From “Waiting for Godot” (1955)
“All the Dead Voices”
Introduction: The extract is taken from the second act. Vladimir and Estragon are reunited after
having briefly separated for the night during which, Estragon claims, he has been beaten.
Increasingly irritated by each other’s company, the two reflect on how, nonetheless, they cannot
remain apart for long, nor are they able to remain silent in each other’s presence.
Overview
1) What are the main ideas Vladimir and Estragon talk about in the text?
The main ideas Vladimir and Estragon talk about in the text in chronological order are: the
choice of leaving one another, the impossibility of separation, the impossibility of remaining
silent, conversation as a means of avoiding thinking and of ignoring dead voices, the terrible
pain provoked by thinking, hearing dead voices, the plan to wait for Godot the possibility of
starting again, contradicting one another.
Zoom in
1) Does the situation of the characters change at all from the beginning of the scene to the
end?
The situation of the characters does not change at all from the beginning of the scene to the
end.
2) Are the two characters clearly defined people?
Vladimir and Estragon are not clearly defined people. They have no real personality or
consistent memory of who they are. Therefore each depends on the other to give him a sense
that he exists. Their relationship does not give us the idea of two real people comunicating
with each other or expressing their ideas or opinions. Rather the author uses his characters to
play an elaborate language game like a music piece.
3) Look for examples of repletion. What effect does it have on the way we perceive the
characters’ situation?
Examples of repetions are: “What other, “ “It’s so…”, “We have…”. “Like…”, “Like
leaves…”, “That prevents you from…”
Obsessive repetition gives the audience the sensation that the few events which occur in the
play have perhaps already happened and will happen many times again and that Godot’s
arrival will be postponed indefinitely.
4) Beckett’s characters seem to be haunted by what they call “dead voices”. What do you
think they might mean by this?
All the dead voices: here we have an indirect reference to one of the fundamental aesthetic and
existential issues Beckett’s work raises, that is the fact that the writer is assailed by the dead
voices of his antecedents and can no longer hope to find his own voice. The problem is thus to
clear away all of what has accumulated and how to subtract oneself from it.
5) What are the similes used to describe the dad voices? What ideas do they evoke?
The similes used to describe the dead voices are: “They make a noise like wings. Like leaves.
Like sand.” “Like leaves. Like ashes. Like leaves”. These similes evoke the idea of lightness,
of something ethereal which flies or something delicate like sand, but also of dryness. Here the
dead voices are a perpetual disturbance to Vladimir and Estragon which they try to cover with
their conversation.
6) Estragon and Vladimir reflections often seem simple on the surface but contain a deep
philosophical meaning or express a sense of paradox. Some examples are:
To every man his little cross. Till he dies, And is forgotten
Let us try and converse calmly, since we are incapable of keeping silent
They all speak together
Each one to itself
They talk about their lives
To have lived is not enough for them
They live to talk about it
To be dead is not enough for them
When you seek you hear
That prevents you from finding
That prevents you from thinking
That’s the idea. Let’s contradict each other.
7) What is the most recurrent stage direction in this passage? What effect does it have on
the rhythm of the scene?
The most recurrent stage direction is Silence. This gives the text an aphasic, syncopated or
even balbutient rhythm. It also suggests a dimension that is unused or unsayable.
8) How would you define Beckett’s style?
Beckett’s style is philosophical, absurdist, laconic, aphasic, many-layered, even comic.
Discussion
1) Do you find this passage comic?
The author essentially removes the distinction between tragic and comic. This means that the
ground of values by which the polarities of tragedy and comedy may be measured no longer
exists. The human condition becomes essentially ridiculous. In this scenario every action and
event is simultaneously tragic and comic. In fact one might say that it is tragic because it is
sadly comic, the tragedy of a ridiculous humanity.
2) Do you think it is possible to express the idea of silence through writing?
The poetry of Emily Dickinson, Philip Larking and Wallace Stevens are examples of the
possibility of expressing the idea of silence through writing.
From “Endgame” (1958)
“A day like any other day”
Introduction: In this extract, from the middle of the play, the impasse faced by Hamm and Clov is
becoming intolerable, yet both characters lack the means to end it.
Overview
1) What does Hamm want Clov to do for him? Why?
2) Why does Clov refuse to do it?
3) Explain what Clov says about the words he uses
4) What does Hamm say about the madman he used to know? What literary figure does it
allude to?
5) What were his feelings towards him?
6) Comment on Clov’s vision of the world
Zoom in
1) Describe the mood of the play and the atmosphere created through its language
2) What are the formal and stylistic elements which produce the play’s “absurdity”?
3) Describe the two characters and their relationship
4) Why do you think Beckett’s evokes the figure of William Balke trough the figure of
the madman) Is his view of the world unique according to Hamm or is it shared by
other people?
5) How does the passage “end”?
Discussion
1) What does the title of the play suggest to you? What is an endgame?
2) Compare the two passages by Beckett you have read. What do they have in common?
3) Clov says “I use the words you taught me” Can you think of any other character who
has been taught to speak in this way?
4) How does Beckett’s style pf writing make you feel?
