Essay about Waiting For Godot

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However, the repetition of actions can be considered more important than the ones previously discussed. At the beginning of each act, for instance, several identical concerns such has the dilemma that is Estragon’s boots, should be noted.

With the arrival of Pozzo and Lucky in each act, the audience notices that even though their physical appearances have theoretically evolved, outwardly they seem to be indistinguishable ; they are still inseparably connected to one another on an endless journey to an unknown place to rendezvous with a somewhat stranger.

Vladimir's prostate problems and his suffering are discussed in each act in contrast to Estragon's pain originating from his feet and boots. In addition, the subject of eating, involving the likes of carrots, radishes, and turnips, becomes a pivotal image in each act, associated with the tramps' involvement with hats, emphasized by the nonsensical hat trick scene creating confusion due to its repetitive nature. Multiple insults are found to be replicated throughout the play, as Estragon and Vladimir seem to quote and paraphrase blasphemy they have recuperated from their encounter with Lucky and Pozzo. The latter who abuses Lucky verbally in perpetuum, becomes an archetype for the aftermath that is Estragon’s defamatory behaviour towards Vladimir. Aspersions such as “pig” and “hog” are seen to be recurring name-calling habits.

In turn, Waiting for Godot is not established in keeping with conventional style, with exposition, development, and denouement; but it has an unyielding structure, though of a distinctive kind, a structure founded on the rebound of preeminent concepts such as the use of repetition.

For instance, Pozzo says with indisputable satisfaction: “Ah! That’s better”. Estragon restates specifically this comment, having just devoured the flesh left over from Pozzo’s scrapped chicken bones. However, the footings, though analogous, are distinguishable. The repetition of the words is thus an ironic means for identifying a contrast between Vladimir’s selflessness with such instances as when the latter spreads his own coat around Estragon’s shoulders in Act II and Pozzo’s selfishness as seen in the orders he gives to Lucky while demanding his coat in Act I.

To conclude, the suffering of both protagonists, their endeavor, however fruitless, to idle around; their attempts to part, and, ultimately, their ceaseless waiting for Godot — all make the two acts undoubtedly repetitive, circular in structure. The fact that Beckett’s play’s repetitions are so discernable, is the author's manner of breaking away from the traditional conventions and of upholding the singleness of his own circular structure. The futility and monotony of life are, likewise, paramount aspects of the deeper meaning masked behind the meaninglessness of the entire play.

No unequivocal conclusion or resolution can ever be accorded to Waiting for Godot fulfilling the aspiration of Beckett’s pioneering movement : the Theater of the Absurd.

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