Waiting for Godot

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Pozzo Character Analysis

Pozzo runs into Vladimir and Estragon while journeying along the road in both acts. He abuses Lucky and treats him as a slave, pulling him around with a rope tied around his neck and having him carry all his things. While he exercises some relative power and authority over Lucky and acts superior to the other characters, he is nonetheless far from powerful himself. He panics when he loses things like his watch and is doomed to repeat his wandering every day, just as Vladimir and Estragon repeat their waiting for Godot. He is particularly helpless in act two, when he is inexplicably struck blind and is unable to get up after falling to the ground.

Pozzo Quotes in Waiting for Godot

The Waiting for Godot quotes below are all either spoken by Pozzo or refer to Pozzo. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Humor and the Absurd Theme Icon
). Note: all page and citation info for the quotes below refers to the Grove Press edition of Waiting for Godot published in 1994.
Act 1 Quotes

You are human beings none the less. (He puts on his glasses.) As far as one can see. (He takes off his glasses.) of the same species as myself. (He bursts into an enormous laugh.) Of the same species as Pozzo! Made in God's image!

Related Characters: Pozzo (speaker), Estragon, Vladimir
Page Number: 19
Explanation and Analysis:

During the first moments of their conversation, Estragon tells Pozzo they they are not from this area. In response, Pozzo makes this odd appeal to their common humanity, stressing how the characters are all fundamentally the same, in particular through their connection to God.

Pozzo focuses on visual consistencies. Beckett signals this emphasis through the stage direction of putting on and removing glasses. And he indicates that the assertion that they are “human beings” must be confirmed by visual data. Pozzo then moves first into a scientific register of speech with the repetition of “species” and then swaps in religious language with “God’s image.” This appeal to God would presumably define a social bond between the three of them, but Pozzo speaks the lines mockingly.

The fact that he cites a universal humanity is particularly empty considering his inhumane treatment of Lucky. Taking the two actions together would imply either that Lucky is not human, or that the way Pozzo treats Lucky could be applied to any human—based on their commonality as the “same species.” And in the nihilistic setting of the play, in which both God and society seem to have vanished, neither the religious nor the Enlightenment ideal of common humanity has many practical consequences.

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Er... you've finished with the... er... you don't need the... er... bones, Sir?

Related Characters: Estragon (speaker), Pozzo
Page Number: 24
Explanation and Analysis:

After Pozzo has finished eating his chicken and tossed the bones to the ground, Estragon “timidly” wonders whether he can have the remains. He is reproached by Vladimir, but encouraged by Pozzo, who tells him to confirm that Lucky does not want them.

Much of the text focuses on existential despair, but this line returns it to a more practical hardship: hunger. The splendor of Pozzo’s meal sharply contrasts with the paucity of Estragon and Vladimir’s rotten vegetables, so it is quite reasonable for Estragon to want the bones. Estragon here uses a subservient tone of voice—he stumbles twice, includes three “er”s, and finishes the sentence with a formal “Sir?” Thus he defines himself in a position below Lucky, based on the power and wealth implied by his possession of chicken bones. The line corroborates Estragon’s childlike character and also shows how even in this empty, meaningless space, social hierarchies can be rapidly defined based on the possession of a few commodities.

To treat a man... (gesture towards Lucky)... like that... I think that... no... a human being... no... it's a scandal!

Related Characters: Vladimir (speaker), Pozzo, Lucky
Page Number: 25
Explanation and Analysis:

Lucky refuses the bones and Pozzo makes a spiteful comment, causing Vladimir to at last speak up against the behavior. He somewhat hesitantly challenges Pozzo on the awful way he treats Lucky.

Vladimir’s repeated references to humanity—“man” and “human being”—seem to ironically rephrase Pozzo’s earlier comment on how they all are the same species and made in God’s image. Here, Vladimir points out the inconsistency in that logic: How could Pozzo actually believe that and still treat Lucky this way? Yet Vladimir protests in a meek and uncertain way, stuttering and self correcting with ellipses and with the injection of “no.” Pozzo’s relative power in the scene thus prevents Vladimir from any direct challenge, even if he finds the behavior deplorable. And rather than actually fight Pozzo or seek to free Lucky, Vladimir lets the conversation drift on. Beckett seems to be making a mockery of our wish to pursue human rights by showing how fickle our principles and convictions can be.

