Samuel Beckett “Waiting for Godot” (Drama) Summary

The setting is in the evening on a country road with a single tree present. Estragon is trying to pull off his boot, but without success. Vladimir enters and greets Estragon, who informs him that he has spent the night in a ditch where he was beaten. With supreme effort Estragon succeeds in pulling off his boot. He then looks inside it to see if there is anything there while Vladimir does the same with his hat.

Vladimir mentions the two thieves who were crucified next to Christ. He asks Estragon if he knows the Gospels. Estragon gives a short description of the maps of the Holy Land at which point Vladimir tells him he should have been a poet. Estragon points to his tattered clothes and says he was. Vladimir continues with his narrative about the two thieves in order to pass the time.

Estragon wants to leave but Vladimir forces him to stay because they are both waiting for Godot to arrive. Neither of the two bums knows when Godot will appear, or even if they are at the right place. Later it is revealed that they do not even know what they originally asked Godot for.

Estragon gets bored of waiting and suggests that they pass the time by hanging themselves from the tree. They both like the idea but cannot decide who should go first. They are afraid that if one of them dies the other might be left alone. In the end they decide it is safer to wait until Godot arrives.

Estragon asks Vladimir whether they still have rights. Vladimir indicates that they got rid of them. He then fears that he hears something, but it turns out to be imaginary noises. Vladimir soon gives Estragon a carrot to eat.

Pozzo and Lucky arrive. Lucky has a rope tied around his neck and is carrying a stool, a basket, a bag and a greatcoat. Pozzo carries a whip which he uses to control Lucky. Estragon immediately confuses Pozzo with Godot which gets Pozzo upset.

Pozzo spends several minutes ordering Lucky around. Lucky is completely silent and obeys like a machine. Pozzo has Lucky put down the stool and open the basket of food which contains chicken. Pozzo then eats the chicken and throws away the bones. Lucky stands in a stooped posture holding the bags after each command has been completed and appears to be falling asleep.

Estragon and Vladimir go to inspect Lucky who intrigues them. They ask why he never puts his bags down. Pozzo will not tell them, so Estragon proceeds to ask if he can have the chicken bones that Pozzo has been throwing away. Pozzo tells him that they technically belong to Lucky. When they ask Lucky if he wants them, he does not reply, so Estragon is given the bones.

Pozzo eventually tells them why Lucky hold the bags the entire time. He thinks it is because Lucky is afraid of being given away. While Pozzo tells them why Lucky continues to carry his bags, Lucky starts to weep. Estragon goes to wipe away the tears but receives a terrible kick in the shin.

Pozzo then tells them that he and Lucky have been together nearly sixty years. Vladimir is appalled at the treatment of Lucky who appears to be such a faithful servant. Pozzo explains that he cannot bear it any longer because Lucky is such a burden. Later Vladimir yells at Lucky that it is appalling the way he treats such a good master.

Pozzo then gives an oratory about the night sky. He asks them how it was and they tell him it was quite a good speech. Pozzo is ecstatic at the encouragement and offers to do something for them. Estragon immediately asks for ten francs but Vladimir tells him to be silent. Pozzo offers to have Lucky dance and then think for them.

Lucky dances for them and when asked for an encore repeats the entire dance step for step. Estragon is unimpressed but almost falls trying to imitate it. They then make Lucky think. What follows is an outpouring of religious and political doctrine which always starts ideas but never brings them to completion. The three men finally wrestle Lucky to the ground and yank off his hat at which point he stops speaking. His last word is, "unfinished."

The men then spend some effort trying to get Lucky to wake up again. He finally reawakens when the bags are placed in his hand. Pozzo gets up to leave and he and Lucky depart the scene. Vladimir and Estragon return to their seats and continue waiting for Godot.

A young boy arrives having been sent by Mr. Godot. Estragon is outraged that it took him so long to arrive and scares him. Vladimir cut him off and asks the boy if he remembers him. The boy says this is his first time coming to meet them and that Mr. Godot will not be able to come today but perhaps tomorrow. The boy is sent away with the instructions to tell Mr. Godot that he has seen them. Both Estragon and Vladimir discuss past events and then decide to depart for the night. Neither of them moves from his seat. The end of Act I.

