* AlternateCharacterInterpretation: Given how open the meanings of ''anything'' in the play are left, almost ''any'' interpretation of anything in the play can fall under this trope.
** Pozzo is actually Lucky's slave,
** the boy in act two is the first boy's brother,
** the messenger boy is Godot,
** Pozzo is Godot,
** ''Lucky'' is Godot, and
** there never was a Godot.
* BigLippedAlligatorMoment: Lucky's monologue, "Think". Subverted, as it referenced later.
* EveryoneIsJesusInPurgatory: Despite many critics' interpretations, Godot is not shorthand for God. Others theorize that the play represents a kind of Hell or purgatory.
* ItWasHisSled: Godot never comes.
* TearJerker: The end of the second act, as Vladimir begins to realize that no one remembers the day before except him, that the same things are going to happen tomorrow, and he might not be able to remember either.
* TrueArtIsIncomprehensible: Lucky's "think" being a major offender here.
** The play itself counts as this. Beckett's theater work became even ''more'' abstract as he went on.
* NightmareFuel: The infamous part where Didi and Gogo discuss the voices of spirits, unpleased by both life and death.
* TheWoobie: Poor, poor Lucky...
** Arguably, everybody (except perhaps for Pozzo) in the play.
** Or, even more arguably, perhaps poor old Pozzo as well. He admits he can't think for himself, and so devastated at the loss of his watch he goes blind.
** Out of the main two (Didi and Gogo) Estragon seems to be slightly more of a Woobie, mainly because he also routinely gets beaten by some unseen gang.