Mindful of Beckett’s ontological concerns with respect to Cartesian mind/body dualism, I trace Beckett’s pseudocouple structure to origins in Ancient Greece and Homeric poetry, via Hannah Arendt’s discussion of the relationship between actor and the immortalization of such through poetic contemplation. I propose five key characteristics that both distinguish the pseudocouple from conventional character pairs, and provide a re-entry point into understanding Beckett’s post-war texts as an oscillation between inside/outside, subject/object perspectives of consciousness.