What contrasts do you notice in the dialogue of Waiting for Godot? Explore their purpose and dramatic effect.

In the dialogue in Waiting for Godot, Vladimir is by far the more eloquent speaker, and he mainly concentrates on matters of the head and more abstract matters. For example, he constantly fusses with his hat. His reactions are far more cerebral than those of Estragon. He, for instance, begins speaking of a long parable involving "our savior," to which Estragon is incapable of responding.

Estragon, on the other hand, speaks in short, declarative...

In the dialogue in Waiting for Godot, Vladimir is by far the more eloquent speaker, and he mainly concentrates on matters of the head and more abstract matters. For example, he constantly fusses with his hat. His reactions are far more cerebral than those of Estragon. He, for instance, begins speaking of a long parable involving "our savior," to which Estragon is incapable of responding.

Estragon, on the other hand, speaks in short, declarative statements and asks fewer abstract questions. His concerns are mainly with his body, particularly his swelling feet. He spends much of the beginning of the first act trying to remove his boots, and saying "Nothing to be done," while Vladimir speaks of more abstract concerns. When Estragon finally removes his boots, he examines them to see if there's anything in them. Vladimir responds, "There's man all over for you, blaming on his boots the faults of his feet." In other words, Vladimir is concerned with more abstract matters than the comfort of his feet--which is what concerns Estragon.

The purpose of this dichotomy is to create a representation of the mind through the character of Vladimir and to create a representation of the body through Estragon. The dramatic effect is that the two parts of the human are clearly dramatized on stage as they both wrestle with the meaning of life.