Honors English Waiting for Godot: Act 1 1A - 3A

What connections, regardless of how tenuous can you make between your research topics and the opening scene of Waiting for Godot?

A rather prominent connection I can make between my research topic and the opening scene of Waiting for Godot is the postmodernist belief of nihilism depicted by Samuel Beckett. Nihilism portrays that life is meaningless, and most of the time authors would depict this in their writing by making the characters aimless. Case in point the character blabber about inconsistent topics, Vladimir was babbling "Hand in hand from the top of the Eiffel Tower, among the first" to "Did you ever read the Bible" in a matter of seconds. This crazy jump in topics depict that the characters are searching for something to hold on to and or attach meaning to their conversation. Making it seem that they struggle to find purpose. Overall, the effects of WWII on literature is already peaking through Beckett's work.

Although Pozzo seems to be a man of wealth and power, he is unable to provide Vladimir and Estragon with any answers about Godot - or anything else for that matter. Why do you think Beckett chose to include a character such as Pozzo? What might Beckett be trying to say about wealth and power?

Although Pozzo seems to be a man of wealth and power he is unable to provide Vladimir and estragon with any answers about Godot - or anything else for that matter for the purpose of illustrating the absurdity of reality even for those who wield authority and affluence because they are irreverent in the grand scheme of things. Pozzo looks down on Vladimir and Estragon and views them as just "common folk" however from a reader's perspective they are all the same. Wandering wayfarers that have no ultimate goal in life. As they lack drive, purpose, and meaning. All suffering from an existential crisis that would ultimately be the cause of their slow and pitiful downfall. Nevertheless, Beckett is trying to prove that if you take away a person's status and wealth what are you left with, the same empty shell of a human being that grapples for a secure identity and an objective to live for . In the end, Beckett emphasizes that whether that 's your neighbor or a person that lives on the other side of town we are essentially all the same.

What visual clues do the stage directions provide that communicate the relationship between Lucky and Pozzo as soon as they enter the scene?

As soon as Pozzo and Lucky enter the scene the visual clues the stage directions provide communicate the dominant and submissive relationship because when a reader sees the words, "Crack of whip" and "The rope tautens. Pozzo jerks at it violently" it automatically reveals the type of association these two characters have with each other. Whipping someone is a form of physical abuse utilized to dehumanize its victim into submission. Lucky adheres to the painful physical signals such as the rope and whip in hopes of halting that malicious torment. In the end, this power-dynamic between the two characters is a window into what it's like to live in a world dependent on your level of power or authority.

On page 20, what is Pozzo referring to and what does he mean when he says, "It's a disgrace. But there you are." ?

Before Pozzo uttered, "It's a disgrace. But there you are" he exclaimed how the road that Vladimir and Estragon are staying on is free to all, and is indeed not private property. Pozzo's words reveal his disdain for having wayfarers like Vladimir and Estragon close to his land. As readers know, Pozzo has a superiority complex, and having these low-class citizens in his vicinity dampens his status. Nonetheless, this was a superficial comment that added to the pile of evidence that supports the claim of Pozzo being a heinous human being.

Why does it seem like Didi and Gogo are just repeating the same things they did the day before?

Didi and Gogo seem to be stuck in a repetitive routine where they engage in conversations without any clear purpose. They touch upon their ongoing despair but never explicitly admit to it. Instead, they resort to philosophical and metaphorical speeches that lead them in circles. Estragon utilizes the phrase, "On the other hand it might be better to strike the iron before it freezes". This metaphorical phrase implies for them to take action swiftly but take action for what. They don't even know themselves, because they later ramble on about what they asked Godot for. Nonetheless, their purposeless repetitive days mirror the meaninglessness of life.

What is the difference in the way Estragon and Vladimir approach food?

Estragon after eating most of the carrot believes that the more you eat the worse it gets. But Vladimir then states, "With me it's just the opposite". Meaning that the more he eats the better it gets.

Why won't Estragon and Vladimir hang themselves?

Estragon and Vladimir won't hang themselves because of the realization that it's impossible to hang themselves without leaving one of the men alone. And both of them wouldn't risk doing so, deciding that hanging themselves isn't the right choice.

Where does Estragon think the men were yesterday?

