ANALYSIS OF SAMUEL BECKETT’S ENTITLED
“WAITING FOR GODOT”
Compilled to Fulfill the Assignment for the Drama Analysis
Course
Suporting lecturer: Endang Susilowati,S.S.,M.Hum
Organized by: Indah Savitri (101201001)
NGUDI WALUYO UNIVERSITY FACULTY OF LAW AND
HUMANIORA ENGLISH LITERATURE PROGRAM
2021
0
Analysis of Samuel Beckett’s Entittled
“Waiting for Godot”
By: Indah Savitri
The Analysis
Background of the Play
Waiting for Godot is the most well-known play from the Theatre of
the Absurd movement. It was written by Samuel Beckett and performed for the
first time in Paris on January 5th, 1953. At its premier, the play shocked its
audience as it presented a new type of theatre which used very unconventional
methods.
The Concerns of the Author
There are many issues of concern in Samuel Beckett's play Waiting for
Godot. The first one is about human existence. Samuel Breckett demonstrates
the futility of human existence in the play Waiting for Godot. He points out that
the lives of the two characters Vkadimir and Estragon become meaningful as
they wait for the ambiguous Godot. While they waited for Godot's arrival, they
occupied themselves with meaningless activities. In Waiting for Godot, we can
conclude that perhaps Beckett wanted to demonstrate the futility of human
existence in general.
This drama also concern on the Post war situation of society. Such as
human Suffering. “Waiting for Godot” begins with physical struggling of the
principle characters. The struggling reveals the reflection of world war II. Both
characters have their very own issues like Estragon was affected by afternoon
feet and Vladimir was affected by urinary infection. Beckett used these two
characters within the play as an emblem of misery of world as a result of world
war II. Estragon:L et’s hang ourselves immediately! Vladimir:From a bough?
Estragon: We can always try. Vladimir: Go ahead. Their aimless and
meaningless acts give them frustration, suffrages and miseries. To eliminate
these sufferings they discover solely resolution of committing suicide. For the
salvation of frustration, miseries and struggling Estragon and Vladimir discover
out the best way to hang themselves however failed.
In the drama by Samuel Beckett, the concern is also focused on the
Upper vs Middle class. The play has connection to Marxist idea. In a capitalist
society the powerful exploited the weak as a way to an end, imperialism being
an instance of it. Pozzo: Let’s say no more about it. He jerks the rope. Up pig!
Every time he drop he falls asleep. Yes, yes sincerely happy. (He jerks the rope)
closer! (Lucky advances) stop! (Lucky stops). Pozzo Lucky relationship, on
other hand is the relationship between capital and labor.
Point of View of the Author
Though all works of literature present the author's point of view, not
all of them have a narrator or narrative voice that ties the story together and tells
it. Because it's a play, the audience only sees the bowler-hatted characters
romping around onstage, this piece of literature doesn't have a narrator through
whose eyes or voice we learn the plot.
Waiting for Godot Plot Diagram
2
1. Introduction:
Estragon and Vladimir arrive to wait for Godot.
2. Rising Action:
Pozzo stops to talk to Vladimir and Estragon.
Pozzo has Lucky dance and think.
A boy arrives with a message: Godot will not come tonight.
Vladimir and Estragon arrive again to wait for Godot.
Pozzo and Lucky fall down as they arrive.
3. Climax:
Vladimir and Estragon help Pozzo get up.
4. Falling Action:
A boy arrives with a message: Godot will not come tonight.
5. Resolution:
Vladimir and Estragon decide to wait for Godot tomorrow.
Substance or Texture of the Characters
In the drama "Waiting for Godot" there are 5 characters. Vladimir,
Estragon, Pozzo, Lucky, The boy (Messenger). The characteristics of each of
them are as follows:
1. Vladimir (Didi)
Vladimir is most easily distinguished from Estragon by his somewhat
more elevated perception and intellect. He is pragmatic and philosophical
in regards to the troubles that plague he and Estragon. He exercises
almost absolute control over Estragon and asserts his supremacy very
subtly. When Estragon is beaten a second time and blames Vladimir for
not saving him, Vladimir replies that if Estragon is hit, it is because he
has done something that deserves it. He further admits that if he had
existed, he would have prevented Estragon from doing that terrible thing,
and thus saved him from being beaten. In a sense, he was responsible for
Estragon's conscience. He was convinced that without him, Estragon's
existence would be incomplete. Even in his limited position of
superiority, Vladimir asserted his dependence on Estragon, saying
"You're my only hope" and fearing that a suicide attempt would leave one
of them alone.
Most of the aphorisms and sagacious sayings emanate from Vladimir.
One such question is at the end of Act II, when Pozzo and Lucky are
leaving - "Where do you go from here?" He is actually questioning the
existence of Pozzo and Lucky and their approach to life, an inquiry at the
heart of the play. Vladimir is the most committed, the most constant. He
reminds Estragon that they must wait for Godot. Perhaps this is simply
because his memory is sharper; he remembers many things that Estragon
seems to have forgotten. In a sense, Vladimir becomes the conscience of
mankind, where his friend Estragon is the body.
2. Estragon (Gogo)
He is the dumbest character in this drama. He couldn't think and had no
decision-making skills. Estragon lives only because he lives with
Vladimir otherwise he will die. He repeatedly asks what are they doing
here and Vladimir tells him that they have to wait until Godot arrives.
3. Pozzo
4
In the first half, Pozzo made himself comfortable by sacrificing his slave.
Pozzo shows generosity by allowing Gogo to collect the remaining bones.
However, he is particular about Lucky's rights - "In theory the bones go
to the carrier."
