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He would prefer that the woman appears when he thinks of her, that there should exist a clear correlation between conscious thought and realisation but his is not the case. He is forced to modify the theory he is testing acknowledging that the woman’s face merely “appeared” and those appearances were always at night. By the end of the play “he has done all he can do, he is now at the mercy of [[Divine Providence|Providence]]. The woman will appear ''if'', pleased with his efforts, she decides to appear.”<ref>Homan, S., ''Filming Beckett’s Television Plays: A Director’s Experience'' (Lewisburg: Bucknell University Press, 1992), p 76</ref> There is an element of ritual to the piece, another common element of Beckett’s theatre. Perhaps it is the only way he can feel he can retain some element of control over – or at least involvement in – the process.
Eric Brater suggests that ''... but the clouds ...'' has more in common with Yeats
: “Like the characters imagined in the play ''The Words upon the Window Pane'', the ‘he’ we meet in ''... but the clouds ...'' sits [[trance]]-like at a [[séance]], calling out to a face and a voice to appear: ‘Look at me’ and then, echoing [[Hamlet]]’s appeal to a quite different ghost, ‘Speak to me.’ A scene from Yeats is all but impossible to dismiss:”<ref name="multiref3"/>
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