Synopsis

Successive positions[2] F 1 L O F 2 L O F L O F 3 VI L O 4 VI R U R U FL O FL O VI R U FL O FL O VI R U

R U

R U

R U R U

VI

5 VI

6 VI

VI

The play opens with three similar figures of indeterminable[3] age, Flo, Vi, and Ru, sitting quietly on a narrow bench like seat surrounded by darkness. They are childhood friends who once attended Miss Wades[4] together and sitting side by side in this manner is something they used to do in the playground back then. The three characters unusually for Beckett wear colourful full-length coats, albeit now dulled

over time; they are effectively three faded flowers. Drab nondescript hats shade [their] faces.[5] Vis opening line recalls the Three Witches of Shakespeares Macbeth: When did we three last meet? [5] (When shall we three meet again? Macbeth: Act 1, Scene 1). Their names, especially Rus, recall the names of the flowers which Ophelia distributes to King Claudius and his court in her mad scene[6] (Hamlet - Act 4, Scene 7). When together they make uneasy small talk. After a short time Vi, who is seated in the centre, rises and silently goes off stage. Once she is out of earshot Flo asks Ru how she thinks their absent friend is looking. I see little change,[4] Ru replies. Then Flo slides over to the middle to whisper an awful revelation to the other and swears her to secrecy. After this Vi returns and takes the seat vacated by Flo. The same scenario is then enacted twice more [w]ith choreography suggestive of the sleight-of-hand artist (button under the thimble)[7] and with very similar dialogue until Vi finds herself back in the middle of the group; Ru and Flos positions have however been reversed. In this manner all three women at one point occupies the central position and all become privy to a secret about one of the others. Beckett said the action should be: Stiff, slow, puppet-like.[8] The audience however does not get to hear what is whispered. The initial response in each instance is a shocked, Oh, though Beckett specified that all three should be unique in some way. At the play's conclusion, the three link hands in the old way[9] (reminiscent of Winnies old style[10]) forming an unbroken Celtic knot or a Mbius strip. Finally Flo says, "I can feel the rings",[9] though none are apparent.

Staging

Beckett's directions for hand links at the end of the game[11]

In a fashion typical of Beckett, the stage directions are exactingly detailed and precise. Due to the complexity of the movements throughout the piece, Beckett included a diagram of each of the characters' position during the performance. A diagram of the aforementioned rings, and the way they should be formed from the actors' hands, is also included.

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Interpretations
The whole play's structure is circular ("ring" like). It is divided into three exactly equal segments of seven lines during which a character exits and comes back in after completing their circuit, taking a different seat to the one they sat on originally. In this sense the characters also move around their seats in a ring shape. Some speculate as to what the characters are discussing. From each response (Ru: (about Vi), Does she not realise? Vi: (about Flo), Has she not been told? Flo: (about Ru), Does she not know?)[12] it is not unreasonable to assume that each is in fact terminally ill but unaware of the fact. The unspoken nature of the condemnation in the final version is more powerful [than in Human Wishes (see below)] precisely because it is less explicit. For while it leaves a mystery unresolved, it also tends to lead one beyond the particular illness of an individual woman to embrace the fate of all mankind.[13] The play might be seen as a coming of age situation. Vi yearns for the "old days",[9] presumably when there were no awful secrets to tell but, at the same time, to which all three characters know there is no return. On one level there is a sense of loss in the play, that the women will never regain the intimacy they once had together [Brenda Bynum, who has directed the play feels the opposite however:] Why does it have to be that they have lost something, why can it not be Becketts longing for intimacy that they have and he cant?[14] Anthony Roche agrees: [T]hey assert a strength through their interdependence which

