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Guide to the Classics: Samuel Beckett's Waiting for Godot, a tragicomedy for our times


Estragon: Yes, let’s go.
[They do not move.]
Samuel Beckett originally subtitled his 1953 play Waiting for Godot “a tragicomedy in two acts”. Vivian Mercier, the critic for the Irish Times, dubbed it “a play in which nothing happens, twice.”
Two tramps, Vladimir and Estragon, wait on the side of a country road. Each act begins with the pair reunited after spending the night apart. As they await their enigmatic patron, Godot, Estragon laments being beaten by nameless figures during the night, and Vladimir seeks to pass the time by stirring his companion into repartee.
These two are ill-starred but well-suited: Estragon’s feet are in constant pain, and Vladimir’s unspecified affliction induces frequent and painful urination. Estragon’s shoes stink, while Vladimir adheres to a diet of garlic to ease the symptoms of his condition. Vladimir remembers, and Estragon forgets. ....

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How Samuel Beckett sought salvation in the midst of suffering


Samuel Beckett’s writing often seems to have a religious air about it. Take his most famous play,
Waiting for Godot (1953). Two Chaplinesque tramps – Vladimir and Estragon – wait at a crossroads by a tree for someone who might provide an answer to their prayers: Mr Godot. This is a man who has a suspiciously divine white beard, who ‘does nothing’, and who remains frustratingly absent, despite repeated promises of his imminent arrival.
Vladimir and Estragon pass the time by singing, eating radishes, play acting, and arguing. One of their first bits of comic back-and-forth concerns a discrepancy between the gospels in the Bible. Why is it, Vladimir wonders, that only one of the evangelists mentions that, of the two thieves crucified alongside Jesus, one had repented and was saved while the other mocked him and was damned? The penitent thief is mentioned in the Gospel of Luke, but not in Matthew, Mark or John. ‘One out of four,’ mutters Vladimir. ‘Of the othe ....

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