International Baccalaureate

Exam Session: May 2021

HL English A Literature Essay
Texts Written on: Waiting for Godot by Samuel Beckett
Title: How are Lucky and Pozzo depicted as symbols of life within purgatory, in Waiting for
Godot by Samuel Becket
Word Count: 1355
 Mark Twain once said “The fear of death follows from the fear of life. A man who lives fully is
prepared to die at any time.” Lucky and Pozzo are two distinct characters, portrayed as being quite
unnatural and full of an abstract form of life, in a world where no life exists. Pozzo is portrayed as a
somewhat stubborn yet educated man, whose intelligent and knowledgeable appearance clashes with
the bleakness of both Estragon and Vladimir. While Pozzo lacks solemnity, Lucky’s mere stillness and
ineptitude serve as a symbol for what the pair represent. All characters in Godot are futile, that the
barren landscape is traversed by only lost souls, yet Pozzo's rare appearance of humanity, and Lucky's
depiction as a “Dignified” (24) dog, prove otherwise.

The entirety of Lucky and Pozzo’s presence in Waiting for Godot take place in direct contrast
with Estragon and Vladimir, two characters portrayed as both bleak and inanimate. At the very
beginning of the play the repetition of nothingness within Vladimir and Estragon is illustrated in bulk,
as Estragon states there is “nothing to be done” (1) and Estragon has “Nothing to show” (3). This
presence depicts the emptiness that is represented within the two, as they are directly contrasted with
Lucky and Pozzo, later in the first act. It is drawn that these two men have an inability to act as they
have, “Tried everything” (1). Vladimir suggests the two repent, almost stating they have committed a
sin that they must repent. Vladimir is evidently heavily influenced by remorse, telling a story of a man
being saved and the other sent to hell, implying the current situation of them both. It is suggested that
as a result of two’s inability to remember any solid information, and through their repetitive actions,
they are stuck in a semblance of purgatory. The pair's bearings represent that of a limbo, in which they
are trapped, seek to find a way to be saved, and are waiting for their savior; Godot. This is further
explained by the endless cycle endured by the two. This point is imperative in highlighting the
importance of Lucky and Pozzo, as they leave this ‘Purgatory’ only to re-visit Vladimir and Estragon
throughout the play.

Each character that visits Vladimir and Estragon are represented in groups of two. Lucky and
Pozzo are always seen together and the child always visits under Godot’s command. Lucky is under the
constant control of Pozzo, being told to carry his luggage and being tied by a leash. The control Pozzo
has over Lucky is an implication of the power life holds over death. The two always connected yet one
in charge of the other. Upon Pozzo's initial arrival, the pair confuse him to be Godot, primarily due to
similarities between their names, yet also as a result of Pozzo's representation of life. It can be implied
that because Pozzo is confused with Godot, he may embody a sense of life of which the prisoners seek.
The two seek salvation from their everlasting purgatory, and upon meeting Pozzo, they are presented
with hope of escape. Lucky is initially presented as a frail and weak man serving as a dog in Pozzo’s
shadow. Beckett portrays Lucky as such, suggesting that death is always present within life, yet hidden
behind the safe illusion that is life. As a result, it may be implied that Lucky is a symbol of death that is

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being upheld and contained by Pozzo as a symbol of light. Lucky and Pozzo possess somewhat of a
silent dominance over Estragon and Vladmir. The two prisoners almost travel in circles blindly in
between the arrivals and departures of Lucky and Pozzo. We are led to believe that Lucky and Pozzo
are the figures who will determine the eventual fate of Vladimir and Estragon and it is their inaction
that represents their purgatory. In addition, the differences between the pair, and Lucky and Pozzo’s
movement can be highlighted as a direct association of their importance as characters. Beckett draws
Vladimir and Estragon as very dormant, one dimensional humans, trapped in the looping cycle of their
life within this purgatory. Wherein the case of Lucky and Pozzo, are seen to traverse in and out of the
landscape, and change in humanity throughout the play. Through this, Beckett suggests that Lucky
and Pozzo are of superior importance then Vladimir and Estragon, and through their interactions,
Vladimir and Estragon are given value.

The depiction of purgatory as the greater surrounding of the play, is confirmed by the
uncertainty within Estragon and Vladimir interactions, as well as their repetition in action. As the play
progresses, the repetition that exists within the existentialist exchanges of dialogue between Estragon
and Vladimir, prove that there is a lack of memory being retained by the pair. When the pair initially
encounter Lucky and Pozzo, or presumably their first encounter due to the fact it is proven their
memory is flawed, Vladimir regards the rope attached to Lucky's neck. The pair state, “It's the
rubbing, It's inevitable, It's the knot, It's the chafing” (18) in regard to the damage the rope does to
Lucky's neck. The rope serves as a symbol for the purgatory that has Estragon and Pozzo tied to the
realm in which they are trapped. By stating the chaffing of Lucky's neck is, “Inevitable” (18) Estragon
implies that the repetition in action that the pair experience is just that. It may be implied that the pair
is tied to the world they are in just as Lucky is symbolically tied to Pozzo through the rope. Similarly to
that of purgatory, the pair must undergo the suffering of endlessly repeating action and loss of
memory, representing the lack of life that exists within Estragon and Vladimirs domain.

The relationship between Lucky and Pozzo can be mirrored by that of Vladmir and Estragons
relationship to their positions in the enclosure in which they live. Pozzo, representative of the pair,
holds dominance over his feeble dog Lucky for a greater part of the play, kicking him and cracking a
whip across his back. This dominance quickly shifts in the same manner as Vladamir and Estragons
hope of Godot’s arrival diminishes. Upon reentering, Pozzo cries at the two for help, seemingly
weakened from an attack from Lucky. Lucky’s attack on Pozzo is a direct implication of death taking
over the body, or the loss of life. Vladimir states, “We were beginning to weaken.” (32) Insinuating he
and Estragon are nearing their deaths, or the impending end that may come after purgatory. It is
through Lucky's speech, which is his only true dialogue, that we learn his importance as a symbol of
death. Lucky represents the uncertainty of death, as his actions are not carried out upon his own

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accord, rather under the influence of his counterpart Pozzo. Lucky repeatedly states, “For reasons
unknown” (34-35) in his speech, continuing to reference what seems like gibberish as the rest stare, in
“Disgust” and “Protest”. Lucky's speech highlights what is unknown about death, and possibly
explains the reasons for Vladimir and Estragons whereabouts. Lucky's representation as death shines
through here, as death has up until this point been hidden under the control of Pozzo, who is a symbol
for life, suggesting the disruption of life that death brings. As they are seen in the play, life and death
come as a pair, and one cannot be had without the other. This is the relationship that exists between
Lucky and Pozzo. Beckett illustrates the transition between life and death, as death suddenly becomes
present during Lucky's speech, leaving the others confused and “Suffering”. Eternal suffering is
another idea commonly associated with purgatory. Beckett encourages the belief that Vladimir and
Estragon are trapped in this state, in which the beings that they meet all have influence over their
escape, and their existence in this world. Vladimir and Estragon have died and it is through their
encounters with Lucky and Pozzo that they revisit their demons.

Lucky and Pozzo are two essential elements of expression for Samuel Beckett, and are the
catalysts that determine the whereabouts of Vladimir and Estragon.

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 Works Cited
Beckett, Samuel. Waiting for Godot: A Tragicomedy in Two Acts/ By Samuel Beckett. First English
edition. London: Faber and Faber, 1956.