Waiting, Meaning, and Illusion: Reading Waiting for Godot through the Lens of the Bhagavad Gita

Waiting, Meaning, and Illusion: Reading Waiting for Godot through the Lens of the Bhagavad Gita

This blog is written as a task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir. Here is the link to the Syllabus for background reading: Click here.

Here is the Mind Map of this blog: Click here

Introduction:

Samuel Beckett’s 'Waiting for Godot' is widely regarded as one of the most significant works of the Theatre of the Absurd. The play presents a bleak yet profound portrayal of human existence, characterized by waiting, uncertainty, cyclical time, and the apparent absence of meaning. Traditionally, critics have interpreted the play through existentialist and modernist frameworks influenced by European philosophical traditions. However, in recent years, interdisciplinary approaches have encouraged scholars to examine Western literary texts through non-Western philosophical lenses. One such approach is the application of Indian Knowledge Systems (IKS), particularly the philosophical teachings of the Bhagavad Gita, to reinterpret Beckett’s dramatic universe.

The pedagogical model of integrating IKS with Western literature is increasingly encouraged in postgraduate literary studies, especially in alignment with interdisciplinary learning and critical pedagogy. A classroom framework designed for MA English students demonstrates how concepts such as karma, maya, kala, and detachment from the Bhagavad Gita can deepen our understanding of Absurd drama and the existential crisis portrayed in Waiting for Godot. 

This blog explores how reading Waiting for Godot through the philosophical insights of the Bhagavad Gita transforms our understanding of waiting, action, time, and meaning in human life.

Section A: Conceptual Warm-Up (Short Answers)

1. In the Bhagavad Gita, Arjuna experiences vishada (existential crisis). Briefly explain how Vladimir and Estragon experience a similar crisis in Waiting for Godot.

In the Bhagavad Gita, Arjuna’s vishada (despair) arises when he confronts the meaninglessness of war, the fragility of human relationships, and the moral confusion about duty. His crisis is existential because he questions the purpose of action, life, and righteousness until Krishna provides philosophical guidance.

Similarly, in Waiting for Godot by Samuel Beckett, Vladimir and Estragon experience an existential crisis through endless waiting, uncertainty, and lack of meaning. They are unsure why they wait for Godot, what their purpose is, or whether their actions have any significance. Their repetitive conversations, boredom, and thoughts of suicide reveal anxiety, despair, and spiritual emptiness, much like Arjuna’s initial state of confusion and helplessness.

Difference:

Arjuna’s crisis leads to resolution and insight through philosophical teaching, whereas Vladimir and Estragon remain trapped in uncertainty, receiving no clear answer or guidance. Thus, Beckett presents a modern, absurdist version of vishada where meaning is never fully revealed.

2. Krishna emphasises karma (action) without attachment to results. How does Beckett portray the absence or failure of karma in the play?

In the Bhagavad Gita, Krishna teaches karma-yoga, the principle of performing one’s duty with dedication but without attachment to results. Action itself is meaningful because it sustains order (dharma) and leads to inner growth.

In contrast, in Waiting for Godot by Samuel Beckett, karma is absent or ineffective. Vladimir and Estragon do not engage in purposeful action; instead, they remain passive, waiting for Godot to give their lives meaning. Their attempts at action deciding to leave, thinking of suicide, or making plans always collapse into inaction. This paralysis suggests that in the absurd world of the play, action neither leads to progress nor produces meaningful results.

Thus, while Krishna presents action as the path to meaning, Beckett portrays a modern condition in which the failure or suspension of action results in stagnation, uncertainty, and existential emptiness.

3. The Gita presents time (Kala) as cyclical and eternal. Identify two moments in Waiting for Godot that reflect cyclical time.

In the Bhagavad Gita, time (Kala) is understood as cyclical, eternal, and repetitive, where events recur in cosmic rhythms.

In Waiting for Godot by Samuel Beckett, cyclical time is reflected in several moments:

1. Repetition of the Two Acts

At the beginning of Act II, Vladimir and Estragon return to the same road and tree, repeating almost the same conversations and actions as in Act I. Nothing essentially changes, creating a sense that time moves in a circle rather than in a straight line.

2. The Boy’s Repeated Message

At the end of both acts, the boy arrives to say that Godot will not come today but will come tomorrow. This repeated message reinforces the idea of endless postponement, where each day resembles the previous one and the waiting continues indefinitely.

Thus, Beckett portrays time as static and repetitive, resembling the cyclical nature of time described in the Gita, but without the spiritual meaning or renewal that the Gita associates with cosmic cycles.

Section B: Guided Close Reading (Text + IKS)

Read the following idea carefully:

“Godot is not a character but an expectation.”

Answer the questions below:

1. How does this idea change your understanding of the title Waiting for Godot?

2. Compare Godot with any one concept from the Bhagavad Gita:

• Maya (illusion)
• Phala (fruit of action)
• Asha (hope/desire)
• Ishvara (idea of God)

In Waiting for Godot by Samuel Beckett, the idea that “Godot is not a character but an expectation” shifts our understanding of the title. The play is not truly about a person named Godot; rather, it is about the human condition of waiting for meaning, change, or salvation. The emphasis falls on the act of waiting itself, which reveals the characters’ dependence on something external to give purpose to their lives. The title therefore symbolizes a universal state of anticipation rather than a literal meeting.

