Waiting for Godot By Samuel Beckett Summary and Analysis Act I: Vladimir and Estragon

The rising curtain exposes a landscape that is strange and alien. It most resembles some strange place in outer space with its haunting and brooding sense of despair. A country road or an actual lonely road is the main setting, and there is a single tree. We know there is a ditch on the other side of the road because immediately Estragon tells Vladimir that he slept last night in the ditch. The loneliness and the isolation of the setting sets the tone for the play. The idea of a road implies a journey, a movement, a purpose to life, but we see, instead, two deserted, isolated figures with no place to go and with no journey to look forward to. These figures are dressed in rags and tatters, clothes that would be worn by two tramps in an old, second-rate burlesque production. Thus the setting and the clothing make an ominous comment before we are too far into the drama.

The play opens with Estragon involved in a tremendous struggle — but not a struggle of a highly metaphysical nature; instead, it is a physical struggle to get his stuck boot off his sore foot. The struggle has literally exhausted him, and he gives up the struggle with the opening words of the play: "Nothing to be done" (emphasis ours). Estragon's words are repeated two more times by Vladimir in the next moments of the play, and variations of this phrase become one of the central statements of the drama. The phrase is innocent enough in itself and obviously directed toward a specific struggle the removal of the boot. But as frustrating as the boot is, this is still a minor concern when compared to what Estragon and Vladimir are to do with the problem of waiting for Godot. In response to Estragon's struggle with his foot, Vladimir ignores the immediate physical problem but agrees with Estragon metaphysically that there is "nothing to be done," even though he has not "yet tried everything."

Thus the two opening speeches, innocent and simple enough in themselves, set the tone for the entire drama. The words carry a foreboding overtone which will be later associated with the word "appalled," or as Vladimir calls it, "AP-PALLED," and also the two tramps' inability to laugh.

After the opening words, we find that the two tramps are linked to each other in some undefined, ambiguous way. Vladimir greets Estragon with the comment "I thought you were gone forever," and since they are "together again at last," they will "have to celebrate." Vladimir then discovers that Estragon spent the night "in a ditch . . . over there" and that he was beaten by "the same lot as usual." This reference to a beaten man in a ditch carries overtones of other matters, but cannot be definitely correlated. For example, this could be an oblique reference to the biblical story of the Good Samaritan who finds a man beaten, robbed, and thrown into a ditch and rescues him. But no Good Samaritan has come to Estragon's rescue. Instead, he has apparently spent the entire night alone in the ditch, which means that both of them are, as their clothes indicate, in the most extreme, impoverished condition that they have ever known.

Estragon remains concerned with his boots; Vladimir, however, is extremely impatient and finds the conversation about the boots to be profitless. He turns the conversation to more abstract matters. Very early in the play, then, the difference between the two tramps is established: Estragon is concerned about immediate, practical problems — the removal of his boots, the beating, and now his aching foot; Vladimir, in contrast, laments the general nature of their sufferings by remembering better days that used to be. Whereas Estragon's foot hurts, Vladimir is concerned with suffering of a different nature.

The philosophical concept of the nature of suffering is first introduced here by the contrasting physical ailments of each character: Estragon has sore feet which hurt him, and Vladimir has some type of painful urinary infection which causes him to suffer; one character hurts and the other one suffers. Ultimately, the physical disabilities characterize the two men (an aching foot is easier to locate and describe than is a painful urinary infection) and also symbolize the various spiritual disabilities of the two characters.

Vladimir's thoughts shift from his urinary problems to the biblical concept of "Hope deferred maketh the something sick . . ." but he is unable to complete the proverb. (See Proverbs 13:12: "Hope deferred maketh the heart sick, but a desire fulfilled is a tree of life.") The proverb fits Vladimir and Estragon's condition perfectly since we will see them in a state of sickness of heart; their hopes are constantly deferred as they continually wait for Godot, and their desires are never fulfilled since Godot never arrives. Vladimir then concludes as did Estragon: "Nothing to be done."

