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Pygmalion by George Bernard Shaw summary

 

Act 1

 The action begins at 11:15 p.m. in a heavy summer rainstorm. An after-theatre crowd takes shelter in the portico of St. Paul's Church in Covent Garden. A young girl, Clara Eynsford Hill, and her mother are waiting for Clara's brother Freddy, who looks in vain for an available cab. Colliding into flower peddler Eliza Doolittle, Freddy scatters her flowers. After he departs to continue looking for a cab, Eliza convinces Mrs. Eynsford Hill to pay for the damaged flowers. Eliza is made aware of the presence of Henry Higgins, who has been writing down every word she has said. Thinking Higgins is a policeman who is going to arrest her for scamming people, Eliza becomes agitated. Higgins turns out, however, to be making a record of her speech for scientific ends. Higgins was  an expert phonetician.  Higgins boasts that "in three months I could pass that girl off as a duchess at an ambassador's garden party." Higgins and Pickering eventually trade names and realize they have long wanted to meet each other. They go off to dine together and discuss phonetics. 

 

Act 2

The next morning at 11 a.m. in Higgins's laboratory, which is full of instruments, Higgins and Pickering receive Eliza, who has presented herself at the door. Higgins is taken aback by Eliza's request for lessons from him. She wants to learn to "talk more genteel" so she can be employed in a flower shop instead of selling flowers on the street. Eliza can only offer to pay a shilling per lesson, but Pickering, intrigued by Higgins's claims the previous night, offers to pay for Eliza's lessons and says of the experiment: "I'll say you're the greatest teacher alive if you make that good." Higgins enthusiastically accepts the bet, though his housekeeper, Mrs. Pearce, pleads with him to consider what will become of Liza after the experiment. Eliza agrees to move into Higgins's home and goes upstairs for a bath. Meanwhile, Higgins and Pickering are visited by Eliza's father,  Alfred Doolittle, "an elderly but vigorous dustman." Rather than demanding to take Liza away, Doolittle instead offers to "let her go'' for the sum of five pounds. Higgins is shocked by this offer at first, asking whether Doolittle has any morals, but he is persuaded by Doolittle's response, that the latter is too poor to afford them. Later Eliza appears, Doolittle does not at first recognize his daughter, who has re-entered, cleaned up and dressed in a Japanese kimono.

 

Act 3

The story moves to the home of Higgins's mother. Elegantly furnished, it reflects a woman of wealth and refinement. It is Mrs. Higgins's day for receiving visitors, and she is not pleased when her son bursts in without warning. He lacks social graces and tends to insult her guests. Higgins further surprises her with news that he has asked a common flower girl whom he has taught to speak properly to come see her. However, as he explains, while her pronunciation is quite good she still needs to learn what to talk about. He hopes his mother can help.

Mrs. Higgins's other guests arrive, and among them is Mrs. Eynsford Hill, the genteel lady featured in Act I, who purchased the flowers spoiled by her son, Freddy. He, too, is present, as are her daughter, Clara, and Pickering, the last to arrive before Eliza makes her entrance. Elegantly dressed, the former flower girl creates an impression of exceptional beauty and sophistication while she perfectly articulates her greetings. As Mrs. Higgins later comments, Eliza is "a triumph of her son's art and of her dressmaker's."

Freddy, in fact, is captivated by her loveliness and odd ways. As she leaves, he takes her to the door and inquires if she intends to walk home. Her reply, "Not bloody likely. I am going in a taxi," is shocking but fails to destroy the overall delightful impression she has made.

Once alone with Higgins and Pickering, Mrs. Higgins passes judgment on the whole affair, telling them that Eliza is not presentable and gives herself away "in every sentence she utters." Learning more about the experiment, she chides both men for treating Eliza like a live doll. The results of teaching Eliza to look and sound like a fine lady will likely leave her caught between two worlds, one in which she still needs to earn a living, the other in which her new status disqualifies her from doing so. Both men miss the point completely, vaguely assuring Mrs. Higgins that "we'll do what's right." Then they leave with plans to take Eliza to a Shakespeare exhibition. Alone with her frustration over the stupidity of the two, Mrs. Higgins cries out, "Oh, men! men!! men!!!"