Godot can be meaningfully compared with Asha (hope or desire) in the Bhagavad Gita. In the Gita, hope and desire often bind human beings to attachment and suffering when they depend on future results instead of present action. Similarly, Vladimir and Estragon remain trapped because their hope in Godot prevents them from acting or creating meaning on their own. However, the Gita ultimately advises overcoming attachment through disciplined action, while Beckett presents a world in which hope continues endlessly without resolution. Thus, Godot represents hope that sustains life but also imprisons it in perpetual waiting.

Section C: Comparative Thinking (IKS + Absurdism)

Complete the table below:

Concept in Bhagavad Gita Explanation Parallel in Waiting for Godot

• Karma (Action)
• Nishkama Karma
• Maya
• Kala (Time)
• Moksha / Liberation

Concept in the Bhagavad Gita	Explanation	Parallel in Waiting for Godot
Karma (Action)	Performing one’s duty; action is necessary for life and order.	In Waiting for Godot, Vladimir and Estragon rarely perform meaningful action; they mostly wait, showing the absence or failure of purposeful action.
Nishkama Karma	Selfless action performed without attachment to results.	The characters do not act at all; instead of working without attachment, they remain passive and dependent on Godot, showing the opposite of Nishkama Karma.
Maya	Illusion that makes people mistake the unreal for the real.	Godot himself may be an illusion—an imagined hope that keeps the characters waiting without certainty of his existence.
Kala (Time)	Time is cyclical and eternal; events repeat in cosmic cycles.	The two acts mirror each other: the same waiting, similar conversations, and the repeated message that Godot will come tomorrow, suggesting cyclical time.
Moksha / Liberation	Freedom from suffering, ignorance, and the cycle of birth and death.	No character achieves liberation; Vladimir and Estragon remain trapped in endless waiting, symbolizing the impossibility of escape in Beckett’s absurd world.

Section D: Creative–Critical Task (IKS Integration)

Option A (Dialogue Writing):

Write a short dialogue (300–400 words) where Krishna explains one key aspect of Waiting for Godot (waiting, hope, time, or meaninglessness) to Arjuna as an MA English student.

Arjuna: O Krishna, as a student of literature, I have been reading a play called Waiting for Godot. I find it strange and unsettling. Two men wait endlessly for someone who never arrives. What does this waiting mean?

Krishna: Arjuna, what you see in that play is a reflection of the human mind. Waiting, in this sense, is not only physical but spiritual and psychological. Human beings often believe that meaning lies somewhere in the future when success comes, when circumstances change, or when someone appears to guide them.

Arjuna: But, Madhava, in the play nothing truly happens. The men talk, quarrel, grow tired, and yet continue to wait. Is this not meaningless?

Krishna: It appears meaningless because they do not understand the value of action. They depend on an external event Godot’s arrival to give purpose to their lives. When a person postpones meaning in this way, life begins to feel empty. The present moment is lost in the hope of tomorrow.

Arjuna: So their suffering comes not from waiting itself, but from their dependence on what may never happen?

Krishna: Just so. Waiting can be peaceful when it is joined with awareness and action, but it becomes suffering when it is filled with anxiety and illusion. Those men neither act nor transform themselves; therefore, time moves, yet their lives do not move with it.

Arjuna: I begin to see. As students of literature, we often say the play shows the absurd condition of humanity people searching for meaning in a silent universe.

Krishna: And that insight is valuable. Yet remember, Arjuna, the lesson is not only about despair. It is also a reminder. Meaning is not granted by some distant arrival; it is shaped by understanding, by right action, and by clarity of mind.

Arjuna: Then the true teaching hidden in their waiting is that one must not surrender one’s life to expectation alone.

Krishna: Indeed. To wait without awareness is bondage; to act with wisdom is freedom. That is the difference between confusion and understanding.

Section E: Critical Reflection (Metacognition)

1. How does using Indian Knowledge Systems change your reading of a Western modernist text?

Using Indian Knowledge Systems (IKS) changes the reading of a Western modernist text by providing alternative philosophical frameworks to interpret themes such as suffering, time, action, and meaning. Western modernist works such as Waiting for Godot by Samuel Beckett often present life as fragmented, absurd, and lacking clear purpose. When read only within a Western existential context, the play emphasizes despair, meaninglessness, and alienation.

However, when interpreted through IKS, especially ideas from the Bhagavad Gita, the same themes can be understood differently. Concepts like karma (right action), maya (illusion), asha (hope or desire), and kala (cyclical time) provide a philosophical lens that explains human suffering not as pure absurdity but as part of a deeper metaphysical or psychological condition. For example, the endless waiting of Vladimir and Estragon may be seen as a form of attachment or dependence on external meaning, which the Gita advises one to transcend through self-awareness and action.

Thus, IKS does not simply replace the modernist interpretation but enriches it, allowing readers to compare two civilizational perspectives: one that highlights existential uncertainty, and another that seeks inner balance and spiritual insight. This comparative approach deepens critical understanding and reveals the universality of human concerns across cultures.

