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21. "That's the idea, let's abuse each other." (page 85).

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21. "That's the idea, let's abuse each other." (page 85).

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I feel like this scene just shows how they don't know what to do when they are actually happy. They need something to do to pass the time, and so they decide to argue. This just shows how pointless their lives are, they do nothing except for sleep, eat, and wait for Godot, and they have to come up with purposeless things to do while they wait, again pointing to the theme that the world is meaningless.

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20. Vladimir: "No, I mean before they beat you. I would have stopped you from doing whatever it was you were doing." (page 65.)

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20. Vladimir: "No, I mean before they beat you. I would have stopped you from doing whatever it was you were doing." (page 65.)

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I think Vladimir feels a sense of responsibility for Estragon. Although he won't listen to his dreams, he is very protective of his friend, and in a way keeps him out of trouble. This is part of the reason he insists that he and Estragon stay together.  Because as much as Estragon needs Vladimir, Vladimir needs to feel needed by Estragon for his life to have any meaning.

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19. Vladimir: "We'll hang ourselves tomorrow. (Pause.) Unless Godot comes." (page 109).

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19. Vladimir: "We'll hang ourselves tomorrow. (Pause.) Unless Godot comes." (page 109).

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This is one of the final lines of the play, the characters decide they will give it one more day and if Godot doesn't show up, they will kill themselves. I think it's also another way of saying if they don't find the meaning of life soon, they will give up on everything. The play ends on this note, leaving the reader/audience to wonder what happens next, although the rest of the play reminds them that Godot will most likely not show up at all.

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18. "He won't come this evening... But he'll come tomorrow." (page 105).

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18. "He won't come this evening... But he'll come tomorrow." (page 105).

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I feel like at this point Vladimir is really starting to lose hope and he's not so sure if Godot will come at all. So far he has been more persistent than Estragon in waiting for Godot, but he is loosing hope himself now. The end of this act also resembles that of act 1 because they are back to the place where they started, waiting for Godot, and this seems to be their only real purpose in life, waiting for something that will never come.

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17. Estragon: "I was dreaming that--"  Vladimir: "(Violently). Don't tell me!" (page 103).

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17. Estragon: "I was dreaming that--"  Vladimir: "(Violently). Don't tell me!" (page 103).

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Vladimir cannot stand the concept of human suffering and for this reason he does not want to hear Estragon's dreams. To me, it seemed like he has a lot of empathy, but he doesn't know how to use it correctly, so just tries to avoid the subject all together. Hearing about other people's trials in life makes him feel like he himself is suffering, so he ignores it instead of treating people with compassion.

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16. Vladimir: "Let him alone. Can't you see he's thinking of the days when he was happy." .... Estragon: "We wouldn't know." (page 99).

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16. Vladimir: "Let him alone. Can't you see he's thinking of the days when he was happy." .... Estragon: "We wouldn't know." (page 99).

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This part emphasizes the suffering in Estragon and Vladimir's lives and shows they don't feel like they ever knew a time they were happy, which makes the book all the more depressing. I think Estragon is envious of Pozzo in a way because he at least had some good times in his life before everything fell apart, whereas Estragon seems do have always been homeless, and doesn't think there could ever be joy in life because he hasn't experienced it.

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15. Estragon: "Ah! (Despairing.) What'll we do, what'll we do!" (page 96).

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15. Estragon: "Ah! (Despairing.) What'll we do, what'll we do!" (page 96).

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Estragon seems to be the one to jump to conclusions and fall into despair over little struggles. Every little thing comes piling up until it is too much for him to handle, and I think that's why he is the one to first suggest hanging themselves.

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14. Estragon: "Do you think God sees me?".... "God have pity on me!" (page 86)

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14. Estragon: "Do you think God sees me?".... "God have pity on me!" (page 86)

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In this scene, Estragon and Vladimir were trying to exercise to pass the time, and then they ended up doing some form of meditation or yoga. Again, the characters are seeking distractions from the meaningless universe, and it doesn't seem to work. They then turn to God again and try praying, but it doesn't seem to do them any good.

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13. Beginning of Act 2 and after that, Estragon and Vladimir's relationship in general during this scene.

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13. Beginning of Act 2 and after that, Estragon and Vladimir's relationship in general during this scene.

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I don't know why, but the Act 2, and pretty much the whole book just seems to have this dreamlike sense to me. The mood is all dreary and dark, and there is no specific plot. The play seems like a walk-through of human suffering and how humans are punished severely for their sins. This is a key idea of existentialism, and it just makes the play seem all dreamlike and as if nothing is real, kind of like The Road and how despair in that book contributed to the mood. Also, I think the lack of characters and plot add to this.

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12. Estragon: "We are happy. What do we do now, now that we are happy?"... Vladimir: "We wait for Godot." (page 65). 

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12. Estragon: "We are happy. What do we do now, now that we are happy?"... Vladimir: "We wait for Godot." (page 65). 

