Morality In Waiting For Godot

When Waiting for Godot first emerged onto the literary and theatrical scene, audiences were met with a bewildering and controversial play that echoed life in a way that was disquieting to most. Readers and audiences alike watched the play unfold onto a austere wasteland with a single tree that presented itself as a universal location that was nowhere and everywhere simultaneously. Vladimir and Estragon, our protagonists, wait in the barren world for Godot to liberate them, but from what exactly? Death, hell, reality, ennui, themselves; the answer is indefinite, but Godot stands as a beacon of salvation who carries the answers to every question ever thrown out into the void by the human mind. Often with their only companions being each other, the vagabonds play a variety of games to help time pass

Like Estragon and Vladimir, our second couple, Pozzo and Lucky, are tied to each other, just in a more literal sense as a rope unites the two. Lucky is the only authentic slave, but the rest of our characters are assuredly slaves as well to habit, “the great deadener,” as so defined by Vladimir himself. On all the characters, from the famed duo, Vladimir and Estragon, to Pozzo and Lucky, the effects of habit weigh heavy and threaten to plunge them into decay.

“An acquired mode of behaviour that has become nearly or completely involuntary,” precisely defines habit, the nuisance of our characters’ being. Time, in Waiting for Godot, is irrational and difficult to scrutinize. Impossibility rests upon any endeavour posed towards trying to dictate just how prolonged Vladimir and Estragon’s wait for Godot is, and also how long Pozzo and Lucky have been voyaging to get to the fair. In this realm created by Samuel Beckett, time is utterly inoperable as he even points out the absurdity of