Here is the Video Overview of this blog:

Here is the presentation on this blog:

References:

Barad Dilip, “Understanding ‘Waiting for Godot’ through the Bhagavad Gita.” ResearchGate, 2025, https://www.researchgate.net/publication/400607958_UNDERSTANDING_'WAITING_FOR_GODOT'_THROUGH_THE_BHAGAVAD_GITA. Accessed 12 Feb. 2026

Beckett, Samuel. Waiting for Godot Tragicomedy in 2 Acts by Samuel Beckett Estragon Vladimir, 1953, resources.saylor.org/wwwresources/archived/site/wp-content/uploads/2011/01/Waiting-for-Godot.pdf.

Thank you!

Faith, Bad Faith, and Absurdity: Reading Waiting for Godot through Religion and Existentialism

Faith, Bad Faith, and Absurdity: Reading Waiting for Godot through Religion and Existentialism

This blog is written as a task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir.

1.  Hope - Christian Faith or Sartrean Bad Faith | Waiting for Godot | Samuel Beckett

Hope - Christian Faith or Sartrean Bad Faith | Waiting for Godot | Samuel Beckett

The video discusses the interpretation of Samuel Beckett's play "Waiting for Godot". It explores whether the play can be seen as a Christian or religious work, considering that existentialist philosophers like Sartre and Beckett himself were not believers.

The speaker highlights two key Christian values present in the play through the characters Vladimir and Estragon:

Waiting: The act of waiting is presented as a Christian idea, referencing John Milton's "On His Blindness" where "they also serve who only stand and wait". This waiting can also be extended to any theological idea.

Mutual Interdependence and Charity: The relationship between Vladimir and Estragon exemplifies Christian charity, emphasizing "love thy neighbor" and "care for thy fellow being". Vladimir's compassionate actions, such as singing a lullaby or offering his coat to Estragon, reflect these values. The speaker also notes that similar messages of charity are found in many religions.

However, the video also presents a contrasting perspective, arguing that hope in the play can be interpreted as a "bad faith" or an evasion of reality. This aligns with existentialist philosophy, which suggests that humans have a duty to face the nothingness at the root of their being. The messenger boy in the play, or Godot himself, may function to keep the characters in an unconscious state, preventing them from confronting their true human condition. The speaker connects this idea to the concept of a "pipe dream" a tomorrow that never truly arrives, much like the endless scrolling on social media which creates a habit of hoping for something better, leading to wasted time and anxiety.

The video concludes that "Waiting for Godot" is rich in diverse interpretations, allowing for philosophical, religious, psychological, and political readings. It is also described as "a poem on time", showcasing how activity makes time pass faster, while idleness makes it unbearable. Finally, the play explores the paradox of "necessity and absurdity," where what seems necessary in one context can become absurd in another.

Here is the infographic upon the video of Hope:

2. The Sheep and the Goat | Waiting for Godot | Samuel Beckett

The Sheep and the Goat | Waiting for Godot | Samuel Beckett

This video discusses the biblical reference to "the sheep and the goat" in Samuel Beckett's play Waiting for Godot. The speaker explains that this reference, found in the Gospel of Matthe, is used to comment on the idea of punishment and judgment in the play.

Here's a breakdown of the key points:

Biblical Context:

• Jesus separates people into "sheep" on his right side and "goats" on his left.

• The "sheep" represent those who treated him well and are considered good.

• The "goats" represent those who treated him poorly and are considered bad.

• The right side is seen as favorable, symbolizing good people, while the left side is unfavorable, symbolizing bad people.

Beckett's Interpretation:

• Beckett reverses the biblical parable: in the play, the boy who minds the "goats" is not beaten, while the boy who minds the "sheep" is.

• This challenges the religious idea that good people (sheep) will be taken care of.

• Beckett frequently plays on biblical references in a derogatory or insulting way, questioning religious beliefs and authority.

• The characters around Godot are often depicted as not knowing if they are happy or unhappy, questioning the notion of eternal happiness in heaven.

Symbolism of Right and Left:

• The right side continues to represent pious, good, religious people (right-wingers in political language).

• The left side represents atheists, non-believers, and those who question authority.

Nature of Sheep and Goats:

• Docility vs. Adamancy: Sheep are generally more docile and easily controlled by a shepherd, while goats can be more difficult to manage.
• However, both animals can be very stubborn once they've set their course .
• Human Blindness: This adamancy is likened to humans who are blinded by religious or political discourse, making it difficult to change their minds.

Here is presentation upon the video of The Sheep and the Goat:

Beyond Time, Gender, and Biography: A Critical Reading of Virginia Woolf’s 'Orlando'

Beyond Time, Gender, and Biography: A Critical Reading of Virginia Woolf’s 'Orlando'

This blog task is assgined by Prakruti Bhatt Ma'am ( Department of English).

Here is Mind Map of this blog: Click here.

Virginia Woolf: 

• Virginia Woolf was an English modernist writer, born Adeline Virginia Stephen on 25 January 1882 in London, England.
• She is celebrated as one of the most influential authors of the 20th century, known especially for her innovative narrative style and deep exploration of human consciousness.
• Woolf was a central figure in the Bloomsbury Group, an intellectual circle of writers, artists, and thinkers who reshaped cultural and artistic ideas in early 20th-century Britain.
• Her writing is closely linked with modernism a literary movement that broke away from Victorian realism to explore subjectivity, memory, and interior life.
• She pioneered the stream-of-consciousness technique, allowing readers into characters’ inner thoughts in a fluid and innovative manner.
• Some of her major works include Mrs Dalloway, To the Lighthouse, Orlando, and the feminist essay A Room of One’s Own, which argues that women need financial and personal space to create.
• Woolf’s work also engages with feminist concerns, questioning traditional gender roles and advocating for women’s intellectual and creative freedom.
• She faced lifelong struggles with mental health and tragically ended her life on 28 March 1941.