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To me, I feel like this enhances the idea of misery in the play. Most of the play Estragon and Vladimir are suffering and depressed, and now that they are happy (if they actually are, it almost seems like they are forcing themselves to believe everything is okay), if they are happy, they do not know how to handle the emotion at all because they have spent so much time being sad about the trials they face. I feel like this is true in today's world too, people are persistent and seem to stay in their state of sadness simply because they don't understand what happiness is supposed to feel like and so much of their lives were consumed with suffering. Vladimir's response to wait for Godot not only brings up repetition of what their whole purpose in life seems to be, but it also shows that they don't know any other way to spend their time when they are not in misery.

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13. "What do we do now?' 'Wait for Godot.' 'Ah!' 'This is awful!" (53)

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13. "What do we do now?' 'Wait for Godot.' 'Ah!' 'This is awful!" (53)

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I felt the same way while reading the play. All they do is wait for Godot, which I'm starting to think is supposed to represent God.

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12. "Then why do you always come crawling back?' 'I don't know." (49 & 50)

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12. "Then why do you always come crawling back?' 'I don't know." (49 & 50)

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The two are still dependent of each other, even if they're complete foils. Vladimir is waiting for Godot, which means Estragon has to wait for him too.

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11. "You see, you p!ss better when I'm not here." (49)

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11. "You see, you p!ss better when I'm not here." (49)

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This is a continuation to what Estragon said in my last reaction. He is still doubting their dependency for one another.

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10. "Wait! (He moves away from Vladimir.) I sometimes wonder if we wouldn't have been better off alone, each one for himself. (He crosses the stage and sits down on the mound.) We weren't made for the same road." (44)

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10. "Wait! (He moves away from Vladimir.) I sometimes wonder if we wouldn't have been better off alone, each one for himself. (He crosses the stage and sits down on the mound.) We weren't made for the same road." (44)

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Estragon questions existence, and their relationship. To me it sounds like he's starting to think that he doesn't have to stay with Vladimir, and can go create his own purpose.

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9. "Ah Gogo, don't go on like that. Tomorrow everything will be better. 'How do you make that out?' 'Did you not hear what the child said?' 'No.' 'He said that Godot was sure to come tomorrow. (Pause.) What do you say to that?' 'Then all we have to do is wait on here." (44)

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9. "Ah Gogo, don't go on like that. Tomorrow everything will be better. 'How do you make that out?' 'Did you not hear what the child said?' 'No.' 'He said that Godot was sure to come tomorrow. (Pause.) What do you say to that?' 'Then all we have to do is wait on here." (44)

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Another example where Estragon doesn't seem to be interested in or believe in Godot. Yet, Vladimir is still persistent on it.

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8. "Mr. Godot told me to tell you he won't come this evening but surely tomorrow." (41)

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8. "Mr. Godot told me to tell you he won't come this evening but surely tomorrow." (41)

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7. "You want to get rid of him?' 'I do. But instead of driving him away as I might have done, I mean instead of simply kicking him out on his 🤬, in the goodness of my heart I am bringing him to the fair, where I hope to get a good price for him." (23)

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7. "You want to get rid of him?' 'I do. But instead of driving him away as I might have done, I mean instead of simply kicking him out on his 🤬, in the goodness of my heart I am bringing him to the fair, where I hope to get a good price for him." (23)

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Lucky's name is very ironic. You'd think that he'd be a very lucky person, but considering his situation he seems to be very unlucky.

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6. "The road is free to all.' 'That's how we looked at it." (15)

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6. "The road is free to all.' 'That's how we looked at it." (15)

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Kind of ironic considering Vladimir and Estragon haven't gone anywhere. Typically, the mention of a road brings travel or a journey with it.

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5. "What exactly did we ask him for?'...'Oh...Nothing very definite.' 'A kind of prayer." (10)

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5. "What exactly did we ask him for?'...'Oh...Nothing very definite.' 'A kind of prayer." (10)

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Very strong religious feel here. The mention of 'prayer' and not really asking for anything specific.

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4. "On the other hand it might be better to strike the iron before it freezes." (10)

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4. "On the other hand it might be better to strike the iron before it freezes." (10)

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Estragon doesn't really care about waiting for Godot, in fact it really seems like he only stays for Vladimir.

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3. "Let's wait till we know exactly how we stand." (10)

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3. "Let's wait till we know exactly how we stand." (10)

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Vladimir believes strongly in Godot, he's very faithful. He's very certain on waiting for Godot.

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11. "Christ! What does Christ have to do with it?  You're not going to compare yourself to Christ!"...... Estragon: "Yes. And they crucified quick." (page 57).

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11. "Christ! What does Christ have to do with it?  You're not going to compare yourself to Christ!"...... Estragon: "Yes. And they crucified quick." (page 57).

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This was when Estragon tried to leave his boots for someone else and go barefoot, claiming he would be like Christ. I think this part shows another way Estragon and Vladimir attempt to deal with the meaningless universe around them. Since the book is trying to give the idea that there is no God, Estragon's comment is just a futile attempt to find a reason to live. His comment about crucifixion is another way to possibly deal with the struggle he goes through, and it makes it clear to me that he is, in fact suicidal and the earlier comments about hanging themselves were entirely attempts to end it all.

