![]() Pozzo attempts to dominate Lucky and prevent his “think-speech” once it has started, but we see yet again his failure in sovereignty, as he cannot stop Lucky from speaking, no matter what he does, Lucky’s thirst for truth prevails. It is a contrast to Pozzo’s “sky-speech” which is borderline pretentious, and seems to be Pozzo attempting to find any fabricated or substandard meaning he can. Lucky’s “Think-speech” gives us an uncompromising view of the way Lucky’s mind works, desperately grabbing for some form of pure truth, and always ever so slightly missing it, it is a caricature of the deteriorating intellect that comes with age. When viewed in this way, we can see that Pozzo is actually the most insecure of the characters, and is a slave to the demands that he makes of Lucky, therefore making him the one with the least power. Dance misery!”), when he is ordered to think (“Think, pig!”) he does so, not as a result of servitude to Pozzo, but rather to “ fill a vacant need of Pozzo: he committed all of these acts for Pozzo”. ![]() When he is ordered to dance (“He refused once. On closer examination, many viewers and scholars have come to the conclusion that despite the blatantly submissive nature of Lucky, he actually posses the most power in the relationship. It has been suggested by critics that the relationship between Pozzo and Lucky may not be as clear cut as first assumed, and in fact could even be seen as an exaggeration of the relationship between Vladimir and Estragon. This arrangement is potentially supposed to be very comical however, it is also interesting that the “slave” character is the one who is leading the “master” and not the other way around. ![]() Lucky is the first to enter the scene, with a very long rope around his neck and Pozzo at the other end of it. Regardless of the abuse that Lucky faces, he remains totally subservient to Pozzo, and seems distraught when Pozzo mentions wanting to get rid of him (“ I am bringing him to the fair, where I hope to get a good price for him”). He obediently does the majority of what Pozzo wishes, and a large portion of Pozzo’s dialogue is dedicated to giving Lucky various instructions (“Stop! Forward! Back!”). Often depicted as an old man, Lucky is forced to carry Pozzo’s baggage, is not permitted to rest, and is connected to him by a rope (or leash). The relationship between Lucky and Pozzo is, on the surface (if anything with Beckett can be on the surface), a fairly cut and dry “master/servant” relationship. The name “Lucky” comes from Beckett’s reasoning that this character is “lucky” not to have any further expectations, reiterating the nihilism that comes with the play. The debate about the relationship of the two characters Pozzo and Lucky has existed since the original performance of Waiting for Godot and has failed, much like the rest of the play, to suggest any kind of concrete conclusion.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |