55 in a low mound, tries to take off his boot and eventhough fails he will try again
until he is very exhausted and then Vladimir enter the stage. The atmosphere of the country road which the play takes place is also
clarified by Vladimir in Act II, as he tries to describe the condition to the poor Pozzo who has lost his sight.
POZZO:
Where are we?
VLADIMIR:
I couldnt tell you.
POZZO:
It isnt by any chance the place known as the Board?
VLADIMIR:
Never heard of it.
POZZO:
What is it like?
VLADIMIR:
looking round. Its indescribable. Its like nothing. Theres nothing. Theres a tree. Act II: 86
Vladimir in the text above says that the place is indescribable. Furthermore, he states that this place just like nothing, there is nothing and yet
there is a tree. Vladimir seems so confused in describing the place, because he himself does not sure about what he sees. Although Vladimir tries to conclude that
there is nothing but still there is a skeletal tree. Both acts, the actions of the whole play take the same time is that in the
evening and approximately started at 7p.m. This particular time indicates that the playwright wants to emphasize the constant atmosphere in reflecting dreams and
nightmares.
3.4 Dialogue
The foremost element that truly reflects the characteristics of the Theatre of the Absurd in Samuel Beckett’s Waiting for Godot is its dialogue. Throughout
the play, there are so many dialogues which indicate incoherency and incomprehension.
As the play unfolds, we directly see incoherent and incomprehension dialogue. In the beginning of the play, we also see that there is no introduction to
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56 introduce the characters, the playwright merely gives the information that
Estragon sits on a low mound and then have a chat with Vladimir.
Estragon, sitting on a low mound, is trying to take off his boot. He pulls at it with
both hands, panting. He gives up, exhausted, rests, tries again. As before.
Enter Vladimir. ESTRAGON:
giving up again. Nothing to be done.
VLADIMIR:
advancing with short, stiff strides, legs wide apart. Im beginning to come round to that opinion. All my life Ive
tried to put it from me, saying Vladimir, be reasonable, you havent yet tried everything. And I resumed the struggle.
He broods, musing on the struggle. Turning to Estragon. So there you are again.
ESTRAGON:
Am I?
VLADIMIR:
Im glad to see you back. I thought you were gone forever.
ESTRAGON:
Me too.
VLADIMIR:
Together again at last Well have to celebrate this. But how? He reflects. Get up till I embrace you.
ESTRAGON: irritably. Not now, not now. VLADIMIR:
hurt, coldly. May one inquire where His Highness spent the night?
ESTRAGON:
In a ditch.
VLADIMIR:
admiringly. A ditch Where?
ESTRAGON:
without gesture. Over there.
VLADIMIR:
And they didnt beat you?
ESTRAGON:
Beat me? Certainly they beat me.
VLADIMIR:
The same lot as usual?
ESTRAGON:
The same? I dont know.
VLADIMIR:
When I think of it . . . all these years . . . but for me . . . where would you be . . . Decisively. Youd be nothing
more than a little heap of bones at the present minute, no doubt about it. Act I: 9
That dialogue above evokes bewilderment and confusion of what they are talking about, and why these two people act just like they have met before;
meanwhile this is their first appearance. Vladimir’s sentences like ‘there you are again,’ and ‘I’m glad to see you back,’ indicates incoherency and
incomprehension because this suppose to be their first meet but the text shows the contrast; while the sentence ‘together again at last’ indicates that this is their last
chance to wait Godot but throughout the whole play we know that their attempt to wait Godot is never ending though the play is over. Furthermore, they talk about
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57 the ditch, there is no explanation about this ditch and from the way they talk imply
that they try to personify the ditch. Vladimir asks Estragon whether they ditch beat him or not and Estragon without any gesture states that surely they beat him
as before. In the middle of Act I, we can see incompatibility between statement and
action from Estragon which refers to incoherency. As he states he will go, in fact he does not move at all.
