waiting-for-godot.pdf

Waiting for Godot...

Waiting for Godot Study Guide by Course Hero existence. The meaning of the name Godot is debated among What's Inside scholars. Although Beckett wrote in French, it is possible that he wanted his audiences to consider the presence of the English word God in the name of the character who never j Book Basics................................................................................................. 1 shows up. (The similarity between the words Godot and God does not exist in the original French, in which God is Dieu.) It is d In Context..................................................................................................... 1 possible, however, that Beckett named the character for a a Author Biography..................................................................................... 2 French bicyclist called Roger Godeau—or for a French slang word for boots. h Characters.................................................................................................. 3 k Plot Summary............................................................................................. 6 c Section Summaries............................................................................... 10 d In Context g Quotes......................................................................................................... 19 Waiting for Godot, like most of Samuel Beckett's works, contains little in the way of historical context. He wanted his l Symbols...................................................................................................... 21 audience to experience the play without the expectations and m Themes........................................................................................................ 21 assumptions attached to a particular people, place, or time. The play is not entirely free from cultural context, however, b Motifs.......................................................................................................... 22 containing references to the Bible, Shakespeare, and ancient Greek mythology, as well as a number of allusions to e Suggested Reading.............................................................................. 23 Christianity. World War II j Book Basics Beckett wrote Waiting for Godot shortly after World War II AUTHOR ended, and the conflicts and horrors of the war were fresh in Samuel Beckett his memory. He lived in occupied Paris, working with the French Resistance until he and his companion, Suzanne FIRST PERFORMED Déschevaux-Dumesnil, had to flee to avoid being arrested by 1953 the Germans. He and Déschevaux-Dumesnil spent the GENRE remainder of the war in a region of the French countryside not Drama under German control. After the Allied victory in Europe, Beckett volunteered for the Red Cross, witnessing firsthand ABOUT THE TITLE the consequences of war and the results of Nazi brutality. The two central characters, Vladimir and Estragon, wait for someone named Godot, who, as a stand-in for God, never arrives. The title focuses the audience on the futility of human Waiting for Godot Study Guide Author Biography 2 nicknames and engage in conversations and interactions Modernism and straight out of slapstick comedy. Though not a formal movement, the absurdist plays of Beckett, along with those of Postmodernism Eugène Ionesco, Harold Pinter, and some other playwrights of the mid-20th century had in common a pessimistic view of an Waiting for Godot displays characteristics of both modernism essentially purposeless human existence. As in Waiting for and postmodernism. The modernist period in literature, which Godot, absurdist plays break with traditional structures and began around the turn of the 20th century, saw writers use of language to convey images and ideas that have no respond negatively to the Industrial Revolution and the horrors clearly defined meaning or resolution. of World War I. Modernism's goal—to create something completely new—sparked much experimentation by merging In Waiting for Godot, the human condition is depicted as psychological theory with the creation of many new forms and ridiculous and without purpose. Beckett labeled the play a styles. Characteristics of modernism include the following: "tragicomedy," emphasizing both the humor to be seen in the absurdity of existence and the anxiety and hopelessness focus on the inner self or consciousness resulting from a lack of purpose. Many also see the play as an concern with the decline of civilization and the effects of illustration of the views of existentialism, especially the capitalism philosophy of French writer Jean-Paul Sartre, whose characterization of technology as cold and unfeeling proposition that humankind "first surges up in the world—and alienation and loneliness of the individual defines [itself] afterwards," argues that there is no inherent first-person narrators meaning in human existence. Beckett warned audiences, stream of consciousness style however, against making religious or philosophical deductions, deviation from traditional plot structures saying, "the key to the play was the literal relations among its surface features not any presumed meanings that could be Postmodernism, which arose after World War II, turned away deduced from them." from modernism's insistence on entirely new literary forms. Instead, postmodern art, including literature, often reflected numerous traditional styles within one work. Characteristics of postmodernism include the following: a Author Biography parody, paradox, or pastiche (imitation of another work) Samuel Beckett was born on April 13, 1906, in Foxrock, in fragmentation County Dublin, Ireland. As a youth, Beckett experienced severe interest in flattened emotions bouts of depression that kept him bedridden; he reflected, "I focus on an anonymous or collective experience had little talent for happiness," an observation that would later self-reference or recursion (the use of repeating elements) provide an undercurrent in much of his writing. From 1923 to unreliable narrators 1927, he studied Romance languages at Trinity College in Dublin, and in 1928 he moved to Paris to teach. In Paris, he Both modernist and postmodernist works reject traditional became a friend of another Irish author for a time, James values and generally accepted meanings for texts. Joyce. Beckett briefly returned to Ireland to teach in 1930. After traveling in Europe, he settled in Paris, France, in 1937. The Theater of the Absurd When World War II broke out, Ireland remained neutral, so Beckett was able to stay in Paris even after the Germans invaded. He became active in the French Resistance and, after Waiting for Godot was a defining work in what came to be members of his resistance group were arrested, he and his known as the Theater of the Absurd, plays in which a lack of then-companion (later wife) Suzanne Déschevaux-Dumesnil purpose and logic create uncertainty, hopelessness, fled to rural France for the remainder of the war, surviving on ridiculousness, and humor. The absurdity of characters' words Beckett's farm work. and actions reveals the absurdity of human existence. The characters may call one another by childish, almost clownish, Returning to Paris after World War II, Beckett produced many Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Characters 3 of his best-known works. Waiting for Godot was originally "Godotmania." written in French (En attendant Godot). Beckett felt his mastery of the conventions of English concealed what he was Since then, Waiting for Godot has been performed in many trying to express, and the French tongue offered him a better different ways around the world. Beckett famously insisted medium for his ideas. He later translated Waiting for Godot into that productions of the play remain faithful to his original English himself. dialogue, setting, and stage directions. Actors and directors, however, continue to put their own spin on performances. In a In Waiting for Godot, Beckett addresses an essential question 1988 production at New York's Lincoln Center, superstar of existence in two acts that mirror each other: Why do comic Robin Williams, playing Estragon, couldn't resist humans exist? Vladimir and Estragon, because they are logical interrupting Lucky's monologue with antics and verbal beings, assume there is a point to their lives. With no outbursts. Also in 1988, the Dutch Haarlem Toneelschuur confirmation, they have made