Act 4

It's midnight, and Eliza, Higgins, and Pickering  are returning to Wimpole Street after the exhausting but highly successful final test of Eliza's skills. Higgins scornfully remarks, "Oh Lord! What an evening! What a crew! What a silly tomfoolery (prank / clowning)!" Then, complaining that he cannot find his slippers, he takes no notice when Eliza finds and places them before him and continues to sound off about the party, saying, "Thank God it's over!" Oblivious to Eliza's growing resentment,  then states that he "can go to bed at last without dreading tomorrow." Eliza holds her temper until Higgins and Pickering leave the room, and then bursts into tears of rage.

Moments later, Higgins returns, once more searching for his slippers, and she throws them at him with all her strength. She has won his bet for him, and now he has no more use for her. Higgins attempts to persuade her that she is simply tired and suffering a case of nerves; a good night's sleep will make things right. After all, she is now free and can do what she likes. Clumsily, he suggests that she could find a rich man to marry who will take care of her, but Eliza rejects that solution: "We were above that at the corner of Tottenham Court ... I sold flowers. I didn't sell myself."

Eliza changes clothes and leaves the house. Outside, she comes upon Freddy gazing up at her window. Love-struck, he spends most of his nights there on the street. Hungry for comfort, Eliza falls into his arms and responds to his passionate kisses. They end up in a taxi with a plan to drive around all night.

Act 5

The next day, Mrs. Higgins is in her drawing room when the maid announces that Higgins and Pickering are downstairs phoning the police about Eliza's disappearance. Mrs. Higgins sends the maid upstairs, where Eliza has taken shelter, to ask that she stay there until she is sent for. Mrs. Higgins then chastises her son and Pickering for their thoughtless treatment of the girl.

Eliza enters, looking coolly self-possessed, and politely greets the two men. She then thanks Pickering for always treating her well and showing her respect. "The difference between a lady and a flower girl,".

For a few moments before leaving, Eliza and Higgins are left alone. Higgins tries to convince her that he did not treat her any differently than anyone else, that he treats everybody rudely. Then he softens a bit and tells her that he will miss her if she leaves. Knowing Higgins will never change and refusing to be trapped by sentimentality, Eliza suggests that she may marry Freddy and support them both by teaching phonetics, possibly as an assistant to Nepommuck (former student). Yet he suddenly sees something in Eliza that she is No longer a  flower girl, Eliza is a woman, "a tower of strength." He likes her.  Even so, as the play closes, Eliza seems set on a path away from Higgins.

 Pygmalion eBook : George Bernard Shaw: Amazon.in: Kindle Store

Look Back in Anger by John Osborne summary

 

The title Look Back in Anger refers to the frustrated and unpleasant life of the central character, Jimmy Porter. He is well educated and married from an esteemed family, but still struggles emotionally to meet the both ends in his life. Jimmy is highly disturbed and exasperated by the lack of future he sees in economically depressed England. He expresses outrage over the political and social conditions of post–World War II England, which to him are a great disappointment in terms of hope for the people.

 

Act 1

The setting of the play is Jimmy and Alison Porter's small apartment. The play opens with Jimmy and his friend Cliff Lewis sitting in leather armchairs reading newspapers and magazines on a Sunday night. Alison is in the room too, doing some ironing. The play progresses primarily based on the attitude and the emotional reaction of the central character Jimmy porter.  He is a young man totally frustrated with his life and circumstances, and he takes his frustrations and anger out on everyone around him. He is at once charming and sensitive also aggressive and indignant. Cliff sometimes acts as a mitigator between Jimmy and Alison. Alison comes from a privileged background, and Jimmy is educated but works selling sweets from a street stall. Alison's life with Jimmy is not what she hoped for when she turned away from her family to marry him.

As Jimmy and Cliff read their papers, Jimmy expresses his opinion on a myriad of topics such as the actions of a local bishop, how Cliff doesn't fold the papers correctly, dying British culture, how slothful and empty his wife can be. He laments they are all too passive and says they need to do something in the world rather than just sitting around. Jimmy rants about how horrible Alison's mother is, how tied to the past her father is, and what a vacuous political aspirant her brother is. He antagonizes Alison with the word pusillanimous (which means lack of determination or cowardly), which he's recently learned, claiming it is the perfect word to describe her. Cliff and Jimmy begin playfully wrestling around the apartment, and Jimmy pushes Cliff into the ironing board. The iron burns Alison's arm. She yells at Jimmy to leave the apartment.

