to touch on all of these issues. Martin Esslin, in his The Theatre of the Absurd (1960), argued that Waiting for Godot was part of a broader literary movement that he called the Theatre of the Absurd, a form of theatre that stemmed from the absurdist philosophy of Albert Camus. Absurdism itself is a branch of the traditional assertions of existentialism, pioneered by Søren Kierkegaard, and posits that, while inherent meaning might very well exist in the universe, human beings are incapable of finding it due to some form of mental or philosophical limitation. Thus, humanity is doomed to be faced with the Absurd, or the absolute absurdity of the existence in lack of intrinsic purpose. Ethical Just after Didi and Gogo have been particularly selfish and callous, the boy comes to say that Godot is not coming. The boy (or pair of boys) may be seen to represent meekness and hope before compassion is consciously excluded by an evolving personality and character, and in which case may be the youthful Pozzo and Lucky. Thus Godot is compassion and fails to arrive every day, as he says he will. No-one is concerned that a boy is beaten. In this interpretation, there is the irony that only by changing their hearts to be compassionate can the characters fixed to the tree move on and cease to have to wait for Godot. Christian Much of the play is steeped in scriptural allusion. The boy from Act I mentions that he and his brother mind Godot's sheep and goats. Much can be read into Beckett's inclusion of the story of the two thieves from Luke 23:39–43 and the ensuing discussion of repentance. It is easy to see the solitary tree as representative of the Christian cross or the tree of life. Some see God and Godot as one and the same. Vladimir's "Christ have mercy upon us!" could be taken as evidence that that is at least what he believes. Another, perhaps less conspicuous, potentially religious, element in the play, is Pozzo's bout with blindness, during which he comes to resemble the biblical figure of Bartimaeus or 'The Blind Beggar'. This reading is given further weight early in the first act when Estragon asks Vladimir what it is that he has requested from Godot: Other explicit Christian elements that are mentioned in the play include, but are not limited to, repentance, the Gospels,