Orlando by Virginia Woolf – An Overview

Orlando (1928) is one of the most imaginative and experimental works by Virginia Woolf. Subtitled A Biography, the novel playfully challenges traditional ideas of biography, gender, history, and identity.

1. Publication and Background

Orlando was published in 1928 and was inspired by Woolf’s close relationship with Vita Sackville-West. The novel is often described as a fantasy biography, written in a light, humorous, and satirical tone.

2. Plot in Brief

The novel follows Orlando, a nobleman in Elizabethan England who lives for over three hundred years and, midway through the narrative, mysteriously changes sex from man to woman. Despite this transformation, Orlando’s inner self remains largely unchanged. The story moves through different historical periods, ending in the twentieth century.

3. Major Themes

Some key themes in Orlando include:

• Gender and identity – gender is shown as fluid rather than fixed
• Time and history – history is treated playfully, not realistically
• Freedom vs. social restriction – especially in women’s lives
• Art and creativity – the struggle of writing across centuries

4. Gender and Identity

One of the most famous aspects of Orlando is its treatment of gender. Woolf suggests that masculinity and femininity are socially constructed, not biologically determined. Orlando’s change of sex exposes how society treats men and women differently, even when the person remains the same.

5. Orlando as a New Biography

The novel reflects Woolf’s idea of the New Biography, which focuses on inner life, emotions, and imagination rather than only facts and dates. Woolf mocks traditional biographers and shows that truth can exist beyond mere historical accuracy.

6. Style and Narrative Technique

• Orlando combines:
• Fantasy and realism
• History and fiction
• Satire and seriousness

The narrator frequently interrupts the story, reminding readers that biography itself is a constructed narrative.

7. Literary Importance

Orlando is important because it:

• Challenges traditional biography
• Anticipates modern gender studies
• Represents modernist experimentation
• Blends personal, political, and artistic concerns

Que. 1|What is “Stream of Consciousness”? How has Woolf employed this technique to write Orlando?

Ans. 

 Meaning of Stream of Consciousness

Stream of consciousness is a narrative technique that seeks to portray the inner working of the human mind. Instead of presenting thoughts in a logical or orderly sequence, it reflects the natural flow of consciousness random, associative, and subjective. This technique focuses on psychological reality rather than external action, revealing emotions, memories, sensations, and fleeting impressions as they arise in the mind.

Literary Background of the Technique

The term “stream of consciousness” was popularized by psychologist William James and later adapted by modernist writers. It emerged as a reaction against Victorian realism, which emphasized plot and moral certainty. Modern novelists used this technique to capture the complexity of human experience in a fragmented, rapidly changing world.

Woolf’s Concept of Consciousness

Virginia Woolf believed that reality lies not in outward events but in inner experience. For her, the mind is fluid and constantly shifting. She rejected rigid narrative structures and preferred to explore how time, memory, and identity operate within consciousness.

Use of Stream of Consciousness in Orlando

In Orlando, Woolf employs a creative and experimental form of stream of consciousness. Rather than using intense interior monologue, she blends psychological narration with fantasy and biography. The narrative moves freely through Orlando’s thoughts as the character lives across centuries, allowing the reader to experience time subjectively rather than chronologically.

Representation of Time and Memory

Woolf uses stream of consciousness to dissolve conventional time. Orlando’s memories flow seamlessly from one historical period to another, suggesting that the mind exists beyond linear time. Past and present merge in Orlando’s consciousness, emphasizing the continuity of inner life despite external change.

Gender and Inner Identity

When Orlando changes sex, Woolf focuses on psychological continuity rather than physical transformation. Orlando’s thoughts, emotions, and creative impulses remain largely unchanged. Through stream of consciousness, Woolf suggests that gender is socially constructed, while inner identity is fluid and enduring.

Artistic and Thematic Significance

The technique allows Woolf to explore themes of identity, creativity, history, and freedom. By prioritizing Orlando’s mental life, Woolf challenges traditional notions of selfhood and biography. Consciousness becomes the true subject of the novel.

Conclusion

Thus, stream of consciousness in Orlando is not merely a narrative device but a philosophical method. Woolf uses it creatively to portray the fluid nature of mind, time, and identity, making Orlando a unique modernist text that redefines the possibilities of the novel.

Que. 2|What did the literary movement of The New Biography emphasize? How can we discuss it in the context of Orlando?

Ans.

The New Biography: Meaning and Emphasis

The literary movement known as The New Biography emerged in the early twentieth century as a reaction against traditional Victorian biography. Conventional biographies aimed at factual accuracy, chronological narration, and moral seriousness, often presenting their subjects as coherent, stable, and exemplary figures. In contrast, the New Biography emphasized psychological truth over factual completeness, subjectivity over objectivity, and interpretation over mere documentation. Biographers associated with this movement believed that a life could not be fully captured through dates, letters, and public achievements alone; instead, inner consciousness, contradictions, silences, and imaginative reconstruction were essential.