an appointment with Godot, who Theater staged an all-female production, despite Beckett's may or may not be real. The audience is presented with two objections. A Classical Theater of Harlem production in 2006 sets of characters: one pair—Vladimir and Estragon—waits set the play in flooded New Orleans after Hurricane Katrina. passively, and another pair—Pozzo and Lucky—fills the time with purposeless journeying. Beckett claimed his works begin Beckett, a master of form, strove throughout his life to produce where the implied happy endings of other literary works leave plays, poetry, and prose pared down as much as possible to off. He strips away the false rewards of power, wealth, or address essential questions of human existence. Come and Go marriage to present concentrated sparseness as a means of (1967) contains only 121 words; "Lessness" (1970) comprises exploring existential questions. The absurdity and humor in his only 30 sentences, each appearing two times; and Rockaby works are meant to liberate his viewers from the angst of (1980) runs for a duration of 15 minutes. these questions. He intends to free his viewers from the Beckett was awarded the Nobel Prize in Literature in 1969. He experience of trying to make sense of the senseless. died on December 22, 1989, in Paris. The original French version of the play, En attendant Godot, was performed in full for the first time in Paris at the Théâtre de Babylone in 1953. Despite Beckett's inexperience in theater, h Characters this first play required only superficial revisions during the rehearsals. Early audiences were bored, confused, and even angered by the play. Some critics disliked its rejection of purpose and meaning. Others, however, immediately Estragon recognized the play's revolutionary importance. Sylvain Zegel, Both Estragon and Vladimir are essentially Everymen, who wrote the first review of the production, observed that representing all of humanity, but they also contrast in some Vladimir and Estragon represent all of humanity, trying to ways. Estragon is primarily concerned with feelings, achieve at least the illusion of living. particularly his own suffering, rather than intellectual thoughts, It didn't take long for the play's popularity to spread. In 1953, an and he has trouble understanding much of Vladimir's logic and inmate of Lüttringhausen prison in Germany, having gotten a philosophy. He displays intuitive leaps, however, that go deeper copy of the script, translated it into German and performed it than Vladimir does with his logic. If the two primary characters with his fellow inmates. He wrote to Beckett that the harshness represent two parts of a person, Estragon is the body. The of life and the endless waiting depicted in the play resonated beatings Estragon says he receives represent the suffering strongly with the prisoners. The first English-language that afflicts and traps humanity. There is nothing noble about performance, directed by Peter Hall at the Arts Theatre in this suffering—Estragon's complaints about it are self-pitying, London in 1955, was received with mixed reviews. Despite and the fear of another beating keeps him locked in the Hall's opinion that the dialogue was "real dramatic poetry," endless waiting. critic Philip Hope-Wallace called the language flat. Fortunately, the critic for the Sunday Times, Harold Hobson, was hooked, and the public soon caught what Hall later called Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Characters 4 Vladimir Vladimir is the more logical and intellectual of the two primary characters. He is the only character who remembers most events from one day to another, and he works the hardest to fit those events into a logical time frame, despite conflicting evidence. He tries to explore philosophical ideas logically, but often misses deeper truths Estragon seems to grasp instinctively. If Estragon represents the body, Vladimir represents the mind, with all its ability to deceive itself. Pozzo In contrast to the other characters, Pozzo is a wealthy landowner with power and resources. He clearly sees Vladimir and Estragon as beneath him but condescends to talk with them anyway. His concern with appearances and social conventions is ridiculous, pointing out their meaninglessness. Pozzo uses his power over Lucky to abuse him horribly. But his power and resources are ultimately useless—they don't give his life meaning or protect him from misfortune. When he becomes blind, he must rely on his slave, Lucky (who was previously merely a convenience and for entertainment) to help him navigate life, becoming pitiful in a single stroke of fate. Lucky As Pozzo's slave, he must constantly carry burdens that are not his own. His body is constrained, much like his free will. This might be why he seems not even to consider leaving when Pozzo becomes blind, losing most of the power he had wielded over Lucky. However, Lucky demonstrates some willpower during his long speech in Act 1, and he is upset by the prospect of Pozzo selling him, which suggests he may choose to remain in his role. There is a dependency between Lucky and Pozzo that seems related to, but not limited to, their inequality. Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Characters 5 Character Map Waits for Vladimir Also called Didi; a waiting man Brings news of Godot Diversion Friends A boy Pozzo Godot's messenger Brings news Pompous; becomes blind of Godot Estragon Diversion Also called Gogo; a beaten man Messenger Slave Waits for Godot Lucky Stand-in for God; Leashed and burdened; never appears becomes dumb Main Character Other Major Character Minor Character Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Plot Summary 6 himself talk. He roughly orders around and abuses Lucky, a Full Character List slave whom he keeps on a rope. Lucky is unresponsive except when following Pozzo's orders, and kicks Estragon when he Character Description tries to comfort him. When he is ordered to think, however, Lucky produces a jumbled speech that verges on profound Estragon, called "Gogo" by Vladimir, is a meaning. He becomes increasingly passionate until the others Estragon man who is beaten every night. angrily attack him to make him stop. Lucky collapses, and to be revived, he must be reacquainted with the burdens he carries. Vladimir, called "Didi" by Estragon, is a man After the sun sets, he and Pozzo continue on their journey. Vladimir trying to make sense of the world. Vladimir reveals that he and Estragon have met Pozzo and Pozzo is a pompous man who believes he is Lucky before—at least he thinks so. A boy arrives with a Pozzo in control. message from Godot—he will not come this evening, but "surely tomorrow." It seems the two friends have also heard Lucky is Pozzo's leashed and burdened this message before, although the boy claims not to have come Lucky slave. yesterday. Their questions about Godot reveal how little they know about the person they've been waiting for. They ask the Godot, a possible stand-​in for God, is the boy to tell Godot he has seen them. The moon rises, and they Godot titular character of the play, yet he never decide to find a place to sleep, but neither moves. appears on stage. A boy comes twice (or perhaps two boys A boy come, once each) as a messenger from Act 2 Godot. When Vladimir and Estragon return, the tree has a few leaves on it, which is astounding for Vladimir and confusing for k Plot Summary Estragon. Estragon has been beaten again, and he is angry that Vladimir, who is feeling better, seems happy without him. He suggests they part ways, but Vladimir discourages him. Vladimir reminds Estragon of their encounter with Pozzo and Act 1 Lucky "yesterday," of which Estragon has only vague recollections. Estragon sees the world as a "muckheap," and Two shabby men who seem to be old friends meet on the side their conversations—to pass the time—linger on describing the of a country road near a leafless tree. The first, Estragon, has dead, who "make a noise like feathers." They also debate the been beaten up, and the second, Vladimir, suffers from groin value of thought, ultimately deciding it has little worth. pain and frequent urination. They consider repenting, though When Vladimir points out the change in the tree, Estragon they don't know what for, and they discuss the different views denies that they were in this place yesterday. Certainly all is in the Bible of the two thieves crucified with Christ. Getting not exactly as they left it, including