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Setting aside the existential notion of being isolated from "Godot," isolation, for Beckett, is a fact of human nature, one of the conditions under which we all must live. Waiting for Godot dramatizes the illusion of connectedness that we as humans have constructed for survival. Gogo and Didi repeatedly cling to each other, both physically and verbally, but find no solace in doing so. They are very much afraid of separation, but when they are together they are unsatisfied. When the second couple appears (Pozzo and Lucky) their non-isolation takes the form of a master-and-slave relationship, turned sour in Act II, when Lucky actually chooses to be connected (read non-isolated) to Pozzo. Linguistically Beckett shows us one (unforgettable) moment when Lucky “thinks” and dances, only to be piled upon to stop him (from his attempt to be alone). Gogo and Didi show their linguistic connection in their wordgames, in which their similes intertwine to become monologues for two (a contradiction). So, Beckett is saying, “Despite our external attempts to join, to share our lives, we are in fact all isolated in our own facticity (our “crawl through the mud,” as he describes it in his prose works). Isolation is fact; connection is an illusion.” This gloomy philosophy is disguised in the very entertaining enactment of Waiting for Godot on the stage; while we seem to be connected to the other audience members (called “witnesses”), the last line (“Yes, let’s go.”) freezes everyone in their seats, because “They do not move.” And neither do we.
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