Winnie's feeling of being "sucked up," and Willie's inability to comprehend it, highlights their oppositions. Some critics read the "n" sound of Winnie's name as an upward, light sound, while Willie's "l" sounds is tonally lower, and their general attitudes clearly reflect this. Beckett's stagecraft implies similar motions. Even though Winnie is being buried, the earth has to crawl up to meet her, as she does not sink. Willie, however, is always low to the ground, sometimes in a hole. At this point in the play, it is unclear whether their opposite directions allow them to meet in the middle as complements, or if, as this passage suggests, they are opposites destined for other ends of the universe. That Willie chimes in briefly at the end of the music-box's playing of the duet, then refuses to sing again at Winnie's urgings, keeps this question in doubt. We wonder whether Willie is truly with Winnie in a duet, trying to make her happy, or is he singing at his own whim without regard for her feelings. Perhaps this is why he is "Willie"—as he has his own free will that the dependent Winnie lacks. This raises another question: whether Winnie will somehow "win" by the play's end. We wonder whether she will eventually lose and die, or whether dying is even a loss. Whatever the case, she is creeping closer to death in some form—her bag stores the rituals that stave off death through diversion but draw it closer through Winnie's empty boredom, and its black color clarifies this connection. Her "accidental" retrieval of the revolver, then, after thinking about the day "when words must fail," does not seem so arbitrary after all, especially once she decides to leave it out.