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In Samuel Becketts absurdist play, Waiting for Godot, written in 1949, through the individual characterisations and the portrayal of the relationship between Vladimir and Estragon, Beckett provides insight into the human condition through an emphasis on the interdependency present within relationships and its subsequent effects on individuals. During the period of time following World War II, in which society was recovering following the devastation caused by the war, individuals found that suffering was a constant, with hope being a futile concept. In fact, such individuals realised that free will lacked importance and began to lose their autonomy, using others to provide the moral support that would have once been their own responsibility, and thus, became dependent on others in lieu of possessing any individuality. Thus, Beckett subverts the existential perceptions which are associated with humanitys free will, such that individuals are unable to remain independent from others. Becketts characterisation of Vladimir and Estragon, and the portrayal of their interactions convey such interdependent tendencies, having profound impacts upon the characters actions. This essay will examine Vladimirs superior characterisation in contrast to his dependency on Estragon, Estragons inept, inferior characterisation as a result of Vladimirs constraint, and their combined inability to progress due to the interdependency permeating their relationship.
Becketts superior characterisation of Vladimir is ironically falsified by his need for Estragons dependence unto him. Reflecting the society in which Beckett wrote, the pair exist in an environment where suffering is presented as the norm and a constant state of being. In spite of this, Vladimir acts as the optimist while representing the intellectual side of the relationship, elevating himself above the mentally inept Estragon as to influence his behaviour. This is seen when Estragon asks him to Tell [him] what to do. / Theres nothing to do. The futile connotations of nothing coupled with Vladimirs didactic tone in contrast to the hopeful tone employed by Estragon revealing Vladimirs self-conceived sense of superiority, while establishing Estragons dependence onto him. In fact, as a means to maintain this superiority, Vladimir insists upon Estragons dependence for himself, as he reflects: When I think of it& all these years& but for me& where would you be& Decisively. Youd be nothing more than a little heap of bones at the present minute, no doubt about it. The degrading connotations of little heap of bones in conjunction with the definite tone used in the stage direction, Decisively , reveals Vladimirs pitiful view of Estragon. This insistence on Estragons need for him directly contrasts the existential notion that individuals are unable to impose existential meaning upon others. However, Vladimirs ironic inability to separate himself from his inferior counterpart provides further insight into his characterisation. This is alluded to, in the beginning of the play, as Vladimir states: Im glad to see you back. I thought you were gone forever . The relieved connotation of glad conveys a mutual need and interdependency between the two characters, although it is outshone by Vladimirs superior characterisation and his inability to express these needs. His inner conflict for such expression is further explored as Estragon complains that he &was asleep! Despairingly. Why will you never let me sleep? / I felt lonely. Vladimirs flat, emotionless tone, coupled with the truncated sentence, is contrasted to the despondent connotations of the stage direction Despairingly . This emphasises the notion that despite Vladimirs desire for Estragons dependence, the fact that he is unable to convey this in a meaningful manner undermines his self-imposed sense of superiority. In essence, he relies upon Estragon to depend on him, cementing the notion of interdependence within the relationship. Thus, despite the sense of superiority that Vladimir holds over Estragon, it is falsified by his inherent need for interdependence within their relationship.
