1 edit
Originally posted by NordlysWaiting For Godot
Da kamen die anderen Phlabibits
und gruben ihm ein Grab-
und setzten einen Grabstein,
auf dem geschrieben stand:
Close Reading 1
Roundelay
The children’s round-song, at the start of Act 2, has a structure as cyclical as the play’s vision:
An 'agitated' Vladimir 'suddenly
begins to move feverishly about the stage.'
Vladimir: A dog came in -
He starts singing but discovers the song demands greater self-control.
[Having begun too high he stops, clears his throat, resumes.]
He sings of a dog
and a cook,
death
and
the
tomb.
That gives him pause to reflect.
A dog came in the kitchen
And stole a crust of bread.
Then cook up with a ladle
And beat him till he was dead.
Then all the dogs came running
And dug the dog a tomb -
[He stops, broods, resumes.]
He resumes the song ...
Then all the dogs came running
And dug the dog a tomb
And wrote upon the tombstone
For the eyes of dogs to come:
Then it becomes repetitious ...
A dog came in the kitchen
And stole a crust of bread.
Then cook up with a ladle
And beat him till he was dead.
Again he reaches the tomb
and 'broods' contemplatively.
Then all the dogs came running
And dug the dog a tomb -
[He stops, broods, resumes.]
He tries again
but cannot continue.
Eventually, More softly,
he tries again,
but cannot escape the fate that is the tomb
and
momentarily paralysed and haunted by such thought,
once again he 'begins to move feverishly about the stage.'
Then all the dogs came running
And dug the dog a tomb -
[He stops, broods. Softly.]
And dug the dog a tomb ...
[He remains a moment silent and motionless, then begins to move feverishly about the stage ...]
In the silences there surfaces a desperate realisation that existence is a ritual without end: the dog’s brief, doomed existence immortalised in the song; the brief, doomed existence of humanity immortalised on the stage.
Originally posted by Bosse de NagePhlabibit's brief, doomed existence immortalised in the song
Waiting For Godot
Close Reading 1
Roundelay
The children’s round-song, at the start of Act 2, has a structure as cyclical as the play’s vision:
An 'agitated' Vladimir 'suddenly
begins to move feverishly about the stage.'
Vladimir: A dog came in -
He starts singing but discovers the song demands greater self-control.
[Having be ...[text shortened]... d in the song; [b]the brief, doomed existence of humanity immortalised on the stage.[/b]