Why he doesn't make himself comfortable? Let's try and get this clear. Has he not the right to? Certainly he has. It follows that he doesn't want to. There's reasoning for you.

Related Characters: Pozzo (speaker), Lucky
Page Number: 30
Explanation and Analysis:

After a series of confused attempts to ask Pozzo why Lucky continues to carry so many bags, Vladimir and Estragon are finally able to communicate their question. In response, Pozzo gives this strange definition of his human autonomy, claiming that Lucky is indeed able to rest.

Pozzo elevates the status of his statement with the phrases “Let’s try and get this clear” and “There’s reasoning for you.” He implies that other dialogue was perhaps not so lucid, and that he will be able to offer a more direct and useful understanding of their dynamics. Between these two phrases lies a distorted proof. Pozzo claims that Lucky is indeed fully autonomous, and that therefore each action he performs is out of complete volition. But, of course, the audience and other characters remain skeptical, for Lucky does not in fact seem to have this professed agency. Pozzo articulates a common despotic or slaveholding justification, in which people with power claim that others could do anything—whereas in reality they are trapped by their circumstance. Beckett seems to showcase the emptiness inherent in forms of human agency: A presumed ability to act only reveals how social forces keep one entrapped.

He's crying!
Old dogs have more dignity.

Related Characters: Estragon (speaker), Pozzo (speaker), Lucky
Page Number: 31
Explanation and Analysis:

Lucky begins crying when Pozzo observes mockingly that the best thing to do would be to kill him. Estragon is moved to an exclamation of pity, but Pozzo is simply disgusted by Lucky’s behavior.

This moment of pathos shows, first, that Lucky contains within him a strong emotional capacity—one that can be recognized by others. And it correspondingly shows a lack of empathy in Pozzo, as if Lucky (despite his silence) is in fact the more human of the two. Whereas Vladimir was the one previously morally outraged by Vladimir’s actions, here it is Estragon who expresses sadness at what has occurred. Pozzo, however, cares only about “dignity,” a term of decorum that mirrors his pompous and stately behavior in the play. The lines shows that while Estragon is more childlike in his actions, this also gives him an increased empathetic capacity—an empathy which Pozzo clearly lacks.

The tears of the world are a constant quantity. For each one who begins to weep, somewhere else another stops. The same is true of the laugh. (He laughs.) Let us not then speak ill of our generation, it is not unhappier than its predecessors. (Pause.) Let us not speak well of it either. (Pause.) Let us not speak of it at all.

Related Characters: Pozzo (speaker), Lucky
Page Number: 32
Explanation and Analysis:

Pozzo offers this theory of world suffering because Estragon has begun to cry after Lucky kicks him in the shins. Previously Lucky shed tears, and Pozzo thus interprets the tears' transfer from Lucky to Estragon as proof that happiness in the world is constant.

To construct this theory, Pozzo begins with the physical detail he has just observed: “quantity” is “constant” because when Lucky stopped crying, Estragon started. Applying the same idea to laughter casts Vladimir’s earlier insistence that he not laugh in an intriguing light: It is as if Vladimir was generously leaving the laughter with others, whereas Pozzo steals it without a second thought. And from these two principles on crying and laughing, Pozzo concludes that no evaluative assessment can be made of any “generation,” for all eras have a consistent distribution of joy.

The philosophical underpinning of this relativism is that happiness and sadness are constantly being redistributed. Yet two sub-interpretations of this philosophy are possible: Either this is a pseudo-spiritual model in which happiness is regulated by a universal (perhaps divine) force, or it is a model in which human agents themselves change quantities of happiness by taking it away from others. In the second option, Lucky stopped crying only because he harmed Estragon. Beckett puts emphasis on this distinction by making Pozzo a slave-owner: He has profited from Lucky’s misery and thus has more resources than Estragon or Vladimir, who have a more equitable relationship. After all, it's to Pozzo's advantage to have formulated a theory that justifies his spiteful and selfish behaviors.