Estragon believes that they were in the same exact place as yesterday by exclaiming the blatant words, "We came here yesterday". However Estragon didn't seem to be too bothered by this notion although it made Vladimir easily frustrated. Because metaphorically it symbolizes how they are stuck in a rut. The same routine day in and day out. It's obvious he seems to struggle with his life's purpose and covers it up with a philosophical facade.

What are the nicknames of the characters?

Estragon calls Vladimir, Didi (which means older sister in hindi, it's a sign of respect. I don't know if there is any correlation). Vladimir calls Estragon Gogo.

Explain in detail how Estragon comes to the conclusion that, "People are bloody ignorant apes."

Estragon comes to the conclusion that, "People are bloody ignorant apes" because of skepticism towards religious teachings and the gullibility of humans. Vladimir explains, "But all four were there. And only one speaks of a thief being saved. Why believe him rather than the others?" Estragon answers by asking, "Who believes him?" And Vladmir confidently responds with, "Everybody. It's the only version they know". After this interaction Estragon came to the conclusion of the unawareness of the human race. To blindly follow the words of one man because he said so without any evidence backing him up just because it's all they know. Instead of questioning the rationality and validity of the religious teachings they ignore the red flags and continue to put their faith in it. In addition, Estragon is also in disbelief about the faults in human behavior of being a follower instead of a leader. Questioning the integrity and morality of his fellow peers based on their obliviousness. Nonetheless, Estragon, who is usually laid back, seemed to get riled up by the idea of fanatical devotion.

Why does Estragon pull away from Vladimir when they embrace?

Estragon pulls away from Vladdimir when they embrace because he stinks of garlic.

Estragon repeats "Nothing to be done." Why?

Estragon repeats "Nothing to be done" after deliberating their approach to food. Questioning Vladimir's ability to enjoy the food more as time goes on. This, "question of temperament. Of character" on the surface can reference their current conversation. Although it also alludes to the existential nature of both characters and their inability to break their cycle of struggle. Nonetheless, Beckett brings back the idealisms of existentialism when the characters repeat "Nothing to be done".

Where did Estragon spend the night? What happened to him there?

Estragon spent the night in a ditch, not specifying the exact location and was apparently beaten up. Vladmir even insinuates with the sentence, "The same lot as usual?" that it's a common occurrence.

Who does Estragon think Pozzo is?

Estragon thinks Pozzo is Godot.

What other names do the men associate with the name "Pozzo?"

Estragon thinks he is saying his name is "Booz." Vladimir remembers a family named "Gozzo."

Why does Estragon want to hang himself "immediately?"

Estragon wanted to hang himself "immediately" after Vladimir suggested, "It'd give us an erection".

Describe Estragon

Estragon was once a poet, and is dressed in rags and boots. He has sore feet and he limps. He is lighter than Vladimir. From the first few pages it is obvious that Estragon is rather mellow and reserved. as he was more concerned with his sore feet rather than the words spewing out of Vladimir. For instance Estragon confuzzled asked, "What?... Repented what?". Estragon is barely listening and partaking in the odd conversation as he is having trouble following Vladimirs outbursts. Although it's a simple exchange it gives us insight into how Estragon handles confrontation, not seeming like the guy to fight back as his down to earth personality translates to an innocent and peaceful persona. Which can be shown from Estragon exclaiming how when he was sleeping in the ditch he was beat up. Vladimir exclaimed, "The same lot as usual?" Making it obvious that Estragon accepting getting beat up by the same people as usual demonstrates his downtrodden characteristics. Ultimately, it's normal for him to be taken advantage of due to his amicable nature.

What is the matter with Estragon's foot?

Estragon's foot is visibly swollen from his uncomfortable boots that he rarely takes off.

What will Godot have to do before he promises them anything?

Godot had to, "In the quiet of his home" consult his family, friends, agents, correspondents, books, and bank accounts before he promised Estragon and Vladimir anything.

Why is Pozzo happy to see the two men?

He is happy to see them because he has been travelling for a long time without seeing anyone.

In an existentialist sense, how is Lucky "lucky'?

In an existentialist sense Lucky is "lucky" because he has Pozzo to set standards and expectations for him to follow as he gives him a place in this world which is his slave. Having this "position" steers him away from figuring out his existence as an individual person through absolute freedom. Because most of the time it just leads to existential crises that can send a person into a downward spiral mentally and physically. So, in an existentialist sense Lucky doesn't need to go through that when Pozzo controls him.