Estragon has not gotten his boot off, and he looks inside it to see what was causing the difficulty. Vladimir then chastises Estragon for one of man's most common faults: blaming one's boots for the faults of one's foot. This accusation, of course, refers to the tendency of all of mankind to blame any external thing — boots, society, circumstances, etc. — for deficiencies in one's own nature. It is easier for Estragon to blame the boots for his aching feet than to blame his own feet.

The idea of Estragon's foot hurting and Vladimir's suffering, combined with their appalling human condition, causes Vladimir to realize again that there is "nothing to be done." This suffering and lack of hope turn Vladimir's thoughts to the suffering of the two thieves on the cross and their lack of hope. Then from the Old Testament proverb about hope, Vladimir's thoughts turn to the New Testament and the possibility of hope expressed in the story of Christ and the two thieves on the cross. There were two thieves, as there are now two tramps, and one of the thieves was saved; therefore, maybe there may be hope for either Vladimir or Estragon if they repent — but there is nothing to repent of, except being born. This remark causes "Vladimir to break into a hearty laugh which he immediately stifles," and he reminds Estragon that "one daren't even laugh any more"; one may "merely smile." This comment is another early indication of the seriousness of their condition. Vladimir's apprehension over laughing suggests that they both have a nagging awareness of the precariousness and insecurity of their condition, a condition that extends beyond their physical concerns.

In the discussion of the thieves, Estragon is unable to participate fully because he can't remember the details. In frustration, Vladimir yells to Estragon: "Come on . . . return the ball can't you, once in a way?" Vladimir's complaint is descriptive of much of the dialogue in the remainder of the play; it is very much like two people playing a game with one another and one is unable to keep the ball in play. Estragon constantly fails to "keep the ball in play"; that is, throughout the drama, he is unable to sustain his end of the conversation. Even in response to the matter of being saved "from hell" or "from death," Estragon merely replies, "Well what of it?" Therefore, even if they were to repent, Estragon can't understand what they might be saved from, who their savior would be, and, furthermore, why the four Gospels differ so significantly. The discussion is brought firmly to a close with Estragon's pronouncement: "People are bloody ignorant apes."

From this discussion, the two tramps confront the central problem of the play. Estragon looks about the bleak, desolate landscape and tells Vladimir: "Let's go." The recurring thematic refrain is then put forth: they can't leave because they are "waiting for Godot." They are not sure they are in the right place; they are not sure they are here on the correct day; they are not sure what day of the week it is (maybe it is yesterday); they think they were to meet Godot on Saturday, but if today is Saturday, is it the right Saturday? At least, they are fairly certain that they were to meet by a tree, and there is only one tree on the horizon, but it could be either a bush or a dead tree. The tree, whatever its symbolic value (the cross, the hanging tree, spring's renewal), is a rather pathetic specimen and cannot be a very hopeful sign. Completely frustrated, they resign themselves to waiting. Vladimir paces, and Estragon sleeps.

Suddenly, Vladimir, feeling lonely, awakens Estragon, who awakens from his dream with a start. Estragon wants to tell about his dream (or nightmare), but Vladimir refuses to listen to it. Estragon's nightmare, even without its subject being revealed, symbolizes the various fears that these tramps feel in this alienated world. Vladimir's refusal to listen suggests his fear and apprehension of all of life and of certain things that are best left unsaid. Estragon, then, unable to tell about his nightmare, tries to tell a joke about an Englishman in a brothel. Again Vladimir refuses to listen and walks off.

Estragon's attempt to tell his nightmare and then his attempt to tell the joke about the Englishman — a story that is never finished represent an effort to pass the time while the two are waiting for Godot. Since they have been waiting and will be waiting for an indeterminate time, the essential problem is what to do with one's life while waiting, how to pass the time while waiting.

