Title: Waiting for Godot Genre: Tragicomedy Author: Samuel Beckett Period/ School: Absurdist Theater Publication Date: 1954 The Author and His Times: Samuel Beckett lived during a very turbulent period, hiding in France during WWII and traveling across post-war Europe. Beckett was extremely welleducated, as seen in the multitude of subtle references to literature and philosophy that appear in many of his works. The ultimate goal of his works was to explore the question of how humans come to terms with their own existence. Form, Structure, Plot: The play is divided into five two acts, and the action is rather circular. There are no scene divisions. The two acts are mirror images of one another. Characters: the main characters are Vladimir (Didi) and Estragon (Gogo), with important appearances also made by Lucky and Pozzo. They are largely static, but are round, seeming to have a shared history and mental processes that are invisible to the audience. It is difficult to judge how characters learn from each other or communicate because, while they talk a lot, their conversations are often fragmented, their actions may do reflect the emotion implied by their words, and both words and actions are conveyed stiffly, as if with uncertainty and perpetual awkwardness. Vladimir and Estragon are the protagonists, and there is no real antagonist except for the uncertainty of the universe itself. Though he is entirely absent, Godot exerts a large influence on their actions, for they are prevented from leaving in the expectation that he will arrive. It is difficult to judge the personalities of Estragon and Vladimir independently, their existence seems to be dependent on the presence of the other; they have a very intimate relationship. Vladimir: intellectual, stiff, dower, suffers from a prostate problem that necessitates him constantly leaving and prowling the stage, imbuing him with a restless energy. He is a bit prouder than Estragon, and more concerned with social conventions. He also pounders larger problems and focuses on the beyond. His name may indicate that he likes to talk and think, with the implication that he may be less able to get things done. His name reflects his ability to speak with strength. Estragon: I was asleep! Why will you never let me sleep? Vladimir: I felt lonely Estragon: I had a dream Vladimir: Don’t tell me Estragon: I dreamt that— Vladimir: DON’T TELL ME
Estragon: This one is enough for you? It’s not nice of you, Didi. Who am I to tell my private nightmares to if I can’t tell them to you?
This conversation illustrates a fundamental facet of Vladimir’s outlook on life. He is more rational than Estragon, and seems incapable of understanding fantasy or imagination. He also seems to lack empathy and is more concerned with his own peace of mind than that of Estragon. Estragon: sentimental, confused, clingy. Estragon is more emotional and expressive than Vladimir, and often seems put off by his irritability. He is concerned with more earthly problems, such as what he is going to eat and how he is going to sleep without being beaten. He is a more physical person, and suffers more physical discomfort. He focuses on more simplistic ideas, such as pictures in the Bible, and is in that way less cynical and more naïve. He fears being alone but also suggests that he and Vladimir should part ways, suggesting that he does not think rationally. He is moody, needy, and forgetful. Estragon: Please Sir… Pozzo: What is it, my good man? Estragon: Er…you’ve finished with the…er…you don’t need the…er…bones, Sir? Vladimir: You couldn’t have waited?
This quote reinforces the motif of basic human needs triumphing over social dignity. Vladimir hesitates to lose his dignity, but Estragon recognizes his needs and is willing to act on them no matter the circumstances. Lucky: enslaved, quiet, intelligent. Lucky belongs Pozzo, and despite his mistreat, is loyal to him. He is strong both mentally and physically, but his talents are only used for the benefits of others—Pozzo even owns his thoughts. When he is allowed to think he thinks very powerfully, so much so that it is emotionally and physically unbearable to the other characters, but his lot in life ultimately is subservience. He is usually reticent, violence-prone around strangers, but obeys Pozzo’s orders, even if they are illogical. One may insinuate that he is called Lucky because, even though his position in life is one of servitude, he has a clear mission and position in life; unlike Vladimir and Estragon, he is able to move, think, and act. This implies that it is best to have a clear purpose in life, to have someone to follow. Pozzo: Why doesn’t he make himself comfortable? Let’s try and get this clear. Has he not the right to? Certainly he has. It follows that he doesn’t want to. There’s reasoning for you. And why doesn’t he want to? (Pause.) Gentlemen, the reason is this. […] he wants to impress me, so that I’ll keep him.