Estragon's boots, which he bored, they consider leaving, but Vladimir says they are waiting claims are now a different color and size. Estragon becomes for Godot. They have asked him for something, though they increasingly bored and wants to go, but when he does leave, aren't sure what, and they are waiting for a response. They he returns immediately, fleeing from someone who seems to consider hanging themselves as a diversion to pass the time or be coming from all directions. When Vladimir looks, however, to speed up time, but they worry about one of them surviving he sees no one. After Estragon calms down, they continue alone. In the meantime, there is "Nothing to be done." their random conversations and activities to pass the time as Vladimir and Estragon hear a "terrible cry" just before two they wait for Godot. travelers arrive. Pozzo, a wealthy landowner, stops to eat and Lucky and Pozzo arrive again, but they are much different. talk to the two men but mostly takes pleasure in hearing Pozzo has gone blind, which turns him into a pitiful figure who Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Plot Summary 7 must rely on Lucky's guidance and support. He falls whenever Lucky does. Indeed, both fall as they arrive and seem unable to get back up. When Vladimir and Estragon try to help them, they also fall and cannot get up, until a passing cloud distracts them. They help Pozzo up and suggest that Lucky might perform for them again. But Lucky has been struck dumb (left unable to speak). Pozzo also has no memory of any previous meetings with Vladimir and Estragon. After letting Estragon avenge himself on Lucky, Pozzo and Lucky continue on, falling down again as they go. While Estragon naps, a boy arrives with the same message from Godot: he cannot come tonight but will tomorrow "without fail." The boy says he did not come yesterday and doesn't know if his brother, who is sick, did. Vladimir again asks the boy, more desperately this time, to tell Godot that he has seen him, but the boy runs away without confirming that he has seen him. Night falls and Estragon wakes up. He and Vladimir again consider hanging themselves, but once again they have no rope. They resolve to bring some tomorrow when they return to wait for Godot, and agree to go for the night. Neither moves. Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Plot Summary 8 Plot Diagram Climax 7 Falling Action 6 Rising Action 5 8 4 9 3 Resolution 2 1 Introduction 7. Vladimir and Estragon help Pozzo get up. Introduction 1. Estragon and Vladimir arrive to wait for Godot. Falling Action 8. A boy arrives with a message: Godot will not come tonight. Rising Action 2. Pozzo stops to talk to Vladimir and Estragon. Resolution 3. Pozzo has Lucky dance and think. 9. Vladimir and Estragon decide to wait for Godot tomorrow. 4. A boy arrives with a message: Godot will not come tonight. 5. Vladimir and Estragon arrive again to wait for Godot. 6. Pozzo and Lucky fall down as they arrive. Climax Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Plot Summary 9 Timeline of Events Evening Estragon and Vladimir meet, talk, and consider hanging themselves while they wait for Godot. Later Lucky and Pozzo arrive; Pozzo stops to talk to Vladimir and Estragon. After a while Pozzo offers to have Lucky think before they leave. After sunset A boy delivers a message: Godot won't be coming tonight, but surely tomorrow. The next evening Vladimir and Estragon arrive again to wait for Godot. Most of the evening The friends barely avoid boredom through random conversation and activities. Later Lucky and Pozzo arrive again, much changed; all four fall and cannot get up. Just before sunset A boy delivers a message: Godot won't be coming tonight either. After nightfall Vladimir and Estragon decide to wait again, and perhaps hang themselves, tomorrow. Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Section Summaries 10 opposite, getting "used to the muck" as he goes. Estragon c Section Summaries wonders if they are tied to Godot. Vladimir says yes, for the moment, but there is nothing to be done about it. Waiting for Godot has two acts without scenes. For the purpose of analysis, the acts have been further divided into sections based on character entrances and exits and Analysis significant events. Estragon's first words in the play, "Nothing to be done," sum up the play as a whole: nothing meaningful ever happens, and Act 1 (Estragon and Vladimir) nobody ever takes any meaningful action. At first, it seems Estragon is simply talking about his boot, but Vladimir's response that he is "beginning to come round to that opinion" but hasn't "yet tried everything" makes it a broader Summary philosophical statement. "Nothing to be done" expresses a major theme of the play—life is essentially without purpose. Estragon sits on a mound under a leafless tree, unsuccessfully That doesn't stop the two men from holding out intermittent trying to remove his boot. Vladimir arrives and greets him as an hope that they might find something worthwhile if they keep old friend, learning that Estragon was beaten up, apparently trying, or waiting. However, their fruitless searches of their hat again, as he slept. Vladimir also suffers, apparently from some and boot illustrate the folly of seeking meaning in life. ailment that involves groin pain and urinary symptoms. Estragon asks for help with his boot, but Vladimir ignores him The characters are left purposely undefined. Vladimir and and tries to remember a quote about "hope deferred" while Estragon are described as shabby and no longer respectable, looking for something in his hat. Estragon finally gets his boot but they are never called tramps, as they are often depicted. off and seems to search it as well. Both find nothing. Most other details are left to the director's and the audience's imaginations. Both characters are Everymen, representing all Vladimir suggests that they repent, but they don't know what of humanity, and they are also, in a sense, representing two of—perhaps being born. Vladimir states that one of the two different aspects of humanity. Estragon is more in tune with thieves crucified with Christ was saved, but according to only bodily concerns—pain, hunger, and the senses. His boots are one of the four Gospels of the Bible. Why believe only that his primary prop, showing his more grounded nature. He has one? Confused and bored, Estragon suggests they go, but intuitive insights, such as understanding that the lighter person Vladimir reminds him they are waiting for Godot. Uncertain must hang himself first, but he has great difficulty expressing whether this is when and where they are supposed to wait, his ideas in words. Vladimir is more intellectual and they examine the tree, debate the day of the week, and wonder philosophical, examining big ideas, which Estragon has trouble if they waited here yesterday. During a lull, Estragon falls understanding. He is more concerned with his and others' hats, asleep. Vladimir soon wakes him because he is lonely but then which are, of course, worn on the head. This mind/body parallel refuses to hear about Estragon's nightmare or tell a story he is confirmed in Act 2 when Estragon explains that Vladimir "has requests. When Estragon persists, Vladimir leaves angrily. stinking breath and I have stinking feet." However, he returns shortly, and they make up. The setting is equally undefined. As the characters are To pass the time, the two consider hanging themselves. They Everymen, characters who represent ordinary individuals with are excited that hanging can cause an erection but worry that whom the audience may easily identify, the setting is every the branch will break, leaving one of them alive alone, so they place. A few details tie Vladimir and Estragon to France at decide to ask Godot when he comes. Vladimir reminds some time in the past, but their present location could be Estragon that they asked Godot "a kind of prayer," and Godot anywhere. The leafless tree gives a feeling of barrenness that has to think it over. Vladimir suggests they should bow down to symbolizes the lack of purpose and meaning in life. Godot because they have gotten rid of their rights. Distracted by hunger, Estragon eats a carrot, which is satisfying at first The characters' enthusiastic consideration of suicide is but then loses its appeal. Vladimir says he experiences the simultaneously comic and disturbing. They seem most Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Section