Waiting for Who?

If you are waiting for someone you love, here's a list of rock, pop and country songs about others who share your experience. Make yourself a playlist to listen to while you wait. And may love be worth your wait in the end.

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The strength of this rock song is its purity and simplicity. With religious overtones, this hit is about a man who has made mistakes and is going though a difficult time in his relationship. He has sought forgiveness and is determined not to push boundaries while renewal and healing take place over time. It's painful when you love someone more than they love you.

Someone used to sing this song to me. It's about a man who loves a woman, but she listens to other people's opinions. The protagonist thinks about the future they could've had, and he blames his sweetheart for not being strong enough to stand up to the naysayers.

He feels that his utter devotion has left him playing the role of the fool:. When you need the hand of another man One you really can surrender with — I will wait for you Like I always do There's something there That can't compare with any other. The lonely narrator in this song is eager for a soft voice and tender arms to hold him tight. Wanting someone to love him back, he recalls the sage words of his mother just when he's about to give up his search. His mother advised that you can't hurry love, that you must wait for it.

And that wait is ever so worth the struggle. This achingly romantic song has been recorded by over artists in many languages, but this version stands as the definitive version. The narrator has been separated from his lover for far too long and pines to rejoin her. The song was used as the theme in the movie Ghost. However, it was originally written for another movie decades earlier.

The earlier movie was about a man who was being released from prison and looking to reunite with his love interest. In this endearing country song, a younger man meets and older one and realizes they have one thing in common: The older man looks back on his life and recounts all of the times that he has waited on the woman he loves, from their first date when she was half an hour late, to their wedding that took a year to plan, and nearly every day thereafter. He imagines that he'll end up waiting for her in death as well.

However, he doesn't mind because that's what lovers do: The lovesick man in this ballad is oceans apart from his girlfriend. He is left waiting it out, nearly going crazy for her to return. Still in love with the woman who has broken his heart and left him, the guy at the center of this pop song returns to the street corner where he first met his ex-girlfriend.

With his sleeping bag, a cardboard sign and a photo of her in hand, he waits, hoping she will return to the spot where their love affair began.

He's the man who can't be moved. This remake of Cyndi Lauper's classic rock song is about the mutual support that exists between two people who care deeply about one another:. If you fall, I will catch you; I'll be waiting I'll always be waiting Time after time This heartwarming country song from features a couple separated by miles but not love. The husband is trying desperately to return to his ailing wife, but he is detained by a Montana snowstorm.

As she promises to wait for him, the wife fondly recalls other moments that she waited for his return: This guy has some sense of timing! Sadly, our hero doesn't arrive in time, and his waiting wife dies. Let's hope she wasn't alone. She leaves behind a note promising to wait for him on the other side.

The narrator leaves his sweetheart back in his native Tennessee as he bounces from Boston to Denver to Los Angeles in search of career success. While he finds success, his one true love waits for him back home. He pleads for her to join him, but she insists that she won't leave; instead, if he loved her, he'd return to her. The narrator in this pop song feels remorse for how she treated her lover, but she has learned from the experience. Now she is waiting for when he is ready to love her again. She promises to treat him differently and better this time. Having been through a cycle of heartache, hoping and deep aching for the return of his beloved, the narrator in this pop song awaits the return of his lover.

Realizing that their love is one-of-a-kind, he waits for her to come back around. If you feel like you've waited your whole life—eternity even—for your one special sweetheart, consider yourself most fortunate to have found the one who is your perfect match. It describes a love so intense that the narrator feels he has loved and waited for his better half for 1, years.

Better yet, he claims he will love her for 1, more. Have you ever stood by supportively while you pined away for a friend whose heart was breaking over someone else?

"Who Are You Waiting For?" OR "Whom Are You Waiting For?"?

That's what the narrator in this rock song is doing. The girl he loves is trying to recover from heartbreak. Our patient narrator is so certain that his friend is the one for him that he will wait indefinitely for her to realize that the love she deserves has been there all along. Now that is confidence. In this country song, the narrator is a sad and lonely wife who waits at home for her husband.