After having sucked all the good out of him you chuck him away like a... like a banana skin. Really...

Related Characters: Vladimir (speaker), Pozzo, Lucky
Page Number: 33
Explanation and Analysis:

Vladimir makes another protest against Pozzo’s behavior after learning that Lucky has served him for 60 years. He is aghast that Pozzo would dispose of Lucky so flippantly.

To fortify this position, Vladimir summons the image of a banana, charging Pozzo with having treated Lucky simply like a foodstuff. Lucky is, by this account, to be consumed at will and then gotten rid of when he has been depleted. The image should be taken as appropriate considering the play’s focus on food. Remember, Estragon and Vladimir’s spartan resources were directly contrasted with Pozzo’s luxury—a luxury presumably furnished by Lucky’s role as a slave. Thus Vladimir takes the food metaphor from an indirect relationship—in which Pozzo consumes food from his possession of Lucky—into a direct one: his actual possession of Lucky.

(to Lucky.) How dare you! It's abominable! Such a good master! Crucify him like that! After so many years! Really!

Related Characters: Vladimir (speaker), Pozzo, Lucky
Page Number: 34
Explanation and Analysis:

Only moments after Vladimir accuses Pozzo of having treated Lucky like a banana, he switches his perspective entirely. At the mere suggestion from Pozzo that he has been indirectly abused by Lucky, Vladimir immediately becomes sympathetic to the slaveholder and chastises Lucky instead.

These lines clarify the nature of the flippancy in Vladimir’s character. As we have already noted, Vladimir often makes comments in protest but never follows them with action. Here the reason is not cowardice but rather distraction. Just a single comment from Pozzo immediately makes Vladimir consider Lucky’s actions “abominable” and presents Pozzo as both “master” and martyr through the term “crucify.” This shift demonstrates that human moral codes are weak not necessarily because a character or person is evil, but simply because of how fickle human memory and attention are. Vladimir is generally presented as more attentive and aware than Estragon, but even here he cannot maintain a logical train of thought.

Do I look like a man that can be made to suffer?

Related Characters: Pozzo (speaker)
Page Number: 34
Explanation and Analysis:

After an outburst of tears, Pozzo controls his sentiments and denies that he was genuinely upset. Then he argues he has complete emotional control and cannot, in fact, suffer at all.

On a character level, these lines speak to the egoism of Pozzo’s personality—in which he wants to be seen as stoic and superior by all around him. The comment also intersects importantly with Pozzo’s earlier theory about the relative state of human suffering. Previously, he argued that suffering was constant and simply redistributed among humans, and here he seems to imply that he is impervious to that system. All suffering, by thos account, will be hoisted onto those around him. Yet Pozzo has clearly experienced some level of suffering at the hands of Lucky. Thus even the most “empowered” character in the play, the one performing acts of great cruelty, still reveals insecurities and expresses a suppressed wish to flee pain.

So that I ask myself is there anything I can do in my turn for these honest fellows who are having such a dull, dull time.
Even ten francs would be a help.
We are not beggars!

Related Characters: Estragon (speaker), Vladimir (speaker), Pozzo (speaker)
Page Number: 40
Explanation and Analysis:

In an unusual moment of generosity, Pozzo offers his assistance to Vladimir and Estragon. As he did with the chicken bones, Estragon immediately requests some tangible benefit (in this case money), whereas Vladimir reproaches him for the discourteous behavior. Pozzo, however, somewhat snidely notes that talking to the two of them should be sufficient payment.

The lines notably introduce money into the play for the first time. This detail might seem unimportant, but Beckett’s text could easily take place in a post-apocalyptic world in which economical systems have entirely disappeared. (After all, time seems to have stopped or at least behaves in very odd ways.) So the idea that francs could actually benefit Estragon and Vladimir reveals that currency still plays a role in the world of the play—or at least that Estragon believes it will. Vladimir, similarly, upholds a sort of social norm by not wanting to grovel before Pozzo.