While Cliff attends to Alison's injury, she tells him she's pregnant, but she hasn't told Jimmy yet. Cliff urges her to tell Jimmy, but she is afraid of how he'll react. When Jimmy returns, Cliff leaves to get them more cigarettes. Jimmy apologizes for hurting her arm. They playfully pretend to be like the stuffed teddy bear (Jimmy) and squirrel (Alison) they keep on playing such childish game. Cliff returns and tells Alison she has a phone call from her friend Helena Charles. Alison returns and tells them Helena will be staying in the building while she's in town for a traveling show. Jimmy does not like Helena, and he argues with Alison. He says Alison is far too naive and innocent, and he wishes something would happen to her to wake her from her privileged "beauty sleep." Jimmy even suggests she could have a child and it could die. He exits, leaving Alison and Cliff stunned.

 

Act II

Two weeks later Alison and Helena are preparing Sunday afternoon tea. Jimmy is playing trumpet in a room down the hall. Alison tries to explain to Helena about how difficult their marriage has become. She is cut off from her family and doesn't really have any friends but Cliff and Helena, who is always traveling. Helena has seen enough of the way Jimmy treats Alison, and she urges her friend to leave him for the sake of the baby. Helena doesn't understand why Alison married someone like Jimmy. Alison tells her about how they met and fell in love. Her parents were vehemently opposed to the marriage, but Jimmy acted like a "knight in shining armor" to win and keep her. Nevertheless Helena says Alison has to fight Jimmy and leave.

Cliff and Jimmy arrive for tea, and Jimmy immediately starts ridiculing Alison in front of her friend. Helena is infuriated and offended by the things Jimmy says about Alison and Alison's mother, and she challenges him, threatening to slap his face. Jimmy threatens to hit her back. When Alison says she is going to church with Helena this evening, Jimmy mocks both of them and religion. He accuses Helena of trying to win her over. Jimmy asks Helena if she has ever watched someone die. She replies she hasn't. He then tells them about watching his soldier father die slowly when he was only 10. He relates how confusing it was and how angry and helpless he felt. Helena exits to prepare for church. Jimmy accuses Alison of being an unfaithful Judas, but Alison says all she wants is "a little peace."

Jimmy turns upset after receiving a phone call.  The mother of a good friend has had a stroke and is dying. He has to leave for London immediately. He expects Alison to go with him, but she silently walks to the door and leaves with Helena for church.

The following day, Alison's father, Colonel Redfern, is watching his daughter pack up her things to leave. They discuss the attitude of  Jimmy, and the colonel confesses he always thought Jimmy was clever in his own way. Alison tells her father about how he expects allegiance from the people around him. He says he was horrified by some of the things his wife did, like hiring detectives to investigate Jimmy. 

Helena arrives to help Alison pack her things. The colonel thanks her for letting them know about what has been happening between Alison and Jimmy. Cliff arrives to say goodbye to Alison. She gives him an envelope to give to Jimmy when he returns. Alison and her father leave. Cliff doesn't want to be around when Jimmy arrives, so he gives the envelope to Helena and departs. Jimmy comes into the apartment agitated. Helena gives him the envelope. He reads it aloud and starts cursing. He says Alison didn't even have the courage to say she hates him.

Helena tells Jimmy that Alison is pregnant and she had to get away from him. Jimmy is taken aback at the news, but then quickly dismisses it, saying he doesn't care. He has spent the past day sitting beside his friend's mother as she died, and Alison wouldn't go with him. He doesn't care about a "cruel, stupid girl" having a baby. Helena slaps him in a violent manner. He covers his face. Helena pulls his hand away and kisses him passionately as they lie down on the bed together.

