Support for this assertion regarding the nature of the play is based on first hand interpretation of the dialogue and action within the play itself as well as interpretation of quotes and ideas from Samuel Beckett and his critics.
Act I[ edit ] The play opens on an outdoor scene of two bedraggled companions: Finally, his boots come off, while the pair ramble and bicker pointlessly. Waiting for godot essays meaning Estragon suddenly decides to leave, Vladimir reminds him that they must stay and wait for an unspecified person called Godot—a segment of dialogue that repeats often.
Unfortunately, the pair cannot agree on where or when they are expected to meet with this Godot. Eventually, Estragon dozes off and Vladimir rouses him but then stops him before he can share his dreams—another recurring activity between the two men.
Estragon wants to hear an old joke, which Vladimir cannot finish without going off to urinate, since every time he starts laughing, a kidney ailment flares up. They then speculate on the potential rewards of continuing to wait for Godot, but can come to no definite conclusions.
Pozzo barks abusive orders at Lucky, which are always quietly followed, while acting civilly though tersely towards the other two. Pozzo enjoys a selfish snack of chicken and wine, before casting the bones to the ground, which Estragon gleefully claims.
Having been in a dumbfounded state of silence ever since the arrival of Pozzo and Lucky, Vladimir finally finds his voice to shout criticisms at Pozzo for his mistreatment of Lucky.
Pozzo ignores this and explains his intention to sell Lucky, who begins to cry. Pozzo then rambles nostalgically but vaguely about his relationship with Lucky over the years, before offering Vladimir and Estragon some compensation for their company. Estragon begins to beg for money when Pozzo instead suggests that Lucky can "dance" and "think" for their entertainment.
Pozzo then has Lucky pack up his bags, and they hastily leave. Vladimir and Estragon, alone again, reflect on whether they met Pozzo and Lucky before. A boy then arrives, purporting to be a messenger sent from Godot to tell the pair that Godot will not be coming that evening "but surely tomorrow".
After the boy departs, the moon appears, and the two men verbally agree to leave and find shelter for the night, but they merely stand without moving. Act II[ edit ] It is daytime again and Vladimir begins singing a recursive round about the death of a dog, but twice forgets the lyrics as he sings.
With no carrots left, Vladimir is turned down in offering Estragon a turnip or a radish. He then sings Estragon to sleep with a lullaby before noticing further evidence to confirm his memory: This leads to his waking Estragon and involving him in a frenetic hat-swapping scene.
The two then wait again for Godot, while distracting themselves by playfully imitating Pozzo and Lucky, firing insults at each other and then making up, and attempting some fitness routines—all of which fail miserably and end quickly.
Suddenly, Pozzo and Lucky reappear, but the rope is much shorter than during their last visit, and Lucky now guides Pozzo, rather than being controlled by him.
As they arrive, Pozzo trips over Lucky and they together fall into a motionless heap.
Estragon sees an opportunity to exact revenge on Lucky for kicking him earlier. The issue is debated lengthily until Pozzo shocks the pair by revealing that he is now blind and Lucky is now mute.
His commanding arrogance from yesterday appears to have been replaced by humility and insight. His parting words—which Vladimir expands upon later—are ones of utter despair. This time, Vladimir begins consciously realising the circular nature of his experiences: Vladimir seems to reach a moment of revelation before furiously chasing the boy away, demanding that he be recognised the next time they meet.
Estragon awakes and pulls his boots off again. They resolve tomorrow to bring a more suitable piece of rope and, if Godot fails to arrive, to commit suicide at last.
Again, they decide to clear out for the night, but, again, neither of them makes any attempt to move. Characters[ edit ] Beckett refrained from elaborating on the characters beyond what he had written in the play.
He once recalled that when Sir Ralph Richardson "wanted the low-down on Pozzo, his home address and curriculum vitaeand seemed to make the forthcoming of this and similar information the condition of his condescending to illustrate the part of Vladimir I told him that all I knew about Pozzo was in the text, that if I had known more I would have put it in the text, and that was true also of the other characters.
They are never referred to as tramps in the text, though are often performed in such costumes on stage. When told by Vladimir that he should have been a poet, Estragon says he was, gestures to his rags, and asks if it were not obvious. There are no physical descriptions of either of the two characters; however, the text indicates that Vladimir is possibly the heavier of the pair.
The bowlers and other broadly comic aspects of their personas have reminded modern audiences of Laurel and Hardywho occasionally played tramps in their films. Comedy and the Movies. Estragon "belongs to the stone",  preoccupied with mundane things, what he can get to eat and how to ease his physical aches and pains; he is direct, intuitive.
He finds it hard to remember but can recall certain things when prompted, e. He continually forgets, Vladimir continually reminds him; between them they pass the time.
This became "Adam" in the American edition.Interpreting Waiting for Godot. By Ioan Marc Jones. The great and diverse claims about Waiting for Godot's hidden meaning First-person essays, features, interviews and Q&As about life today.
Published: Tue, 13 Jun It is tempting to view Samuel Beckett’s ‘Waiting for Godot’ as a play of nothingness, with no value or meaning but that of two men waiting for something or someone to arrive. Essays and criticism on Samuel Beckett's Waiting for Godot - Critical Essays. Alienation in Samuel Beckett's Waiting for Godot The alienation of humanity from truth, purpose, God, and each other is the theme of Samuel Beckett's play, "Waiting for Godot." The play's cyclical and sparse presentation conveys a feeling of the hopelessness that is an effect of a godless, and therefore, purposeless world.
Existentialism is a philosophy that repudiates the idea of religion or any ‘supreme’ being bringing meaning to life, and advocates the idea that individuals are instrumental in finding a purpose to life through free will, choice, and personal responsibility.
We will write a custom essay sample on. Existentialism in Waiting for Godot. Waiting for Godot literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Waiting for Godot.
And meaning, in it most basic sense, is pattern. If man cannot find pattern in his world, he will try by any means at his disposal to create it, or at least imagine it.