is on the opposite side of the wheel that Miss Julie is on.
1. Samuel Beckett, Waiting for Godot, p 7
2. Samuel Beckett, Waiting for Godot, p 41
3. Samuel Beckett, Waiting for Godot, p 20-21
4. August Strindberg, Miss Julie, p116-117
5. August Strindberg, Miss Julie, p123
6. August Strindberg, Miss Julie, p145
1. Berne, Eric. Games People Play. Grove Press INC, New York Thirtieth printing 1966.
2. Strindberg, August. Plaies: One, Miss Julie. Secer & A ; Warberg Limited, Great Britain 1964.
3. Beckett, Samuel. Waiting for Godot. Grove Press INC 1956.