House of Notes

Q:       WAITING    FOR   GODOT IS A PLAY IN WHICH "NOTHING HAPPENS, TWICE." DISCUSS. Q:      COMMENT     ON     THE PAUCITY OF INCIDENT AND SITUATION IN "WAITING FOR GODOT." Q:      "IN THE PLAY (WAITING FOR GODOT) PRACTICALLY NOTHING HAPPENS. THERE IS NOTHING DONE IN IT; NO DEVELOPMENT IS TO BE FOUND: AND THERE IS NO BEGINNING AND NO END." DISCUSS THIS VIEW. Ans: When Waiting for Godot was first presented on the stage, it offered to theatre- audiences an experience unknown before. It was a new kind of play, a play which broke entirely fresh ground. It was a wholly unconventional dramatic composition. It was unconventional in respect of its character-portrayal as well as its plot-construction. It was unconventional also in not depicting any dramatic conflict in the accepted sense of the word. In fact, there was an all-round deficiency of action, characterization and emotion in this play. And yet the play proved immensely popular, and

Q:       WAITING    FOR   GODOT IS A PLAY IN WHICH "NOTHING HAPPENS, TWICE." DISCUSS. Q:      COMMENT     ON     THE PAUCITY OF INCIDENT AND SITUATION IN "WAITING FOR GODOT." Q:      "IN THE PLAY (WAITING FOR GODOT) PRACTICALLY NOTHING HAPPENS. THERE IS NOTHING DONE IN IT; NO DEVELOPMENT IS TO BE FOUND: AND THERE IS NO BEGINNING AND NO END." DISCUSS THIS VIEW. Ans: When Waiting for Godot was first presented on the stage, it offered to theatre- audiences an experience unknown before. It was a new kind of play, a play which broke entirely fresh ground. It was a wholly unconventional dramatic composition. It was unconventional in respect of its character-portrayal as well as its plot-construction. It was unconventional also in not depicting any dramatic conflict in the accepted sense of the word. In fact, there was an all-round deficiency of action, characterization and emotion in this play. And yet the play proved immensely popular, and

Q:      TO WHAT EXTANT VLADIMIR AND ESTRAGON ARE METAPHORS OF HUMANITY IN "WAITING FOR GODOT"? Q:       VLADIMIR     AND      ESTRAGON    ARE REPRESENTATION OF MAN IN GENERAL. ACCEPT OR REJECT THE STATEMENT. Q:      MAJOR CHARACTERS IN "WAITING FOR GODOT" ARE HUMAN BEINGS IN SEARCH FOR MEANINGS IN THE MEANINGLESS, HOSTILE UNIVERSE. Ans: Authors bring into play different modus operandi in their writings. Samuel Beckett makes use of allusions and references to characters to help the reader understand what the characters stand for. In his drama Waiting for Godot, Beckett's two main characters, Estragon and Vladimir, are symbolised as man. Separate they are two different sides of man, but together they represent man as a whole. In Waiting for Godot, Beckett uses Estragon and Vladimir to symbolize man's physical and mental state. Estragon represents the physical side of man, while Vladimir represents the intellectual side of man. In each way t

Q:      TO WHAT EXTANT VLADIMIR AND ESTRAGON ARE METAPHORS OF HUMANITY IN "WAITING FOR GODOT"? Q:       VLADIMIR     AND      ESTRAGON    ARE REPRESENTATION OF MAN IN GENERAL. ACCEPT OR REJECT THE STATEMENT. Q:      MAJOR CHARACTERS IN "WAITING FOR GODOT" ARE HUMAN BEINGS IN SEARCH FOR MEANINGS IN THE MEANINGLESS, HOSTILE UNIVERSE. Ans: Authors bring into play different modus operandi in their writings. Samuel Beckett makes use of allusions and references to characters to help the reader understand what the characters stand for. In his drama Waiting for Godot, Beckett's two main characters, Estragon and Vladimir, are symbolised as man. Separate they are two different sides of man, but together they represent man as a whole. In Waiting for Godot, Beckett uses Estragon and Vladimir to symbolize man's physical and mental state. Estragon represents the physical side of man, while Vladimir represents the intellectual side of man. In each way

Q:       DISCUSS   POZZO-LUCKY   RELATIONSHIP    IN RELATION TO THE THEME OF "WAITING FOR GODOT". Q:      EVEN   THE   RELATIONSHIPS    IN   "WAITING FOR GODOT" ARE ABSURD. DO YOU AGREE? Ans: Shaped as they are, by the same culture, the characters in "Waiting for Godot" share a number of common features. Each is split by the same contradiction. On the one hand, he knows himself chiefly as a separate isolated individual, which on the other hand; each is driven to form some kind of relationship with other by need, greed and sometimes by compassion. A solitary existence is a material impossibility but relationships can be of different kinds. Pozzo and Lucky, master and slave, are joined artificially (because they do not like each other) and by force with their rope, while the partnership of Vladimir and Estragon, though not a voluntary one, seems to be based on genuine natural need and relative equality. All the relationships between charact