Summaries 11 interested in the temporary benefit of sexual gratification, but possibly a prayer, and they seem to think he should be underneath it is a sense that they are seeking a way out of the approached on hands and knees, traditional for a ruler or a never-ending waiting they are trapped in. However, they decide deity. Certainly they view him as some sort of authority. Many against hanging themselves because neither of them wants to extend these religious references to conclude that Godot is risk being left waiting alone. It is later revealed that they also God. Beckett, however, denied this, saying, "I don't know who have no means to hang themselves. Godot is. I don't even know (above all don't know) if he exists. And I don't know if they believe in him or not—those two who Virtually nothing in the play is certain. Estragon remembers are waiting for him." very little of past events, absurdly demonstrating the human tendency for self-serving, selective memory. Vladimir often seems more definite (or over-definite, insisting that everyone he encounters is someone he and Estragon have met before), Act 1 (Lucky and Pozzo Arrive) but when questioned, his certainty often breaks down as well. Beckett himself expressed no definite idea about the meaning of his play, saying, "All I knew I showed. It's not much, but it's Summary enough for me, by a wide margin." The only certainty is they Vladimir and Estragon run and cower when they hear a are waiting for Godot. "terrible cry." Lucky arrives, loaded down with baggage and Suffering in the play is often met with indifference. From the trailing a long rope, which is tied around his neck. He is very beginning, Estragon's boot causes him pain. However, followed by Pozzo, who, holding the rope and a whip, whips Vladimir is indifferent to his repeated requests for help, Lucky and jerks his rope, making him fall down. Estragon focusing instead on his own pain. Estragon is repeatedly initially thinks Pozzo might be Godot, mishearing his name as beaten as he sleeps, but he and Vladimir seem to accept it as such. Pozzo warns the others to stay away from Lucky an unpleasant given, suggesting that suffering is inevitable and because he is vicious. Then Pozzo declares that he needs the cause isn't significant because Estragon can't even company. Lucky mindlessly follows Pozzo's orders, setting up a remember who beat him. There are hints of human stool for him and serving him as he eats, drinks, and smokes connection—the two men clearly depend on each other, and his pipe. Vladimir is mortified when Estragon asks for the Estragon often wants to embrace Vladimir. However, as soon chicken bones Pozzo has discarded. as Estragon does so, he is disgusted by Vladimir's smell, Fascinated and disgusted, Estragon and Vladimir examine distancing and isolating the characters from each other. Lucky, and Estragon wonders why Lucky never puts down his Religion clearly plays some role in the play, but the nature of bags. Pozzo makes a big production of preparing to speak, the role is, again, debatable. Vladimir ponders the story of two finally claiming that Lucky chooses not to put down his thieves from the New Testament of the Bible, pointing out burdens so Pozzo won't get rid of him—they are on the way to inconsistencies in the accounts of different Apostles. This calls sell him at a fair. When Pozzo says it would actually be best to into question the validity of religion. If a single religious text kill him, Lucky weeps. Estragon tries to wipe away his tears can't agree on a single story, how can religion be relied upon? and gets kicked viciously in the shin for his trouble. Crying that The quote about hope Vladimir cannot remember is also from he will never walk again, Estragon begins to weep. Vladimir the Bible: Proverbs 13:12, "Hope deferred makes the heart sick, becomes enraged that Pozzo would use and discard Lucky but but a longing fulfilled is a tree of life." It is unclear whether the then turns on Lucky when Pozzo breaks down, crying that characters want such a hope or fear it. The barren tree can be Lucky is driving him mad. Pozzo recovers himself, and Vladimir seen as an allusion, or indirect reference, to Christianity exits to go to the bathroom. because the cross is sometimes called a tree. That the two consider hanging themselves on their tree perhaps equates them to the two crucified thieves in Vladimir's story. Analysis There are also religious overtones in the pair's references to The arrival of Lucky and Pozzo finally provides Vladimir and Godot. They seem to remember that their request to him was Estragon with a distraction, but the change is not entirely Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Section Summaries 12 welcome. When Pozzo begins speaking pompously, Vladimir A motif of duality runs throughout the play. Each character has wants to leave. (Of course, he never succeeds in doing so.) a logical counterpart. Vladimir and Estragon are two equal The two new characters are of two drastically different halves of a whole, and Pozzo and Lucky appear to be statuses: Pozzo seems to be wealthy and claims to own the opposites. Likewise, Vladimir's biblical story features a pair of surrounding land, whereas Lucky is a slave with no power. thieves. The play itself is dual in structure, with the second act Pozzo and Lucky are going somewhere, in contrast to mirroring the first. Estragon and Vladimir who are stuck in this spot, although their inability to leave seems also to temporarily infect Pozzo when he tries to depart. Act 1 (Lucky Thinks) Pozzo expects his high status to be recognized, and his behavior is obviously artificial, based on how he thinks a man of his social rank should act. At one point, he struggles to find a Summary pretext for sitting back down when he changes his mind about While Vladimir is gone, Estragon and Pozzo watch the sun set. leaving. He cannot simply change his mind without a socially When Vladimir returns, Pozzo makes sure he has their acceptable reason, revealing the absurdity of social attention before delivering a long speech about the twilight conventions. He speaks to Vladimir and Estragon as near sky, which he forgets the conclusion of, until he says it turns to equals (he calls them his "likes," emphasizing their equality), night. After fishing for compliments for his performance, Pozzo although he clearly sees himself as superior, while he abuses expresses a desire to do something for "these honest fellows Lucky with little regard for his feelings. Even his religious who are having such a dull, dull time." Appearing not to hear references are contrived, referring to Greek mythology rather Estragon's request for money, he offers to have Lucky perform than a living religion, as well as being incorrect (Atlas is not the for them; Vladimir and Estragon request that he dance and son of Jupiter). Pozzo's lofty status is shown to be meaningless think. when he points out that his and Lucky's situations could have been reversed. Lucky's brief dance is ridiculous, suggesting to Estragon and Vladimir that he is in pain, perhaps from a hard bowel In contrast, Lucky seems completely without his own will, his movement. Forgetting that Pozzo has already answered the only independent action being to kick Estragon when he tries question, Estragon again asks why Lucky can't put down the to dry his tears (another example of an act of humanity being bags. Because he is not currently holding them, however, the met with negativity). Both the baggage that Lucky carries and question is declared invalid. After Lucky's hat is replaced (he the rope Pozzo uses to control him are highly symbolic. Lucky can't think without it), he gives a long speech that sounds like never puts down the items he carries except when absolutely nonsense, filled with repetition and disjointed thoughts. His necessary to fulfill one of Pozzo's orders, always picking them speech seems to pain and anger the others, and they attack up again immediately, even when there is no purpose to and drag Lucky down—pulling off his hat—as he shouts out the holding them. This echoes the human tendency to be slaves to end of his performance of thinking. our burdens, holding onto them even when doing so is unnecessary and doesn't serve us. Pozzo's rope physically After Lucky is revived and returns to his role as slave, Pozzo controls and restrains Lucky, representing all the obstacles to declares his watch missing. Unable to hear it by listening to freedom that are part of the human condition. As the play goes Pozzo's heart, Vladimir and Estragon agree it is lost. Pozzo on, the obstacle the rope represents to Lucky's freedom finally decides he left it at home, apparently forgetting that he proves to go beyond the physical. had it earlier. He says goodbye to Vladimir and Estragon but is unable to leave until he backs up and drives Lucky forward Estragon and Vladimir continue to be uncertain about Godot, with the whip. With much shouting from Pozzo, they continue admitting that they "hardly know him" and wouldn't recognize on their way. him if they saw him, even mistaking Pozzo's name for his. (Beckett pronounced Godot with more emphasis on the first syllable, making the similarity more obvious.) Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Section Summaries 13 words, the loss of God is leading to humanity's decline and Analysis death. The final section of Lucky's speech is filled with bleak imagery of cold water, barren earth littered with stones (the Time, or lack thereof, comes to the forefront in this section. Irish region of Connemara is notoriously stony), and skulls (the When Pozzo references his schedule and says he has to leave, ultimate symbol of death). The structure of Lucky's speech Vladimir declares, "Time has stopped." Time does seem to likewise declines as he goes on, until he is primarily repeating a have stopped for Estragon and Vladimir—they wait for Godot collection of words over and over. today as they waited "yesterday" and have perhaps been waiting for months or years. By the end of the section, time The names mentioned in the speech are mostly parodies of seems to have stopped for Pozzo as well: he can't find his scholars and their ideas. Two names, Fartov and Belcher, call watch (which he last placed in his pocket) because he, to mind the gaseous outputs from the two ends of the Vladimir, and Estragon can't hear it ticking, perhaps because it digestive tract. Some of Lucky's repeated sounds also has stopped. The characters' uncertainty about time will resemble slang words for feces. These names, combined with increase in Act 2. Lucky's rambling and random speech patterns, form a stinging commentary on the nature of academic discourse—it consists Lucky is completely silent in the play, except for his thinking in primarily of nonsensical, even made-up, ideas couched in this section. As a slave, he literally has no voice of his own incomprehensible language, ultimately amounting to human except when commanded. Even though expressing himself excrement. Humanity's search for meaning has produced seems to break him out of his silent slavery—showing hints of nothing but waste and is destined to fail. independence and passion—doing so overwhelms him, and he must be reminded of his role as a slave to function again. Lucky's speech sounds like complete nonsense, but it actually Act 1 (A Boy with a Message) contains elements of satire and a profound philosophical statement. In a parody of scholarly communication, he begins with a proposition: "Given the existence... of a personal God...." Summary He goes on to describe God with three qualities: "divine apathia divine athambia divine aphasia." After Pozzo and Lucky depart, Vladimir comments that they have changed, claiming they had met before and he only Apathia is a synonym of apathy, or lack of caring. pretended not to recognize them. However, when Estragon Athambia is the quality of being imperturbable, or unable to questions him, he becomes less certain of his claims. A boy be bothered. arrives and delivers a message from Godot—he will not come Aphasia is a language disorder caused by brain damage this evening, but "surely tomorrow." The boy claims not to have that can result in problems of speaking, including using come yesterday, although it seems the men have heard this made-up words and stringing them together with real words message before. The boy says he tends Godot's goats and his without making sense, which impairs communication and brother tends the sheep. Godot beats his brother but not him. understanding. (Lucky's speech demonstrates aphasic Vladimir asks the boy to tell Godot he has seen him and qualities.) Estragon, confirming he has indeed seen them, and the boy In Christianity, God is associated with threes, and the three runs away. qualities above may parody the three traditional divine qualities As the moon rises, Estragon says it is pale from the effort of of omniscience (knowing all), omnipotence (being all powerful), climbing the heavens and gazing on "the likes of us." Having and omnipresence (being everywhere).They also show Lucky's removed both his boots, he decides to leave them where they initial proposition to be verbally ironic—he is actually describing are. He defends his decision by saying Christ went the lack of a caring, personal God. barefoot—he says he has always compared himself to Christ. Lucky quickly goes from describing God to focusing, in the They consider waiting by the tree until tomorrow but decide middle of his speech, on destruction (the blasting of "hell to they must find shelter. As they prepare to leave, Estragon asks heaven") and decline (pining, wasting, and dwindling). In other to be reminded to bring rope tomorrow. He then reminisces Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Section Summaries 14 about a time when Vladimir saved his life and how long they trapped by their own expectations. have been together, wondering if they would have been better off alone, but it is too late to part now. After Vladimir says, "Let's go," neither moves. Act 2 (Vladimir and Estragon Return) Analysis The arrival of the boy with a message from Godot only increases the uncertainty. He calls Vladimir "Mr. Albert," raising Summary the possibility that the message isn't even meant for Vladimir As Act 2 begins, Vladimir arrives and examines the tree, which or Estragon (or that they aren't actually named Vladimir and now has four or five leaves, and Estragon's abandoned boots. Estragon). Their questions reveal how little they know about While he waits for Estragon, he sings a song about a dog that Godot, and the boy's answers are equally unenlightening. Much is beaten to death. When Estragon arrives, he is angry at of the time, the boy merely confirms answers Vladimir has Vladimir for letting him go—he has been beaten again—and for suggested with his questions (what would be called "leading seeming to be happy without him. They wonder if they should the witness" in a courtroom). This raises the question of part, but Vladimir says Estragon needs him. He would have whether they are actually learning anything about Godot or stopped the beating by stopping Estragon from doing simply confirming their own assumptions. whatever it was that caused it. They declare themselves happy, Another Biblical allusion appears in this discussion about even it if it's not true. What to do? Wait for Godot. Godot. The boy tells them he watches Godot's sheep and his Vladimir reminds Estragon of Pozzo and Lucky, whom he brother watches the goats, seeming to reference the New barely remembers, and of a time they supposedly picked Testament allegory in which Christ separates the sheep, grapes in the Macon area of France, which Estragon denies. representing people who will be saved, from the goats, Perhaps they should part. Estragon suggests Vladimir just kill representing people who will be damned. But the play seems him, "like the other." They talk so they don't hear "all the dead to reverse the allegory. It is the boy's brother, who tends the voices," but they soon run out of things to say. They continue "blessed" sheep, whom Godot beats, while the boy who tends to wait. Passing the time, they make nonsensical statements, the "damned" goats, is not beaten. This reversal could suggest contradict each other, ask questions, and debate whether it is that Godot is not God—perhaps even that he is God's terrible to have thought, concluding they "could have done opposite—or simply emphasize the pointlessness of religion without it." and concepts of salvation and damnation. Vladimir's message to Godot—that the boy has seen them—seems simple but reveals that one of the things Vladimir Analysis and Estragon are hoping for from Godot is proof of their own The motif of duality embedded in the structure of the play existence. If Godot sees and acknowledges them, their becomes apparent from the opening of Act 2, which is existence is confirmed and their waiting has meaning. Because essentially a replay of Act 1. In many ways, this new day is a Godot never comes, their existence remains uncertain. mirror image of the previous day—this time, Vladimir arrives Although Estragon and Vladimir agree they must leave for the first. The reflection is not exact, however. Estragon, more night, Act 1 ends with them absurdly standing motionless by emotional this time, gives in to the embrace Vladimir offered in the tree. They must leave at some point, because we see them Act 1, and for the first time an emotional display is not followed both arrive again at the beginning of Act 2, but how or when by a rejection. they depart is left obscure, and it doesn't really matter anyway The song Vladimir sings is recursive—he traps himself in a because they inevitably return. They are tragically trapped in circular structure in which the first stanza leads to the second this place and in time, waiting for someone or something that stanza, which leads back to the first stanza—echoing how he never comes and may not even exist. They are essentially and Estragon are trapped in their routine of waiting for Godot. Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Section Summaries 15 Each day is the same, as if the same day is repeating again and again. Because Vladimir can never finish the song, it trails off Act 2 (Conversation Kills Time) into nonsense, illustrating the lack of meaning and purpose in life. In another way, the song reflects Vladimir's feelings about Estragon being beaten over and over again. Summary Vladimir and Estragon might be two halves of a whole, but they Estragon and Vladimir struggle to keep up the conversation, don't always get along. Much of the dysfunction in their and Vladimir finally remembers his earlier observation about relationship is evident in this section. In a way, Vladimir seems the tree—it now has leaves. Vladimir believes it was bare when happier without Estragon and casually insults him when he is they were there yesterday, but Estragon maintains that around, although he shows concern for him and misses him as yesterday they were "in another compartment... there's no lack well. He seems to feel responsible for Estragon, whom he of void." Estragon only vaguely remembers Pozzo and Lucky. considers unable to take care of himself. (He is sure Estragon Vladimir points to the festering wound on Estragon's shin from did something to deserve being beaten, absurdly blaming the Lucky kicking him and Estragon's boots as proof of his theory. victim.) They repeatedly consider parting ways but never But Estragon finds the boots are a different color and no manage to do so. Estragon says, "The best thing would be to longer pinch him. Vladimir suggests that someone else took kill me, like the other"—mirroring Pozzo saying in Act I, of Estragon's boots and left his own boots there. Estragon takes "creatures" like Lucky who can't be driven away, "The best a nap but quickly is awoken by a nightmare, which Vladimir thing would be to kill them." Estragon's statement suggests refuses to hear about. Bored, Estragon wants to go, but that only death can part him and Vladimir. Vladimir reminds him they are waiting for Godot. Estragon's conversation is noticeably focused on decay and After Vladimir snaps at him, Estragon decides to leave anyway, death at the beginning of Act 2, beginning with his song about but he is distracted when Vladimir finds Lucky's hat. Following the dogs building a tomb for a dog that was beaten to death by a comical circular exchange of the three hats between the two a cook. When Vladimir starts to point out changes in their of them, Vladimir ends up wearing Lucky's hat while Estragon location, Estragon says "Everything oozes" (rather than wears his own. Vladimir plays at being Lucky, causing Estragon "changes") and speaks of pus. He refers to the world as a pile to finally leave. He returns almost immediately, however, afraid of garbage and asks Vladimir, "Tell me about the worms!" The "they're coming" from all directions. Vladimir is excited it might decline of religion seems to be implied again when Estragon be Godot but doesn't see anyone, placating Estragon. They suggests that Vladimir kill him "like the other... Like billions of maintain their conversation by being excessively polite, others," and Vladimir replies, "To every man his little cross.... insulting one another, making up, awkwardly exercising a bit, Till he dies.... And is forgotten." They both seem to fear and be and finally crying to God to pity them. disgusted by death, but they acknowledge that staying together comforts them. They talk both to fill the time and to not hear the dead voices. Analysis Their conversation about thought, aside from the dark images Vladimir's observation that the tree now has leaves calls into of misery and corpses, is absurdly contradictory. Vladimir question how much time has passed since Act 1. He insists it maintains, "What is terrible is to have thought." After deciding, was only yesterday, but it seems enough time might have however, that they "must have thought a little," he decides "it's passed for a change of season. Some things, however, seem not the worst... But we could have done without it." They enough like the end of Act 2 to support Vladimir's theory: conclude the conversation by repeating "que voulez-vous" Lucky's hat and Estragon's boots are pretty much where they (French for "what do you want"). were left, although Estragon thinks the boots are different. Vladimir tries to supply a theory for how Estragon's boots changed, but the theory is illogical—only a person with smaller feet would fit in Estragon's boots. Later in the act, the "new" boots fit Estragon, making the point that neither character is equipped or has the energy to really understand reality. Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Section Summaries 16 Estragon's relatively fresh wound also seems to point to the attempt to establish proof, while Estragon seems to shorter time frame, unless he has recently had another acknowledge that—at least temporarily—their existence may encounter resulting in a similar wound. Maybe he is always not be provable. Then, even Estragon seems to seek wounded. recognition from a higher power a moment later, when he asks, "Do you think God sees me?" Ultimately, the question of time remains unresolved and uncertain. Estragon retains almost no memory of events from Act 1 and claims they were in "another compartment" yesterday. His follow-up comment, "There's no lack of void," Act 2 (Lucky and Pozzo shows a momentary recognition that existence is essentially without meaning or purpose. Wherever they were, there was Return) nothing there, and the idea of a compartment being in a void is illogical; a void by definition has nothing in it, just empty space. Summary There is an interesting discrepancy between the description of the leaves on the tree in the stage directions at the beginning Lucky and Pozzo arrive again. Lucky wears a different hat, and of Act 2 and Vladimir's description in this section. Vladimir says Pozzo, who is now blind, follows him on a rope that's much the tree is "covered in leaves," while Beckett's stage directions shorter than before. Seeing Vladimir and Estragon, Lucky are that it have only "four or five leaves." It's possible the stops. Pozzo runs into him, and they both fall down. As Pozzo differences arise from different purposes. The sparse pleads for help getting up, Estragon suggests they first distribution of leaves in the stage direction continues the demand more chicken bones. Vladimir suggests they help him feeling of barrenness created by the bare tree in Act 1, in hopes of a reward, and then he delivers a monologue that whereas Vladimir's description emphasizes the change from argues for helping on the basis of shared humanity. He then Act 1. And the disconnection between the visual reality and the gets sidetracked, praising himself and Estragon for knowing description causes another element of absurdity. their purpose—to wait for Godot—though it might just be a habit to keep their sanity. Either way, they must not waste the In a postmodern gesture, Vladimir calls attention to the play as distraction. something made up. The effect is one of extending the play's uncertainties into the audience. Estragon makes several Seeming not to hear Pozzo's large offers of money (many attempts to leave—to the right, then left, then backstage—each