Act III

It's several months later. Another Sunday night: Jimmy and Cliff are reading newspaper and Helena is behind them ironing. The two men bicker about what they read, as they usually do, with Jimmy declaring his opinions on the news of the past week. Jimmy and Helena joke about the general things  even using Cliff. It's the usual Sunday activity, only now Jimmy is a little less hostile. He does chide Helena about her faith and going to church, as he finds religion to be outdated and doesn't understand her interest in it. He makes fun of the church by comparing faith to the bodybuilder ads in the magazines he reads that promise weaklings a muscular body. Helena asks him to stop; he changes the subject.

When Helena leaves to wash the dirty clothes, Cliff tells Jimmy he's going to move somewhere else for a change of pace. Jimmy says he'll miss his friend but understands why he wants to make his own way. Jimmy confesses he knows Helena can't give him what he needs or wants.  Cliff leaves, and Jimmy tells Helena he thinks they are worthy opponents. Helena says she loves him. Jimmy suggests they leave town and make a new start somewhere else together. Helena agrees. In the meantime, the door opens and Alison enters. She looks frazzled and very sickly.

Helena and Alison have tea and discuss what has happened between them and Jimmy. Jimmy's trumpet playing can be heard from down the hall. Alison tells her she lost the baby. She has tried to come to the apartment a number of times but could never make the trip all the way. Helena apologizes for staying with Jimmy; Alison says she has no reason to apologize. But Helena says she still believes in right and wrong, and what she did was wrong, even evil.

Helena says she has figured out what's wrong with Jimmy: he was born into the wrong time. Helena is going to leave the apartment, not to step aside for Alison, but because Helena feels what she has done is morally wrong. She hopes Alison doesn't return to Jimmy.

Jimmy enters. He notices Alison looks "ghastly." He says he knows what happened, it was his child too, but it wasn't his first loss. Helena tells him she is leaving immediately. She explains it's her decision and Alison had nothing to do with it. Helena says she can't be happy doing something so wrong. As she leaves, Jimmy tells Helena everyone wants "to escape from the pain of being alive" and love can be a very messy thing. Helena leaves.

Jimmy tells Alison that he believes the strongest creatures are the loneliest. He reminds Alison of the first night they met and how relaxed she seemed to him, and how much strength he thought she had. But he learned while they were married she didn't really have strength, she'd never had an ounce of distress in her life. When she lost the baby, she wanted to die. She had never felt anything so painful in her life. She realized it was the kind of suffering Jimmy wanted her to have to become stronger and more human. She collapses at his feet and he picks her up, holding her. Jimmy says they can be together in their pretend bear and squirrel.  

 

 Look Back in Anger

 

Waiting for Godot by Samuel Beckett detailed summary

 

One evening, while sitting on a low mound near a bare tree beside a country road, Estragon tries unsuccessfully to remove his boot. When his friend Vladimir enters, he gives up pulling the boot, remarking that there is “nothing to be done.” He broods briefly about having “resumed the struggle.” He is, he says, glad to see Estragon again, having believed him permanently gone. He suggests a celebratory embrace but Estragon irritably declines. He says he spent the night in a ditch nearby and “they” beat him again, though he does not know whether it was the usual people who do so. Vladimir insists that, without his presence throughout the years, Estragon would be a small accumulation of bones.

Estragon feebly resumes pulling the boot and asks for help, complaining that it hurts.  There is, he reiterates, nothing to be done. Vladimir examines his hat; Estragon removes the boot. Estragon suggests that they repent having been born. “people are bloody ignorant apes,”.

 After scanning the horizon, Estragon proposes that they leave their current spot, but Vladimir reminds him that they are to await Godot by the tree although they see no others. Godot did not say for certain that he would come; if not, they will wait again daily. They are uncertain that they waited here the day before, that they have been in this place before, or that they were to meet on this evening, on a Saturday. They are also unsure of the day of the week. It is therefore possible that Godot came yesterday and they missed him; if so, he will probably not come again.

Estragon feels he may be mistaken that they were in this place the day before, but he falls asleep as Vladimir paces. When Estragon is awakened by Vladimir’s shouting at him, the latter emphatically does not want to listen to his recounted nightmares. Estragon resentfully claims that he sometimes believes that they should part, but Vladimir asserts that his companion would not go far. Estragon then begins a story about an Englishman visiting a brothel, but Vladimir stops him. Vladimir exits the stage as Estragon watches, but he soon returns and, after some mutual silences, asks forgiveness. Eventually they embrace, though Estragon complains that Vladimir stinks from garlic.

