Throughout Waiting for Godot, Beckett uses memory as a means of anchoring the isolated setting in the context of some sort of surrounding world, frequently undermining this “anchor” by presenting the past. , and the memories of the protagonists, as being fragmented and unclear, much like the existence of Vladimir and Estragon in the present. The subversion of such a key element of human existence – memory – calls into question the meaning of actions in a world where seemingly endless cycles of indecision rob time itself of almost all meaning. This lack of meaning and continuity is reflected in the circularity of the play's two-act structure, perhaps reminiscent of the repetition of a second world war despite the enormous human costs of the first - as are the memories of the two characters principal, the lessons of the past had apparently had no influence on the present. The play's nihilistic setting further increases its relevance to post-war Europe. In this way, Beckett presents memory as almost completely irrelevant to the present moment, adding exponentially to his depiction of humanity as lost in repeated cycles of events beyond its own control. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay. Additionally, throughout the play, Beckett connects the deterioration of memory to the total deconstruction of the values ​​that underpin traditional society, this time subverting the common system. accepted notion of a linear chronology: “ESTRAGON What did we do yesterday? VLADIMIR What did we do yesterday? ESTRAGON Yes. » Here, the repetition of the question “what did we do yesterday?” underlines the desperate position of humanity in the face of a chaotic and incomprehensible universe. This point is further emphasized by the inconsistent “yes” in response, once again highlighting the lack of intelligible answers to the questions posed by our environment. Additionally, the deterioration of both characters' memories poses important existential questions to the audience, calling into question the notions of time and progress that were so crucial to understanding the world in the 20th century - as neither character remembers the events of the day before, there is no way to confirm that it actually happened, much less get anything useful out of it. The inextricable link between physical deterioration and universal absurdity once again emphasizes humanity's inherently futile situation, the repeated mise-en-scène ("they don't move") at the end of each contributing act to reinforce this feeling of circularity and inevitable repetition. and, in doing so, leaving human progress devoid of any real currency or value. These ideas undoubtedly have their roots in World War II, where, despite the enormous human cost of World War I, the world still descended into conflict. Furthermore, World War II also witnessed the destruction of core contemporary values, degrading ideas of integrity and moral virtue in the same way that Beckett deconstructed time and human purpose. Beckett places his description of a failing human memory in a direct parallel with the protagonists. ' physical deterioration, suggesting that the circularity of human existence is as inevitable as the aging process: 'Estragon: [giving up again] Nothing to be done.' Here, Beckett's use of the word "again", particularly in the first line of the play, immediately begins to suggest a larger context to the events described in the play. However, at no time.