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Beckett once asserted: 'I produce an object. What people make of it is not my concern [...] I'd be quite incapable of writing a critical introduction to my own works.' Furthermore, whenever directors and critics asked for explanations of Godot, he both side-stepped their questions and revealed his distrust of any kind of exegesis. Two examples will suffice here. To Alan Schneider's question 'Who or what does Godot mean?', he replied, 'If I knew, I would have said so in the play'; when Colin Duckworth suggested that the characters existed in a modern version of Dante's Purgatory, he responded to the 'proofs' offered to him with a dismissive, if generous 'Quite alien to me, but you're welcome.' As is now clearly established, allusions to Dante are present throughout his novels and plays, but Beckett's position remained resolute; he wanted no part in the process of decoding that haunts critical work, preferring to cling to his belief that: 'The key word in my plays is “perhaps”.'
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