Հպարտության և փառամոլության թեման Ժան-Պոլ Սարտրի «Սատանան և տեր Աստված» պիեսում

Sartre’s works, such as the novel “Nausea”, the philosophical work “Being and Nothingness”, the dramas “Flies”, “No Exit” and partly the novel “The Roads of Freedom”, are among the biggest manifestations of existentialism. The purpose of the article is to reveal the image of the protagonist of the play “The Devil and the Good Lord”, Goetz, using the concepts of pride and vanity. Sartre describes the moral adventure of man through Goetz. The isolated character tries to start a human struggle against other people. Goetz turns away from the Lord in order to present himself to the world of people. He discovers a new form of self-destruction and renounces the eternal pretence. The whole essence of Goetz’s character revolves around a tragic conflict in which he tries to maintain isolation from people while secretly striving for love and acceptance. Goetz thinks he is free to do evil, but in doing so, his personality is defeated. This is his vanity. But Goetz’s pride is an illusion, because his stubbornness is only external, he acts as if he is not a master of his craft. The Sartre hero, proud of his loneliness, actually only accepts the condition set by society and waits for the recognition. Like many other dramatic characters created by Sartre, he exists in the eyes of others, God or other people, and thus reveals himself. The extremely cruel warrior Goetz is the best captain in all of Germany, whose fame reigns in the city of Worms as a silent threat of destruction in the first act of the play. However, in Sartre’s play, the priority is to understand Goetz in the eyes of other characters who see him, know him, and associate him with his monstrous “nature”. The fact that Goetz appears only in the second scene of the play can be considered a dramatic device by which Sartre tried to make Goetz the center of the conflict. The main topic of discussion for others is this newcomer, who personifies the plot knot and is the basis of dramatic actions. It is precisely because of the negative nature of these social values that the image of Goetz was formed: this is connected with the fate that awaits him on stage, because the hero of the Devil and Lord considers himself unique. Goetz does not look at the world through an optical device, but at every step he is tempted by the reflection of his image, inspired by other people’s eyes, in which he is doomed to accept himself. Before entering the stage, he has already been assigned a place in a world where a person never thinks about getting rid of himself before the final transformation.