1. How does the relationship between Vladimir and Estragon compare with the relationship between Pozzo and Lucky? What is the effect created by the contrast between these two pairs of characters? Is it significant that the characters appear in pairs, rather than alone? Waiting for Godot, written by Samuel Beckett, is a tragicomedy about two men waiting for a person or thing named Godot. The play entitles two contrasting pairs of characters, Vladimir and Estragon, Pozzo and Lucky. These sets of characters differ greatly and they create effect of humanity. The main difference between the pair’s relationships would be their dependency on each other, their level of compatibility, and their development throughout the play. Furthermore, both pairs of characters have relationships that are different, but these differences are significant to the play. It is clearly established that Vladimir and Estragon have a significant diverse relationship as compared to that of Pozzo and Lucky. Correspondingly, Vladimir and Estragon, also known as Didi and Gogo, are introduced as being mutually dependent. For instance, Estragon is in need of assistance to remove his boots, and he relies on Vladimir to help him. It is also recognized that what qualities and strengths Estragon lacks, Vladimir compensates, and vice versa. This dependency is proved when Estragon repeatedly asks if they can leave, and Vladimir must remind him that they cannot as they are waiting for Godot. Similarly, during the play Vladimir always wakes Estragon from sleeping to keep him company. For Estragon’s lack of memory, Vladimir compensates, and for Vladimir’s loneliness Estragon compensates. Alternatively, Pozzo and Lucky have a very unbalanced relationship. Meaning that Pozzo is more dependent on Lucky then Lucky is dependent of Pozzo. It is clear that Pozzo is very dependent of Lucky, even though he says he is bringing Lucky to sell him at the fair. Pozzo is dependent of Lucky, because Lucky has been working...
Bibliography: Beckett, Samuel. “Waiting for Godot.” Seven Plays of the Modern Theater. Harold Clurman,
New York: Grove Press, Inc., 1962. 1-83. Print.
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