Pondering what to do while waiting, they consider hanging themselves. Since the bough may not be strong enough, Vladimir suggests that Estragon, who weighs less, should go first. Estragon, however, believes that he should not go first, because of the fact that he is lighter than Vladimir. When Vladimir cannot figure out why that would matter, Estragon explains with difficulty that if the bough broke with Didi going second, he would be left alone. If, however, it hangs the heavier man, it will hang the lighter one. Vladimir is uncertain that he is heavier; Estragon is unsure too. They decide not to do anything, which is safer.

They will continue to await Godot, They wait in silence. Estragon wonders whether they have no more rights; Vladimir suppresses a laugh, noting that such has been prohibited and that they “got rid of” their rights Vladimir thought he might have heard Godot, perhaps shouting, possibly at his horse. It was, he concludes, more likely wind stirring reeds.


When Estragon says he is hungry, Vladimir offers him a carrot but pulls a turnip from his pocket. When Estragon protests, Vladimir finds a carrot, saying it is the last. Estragon takes up his previously disregarded question of whether they are “tied” to Godot. There is “no question about it,” Vladimir says, though he is even unsure of Godot’s name. Estragon finds
that things get worse, but Vladimir asserts that he grows accustomed to this as time goes on. Again, nothing can be done about it.

After a terrible cry from offstage, two strangers enter. The first, Lucky, is bound by a long rope tied around his neck. He carries a picnic basket, a folding stool, a heavy bag, and a greatcoat. His master, Pozzo, cracks a whip, urging him on. Lucky crosses the stage, but Pozzo stops when he sees Vladimir and Estragon and yanks the rope, pulling Lucky back, causing him to fall. Pozzo warns that Lucky can be a danger to strangers. Estragon wonders if this is Godot. Pozzo introduces himself, asking whether they recognize his name; Estragon claims they are not from nearby. Pozzo notes that they are of the same species, apparently, and thus “made in God’s image.” Pozzo asks who Godot is.

Pozzo claims that they are on his (Pozzo’s) land, though the road is open to everyone, disgraceful as he finds that fact to be. Again he jerks Lucky’s rope, addressing him as “pig” and “hog,” ordering his every move. Lucky holds the whip in his mouth to help Pozzo put on his coat. Then he picks up his burdens again as Pozzo chats about his journey and his need for company. As he orders Lucky to prepare the stool on which Pozzo will sit.  From the picnic basket he takes out a bottle of wine and a piece of chicken, which he eats voraciously. Vladimir and Estragon inspect the motionless Lucky, who seems to be falling asleep on his feet without dropping the bags. Pozzo discards the sucked-dry bones. Vladimir and Estragon examine Lucky’s rope-abraded neck, then notice his slobbering (wet) mouth and protruding eyes, speculating that he is perhaps half-witted. When they start to ask him a question, Pozzo tells them to leave Lucky alone since he (Lucky) obviously wants to rest.

As Pozzo lights his pipe, Estragon desires the discarded chicken bones on the ground. Estragon haltingly asks Pozzo if he has finished with the bones, but such impropriety shocks Vladimir.

After a long silence from Lucky, Pozzo tells Estragon that he can have the bones. He worries that Lucky, who never refused a bone before, may be sick. As Estragon gnaws the bones, Vladimir protests that Pozzo’s treatment of Lucky is scandalous. Estragon agrees but continues gnawing. Pozzo considers their criticism harsh and asks their ages. Receiving no reply, he asks their estimation of Lucky’s age. Estragon guesses 11. Pozzo says he must leave but decides to smoke another pipe, despite worries about nicotine’s effect on his heart.

 Bleeding, Estragon fears that he will no longer be able to walk; Vladimir says he would carry him. In a way, Pozzo remarks, Estragon’s crying replaced Lucky’s; the amount of the world’s tears remains constant, since whenever one person in the world stops weeping, somewhere another starts, he prefers not to talk about the current generation at all.

