The "optimist" (and, as Beckett put it, "the
major character"1) of Godot, he represents the intellectual side of the
two main characters (in contrast to his companion Estragon's earthy
simplicity). One explanation of this intellectualism is that he was once a
philosopher. This would explain his constant references and his attempts to
engage Estragon in philosophical/religious debate.
Vladimir is deeply concerned with appearances, and goes to
great lengths to make sure Estragon behaves so that his own dignity is
preserved. He is something of a pack rat: he carries all the food the tramps
have (though he never eats himself), and has other (to quote the play)
"miscellaneous" junk in various pockets. Another important prop is
his bowler hat. He claims that it "hurts" him, and is eventually
driven to appropriate Lucky's. After long periods of thought (or whenever he is
bored) he fiddles with it and plays with the brim. This hat focus (in terms of
being head centred) may be interpreted as being representative of his higher
status (see Estragon's boots) and his intellectual nature: because of this, he
is usually taller than Estragon, but this is a convention of the theatre and is
not written in the play.
Despite this sometimes peevish and obsessive nature, Vladimir
would seem to have a carnal side. He suffers from a venereal disease that
causes him pain in his genitals and a need to urinate when he laughs. This
might indicate a sexual past: he refers to a woman he knew who "had the
clap"...although it is unclear whether this is the cause of his current
condition or not.
Vladimir has the only social conscience in the play (compare
Estragon's misanthropic view of humanity: "People are bloody ignorant
apes!"), and it seems that he cares a great deal for the plight of his
fellow man: he expresses outrage at Pozzo's treatment of his slave, Lucky, and
acts as something of a parental figure to the sometimes childish Estragon. This
is not to say Vladimir does not suffer from his own emotional tics. He hates
dreams, as they represent a cruel false hope, and he is unable to cope with
Estragon's logic, the simplicity of which throws him off. He also does not
suffer fools well: Pozzo's decadence and Estragon's crudeness give him much
cause for indignation.
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