Universitatea 'Petru Maior

Twentieth century english literature

WalLlng for CodoL

'Waitign in vain








Student: Gherman Madalina
RE, anul II
ay
Samuel Beckett was born in Dublin in 1906. He beIriended the Iamous Irish novelist James
Joyce, and his Iirst published work was an essay on Joyce. In 1951 and 1953, Beckett wrote his
most Iamous novels, the trilogy Molloy, Malone Dies, and The Unnameable. Waiting Ior Godot,
Beckett's Iirst play, was written originally in French in 1948 (Beckett subsequently translated the
play into English himselI). It premiered at a tiny theater in Paris in 1953. This play began
Beckett's association with the Theatre oI the Absurd, which inIluenced later playwrights like
Harold Pinter and Tom Stoppard. The beginning oI the play establishes Vladimir and Estragon's
relationship. Vladimir clearly realizes that Estragon is dependent on him when he tells Estragon
that he would be "nothing more than a little heap oI bones" without him. Vladimir also insists
that Estragon would not go Iar iI they parted. This dependency extends even to minute, everyday
things, as Estragon cannot even take oII his boot without help Irom Vladimir. Vladimir's
discussion oI the story oI the two thieves brings up the question oI textual uncertainty. He points
out that the Iour gospels present entirely diIIerent versions oI this story, and wonders why one oI
these versions is accepted as deIinitive. This question about the reliability oI texts might cause
the reader (or audience) oI this play to question the reliability oI this particular text. Also, the
repetition oI the story by the Iour gospels might allude to the repetitiveness oI the action oI the
play. In this beginning section we get the only clue oI the nature oI Vladimir and Estragon's
relationship with Godot. They mention that they asked Godot Ior "a kind oI prayer...a vague
supplication," which he is currently considering. This creates a parallel between Godot and God,
also suggested by their similar names, and it seems that Vladimir and Estragon do consider
Godot a kind oI religious Iigure when they mention coming in on their hands and knees. Pozzo's
statement about his pipe, that the second pipe is never as "sweet" as the Iirst, can apply to
experience in generalit suggests that Ieelings and events dull with repetition. We see here that
Vladimir supports Estragon aIter Estragon is kicked by Lucky: when he cries that he cannot
walk, Vladimir oIIers to carry him, iI necessary. This illustrates Vladimir's attempt to protect and
take care oI Estragon. Pozzo's Iailure to depart anticipates the way that Vladimir and Estragon
remain waiting at the end oI each oI the acts, aIter saying they will depart. However, even aIter
saying, "I don't seem to be able to depart," Pozzo does actually manage to leave. Pozzo moves on
while Vladimir and Estragon remain Iixed even as the curtain Ialls at the end oI each act.
Vladimir's statement that he pretended not to recognize Pozzo and Lucky suggests that he has
met them beIore. This indicates that the actions presented in the Iirst act oI the play may have
happened beIore, calling attention to events that occur outside the Irame oI the play. The same
thing occurs when Vladimir asks the boy iI he came yesterday, revealing that they were waiting
yesterday with the same result. This suggests that the same events have been going on Ior some
time; the two acts oI the play are merely two instances in a long pattern oI ceaselessly repeating
events. The end establishes Vladimir and Estragon's hopelessness. Even when they both agree to
go, and Vladimir says "Yes, let's go," the two men do not move. Even their resolution to go is
not strong enough to produce action. This inability to act renders Vladimir and Estragon unable
to determine their own Iates. Instead oI acting, they can only wait Ior someone or something to
act upon them.

~ESTRAGON: What did we do yesterday?

VLADIMIR: What did we do yesterday?

ESTRAGON: Yes.

VLADIMIR: Why . . . (Angrily.) Nothing is certain when you're about.

ESTRAGON: In my opinion we were here.

VLADIMIR: (looking round). You recognize the place?

ESTRAGON: I didn't say that.

VLADIMIR: Well? '


Estragon and Vladimir are arguing while they wait Ior Godot but they still stay together.
Vladimir is one oI the two main characters oI the play. Estragon calls him Didi, and the boy
addresses him as Mr. Albert. He seems to be the more responsible and mature oI the two main
characters while Estragon is weak and helpless, always looking Ior Vladimir's protection. He
also has a poor memory, as Vladimir has to remind him in the second act oI the events that
happened the previous night. Vladimir stands through most oI the play whereas Estragon sits
down numerous times and even dozes oII. They never get along because oI the diIIerent
personalities that they have. Also the text is a part oI the modern drama because oI the lack oI
comunication between those two characters. Also because the text was written between 9
October 1948 and 29 January 1949.


~VLADIMIR: Oh ... nothing very deIinite.
ESTRAGON: A kind oI prayer.
VLADIMIR: Precisely.
ESTRAGON: A vague supplication.
VLADIMIR: Exactly.

Also the text has an christian interpretation because most oI the play deals with the subject oI
religion. The entire play takes place atop a hill, which some may interpret as being closer to
heaven, giving the play a purpose as religious parable. The author included the story oI the two
thieves Irom Luke 23:3943 wich means that we can visualize the two characters Estragon and
Vladimir as the two thieves mentioned in the drama. Estragon is punished Ior some reasons
unknown which could mean that he is the thieI who has been damned Ior abusing Christ. On the
other hand, Vladimir could be the thieI who has escaped Irom damnation even iI it is only
physical.




















Exercice 1

'VLADIMIR: Where was I . . . How's your Ioot?

ESTRAGON: Swelling visibly.

VLADIMIR: Ah yes, the two thieves. Do you remember the story?
ESTRAGON: No.

VLADIMIR: Shall I tell it to you?

ESTRAGON: No.

VLADIMIR: It'll pass the time. (Pause.) Two thieves, cruciIied at the same time as our Saviour.
One

ESTRAGON: Our what?

VLADIMIR: Our Saviour. Two thieves. One is supposed to have been saved and the other . . .
(he searches Ior the contrary oI saved) . . . damned.

ESTRAGON: Saved Irom what?

VLADIMIR: Hell.

ESTRAGON: I'm going. He does not move. '
Describe the relationship between Vladimir and Estragon. Why do you think they stay together,
despite their Irequent suggestions oI parting?










Exercice 2


~VLADIMIR: It hurts?
ESTRAGON: (angrily). Hurts! He wants to know iI it hurts!

VLADIMIR: (angrily). No one ever suIIers but you. I don't count. I'd like to hear what you'd say
iI you had what I have.

ESTRAGON: It hurts?

VLADIMIR: (angrily). Hurts! He wants to know iI it hurts! '


What do you think is the most eIIective way that Beckett presents repetition in Waiting Ior
Godot?













Exercice 3

'Act I A country road. A tree. Evening. Estragon, sitting on a low mound, is trying to take oII
his boot. He pulls at it with both hands, panting.
Act II - Next day. Same time. Same place. Estragon's boots Iront center, heels together, toes
splayed.

Why does Beckett choose to present two acts instead oI three, or one?