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This is a quote from the boy, who supposedly works for Godot.  I feel like there is some major symbolism behind these words... Like if Godot is meant to be seen as a God-like figure, and the boy tends his sheep, what does that mean for the boy? There's all kinds of bible stories and symbolism about taking care of lambs and sheep, and the good shepherd, so I feel like this relates in some way, especially since one of the themes seems to be that a merciful, loving God does not exist, and if he does, he doesn't care about the sufferings of his people. Is the boy a slave? Or could he possibly just be in Estragon and Vladimir's imaginations at that point because they are so desperate to find Godot, their meaning in life?

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9. "Gentlemen, I don't know what came over me. Forgive me. Forget all I said.  I don't remember exactly what it was, but you may be sure there wasn't a word of truth in it. Do I look like a man that can be made to suffer? Frankly?" (page 34).

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9. "Gentlemen, I don't know what came over me. Forgive me. Forget all I said.  I don't remember exactly what it was, but you may be sure there wasn't a word of truth in it. Do I look like a man that can be made to suffer? Frankly?" (page 34).

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Pozzo says this after Vladimir starts berating him for the way he treats Lucky. It seems like he is ready to go back on what he said and he apologizes for anything he did that upset them, however, he does not change his actions or his abusive attitude to his slave. I feel like he could be very manipulative in some ways, especially since earlier in the conversation he seemed to be trying to make Estragon and Vladimir pity him instead of Lucky. He has a victim mentality, an idea that the world treats him horribly too, so therefore he has a right to act the way he does to Lucky. A lot of people do this in today's world and I feel like Beckett was trying to show that in Pozzo's character.

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See all the wonderful things Jessica Tyner has made

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2.10 "How time flies when one has fun!" (66)

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2.10 "How time flies when one has fun!" (66)

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This comment made me take a step back! Vladimir says this after he and Estragon have spent the last two pages insulting each other. I'm not sure if this is meant to be an ironic statement, but I don't generally think of insulting my friends as a fun pastime . . .

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These last two lines demonstrate the ultimate absurdity of the play. The statement to leave parallels the fact that they don't move. This contradiction highlights the ambiguities of thought and action. This might also symbolic, ultimately, the failure of religion that promises but does not deliver.

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2.9 [he takes off Lucky's hat, peers into it, shakes it, knocks on the crown, puts it on again] (63)

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2.9 [he takes off Lucky's hat, peers into it, shakes it, knocks on the crown, puts it on again] (63)

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This stage command brought me back to beginning of the play. Vladimir completes this action many times, adding to the circling motion of the plot. I do wonder what he thinks he was going to find in that hat, when he looks in it time after time with the same result.

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19. "What is there in the bag? Sand." (79)

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19. "What is there in the bag? Sand." (79)

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The sand represents the absurdity of the play. There seems to be no importance for it. And yet Lucky has been carrying it for a while.

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Vladimir calls Estragon a hog!! Is he turning into Pozzo? I do not like this turn in their relationship and I do not like how Vladimir has changed for the worse since meeting Pozzo and Lucky.

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18. Vladimir: "I tell you his name is Pozzo." Estragon: "We'll soon see. Abel! Abel!" (74)

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18. Vladimir: "I tell you his name is Pozzo." Estragon: "We'll soon see. Abel! Abel!" (74)

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In this passage, Estragon says (jokes?) that Pozzo's name is Abel and that Lucky's name is Cain. This is a direct reference to the sons of Adam and Eve. In the Bible, Cain kills Abel and this would imply Lucky (symbolically) kills Pozzo. It is probably not a coincident that a blind Pozzo has become dependent upon Lucky.

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2.7 "Yes now I remember, yesterday evening we spent blathering about nothing in particular. That's been going on now for half a century" (56).

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2.7 "Yes now I remember, yesterday evening we spent blathering about nothing in particular. That's been going on now for half a century" (56).

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Estragon's comment about them doing nothing in particular for the past fifty years is ironic because he also just said that he can not remember what they have done. It is an unintelligent comment, perhaps written to highlight his immaturity and unintelligence. It also does serve the purpose of adding the concept of fifty years to their relationship.

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17. "We are all born mad. Some remain so." (71)

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17. "We are all born mad. Some remain so." (71)

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Estragon is responding to Vladimir's discussion of keeping one's commitment (such as waiting for Godot). Estragon, surprisingly, makes a deeply philosophical comment about humanity and, possibly, of being deceived and not knowing.

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In the first act, Pozzo is sighted, but in the second act, Pozzo is blind. On the one hand, this inverts his role with Lucky. Pozzo is dependent on Lucky. On the other hand, this reaffirms a theme of faith and of knowing (seeing) the truth.

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2.6 ESTRAGON: "the very beginning of WHAT?" (55)

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2.6 ESTRAGON: "the very beginning of WHAT?" (55)

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Estragon's confused comment about the beginning of time is another example of absurdism. There is no real concept of beginning, middle, or end in the play. The play ends in the same place as it began, with no real change in Vladimir and Estragon's attitudes or perspectives.

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15. Estragon: "Do you think God sees me?" Vladimir: "You must close your eyes." (67)

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15. Estragon: "Do you think God sees me?" Vladimir: "You must close your eyes." (67)

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In this exchange, Vladimir is responding to Estragon imitating a tree. However, his statement follows Estragon's tangential question about God. Consequently, it appears as if Vladimir suggests you must close your eyes for God to see Estragon. This is perhaps suggestive of blind faith.