ESTRAGON:
Im going. He does not move. Act I: 12
The text also implies the inconsistency of Vladimir and Estragon. In Act I when they try to recognize the place, they talk absolutely incoherent and evoke
perplexity.
ESTRAGON:
We came here yesterday.
VLADIMIR:
Ah no, there youre mistaken.
ESTRAGON:
What did we do yesterday?
VLADIMIR:
What did we do yesterday?
ESTRAGON:
Yes.
VLADIMIR:
Why . . . Angrily. Nothing is certain when youre about.
ESTRAGON:
In my opinion we were here.
VLADIMIR:
looking round. You recognize the place?
ESTRAGON:
I didnt say that.
VLADIMIR:
Well?
ESTRAGON:
That makes no difference.
VLADIMIR:
All the same . . . that tree . . . turning towards auditorium that bog . . . Act I: 14-15
Estragon in the dialogue above states that they were there yesterday but then Vladimir denies and says that Estragon is mistaken, but when Estragon asks
Vladimir about what did they do yesterday, Vladimir instead asks him the same question. Finally they imply that they were there yesterday, but then both insist
that they can not recognize the place except Estragon states that there is no difference and Vladimir also states that all the things are the same including the
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58 tree. The last of that dialogue above proves that they do recognize the place
though they insist that they not. Estragon’s statement that ‘there is no difference’ and Vladimir’s statement that ‘all the things are same’ are genuinely same basic
idea that they do recognize the place as well. Another incoherent and incomprehension dialogue is occurs in the middle
of Act I. When Estragon finishes eat the carrot, he dramatizes the condition about the carrot and the way he feels as he eats the carrot.
ESTRAGON:
Fancy that. He raises what remains of the carrot by the stub of leaf, twirls it before his eyes. Funny, the more
you eat the worse it gets.
VLADIMIR:
With me its just the opposite.
ESTRAGON:
In other words?
VLADIMIR:
I get used to the muck as I go along.
ESTRAGON:
after prolonged reflection. Is that the opposite?
VLADIMIR:
Question of temperament.
ESTRAGON:
Of character.
VLADIMIR:
Nothing you can do about it.
ESTRAGON:
No use struggling.
VLADIMIR:
One is what one is.
ESTRAGON:
No use wriggling.
VLADIMIR:
The essential doesnt change.
ESTRAGON:
Nothing to be done. He proffers the remains of the carrot to Vladimir. Like to finish it? Act I: 21
That dialogue above serves incomprehension the way of thinking. Estragon’s assumption based on that dialogue above is that the more you eat the
worse it gets, then Vladimir tries to encounter the statement from Estragon by states that he thinks it is just the opposite. Vladimir does not give any explanation
why he says so; instead he turns the topic to something else: question of temperament. Eventually, their conversation leads to nowhere and no such
conclusion they get from this conversation except the meaningless utterance from Estragon, “Nothing to be done.”
As Pozzo and Lucky enter the stage, they act indifferently as Vladimir and Estragon. Pozzo and Lucky act and talk incoherently. One moment that shows
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59 incoherency can be seen in the middle of Act I as Vladimir and Estragon want to
ask question to Pozzo whether he wants to get rid of Lucky or not.
VLADIMIR:
You want to get rid of him?
POZZO:
He wants to con me, but he wont.
VLADIMIR:
You want to get rid of him?
POZZO:
He imagines that when I see how well he carries Ill be tempted to keep him on in that capacity.
ESTRAGON:
Youve had enough of him?
POZZO:
In reality he carries like a pig. Its not his job.
VLADIMIR:
You want to get rid of him?
POZZO:
He imagines that when I see him indefatigable Ill regret my decision. Such is his miserable scheme. As though I
were short of slaves All three look at Lucky. Atlas, son of Jupiter Silence. Well, thats that, I think. Anything
else? Vaporizer.
VLADIMIR:
You want to get rid of him?
POZZO:
Remark that I might just as well have been in his shoes and he in mine. If chance had not willed otherwise. To
each one his due.