Pozzo suggests having Lucky entertain them by thinking aloud, though Estragon would prefer him to dance. Addressed as “hog” and “misery,” Lucky complies, dancing what Pozzo calls “The Net.” Estragon and Vladimir suggest “The Scapegoat’s Agony” as title.

After a silence, Estragon complains that “nothing happens, nobody comes, nobody goes, it’s awful!”

Pozzo kicks Lucky and jerks the rope to make him move on, but even with assistance from Vladimir he falls to the ground. They prop him up and return the bag to his hand. He gradually recovers his familiar stance and totters along on command. Pozzo thanks them.  Pozzo finds that he seemingly cannot leave. Estragon replies, “Such is life.” Stretching the rope until he is offstage, Pozzo cracks the whip and orders Lucky to move on. They depart. After a lengthy silence, Estragon suggests that they too depart. Vladimir reminds him that they can’t, since they are waiting for Godot. Trying to make conversation.

From offstage, a boy calls them and timidly approaches, bringing a message from Mr. Godot that Godot will not come today. Asked why he is late, he replies that it is not his fault: he was afraid. He claims to have been there for some time but was afraid of the whip, the noise, and the men he did not know. He works for Godot, he says, tending goats; Godot does not beat him and is good to him, but he beats the boy’s brother, who tends sheep.

 The boy runs away, and night suddenly falls; the moon rises. Estragon leaves his boots for someone else to find. He intends to go barefoot.  Vladimir expresses hope for a better day tomorrow, when, according to the boy, Mr. Godot will surely come. They begin to leave, look again at the tree, and wish they had some rope. They have been together for perhaps fifty years, Vladimir says, though he admits he does not know.

They resolve to go but do not move. The curtain descends.



 

In act two, four or five leaves are on the tree. Vladimir enters, anxiously examines Estragon’s neatly arranged boots, searches the horizon, and sings a song about a dog killed by a cook for stealing bread from the kitchen. Estragon enters but refuses an embrace or discussion, though he implores Vladimir to stay with him. After a long look, they embrace. Estragon, hearing Vladimir sing when alone, thought his friend happy at his absence; he claims he prefers being alone too. Reassuring each other, they say they are happy and will continue to wait for Godot. Changing the subject, Vladimir notices that the tree has changed and asks whether Estragon recalls that they considered hanging themselves from it yesterday. Estragon claims Vladimir dreamed it; he has forgotten the incident. He also does not recall the names of Pozzo and Lucky.

After a silence, Vladimir sighs. Estragon suggests it would be better if they separated, but Vladimir notes that he always comes back. It would be best, Estragon says, to be killed like billions of others.

A long silence ensues; they continue waiting for Godot. They consider contradicting each other but instead ask each other questions. Vladimir wonders where “these corpses” and skeletons are from. Estragon suggests turning toward nature; Vladimir claims they have tried that already. Silence again follows; they concentrate, hats off, trying to find something else to think about. Vladimir tries to describe what happened from the beginning, noting that the formerly bare tree now has leaves after a single night.

 

 


Vladimir points to the boots onstage where Estragon left them yesterday, but Estragon contends that they are not his; they are not the same color. Vladimir contends that someone must have taken Estragon’s boots and left his own. Estragon suggests that they go; Vladimir reminds him that they are waiting for Godot. When Estragon claims he can’t go on, Vladimir offers him a black radish from among the turnips in his pocket. Estragon likes only pink ones and says he will go get a carrot, but he does not. When Vladimir complains that “this is becoming really insignificant,” Estragon replies, “Not enough.”

They sit awhile on the mound; Vladimir sings. Estragon sleeps but wakes suddenly from a dream of falling. He is consoled by Vladimir as they walk together up and down. Estragon proposes that they go but is reminded that they are waiting for Godot. Though cold, they cannot leave until nightfall. Estragon despairingly asks what they will do; Vladimir chides him for whining.

Estragon announces that “they” are approaching. Vladimir asserts that it is Godot, that they are “saved.” They run and scan the horizon, but there is no one. Estragon tries unsuccessfully to hide behind the tree, then admits his error and asks forgiveness. They continue watching the horizon in silence, seeing nothing. They begin to ask each other a question simultaneously, apologize, and then angrily insult each other. Estragon cries out for God’s pity.

