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Samuel Beckett's Waiting for Godot POZZO: Wait! (He pops up within a try to use his ear into his stomach, listens. Silence.) I listen to nothing. (He beckons them to strategy. Vladimir and Estragon go towards him, bend over his stomach.) Certainly one ought to listen to the tick-tick. VLADIMIR: Silence! (All listen, bent twice.) ESTRAGON: I listen to something. POZZO: Where? VLADIMIR: It's the center. POZZO: (frustrated) Damnation! VLADIMIR: Silence! ESTRAGON: Perhaps it's stopped. (Beckett 46) In case an important characteristic of the novelization of any genre is the part of indeterminate uncertainty (Bakhtin 7), Samuel Beckett's Waiting for Godot could be believed to have taken novelization of play to fantastic heights. Throughout the drama, the open-ended element that Bakhtin accrues into the dominant procedure of novelization (7) is found not only in Godot's ending and characters, but in every dramatic action too. Beckett infuses every action and address with uncertainty. A fundamental idea of the play that this paper seeks to research is that the should believe that time moves in a linear way is a consequence of the notion that this notion, the passage of time into linear manner, lends a feeling of meaning to existence. Critical experiments on Godot have often highlighted especially well-known passages in the play (Cormier & Pallister 1998:96-105, Nealon 1998:106-113), such as the ending series (Beckett 94), and particularly poetic and intense moments where Pozzo or Vladimir expound upon significant suggestions and then forget them (Beckett 89, 90-91). Yet any extract from the drama yields a similar haunting pattern. Taking a less-known excerpt from Act I of the play (as shown previously), this paper intends to establish the way the dram...