Editing Waiting for Godot (section)

=== Sexual ===
Though the sexuality of Vladimir and Estragon is not always considered by critics,<ref>Sinfield, Alan. ''Out on Stage: Lesbian and Gay Theatre in the Twentieth Century''. Yale University Press (1999). {{ISBN|9780300081022}}</ref><ref>Green, Jesse. "Reviews: Pairing Up Waiting for Godot and No Man's Land". ''Vulture''. 23 November 2013.</ref> some see the two vagabonds as an ageing homosexual couple, who are worn out, with broken spirits, impotent and not engaging sexually any longer. The two appear to be written as a parody of a married couple.<ref>Chandrika. B. ''The Private Garden: The Family in Post-war British Drama''. Academic Foundation (1993) {{ISBN|9788171880430}}. page 130</ref> Peter Boxall points out that the play features two characters who seem to have shared life together for years; they quarrel, embrace, and are mutually dependent.<ref>Boxall, P., "Beckett and Homoeroticism" in Oppenheim, L., (ed.) ''Palgrave Advances in Samuel Beckett Studies'' (London: Palgrave, 2004).</ref> Beckett was interviewed at the time the play was premiering in New York, and, speaking of his writings and characters in general, Beckett said "I'm working with impotence, ignorance. I don't think impotence has been exploited in the past."<ref>[[Israel Shenker|Shenker, Israel]]. "Moody Man of Letters; Portrait of Samuel Beckett, Author of the Puzzling ''Waiting for Godot''." ''The New York Times''. 6 May 1956.</ref>

Pozzo and his slave, Lucky, arrive on the scene. Pozzo is a stout man, who wields a whip and holds a rope around Lucky's neck. Some critics have considered that the relationship of these two characters is homosexual and sado-masochistic in nature.<ref>Jeffers, Jennifer M. ''Beckett's Masculinity''. Springer (2016) {{ISBN|9780230101463}} p. 98</ref> Lucky's long speech is a torrent of broken ideas and speculations regarding man, sex, God, and time. It has been said that the play contains little or no sexual hope; which is the play's lament, and the source of the play's humour and comedic tenderness.<ref>Katz, Allan. "''Waiting for Godot'' at the Charles Playhouse". ''[[The Harvard Crimson]]''. 28 November 1960.</ref> [[Norman Mailer]] wonders if Beckett might be restating the sexual and moral basis of Christianity, that life and strength is found in an adoration of those in the lower depths where God is concealed.<ref>Mailer, Norman. ''Advertisements for Myself''. Harvard University Press (1959). {{ISBN|978-0674005907}}. p. 324</ref>