makes this play one of the most perfect theatrical ensembles ever devised.[15] The joining of the hands evokes the symbol for infinity. The ritual gesture of clasped hands allows them to keep their secrets from each other, but the feeling of the rings evokes the cycle of time. Twice turned upon itself, the bond of the three women (forever linked in their untold secrets) is never again what it was, never again what it seems to be. Something is the same, and everything is different.[16] Superficially they make us think of the Three Graces as they link hands, but, more precisely, they resemble in appearance the three mothers in Fritz Langs M, a film much loved by Beckett.[17] Whereas at the start of the play there is a reluctance to talk of the past, after each of the shocking revelations the three women willingly drift off into nostalgia[18] at the end as a means of coping with the present. The rings that Flo says she feels may be imagined a symbol of the frustrated hopes of youth, of marriages that never occurred [or failed] or equally their eternal union[19] that has kept them together throughout their personal tragedies. Ethereal though the women of Come and Go might be, they are substantial personae in comparison with the wraith-like beings of the supplication plays. And painful though the shock to their sensibilities has been, they have the comforting presence of each other to offset their sadness. They comprise a community, and are therefore not wholly reliant on memory to remedy or sedate. No such comfort is available in the later dramaticules, however, where night after night alienated beings implore their loved ones to make their presence felt.[20]

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Background
Morehampton House, [in Dublin] had originally been run by three spinster sisters and was commonly known as Miss Wades.[4] When Shelia and Molly Roe Becketts cousins attended there during the First World War, the school was run by two elderly ladies called

Miss Irwin and Miss Molyneaux.[21]

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Related Texts
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Human Wishes
In 1936 Beckett began a full-length play entitled Human Wishes (after the poem by Dr Johnson, Vanity of Human Wishes). It was abandoned but in 1980 he allowed a fragment of this is to be published in Ruby Cohns Just Play although it is more widely available in Disjecta: Miscellaneous Writings and a Dramatic Fragment, Calder Publications. When the curtain rises, three women are seated, presumably encircled by the long gowns of the time [18th Century]. Mrs Williams is meditating, Mrs Desmoulins is knitting and Miss Carmichael is reading. During the course of the scene the latter two rise and temporarily leave their seats, but Mrs Williamss actions are confined to striking the floor with her stick.[22] Beckett may have been motivated by the theme he clearly wishes to pursue: Johnson in love[23] but that is not what he ended up writing about. The three women look as though they might have emerged from tragedy. Their dialogue especially Mrs Williamss lines occasionally recalls Restoration comedy, but its substratum is human mortality, without hope of restoration. [On the other hand r]ather than explicit references to death, Come and Go spirals delicately around absence and threat.[24] However, more than death, it is the peevishness of decay[25] that pervades the scene, illustrated by the petty bickering and punctuated by the repeated silences that threaten to stop what action there is. [26] The play fragment also points forward to the elegant, old-fashioned language and formalised syntax of the three women in Come and Go.[27]

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Good Heavens
Flo, Vi, and Ru began their life as Viola, Rose and Poppy in a typescript now held at Reading University Library headed Scene 1. Poppy reads aloud from a titillating book, interrupted at intervals by the others. The revue-like style bears little resemblance to the finished work but it is clearly its genesis. In subsequent drafts Beckett adds a title, Type of Confidence, which he changes to Good Heavens; the names also vanish to be replaced by the letters A, B and C. Beckett began the play clearly with the structure of three confidential gossips clearly in mind before going on to draft the play in full Good Heavens is almost complete, apart from the final conversation between C and A. In both texts the conversation centres on two secrets: first how each woman manages to achieve her apparently flawless complexion and secondly the fact that the absent member of the trio is suffering from a terminal illness The difference between what is said face to face and what is said behind the back of the missing person reveals both a devastating feminine hypocrisy and the irony that the secret is told by someone whom the hearer already knows (or soon discovers) to be doomed also. And most ironical of all, while each woman muses upon the fate of the other two, she remains supremely unaware of her own.[28] In a later draft Beckett introduces three sorrowing husbands all conspicuously absent from the marital home: [29]
Rose (of Poppy): Poppy (of Vi): Vi (of Rose): I ran into her husband at the Gaiety. He is half crazed with grief. Her husband wrote me from Maderia. He is heartbroken Her husband called me from Naples. He was weeping over the wire.

The fact that the whispered secret in Come and Go relates to life expectancy is made more explicit [in Good Heavens], even spelling out the terminal date of the third friends incurable ailment (Three months. At the outside Not a suspicion. She thinks it is heartburn[30]).[1]

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Eleuthria

The three women [in Eleuthria], Mesdames Krap, Meck and Piouk, look forward to Flo, Vi and Ru in Come and Go in their repeated concern for each others appearance and health; in addition, like the women of the later short play, two of them, Violette and Marguerite, have flower-inspired Christian names.[31]