Even though they are far apart, she cries herself to sleep missing him and waits faithfully for his return. The sailor who narrates this country song sets sail tomorrow. He'll be leaving his lover until Springtime and needs to know if she will wait for his return:. Oh, the longer the waiting, the sweeter the kiss It's better my darling, I promise you this: The next time I hold you, I'm not letting go Will you wait for me darling?

I need to know. It'll all work out. While the narrator in this hard rock song sits and waits for his girlfriend, he tries to convince himself and her that the end will all be worth the wait. This folk rock song may be almost 50 years old, but it reflects what's going on today with increasing regularity. People travel great distances from their homes on business, for school, and to serve their country in the military. Although there is social media and communication methods, it's lonely waiting for someone you love to return.

Nothing truly replaces having them right there with you:. So far away Doesn't anybody stay in one place anymore? It would be so fine to see your face at my door Doesn't help to know you're just time away. Who cares that the guy she wants is someone else's boyfriend? That's a small detail. When you're certain you belong together, you gotta wait it out while you convince him that you're the one. That's the narrator's strategy in this Taylor Swift hit. The guy in this rock song has been waiting on the woman he loves for such a long time now that he feels foolish and cruelly treated.

He claims that she builds him up just to knock him down, yet still he waits. No one said waiting on love was easy. Let's first be clear about what you're asking. You want to know whether you should put your love life on hold for someone indefinitely without knowing how they feel about you. Phrasing it that way, doesn't it seem more unreasonable for you to do that? People wait for lovers for a variety of reasons. Some reasons are better than others. Examples include one partner moving away due to a job, military deployment, schooling, incarceration, etc. Alternatively, one partner may be married or involved with someone else.

The couple stands a better chance if both partners are firmly committed to a plan for getting together. However, you haven't expressed your desire to reunite. Before waiting, you might want to do that at least and determine how long you will delay your happiness on someone else. You also need to decide whether waiting constitutes continuing to date around or being completely out of the dating game. There are many people out there who could potentially fulfill your happiness. I don't understand why you'd want to go "all in" by putting your life on hold for someone who doesn't know you're waiting.

As special as this person is to you, you cannot afford to put your entire life on hold waiting for her to change her mind. You owe it to yourself to get out there and work on making yourself a happy person interested in the world around you rather than just being interested in capturing her attention. There are many possible matches for each of us in this world, not one soulmate.

Open yourself up to the possibilities. There may be someone out there even better for you than her — someone, who will love you back! No more waiting around, ok? You gave it a good shot already. That depends on a lot of factors, but the most important one is YOU. I hope you feel good enough about yourself to believe that you're worth loving. Here are a few things to consider in determining how long to wait on someone when there are 7. Evaluate your relationship understanding and level of commitment.

Is this a marriage or long-term, exclusive relationship? On the other extreme of the continuum, have you never even shared your feelings with them and thus you don't know whether the feelings are one-sided or mutual? It's very hard to maintain a relationship over a long period of time without a deep spoken commitment. The more mutual it is, the longer I'd personally be willing be invest. If there's any component of secrecy to the relationship such as in a clandestine extramarital affair, beware.

You'll probably be waiting forever for them to leave their spouse. What do you expect from each other from a behavioral standpoint? What constitutes a betrayal? For example, you might consider "waiting" to include loving someone from afar while continuing to casually date or fall in love with other partners over the years.

Your beloved might consider "waiting" to be exclusive emotional and sexual fidelity, even if you haven't communicated for a long period. Know what you each expect. If there's an imbalance in expectations e. Is this a voluntary separation in which they had the option to stay with you or take you with them, but instead chose not to? Or was the situation forced, compulsory, not their choice? A variety of examples include: Is there any timeline or plan for getting the two of you together?

How concrete is it? Has either of you articulated "deal breakers" for the relationship? Has either of you violated these? The more concrete a plan and timeline, the more confident I'd feel about waiting.

"Who are you waiting for?"

This question came from our site for linguists, etymologists, and serious English language enthusiasts. Second, a careless speaker or writer may use either without recognizing that they have different meanings. Third, "person who waits for an idiot" would be appropriate to describe someone who habitually waits for an idiot. A "person waiting for an idiot" or a "person who is waiting for an idiot" would be appropriate to describe someone who merely happens to be waiting for an idiot at the current time.

