In the play, Waiting for Godot by Samuel Beckett, the two precarious characters Vladamir and Estragon also referred to as Didi and Gogo are waiting for a figure named Godot who they presume will be able to lead them or have answers to what they should do in life. Although these tramps are living diurnally, they both have the sense to take care of themselves with food and shelter in addition to each other’s rationality. However, both of the two grown men live with the uncertain disposition of an existential crisis and want answers beyond human transcendental reasoning. There are even instances where they inclined to hang themselves but because of their situation, they are obstructed to do so. Every night they are told by a young boy who appears in the forest that the Godot figure would be waiting for them the following night and because of this absolute belief, they persist on coming back and are obliged to remain. In the end, there is no certainty if this figure Godot even exists or will even take care of both of them. All that is known is that there is a boy that continues to deliver this message of Godot’s coming but instead of Godot appearance, it is the boy who comes to relay the same message. It is the notion that there is something greater than the circumstance Gogo and Didi are already in that compels them both to keep waiting.

The contrast between the first and second act give the audience much to question. We are presented the situation where Gogo and Didi are waiting for the character Godot with Didi’s saying “let’s wait and see what he says” to which Gogo responds with “on the other hand it might be better to strike the iron before it freezes.” Throughout the play their inability to answer existential questions brings about the contemplation of suicide. Didi is shown to be lacking in the ability to survive and often Gogo provides sustenance. In the beginning of Act 1 we first are introduced the characters with Didi not being able to take off his shoe while Gogo is content with how things is. Didi follows and says “let’s wait until we know exactly how we stand” with Gogo even rebutting with “what exactly did we ask him for?”

These precarious characters are in this state of limbo seemed to be facilitated by the boy who comes every night. Both characters should have the sense to ask the boy for answers to their questions but they continue to wait for Godot as the boy dictates “Mr. Godot told me to tell you he won’t come this evening but surely tomorrow.” This delusion to the significance of the boy is shown in the second act when he references Didi as Albert as if this trick was played on someone else. This also brings up the point if Mr. Godot is even waiting for these two or if in fact he is looking for someone else. Without even taking notice, Didi ask the boy general questions about Godot and even may have gotten a truth when asking  “What does he do, Mr. Godot? Do you hear me?” To which the boy replies as if caught in the lie, “well…he does nothing, Sir.” The should’ve brought awareness to the epistemology of the circumstance, however, Didi continues to ask trivial question to which ends with Gogo asking him “what was wrong with you.”

The play ends with Gogo and Didi represented again in a comical way messing around with the clothes they always wore with no answers given to them. The day ends and tomorrows hope to see Godot will be the repetition of the day that just passed. As the audience we are presented with the boy as the same person even if Gogo and Didi do not remember him. Both characters are capable of handling not only social constructs but also are well versed in biblical stories. Their desire for an answer even greater can be alluded to why they are waiting for Godot or willing to commit suicide so spontaneously. It’s this answer they are looking for makes their waiting a metaphor for the question of life.