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2.5 ESTRAGON: "It'd be better if we parted." VLADIMIR: "You always say that and you always come crawling back." (52)

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2.5 ESTRAGON: "It'd be better if we parted." VLADIMIR: "You always say that and you always come crawling back." (52)

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The two of them constantly talk about how they should split apart but then they never do. This is a prime example of the absurdist play because there is lots of illogical thought that ends up concluding in nothing. I find in interesting that all the way through the end, the two men stay together.

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14. "This is becoming really insignificant." (59)

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14. "This is becoming really insignificant." (59)

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Vladimir and Estragon are seen once again bantering. It seems that they do this to pass the time. However, it is probably significant that they can rationally claim something is insignificant.

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13. "Ah no, Gogo, the truth is there are things escape you that don't escape me, you must feel it yourself." (50)

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13. "Ah no, Gogo, the truth is there are things escape you that don't escape me, you must feel it yourself." (50)

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This is a complex statement that addresses truth and reality. Vladimir seems to be saying that there are different realities for each person. By extension, there are different sets of truths with which to gauge reality.

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2.4 "It's never the same pus from one second to the next" (51)

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2.4 "It's never the same pus from one second to the next" (51)

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Estragon is speaking of the tree here and how it is constantly changing. I took this as Beckett's commentary on the unstableness of mankind. Beckett is saying that even though there are changes around us, they are insignificant in the grand scheme of mankind's nothingness.

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12. "I missed you... and at the same time I was happy. Isn't that a queer thing." (49)

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12. "I missed you... and at the same time I was happy. Isn't that a queer thing." (49)

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Vladimir seemingly states a contradictory position. On the one hand, he missed Estrogan but, on the other hand, he was happy when Estrogan wasn't there. This statement seems to highlight the ambiguity of their relationship.

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2.3 ESTRAGON: "That's the way I am. Either I forget immediately or I never forget." (51)

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2.3 ESTRAGON: "That's the way I am. Either I forget immediately or I never forget." (51)

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This statement is interesting. I feel like Estragon said something similar in act one, about how he either instantly forgets or never forgets. I understand why Vladimir was starting to get very frustrated with Estragon: I know I would be frustrated with someone who couldn't remember what we had done the day before. (obviously, not talking about diseases and stuff)

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11. "The tree has four or five leaves." (47)

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11. "The tree has four or five leaves." (47)

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The leaves on the tree could represent hope and regrowth. It may represent Vladimir and Estragon's faith in that Godot might come soon.

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2.2 "One is not the master of one's moods. All day I've felt in great form. I didn't get up in the night, not once!" (49). 

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2.2 "One is not the master of one's moods. All day I've felt in great form. I didn't get up in the night, not once!" (49). 

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This comment of Vladimir's made me laugh! I totally agree with this! Sometimes, we can not predict or control our moods! Obviously, we can work to change our mood if we are having a bad day, but sometimes things will hit us at different times that can change our mood unexpectedly.

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10. "All my life I've compared myself to him (Christ)." (43)

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10. "All my life I've compared myself to him (Christ)." (43)

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Estragon makes a comparison with Christ and himself, partly because he goes barefoot. This is an interesting twist, considering that their is a possibility that Godot represents God and is testing the faith of Estrogan and Vladimir. I wonder if Estragon could symbolize a false prophet if that is the case.

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20. "Well? Shall we go? Yes, let's go. [They do not move.]" (85). 

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20. "Well? Shall we go? Yes, let's go. [They do not move.]" (85). 

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At the end, the men say they want to leave. However, they do not move. This shows they are tied to their habits of waiting for godot. They will never break this loop.

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19. "I can't go on like this. That's what you think. If we parted? That might be better for us. We'll hang ourselves tomorrow. [Pause.] Unless Godot comes. And if he comes? Then we'll be saved" (84). 

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19. "I can't go on like this. That's what you think. If we parted? That might be better for us. We'll hang ourselves tomorrow. [Pause.] Unless Godot comes. And if he comes? Then we'll be saved" (84). 

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Again, the repetition of saying they will hang themselves. However, Vladimir says that if Godot comes, they will be saved, presumably from suicide. This shows they are tied to Godot, and let him decide their fate.

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9. "I'm leaving them there. Another will come, just as... as...me, but with smaller feet, and they'll make him happy." (43)

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9. "I'm leaving them there. Another will come, just as... as...me, but with smaller feet, and they'll make him happy." (43)

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The boots may symbolic in a way that they've brought struggles to him. But, to someone else, happiness. Boots especially may signify a journey or it might even allude to the expression of walking a mile in someone else's shoes. This could imply sharing a burden or having empathy.

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8. "He should be here. He didn't say for sure he'd come. And if he doesn't come? We'll come back tomorrow. And then the day after tomorrow. Possibly." (6)

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8. "He should be here. He didn't say for sure he'd come. And if he doesn't come? We'll come back tomorrow. And then the day after tomorrow. Possibly." (6)

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Vladimir and Estragon are waiting for this guy they don't even know will show up. However, they simultaneously say they will wait and that they will possibly wait. The theme of ambiguity and uncertainty is dominant throughout the act.

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18. "He won't come this evening. No sir. But he'll come tomorrow. Yes sir" (82). 