You may need to review the different usages of the simple present tense and the continuous present tense. Fourth, no one can tell you which noun phrase is better to make your intended meaning clear unless you explain what you want convey. By clicking "Post Your Answer", you acknowledge that you have read our updated terms of service , privacy policy and cookie policy , and that your continued use of the website is subject to these policies. Home Questions Tags Users Unanswered.

Which one is right? Whether it's who waits, waiting, or who is waiting , your text isn't even a complete sentence it's just a noun phrase. A boy then arrives, purporting to be a messenger sent from Godot to tell the pair that Godot will not be coming that evening "but surely tomorrow".

After the boy departs, the moon appears, and the two men verbally agree to leave and find shelter for the night, but they merely stand without moving. It is daytime again and Vladimir begins singing a recursive round about the death of a dog, but twice forgets the lyrics as he sings. Vladimir comments that the formerly bare tree now has leaves and tries to confirm his recollections of yesterday against Estragon's extremely vague, unreliable memory. Vladimir then triumphantly produces evidence of the previous day's events by showing Estragon the wound from when Lucky kicked him.

Noticing Estragon's barefootedness, they also discover his previously forsaken boots nearby, which Estragon insists are not his, although they fit him perfectly. With no carrots left, Vladimir is turned down in offering Estragon a turnip or a radish. He then sings Estragon to sleep with a lullaby before noticing further evidence to confirm his memory: Lucky's hat still lies on the ground. This leads to his waking Estragon and involving him in a frenetic hat-swapping scene. The two then wait again for Godot, while distracting themselves by playfully imitating Pozzo and Lucky, firing insults at each other and then making up, and attempting some fitness routines—all of which fail miserably and end quickly.

Suddenly, Pozzo and Lucky reappear, but the rope is much shorter than during their last visit, and Lucky now guides Pozzo, rather than being controlled by him. As they arrive, Pozzo trips over Lucky and they together fall into a motionless heap. Estragon sees an opportunity to exact revenge on Lucky for kicking him earlier. The issue is debated lengthily until Pozzo shocks the pair by revealing that he is now blind and Lucky is now mute.

Pozzo further claims to have lost all sense of time, and assures the others that he cannot remember meeting them before, but also does not expect to recall today's events tomorrow. His commanding arrogance from yesterday appears to have been replaced by humility and insight. His parting words—which Vladimir expands upon later—are ones of utter despair.

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Alone, Vladimir is encountered by apparently the same boy from yesterday, though Vladimir wonders whether he might be the other boy's brother. This time, Vladimir begins consciously realising the circular nature of his experiences: Vladimir seems to reach a moment of revelation before furiously chasing the boy away, demanding that he be recognised the next time they meet.

Estragon awakes and pulls his boots off again. He and Vladimir consider hanging themselves once more, but when they test the strength of Estragon's belt hoping to use it as a noose , it breaks and Estragon's trousers fall down. They resolve tomorrow to bring a more suitable piece of rope and, if Godot fails to arrive, to commit suicide at last.

Again, they decide to clear out for the night, but, again, neither of them makes any attempt to move. Beckett refrained from elaborating on the characters beyond what he had written in the play. He once recalled that when Sir Ralph Richardson "wanted the low-down on Pozzo, his home address and curriculum vitae , and seemed to make the forthcoming of this and similar information the condition of his condescending to illustrate the part of Vladimir I told him that all I knew about Pozzo was in the text, that if I had known more I would have put it in the text, and that was true also of the other characters.

When Beckett started writing he did not have a visual image of Vladimir and Estragon. They are never referred to as tramps in the text, though are often performed in such costumes on stage. When told by Vladimir that he should have been a poet, Estragon says he was, gestures to his rags, and asks if it were not obvious. There are no physical descriptions of either of the two characters; however, the text indicates that Vladimir is possibly the heavier of the pair.