This quote highlights the conflict between freedom and slavery, and questions which is better and more secure. Lucky may have the right to do something, but whether he does it or not is his choice, he has freedom about how and why he should act, and that is why he doesn’t want to relinquish his position. Pozzo: wealthy, conceited, snobby. Pozzo is a stark contrast to the characters of Estragon and Lucky, because while he seems to have everything, they have nothing. He carries his world of material possession with him, while Estragon and Vladimir seem to not have a place in the world at all. He is aware of his authority of others, and seems to enjoy taking advantage of it up to a point. However, this flaunting of wealth seems to break down, mirrored by the loss of his watch, revealing an underlying current of uncertainty and insecurity. He represents the wealthy,
oppressive classes, and how having excessive material possessions does not necessarily lead to increased happiness, security, or understanding. His name in Italian means “hole” or “well.” He has a very materialistic outlook on life, and seems to be in need of help frequently. Pozzo: I’d very much like to sit down, but I don’t quite know how to go about it. Estragon: Could I be of any help? Pozzo: If you asked me, perhaps. Estragon: What? Pozzo: If you asked me to sit down. Estragon: Would that be a help?
This quote shows how, despite his appearance of confidence, Pozzo is actually quite dependent on the direction of others. Perhaps his time spent with V & E has made him lose his sense of self and look for answers from people who seem to be more in charge. Setting: the specifics of the setting are left vague, but it appears to take place in a rural area during winter. Time is a remote principle that applies only in theory, and it is often unclear what time it is or whether it is the same day. As the second scene opens, spring is nearing, hinting at the awakening of hope. Diction: characters enjoy playing with words, deliberately mispronouncing them, and experimenting with different shades of meaning and expectation. Despite what the audience may assume to be less-than-favorable economic conditions, all characters speak in a refined, educated manner. Wearing Lucky’s hat brings with it a decidedly academic and educated way of speaking. Lucky: Given the existence as uttered forth in the public works of Puncher and Wattman of a personal God quaquaquaqua with white beard who from the heights of divine apathia divine athambia divine aphasia loves us dearly with some exceptions for reasons unknown…
This quote, as long as the rest of Lucky’s speech, utilizes a very formal, scientific diction that is intended to make the audience think of academia, which Lucky’s speech identifies as a common conduit through which people seek meaning. This quote also emphasizes the insufficiency of words to convey substantial meaning by mocking intelligent-sounding words. Estragon: We always find something, eh Didi, to give us the impression we exist? Vladimir: Yes yes, we’re magicians. But let us persevere in what we have resolved, before we forget. Come on, give me your foot. The other, hog!
This quote illustrates Vladimir’s inconsistent mental state. He has the formality of speech of Lucky, but the vulgarity of Pozzo. This shows how strong an impression certain people can leave behind, and the tendency to pick up the habits of others without being aware of doing so. Thus, even personal identity is constantly in motion, and people must be judged relative to one another. No one can be truly independent. Vladimir: They all speak at once Estragon: Each one to itself Vladimir: Rather they whisper Estragon: They rustle Vladimir: They murmur
Estragon: They rustle
This quote illustrates another common linguistic phenomenon: debating the subtle distinctions in words, when the word itself does not make a difference. In this particular case, the difference between rustling and murmuring is insignificant, it only has the meaning that V & E assign to it. Syntax: Sentence structure often is not logical; characters bounce from one topic to another, making connections between ideas which may seem obscure to the reader. The most extreme example of this phenomenon is Lucky’s speech, which is sprawling and not confined by traditional logic, thought patterns, or grammatical structures. Dialogue and questions are often repeated, and many questions are left unanswered. The point is highlighted many times that speech is not the most accurate or efficient form of communication—it is too open to misunderstandings, and effective speech often does not translate to effective action. V & E often complete each other’s thoughts and repeat each other. Parallelism is also used to reinforce the redundancy of Estragon and Vladimir’s speech. Estragon: What am I to say? Vladimir: Say, I am happy. Estragon: I am happy. Vladimir: So am I. Estragon: So am I. Vladimir: We are happy. Estragon: We are happy. What do we do now, now that we are happy?
