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Pozzo, whom Estragon initially mistakes for Godot, is perhaps the most aggressive and antagonistic character in the play. In Act One, he wields his power by physically and verbally abusing his slave, Lucky, and by talking down to Vladimir and Estragon. Pozzo is a landowner and, in many stagings of the play, has a less-distressed costume than ...
The first thing that happens when Pozzo comes on stage is that Estragon mistakes him for Godot. A lot. The name mix-up that follows practically begs us to compare Pozzo and Godot, which we will gladly do. Godot, as we talk about in his character analysis, is an absent deity. Pozzo, too, seems sort of like a God: he has complete control over ...
Summary: Pozzo in Waiting for Godot symbolizes the arbitrary nature of power and authority. His identity confusion reflects the existential themes of the play, highlighting the fluidity and ...
Summary. Analysis. Act 2 begins the next day, at the same time and in the same place. Estragon's boots are still on the ground. Vladimir enters, examines one of Estragon's boots, and then begins to sing. He sings a nonsensical song about a dog who steals a crust of bread from a kitchen and then is beaten to death.
A summary of Act 2: Introduction & Pozzo and Lucky's Entrance in Samuel Beckett's Waiting for Godot. Learn exactly what happened in this chapter, scene, or section of Waiting for Godot and what it means. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans.
Summary. Vladimir and Estragon run and cower when they hear a "terrible cry." Lucky arrives, loaded down with baggage and trailing a long rope, which is tied around his neck. He is followed by Pozzo, who, holding the rope and a whip, whips Lucky and jerks his rope, making him fall down. Estragon initially thinks Pozzo might be Godot, mishearing ...
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Buy Study Guide. Although very existentialist in its characterizations, Waiting for Godot is primarily about hope. The play revolves around Vladimir and Estragon and their pitiful wait for hope to arrive. At various times during the play, hope is constructed as a form of salvation, in the personages of Pozzo and Lucky, or even as death.