The curtain opens for Act II, which you will soon see is remarkably like Act I. The men still sit around waiting for Godot and try to fill the idle hours in the meantime. Lucky and Pozzo show up, only this time Lucky has gone mute and Pozzo is blind. They putz around the stage for a while, and Pozzo declares that, having lost his eyes, he now has no sense of time. Lucky declares nothing, because he’s mute.

Vladimir gets rather poetic in the meantime, wondering if maybe he’s sleeping, agreeing with Pozzo’s claim that life is fleeting, and concluding that habit is the great deadener of life. Pozzo and Lucky leave again, just in time for the Boy to show up and tell Vladimir that Godot isn’t coming today, but will be there tomorrow.

Vladimir and Estragon contemplate suicide, but have no rope (they think to hang themselves from the barren tree. The men resolve to leave, since it’s nightfall and they no longer have to wait for Godot, but neither man moves and the curtain falls.

The play ends, but we think everyone knows what happens next. And after that. And after that. Et cetera.

Interpretations

"Because the play is so stripped down, so elemental, it invites all kinds of social and political and religious interpretation" wrote Normand Berlin in a tribute to the play in Autumn 1999, "with Beckett himself placed in different schools of thought, different movements and 'ism's. The attempts to pin him down have not been successful, but the desire to do so is natural when we encounter a writer whose minimalist art reaches for bedrock reality. 'Less' forces us to look for 'more,' and the need to talk about Godot and about Beckett has resulted in a steady outpouring of books and articles.

Throughout Waiting for Godot, the audience may encounter religious, philosophical, classical, psychoanalytical and biographical – especially wartime – references. There are ritualistic aspects and elements taken directly from vaudeville and there is a danger in making more of these than what they are: that is, merely structural conveniences, avatars into which the writer places his fictional characters. The play "exploits several archetypal forms and situations, all of which lend themselves to both comedy and pathos." Beckett makes this point emphatically clear in the opening notes to Film: "No truth value attaches to the above, regarded as of merely structural and dramatic convenience." He made another important remark to Lawrence Harvey, saying that his "work does not depend on experience – [it is] not a record of experience. Of course you use it."

Beckett tired quickly of "the endless misunderstanding". As far back as 1955, he remarked, "Why people have to complicate a thing so simple I can't make out." He was not forthcoming with anything more than cryptic clues, however: "Peter Woodthrope [who played Estragon] remembered asking him one day in a taxi what the play was really about: 'It's all symbiosis, Peter; it's symbiosis,' answered Beckett."

Beckett directed the play for the Schiller-Theatre in 1975. Although he had overseen many productions, this was the first time that he had taken complete control. Walter Asmus was his conscientious young assistant director. The production was not naturalistic. Beckett explained:

It is a game, everything is a game. When all four of them are lying on the ground, that cannot be handled naturalistically. That has got to be done artificially, balletically. Otherwise everything becomes an imitation, an imitation of reality. It should become clear and transparent, not dry. It is a game in order to survive."

Over the years, Beckett clearly realised that the greater part of Godot's success came down to the fact that it was open to a variety of readings and that this was not necessarily a bad thing. Beckett himself sanctioned "one of the most famous mixed-race productions of Godot, performed at the Baxter Theatre in the University of Cape Town, directed by Donald Howarth, with two black actors, John Kani and Winston Ntshona, playing Didi and Gogo; Pozzo, dressed in checked shirt and gumboots reminiscent of an Afrikaner landlord, and Lucky ('a shanty town piece of white trash') were played by two white actors, Bill Flynn and Peter Piccolo. The Baxter production has often been portrayed as if it were an explicitly political production, when in fact it received very little emphasis. What such a reaction showed, however, was that, although the play can in no way be taken as a political allegory, there are elements that are relevant to any local situation in which one man is being exploited or oppressed by another."