VLADIMIR:
You waagerrim?
POZZO:
I beg your pardon?
VLADIMIR:
You want to get rid of him?
POZZO:
I do. But instead of driving him away as I might have done, I mean instead of simply kicking him out on his
arse, in the goodness of my heart I am bringing him to the fair, where I hope to get a good price for him. The truth is
you cant drive such creatures away. The best thing would be to kill them.
Lucky weeps. Act I: 31-32
This dialogue serves incoherency because the question is repeated 6 times with one time is mispronounced by Vladimir. Vladimir asks same question to
Pozzo because seemingly Pozzo tries to change the topic of conversation and undoubtedly tries to deny answering Vladimir’s question. Finally, Pozzo answers
that question when Vladimir asks him for the last time and it has already preceded by the mispronunciation of Vladimir.
When Vladimir, Estragon and Pozzo involved in a conversation, they also talk incoherently about the earth and also the condition of human being.
VLADIMIR:
Lets go.
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ESTRAGON:
But take the weight off your feet, I implore you, youll catch your death.
POZZO:
True. He sits down. To Estragon. What is your name?
ESTRAGON:
Adam.
POZZO:
who hasnt listened. Ah yes The night. He raises his head. But be a little more attentive, for pitys sake,
otherwise well never get anywhere. He looks at the sky. Look All look at the sky except Lucky who is dozing off
again. Pozzo jerks the rope. Will you look at the sky, pig Lucky looks at the sky. Good, thats enough. They stop
looking at the sky. What is there so extraordinary about it? Qua sky. It is pale and luminous like any sky at this
hour of the day. Pause. In these latitudes. Pause. When the weather is fine. Lyrical. An hour ago he looks at his
watch, prosaic roughly lyrical after having poured forth even since he hesitates, prosaic say ten oclock in the
morning lyrical tirelessly torrents of red and white light it begins to lose its effulgence, to grow pale gesture of
the two hands lapsing by stages pale, ever a little paler, a little paler until dramatic pause, ample gesture of the two
hands flung wide apart pppfff finished it comes to rest. But—hand raised in admonition—but behind this veil of
gentleness and peace, night is charging vibrantly and will burst upon us snaps his fingers pop like that his
inspiration leaves him just when we least expect it. Silence. Gloomily. Thats how it is on this bitch of an
earth. Long silence.
ESTRAGON: So long as one knows. VLADIMIR:
One can bide ones time.
ESTRAGON:
One knows what to expect.
VLADIMIR:
No further need to worry.
ESTRAGON:
Simply wait.
VLADIMIR:
Were used to it. He picks up his hat, peers inside it, shakes it, puts it on.
POZZO:
How did you find me? Vladimir and Estragon look at him blankly. Good? Fair? Middling? Poor? Positively
bad?
VLADIMIR:
first to understand. Oh very good, very very good.
POZZO:
to Estragon. And you, Sir?
ESTRAGON:
Oh tray bong, tray tray tray bong. Act I: 37-38
This dialogue contains much incoherency and also absurd acts and attitudes. The first incoherent and absurd attitude is shown by Estragon in which
he states that his name is Adam. This is such an absurd attitude because throughout the play he has only one name: Estragon. The motive of Estragon in
doing this is unknown clearly but maybe he wants to represent human being
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61 because human being is generally associated to the name Adam. The second
incoherent and absurd attitude is the speech and action of Pozzo. Pozzo acts as if he was a poet or philosopher, he does not take into account whether the two
tramps understand what he says or not. He just expresses what he feels about this world. At the end of his speech, Pozzo states that the world becomes paler and the
death of the world will come soon. Pozzo closes his long speech by says “That’s how it is on this bitch of an earth,” this sentence explicitly shows his anger and
dissatisfaction towards the world. The third incoherent and absurd attitude is the action of Vladimir who picks up, peers, and shakes his hat. This action is such an
illogical attitude that tends to be meaningless because there is no use of that action. The last incoherent and absurd attitude is the answer of Estragon when
Pozzo asks him about Pozzo’s performance. Estragon answers meaningless words “tray bong, tray tray tray bong.” This utterance of Estragon is completely non-
sense The most important dialogue or speech that strengthening the position of
this play as the most well-known drama belongs to the Theatre of the Absurd is Lucky’s speech. Lucky’s speech emerges as he commanded by Pozzo to dance
and then think. Lucky shouts his text under the pressure of his lord, Pozzo. Pozzo seems so much impressed by Vladimir and Estragon so that he
offers them such entertainment where Lucky becomes the only entertainer. Pozzo, Vladimir, and Estragon agree that Lucky must dance and then think, but Lucky
did not giving an impression to them all as he danced so they insist to see him think. After such a compulsion, Lucky shouts his text.
