Questions about Godot

1.            What is your character like?  What is he not like?

Lucky- he's not interactive unless he is being spoken to. He does not usually respond on this nearly being commands. He is not proactive and not very boisterous unless he has to hat.he is sluggish and slothful with a bit of aggression towards or unknown people.he is not kind      

2.            Identify the objects your character interacts with?

  He interacts with the route which is connected to his neck locational me with the hat assist him with his thoughts two pieces of luggage go to continuously in the chair

3.            Describe HOW your character interacts with the other characters.  Use specific examples!!!

he is submissive with Pozzo , he does not respond to anyone else. He only responds and puzzle yells commands to him

4.            How does your character change?  How does your character behave in act 1?  How does      your character behave in act 2?

The submissive and sluggish with very little response unless commanded by an Pozzo is not responded with anyone else. Two in act two He is found dumb and non responsive to anyone.

5.      Does your character make sense of his world?  What does he think?  How does he think?

his sense of servanthood is his role in this world. He thoughts is Pozzo has changed over time, resulting in his bondage stage. His emotions of his life and how it’s affecting him, along with the relationship/connection with God.

Lucky-

LUCKY: Given the existence as uttered forth in the public works of Puncher and Wattmann of a personal God quaquaquaqua with white beard quaquaquaqua outside time without extension who from the heights of divine apathia divine athambia divine aphasia loves us dearly with some exceptions for reasons unknown but time will tell and suffers like the divine Miranda with those who for reasons unknown but time will tell are plunged in torment plunged in fire whose fire flames if that continues and who can doubt it will fire the firmament that is to say blast hell to heaven so blue still and calm so calm with a calm which even though intermittent is better than nothing but not so fast and considering what is more that as a result of the labors left unfinished crowned by the Acacacacademy of Anthropopopometry of Essy-in-Possy of Testew and Cunard it is established beyond all doubt all other doubt than that which clings to the labors of men that as a result of the labors unfinished of Testew and Cunard it is established as hereinafter but not so fast for reasons unknown that as a result of the public works of Puncher and Wattmann it is established beyond all doubt that in view of the labors of Fartov and Belcher left unfinished for reasons unknown of Testew and Cunard left unfinished it is established what many deny that man in Possy of Testew and Cunard that man in Essy that man in short that man in brief in spite of the strides of alimentation and defecation wastes and pines wastes and pines and concurrently simultaneously what is more for reasons unknown in spite of the strides of physical culture the practice of sports such as tennis football running cycling swimming flying floating riding gliding conating camogie skating tennis of all kinds dying flying sports of all sorts autumn summer winter winter tennis of all kinds hockey of all sorts penicilline and succedanea in a word I resume flying gliding golf over nine and eighteen holes tennis of all sorts in a word for reasons unknown in Feckham Peckham Fulham Clapham namely concurrently simultaneously what is more for reasons unknown but time will tell fades away I resume Fulham Clapham in a word the dead loss per head since the death of Bishop Berkeley being to the tune of one inch four ounce per head approximately by and large more or less to the nearest decimal good measure round figures stark naked in the stockinged feet in Connemara in a word for reasons unknown no matter what matter the facts are there and considering what is more much more grave that in the light of the labors lost of Steinweg and Peterman it appears what is more much more grave that in the light the light the light of the labors lost of Steinweg and Peterman that in the plains in the mountains by the seas by the rivers running water running fire the air is the same and then the earth namely the air and then the earth in the great cold the great dark the air and the earth abode of stones in the great cold alas alas in the year of their Lord six hundred and something the air the earth the sea the earth abode of stones in the great deeps the great cold on sea on land and in the air I resume for reasons unknown in spite of the tennis the facts are there but time will tell I resume alas alas on on in short in fine on on abode of stones who can doubt it I resume but not so fast I resume the skull fading fading fading and concurrently simultaneously what is more for reasons unknown in spite of the tennis on on the beard the flames the tears the stones so blue so calm alas alas on on the skull the skull the skull the skull in

Beckett, Samuel (2011-04-12). Waiting for Godot: A Tragicomedy in Two Acts (pp. 45-47). Grove/Atlantic, Inc.. Kindle Edition.

Godot questions relating to one scene?

pg 20

POZZO: (with magnanimous gesture). Let’s say no more about it. ( He jerks the rope.) Up pig! (Pause.) Every time he drops he falls asleep. (Jerks the rope.) Up hog! (Noise of Lucky getting up and picking up his baggage. Pozzo jerks the rope.) Back! (Enter Lucky backwards.) Stop! (Lucky stops.) Turn! (Lucky turns. To Vladimir and Estragon, affably.) Gentlemen, I am happy to have met you. (Before their incredulous expression.) Yes yes, sincerely happy. (He jerks the rope.) Closer! (Lucky advances.) Stop! (Lucky stops.) Yes, the road seems long when one journeys all alone for ... (he consults his watch ) . . . yes . . . (he calculates) . . . yes, six hours, that’s right, six hours on end, and never a soul in sight. ( To Lucky.) Coat! (Lucky puts down the bag, advances , gives the coat, goes back to his place, takes up the bag .) Hold that! (Pozzo holds out the whip. Lucky advances and, both his hands being occupied, takes the whip in his mouth, then goes back to his place. Pozzo begins to put on his coat, stops .) Coat! (Lucky puts down bag, basket and stool, advances, helps Pozzo on with his coat, goes back to his place and takes up bag, basket and stool.) Touch of autumn in the air this evening. (Pozzo finishes buttoning his coat, stoops, inspects himself, straightens up.) Whip! (Lucky advances, stoops, Pozzo snatches the whip from his mouth, Lucky goes back to his place.) Yes, gentlemen , I cannot go for long without the society of my likes (he puts on his glasses and looks at the two likes) even when the likeness is an imperfect one. (He takes off his glasses.) Stool! (Lucky puts down bag and basket , advances, opens stool, puts it down, goes back to his place, takes up bag and basket .) Closer! (Lucky puts down bag and basket , advances, moves stool, goes back to his place, takes up bag and basket. Pozzo sits down, places the butt of his whip against Lucky’s chest and pushes.) Back! (Lucky takes a step back.) Further! (Lucky takes another step back.) Stop! (Lucky stops. To Vladimir and Estragon.) That is why, with your permission , I propose to dally with you a moment, before I venture any further. Basket! (Lucky advances, gives the basket, goes back

Beckett, Samuel (2011-04-12). Waiting for Godot: A Tragicomedy in Two Acts (pp. 20-22). Grove/Atlantic, Inc.. Kindle Edition.

1. why is pozzo treating lucky as a puppeteering act?
2. why does lucky have baggage?
3. what is the baggage representing?
4. what does the chair represent?
5. what is the hat representing?
6. why is he always yelling at lucky?
7. why does lucky have so much to say with the hat?
8. why lucky has nothing to say without the hat?
9. why is pozzo always holding on a rope?
10. what is the significance of the rope?
11. why is pozzo always moving the chair?
12. how does pozzo relate to gogo and/or didi?
13. how does lucky relate to gogo and/or didi?
14. why is lucky related to a pig/hog?
15. how is this scene relate to their scene in act II?
16. how does the time of day affect their mood?
17. what is the significance of pozzo’s watch?