Deconstruction is a mode of interpretation which works by a careful and cautious entering of each layer within the story: “ The deconstructive critic seeks to find the thread in the text in question which will unravel it all or the loose stone which will pull down the whole building”. Deconstructive literary criticism uses binary oppositions. Binary oppositions can be defined as “ a pair of related terms or concepts that are opposite in meaning.” “Waiting for Godot”, a classic of modern theatre, is a tragicomedy in two acts which tells the story of two men, Vladimir and Estragon, who are waiting to meet a man named Godot. By using deconstructive literary criticism, the play can be analyzed threw the following binary oppositions: passive/active hopelessness/hope, forgetfulness/remembrance and staying/going.
Vladimir and Estragon are in a constant state of waiting for Godot: “Nothing to be done. / I'm beginning to come round to that opinion."(Waiting for Godot). Although they are being passive they try to occupy themselves while waiting for Godot. Derrida states that in binary oppositions there is a unspoken hierarchy in which the first term functions as superior to the second term which is considered inferior: “ Derrida’s procedure is to invert the hierarchy in which the first term functions as privileged and superior and the second term as derivative and inferior. By showing that the primary term can be made out to be derivative from or a special case of the secondary term” By reversing the first term with the second a greater meaning can obtained. Although Vladimir and Estragon as in a passive state of waiting they attempt to keep active in order to pass the time. This shows that being active is valued over being passive: “ What about trying them. / I’ve tried everything/ No I mean the boots/ Would that be a good thing? / It’d pass the time. I assure you, it’d be an occupation/ A relaxation/ A recreation.” (Waiting for Godot)
The second binary which can be analyzed threw deconstructive literary criticism is hopelessness/hope. In the play, greater importance is placed on hopelessness instead of hope: “"He didn't come? \ No. \ And now it's too late". (Waiting for Godot) However, if you reverse the two, one of the real meanings of the play is discovered. Hope is valued more than hopelessness. One must remain hopeful in order to survive. In this case Vladimir and estragon must remain hopeful that Godot will come: “"Ah Gogo, don't go on like that. Tomorrow everything will be better"” (Waiting for Godot) Despite the troubles they encounter, the two have a positive attitude toward the future which shows the value of hope.
The third binary apparent throughout the text is forgetfulness/remembrance. Vladimir and Estragon forget events that happen throughout the play. Not only them two but also the boy who comes to talk to them: “ I’ve seen you before, haven’t I? / I don’t know sir. / You don’t know me? / No sir. /I t wasn’t you who came yesterday ? /No sir. (Waiting for Godot) The boy came yesterday to deliver a message to Vladimir but clearly forgets he has done so. This form of forgetfulness brings about anger within the characters for having forgotten certain events : “When another character forgets something, the others become angry, so the idea that forgetfulness is more valued does not make sense. The interactions of the characters when someone forgets something clearly points to the idea that remembering events is far more valuable than forgetfulness.”
The last binary that is noticeable through out the text is staying/going. The first term, which is “staying”, is prominent and therefore superior in comparison to “going”: “ We are not saints but we have kept our appointment. How many people can boast as much?” (Waiting for Godot) Although this is true, in deconstructive literary criticism, going is valued more than staying: “So for one to not be confined and waiting for the unknown would constitute true movement and would be very valuable, although impossible so far.” Going can be valued over staying because the entire play can be regarded as movement toward the arrival of Godot. Through out the entire play Vladimir and Estragon are waiting and debating whether they should leave or not. Waiting could be regarded as “ a true dilemma that is part of the human condition.”
“ The deconstruction rather, annihilated the ground on which the building stands by showing that the text has already annihilated the ground, knowingly or unknowingly. Deconstruction is not a dismantling of the structure of a text but a demonstration that it has already dismantled itself.” This type of deconstruction reveals to readers the implicit and abstract meaning of the text within the play. The four main oppositional binaries passive/active hopelessness/hope, forgetfulness/remembrance and staying/going demonstrate that while being passive and staying in one place, feelings of hopelessness and despair arise along with being forgetful. Thus, the importance of being active physically and mentally is portrayed. The reversal of all four main binaries encourages activity.

Bibliography: 1. Abrams, Meyer H., and Geoffrey Galt. Harpham. "Deconstruction." A Glossary of Literary Terms. Boston, Mass. [u.a.: Thomson Wadsworth, 2012. 77-82. Print. 2. Beckett, Samuel. Waiting for Godot: Tragicomedy in 2 Acts,. New York: Grove, 1954. Print. 3. "Binary Opposition." Wikipedia. Wikimedia Foundation, 10 Jan. 2013. Web. 24 Nov. 2013. 4. "Deconstruction Essay." odea. N.p., n.d. Web. 24 Nov. 2013. <www.odea.org/file_viewer.php?id=1967‎>. 5. "Hurry up and wait." odea. N.p., n.d. Web. 24 Nov. 2013. <www.odea.org/file_viewer.php?id=1969>.

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[ 1 ]. Abrams, Meyer H., and Geoffrey Galt. Harpham. "Deconstruction." A Glossary of Literary Terms. Boston, Mass. [u.a.: Thomson Wadsworth, 2012. 77-82. Print.
[ 2 ]. "Binary Opposition." Wikipedia. Wikimedia Foundation, 10 Jan. 2013. Web. 24 Nov. 2013.
[ 3 ]. Beckett, Samuel. Waiting for Godot: Tragicomedy in 2 Acts,. New York: Grove, 1954. Print.
[ 4 ]. Abrams, Meyer H., and Geoffrey Galt. Harpham. "Deconstruction." A Glossary of Literary Terms. Boston, Mass. [u.a.: Thomson Wadsworth, 2012. 77-82. Print.
[ 5 ]. Beckett, Samuel. Waiting for Godot: Tragicomedy in 2 Acts,. New York: Grove, 1954. Print.
[ 6 ]. Beckett, Samuel. Waiting for Godot: Tragicomedy in 2 Acts,. New York: Grove, 1954. Print.
[ 7 ]. "Deconstruction Essay." odea. N.p., n.d. Web. 24 Nov. 2013. .
[ 8 ]. Beckett, Samuel. Waiting for Godot: Tragicomedy in 2 Acts,. New York: Grove, 1954. Print.
[ 9 ]. "Deconstruction Essay." odea. N.p., n.d. Web. 24 Nov. 2013. .
[ 10 ]. Beckett, Samuel. Waiting for Godot: Tragicomedy in 2 Acts,. New York: Grove, 1954. Print.
[ 11 ]. "Hurry up and wait." odea. N.p., n.d. Web. 24 Nov. 2013. .
[ 12 ]. "Hurry up and wait." odea. N.p., n.d. Web. 24 Nov. 2013. .
[ 13 ]. Abrams, Meyer H., and Geoffrey Galt. Harpham. "Deconstruction." A Glossary of Literary Terms. Boston, Mass. [u.a.: Thomson Wadsworth, 2012. 77-82. Print.