The bowlers and other broadly comic aspects of their personas have reminded modern audiences of Laurel and Hardy , who occasionally played tramps in their films. Comedy and the Movies. Vladimir stands through most of the play whereas Estragon sits down numerous times and even dozes off. Estragon "belongs to the stone", [20] preoccupied with mundane things, what he can get to eat and how to ease his physical aches and pains; he is direct, intuitive. He finds it hard to remember but can recall certain things when prompted, e.

He continually forgets, Vladimir continually reminds him; between them they pass the time. Vladimir's life is not without its discomforts too but he is the more resilient of the pair. While the two characters are temperamentally opposite, with their differing responses to a situation, they are both essential as demonstrated in the way Vladimir's metaphysical musings were balanced by Estragon's physical demands. Throughout the play the couple refer to each other by the pet names "Didi" and "Gogo", although the boy addresses Vladimir as "Mister Albert".

This became "Adam" in the American edition. Beckett's only explanation was that he was "fed up with Catullus". Vivian Mercier described Waiting for Godot as a play which "has achieved a theoretical impossibility—a play in which nothing happens, that yet keeps audiences glued to their seats. What's more, since the second act is a subtly different reprise of the first, he has written a play in which nothing happens, twice. In the first stage production, which Beckett oversaw, both are "more shabby-genteel than ragged Vladimir at least is capable of being scandalised Although Beckett refused to be drawn on the backgrounds of the characters, this has not stopped actors looking for their own motivation.

She explained how it begins with a trembling, which gets more and more noticeable, until later the patient can no longer speak without the voice shaking. So I said, 'That sounds exactly what I need. When Beckett was asked why Lucky was so named, he replied, "I suppose he is lucky to have no more expectations It has been contended that " Pozzo and Lucky are simply Didi and Gogo writ large", unbalanced as their relationship is.

As such, since the first appearance of the duo, the true slave had always been Pozzo. His rhetoric has been learned by rote. Pozzo's "party piece" on the sky is a clear example: Little is learned about Pozzo besides the fact that he is on his way to the fair to sell his slave, Lucky. He presents himself very much as the Ascendancy landlord, bullying and conceited. His pipe is made by Kapp and Peterson , Dublin's best-known tobacconists their slogan was "The thinking man's pipe" which he refers to as a " briar " but which Estragon calls a " dudeen " emphasising the differences in their social standing.

He confesses to a poor memory but it is more a result of an abiding self-absorption.

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That's why he overdoes things These were things Beckett said, psychological terms he used. Pozzo controls Lucky by means of an extremely long rope which he jerks and tugs if Lucky is the least bit slow. Lucky is the absolutely subservient slave of Pozzo and he unquestioningly does his every bidding with "dog-like devotion".

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Lucky speaks only once in the play and it is a result of Pozzo's order to "think" for Estragon and Vladimir. Pozzo and Lucky have been together for sixty years and, in that time, their relationship has deteriorated. Lucky has always been the intellectually superior but now, with age, he has become an object of contempt: Despite his horrid treatment at Pozzo's hand however, Lucky remains completely faithful to him.

Even in the second act when Pozzo has inexplicably gone blind, and needs to be led by Lucky rather than driving him as he had done before, Lucky remains faithful and has not tried to run away; they are clearly bound together by more than a piece of rope in the same way that Didi and Gogo are "[t]ied to Godot". Beckett struggled to retain the French atmosphere as much as possible, so that he delegated all the English names and places to Lucky, whose own name, he thought, suggested such a correlation.

The boy in Act I, a local lad, assures Vladimir that this is the first time he has seen him. He says he was not there the previous day. He confirms he works for Mr. Godot as a goatherd. His brother, whom Godot beats, is a shepherd. Godot feeds both of them and allows them to sleep in his hayloft. The boy in Act II also assures Vladimir that it was not he who called upon them the day before.

He insists that this too is his first visit. When Vladimir asks what Godot does the boy tells him, "He does nothing, sir. This boy also has a brother who it seems is sick but there is no clear evidence to suggest that his brother is the boy that came in Act I or the one who came the day before that. In the first Act, the boy, despite arriving while Pozzo and Lucky are still about, does not announce himself until after Pozzo and Lucky leave, saying to Vladimir and Estragon that he waited for the other two to leave out of fear of the two men and of Pozzo's whip; the boy does not arrive early enough in Act II to see either Lucky or Pozzo.