Pozzo and Lucky again arrive. Pozzo is now blind. Lucky is burdened as before, but the rope is shorter so Pozzo can follow more easily. Pozzo walks into Lucky, who has stopped on seeing Estragon and Vladimir. Lucky drops the possessions into a heap. Estragon asks whether it is Godot. Pozzo cries for help. Vladimir welcomes the fact that they are no longer alone; as time flows, they will soon be away from there. Vladimir tells Estragon the person who arrived is not Godot but Pozzo and reminds him of the chicken bone, encouraging him to ask for another.

Estragon does not remember Lucky, who, Vladimir worries, might get away. The ultimate question, he notes, is “What are we doing here[?]” Unlike many, and despite “immense confusion,” they know the answer. They simply wait until the arrival of Godot, or the fall of night, keeping their appointment whether it is ever to be fulfilled or not.

 Estragon contends that everyone is “born mad. Some remain so.” Pozzo offers to pay 100 francs for help, then raises the offer to 200. Appreciating the diversion but dreading being left alone again “in the midst of nothingness,” Vladimir tries to help Pozzo up but falls several times. Estragon says he will go; Vladimir agrees to go with him if he will help him up.


When Pozzo calls for help again, Estragon concludes “he’s all humanity.” He wants to do something else but cannot think what. They get up. They plan to leave, but Vladimir reminds him they cannot since they are waiting for Godot. Finally they help Pozzo get onto his feet, but he falls again. Supporting his arms around their necks, they get him up again. When Pozzo tells them he is blind, Estragon thinks he can perhaps see the future. Pozzo asks if they are his friends and implores them not to leave. He asks the time and whether it is evening; they consider the sunset, though they are unsure where the west is. Estragon maintains the sun is perhaps rising, but Vladimir tells Pozzo that the long day they have lived must be nearing its end. Pozzo recalls the wonderfulness of having sight, and Vladimir asks if the blindness came suddenly. Pozzo says he awoke one day blind but does not know when, having now no notion of time.

Vladimir confirms that they are Pozzo and Lucky, but Pozzo does not remember meeting them or anyone yesterday; tomorrow, however, he will not remember meeting them today. Vladimir summarizes the previous day’s events, but Pozzo intends to go. Lucky gathers his burdens, setting them down to hand Pozzo the whip and rope.

He orders Lucky to move on. Vladimir asks Pozzo to command Lucky to sing or recite, but he cannot; he is now mute, unable even to groan. Pozzo furiously replies to Vladimir’s question of when that happened, reasserting that he has no concept of time. Calming down, he claims “they give birth astride of a grave, the light gleams an instant, then it’s gone once more.” He again orders Lucky to move on; they leave the stage but are heard to fall. Vladimir awakens Estragon, who was “dreaming [he] was happy.” Vladimir wonders if Pozzo is really blind. Estragon asks if Pozzo was Godot, and Vladimir is increasingly unsure.


A boy arrives. He insists he does not recognize Vladimir and did not come the day before, but he accedes to Vladimir’s claim that he (the boy) has a message from Godot, who will not come tonight but will come without fail tomorrow. The boy says he did not see Lucky and Pozzo, and he claims Godot “does nothing.” The boy’s brother is sick, he says, but he does not know whether he came yesterday. The boy confirms that Godot has a beard, which the boy thinks is white.

There is silence. The boy runs away. The moon rises. Estragon wakes, removes his boot, and says he will go. Vladimir reminds him they must return tomorrow to wait for Godot. If they did not, they would be punished. They look at the tree. They consider hanging themselves but have no rope and Estragon’s belt is too short. Estragon’s trousers fall when he removes the belt, which breaks when they pull on it.


Estragon says they can bring a good piece of rope tomorrow. He claims he is unable to “go on like this.” Vladimir resolves that they will hang themselves the next day, “unless Godot comes,” in which case they would be “saved.” Estragon pulls on his trousers. They resolve to go but do not move. The play ends.

Themes in Waiting for Godot | SchoolWorkHelper