Literal and Metaphorical Ties in Waiting for Godot

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Literal and metaphorical ties in Waiting for Godot

Set against the backdrop of desolation and inactivity, Beckett presents us with the underlying nature of human relationships, through the social dynamics of Pozzo and Lucky, and Vladimir and Estragon. We are shown their emotional reliance, interdependence, and inability for severance, through the extended metaphor of ‘ties’ and the ubiquitous imagery of ropes and ‘being tied’. Pozzo and Lucky are tied both physically, through a rope, and emotionally, through their need for each other. Vladimir and Estragon are tied less concretely, but no less significantly, through their emotional interdependence and through other, more literal ties, such as the rope they talk about hanging themselves with. These ties seem to act as an equaliser, bringing forward the similarities of these complex relationships, and putting forward universally Beckett’s main assertion in this extended metaphor – our need for human contact and companionship.

The only rope we ever see in Waiting for Godot is the rope that ties Pozzo to Lucky. This seems to be the most concrete, the most solid tie in Waiting for Godot, yet its insight into the relationship of Pozzo and Lucky is verisimilar, or at least quite cursory. We are given the idea that Pozzo is the master, and Lucky is the slave, at least as far as physical aspects of their relationship goes. We see how Lucky carries Pozzo’s bags, and how he dances for Pozzo’s amusement. Yet, this idea of their relationship is only verisimilar, as it does not show how mutually involved it is, and how it is not Pozzo who has complete control. Just as Pozzo has mastery of Lucky in the physical aspect of their relationship, it is Lucky who has the mastery of the mental and emotional aspects. Lucky makes Pozzo cry, completely unexpectedly :‘P: [Sobbing] He used to be so kind . . . so helpful . . . and entertaining . . . my good angel . . . and now . . . he’s killing me.’ (p. 27). Lucky makes Pozzo completely unable to act when he begins his monologue, it is Lucky who seemed to have given Pozzo all the grand ideas which he later on pontifocates. But their relationship goes on further, from a struggle for dominance, to an emotional interdependence, and inability for severance. The rope around Lucky’s neck does not just tie Lucky to Pozzo, but the both of them to each other. This relationship is not simply about this constant power-play; their struggle for dominance has become that which makes them so emotionally interdependent. Pozzo explains that Lucky ‘wants to mollify me so that I’ll give up the idea of parting with him.’ Despite all the abuse and the dysfunctions of their relationship, Lucky still wants to stay with Pozzo, he does not want to break away from him. Even Pozzo seems to ultimately not want to sever their ‘ties’. Pozz needs Lucky just as much as Lucky needs Pozzo – they need each other on both an emotional and physical level. In fact, despite all of Pozzo’s attempts at severing their bonds, we see them in the second act, even more inexplicably tied to each other, with the shortening of the rope that ties them together, and with Pozzo losing his sight. They have become closer together, and in a very concrete and actual way, they are now both completely physically, as well as emotionally reliant. When Pozzo falls, he drags Lucky down, and they cannot stand. We see them in the second act, now completely unable to separate themselves, because of the nature of their reliance. The literal and metaphorical ropes that ties one to the other have become the ropes of their bondage.

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The ropes of Pozzo and Lucky’s relationship can also be found in the relationship of Vladimir and Estragon. Although there is a less tangible bond between Vladimir and Estragon, they are strongly still tied to each other emotionally and physically. The nature of Vladimir and Estragon’s relationship is different though in that we get the distinct idea that they are indeed cognizant of their interdependence, through the constant denial of it. Estragon, in act one, looks for affirmation from Vladimir – ‘E: [Feebly] We’re not tied? [Pause] We’re not –’ (p.12), before being cut off, and going on to ...

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