This quote, by highlighting the constant repetition in E & V’s conversations, shows of how little importance words are when contemplating emotional states. The fact that they call themselves happy does not change their physical situation, it is only a word to assign to their intangible emotional state, and it ultimately means nothing because it can never leave their unique perception. Concrete Detail/ Imagery: kinds of imagery can be characterized by level of baseness or refinery. There is a group that revolves around primary reinforcers: food, sex, general comfort, and physical safety. Death and pain are another important category of imagery. There are also references to the Bible, to God and religion in general, and other philosophical pursuits. Many references are made to being beaten by people offstage. Time—or the lack thereof—is also of importance. Symbolism: hats—hats are what allow people to think, they represent intellectualism. Changing hats gives people the perception that they can think like different people. Shoes—the more kinetic counterpoint to hats, they allow people to move, but can also inhibit their progress. Shoes smell, can cause pain, and are closer to the ground, which makes them seem baser an more organically human. Rope—keeps people tied down, either to an expectation, a place, or a state of mind. Watch—ability to hold onto time, the desire to quantify life, ultimately an arbitrary way of defining existence.
Figurative Language: Estragon likes making jokes and playing on the sounds and meanings of words. Vladimir sings. Non-sequiturs are frequent, as are other plays on words. Ironic Devices: the characters sometimes make references to the presence of the audience in order to show that they know that they are in a work of fiction. Verbal irony is also common, which often occurs in concurrence with situational irony, such as when Vladimir and Estragon are suddenly able to stand by imaging that they are capable of doing so. Tone: despairing, absurdist, sometimes humorous, but bitterly. Theme: perception plays a very important role in this play. Difficulties in conversation are caused by differences in ways of thinking, which can never be truly reconciled between individuals. This idea puts a special emphasis on the importance of individual thought and action. Because, if your thoughts and intentions can never fully be understood by another person, the only way to make yourself known to others is to act. Thought and speech ultimately amount to nothing, they fade away after death and are forgotten; and if they are forgotten, they might as well have never happened. Acting is the most dependable way of giving your life meaning. There is also a strong undercurrent of the fear/expectation of death in everything that we do, death is the base for everything, everything else that we do, think, and feel is built on top and risks toppling over. There also seems to be a juxtaposition between liberty and predestination, or chance. Nothing in the universe is absolute, and the only conclusions we can draw about it are based on conditional knowledge. If our lives are determined by chance and suspended in uncertainty, then there is little point in acting, our thoughts and actions may not make a difference. This conflict is represented by the contrast between Lucky and Vladimir and Estragon. Lucky is enslaved, but in some ways this gives him more freedom. Vladimir and Estragon do not know whether Godot will ever arrive, and are thus chained to the same location in the expectation of his presence. Not knowing is its own form of confinement, and Lucky has more freedom because his place in life is already determined, whereas V & E base their existence on a man who they may or may not ever meet. Significance of Title: shows how people are often thrust into situations that they don’t understand and, unsure of what their purpose is, assume that they are waiting for someone who may never actually appear Memorable Quotes: Estragon: So long as one knows. Vladimir: One can bide one’s time. Estragon: One knows what to expect. Vladimir: No further need to worry. Estragon: Simply wait.
Vladimir: We’re used to it.
This quote shows how V & E try to find a secure identity be saying that they are waiting, relying on what they are used to and living passively rather than trying new things. Pozzo: Remark that I might just as well have been in his shoes and he in mine. If chance had not willed otherwise. To each one his due.
This quote elaborates on the theme of chance playing a large role in human life and destiny. It also foreshadows the changing of Estragon’s shoes, and therefore seems to imply that our identity can be changed by the physical goods that we possess. Vladimir: Tell him…tell him you saw me. You’re sure you saw me, you won’t come and tell me tomorrow that you never saw me!
This quote is a window to the anxiety at the center of the play. Vladimir fears being forgotten, because if he is forgotten by the boy then he might be forgotten by everyone, and after he dies it will be like he never existed. He fears that he will not be able to keep pace with reality and that the meaning and truth of things will change without him having been aware of it. He cannot be certain of anything, even his own existence. Vladimir: But that is not the question. What are we doing here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing is clear. We are waiting for Godot to come—
This quote suggests a possible meaning behind Lucky’s name—it is lucky to know why you are somewhere, that you have a clear way of passing time, and in this context freedom and independence may not apply. It is way to escape the “immense confusion” of life and find a concrete purpose.