times what Estragon asked for in Act 1), they proceed in turn to time forced back by numerous others who are visible only to try to help Pozzo. Trying to lift him up, Vladimir falls and is also him. Vladimir suggests trying to escape in the only other unable to get up. Estragon tries to help Vladimir up, but he also possible direction, the front. "There! Not a soul in sight!" says falls and gets stuck on the ground. When Pozzo's pleas disturb Vladimir of the theater before them, casting doubt on the Estragon, Vladimir beats Pozzo. Pozzo crawls away, and they existence of the audience. In a more traditional play, call to him but cannot reach him. characters do not typically acknowledge the audience. In After contemplating a cloud, Vladimir and Estragon easily Bertolt Brecht's modernist The Threepenny Opera, a character stand up, and then lift up and support Pozzo. He does not talks directly to the audience about the play's happy ending, in recognize them because of his blindness and doesn't order to draw a contrast with the audience's real world. In remember their previous interactions. He cannot define when Waiting for Godot, Vladimir looks right at the audience and he went blind, saying the blind have no concept of time. When refuses to see them; the act calls attention to the artificiality of they request that Lucky sing or think for them, Pozzo reveals theatrical make-believe, while also suggesting that the that Lucky is dumb (unable to speak). Estragon gets his audience's real world is like the play's world: a void offering no revenge on Lucky, kicking him until he hurts his own foot. He confirmation that existence is real. retreats to take a nap. Pozzo recovers himself enough to order Indeed, Vladimir has been searching for proof of his and Lucky to rise and take his burdens, which include a bag of Estragon's existence throughout the play. His latest use of sand. Pozzo and Lucky continue on their journey, apparently reason and evidence to establish a concrete timeline is another falling again shortly after their exit. Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Section Summaries 17 argues it is not every day that he and Estragon are personally Analysis needed, and they should show the best of humanity by helping before they miss their chance. Pozzo's cries for help are made Lucky and Pozzo return (again) significantly changed since to "all mankind," and here and now "all mankind is us, whether their appearance in Act 1. As if viewed in a mirror, part of their we like it or not." They are indeed Everymen and have a dynamic has been reversed. The suddenly blind Pozzo is now responsibility to act with humanity. Vladimir goes on to reason pitifully dependent on Lucky and simply keeps up the that he and Estragon are "blessed" because they know their appearance of being in control. He actually drops Lucky's rope purpose is to wait for Godot. This statement is of course when they fall, and a number of minutes pass before he orders incongruent, absurd, and illogical, because the audience can Lucky to return it to him. While they lie in a heap on the ground, see it's this "purpose" that is trapping them in endless waiting Lucky is called Cain and Pozzo answers to the name Abel, a so intolerable that they regularly consider suicide. biblical reference further suggesting that they have exchanged the roles of victim and aggressor. This seems to be Lucky's Time again becomes an issue when Vladimir tries to confirm opportunity to free himself from his restraints, but he shows no his theory that they were all in the same place only a day ago, inclination to do so, obediently returning the rope to Pozzo so asking Pozzo when he went blind. Pozzo reacts violently, they can continue on as they were. saying the "blind have no notion of time." Of course, this is true in a very concrete way; those without any sight are cut off from That Lucky and Pozzo are tied together by more than the rope the cycles of light and dark that humans use to literally define is further demonstrated by the loss of Lucky's voice and their days. Estragon fancifully hopes Pozzo's blindness allows Pozzo's sight. Pozzo even predicts that they will die "the same him to see the future, like prophets in Greek myth. (In another day, the same second," though Pozzo seems also to be saying Greek reference, Estragon exclaims that they are holding up that everyone's life is so short their birth and death occur Pozzo like caryatids, or columns carved into shapes of female simultaneously. Lucky seems, in a way, to rely on his role as a figures.) slave to function, staying passively on the ground until Pozzo orders him up. Neither Pozzo nor Lucky ever seems to Vladimir's pestering him about time prompts Pozzo to make a question his role, suggesting that Pozzo's rope might be a famously dark summary of human existence: "They give birth symbol of those things humanity uses to restrain and oppress astride of a grave, the light gleams an instant, then it's night itself as much as the external oppression of slavery. once more." This picture of birth leading directly to death, with life (the gleam of light) not lasting long enough to accomplish Most of the action in this section centers on the characters' anything, suggests that humanity's whole existence is absurdly being unable to get up for no apparent reason after meaningless. falling. In addition to being a humorous bit of slapstick comedy, this could represent how these four characters are trapped in place by nothing more tangible than their own expectations. When Estragon notices a cloud above them, he asks, "Let's Act 2 (Different Boy, Same pass on now to something else, do you mind?" And just like that—they are able to get up—suggesting they could also free Message) themselves from their endless waiting for Godot by simply passing on to something else. Estragon seems very close to doing so, more and more frequently urging Vladimir to just go, Summary even briefly exiting the stage. But without Vladimir's support, he never successfully leaves. Unfortunately, Vladimir cannot Once Pozzo and Lucky are gone, Vladimir wakes Estragon give up his expectation that Godot will come and provide them from his nap. Vladimir thinks Pozzo might not have been with purpose and meaning, and they remain trapped in their blind—he seemed to look at him—and Estragon wonders if he current circumstances. was actually Godot. Vladimir says no but with declining certainty. Vladimir speaks to himself, thinking he is perhaps Vladimir's monologue about whether to help Pozzo get up sleeping. He wonders what he will remember tomorrow about contains some of the most positive and inspiring statements in today and asks, "in all that what truth will there be?" Life is the play, but it is unfortunately rooted in self-delusion. He Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Section Summaries 18 difficult and painful, but "habit is a great deadener." Meanwhile, that perspective on him, pitying Vladimir for his unawareness: unable to remove his boots, Estragon falls asleep again. "At me too someone is looking, of me too someone is saying, He is sleeping." As Vladimir says these lines, the audience is A boy arrives—he doesn't recognize Vladimir and says he didn't looking at him; who, then, is watching the audience, pitying come yesterday. Again using leading questions, Vladimir them for their incomprehension of existence? Vladimir's prompts the boy to deliver the same message as the previous thought thus opens a recursive prospect, just like his endless night: Mr. Godot cannot come tonight, but will tomorrow song of the dog at the beginning of the act. At this point he "without fail." When questioned, the boy thinks Godot "does cries out that he can't go on and then exclaims, "What have I nothing" and has a white beard. He says his brother, who may said," perhaps rejecting this view of existence for being too or may not have come before, is sick. Vladimir again asks the painful to bear. boy to tell Godot he's seen them, demanding a confirmation that he has, but the boy flees without replying. If there were any doubt before, the boy's arrival with the message that Godot will not come tonight makes it clear that The sun sets, the moon rises, and Estragon wakes up. Learning the promise that Godot will arrive "tomorrow" is empty. that Godot once again didn't come, he suggests going far away Perhaps he doesn't even exist and is just some sort of shared and dropping (giving up on) him, but Vladimir