Course Hero. "Waiting for Godot Study Guide." Course Hero. 27 Oct. 2016. Web. 23 Sep. 2018. <https://www.coursehero.com/lit/Waiting-for-Godot/>.
Course Hero. (2016, October 27). Waiting for Godot Study Guide. In Course Hero. Retrieved September 23, 2018, from https://www.coursehero.com/lit/Waiting-for-Godot/
(Course Hero, 2016)
Course Hero. "Waiting for Godot Study Guide." October 27, 2016. Accessed September 23, 2018. https://www.coursehero.com/lit/Waiting-for-Godot/.
Course Hero, "Waiting for Godot Study Guide," October 27, 2016, accessed September 23, 2018, https://www.coursehero.com/lit/Waiting-for-Godot/.
Beckett famously refused to interpret Waiting for Godot, letting his writing speak for itself. "No symbols where none intended"—the last line of Beckett's novel Watt—is often read as a warning against assigning symbolic meaning to objects in his writing. This doesn't mean that no symbolism was intended, only that audiences should be careful about assigning meanings not supported by words and actions in the play.
The tree, near which Estragon and Vladimir meet, is completely bare of leaves at the beginning of the play. It represents the only organic element in the setting, and it is dead or dormant. This tree portrays the world as barren and lifeless, emphasizing the lack of purpose and meaning the characters must contend with. The apparent growth of leaves on the tree in Act 2 does nothing to ease the sense of meaninglessness; it only adds to the characters' uncertainty about the place and the passage of time. The staging is telling in this regard: despite Vladimir's description of the tree as "covered with leaves," the stage directions specify only "four or five" leaves, leaving it mostly barren.
Some point out that the cross on which Christ was crucified is sometimes called a tree. Vladimir and Estragon do discuss the tree and hanging themselves in Act 1 shortly after talking about the two thieves crucified along with Christ. This could support the interpretation that hanging from the tree draws a parallel between them and the thieves. Beckett, however, said he was puzzled by people trying to take away "a broader, loftier meaning" from the play, making it unlikely that he intended any broader religious symbolism.
Lucky never puts down the items he carries, except when it is necessary to fulfill one of Pozzo's orders. Then he immediately picks them up again, even when he has not been told to do so and there is no purpose in it. This action echoes the human tendency of enslavement to burdens, holding onto them even when doing so is unnecessary. The baggage Lucky carries seems to consist mostly of items for Pozzo's comfort. In Act 2, however, one of the bags, which is never opened in Act 1, is revealed to contain only sand. Other than his hat, none of what Lucky carries is for himself and may not even be useful. Yet he takes it up again and again—another example of a character "deadened" by habit, fulfilling the task mindlessly and without purpose.
Pozzo's rope is the only rope that physically appears in the play, and it represents the balance of power in the relationship between Pozzo and Lucky. In Act 1, Pozzo dominates Lucky with a rope half the length of the stage: "Pozzo drives Lucky by means of a rope passed around his neck," and Lucky is often the recipient of Pozzo's whip. Yet Lucky accepts this balance of power without question, as if he cannot envision any other state for himself. By Act 2, however, the rope is shortened, and the balance of power in Pozzo and Lucky's relationship is less clear. Pozzo, now blind, depends on Lucky for direction, and Lucky, still slavish, depends psychologically on Pozzo.
By extension, there are a number of figurative ropes in the play. Vladimir and Estragon, like Pozzo and Lucky, are similarly tied to each other in a relationship based on domination and submission. The pair is also tied to Godot and the dominating belief that his arrival will provide a meaning for their lives. Vladimir and Estragon also entertain the idea of hanging themselves with a rope. While suicide is never a real option, its discussion provides the pair a diversion from the act of waiting for Godot. The rope here becomes a symbol of submission to an illogical belief.