LUCKY:
Given the existence as uttered forth in the public works of Puncher and Wattmann of a personal God quaquaquaqua
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62
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 Cunnard 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 penicillin 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
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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
Connemara in spite of the tennis the labors abandoned left unfinished graver still abode of stones in a word I resume
alas alas abandoned unfinished the skull the skull in Connemara in spite of the tennis the skull alas the stones
Cunard mélée, final vociferations tennis . . . the stones . . . so calm . . . Cunard . . . unfinished . . . Act I : 42-45
Wholly, Lucky’s speech is incoherent and incomprehension but actually in the beginning of his utterance it is quite coherent. The beginning of Lucky’s
speech is an abstract statement that expresses the idea about the existence of God. This Lucky’s speech is the longest utterance exists within the play. Lucky would
not stop his speech if Vladimir does not seize his hat. After shouting the very longest utterance, Lucky falls because of panting and instead Estragon thoughts
that he has died. After the departure of Pozzo and Lucky, Vladimir and Estragon talk about
them in such an absurd way. They converse about how the two has changed.
VLADIMIR:
How theyve changed
ESTRAGON:
Who?
VLADIMIR:
Those two.
ESTRAGON:
Thats the idea, lets make a little conversation.
VLADIMIR:
Havent they?
ESTRAGON:
What?
VLADIMIR:
Changed.
ESTRAGON:
Very likely. They all change. Only we cant.
VLADIMIR:
Likely Its certain. Didnt you see them?
ESTRAGON:
I suppose I did. But I dont know them.
VLADIMIR:
Yes you do know them.
ESTRAGON:
No I dont know them.
VLADIMIR:
We know them, I tell you. You forget everything. Pause. To himself. Unless theyre not the same . . .
ESTRAGON:
Why didnt they recognize us then?
VLADIMIR:
That means nothing. I too pretended not to recognize them. And then nobody ever recognizes us. Act I: 48
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64 In a first glance, seemingly the object of the conversation between
Vladimir and Estragon are Pozzo and Lucky but when we examine the dialogue carefully we will find that the object of the conversation is unclear. If the object of
their conversation are Pozzo and Lucky, why Estragon insists that he does not know them eventhough he has seen them. Perhaps, the biggest possibility of this
situation is that they are talking about somebody else who does not exist in the play. This conversation really exemplifies the absurdity of this play.
The dialogues with the Boy in the end of every act also show us the incoherency and still, its incomprehension. For example the dialogue below shows
us the incomprehension.
VLADIMIR:
He doesnt beat you?
BOY:
No Sir, not me.
VLADIMIR:
Whom does he beat?
BOY:
He beats my brother, Sir.
VLADIMIR:
Ah, you have a brother?
BOY:
Yes Sir.
VLADIMIR:
What does he do?
BOY:
He minds the sheep, Sir.
VLADIMIR:
And why doesnt he beat you?
BOY:
I dont know, Sir.
VLADIMIR:
He must be fond of you.
BOY:
I dont know, Sir. Silence.
