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Waiting for Godot
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Act IIChapter Summaries & Analyses
Act II, Part 1 Summary
Act two is set on the “next day. Same time. Same place” (79). Vladimir enters and “begins to move feverishly around the stage” (79). He sings a song, begins to pace again, and then watches Estragon enter and says, “[Y]ou again!” (80). They settle into a familiar conversation. Vladimir cannot decide whether the scene has changed from the previous day. Estragon remembers being kicked by Lucky. Though the conversation becomes heated, they agree to “converse calmly, since [they] are incapable of keeping silent” (87). Again, they must wait for Godot.
They discuss the new leaves on the tree and decide that it must be spring. In an attempt to remind Estragon of the previous day’s events, Vladimir takes hold of his friend’s leg, and they stagger around the stage. He points to Estragon’s boots, though Estragon denies they are his. Vladimir becomes convinced that someone has switched the boots. They try the boots on, and Estragon is happy that they fit. Estragon lays down on a mound and tries to sleep. Vladimir sings a lullaby and lays his coat across his sleeping friend. Estragon wakes suddenly from a nightmare, and Vladimir comforts him.
Estragon loudly and repeatedly declares that he is leaving; Vladimir finds Lucky’s hat. He wears it, asking Estragon to hold his own hat. The two men switch back and forth between the three hats, wearing each in turn. Vladimir suggests that they “play at Pozzo and Lucky” (107) and begins to imitate the latter. Estragon walks off the stage, and Vladimir calls out after him. He returns a moment later, panicking, and says, “They’re coming!” (109). Convinced that Godot is coming, Vladimir becomes excited. Estragon worries that they are being surrounded by someone else.
Act II, Part 2 Summary
The two men stand back to back “like in the good old days” (110), watching for anyone approaching. When no one arrives, they soon begin arguing and then make up. They begin to exercise but quickly tire.
Pozzo and Lucky enter. Pozzo is now blind, and Lucky leads him on a short rope. They collapse when they see Estragon and Vladimir. Pozzo cries out for help; Estragon believes that Pozzo is Godot. Vladimir and Estragon discuss whether they should help Pozzo or beat up Lucky. While they talk, Pozzo offers them money. Vladimir falls down while trying to help Pozzo; Estragon falls down while trying to help Vladimir.
All three characters are stuck on the floor. Pozzo collapses and Estragon and Vladimir try to wake him up. Estragon calls out using a different name. Calling “Abel! Abel!” (127) appears to work. Estragon and Vladimir stand up. Estragon wants to leave; Vladimir says that they cannot because they are still waiting or Godot. Pozzo continues to cry for help. Finally, they help Pozzo to his feet and he instantly falls back down. As they hold him up, Pozzo asks whether Vladimir and Estragon are friends and explains that he became blind suddenly during the night.
Pozzo asks about Lucky, who is immobile on the side of the stage. Estragon checks on Lucky and finds that he is still breathing. He begins to kick furiously kick Lucky, exacting revenge for the previous day’s attack. He hurts his foot in the process, and Lucky barely notices the attack. Vladimir asks Pozzo whether he remembers meeting the previous day, and Pozzo denies this. On Pozzo’s orders, Lucky begins to lead him away and off the stage. Vladimir begs him to stop and asks that Lucky sing; Pozzo announces that Lucky is now mute and “can’t even groan” (138). After shouting at Vladimir, Pozzo tells Lucky to lead him away and they exit.
Vladimir hears Pozzo fall again off stage and goes to wake the sleeping Estragon, who has been dreaming that he was happy. Estragon’s feet hurt so he tries to remove his boots. As Estragon sleeps again, Vladimir delivers a monologue about his situation.
A boy enters. He does not recognize Vladimir, though Vladimir believes that he recognizes the boy. The boy has a message from Mr. Godot. Vladimir predicts the message: Godot will not be arriving today day but will certainly arrive tomorrow (142). Vladimir quizzes the boy about Godot’s appearance. He becomes angry with the boy and chases him off the stage.
Vladimir “stands motionless and bowed” (143) as the sun sets and the moon rises. Estragon wakes and they talk. Estragon suggests again that they hang themselves. He removes his belt to test its suitability as a noose. His trousers fall down. They test the strength of the belt and it breaks. They agree to bring a “good bit of rope” (146) with them when they return the next day, so that they can hang themselves tomorrow unless Godot does actually come. Vladimir tells Estragon to pull up his trousers so that they can go. They both agree to leave but do not move. The curtain falls.
Act II Analysis
In the final scenes of the play, the situation reaches a fever pitch. The repeated scenarios, lines, and interactions become more absurd than ever; the characters even come close to committing suicide as a way of escaping their predicament. The play’s repetition has become so frequent that even Estragon—once confused and befuddled—is able to remember that they are still meant to be waiting for Godot to arrive. This marks a change, but rather than allowing any kind of growth, it only signifies more despair. Estragon begins to realize that he cannot escape his circumstances and leave. He must wait for Godot.
When the messenger boy arrives, his interaction with Vladimir mirrors the first act, so much so that Vladimir is able to predict the boy’s lines. This not only speaks to the idea that the characters’ interactions are recurrent, but also that the characters can become eventually aware of the absurd nature of their existence. However, epiphanies are fleeting. Estragon will soon forget about Godot, and Vladimir abandons his theories about the nature of their existence. By the time the play ends, it is clear that the loop will continue. Even the stage directions inform the actors that they are to repeat the ending of both acts as though they were exactly the same. If the play’s cyclical repetition can effect some minor changes within the characters, these changes are never lasting and only feed into a larger sense of stymied growth and absurdity.
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By Samuel Beckett
