Theatre of the Absurd plots of many Absurdist plays feature characters in interdependent pairs, commonly either two males or a male and a female. Some Beckett scholars call this the "pseudocouple". The two characters may be roughly equal or have a begrudging interdependence (like Vladimir and Estragon in "Waiting for Godot" or the two main characters in "Rosencrantz & Guildenstern Are Dead"); one character may be clearly dominant and may torture the passive character (like Pozzo and Lucky in "Waiting for Godot" or Hamm and Clov in "Endgame"); the relationship of the characters may shift dramatically throughout the play (as in Ionesco's "The Lesson"
Words and Music (play) Or does this gathering occur again and again outside time? So many Beckett works present characters seemingly caught in endless cycles of repetition (those who wait in "Waiting for Godot"/the appearing-disappearing woman in "Ill Seen Ill Said"/The urn-dwelling trio in "Play" etc.) that this is always a possibility. Additional related aspects of Love that Croak focuses on as sub-themes are "Age," "Face," (With two foreshadowing mentions earlier on in the play-once by Croak and then latter by Words) and the climactic naming of "Lily" which is discussed later regarding its various implications. After this iteration Croak is reduced to groans,