In direct contrast, Beckett characterises Estragon as the lesser, helpless character who struggles with independency, catalysed by Vladimirs disdain and constraint. Mirroring the disillusionment from autonomy and a disregard for hope which had permeated within Becketts society as a result of the aftermath following World War II, Estragon acts as Becketts vessel through which he portrays his personal thoughts concerning this notion. While Vladimir acts as the intellectual of the pair, with the majority of his personal issues affecting his mentality, Estragon is instead focused on the physical aspects of his unchanging environment, with his afflictions instead affecting his emotions and physicality. However, due to this ineptitude, Estragon is portrayed as the less capable character, with this portrayal being amplified by Vladimirs imposed constraint. This is established in the dialogue between Vladimir and Estragon: … then the day after tomorrow& And so on& / You’re merciless. / We came here yesterday. The contrast between Vladimirs use of the exclusive pronoun youre in conjunction with his blunt tone and the inclusive pronoun we creates a clear divide between the pair, while emphasising Vladimirs dismissive and callous nature towards Estragon, thus establishing this imposed inferiority. Despite this, Estragon is momentarily able to put his inner conflict with his autonomy at ease, coming to a revelation that his existential purpose of waiting for Godot, and in turn, his need for Vladimirs companionship, was naught, as he states: Feebly. Were not tied? Pause. Were not . The anaphora of Were not in conjunction with the stupefied tone created by the stage direction and hyphenation emphasises the extent to which their collective need to wait for Godot dictates Estragons inability to comprehend his own autonomy. Due to this, Estragon has a momentary revelation that he is, in fact, capable of independency. Despite this epiphany, Estragon almost immediately returns to a state dependency, complaining: Violently. Im hungry! / Do you want a carrot? / & / Give me a carrot. The forceful tone created by the stage direction Violently coupled with the truncated sentences highlights the immediacy of his reversion, suggesting that his conditioning to his dependency has subconsciously led him to disregard the notion that they are not tied . Thus, reflecting the society in which Beckett writes, Estragons dependent characterisation acts as a commentary which emphasises the importance which should be placed on
Through Vladimir and Estragons interactions with one another, Beckett explores the subsequent effects of the pairs interdependent relationship on their actions, as it creates an inability to attain dependency. Writing in a society where individuals had fallen into a state of hopelessness following the widespread horrors of war, Becketts portrayal of Vladimir and Estragon reflects his perspective that such individuals had become more dependent in lieu of being concerned about their individuality. In fact, while Beckett characterises these two characters as two halves of a human being, creating a complementary relationship, their interdependence ironically results in an inability to progress or develop their identities.. This dual inability is first explored as Estragon laments that he is &tired! Pause. Lets go. / We cant. / Why not? / Were waiting for Godot. The truncated sentence coupled with an urgent tone creates fast-paced dialogue which is directly contrasted to the stage direction: Pause. This indicates a moment of reflection which overshadows Estragons futile attempts to progress the conversation, contrasted by the repetition of this dialogue throughout the text, which inevitably draws both characters back into their routine as a result of Estragons conditioning as dependent on Vladimir. However, Estragon later re-attempts to bring progress to their relationship by questioning his state of dependency once more: (Coldly.) There are times when I wonder if it wouldnt be better for us to part. / You wouldnt go far. Vladimirs dismissive, blunt tone and truncated sentence suggests that the pairs progress from interdependency is hindered by their inability to have meaningful communication. This is emphasised as this same interaction is repeated further along, as Estragon states that Itd be better if we parted. / You always say that and you always come crawling back. Vladimirs matter-of-fact, condescending tone, in conjunction with the definite connotation of always reveals his disdain for Estragons desires, which is combined with the contrast between Estragons inclusive pronoun we and Vladimirs exclusive pronoun you to further emphasise this clash between their contrasting, yet complementary characterisations. This highlights the notion that Vladimirs need for Estragons reliance is preventing either of their lives from progressing any further. Therefore, due to the inherent interdependency within their relationship, Vladimir and Estragon both possess an inability to progress, with neither their dialogue nor their characterisations seeming to develop past the point on which they began.
Through Waiting for Godot, Beckett conveys his concerns in regard to his societal and historical contexts, extending from his exploration of the human condition, reflected through the portrayal of the interdependent relationship between Vladimir and Estragon. By exploring how this interdependency has impacted the actions of both characters as a result of their destructive interdependence, Beckett has provided a commentary on how humanity requires their own autonomy and individuality in order to withhold their own life purpose, aligning with his existentialist beliefs. Therefore, through the individual characterisations and the portrayal of the relationship between Vladimir and Estragon, Beckett has provided insight into the human condition by emphasising the impact that interdependency has on individuals.
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