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College Issues

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ANÁLISIS GENERAL

ANÁLISIS DE CARÁCTER

Vladimir ( Didi )

Vladimir se distingue más fácilmente de Estragon por su algo más elevada percepción y entendimiento. Mientras Estragon lamenta sus limitaciones físicas , Vladimir se encuentra reflexionando sobre la lucha en el que está atrapado. Él disfruta de discurso sobre dilemas mentales y emocionales , en referencia ocasionalmente a sus limitados recuerdos de la Biblia en un intento de dar sentido a su vida. Es pragmática y filosófica en cuanto a los problemas que aquejan a él y Estragon . Ejerce un control casi absoluto sobre Estragon y afirma su supremacía muy sutilmente .

Cuando Estragon es golpeado por segunda vez y culpa a Vladimir por no haberlo salvado , Vladimir responde que si Estragon fue golpeado , era porque había hecho algo para merecerlo. Reconoce , además, que si hubiera estado presente , habría mantenido Estragon de hacer que lo malo , por lo que lo salvó de la paliza . En cierto sentido, asume la responsabilidad de ser la conciencia de Estragon . Él está convencido de que sin él, la existencia de Estragon es incompleta . Incluso en su posición de superioridad limitada , Vladimir afirma su dependencia de Estragon , diciendo: "Tú eres mi única esperanza ", y por temor a que un intento de suicidio dejaría una sola de ellas .

La mayoría de los aforismos y refranes sagaz emanan de Vladimir . Una de estas preguntas se encuentra al final del segundo acto , cuando Pozzo y Lucky se van - " ¿A dónde vamos desde aquí? " Él en realidad está cuestionando la existencia de Pozzo y Lucky , y su enfoque de la vida , una investigación en el centro de la obra. Cuenta con orgullo, como lo muestra cuando se avergüenza de Estragon para roer los huesos desechados de Pozzo . También sufre de culpa. Constantemente se interroga y se comprueba a sí mismo sobre sus propios defectos. " Estaba durmiendo , mientras que los otros sufrieron ? " Suponiendo que se ha hecho muy poco o tal vez nada para mejorar las miserias de los demás , sufre el estigma de la vergüenza y la desgracia que se ha vuelto ciega a todos los sufrimientos que le rodean. Se lamenta de que "mañana" cuando " despierta " no tendrá nada bueno y digno de recordar de su actualidad.

Además de un mayor sentido de juicio moral que los otros personajes , Vladimir sigue otorgado con una sensación de indecisión . Su constante mirando en el sombrero y su caminar de ida y vuelta son indicios de su espíritu inquieto y un deseo de estabilidad. En un momento se vuelve tan frustrado con su falta de acción que casi se desespera .

Vladimir es el más comprometido, el más constante. Recuerda Estragon que deben esperar a Godot . Tal vez esto es simplemente porque su memoria es más nítida , se acuerda de muchas cosas que Estragon parece haber olvidado . En cierto sentido, Vladimir se convierte en la conciencia de la humanidad , donde su amigo Estragon es el cuerpo.

Estragon ( Gogo )

Estragon es un retrato del dolor físico y la necesidad. Es visto por primera queja de un dolor en el pie . Su hambre y sed nunca parecen detenerse o finalizar . Él es golpeado físicamente cada noche. Su sufrimiento corporal parece no tener fin y que está atrapado en el momento, sin recuerdos de ayer y no hay esperanza para el mañana. Él sólo se sostiene por el hecho de que Vladimir recuerda ayer y espera para mañana.

Si bien es cierto que representa el alma Vladimir y Estragón , el cuerpo, entonces es claro que los dos hombres son realmente inseparables. Por lo tanto se abrazan calurosamente después de que sus periodos de separación . Deben ser inseparable de la existencia para estar seguro . Uno no puede vivir sin el otro en el drama constante movimiento de la vida.

Pozzo

Se introdujo en el juego como un conductor de esclavos. Como un hombre rico, que está acostumbrado a las formas materialistas de la riqueza y la opulencia . Se llama la atención total y se siente orgulloso de presentar a sí mismo - " Me presento : Pozzo . " Cualquier error en cuanto a su identidad se reunió con feroz resentimiento. Él se enorgullece en declarar que el resto son seres humanos como él , pero se considera superior al resto . Afirma que se ve obligado a formar parte de esta sociedad , porque no tiene la sociedad de su "me gusta" .

Su desdén y desprecio por suerte no conoce límites . Los abusos que duele y montones sobre él y la cantidad de control que tiene sobre le sirven como ejemplo de su naturaleza explotadora. Lucky se reduce a un autómata , sin voz propia . En el primer acto , Pozzo se acomoda a expensas de su esclava . Pozzo muestra cierta generosidad al permitir Gogo para recoger los huesos sobrantes . Sin embargo , es en particular sobre el derecho de Lucky - " En teoría, los huesos van a la compañía . "

En el segundo acto , el Pozzo orgullosos ya veces cruel ha perdido la vista y necesariamente debe ser llevado alrededor de su esclava . Su impotencia se ve cuando se cae y grita para la ayuda a levantarse . Desde un explotador arrogante y rico que cambia a un hombre indefenso patético.

Es imposible considerar Pozzo como un carácter independiente de su esclavo , Lucky . En primer lugar , están unidos por una cuerda. En ningún momento son los dos hombres separados . En el primer acto , la cuerda es larga , el público ve Lucky mucho antes de ver Pozzo . Pozzo se presenta con pompa semejante a Dios , que es probablemente la razón por la que se confunde a Godot . En términos simbólicos , el personaje como un dios se une a su esclavo inferior, pero la distancia entre ellos es grande . En el segundo acto , sin embargo , la cuerda es más corto . Al mismo tiempo , el carácter de Dios-como ha caído en desorden patético. Es ciego y débil. Toda la pompa y la extravagancia que alguna vez lo definió se ha ido. En este acto , el esclavo tiene que cuidar de él. Su grandeza se ha ido.

Lucky

Lucky se presenta más como un payaso de una persona , sino que es un perro haciendo trucos de su maestro , despojados de dignidad y autonomía. Él no sólo está limitado por la cuerda a su amo, se le pone en la pantalla de pensar y bailar en la voluntad de Pozzo . Su mismo nombre se burla de la desgracia que es su vida. Su constante transporte de equipaje y no ponerla en el suelo simboliza la amplia carga que descansa sobre su alma. Él lleva de buena gana y de todo corazón . Abusos como " cerdo " , "cerdo ", etc tienen poco efecto sobre él. Como un perro , que lleva el látigo de su amo , y toma su abuso incondicionalmente . Todos estos tratamientos inhumanos infligidos a él no provocan en él ningún tipo de represalia . Lucky no le gustan los extraños, y es muy reacio a su ayuda y compasión. Él es un humilde esclavo de Pozzo , en la sumisión total a la voluntad de su amo y el placer. La herida en el cuello y los malos tratos no hacen nada para diluir su fidelidad.

Lucky es incomprensible en el Acto I , silencio en el segundo acto . Si Pozzo representa la grandeza caída, Lucky debe representar debilidad y necedad. Él "piensa ", pero no posee la razón, él baila , pero no posee la gracia. Él es un animal entrenado para reaccionar a su amo. Cuando Pozzo está incapacitado , Lucky le lleva nada más, pero parece claro por la forma en que tropiezan fuera que la orientación es torpe y sin gusto.

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