1. The idea of 2 is absolutely crucial in Godot. There are
two hats, two pairs of shoes, two acts and may be two Vladimirs, two Estragons and Two
Luckys and Pozzos. At this level of the two, the two couples are one. They foil each
other.
2. Didi-Gogo express a kind of eagalitarianism
whereas the Lucky-Pozzo couple is a study in the master-slave
relation.
3. But in a different way, the love-hate relation
is operative in both. Didi and Gogo cannot help encountering each other in what looks
like a scarcely populated earth. They want to drift apart but a strange love and care
bind them. On the other hand, Pozzo is mortified by Lucky's passivity sometimes. There
is a dependency at work here too. When Lucky speaks his thought aloud, his master just
cannot take it.
4. Didi-Gogo act out a certain kind of
stasis in the play in relation to which, the other couple undergoes radical changes in
the second act. Lucky's dumbness and Pozzo's blindness in the second act is a pointer of
change that takes place almost imperceptibly. As Pozzo despairingly says, he just went
blind one day and Lucky dumb on another.
5. The Didi-Gogo
pair waits, while Pozzo's famous maxim is one of movement, as his 'on' suggests in the
first act. But it is this transition that disempowers his world in the second, as we see
in his lecture on twilight.
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