The Relationship Between Pozzo and Lucky: Essay Example, words GradesFixer
Get an answer for 'In what ways does Pozzo and Lucky's relationship contribute to the thematic structure of the play Waiting for Godot?' and find homework help. -There is the question of free will. -Lucky doesn't enjoy the relationship, yet he shows no desire to escape. Pozzo says, "He wants to impress. Symbolic Significance of the Pozzo-Lucky Relationship - Free download as PDF File Waiting for Godot- Samuel Beckett (a Critical Analysis by Qaisar Iqbal.
Pozzo & Lucky’s Relationship | Free Essays - btcmu.info
Pozzo treats Lucky worse than an animal. He invariably refers to him as pig and hog.
He attracts his attention by putting the rope violently, which surrounds Lucky's neck. The tramps notice that the rope has eaten a running ulcer into Lucky's flesh. Lucky is made to carry all sorts of baggage. Yet he does not resist or complain.
According to Pozzo, Lucky keeps on holding the luggage all the time because he does not want to leave the Pozzo's service, he hopes his zeal might favourably impress his master. However, Pozzo is determined to get rid of the slave.
The Relationship of Pozzo and Lucky by Clayton Markert on Prezi
He announces in Act-1, that he is taking Lucky to a fair where he hopes to sell him for a good price. Lucky is vicious to strangers. He kicks Estragon painfully when the latter approaches him, in Act-1, to wipe away his tears. This is the only occasion when Lucky displays human feelings.
A Master-Servant Relationship: Pozzo and Lucky
Pozzo has remarked that creatures like Lucky ought to be exterminated; hearing these words Lucky begins to cry. Everything about Pozzo resembles our image of the ringmaster of circus and Lucky as a trained or performing animal.
Like a ringmaster, Pozzo arrives brandishing a whip, which is the trademark of the professional. In fact, we hear the cracking of Pozzo's whip before we actually see him. In the Act-II, we see this relationship in an entirely different pose. Pozzo of Act-I is vain and egotistical. He behaves with tramps as well as with Lucky like a lord.
While in Act-II Pozzo is blind and helpless. He needs Lucky to show him the way and is now dependent on him. Little wonder, therefore, that we no longer hear him talk of disposing of his slave. He can no longer command. Rather than driving Lucky as he did earlier, he is now pathetically dragged along by Lucky. From a position of omnipotence and strength and confidence, he has fallen and has become the complete fallen man who maintains that time is irrelevant and that man's existence is meaningless.
The Pozzo-Lucky relationship does not seem to have any basic or integral connection with this dominant theme. In fact, the connection between the two pairs of characters is not very close or intimate. Even if the Pozzo-Lucky episodes were removed from the play, the play would still stand and be satisfactory representation of the ordeal of waiting for someone who does not turn up or for something which does not materialize.
There are many interpretations of Pozzo and Lucky and their symbolic significance.
According to one interpretation, these two men represent a master and a slave. According to other interpretations, Pozzo and Lucky symbolise the relationship between capital and labour, or between wealth and artist.
A group of critics find a autobiographical Origin: Thus we have almost as many interpretations as there are critics. One of the critics says that, while Pozzo and Lucky may be body and intellect, master and slave, capitalist and proletarian, sadist and masochist, Joyce and Beckett.
- Waiting for Godot
- Pozzo & Lucky’s Relationship
But they essentially represent a way of getting through life just as Vladimir and Estragon represent another way of doing so. Pozzo and Lucky create a metaphor society. Pozzo appears as all-powerful, dominating personality by virtue of his wealth.
He reminds us of a feudal lord. It is Lucky who gives Pozzo's ideas into real shapes. But for Lucky and Pozzo's thoughts and all his feelings would have been of common things. But Lucky is now a puppet who obeys Pozzo's commands. He dances, sings, recites, and thinks for Pozzo and his personal life has been reduced to basic animal reflexes: But once Lucky was a better dancer and capable of giving his master moments of great illumination and joy; he was kind, helpful, entertaining, Pozzo's good angel.
But now he is "killing" Pozzo, or so Pozzo believes. In the play Waiting for Godot, we first see Lucky driven by Pozzo by means of a rope tied round his neck. All of Lucky's actions seem unpredictable, in Act-I, when Estragon attempts to help him.