Pozzo’s decision to withhold money seems simply ruthless. But, in a sense, his conversation has given more to the characters than ten francs would: It has offered a temporary antidote to nothing happening. And indeed, his comment that they “are having such a dull, dull time” shows an odd awareness of the value of action amidst boredom. Beckett seems to be making a sly joke that anything staving off the nihilistic horror of boredom is worth more than currency.

He thinks?
Certainly. Aloud. He even used to think very prettily once, I could listen to him for hours. Now... (he shudders).

Related Characters: Vladimir (speaker), Pozzo (speaker)
Page Number: 41
Explanation and Analysis:

As Pozzo prepares to have Lucky perform for Vladimir and Estragon, he notes that one option is for Lucky to “think.” Vladimir is naturally taken aback, considering that Lucky has not yet produced a single real utterance, and Pozzo asserts he can, but also indicates this behavior is now somewhat horrifying.

We see here a crucial revision to Lucky’s character. He is not, as we might think, inherently silent or disabled. Rather he used to be highly capable and has only recently descended into his current maligned state. The lines also clarify why Pozzo may now find him torturous to be around—for the way he performs is frightening instead of enjoyable.

“Thinking” is also presented here as a pragmatic action: It is not just a natural process that humans do, but something that can be cultivated and performed for others. Furthermore, Pozzo’s use of the term “prettily” implies that thinking quality can be assessed on some kind of scale. There are better and worse thinkers; ones that are beautiful and ones that make one shudder. Beckett may be making a snide comment here about the class of intellectuals who presume themselves to be above other entertainers, when in reality what they do is just another type of performance art.

He used to dance the farandole, the fling, the brawl, the jig, the fandango, and even the hornpipe. He capered. For joy. Now that's the best he can do. Do you know what he calls it?
The Scapegoat's Agony.
The Hard Stool.
The Net. He thinks he's entangled in a net.

Related Characters: Estragon (speaker), Vladimir (speaker), Pozzo (speaker), Lucky
Page Number: 42
Explanation and Analysis:

After Lucky performs, Pozzo observes sadly that he used to be far better. He lists the previous more artful dances Lucky once knew, and then asks Estragon and Vladimir to guess at the name of the recent one.

Most simply, these lines reconfirm that Lucky has degenerated from a previous more talented condition. But the more interesting side of the passages lies in how Estragon, Vladimir, and Pozzo describe the dance. The potential titles from each describe a state of hopelessness: Estragon points at how Lucky is a scapegoat for Pozzo’s hatred; Vladimir puns on stool to mean both an immobile seat and a painful bowel movement; and Pozzo describes the dance as expressing entrapment. Beckett implies that Lucky’s previous talents have—perhaps due to Pozzo, perhaps due to other forces—been reduced to a constant sense of being stuck and punished. Even a talent defined by movement is reduced to a lack of movement.

It is notable, too, that whereas the other dances are all recognizable forms and thus are lowercase, non-proper nouns, the actual dance has a unique title. Beckett seems to present it as an experimental form of art, more an expression of the self than a routine performance of previously-designed steps. This may be a subtle reference to twentieth-century modern dance, which deviates from pre-established form to such an extent that the motion often becomes grotesque.

Then adieu.
Adieu.
Adieu.
Adieu.
Silence. No one moves.
Adieu.
Adieu.
Adieu.
Silence.

Related Characters: Estragon (speaker), Vladimir (speaker), Pozzo (speaker)
Page Number: 50
Explanation and Analysis:

This tragicomic scene of failed goodbyes comes after Pozzo observes how badly Estrange and Vladimir smell. He says he must leave, but the characters seem somehow unable to part.

The exchange reiterates the lack of mobility and agency. But more specifically, it shows how an expressed wish to perform an action does not cause that action to take place. Pozzo conveys a motivation for leaving and goes through the necessary social code to depart, yet even after saying the right words he remains rooted to the ground. Indeed, the group tries twice to complete this simple social gesture, demonstrating that their entanglement in Lucky’s metaphorical dance-net is so tight that they cannot correctly execute the most basic of interactions.

That “Adieu” translates to French literally as “to God” offers one potential explanation. If we take Godot as a metaphor or stand-in for God, then going toward God would actually imply staying stationary in order for Godot to appear. Furthermore, this interoperation would show how the logic of waiting and apathy have so deeply invaded the characters’ minds that their very phrases fail to operate. The word “Adieu” itself has taken on a new meaning in a world where God is absent and constantly delayed.