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18. "He won't come this evening. No sir. But he'll come tomorrow. Yes sir" (82). 

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Again, the boy comes and says that Godot is not coming. The boy does say that Godot will come tomorrow. The fact that he says Godot will come tomorrow shows they are stuck in this loop of waiting.

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7. "Mr Godot told me to tell you he won't come this evening but surely tomorrow." (41)

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7. "Mr Godot told me to tell you he won't come this evening but surely tomorrow." (41)

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We know that Vladimir and Estragon have been waiting for at least two days and now they have to wait another day before Godot appears. This really seems to be a test for the two, to see if they can keep their belief (faith) that Godot will ultimately arrive.

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2.1 ESTRAGON: "Don't touch me! Don't question me! Don't speak to me! Stay with me!" (49)

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2.1 ESTRAGON: "Don't touch me! Don't question me! Don't speak to me! Stay with me!" (49)

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This comment made by Estragon seems to be very contradicting. I took this as Estragon not wanting Vladimir to ask him specific questions but still needing his friendship and his strength. I was kind of confused though, because Estragon tends to be the one who wants hugs and physical communication from Vladimir, but at this point, he did not.

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1.10 ESTRAGON: "I'd rather he'd dance, it'd be more fun." VLADIMIR: "I'd like well to hear him think." (31)

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1.10 ESTRAGON: "I'd rather he'd dance, it'd be more fun." VLADIMIR: "I'd like well to hear him think." (31)

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This difference in what Estragon and Vladimir would like to see Lucky do helps to further highlight these two men's differences. Estragon represents the physicality of the relationship: he wishes to see Lucky dance and notices physical features more commonly. Vladimir, on the other hand, is the more intellectual half of the friendship: he creates the plans, understands they are waiting for Godot, and helps Estragon think himself out of his pickles.

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17. "But habit is a great deadener" (81). 

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17. "But habit is a great deadener" (81). 

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Vladimir is saying that having habits kills you. This is ironic because both men are in a constant loop of the same events. Vladimir is making a comment on both men's lives.

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6. "It wasn't you came yesterday? No sir. This is your first time? Yes Sir." (41)

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6. "It wasn't you came yesterday? No sir. This is your first time? Yes Sir." (41)

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Vladimir questions seeing the Boy, wondering if he's seen him before. The Boy says he hasn't and Vladimir quickly brushes it off. This makes me wonder if the Boy is even real at all. It could be that the Boy is a figment of their imagination--but this might suggest that Pozzo and Lucky also aren't real.

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1.9 VLADIMIR: "[tenderly] I'll carry you. [pause] If necessary" (24)

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1.9 VLADIMIR: "[tenderly] I'll carry you. [pause] If necessary" (24)

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I thought this statement of Vladimir's was a bit of humor for the play. He truly does care about Estragon and shows this through his comment, but is also not willing to do extra work if not necessary! He will help Estragon but he also does not want Estragon to take advantage of his friendship.

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1.8 VLADIMIR: [looking at the sky] "Will night never come?" (25)

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1.8 VLADIMIR: [looking at the sky] "Will night never come?" (25)

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This statement seems very despondent. Vladimir just wishes for Godot to come and is so tired of waiting and waiting. In this moment, he seems to be annoyed and frustrated with the characters he must interact with: the intelligence of Estragon, the cruelness of Pozzo, and the sad life that Lucky must lead.

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16. "They give birth astride of a grave, the light gleams an instant, and then it's night once more" (80). 

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16. "They give birth astride of a grave, the light gleams an instant, and then it's night once more" (80). 

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Pozzo is saying that once someone is born, another dies. This is a very dark and negative way to view birth. Usually it is seen as very beautiful and a gift.

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5. "I had a dream. Don't tell me! I dreamt that-- DON'T TELL ME!" (8)

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5. "I had a dream. Don't tell me! I dreamt that-- DON'T TELL ME!" (8)

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Throughout the play Estragon keeps trying to tell Vladimir about his dreams. However Vladimir never wants to hear them. Vladimir may feel that he can't distinguish from reality and unreality.

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4. "The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the laugh." (24)

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4. "The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the laugh." (24)

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This shows Pozzo's philosophical outlook on life. All life is connected, when others are happy, others are sad. He believes that everything is balanced.

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15. "In an instant all will vanish and we'll be alone once more, in the midst of nothingness!" (71). 

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15. "In an instant all will vanish and we'll be alone once more, in the midst of nothingness!" (71). 

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Vladimir is saying that he know their life is boring. All they do is wait for Godot. He is also referring to dying as being "in the midst of nothingness".

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1.7 Pozzo says "In reality he carries like a pig. It's not his job" (23).

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1.7 Pozzo says "In reality he carries like a pig. It's not his job" (23).

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Pozzo is so cruel towards Lucky. It is appalling to me that Pozzo treats him so terribly and does not even recognize that Lucky is doing all that is asked of him. The fact that Pozzo treats Lucky as less than a human is disgusting! I do not enjoy Pozzo's character at all.