Give two examples in this section of two moments in which the playwright refuses to convey meaning to people or items that would normally seem meaningful.

In this section, there are two examples where the playwright deliberately avoids conveying meaning to things that would normally seem significant. These examples are Estragon and Vladimir's lack of knowledge about the days of the week and their suicide attempt. At the beginning of section two of Act I, Estragon and Vladimir were discussing when Godot would come back for them. Estragon was confused and said, "But what Saturday? And is it Saturday? Is it not rather Sunday? (Pause.) Or Monday? (Pause.) Or Friday?" It is almost alarming how they are unaware of the day of the week, as humans usually take pride in knowing the date and day, as it demonstrates a sense of control, organization, and time. The two men not knowing the day and not caring about it, shows their lack of awareness and freedom, free to live without the restrictions of a routine and the constant reminder of time passing by. This is significant because it encourages their meaningless life of doing absolutely nothing all day, every day. Moreover, the playwright also refuses to acknowledge the severity of Estragon and Vladimir's suicide attempt. In reality, it would have been a significant event because they were attempting to end their lives. However, as soon as they decided not to go through with it, they moved on as if nothing had happened. Readers know that only the mentally ill or disturbed would be able to proceed with their lives as if nothing had happened after a suicide attempt. Beckett's characters have complex personalities that contribute to the underlying message he is trying to convey. It is evident that the playwright intentionally avoids assigning meaning to things or people that would typically hold significance. As a result, the audience is left to interpret the play's message on their own, leading to a more open-ended and thought-provokin

How are the men alike?

It seems that both men are living similar irrelevant lives as they waste their minds and bodies with peripheral topics. And reflect the struggles of being a survivor after a devastating war in a fictional world. Depicting both mental and physical effects

Why can't Lucky hold the whip in his hand?

Lucky's hands are filled with the bag, basket, and stool.

Provide two examples of Pozzo mistreating Lucky from the dialogue and the stage directions on pages 20-22)

One example of Pozzo mistreating Lucky is when he subjects him to verbal scolding by the means of degrading names. With disgust Pozzo spits out the words, "Up pig!" and "Up hog!". This form of dehumanization is wielded by Pozzo to assert dominance because by comparing Lucky to an animal he is reinforcing the idea of Lucky being inferior on the scale of "predators". Furthermore, a second example of Pozzo's lack of empathy towards Lucky is how physically demanding he is without any pleasantries such as a please or thank you. He rather uses his influence over Lucky to ensure what he desires gets done in a precise manner. "Lucky puts down bag and basket, advances, opens stool, puts it down, goes back to his place, takes up bag and basket". Lucky's act of compliance exposes Pozzo's mistreatment because this level of obedience is not natural but rather embedded in Lucky's brain from fear and anxiety. It's without a doubt that he used that whip and rope in ways not human beings should be exposed to. Imagine what happens behind closed doors if he so openly treats Lucky this way in front of Vladimir and Estragon. Nonetheless, this sickening relationship can explain the hierarchies of society and the conditions some have to endure in order to survive.

What possessions does Pozzo seem to be travelling with?

Pozzo has a bag, basket, stool, coat, whip, glasses, watch, and slave.

What are Vladimir and Estragon holding when they enter?

Pozzo is holding the end of a rope that is around Lucky's neck. Lucky is carrying a heavy load of baggage.

How does Pozzo describe Lucky when they arrive?

Pozzo says that Lucky is wicked with strangers.

Why does Pozzo conclude that Estragon and Vladimir have the right to be on his property?

Pozzo says that while he owns the property, the road is public property.

Why does Pozzo burst into "an enormous laugh?"

Pozzo thinks it is funny that he Estragon and Vladimir can be classified as humans, like himself, "Made in God's image."

What evidence suggests that Pozzo perceives himself as better than Vladimir and Estragon?

