ABSTRACT
Prior to the 1960s, Samuel Beckett tends to have men play both gender roles rather frequently. In Waiting for Godot and Endgame, for example, Gogo, Lucky, and Clov are all arguably in the female subject position, while being biologically male. In fact, it is only at this late part of his career that Beckett includes women characters in his plays at all. Though readers may hear a tone of mockery in Beckett's diction, it enables them to play or sing alongside and also move beyond to form new associations, interpretations, and allegorical speculations, as they experience Play. In comparison to Happy Days, Play, and Not I, two of Beckett's later plays are more realistic as far as staged movements are concerned. Incidentally, the chime provides a brief instrumental interlude between the four sections of the play. The most visually obvious difference between these two plays is that the daughter in Rockaby is substantially older than the daughter in Footfalls.