replies, "He'd delusion. The boy's description of Godot having a white beard punish us." They again consider hanging themselves from the again seems to call to mind classical depictions of God (and tree, but the cord Estragon uses as a belt breaks when they Lucky's depiction of God in his Act 1 speech), but the boy may test it. Estragon doesn't seem to notice that without a belt his be simply fulfilling Vladimir's expectations. Vladimir once again pants have fallen down. Estragon suggests again that they part tries to confirm his existence by asking the boy if he has seen ways, but Vladimir declares they will return tomorrow with a him, but his desperation frightens the boy off without rope to hang themselves—unless Godot comes to save them. answering his question, leaving him with no reassurance They agree to go, and neither moves. whatsoever. Vladimir believes Godot will punish them if they try to drop Analysis (abandon) him. However, his belief is the only hint of potential punishment, suggesting that his own expectations rather than While Estragon struggles with his boots and takes a nap, some actual threat of punishment are keeping them waiting. Vladimir delivers one last monologue, pondering their Vladimir also says that when Godot comes they will be saved, existence. After Estragon's suggestion that Vladimir dreamed although from what is not defined. Tragically, they could save Pozzo could see, Vladimir wonders if he really might be themselves from the endless waiting by simply leaving. But by sleeping—perhaps this place and their purpose don't exist. He investing all his fears and hopes in Godot, Vladimir has actually ponders what he will remember tomorrow, if tomorrow is real, trapped them, eloquently demonstrating the folly of seeking recognizing that they will repeat their same pattern over again. some sort of larger meaning in existence. Maybe existence really is as Pozzo described it. And the audience may realize ultimately that Vladimir and Estragon are Beckett turns a classic comedy gag on its head with not real; they are made-up characters in a play. Estragon's fallen-down pants. In traditional comedy, this kind of indecent exposure usually causes extreme social Vladimir restates the birth-to-grave image, except with more embarrassment, but Vladimir and Estragon take no notice of it time between the two—the gravedigger has time to linger over whatsoever. It is a final demonstration of the absurdity of their his forceps (instruments of birth), and "we have time to grow existence that they continue to talk about hanging themselves, old." Unfortunately, this additional time doesn't add any even testing the cord that was Estragon's belt, with Estragon's meaning or purpose to existence; it allows only for cries of pants around his ankles. Estragon is so oblivious that he thinks suffering before habit deadens the pain. This is their Vladimir is telling him to take his pants off when he finally tells existence—they are suffering and want to escape, but habit him to pull them back up. deadens the pain enough to keep them waiting for Godot. Watching Estragon sleep and pitying Estragon's inability to They will return again to waiting for Godot tomorrow, remember, Vladimir considers that someone else may have guaranteeing that they will remain stuck in their purposeless Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Quotes 19 cycle of waiting, probably endlessly, into the future. They claiming he will punish them for dropping him. Here, however, remain unmoving, despite having agreed to go, until the curtain he seems to recognize, at least for a minute, that they are the falls, powerfully illustrating the absurd nature of their only ones restricting what they can and cannot do. purposeless existence. "The tears of the world are a g Quotes constant quantity." "We can't... We're waiting for — Pozzo, Act 1 (Lucky and Pozzo Arrive) Godot." Observing that Estragon begins to weep as Lucky stops, Pozzo pronounces this pompous conclusion. He even goes on — Vladimir, Act 1 (Estragon and Vladimir) to say that laughter is the same way. This statement sounds profound but is actually ridiculous—there is no restriction on Vladimir's reply to Estragon, who wants to get up and leave the number of people in the world who can cry or laugh at the with his friend, is repeated numerous times throughout the same time—pointing out the meaninglessness of philosophical play. It perfectly encapsulates their situation: they cannot leave "truths." because of hope that this Godot will appear and "save" them. However, he never comes, trapping them in endless waiting. "Nothing happens, nobody comes, "What exactly did we ask [Godot] nobody goes, it's awful!" for?... A kind of prayer." — Estragon, Act 1 (Lucky Thinks) — Estragon, Act 1 (Estragon and Vladimir) Estragon breaks out this extremely accurate summary of their circumstances, and indeed the whole play, as they wait for Vladimir and Estragon don't really remember what they asked Lucky to begin thinking. It's a bit absurd that he chooses a time Godot; it may not have even been a defined request, which when someone has actually come and something is about to calls into question the value of any answer they could get in happen to complain about nothing happening and nobody return. None of that, however, is going to stop them from coming, but it doesn't diminish the larger truth of his statement. waiting forever for the answer. The description of their request as a prayer seems to indicate they are seeking a larger meaning to existence. That an answer never comes strongly "They all change. Only we can't." indicates that no such meaning exists. — Estragon, Act 1 (A Boy with a Message) "We got rid of them." After Lucky and Pozzo leave, Vladimir comments that they have changed since the last time he saw them. Indeed, when — Vladimir, Act 1 (Estragon and Vladimir) they return in Act 2, they have changed significantly again. Estragon, however, correctly observes that he and Vladimir When Estragon asks whether he and Vladimir have lost their remain essentially the same throughout the play, and rights, Vladimir gives an uncharacteristic reply: Vladimir often presumably beyond. Estragon suggests they are incapable of blames Godot's restrictions on why they can't leave, such as change, which doesn't bode well for their chances of Copyright © 2021 Course Hero, Inc. Downloaded on 07-19-2021 by 100000817764887 Waiting for Godot Study Guide Quotes 20 eventually giving up waiting for Godot. responsibility to help. This is by far the most humanitarian impulse displayed by anyone in the play. (Its characters are usually focused on their own pains and struggles.) The results, "All my lousy life I've crawled about however, are less than inspiring. When Vladimir and Estragon try to help Pozzo get up, they also fall and get stuck on the in the mud! And you talk to me ground. about scenery!" — Estragon, Act 2 (Vladimir and Estragon Return) "We are all born mad. Some remain so." Mud here does not signify degradation or immorality, but rather total stultifying uniformity. Vladimir is trying to remind Estragon — Estragon, Act 2 (Lucky and Pozzo Return) how the tree looked "yesterday," but, to a man for whom all places are indistinguishable, such details of scenery are Vladimir has been trying to determine whether the waiting is meaningless, and even angering. making them lose their reason, but Estragon goes straight to the heart of the matter. Everyone is born mad (meaning crazy, or without reason), and some never escape it. Despite all of "We always find something, eh Vladimir's thinking and reasoning, he and Estragon may not have escaped the madness of existence. Of course, the Didi, to give us the impression we audience realizes their endless waiting is crazy and completely exist?" without reason. — Estragon, Act 2 (Conversation Kills Time) "They give birth astride of a grave, Estragon considers, at least for a moment, the possibility that the light gleams an instant, then they don't actually exist and that all their struggles are simply to give themselves the impression that they do. Vladimir, in it's night once more." particular, is concerned with making the uncertain concrete, attempting to define the passing of time. What they are waiting — Pozzo, Act 2 (Lucky and Pozzo Return) for from Godot might be recognition of their existence. Because Godot never comes, their existence remains Unlike Vladimir, Pozzo doesn't care about time, claiming he has uncertain.