We know them, I tell you. You forget everything. (Pause. To himself.) Unless they're not the same...
Why didn't they recognize us then?
That means nothing. I too pretended not to recognize them. And then nobody every recognizes us.

Related Characters: Estragon (speaker), Vladimir (speaker), Pozzo, Lucky
Page Number: 52
Explanation and Analysis:

After Lucky and Pozzo depart, Vladimir claims that he had known them before this interaction. When Estragon questions him, Vladimir begins to doubt his own memory and invents, instead, a justification about mutual mis-recognition.

It is intriguing that Estragon’s doubt is able to infiltrate Vladimir’s professed certainty. Whereas Vladimir’s memory is generally contrasted with Estragon’s complete inability to recall prior events, here Vladimir does not remain faithful to the point that “You forget everything.” He mistrusts his own vision and mind for a moment. Without a memory to aid him in this process, Estragon relies on interpreting social codes—the act of mutual recognition—to try to understand the situation. He reasons that if they had indeed met each other before, someone would have said something. But when Vladimir rejects that strategy with a nihilistic “that means nothing,” he denies this as a valid way to interpret reality. His justification is that all people feign mis-recognition even if they do indeed know each other.

A few different interpretations are possible here. Perhaps Vladimir is simply constructing a strange theory to justify his own uncertainty, much like how Pozzo would create theories on the distribution of happiness. Or perhaps Beckett is making a larger point on human behavior—ridiculing the ways we could recognize each other as humans more fully and yet constantly pretend not to identify this common quality between us all.

Act 2 Quotes

No, the best would be to take advantage of Pozzo's calling for help.

Related Characters: Vladimir (speaker), Pozzo
Page Number: 90
Explanation and Analysis:

When Pozzo and Lucky return, their relationship both to each other and to Estragon and Vladimir has changed dramatically. Now blind, Pozzo has lost his position of power, which invites Vladimir to make this cruel comment on taking advantage of his disability.

The switch from his earlier comments of pathos to this suggestion is remarkable. Without his vision, Pozzo is now in a weaker state and entirely dependent on Lucky. But instead of expressing sympathy as he had in the first act, Vladimir becomes opportunistic, wondering how to maximize the fact that Pozzo cannot put up any kind of fight. One brutal interpretation would be that Vladimir’s previous empathy for both Lucky and Pozzo was only a factor of their relative power in the interaction—and thus that it was motivated more by calculated social conditions rather than authentic emotion. This would be a very dark view of humanity as entirely opportunist and self-motivated, but it fits with the established selfishness shown thus far.

Have you not done tormenting me with your accursed time! It's abominable! When! When! One day, is that not enough for you, one day he went dumb, one day I went blind, one day we'll go deaf, one day we were born, one day we shall die, the same day, the same second, is that not enough for you?

Related Characters: Pozzo (speaker), Estragon, Vladimir, Lucky
Page Number: 103
Explanation and Analysis:

As Lucky and Pozzo prepare to leave, Vladimir requests a second performance of singing or recitation from Lucky. Pozzo responds that he is mute and, after Vladimir protests, he makes this final outburst against Vladimir’s insistence on tracking the progression of time.

Pozzo finally vocalizes what Estragon has hinted at and what the audience may have been skeptical about for some time: that Vladimir’s insistence on linking past events to present ones is ultimately unhelpful. Time, for Pozzo, is deemed inherently “accursed” and “abominable” simply because it forces him to reflect on previous experiences and compare them to current reality. Perhaps he finds this particularly agonizing because he wishes for a time when he could see and Lucky could speak, sing, and think. Pozzo quickly extrapolates from his individual dynamic, however, into a broader theory. He zooms out from “I went blind” to “we’ll go deaf,” thus including all the characters in his fate. Then he zooms out further to describe with a flippant tone how all are born and die on “one day.”

This idea is a form of the eternal present similar to that experienced by Estragon. By this model, it does not matter which events occurred at which time, but simply that they take place eventually and at some point in history. Yet Pozzo’s argument is even more radical in a way. For he puns on “one” to mean both a specific day and an identical day for many people—which would imply that all are born and all die in “the same second.” Of course, he does not mean this literally, but rather uses it to contextualize the relative brevity of human life as a mere second in history—and as ultimately so meaningless that trying to form a time scale and narrative like Vladimir’s is pointless.

Tell him... (he hesitates)... tell him you saw me and that... (he hesitates)... that you saw me. (Pause. Vladimir advances, the Boy recoils. Vladimir halts, the Boy halts. With sudden violence.) You're sure you saw me, you won't come and tell me tomorrow that you never saw me!

Related Characters: Vladimir (speaker), Pozzo, Boy
Page Number: 106
Explanation and Analysis:

As the Boy departs again, having promised that Godot will come the next day, Vladimir grows increasingly desperate. He insists that the Boy inform Godot of their interaction and once more appeals to the idea that the Boy has recognized him.

These lines replay the interaction between Vladimir and the Boy that transpired in the first act. Except here, Vladimir’s tone and stage directions are marked by uncertainty and rashness. Twice, “he hesitates,” unsure whether to say the same lines he knows he is repeating. And it is presumably his horror at having become repetitive that causes him to react with such anger to the Boy. Vladimir’s frustration, then, is directed both externally and internally: both toward those who seem to be duping him into believing these events have not already transpired, and toward himself for potentially believing too much in his conviction that they have.

What was before a question to the Boy—“You did see us, didn't you?” thus becomes a demand. Beckett demonstrates how the environment of the play, in which characters negate Vladimir’s memory and sense perceptions, could very well cause someone to grow irrational. His character becomes a case study on the value of remembering, for his insistence brings nothing but vexation.

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Pozzo Character Timeline in Waiting for Godot