VLADIMIR:
Does he give you enough to eat? The Boy hesitates. Does he feed you well?
BOY:
Fairly well, Sir.
VLADIMIR:
Youre not unhappy? The Boy hesitates. Do you hear me?
BOY:
Yes Sir.
VLADIMIR:
Well?
BOY:
I dont know, Sir.
VLADIMIR:
You dont know if youre unhappy or not?
BOY:
No Sir. Act I: 51
In the dialogue above we see that Vladimir asks the Boy whether Mr.Godot beat him or not. This question is such a non-sense question since Godot
is human being according to the text. Then, the Boy states that Godot beats his
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65 brother, this answer also non-sense because of its incompatibility to the natural
fact. The answers of the Boy remain big question mark, who is Godot actually, is he human or other such creature and why does he beat people. Furthermore,
Vladimir asks the Boy whether he is unhappy or not but the Boy directly answers that he does not know if he is unhappy or not. This dialogue is illogical because at
least human being does feel emotion so that he will know that he is happy or unhappy.
In the middle of act two the conversation between Vladimir and Estragon seems incomprehensible again.
ESTRAGON:
In the meantime let us try and converse calmly, since we are incapable of keeping silent.
VLADIMIR:
Youre right, were inexhaustible.
ESTRAGON:
Its so we wont think.
VLADIMIR:
We have that excuse.
ESTRAGON:
Its so we wont hear.
VLADIMIR:
We have our reasons.
ESTRAGON:
All the dead voices.
VLADIMIR:
They make a noise like wings.
ESTRAGON:
Like leaves.
VLADIMIR:
Like sand.
ESTRAGON:
Like leaves. Silence. Act II: 62
In this dialogue we see that the topic and idea of their conversation are abstract, unclear and confusing. The text shows that Vladimir and Estragon
converse in such an absurd way because they state such a contradiction as they say that they are ‘inexhaustible’ but then they say that they will not think and
hear. These are contradictory because inexhaustible relates to the activity including thinking and hearing. After that the most bewildering statements are
emerge as they blathering about another topic, is that about the dead voices. As they assume that the dead voices do make the noise like wings, leaves and sand,
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66 this is quite illuminates that they exaggerating and dramatizing the idea about the
dead voices. This exaggeration seems like a verse in poetry because they personifying the dead voices as living things. As we conclude, their conversation
just likes desperate people who do not have anything else to be done because they already tired to wait for Mr. Godot.
Next, we will see the incoherency and inconsistency of Estragon when Vladimir asks him when and why he throws up his boots.
VLADIMIR:
letting go the leg. What are your boots?
ESTRAGON:
I must have thrown them away.
VLADIMIR:
When?
ESTRAGON:
I dont know.
VLADIMIR:
Why?
ESTRAGON:
exasperated. I dont know why I dont know
VLADIMIR:
No, I mean why did you throw them away?
ESTRAGON:
exasperated. Because they were hurting me Act II: 67
That dialogue above indicates the inconsistency of Estragon as in the first time he insists that he does not know when and why he throws up his boots but
when Vladimir asks him the same question in a more polite manner, he answers that the boots has hurted him.
Another interesting dialogue which refers to incoherency and incomprehension of the way of thinking is occurs when Vladimir and Estragon
talk about the turnip.
VLADIMIR:
Would you like a radish?
ESTRAGON:
Is that all there is?
VLADIMIR:
There are radishes and turnips.
ESTRAGON:
Are there no carrots?
VLADIMIR:
No. Anyway you overdo it with your carrots.
ESTRAGON:
Then give me a radish. Vladimir fumbles in his pockets, finds nothing but turnips, finally brings out a radish and
hands it to Estragon who examines it, sniffs it. Its black
VLADIMIR:
Its a radish.
ESTRAGON:
I only like the pink ones, you know that
VLADIMIR:
Then you dont want it?
ESTRAGON:
I only like the pink ones
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VLADIMIR:
Then give it back to me. Estragon gives it back.
