Waiting for godot by Samuel Beckett

THE plot of Samuel Beckett's Waiting for Godot is simple to relate. Two tramps are waiting by a sickly looking tree for the arrival of M. Godot. They quarrel, make up, contemplate suicide, try to sleep, eat a carrot and gnaw on some chicken bones. Two other characters appear, a master and a slave, who perform a grotesque scene in the middle of the play. A young boy arrives to say that M. Godot will not come today, but that he will come tomorrow. The play is a development of the title, Waiting for Godot. He does not come and the two tramps resume their vigil by the tree, which between the first and second day has sprouted a few leaves, the only symbol of a possible order in a thoroughly alienated world.
The two tramps of Beckett, in their total disposition and in their antics with hats and tight shoes, are reminiscent of Chaplin and the American burlesque comedy team. Pozzo and Lucky, the master and slave, are half vaudeville characters and half marionettes. The purely comic aspect of the play involves traditional routines that come from the entire history of farce, from the Romans and the Italians, and the red-nosed clown of the modern circus. The language of the play has gravity, intensity, and conciseness. The long speech of Lucky, a bravura passage that is seemingly meaningless, is strongly reminiscent of Joyce and certain effects in Finnegans Wake. But the play is far from being a pastiche. It has its own beauty and suggestiveness, and it makes its own comment on man's absurd hope and on the absurd insignificance of man.