The timeline below shows where the character Pozzo appears in Waiting for Godot. The colored dots and icons indicate which themes are associated with that appearance.
Act 1
Humor and the Absurd Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Pozzo and Lucky enter. Pozzo drives lucky like an animal with a rope around his neck.... (full context)
Modernism and Postmodernism Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Estragon asks Vladimir if this is Godot, but then Pozzo introduces himself by name and asks if they are not familiar with him. Estragon mishears... (full context)
Humanity, Companionship, Suffering, and Dignity Theme Icon
Pozzo asks who Godot is. Vladimir says he's an acquaintance, but Estragon says they hardly know... (full context)
Humanity, Companionship, Suffering, and Dignity Theme Icon
Pozzo asks Lucky for his stool, which Lucky places on the ground for Pozzo to sit... (full context)
Humanity, Companionship, Suffering, and Dignity Theme Icon
...Vladimir suggests they ask Lucky a question and Estragon begins to speak to him, when Pozzo stops them, telling them to leave Lucky alone. He calls for his basket again and... (full context)
Humanity, Companionship, Suffering, and Dignity Theme Icon
Estragon looks at the chicken bones that Pozzo has thrown on the ground and tentatively asks if he can have them. Pozzo says... (full context)
Humor and the Absurd Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Vladimir suddenly shouts out, "It's a scandal!" Pozzo asks what he is talking about, and Vladimir says that it is a scandal to... (full context)
Humor and the Absurd Theme Icon
Waiting, Boredom, and Nihilism Theme Icon
Vladimir tells Estragon they should leave, but Pozzo stops them. He yanks Lucky's rope again and has him move the stool. He sits... (full context)
Waiting, Boredom, and Nihilism Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Vladimir still wants to go, and Pozzo tells him to think carefully, asking what would happen if Vladimir missed his "appointment" with... (full context)
Humor and the Absurd Theme Icon
Modernism and Postmodernism Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Pozzo prepares to speak and makes sure everyone is listening (jerking the rope around Lucky's neck... (full context)
Modernism and Postmodernism Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Vladimir and Estragon are confused, wondering why Pozzo would get rid of Lucky. Pozzo repeats that Lucky wants to show how well he... (full context)
Humor and the Absurd Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Vladimir again asks if Pozzo wants to get rid of Lucky. Pozzo says he is on his way to the... (full context)
Humor and the Absurd Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Estragon walks up to Lucky with the handkerchief, but Lucky kicks him in the shins. Pozzo shouts for the handkerchief, which Lucky picks up and returns to him. Meanwhile, Estragon's leg... (full context)
Modernism and Postmodernism Theme Icon
Time Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Pozzo says that "our generation" is no unhappier than any previous one and says that Lucky... (full context)
Humor and the Absurd Theme Icon
Modernism and Postmodernism Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Pozzo mumbles that he "can't bear it" with Lucky and that he is going crazy. Vladimir... (full context)
Humor and the Absurd Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Pozzo collects himself and says there wasn't "a word of truth" in what he just said.... (full context)
Waiting, Boredom, and Nihilism Theme Icon
Modernism and Postmodernism Theme Icon
Pozzo is distraught at having lost his pipe and begins to ask Vladimir if he has... (full context)
Humor and the Absurd Theme Icon
Modernism and Postmodernism Theme Icon
Pozzo says he understands and that he wouldn't want to leave before nightfall either if he... (full context)
Humor and the Absurd Theme Icon
Time Theme Icon
Pozzo says he must be going, because of his schedule, though Vladimir says, "time has stopped."... (full context)
Humor and the Absurd Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Vladimir again suggests he and Estragon leave. Pozzo asks Estragon what his name is, and Estragon says it is Adam. Pozzo remembers that... (full context)
Humor and the Absurd Theme Icon
Waiting, Boredom, and Nihilism Theme Icon
...Estragon can simply bide their time and wait. He says they are used to it. Pozzo asks them what they thought of his speech: "Good? Middling? Poor? Positively bad?" They compliment... (full context)
Humor and the Absurd Theme Icon
Waiting, Boredom, and Nihilism Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Pozzo says that since Vladimir and Estragon have been civil to him, he wonders if there... (full context)
Pozzo pulls on Lucky's rope, picks up the whip, and asks whether Estragon and Vladimir want... (full context)
Humor and the Absurd Theme Icon
Modernism and Postmodernism Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Lucky dances. Pozzo says Lucky used to be able to dance better. He asks if Estragon and Vladimir... (full context)
Humor and the Absurd Theme Icon
Time Theme Icon
Estragon asks about the time Lucky refused to dance. Pozzo prepares to speak, then forgets what he was going to say. Estragon and Vladimir try... (full context)
Humor and the Absurd Theme Icon
Waiting, Boredom, and Nihilism Theme Icon
Estragon laments the fact that "nothing happens, nobody comes, nobody goes." Vladimir asks Pozzo to tell Lucky to think. Pozzo says Lucky needs his hat first, which has fallen... (full context)
Humor and the Absurd Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Vladimir puts the hat on Lucky's head, but Lucky does nothing. Pozzo jerks the rope around his neck and orders him to think. Lucky begins to speak,... (full context)
Humor and the Absurd Theme Icon
...to stop him from talking, and Vladimir finally takes his hat away. Lucky falls silent. Pozzo snatches the hat and stomps on it, proclaiming, "There's an end to his thinking!" (full context)
Humor and the Absurd Theme Icon
Modernism and Postmodernism Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Pozzo kicks Lucky and calls him a pig again. He asks Vladimir and Estragon to help... (full context)
Humor and the Absurd Theme Icon
Time Theme Icon
Pozzo calls for silence and he, Estragon, and Vladimir listen to see if they can hear... (full context)