When Vladimir returns, the two embrace and then they try to decide what they are going to do while waiting. During the embrace, the tender, fraternal rapport of the moment is suddenly broken by Estragon's mundane observation that Vladimir smells of garlic. This technique is typical of Beckett's method of deflating man's pretensions by allowing the absurd and the vulgar to dominate the action.

The eternal question returns: what to do while waiting? Estragon suggests that perhaps they could hang themselves. That would certainly put an end to their waiting. Hanging also has another incentive: it would excite them sexually and cause each to have an erection and an ejaculation. But the matter of hanging creates some problems. Vladimir should hang himself first because he is the heaviest. If the straggly tree does not break under Vladimir's heavier weight, then it would be strong enough for Estragon's lighter weight. But if Estragon went first, the tree might break when Vladimir tried it, and then Estragon (Gogo) would be dead, and poor Vladimir (Didi) would be alive and completely alone. These considerations are simply too weighty to solve. Man's attempts to solve things rationally bring about all types of difficulties; it is best to do nothing — "It's safer." Accordingly, they decide to "wait and see what [Godot] says," hoping that he, or someone, will make a decision about them or that something will be done for them. They will make no effort to change their rather intolerable and impossible situation, but, instead, they will hope that someone or some objective event will eventually change things for them.

Having resolved to wait for Godot, they then wonder what he might offer them and, even more important, "what exactly did we ask him for?" Whatever it was they asked him for, Godot was equally vague and equivocal in his reply. Maybe he is at home thinking it over, consulting friends, correspondents, banks, etc. The tramps' entire discussion about Godot indicates how little, if indeed anything at all, they know of this Godot. The fact that Vladimir can't remember what they asked of Godot indicates that they are unable to understand their own needs. They rely on someone else to tell them what they need. Similarly, the request and the possible response are discussed in terms of a person requesting a bank loan or some type of financial transaction. A philosophical question then begins to emerge: how does one relate to Godot? If he is God, can one enter into a business contract with this person? And if so, where is He? If Godot (or God) has to consult many outside sources before replying or appearing, then Vladimir and Estragon's condition is not very reassuring. And, if, as it now begins to become obvious, Vladimir and Estragon represent modern man in his relationship with God (Godot), then the modern condition of man is disturbingly precarious.

What, then, is man in this modern world? He is a beggar or a tramp reduced to the most dire circumstances: he is lost, not knowing where to turn. He is denied all rights, even the right to laugh:

ESTRAGON: We've no rights anymore?

VLADIMIR: You'd make me laugh if it wasn't prohibited.

Furthermore, they are reduced to crawling "on [their] hands and knees." Of course, in ancient cultures, man always approached a deity on his hands and knees. But in Beckett's dramas, a character's physical condition is correlated with his spiritual condition; all outward aspects of the two tramps reflect man's inward condition.

In a feeble attempt to assert their freedom, Estragon murmurs that they are not tied, but his assertion does not carry much conviction. The assertion, however feeble, that they are not tied might suggest man's revolt from God, because as soon as the idea of revolt is verbalized, they immediately hear a noise as though someone is approaching — Godot or God — to chastise them for heresy. They huddle together in fear:

ESTRAGON: You gave me a fright.

VLADIMIR: I thought it was he.



After the discussion of whether or not they are tied has occupied their thoughts, Vladimir gives Estragon their last carrot to eat. Now they have only a turnip left to eat, and these reduced circumstances make it necessary for them to continue to wait for Godot and possible salvation.

While eating his carrot, Estragon ruminates further about being "tied" or "ti-ed." Even though Vladimir feebly asserts that they are not tied, we noted that they are indeed tied to the idea of waiting. They cannot assert themselves; they have ceased struggling; there is even "no use wriggling." They are merely two stranded figures on an alien landscape who have given up struggling and are dependent upon waiting for Godot, realizing there is "nothing to be done." Thus, the play opens, and this section closes on the same note: nothing to be done.

Back to Top

Take the Quiz

All of these exemplify the circular structure of the play except