Sufficient evidence that justifies Pozzo perceiving himself as better than Vladimir and Estragon is his temper tantrum when introducing himself to the two men. Expecting a shower of endearment and respect he was met with confusion instead. Angered by Vladmimirs and Estragon's lack of reaction from his name he exclaims, "(terrifying voice). I am Pozzo! (Silence.) Pozzo! (Silence.) Does that name mean nothing to you? (Silence.) I say does that name mean nothing to you?". Pozzo's arrogant words indicate pomposity and lack of regard for Vladimir and Estragon as fellow human beings. A calmer greeting and reciprocating of asking their names is just common decency. However, when a person believes they are superior they forget basic manners. In addition, this remark, "....of the same species as myself. (He bursts into an enormous laugh.) Of the same species as Pozzo! Made in God's image" also suggests a superiority complex. Pozzo's sarcastic tone insinuates he doesn't actually view Vladimir and Estragon on the same level as he is which is also solidified by his outbursts of laughs. As if there is some inside joke Vladimir and Estragon are unaware of.

Why is the setting so stark?

The bear setting of a, "country road. A tree. Evening" sets the barren and melon tone of the play. That this ambiguous country road with a single tree is just as random as their daily conversations. But most importantly Beckett arranges the play during the evening, a time that marks the end of the day bringing closure to that time of living to reset for another. However it creates a sense of irony because it is predictable that Vladimir and Estragon never seem to get the closure they desire but rather go around in circles all day.

How does the conversation between Vladimir and Estragon echo that of "Who's on First?" and create a comedic effect?

The conversation between Vladimir and Estragon is reminiscent of "Who's on First?" because it highlights the meaningless nature of their conversation. Just like in "Who's on First? "The two characters are going around in circles, with no clear purpose for their questions and answers. For instance in Act I, section 1, "What? Suppose we repented. Repented what? Oh . . . (He reflects.) We wouldn't have to go into the details". This demonstrates Vladimir and Estragon occupying their time with trivial matters, simply because they have nothing else to do, not only creating a comedic effect but emphasizing the hollowness of reality. In the end, it can even be said that Beckett is introducing postmodernist values through these first few pages.

With the members of your group decide which element (Beckett, Theater of the Absurd, Existentialism, or Post WWII Literature and the Arts) is featured most prominently in this section of the play. Be sure to include your explanation supported by evidence from the text.

The element featured most prominently in this section of the play is Theater of the Absurd on the account of Beckett's usage of "anti-plot". Meaning that this scene more specifically didn't abide by any traditional rules of storytelling but rather was aimless and a bit chaotic. It was unbelievable how Lucky would repeatedly tend to his boss Pozzo in a repetitive cycle, but Pozzo still ended up with no definitive goal or purpose. "Coat! (Lucky puts down the bag, advances, gives the coat, goes back to his place, takes up the bag.)....(Pozzo begins to put on his coat, stops.) Coat! (Lucky puts down the bag, basket and stool, helps Pozzo on with his coat, goes back to his place and takes up the bag, basket and stool". This goes on for a good while and just reading a small portion grants readers a headache. Beckett is building up all this anticipation for readers to be disappointed by the absolute nothingness that is occurring. Demonstrating the Theater of the Absurd because look at Pozzo's struggle to find meaning in this senseless world. He thinks holding authority and wealth will help him accomplish that but it doesn't, it's just a distraction to make the time go by. Even so, characters such as Vladimir still try to be something even if that means looking through the world with a philosophical lens.

"Nothing to be done" is repeated two times in this section. In each case, who says it and why?

The first time the words "Nothing to be done" were uttered was by Estragon, in a situation of him being too exhausted and frustrated to pry off his boots from his feet. So he just gives into the pain and leaves them on for a little while longer. Vladimir said it the second time about his hat that he kept taking off his head to fix and dust off. But it can reflect Vladimir returning back to his innate state of being meaningless no matter how many times he looks at the world philosophically or dust his hat things will stay the same.

How does the opening scene of the play differ from a "normal" script?

The opening scene of the play differs from a "normal" script because of the unconventional way to introduce the characters. Instead of providing a list of all the characters and a brief description he just stated, "Estragon, Vladimir, Lucky, Pozzo, a boy". Thus the lack of information further proves the obscurity of the play as a whole.

When and Where does the play take place?

The play takes place on a country road under a tree, during the evening.

In what ways does the relationship between Didi and Gogo seem to suggest codependency?