In both Acts, the boy seems hesitant to speak very much, saying mostly "Yes Sir" or "No Sir", and winds up exiting by running away. The identity of Godot has been the subject of much debate. It is just implied in the text, but it's not true. Deirdre Bair says that though "Beckett will never discuss the implications of the title", she suggests two stories that both may have at least partially inspired it. The first is that because feet are a recurring theme in the play, Beckett has said the title was suggested to him by the slang French term for boot: This seemed to disappoint him greatly.

But you must remember — I wrote the play in French, and if I did have that meaning in my mind, it was somewhere in my unconscious and I was not overtly aware of it. However, "Beckett has often stressed the strong unconscious impulses that partly control his writing; he has even spoken of being 'in a trance ' when he writes. Unlike elsewhere in Beckett's work, no bicycle appears in this play, but Hugh Kenner in his essay "The Cartesian Centaur" [50] reports that Beckett once, when asked about the meaning of Godot, mentioned "a veteran racing cyclist, bald, a 'stayer', recurrent placeman in town-to-town and national championships, Christian name elusive, surname Godeau, pronounced, of course, no differently from Godot.

Of the two boys who work for Godot only one appears safe from beatings, "Beckett said, only half-jokingly, that one of Estragon's feet was saved". Beckett himself said the emphasis should be on the first syllable, and that the North American pronunciation is a mistake.

Borchardt checked with Beckett's nephew, Edward, who told him his uncle pronounced it that way as well. There is only one scene throughout both acts. Two men are waiting on a country road by a tree. The men are of unspecified origin, though it is clear that they are not English by nationality since they refer to currency as francs , and tell derisive jokes about the English — and in English-language productions the pair are traditionally played with Irish accents.

The script calls for Estragon to sit on a low mound but in practice—as in Beckett's own German production—this is usually a stone. In the first act the tree is bare. In the second, a few leaves have appeared despite the script specifying that it is the next day. The minimal description calls to mind "the idea of the lieu vague , a location which should not be particularised".

Other clues about the location can be found in the dialogue. In Act I, Vladimir turns toward the auditorium and describes it as a bog. In the Cackon country! Alan Schneider once suggested putting the play on in a round—Pozzo has often been commented on as a ringmaster [57] —but Beckett dissuaded him: The attempts to pin him down have not been successful, but the desire to do so is natural when we encounter a writer whose minimalist art reaches for bedrock reality.

Throughout Waiting for Godot , the audience may encounter religious , philosophical, classical , psychoanalytical and biographical — especially wartime — references. There are ritualistic aspects and elements taken directly from vaudeville [61] and there is a danger in making more of these than what they are: The play "exploits several archetypal forms and situations, all of which lend themselves to both comedy and pathos.

Of course you use it. Beckett tired quickly of "the endless misunderstanding". As far back as , he remarked, "Why people have to complicate a thing so simple I can't make out. Beckett directed the play for the Schiller-Theatre in Although he had overseen many productions, this was the first time that he had taken complete control. Walter Asmus was his conscientious young assistant director. The production was not naturalistic.

It is a game, everything is a game. When all four of them are lying on the ground, that cannot be handled naturalistically. That has got to be done artificially, balletically. Otherwise everything becomes an imitation, an imitation of reality [ It should become clear and transparent, not dry. It is a game in order to survive.

Over the years, Beckett clearly realised that the greater part of Godot' s success came down to the fact that it was open to a variety of readings and that this was not necessarily a bad thing. Beckett himself sanctioned "one of the most famous mixed-race productions of Godot , performed at the Baxter Theatre in the University of Cape Town , directed by Donald Howarth , with [ The Baxter production has often been portrayed as if it were an explicitly political production, when in fact it received very little emphasis.

What such a reaction showed, however, was that, although the play can in no way be taken as a political allegory , there are elements that are relevant to any local situation in which one man is being exploited or oppressed by another. Graham Hassell writes, "[T]he intrusion of Pozzo and Lucky [