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Although Godot never appears in the play himself, the mere idea of his character lies at the heart of its central conflict. Vladimir and Estragon find themselves perpetually waiting for a man named Mr. Godot to arrive at their designated meeting spot, and each day Godot sends a boy to tell them that he will come the following day. Despite the fact that they know very little about who Godot is, admitting to Pozzo that they “hardly know him,” the very idea of him is enough to keep them trapped in an endless cycle of nothingness. Vladimir in particular expresses a reverence for him, emphasizing the importance of his opinion and exclaiming “We’re saved!” when Estragon claims that “they” are coming in Act Two. This perspective suggests that, for Estragon and Vladimir, Godot is a figure who can help them escape the pain and suffering that they experience. Imagining Godot as a benevolent figure aligns with the testimony that the boy in Act One gives of his character. Responding to Vladimir’s questioning, the boy explains that he tends to Mr. Godot’s goats and that his master treats him well. At the end of the play, however, Vladimir asks the boy what Mr. Godot does to which he replies “He does nothing, Sir.” This detail challenges Vladimir’s optimistic view of the elusive Godot and suggests that he may not be as meaningful or powerful as many believe him to be.
Many scholars have debated the symbolism of Godot’s character in the play, and some argue that he represents God while others maintain that he is simply another absurd and meaningless figure. Given the religious allusions scattered throughout the dialogue and the similarities between the name Godot and God, his function as a stand-in for God seems like a reasonable theory. Vladimir hopes that Godot will save them and fears his punishment if he and Estragon abandon him. The fact that he never arrives, however, offers a bleak image of a God who is either unable or unwilling to help those in need. This dynamic is consistent with the rest of the play’s emphasis on the inherent meaninglessness of the universe and the pointlessness of traditional sources of authority such as religion. Despite this evidence, some scholars argue that Godot is just another absurdist character like Estragon, Vladimir, Pozzo, or Lucky. Beckett first wrote the play in French with the title En Attendant Godot, and the fact that the word “God” in French is “Dieu” suggests that no connection exists between the titular character and God in the original text. Godot does bear some similarities to an archaic French word for boot, “godillot,” and given the prominence boots in the play, this term seems like a possible source for his name. Regardless of interpretation, Godot’s character adds to the chaos and uncertainty of the play by remaining a mystery.