The relationship between Didi and Gogo seems to suggest codependency because of their fear of separation and inability to survive without the other. It even seems that they are aware of their predicament because Estragon commented how he wondered if they would be better off if they separated, however, Vladimir the intellectual of the two replied with, "You wouldn't go far". Suggesting that Estragon would come running back to Vladimir because of his inadequate state to survive on his own not to mention his fear of loneliness. Which also applies to Vladimir. When the two men were considering hanging themselves Estragon pointed out that one of them would end up alone while the other died. Afraid of not having one another they decide not to hang themselves out all because "it's safer". Living the life they do it's better to have a companion because it makes life less unbearable, they are distractions to one another. In a way, their aimless conversation with one another shields them from the gravity of their living situations. However, it's unclear what will happen when they realize the extent of their existential crisis.

What is the relationship between Pozzo and Lucky?

The relationship between Pozzo and Lucky parallels an obedient servant/slave to their master or superior. This is demonstrated as Pozzo controls Lucky with a rope and frequently subjects him to verbal and physical abuse. It can be concluded, Lucky submits to Pozzo because of his lack of authority.

How are they different?

The two main characters of different in a multitude of ways according to their roles in friendship. Estragon could be characterized as mundane, a listener, and maybe even weak. While Vladimir is proactive and a conversationalist. And because of their two separate personalities it can be inferred that Vladimir is the older brother to Estragon and desires to guide him in the right direction. In summary, Estragon is the little brother that needs to be taken under Vladimirs wing for guidance and protection.

How are Vladimir and Estragon feeling when Lucky and Pozzo enter?

They are frightened, "huddled together, shoulders hunched, cringing away."

Why do Vladimir and Estragon apologize to Pozzo for waiting for Godot?

Vladimir and Estragon apologize to Pozzo for waiting for Godot after he suspiciously questions them, "Waiting? So you were waiting for him?....Here? On my land?". Vladimir and Estragon didn't want to upset this intimidating man and therefore explained how they didn't mean any harm. Hoping to smooth over any misunderstanding between them as Vladimir and Estragon are aware of how he treats Lucky.

Who are Vladimir and Estragon waiting for? Why?

Vladimir and Estragon are waiting for a man named Godot because he promised to come back to them. However, for what reason exactly it's up in the air but readers can infer that the two main characters view him as some sort of messiah or savior. To whisk them away from their existential crises. As Vladimir and Estragon recall what exactly they asked of Godot Estragon stated, "A kind of prayer", and Vladimir answered "Precisely". This implies that they are looking for an escape from their struggles of a meaningless life and Godot is the answer to that. But it can be summed up that their hopelessness would make them wait for as long as possible.

What food does Vladimir have in his pocket?

Vladimir has carrots and turnips in his pocket.

Vladimir and Estragon remember two different parts of the Gospels. Describe each one.

Vladimir recites the story of two thieves that were crucified on the same day as Jesus, although one was supposed to be saved while the other was damned (doomed). Estragon recalls the maps of the Holy Land.

Describe Vladimir

Vladimir walks stiffly, with his legs apart. He has trouble with his bladder, and is in pain. He is wearing a hat. Vladimir tends to look through a philosophical lens on life, making him more mentally proactive unlike Estragon but also transparently indecisive, calling upon religion and existentialism. He soothes himself by explaining, " All my life I've tried to put it from me, saying Vladimir, be reasonable, you haven't yet tried everything. And I resumed the struggle". Although this sentence might seem ambiguous it's referring to Vladimirs struggle to find his purpose in an indifferent world. The struggle to understand his relevance and importance on this planet consumes him and ultimately leads him to wasting his meaningless life in a meaningless existence. It can be concluded that Vladimir will symbolize the inner conflict one faces post WWII.

How do Vladimir and Estragon react when they realize that Pozzo is not Godot?

When Vladimir and Estragon realize that Pozzo is not Godot their reactions mirror their personality. Vladimir, who is more logical and clear-cut, understood that the man standing in front of them was not Godot. Unlike Estragon who is more emotional and hopeful, was blinded by the desire to reconnect with Godot and mistook Pozzo for him even after he stated who he was. Estragon with enthusiasm stated, "He said Godot" and Vladimir replied, "Not at all". This miscommunication error evinces Estragon's struggle with having no purpose because he is waiting for Godot to provide him with answers/instructions. However, to the readers, Vladimir seems calm and not affected by this brief moment of false hope as he already accepted the meaninglessness of their existence. Making many wonder if these opposite characters are written to showcase two sides of the same coin.