Holly Ivey
9/16/16
Peer/ ENG 2850
Waiting for Godot Act 1
Partnering, pairings, couplings, duos, companions, they are essential for many things including any good “buddy flick”, a good meal, and the perpetuation of any species. So, its not surprising that pairings have become a recurring theme throughout our reading assignments thus far, including Beckett’s Waiting for Godot.
The first assignment we read, The Life of Lazirillo de Tormes, was entirely an account of the several pairings or partnerships Lazaro partook in over the course of his life. In spite of Lazaro being repeatedly told, and then coming to believe himself, that he mustn’t depend on, or trust, anyone to ensure his survival. He was in fact never actually alone. The mere act of taking care of himself required him to pair-up with either an employer or partner up with another individual that offered a mutually beneficial situation. Although Lazaro suffered greatly with many of these companions, he also gained valuable tools for continued survival.
Similarly, in the 3rd episode of “The Uncertain Hour” Podcast, we are informed that, because studies suggest it is one of the most successful tools to prevent families from suffering in poverty, Oklahoma has invested heavily in programs that foster long-term coupledom or two-parent households.
Which finally, brings us to Beckett’s play “Waiting for Godot“, where we are introduced to the main characters; long-time companions that refer to one another as Didi and Gogo. They are so co-dependent that it is hard to tell where one starts and the other ends, to the extent that they are virtually interchangeable individuals. This is a partnership of equals. Even though they each at different times ponder, “if [they] wouldn’t have been better off alone, each one for himself.” (58). For reasons not divulged to the reader they feel tethered or obligated to the other, and so together, they suffer the wait for Godot in hopes that he will offer them an option that will benefit both of them.
Meanwhile, as they wait, they encounter yet another pair; a local townsman and landowner named Pozzo who is literally tethered to his slave of nearly 60 years (ironically named Lucky). Unlike Didi and Gogo, this pairing, more similarly to many of Lazaro’s many pairings, has a distinct power imbalance. Yet, in spite of, or maybe because of this, they too are completely co-dependent. Unlike Didi and GoGo who both wonder about the possibilities of separation, Pozzo is burdened with the decision of how to untether and abandon the aging and less desirable Lucky, regardless of Lucky’s wishes. He wants to “…[kick] him out on his arse”(31) and has the power to do so, but, instead, feels obligated to take Lucky “to the fair” where Pozzo unrealistically thinks he will “…get a good price for him.”, thus ensuring Lucky a future with another master. Consequently, Lucky suffers extreme physical stress trying to convince Pozzo of his value within their coupling. In addition, the typically stoic and self-possessed slave suffers severe emotional trauma when Pozzo suggests, “the best thing would be to kill [him].”(31). Although Pozzo is cruel, and one would think being set free either from Pozzo or his own mortal coil would come as a relief, sadly Lucky bears this psychological chain to Pozzo possibly because it is virtually the only life he’s known.
Finally, following the theatrics of Pozzo and Lucky, in the last moments we are introduced to a boy in the service of Mr. Godot. He too is half of a pair of siblings that both serve Mr.Godot, All we are told of this pair is that the boy and his brother have similar yet separate responsibilities for Mr.Godot. We also glean from the interaction between the boy and Didi on page 55 that for reasons unknown to the boy, Mr.Godot beats his brother but not him. Indicating they have very different relationships with Mr.Godot.
In summation, throughout all these readings we are given an opportunity to examine a few different kinds of pairings. I find Becket’s use of pairings as a literary device both interesting and puzzling. I believe it raises the following questions:
First, seeing as DiDi and GoGo are so similar, why did the author feel the need to split them into two characters? What insight is provided about the nature of pairing up in general? Does the Author feel Didi and Gogo’s union to be beneficial to either person, or is he indifferent to the consequences, if any, of them staying together?
Lastly, The Author spends considerable time making us aware of how insensitive and cruel Pozzo is towards Lucky, except for the short moment that he seems to be earnestly conflicted with what to do with Lucky now that he doesn’t want him anymore. He blames Lucky for not having kept himself desirable so as not to put Pozzo in the position of having to make this decision. What is the author trying to say about power dynamics both in interpersonal relationships as well as in society as a whole? What is he trying to say about the concept of obligation within power structures?