The movement is closely associated with modernist writers such as Virginia Woolf and Lytton Strachey. Woolf, in particular, argued that biography should balance fact with fiction, acknowledging the limitations of historical records and the fluid nature of identity.

Orlando as a New Biography

Orlando is Woolf’s most playful and radical experiment in the New Biography. Subtitled A Biography, the novel deliberately parodies the conventions of traditional life-writing. Orlando lives for over three centuries, changes sex midway through the narrative, and moves freely across historical periods. Such impossibilities immediately expose the artificiality of conventional biography and highlight Woolf’s belief that literal facts alone cannot convey the truth of a life.

The biographer-narrator repeatedly admits the difficulty of writing about what is “dark, mysterious, and undocumented,” thereby foregrounding the self-reflexive and metafictional nature of the text. This admission reflects the New Biography’s emphasis on the limits of historical knowledge and the necessity of imaginative insight.

1. Rejection of Mere Facts and Chronology

The New Biography rejected the idea that a life can be fully represented through dates, documents, and external events alone. Woolf mocks traditional biography by stretching Orlando’s life across more than three centuries. She humorously notes that biography usually depends on “birth, marriage, and death.”

This highlights Woolf’s belief that such facts are insufficient to capture a person’s true life. In Orlando, time becomes flexible, showing that inner experience matters more than chronological accuracy.

2. Emphasis on Inner Life and Psychological Truth

A key feature of the New Biography is its focus on inner consciousness. Woolf prioritizes Orlando’s thoughts, emotions, and moods over external achievements. She writes that the biographer must record “the private life, the emotions, the obscure motives.”

This approach allows Woolf to present Orlando as a psychological being, suggesting that inner truth is more important than outward success in understanding a human life.

3. Fusion of Fact and Fiction

The New Biography allows a creative blend of fact and fiction. In Orlando, Woolf invents imaginary documents, portraits, and historical encounters. She openly admits the biographer’s freedom when she states that “truth is not necessarily confined to fact.”

This idea reflects the New Biography’s belief that imaginative reconstruction can sometimes reveal deeper truths than strict factual accuracy.

4. Subjectivity of the Biographer

Traditional biography aimed at objectivity, but the New Biography accepts the subjective role of the biographer. Woolf’s narrator frequently interrupts the story, commenting on the difficulty of writing a life. She admits that “the biographer is constrained by facts,” yet must still interpret them.

This self-conscious narration shows that biography is not neutral; it is shaped by perspective, choice, and imagination.

5. Representation of Fluid Identity

The New Biography challenges the idea of a fixed and stable self. Orlando’s transformation from man to woman demonstrates Woolf’s belief that identity is fluid and multiple. Woolf writes, “Orlando was a man till the age of thirty; when he became a woman.”

This sudden change is accepted calmly, suggesting that identity goes beyond physical sex. Woolf uses biography to explore inner continuity despite external change.

6. Breaking the Serious Tone of Traditional Biography

Victorian biographies were often serious, moralistic, and reverential. Woolf breaks this tone through irony, humour, and satire. The mock-heroic style of Orlando exposes the artificial rules of conventional biography.

By making biography playful, Woolf shows that life writing can be creative, experimental, and emotionally truthful, aligning with the aims of the New Biography.

7. History as a Living Experience

Instead of treating history as a fixed background, the New Biography presents it as something that shapes personal experience. Orlando lives through different historical periods, and each era affects identity and behavior. This reflects Woolf’s idea that a life cannot be separated from its historical and cultural context, yet must be understood from within.

Conclusion

The New Biography emphasized inner life, imagination, subjectivity, and psychological truth, rejecting the limitations of factual, traditional life writing. In Orlando, Virginia Woolf applies these principles by blending fact and fiction, questioning fixed identity, and redefining what it means to write a life. The novel stands as a brilliant example of the New Biography, showing that truth in biography lies not only in facts, but in the deeper understanding of human experience.

Que. 3| How, according to Woolf, do men and women experience the world differently? Are these differences the result of biology or social practice?

Ans. 

Introduction

In Orlando, Virginia Woolf presents a bold and imaginative exploration of gender difference by allowing her protagonist to live first as a man and then as a woman across several centuries. Through this unique narrative device, Woolf examines how men and women experience the world differently and questions whether these differences are natural (biological) or constructed by society. The novel ultimately suggests that gender differences arise not from biology but from social practices, cultural expectations, and historical conditions.

1. Difference in Social Freedom and Mobility

As a man, Orlando enjoys social freedom and authority. He moves confidently in public spaces and is respected by society. However, after becoming a woman, Orlando realizes that freedom is restricted. Woolf writes that a woman must be “obedient, chaste, scented, and exquisitely apparelled.”

This quotation highlights how society imposes strict behavioural codes on women. Woolf shows that the same individual experiences the world differently simply because society now reads Orlando as female.

2. Clothing as a Symbol of Gendered Experience

Woolf uses clothing as a powerful symbol of gender difference. She states, “Clothes change our view of the world and the world’s view of us.”

This line suggests that gender is performed, not innate. Orlando’s inner self remains unchanged, but the clothes of womanhood alter how others treat her. Woolf thus emphasizes that social perception, not biological sex, determines experience.