In Act II, the haughty and sometimes cruel Pozzo has lost his sight and
has to be led around by his slaves. His helplessness is seen as he falls and
cries for help to get up. From an arrogant and rich exploiter, he turned
into a pitiful helpless man.
4. Lucky
He was a humble slave to Pozzo, completely submissive to his master's
will and pleasure. The wound on his neck and bad treatment did not
diminish his loyalty. He always carried his luggage constantly and never
put it down symbolizing the many burdens that rested on his soul. He
took it willingly and wholeheartedly. Harassment like “pig”, “pig”, etc.
had little effect on him.
5. Boy (Messenger)
He is one of the characters who always gives messages from the figure of
Godot to Didi and Gogo. It is a static character, because it is only a
messenger. In one of the drama dialogues, he said to Didi and Gogo, “Mr.
Godot told me to tell you he won't come this evening, but surely to-
morrow”. The boy claimed to be Lord Godot's goat herder, and after
conveying a message to Gigo and Didi, he left.
Setting of the Play
The setting of Waiting for Godot is 'A country road. A tree. Evening.’
This introduction is in itself just a glimpse of the massive absurdity to which the
reader will be subjected throughout the whole play. This absurdity is inflicted in
each and every aspect of the play. While the setting atmosphere in the drama
includes, touched when in the second act, Pozzo becomes blind and has to rely
on his slave named Lucky to walk, then the resentment that will arise for the
audience when Pozzo treats Lucky arbitrarily, even though we know that Lucky
is only a slave. . In a dialogue, Pozzo treats Lucky inhumane, Pozzo: Let’s say
no more about it. He jerks the rope. Up pig! Every time he drop he falls asleep.
Yes, yes sincerely happy. (He jerks the rope) closer! (Lucky advances) stop!
(Lucky stops).
The Language of the Play
Beckkett’s language pioneered an expressionistic minimalism that
captured the existential post-World War II Europe. At the beginning of the
performance (exposition) there is a personification figure of speech spoken by
Gogo. Like the sentence "The Dead Sea was pale blue" which we know that the
Sea cannot possibly experience death like humans. This is evidenced in the
dialogue between the characters where at that time Didi asked Gogo, “Did you
ever read the Bible?”. Gogo replied, “The Bible? I must have taken look at it".
Then Didi again asked "Do you remember the Gospels?", Gogo answered "I
remember the maps of the Holy Land. Colored they were. Very pretty. The Dead
Sea was pale blue”
The form of the Play
6
“Waiting for Godot” was written by Samuel Beckett and it is a tragi-
comedy in two acts illustrating “the theatre of the absurd”. The structure of the
play is circular and it includes elements both tragic and comic in nature. The
play has a serious theme and subject but which are treated in a comic manner.
There are many dialogues, gestures, situations and actions that are stuff of pure
comedy. All musical devices are employed to create laughter in such a tragic
situation of waiting.
Symbolism of the Play
1. What does the tree in Waiting for Godot symbolize?
The tree where the two characters, Viladimir and Estragon meet, is
completely bare of leaves at the beginning which represents the organic
element of setting. This tree portrays the world as barren or meaningless,
lack of purpose. However, the apparent growth of leaves on tree in the
start of Act 2 still do nothing for the meaning of life. It only adds to the
uncertainty about the place and passage of time. Despite Viladimir’s
description of tree in the play as; “covered with leaves,” the stage
direction specifies only “four or five” leaves.
2. Lucky Baggage
Lucky never put down the things he brought with him, except when
Pozzo told him to do something. He took it back without any reason. This
action demonstrates the human tendency towards slavery and unnecessary
burdens. The trunk contains mostly items for Pozzo's convenience but, in
Act 2 it is revealed that the bag which was never opened in Act 1,
contains sand. This is another example of a character "dead" by habit.
The relationship between Pozzo and Lucky is presented as capital and
labour, master and slave, exploiter and exploited, between the God of the
old covenant and the new covenant Christ.
3. The Ropp of Pozzo
Lucky works as a slave for Pozzo. Lcuky is bound by a rope, which
connects the master and slave. This is a symbol of the God's separation
from his slave. When the rope is short, however, the space between them
is reduced. When Estragon and Viladimir attempt to hang themselves
with cord but fail, they remember to bring rope the next day. This rope
serves the same purpose as Pozzo and Lucky's rope.
4. Night Fall
While Estragon and Viladimir await Godot, they also await the arrival of
darkness. This nightfall demonstrates that darkness resembles death, and
that the coming of night resembles a release from everyday misery, just
as death resembles a reprieve from life.
5. Hat
Hat represents thinking, as demonstrated by Lucky's protracted
monologue in Act 1, which comes to an end when his hat is knocked off.
Estragon and Viladimir also trade hats with Lucky on a daily basis. This
scene depicts the insecurity of individual identities, while swapping
depicts the trade of identities.
6. The Boots
Boot symbolizes daily life struggling and Estragon is the most affected by
boots. He takes off and putting again them on. This shows daily struggles
in life which cannot be changed.
8
7. Names
Godot, who's really similar to God, is the most important example of
hidden meanings in the play. Godot represents the salvation that religion
promises but never delivers. In French, Estragon means "tarragon," and
Pozzo means "water" in Italian. The word Lucky alludes to the
unluckiness of the sufferings. However, from a nihilist perspective, these
names have no meaning at all.
8. The Bone
Bone is the symbol of poverty, the characters do not have enough food
for themselves and they beg for their survival. This shows the relationship
between Feudalism or Capitalism who has dominated over the poor.