Humor and the Absurd Theme Icon
Modernism and Postmodernism Theme Icon
...say it again and politely bid farewell to each other once more. No one moves. Pozzo says that he seems to be unable to leave. Estragon says, "such is life." Pozzo... (full context)
Humor and the Absurd Theme Icon
Waiting, Boredom, and Nihilism Theme Icon
Modernism and Postmodernism Theme Icon
As Pozzo is about to leave the stage, he calls for his stool and Vladimir gets it... (full context)
Time Theme Icon
Humanity, Companionship, Suffering, and Dignity Theme Icon
Vladimir comments on how much Pozzo and Lucky had changed. Estragon is confused, because they did not know this pair before,... (full context)
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...foot with the boot still on begins to hurt, while Vladimir ponders whether Lucky and Pozzo were the same people he knew from before, or different. A boy calls from off-stage... (full context)
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The boy says he was afraid of Lucky and Pozzo, which is why he is late. Vladimir asks if the boy knows Lucky and Pozzo... (full context)
Act 2
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...says he may have just forgotten about it. He asks Estragon if he forgot about Pozzo and Lucky, as well, and Estragon asks who they are. (full context)
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...a man who gave him a bone. Vladimir tells him those people were Lucky and Pozzo. Estragon asks if this all happened yesterday at this very place and Vladimir is amazed... (full context)
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...fifty years now. Vladimir asks if he remembers the sun and the moon, Lucky and Pozzo. Estragon remembers the bones Pozzo gave him and when Lucky kicked him. (full context)
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...says he is going to leave, and Vladimir asks if he wants to "play at Pozzo and Lucky." He imitates Lucky and asks Estragon to act like Pozzo. (full context)
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Vladimir encourages Estragon to yell at him like Pozzo. Estragon shouts, "Think, pig!" at Vladimir, who says he cannot. He asks Estragon to command... (full context)
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Pozzo and Lucky enter. Lucky has the rope around his neck as before, and is carrying... (full context)
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..."Reinforcements at last!" He says that now they will surely make it through the evening. Pozzo asks for help. Vladimir says that he and Estragon are finally no longer alone, and... (full context)
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Vladimir says that Pozzo might have another chicken bone for Estragon, and suggests that they help him up. Estragon... (full context)
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Pozzo continues to cry out for help. Vladimir says that he and Estragon should "do something,... (full context)
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Vladimir continues to talk, so Pozzo shouts that he'll pay someone to help him. Estragon asks how much. He says he'd... (full context)
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Vladimir begs Estragon not to leave. He and Pozzo both ask Estragon for help. Vladimir promises that he will leave with Estragon if he... (full context)
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Pozzo asks who Estragon and Vladimir are, and Vladimir answers that they are men. Vladimir asks... (full context)
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Vladimir says he could crawl over to Pozzo, but Estragon doesn't want Vladimir to leave him. They both call over to Pozzo, but... (full context)
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Estragon shouts, "Abel! Abel!" and Pozzo cries out for help. Estragon thinks Abel is the right name. He thinks Lucky might... (full context)
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...Estragon asks what they will do in the meantime, and Vladimir says they could help Pozzo get up. They help Pozzo stand up, but when they let go, he falls down... (full context)
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Pozzo asks who Vladimir and Estragon are, because he is blind and cannot see them. Estragon... (full context)
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Pozzo asks what time it is, and Estragon and Vladimir look at the sky, guessing seven... (full context)
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Estragon asks how long he and Vladimir will have to hold up Pozzo for. Pozzo says he used to have excellent sight, and that he woke up one... (full context)
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Estragon says he is leaving. Pozzo asks where they are, and Vladimir says he doesn't know. Pozzo asks if they are... (full context)
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Pozzo asks where Lucky is, and why he isn't responding to his call. Vladimir says Lucky... (full context)
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...Estragon what he is waiting for, and Estragon answers that he is waiting for Godot. Pozzo tells Estragon to pull on Lucky's rope to get his attention. If that doesn't work,... (full context)
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Pozzo asks what has just happened, and Vladimir explains. Vladimir asks him if he and Lucky... (full context)
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Pozzo shouts, "Up pig!" and Lucky gets up and gathers his things. Vladimir asks where Pozzo... (full context)
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Vladimir asks Pozzo to have Lucky sing, think, or recite something. Pozzo says Lucky is mute, and "can't... (full context)
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...was happy, but Vladimir angrily tells him not to describe his dream. He wonders whether Pozzo was really blind. (full context)
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...says, "let's go," but then remembers they can't. He asks if Vladimir is sure that Pozzo wasn't actually Godot. Vladimir says he's certain, but then he says, "I don't know what... (full context)
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...come this evening, but he will come tomorrow. Vladimir asks if the boy ran into Pozzo and Lucky, and the boy says he didn't see anyone on the way over. (full context)