3. Intellectual Authority and Literary Recognition

As a male poet, Orlando’s writing is admired and encouraged. As a woman, her intellectual abilities are questioned. Woolf ironizes this bias when she notes that women are often seen as “incapable of any great achievement.”

Here, Woolf critiques the male-dominated literary tradition and shows how women are denied recognition not because of lack of talent but due to institutional prejudice.

4. Legal and Economic Disadvantages of Women

After Orlando becomes a woman, she faces legal obstacles regarding property and inheritance. Woolf remarks that a woman’s position is shaped by “the laws of property and marriage.”

This reflects how women’s experiences are controlled by economic dependence. Woolf makes it clear that these restrictions are man-made systems, reinforcing that gender inequality is socially produced.

5. Psychological Continuity Beyond Gender

One of Woolf’s most radical ideas is that Orlando’s inner identity remains the same despite the change in sex. Woolf states, “In every human being a vacillation from one sex to the other takes place.”

This suggests that masculinity and femininity coexist within individuals. Woolf rejects biological determinism and proposes a fluid understanding of gendered consciousness.

6. Marriage and Gender Expectation

As a woman, Orlando is expected to marry and conform to domestic roles. Woolf humorously exposes this pressure when Orlando feels society demands that she must “think of marriage as the chief business of a woman’s life.”

Woolf criticizes marriage as a social institution that defines women’s worth, showing again that difference in experience comes from social conditioning, not nature.

7. Historical Change and Gender Roles

Woolf places Orlando across different historical periods to show that gender norms change over time. What is acceptable for women in one era becomes unacceptable in another. This historical variation proves that gender roles are culturally and historically shaped, not biologically fixed.

Conclusion

In Orlando, Virginia Woolf powerfully demonstrates that men and women experience the world differently due to social expectations, legal systems, and cultural practices, not biological difference. By keeping Orlando’s inner self constant while changing sex, Woolf exposes gender as a social construction. The novel ultimately argues for a more fluid, liberated understanding of identity, challenging rigid divisions between masculinity and femininity.

Pick any one chapter from the novel. Prompt any AI bot or image generator to generate an image of Orlando based on the gender he/she assumes and the clothes he/she wears throughout the chapter. Share that image in your blog and mention the bot/image generator you used.

I have generated an image through Chatgpt : 

Source: ChatGPT

Here is the Video Overview of this blog: 

Beyond Time, Gender, and Biography: A Critical Reading of Virginia Woolf’s 'Orlando'

Here is the detailed  presentation of this blog:

Words: 2473

Images:  6

Videos: 1

Links:  1

References:

• DE GAY, JANE. “Virginia Woolf’s Feminist Historiography in ‘Orlando.’” Critical Survey, vol. 19, no. 1, 2007, pp. 62–72. JSTOR, http://www.jstor.org/stable/41556201. Accessed 29 Jan. 2026.
• de Souza  KAPPKE, Nathalie, and Sandra Sirangelo MAGGIO. (PDF) “Different Though the Sexes Are, They Intermix”: Gender Shifts in Virginia Woolf’s Orlando: A Biography, July 2020, www.researchgate.net/publication/342758188_DIFFERENT_THOUGH_THE_SEXES_ARE_THEY_INTERMIX_GENDER_SHIFTS_IN_VIRGINIA_WOOLF’S_ORLANDO_A_BIOGRAPHY. Accessed 29 Jan. 2026. 
• Elkins, Amy E. “Old Pages and New Readings in Virginia Woolf’s ‘Orlando.’” Tulsa Studies in Women’s Literature, vol. 29, no. 1, 2010, pp. 131–36. JSTOR, http://www.jstor.org/stable/41337036. Accessed 29 Jan. 2026.

• KAPPKE, Nathalie de Souza, and Sandra Sirangelo MAGGIO. (PDF) “Different Though the Sexes Are, They Intermix”: Gender Shifts in Virginia Woolf’s Orlando: A Biography, July 2020, www.researchgate.net/publication/342758188_DIFFERENT_THOUGH_THE_SEXES_ARE_THEY_INTERMIX_GENDER_SHIFTS_IN_VIRGINIA_WOOLF’S_ORLANDO_A_BIOGRAPHY. Accessed 29 Jan. 2026. 
• Moslehi, Mahboubeh. (PDF) a Study of Gender Performativity in Virginia Woolf’s Orlando: A Mocking Biography, Sept. 2018, www.researchgate.net/publication/327822324_A_Study_of_Gender_Performativity_in_Virginia_Woolf’s_Orlando_A_Mocking_Biography. Accessed 29 Jan. 2026. 
• Singh, Somaa, and Dr. Mohd  Farhan Saiel. (PDF) Exploring Gender and Identity in Virginia Woolf’s Orlando, July 2025, www.researchgate.net/publication/394543677_Exploring_Gender_and_Identity_in_Virginia_Woolf’s_Orlando. Accessed 29 Jan. 2026. 
• Woolf, Virginia. “Orlando a Biography : Virginia Woolf : Free Download, Borrow, and Streaming.” Internet Archive, 1928, archive.org/details/orlandobiography0000virg/page/336/mode/2up. Accessed 29 Jan. 2026. 
• Woolf, Virginia. The New Biography | Essay by Woolf | Britannica, 1928, www.britannica.com/topic/The-New-Biography. Accessed 29 Jan. 2026. 

Thank you!

Understanding Existentialism: Freedom, Absurdity, and the Creation of Meaning

Understanding Existentialism: Freedom, Absurdity, and the Creation of Meaning

This blog is written as a task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir. Here is the link to the Syllabus for background reading: Click here.

Video 1: What is Existentialism? (Click the link to watch the video)

• The video presents existentialism as a philosophy centered on freedom, choice, and responsibility, emphasizing the idea that existence precedes essence, which means human beings are not born with a fixed purpose but must create their own identity through lived experience. It explains that anxiety and uncertainty are natural consequences of human freedom rather than signs of weakness, as individuals must constantly make choices without absolute guidance. A particularly resonant idea from the video is that meaning is not predetermined by fate or society but is actively created through one’s actions. The video ultimately concludes that the true aim of existentialism lies in living authentically by making honest choices with full awareness of one’s freedom and responsibility.

Video 2: The Myth of Sisyphus: The Absurd Reasoning (Feeling of the Absurd) (Click the link to watch the video)

• The video explains the concept of the absurd as the tension between humanity’s deep desire for meaning and the silent, indifferent nature of the universe. It highlights Albert Camus’s rejection of physical suicide, arguing that ending one’s life is not a solution to the absurd but an escape from confronting it. The video also critiques philosophical suicide, in which individuals turn to religion or false hope to avoid facing reality as it is. Instead, Camus proposes revolt a way of living marked by awareness, resistance, and dignity as the most authentic response to the absurd. Through the figure of Sisyphus, the video presents a powerful symbol of modern humanity, showing how conscious struggle can transform seemingly meaningless labor into an inner victory.

Video 3: The Myth of Sisyphus: the notion of philosophical suicide (Click the link to watch video)

• The video explains philosophical suicide as an attempt to escape the absurd by turning to religion or metaphysical beliefs that impose meaning where the universe itself offers none. It argues that such beliefs provide false hope and function as a way to avoid confronting reality. Camus strongly criticizes philosophical suicide because it abandons reason and compromises intellectual honesty by refusing to face the absurd directly. Instead, he insists on maintaining a lucid awareness of the absurd without seeking consolation or illusion. The video ultimately concludes that revolt a conscious, ongoing resistance to meaninglessness is the only authentic response to the absurd condition.

Video 4: Dadaism, Nihilism and Existentialism

The video explains Dadaism as a radical rebellion against World War I, where artists rejected existing values, rules, and meanings rather than creating new ones. Closely linked with nihilism, Dadaism questioned all forms of authority and convention, insisting that its purpose was not art, but freedom from imposed norms. Through figures like Hugo Ball, the movement sought liberation from conventional language and culture, encouraging individuals to define their own values. The video also draws parallels with existentialism, as both emphasize individual questioning and acceptance of the absurd, seen in the works of Marcel Duchamp and Jean Arp, which challenged perceptions of art itself. Ultimately, Dadaism is presented not as pure nihilism but as a conscious response to crisis, embracing the absurdity of life, echoing Tristan Tzara’s belief that absurdity is not frightening but liberating.

Video 5: Existentialism - a gloomy philosophy (Click the link to watch the video)

• The video explains Dadaism as an artistic and cultural movement that emerged in 1916 as a reaction to the devastation of World War I. Rather than attempting to create new values or systems, Dadaism sought to reject and question existing rules, traditions, and accepted forms of meaning. The movement was not primarily concerned with art for its own sake; instead, it used art as a tool to challenge logic, rationality, and established cultural conventions. Because of this radical rejection, Dadaism is often associated with nihilism, although the video clarifies that it functioned as a conscious form of protest rather than a complete denial of meaning. Finally, the video draws a connection between Dadaism and existentialism, noting that both emphasize questioning imposed meanings and confronting or accepting the absurd nature of human existence.

Video 6: Existentialism and Nihilism: Is it one and the same?

• The video explains that existentialism consistently opposes nihilism rather than supporting it, emphasizing engagement with life instead of surrender to meaninglessness. Søren Kierkegaard defines nihilism as the loss of individuality and responds to it through the idea of subjective truth, stressing personal commitment and inwardness. Friedrich Nietzsche understands nihilism as the devaluation of the highest values and actively seeks ways to overcome it by affirming life and creating new values. In contrast, Emil Cioran is presented as embodying nihilistic consent, passively accepting existence and even praising suicide as a response to life’s futility. Albert Camus, however, firmly rejects nihilism and argues that rebellion living with conscious resistance against the absurd is the most authentic and life-affirming response to human existence.

Video 7: Let us introduce Existentialism again!

The video introduces existentialism as a philosophical movement, not a rigid doctrine, tracing its roots to 19th-century thinkers like Søren Kierkegaard, Friedrich Nietzsche, and Fyodor Dostoevsky, and its major development after World War II through Jean-Paul Sartre, Albert Camus, and Martin Heidegger. It emphasizes the human condition, focusing on fundamental questions of existence, identity, freedom, and meaning, while rejecting absolute philosophical, religious, or scientific systems that claim final answers. A central idea discussed is “existence precedes essence,” meaning humans are not born with a fixed nature but create their identity through free choice and action. The video also clarifies the difference between existentialism and nihilism, explaining that although existentialists deny objective meaning, they affirm the human capacity to create personal meaning, with Nietzsche urging individuals to overcome nihilism by becoming who they are.