ESTRAGON:
Ill go and get a carrot. He does not move. Act II: 68
This dialogue implies illogical element as Estragon rejects to receive the turnip which is offered by Estragon. Estragon finds that the turnip from Vladimir
is black, so that he refuses to eat it and in addition he declares that he just likes the pink one. We do see unrational the way of thinking of Estragon as he sniffs the
turnip and assumes that it is black. As we know from the fact, there is no specific smell of turnip because it is a kind of vegetables and there is also no black turnip
or even pink turnip because all kinds of turnip coloured white, so Estragon should not sniff it or assume that it black. Estragon seemingly being so desperate about
what to eat so he shouts that kind of illogical text. In the end of this dialogue Estragon tries to calm down himself and clarifies that he will go and get a carrot,
but in fact he does not move at all. This also serves another incoherency. In the quotation below we can see another incoherency dealing with the
Estragon’s boots.
VLADIMIR:
impatiently. Yes yes, were magicians. But let us persevere in what we have resolved, before we forget. He
picks up a boot. Come on, give me your foot. Estragon raises his foot. The other, hog Estragon raises the other
foot. Higher Wreathed together they stagger about the stage. Vladimir succeeds finally in getting on the boot.
Try and walk. Estragon walks. Well?
ESTRAGON:
It fits.
VLADIMIR:
taking string from his pocket. Well try and lace it.
ESTRAGON:
vehemently. No no, no laces, no laces
VLADIMIR:
Youll be sorry. Lets try the other. As before. Well?
ESTRAGON:
grudgingly. It fits too.
VLADIMIR:
They dont hurt you?
ESTRAGON:
Not yet.
VLADIMIR:
Then you can keep them.
ESTRAGON:
Theyre too big.
VLADIMIR:
Perhaps youll have socks some day.
ESTRAGON:
True.
VLADIMIR:
Then youll keep them?
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ESTRAGON:
Thats enough about these boots.
VLADIMIR:
Yes, but—
ESTRAGON:
violently. Enough Silence. I suppose I might as well sit down.
He looks for a place to sit down, then goes and sits down on the mound. Act II : 69-70
At that quotation we see incoherency uttered by Estragon. It is incoherent because it serves contradictory statements. Vladimir tries to put boots on
Estragon’s legs and in the beginning Estragon says that it is fit in his foot but when Vladimir suggests him to keep it he instantly says that it is too big. This
condition is absolutely contains contradiction. Estragon should not state that the boots are fit in his foot if the fact shows him differently. In a logical sense the
word ‘fit’ means that it is appropriate, not too big and also not too tight, but Estragon has ruined the rules as he utters that kind of contradiction.
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CHAPTER 4 CONCLUSION AND SUGGESTION
4.1 Conclusion
The Theatre of the Absurd is a new genre of drama which emerges in early 1960s which is coined by Martin Esslin. This genre is intended to point out the
phenomenon of particular type of drama which became popular during post World War II. Esslin through this genre portrays the phenomenon of absurdity applied in
drama in order to make it more significant in front of public eyes. This genre declares some basic characteristics which always exist within the absurd plays,
those characteristics encompassing plotless, no recognizable characters, the theme is never explained and resolved, reflects dreams and nightmares and serves
incoherent and incomprehension dialogue. One of absurd plays that have been mentioning by Esslin as belongs to this
genre is Samuel Beckett’s Waiting for Godot. Samuel Becketts Waiting for Godot is a play talks about two tramps waiting for mysterious man named Godot. This
play serves absurdity almost in every side so the way to approach it is by using the Characteristics of the Theatre of the Absurd.
As I analyze this play based on Characteristics of the Theatre of the Absurd, I conclude that the theme of this play as reflected in its plot, characters,
setting and also dialogue has exemplified the elements of absurdity. The plot of this play is about cycling, serves arbitrarily movement of the
plot and the arrangement of events are not well-made and fully-constructed as
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