Twilight is different because of its exaggerated effect on the characters. The way in which it conditions the actions of the characters makes the difference. This natural phenomenon may be perceived as the natural manifestation of change in time, from day to night, which casts a mystical ambiance altering the, thus far, normal/typical behavior of the characters.
Towards the end of Act I, the end of twilight:
” The light suddenly fails. In a moment it is night. The moon rises at the back, mounts in the sky, stands still, shedding a pale light on the scene
Vladimir: At last!”
The appearance of the moon, as perceived by Didi, signifies something concrete… it reassures the character’s confidence. This happens because transition stops, waiting stops, blurred boundaries get clear, as if waiting for Godot would have been translated into waiting for the moon. When the boy exits, the moon appeared and there is no more exasperation. There is an apparent Order in the universe.
Estragon, before the appearance of the moon, behaves as if he were before a being. The character’s characterization of the celestial presence, is another example of how they assign qualities to inanimate objects. Even though the light from the moon is feeble, pale, it is strong enough to affect Estragon’s melancholy.
Through props of spectacle, lighting, Becket anticipates the action. Specific ambiguity strikes again! We have the road but not which road, we have Godot’s messenger but no Godot; only the moon and it’s pale light.
WHY IS THIS DIFFERENT FROM REALITY? THE MOON HAS NO LIGHT OF ITS OWN. It is a pale reflection of something else, namely the sun, but it is enough for Gogo to cling to this illusion.
“Estragon Pale of weariness.
Vladimir Eh?
Estragon Of climbing heaven and gazing on the like of us.”
The way in which he speaks of the moon resembles the way a person would speak of another one. This denotes the kind of loneliness that is representative of one thematic in this play. Characteristically resulting in the depiction of Estragon’s depression. Gogo puts his existence down through an illusory third party, delegating the responsibility of a claim of dissatisfaction about himself to the moon.
Towards the end of Act II, the end of twilight:
” The Boy avoids him and exits running
Silence. The sun sets, the moon rises. As in act I. Vladimir stands motionless and bowed. Estragon wakes, takes off his boots, gets up with one in each hand and goes and puts them down front, then goes towards Vladimir”
It is valid to remark how somnolence plays an important role here. If boundaries are blurred, dream-world and reality can be confused. For example:
Did the Boy actually appear? The Boy is on the script so he is a character BUT I WOULD DARE TO SAY HIS ACTUAL PRESENCE IS AMBIGUOUS, given that both of the times he appears during twilight. (twilight to be CONSIDERED AS MAXIMUM GRAPHICAL EXPONENT OF BLURRED BOUNDARIES).
TIP: twilight is a what