Video 8: Explain like I'm Five: Existentialism and Nietzsche:

• The video presents existentialism and Friedrich Nietzsche’s ideas in a simplified manner suitable for a young audience by using clear, everyday language. Nietzsche’s views on rules are explained through the idea that individuals are not required to blindly follow norms and rules created by others. Existentialism is portrayed as a philosophy that rejects universal morality, emphasizing instead that each person must decide for themselves what is right and wrong. The concept of the Übermensch (Superman) is introduced as an individual who creates their own values rather than accepting society’s imposed moral codes. The children’s reactions in the video reveal that, while the idea of complete freedom is intellectually understood, it can also feel uncomfortable or frightening, thereby highlighting the difficulty and responsibility that come with radical freedom.

Video 9: Why I like Existentialism? Eric Dodson

The video presents Eric Dodson’s attraction to existentialism as a philosophy that deeply shapes everyday life rather than remaining purely theoretical. He explains that existentialism appeals to both the mind and the heart, encouraging critical thought while allowing one to feel intensely alive. What draws him most is its radical honesty about realities such as absurdity, anxiety, suffering, and mortality, which feels more authentic than comforting illusions. Existentialism offers a holistic understanding of life, embracing both human weakness and strength, and encourages a rebellious questioning of conventional beliefs. In daily life, it broadens understanding by engaging emotion alongside reason, nurtures compassion through acknowledgment of suffering, and inspires living fully in the present moment with freedom, passion, and responsibility.

Video 10: Let us sum up: From Essentialism to Existentialism

The video Existentialism: Crash Course Philosophy explains existentialism as a response to essentialism, the belief that humans are born with a fixed essence or purpose. Rejecting thinkers like Plato and Aristotle, existentialism argues that existence precedes essence, meaning individuals create their own identity through choices. The video introduces the Absurd, where humans seek meaning in a universe that offers none, resulting in radical freedom but also deep responsibility. Authenticity requires accepting this freedom, while bad faith involves escaping it by relying on external authorities for meaning. Through Jean-Paul Sartre’s student example, the video shows that no choice is inherently right only the one chosen honestly. Ultimately, the video suggests that meaning is not discovered but created, making existentialism a philosophy of freedom, responsibility, and self-made purpose.

The Videos I personally liked-

I personally like this video because of the following reasons: 

• It explores big questions about life, meaning, and freedom that feel personally relevant.
• It reflects common human doubts and curiosities about existence and choice.
• Complex existential ideas are explained simply, making them easy and enjoyable to understand.
• It gives intellectual satisfaction by offering new perspectives on life.
• The calm, thoughtful pace allows time for reflection.
• It connects you to existential thinkers like Sartre, Kierkegaard, and Camus, whose ideas feel meaningful and authentic.

I personally like this video because of the following reasons: 

• It presents existentialism in a personal, relatable way  not just abstract philosophy but how it connects to real human experience.
• The video affirms both strengths and weaknesses of being human, making it feel honest and meaningful.
• It gives you a sense of acceptance and insight, showing how existentialism embraces people as they are, which can feel comforting and empowering.
• The style likely feels thoughtful and reflective rather than rushed, encouraging deeper thinking about life.

Learning Outcome

After studying the Existentialism video resources shared on the website, my understanding of existentialist philosophy improved significantly. Initially, I had a vague sense that existentialism was about life and meaning, but the videos helped clarify its key principles  especially the ideas of individual existence, freedom, choice, and responsibility in a world that does not inherently provide purpose. Existentialism holds that humans must define their own meaning through conscious action, which was explained clearly through the curated videos and additional web materials on the site.

As I watched and engaged with the content, I began to feel more confident discussing and writing about existentialism. Concepts like existence preceding essence, the absurd condition of humanity, and personal responsibility in creating meaning  which once seemed abstract became much clearer. The video explanations, paired with related resources on the blog, helped me move from recognizing existentialism superficially to articulating its core ideas in my own words.

This activity also brought clarity to previously unclear concepts, such as how existentialists view freedom as both empowering and anxiety-inducing, or how the absence of a predetermined purpose demands that each individual define their own values. Before, the relationship between existentialist ideas and human experience felt abstract; now, I can see how these philosophical views connect directly with questions of identity, choice, and authenticity in everyday life.

Overall, this learning exercise deepened my comprehension and gave me both the confidence and insight to engage with existentialist philosophy more thoughtfully and critically.

Thought-provoking Questions:

• How does the idea that “existence precedes essence” change the way we understand identity and purpose?
• In what ways does the concept of the absurd reflect modern human experience?
• In what ways does existentialism encourage authentic living?
• Do existentialist ideas make people more responsible or more isolated? Explain.
• How does Camus explain the conflict between the human need for meaning and a silent universe?

References:

Barad, Dilip. “Existentialism: Video Resources.” Existentialism: Video Resources, 19 Sept. 2016, blog.dilipbarad.com/2016/09/existentialism-video-resources.html. Accessed 27 Jan. 2026. 

Barad, Dilip. “Flipped Learning Network.” Flipped Learning Network, 24 Jan. 2016, blog.dilipbarad.com/2016/01/flipped-learning-network.html. Accessed 27 Jan. 2026. 

Thank you!