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3. "Ah! Why couldn't you say so before? Why he doesn't make himself comfortable? Let's try and get this clear. Has he not the right to? Certainly he has. It follows that he doesn't want to. There's reasoning for you. And why doesn't he want to?-- He wants to impress me, so that I'll keep him." (22)

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3. "Ah! Why couldn't you say so before? Why he doesn't make himself comfortable? Let's try and get this clear. Has he not the right to? Certainly he has. It follows that he doesn't want to. There's reasoning for you. And why doesn't he want to?-- He wants to impress me, so that I'll keep him." (22)

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Pozzo makes this statement about Lucky to explain to Vladimir and Estragon why Lucky always holds the bags. Personally, I don't think Pozzo is being truthful. I feel that Pozzo likes being in control, and dominating Lucky fuels that.

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14. "To all mankind they were addressed, those cries for help still ringing in our ears!" (70). 

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14. "To all mankind they were addressed, those cries for help still ringing in our ears!" (70). 

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Vladimir is saying that everyone was supposed to hear Pozzo's cries. Vladimir is talking about fate. He is saying that they represent all mankind in its relationship to God.

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2. "Let's wait and see what he says. Who? Godot." (10)

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2. "Let's wait and see what he says. Who? Godot." (10)

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This is a dominant refrain throughout the play. The characters are continually asking what they are doing and why they are waiting. Symbolically, this is similar to people questioning their faith.

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1.6 Pozzo asks Estragon "'What age would you say he was?' 'Eleven.'" (19-20).

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1.6 Pozzo asks Estragon "'What age would you say he was?' 'Eleven.'" (19-20).

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This is another example of their immaturity. Even though Vladimir and Estragon speak of being together for over fifty years, they are not mature. Estragon seems to be less mature when it comes to intelligence, as well, for he seems to rely on Vladimir for all thinking through all they must do.

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1.5 Pozzo says that Vladimir and Estragon are "made in God's image!" (15).

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1.5 Pozzo says that Vladimir and Estragon are "made in God's image!" (15).

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I was surprised by the amount of biblical allusions occurring in this play. Not only do the names of Christ and other Biblical figures come up often, there are many characters and situations allude to Biblical stories. Was this common is absurdist plays to have many biblical allusions?

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1. "What about hanging ourselves? Hmm. It'd give us an erection." (9)

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1. "What about hanging ourselves? Hmm. It'd give us an erection." (9)

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Vladimir and Estragon's discussion is both humorous and absurd. The idea of suicide is thrown around loosely and not taken seriously. However, since it reoccurs in Act II it is probably very symbolic.

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The nicknames Vladimir and Estragon have for each other are very childish. I think that this was one of the ways Beckett used to show the immaturity of the two men. They are not very intelligent and their thought processes are very similar to young children.

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I am confused by Lucky’s monologue. What is Samuel Beckett’s purpose in not using any type of sentence structure or punctuation? From my analysis, it seems to be written in a way to confuse the audience. There is no obvious topic of Lucky’s rambling: Vladimir and Estragon are the only ones who seem to understand what he is saying, as they react with anger to different phrases.

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1.2 Pozzo said “The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the laugh” (24).

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1.2 Pozzo said “The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the laugh” (24).

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This made me stop and think for a minute about the emotions in the world. I, for one, would rather be the one continuing on the laugh rather than the tears. This reminded me of a quote from Marjorie Pay Hinckley: “The only way to get through life is to laugh your way through it. You either have to laugh or cry. I prefer to laugh. Crying gives me a headache.”

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1.1 Pozzo said “the more people I meet the happier I become. From the meanest creature one departs wiser, richer, more conscious of one’s blessings” (21).

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1.1 Pozzo said “the more people I meet the happier I become. From the meanest creature one departs wiser, richer, more conscious of one’s blessings” (21).

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I really liked this reminder that there are lessons to be learned from everyone we meet. Even those who hurt us can make us stronger and kinder, more careful of the things we say to others. This is good for me to remember as I meet lots of new people.

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13. " Look at it. [They look at the tree.] I see nothing. But yesterday it was all black and bare. And now it's covered with leaves. Leaves?" (56). 

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13. " Look at it. [They look at the tree.] I see nothing. But yesterday it was all black and bare. And now it's covered with leaves. Leaves?" (56). 

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Vladimir shows Estragon that the barren tree from yesterday is now full of leaves. The tree is a symbol of hope or strength coming. It is also interesting how Vladimir pointed the tree out, since he is always the more perceptive of the two.

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20. "They give birth astride of a grave, the light gleams an instant, then it's night once more." (103)

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20. "They give birth astride of a grave, the light gleams an instant, then it's night once more." (103)

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Pozzo's words express the sorrow of life. His outlook is quite negative in that he sees something so beautiful and miraculous as birth in such a grim and dreary environment as a graveyard. What he means is that as one person is born, one has died; he has reflected on laughs and tears in the same regard. Pozzo may be telling Didi and Gogo that they should look forward to those gleaming lights, or he may be warning them of the long hours of darkness ahead.

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19. "Well I suppose in the end I'll get up by myself. (He tries, fails.)" (93)

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19. "Well I suppose in the end I'll get up by myself. (He tries, fails.)" (93)

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To me, this is a moment of profound defeat. The entire plotline has been about waiting for Godot and the lack of control Didi and Gogo have over their own lives. When Vladimir thinks that he could pick himself up, he makes the decision to live his own life; however, he tries and fails, once more falling into the abyss of being controlled by another being. Perhaps there is hope though: if he and Estragon help each other up, they could both find self-direction together.

