Short Answer Questions. Short Answer Questions Key. Oral Reading Evaluation Sheet. Reading Assignment Sheet. Writing Evaluation Form. One Week Quiz A. Two Week Quiz A. Four Week Quiz A. Four Week Quiz B. Eight Week Quiz A. Eight Week Quiz B. Eight Week Quiz C. Eight Week Quiz D.
Eight Week Quiz E.
Eight Week Quiz F. Eight Week Quiz G. Mid-Book Test - Easy. Final Test - Easy. His pipe is made by Kapp and Peterson , Dublin's best-known tobacconists their slogan was "The thinking man's pipe" which he refers to as a " briar " but which Estragon calls a " dudeen " emphasising the differences in their social standing. He confesses to a poor memory but it is more a result of an abiding self-absorption.
That's why he overdoes things These were things Beckett said, psychological terms he used. Pozzo controls Lucky by means of an extremely long rope which he jerks and tugs if Lucky is the least bit slow. Lucky is the absolutely subservient slave of Pozzo and he unquestioningly does his every bidding with "dog-like devotion".
Lucky speaks only once in the play and it is a result of Pozzo's order to "think" for Estragon and Vladimir. Pozzo and Lucky have been together for sixty years and, in that time, their relationship has deteriorated. Lucky has always been the intellectually superior but now, with age, he has become an object of contempt: his "think" is a caricature of intellectual thought and his "dance" is a sorry sight. Despite his horrid treatment at Pozzo's hand however, Lucky remains completely faithful to him.
Even in the second act when Pozzo has inexplicably gone blind, and needs to be led by Lucky rather than driving him as he had done before, Lucky remains faithful and has not tried to run away; they are clearly bound together by more than a piece of rope in the same way that Didi and Gogo are "[t]ied to Godot". Beckett struggled to retain the French atmosphere as much as possible, so that he delegated all the English names and places to Lucky, whose own name, he thought, suggested such a correlation.
The boy in Act I, a local lad, assures Vladimir that this is the first time he has seen him.
He says he was not there the previous day. He confirms he works for Mr.
Important Short Questions : Waiting For Godot by Samuel Beckett
Godot as a goatherd. His brother, whom Godot beats, is a shepherd. Godot feeds both of them and allows them to sleep in his hayloft.
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The boy in Act II also assures Vladimir that it was not he who called upon them the day before. He insists that this too is his first visit. When Vladimir asks what Godot does the boy tells him, "He does nothing, sir. This boy also has a brother who it seems is sick but there is no clear evidence to suggest that his brother is the boy that came in Act I or the one who came the day before that.
In the first Act, the boy, despite arriving while Pozzo and Lucky are still about, does not announce himself until after Pozzo and Lucky leave, saying to Vladimir and Estragon that he waited for the other two to leave out of fear of the two men and of Pozzo's whip; the boy does not arrive early enough in Act II to see either Lucky or Pozzo. In both Acts, the boy seems hesitant to speak very much, saying mostly "Yes Sir" or "No Sir", and winds up exiting by running away. The identity of Godot has been the subject of much debate.
It is just implied in the text, but it's not true. Deirdre Bair says that though "Beckett will never discuss the implications of the title", she suggests two stories that both may have at least partially inspired it. The first is that because feet are a recurring theme in the play, Beckett has said the title was suggested to him by the slang French term for boot: " godillot , godasse ". The second story, according to Bair, is that Beckett once encountered a group of spectators at the French Tour de France bicycle race, who told him "Nous attendons Godot" — they were waiting for a competitor whose name was Godot.
This seemed to disappoint him greatly. But you must remember — I wrote the play in French, and if I did have that meaning in my mind, it was somewhere in my unconscious and I was not overtly aware of it. However, "Beckett has often stressed the strong unconscious impulses that partly control his writing; he has even spoken of being 'in a trance ' when he writes.
Unlike elsewhere in Beckett's work, no bicycle appears in this play, but Hugh Kenner in his essay "The Cartesian Centaur"  reports that Beckett once, when asked about the meaning of Godot, mentioned "a veteran racing cyclist, bald, a 'stayer', recurrent placeman in town-to-town and national championships, Christian name elusive, surname Godeau, pronounced, of course, no differently from Godot.
Of the two boys who work for Godot only one appears safe from beatings, "Beckett said, only half-jokingly, that one of Estragon's feet was saved". Beckett himself said the emphasis should be on the first syllable, and that the North American pronunciation is a mistake.
Themes and Related Quotes From "Waiting for Godot"
Borchardt checked with Beckett's nephew, Edward, who told him his uncle pronounced it that way as well. There is only one scene throughout both acts. Two men are waiting on a country road by a tree. The men are of unspecified origin, though it is clear that they are not English by nationality since they refer to currency as francs , and tell derisive jokes about the English — and in English-language productions the pair are traditionally played with Irish accents.
The script calls for Estragon to sit on a low mound but in practice—as in Beckett's own German production—this is usually a stone. In the first act the tree is bare. In the second, a few leaves have appeared despite the script specifying that it is the next day. The minimal description calls to mind "the idea of the lieu vague , a location which should not be particularised".
Other clues about the location can be found in the dialogue. In Act I, Vladimir turns toward the auditorium and describes it as a bog. In the Cackon country!
Waiting for Godot University Questions and Answers Samuel Beckett
Alan Schneider once suggested putting the play on in a round—Pozzo has often been commented on as a ringmaster  —but Beckett dissuaded him: "I don't in my ignorance agree with the round and feel Godot needs a very closed box. The attempts to pin him down have not been successful, but the desire to do so is natural when we encounter a writer whose minimalist art reaches for bedrock reality. Throughout Waiting for Godot , the audience may encounter religious , philosophical, classical , psychoanalytical and biographical — especially wartime — references.
There are ritualistic aspects and elements taken directly from vaudeville  and there is a danger in making more of these than what they are: that is, merely structural conveniences, avatars into which the writer places his fictional characters. The play "exploits several archetypal forms and situations, all of which lend themselves to both comedy and pathos. Of course you use it.
Beckett tired quickly of "the endless misunderstanding". As far back as , he remarked, "Why people have to complicate a thing so simple I can't make out. Beckett directed the play for the Schiller-Theatre in Although he had overseen many productions, this was the first time that he had taken complete control.