‘Waiting for Godot’ is a play written by Samuel Beckett soon after World War II finally ended when US dropped atom bombs on Hiroshima and Nagasaki in early August 1945. The play captures the meaninglessness of existence experienced by humanity in the post war era as it attempted to come to terms with the devastation of the war and the unimagined suffering inflicted by radiation from the nuclear explosions.
The play opens in an outdoor setting in a non-specific location and a non-specific era (thereby universalizing the situation) where two tramps Vladimir and Estragon, are awaiting the arrival of a someone named Godot. The repetitive and the mundane nature of the conversation between them reflects the listlessness of their existence. Their situation is briefly enlivened by the appearance of Pozzo, a pompous abusive master and his slave Lucky, with a rope tied around his neck who quietly obeys the orders barked at him and jerked through the rope. Pozzo ignores Vladimir’s criticism of ill-treatment of Lucky and informs him that he was any way planning to sell him. Lucky responds violently by kicking Estragon on the shin rejecting the consolation offered. The duo departs and the situation is restored to the earlier state of inanity. The two contemplate committing suicide but postpone the decision as they must wait for a someone named Godot. A boy appears on the scene to inform them that Godot will not arrive that evening ‘but surely tomorrow’. They decide to retire for the night but do not move.
The next day, Act II of the play, is little different from the previous day. Vladimir and Estragon continue their indifferent existence distracted briefly by their attempts to imitate Pozzo and Lucky who suddenly reappear on the scene. Their situation however is different from what it was the previous day. Lucky is now in control and Pozzo is completely dependent on him. Pozzo humbly informs them that he had gone blind and lost his memory (he does not remember that he had met them the previous day) and sense of time while Lucky had become mute. As the duo departs the despair in Pozzo’s countenance is evident. A boy appears on the scene to inform them that Godot will not arrive that evening ‘but surely tomorrow’. Vladimir becomes abusive and chases the boy away. They again contemplate hanging themselves using Estragon’s belt that gives way. They agree to get a strong rope the next day and commit suicide if a someone named Godot fails to arrive. They decide to retire for the night but do not move.
COVID-19 has created a frightening trail of devastation. Starting with one person less than six months ago, by May 15 the number of known infections exceeded 4.5 million and the number of deaths had crossed 3,00,000. With the most insulated citadel, the White House falling prey to the virus, the exalted of the world realize that their fate is no better than the less fortunate of the world. Underprepared, most governments responded with lockdowns to slow the progress of the virus. The emotional trauma from not being allowed to meet our loved ones even when quarantined or hospitalized and from the denial to perform the last rights for those who die of the virus has been severe. The discourse across the world is shifting in favor of re-opening, to mitigate the damage being done by lockdowns to livelihoods. The re-opening will enhance the number of infections and deaths but lessen the psychological siege we are in.
The house arrest has opened the door to introspection. We are frightened that the care-free days of just a half year ago may never return. We are scared to imagine a world where PPE and social distancing will be the norm. We search for straws in the wind that may bring us some good news. We eagerly follow the progress of work on discovery of drugs and vaccines that may halt the relentless march of the virus. We are bewildered by the fragility of our existence … as one day merges into another with no change. We search for meaning as we hold on dearly to what little we … believe we possess as we wait for a someone … for deliverance.