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12. "No, but I do. It's because you don't know how to defend yourself. I wouldn't have let them beat you. You couldn't have stopped them. Why not? Because there was ten of them" (50). 

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12. "No, but I do. It's because you don't know how to defend yourself. I wouldn't have let them beat you. You couldn't have stopped them. Why not? Because there was ten of them" (50). 

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I think Vladimir saying Estragon gets beat because he doesn't know how to defend himself is very insensitive and rude. If he knows his friend is getting beat, then he should try to do something to help him or to stop it. And I wonder who all those ten people are.

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18. "We are all born mad. Some remain so." (91)

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18. "We are all born mad. Some remain so." (91)

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Estragon is quite philosophical in his statement. He claims that we are all born without reason. I'm unsure if I agree with him in that I believe we are each born with a certain set of morals that are then built upon as life goes on. I doubt that all of us are born with insane morals. Perhaps Estragon is simply alluding to his and Vladimir's lack of reasoning (they remain mad). He may be the only one who understands that Godot is not coming and, they are mad for staying there and waiting.

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11. "A dog came in the kitchen And stole a crust of bread. Then cook up with a ladle And beat him till he was dead" (48). 

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11. "A dog came in the kitchen And stole a crust of bread. Then cook up with a ladle And beat him till he was dead" (48). 

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Act 2 starts off the bat with a very dark and violent mood. Vladimir is singing this sad poem. The beaten dog reflects Estragon, who was again beaten during the night.

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Enter Pozzo and Lucky. Pozzo is blind. Lucky burdened as before. (2.456)

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Enter Pozzo and Lucky. Pozzo is blind. Lucky burdened as before. (2.456)

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this stage direction threw me a bit. One Lucky wasn't sold so he is stuck with Pozzo. Two, Pozzo being blind seemed fake to me, I really didn't believe it.

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"We'll hang ourselves tomorrow. (Pause.) Unless Godot comes. "(2.877)

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"We'll hang ourselves tomorrow. (Pause.) Unless Godot comes. "(2.877)

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Didi is so certain that Godot is going to come that he puts both of their lives in it. Another reason is that Didi does not have anymore hope left in him for anything, so he knows Godot won't come, which means he wants to Hang himself. Since he is selfish he wants to bring Gogo with him.

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"Was I sleeping, while the others suffered? Am I sleeping now? […] At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep on. (Pause.) […] What have I said? He goes feverishly to and fro, halts finally at extreme left, broods." (2.795)

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"Was I sleeping, while the others suffered? Am I sleeping now? […] At me too someone is looking, of me too someone is saying, He is sleeping, he knows nothing, let him sleep on. (Pause.) […] What have I said? He goes feverishly to and fro, halts finally at extreme left, broods." (2.795)

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By the end of the play Didi seems very confused. He is not very certain of many things. He can't even be certain of his own. consciousness.

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"But that is not the question. What are we doing here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing alone is clear. We are waiting for Godot to come—" (2.526)

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"But that is not the question. What are we doing here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing alone is clear. We are waiting for Godot to come—" (2.526)

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I think that it is interesting that the one thing the men are very certain of is that Godot is coming. This is the one subject that is surrounded by the most mystery. Which is why I find it interesting that this is what they are certain on.

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17. "What are we doing here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing is clear. We are waiting for Godot to come--" (91)

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17. "What are we doing here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing is clear. We are waiting for Godot to come--" (91)

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Vladimir may subconsciously believe that the thought of Godot's existence is enough to substantiate his own. Since he mentions the existential question that tormented many during the postmodern era, Vladimir reveals his own wish to understand his purpose. He seems desperate to satisfy that wish by relying on Godot. This leads me to fully believe that Godot is a figment of his imagination, conjured only so that he may find a purpose.

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10. "How long have we been together all this time now? I don't know. Fifty years maybe" (44). 

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10. "How long have we been together all this time now? I don't know. Fifty years maybe" (44). 

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To me, this could mean so many things. I am hoping they mean they have been friends for fifty years, and not that they have been waiting for Godot for fifty years. This also infers that both men are very old.

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"Tell him . . . (he hesitates) . . . tell him you saw me and that . . . (he hesitates) . . . that you saw me. (Pause. Vladimir advances, the Boy recoils. Vladimir halts, the Boy halts. With sudden violence.) You're sure you saw me, you won't come and tell me tomorrow that you never saw me! Silence. Vladimir makes a sudden spring forward, the Boy avoids him and exits running. (2.829)"

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"Tell him . . . (he hesitates) . . . tell him you saw me and that . . . (he hesitates) . . . that you saw me. (Pause. Vladimir advances, the Boy recoils. Vladimir halts, the Boy halts. With sudden violence.) You're sure you saw me, you won't come and tell me tomorrow that you never saw me! Silence. Vladimir makes a sudden spring forward, the Boy avoids him and exits running. (2.829)"

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I think that it is interesting that this is the moment that Vladimir has the most clarity. He knows that he saw the boy yesterday and that the boy saw him ( and lied about it). This causes Didi to lash out and the boy and scare him off.

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"I don't remember having met anyone yesterday. But tomorrow I won't remember having met anyone today. So don't count on me to enlighten you." (2.49-51)

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"I don't remember having met anyone yesterday. But tomorrow I won't remember having met anyone today. So don't count on me to enlighten you." (2.49-51)

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The only thing that seems to be consistent in the play is how there is so much uncertainty and people seem to be forgetting everything. Just like Gogo, Pozzo doesn't remember meeting them the other day, and Gogo didn't remember meeting Pozzo.

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"Not at all! (Less sure.) Not at all! (Still less sure.) Not at all!"(2.791)

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"Not at all! (Less sure.) Not at all! (Still less sure.) Not at all!"(2.791)

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Vladimir isn't really sure of anything now. He is doubting what he knows about Godot (which is nothing). All of the mystery surrounding Godot is making Vladimir question whether or not he has already met him

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9. " He said that Godot was sure to come tomorrow. What do you say to that? Then all we have to do is wait on here" (44). 

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9. " He said that Godot was sure to come tomorrow. What do you say to that? Then all we have to do is wait on here" (44). 

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The boy tells the men that Godot will not come today, but will see them tomorrow. So, Estragon says that they will just continue to wait there. This shows they must have some trust in this stranger that they believe he will come tomorrow.

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8. "He doesn't beat you? No Sir, not me. Whom does he beat? He beats my brother, Sir" (42).

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8. "He doesn't beat you? No Sir, not me. Whom does he beat? He beats my brother, Sir" (42).

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The boy tells Vladimir that Godot beats his brother, not him. This is the first time we really learn information about Godot. Why is he beating these children?

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"(triumphantly) It's Godot! At last! Gogo! It's Godot! We're saved! Let's go and meet him! " (2.83)

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"(triumphantly) It's Godot! At last! Gogo! It's Godot! We're saved! Let's go and meet him! " (2.83)

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I think that Didi has finally lost hope and is trying to make Gogo and himself believe that Godot is real and coming. But deep down Vladimir knows that he is not going to come.

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"We are happy. (Silence.) What do we do now, now that we are happy?" (2.49)

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"We are happy. (Silence.) What do we do now, now that we are happy?" (2.49)

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They are trying to tell them selves that they are happy enough times so that they believe it. I think that they know that they are not happy but are trying to have hope for each other. And if they were not together they would have given up a long time ago.

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"No, but I do. It's because you don't know how to defend yourself. I wouldn't have let them beat you."(2. 26-27)

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"No, but I do. It's because you don't know how to defend yourself. I wouldn't have let them beat you."(2. 26-27)

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Vladimir is convinced that Gogo would not survive a day with out him. He shows it through calling Gogo weak and telling him why he always comes "crawling back". I think that Didi is overcompensating because he needs Gogo more than Gogo needs him.

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"(tenderly) I'll carry you. (Pause.) If necessary."

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"(tenderly) I'll carry you. (Pause.) If necessary."

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Vladimir is showing that he cares for Gogo but seems to get embarrassed about showing it. It also is another way that he dent have to see Gogo suffer if he takes the pain away. Mostly though, he cares about Estragon but didn't want to show it.

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Vladimir is very sure that Gogo would not survive without him to be around. It is said before though that Vladimir would not do well with out Gogo. which was the reason for not hanging them selves.

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Vladimir admits that he does not understand what Gogo is talking about when they talk about hanging them selves. While Estragon presents himself as the less intelligent, in this instance Didi is clueless as to what Gogo is trying to say.

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Didi woke up Gogo because he felt lonely. Once again Vladimir is being selfish and thinking about himself and how he feels, not Estragon. It doesn't matter that much to him if Gogo is tired, he was lonely so he wouldn't let him sleep, which is quite rude.

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"(with effort) Gogo light—bough not break—Gogo dead. Didi heavy—bough break—Didi alone. Whereas—" (1.187-188)

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"(with effort) Gogo light—bough not break—Gogo dead. Didi heavy—bough break—Didi alone. Whereas—" (1.187-188)

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Estragon shows understanding that Vladimir would be worse off alone than dead. which is another example of Gogo being more smart than what people think. If Gogo were to hang him self and die He knows that Didi would no survive well.

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"(stutteringly resolute). To treat a man . . . (gesture towards Lucky) . . . like that . . . I think that. . . no . . . a human being . . . no . . . it's a scandal!"(1.387-388)

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"(stutteringly resolute). To treat a man . . . (gesture towards Lucky) . . . like that . . . I think that. . . no . . . a human being . . . no . . . it's a scandal!"(1.387-388)

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Another example of Didi's aversion to suffering. While it may seem like he is standing up for Lucky, he later berates Lucky for mistreating Pozzo. This shows that any type of suffering makes Didi very uncomfortable.

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"Let them remain private. You know I can't bear that"(1.153)

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"Let them remain private. You know I can't bear that"(1.153)

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Vladimir has a problem with watching other people suffer.  The mere mention of Estragon's nightmare had him on edge. This could also be another example of his selfishness and how he doesn't really care about Estragon.

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Estragon has a bad memory and forgets almost everything that he has done.  This makes him seem dumb. While he may not be dumb the many things that he forgets give off the impression that he is.