What changes have Pozzo and Lucky undergone during the course of Waiting for Godota?
All of a sudden and abruptly, as in the primary demonstration, Pozzo and Lucky return in front of an audience. Their entry puts a conclusion to Vladimir and Estragon’s amusements. Things have changed altogether for Pozzo and Lucky. The long rope which bound them together is presently substantially shorter, restricting them nearer together and proposing that however much man should seriously think about himself to be unique in relation to others, eventually he is moved or bound nearer and closer. Moreover, Pozzo and Lucky are physically changed: Pozzo is visually impaired and Lucky is idiotic (i.e., quiet). In any case, the whole scene is played without the group of onlookers’ realizing that Lucky is presently stupid. As they enter, stunning under their heap, Lucky now conveys bags loaded with sand (emblematically, maybe, the sands of time). Fortunate falls and drags Pozzo down with him. With the landing of Pozzo and Lucky, Vladimir and Estragon imagine that assistance (“fortifications”) have touched base from Godot.
In any case, they soon understand that it is simply Pozzo and Lucky. Estragon needs to leave at that point, yet Vladimir must remind him by and by that they can’t go; they are “sitting tight for Godot.” After some thought, Vladimir concludes that they should enable Pozzo and Lucky to get up. In any case, Estragon needs to consider an option design. All things considered, he was injured by Lucky the day preceding. Vladimir reminds him, in any case, that “it is not regular that we are required.” This is a standout amongst the most significant remarks of the show. Vladimir understands that Pozzo’s weeps for cause were routed to “all of humankind,” and “at this place, as of now of time, all humankind is us, in any case.” This announcement absolutely elucidates the possibility that Vladimir and Estragon speak to all humanity in its relationship to God (Godot). Understanding this, Vladimir additionally understands that man’s destiny is to be a piece of “the foul brood to which a remorseless destiny dispatched us.” Rather than Hamlet’s “Regarding life, what to think about it, that is the issue,” Vladimir asks, “What are we doing here, that is the issue.”
Again, his concern is more likened to the difficulty of T. S. Eliot’s Prufrock (who is additionally confronted with a “mind-boggling question”: should he wed or not?) than it is to the issue of Shakespeare’s Hamlet. Vladimir closes: “We [all mankind] are sitting tight for Godot to come.” Hamlet’s mystical inquiry regarding presence is lessened to a Prufrockian choice to do only hold up. Toward the finish of Vladimir’s discourse, Pozzo’s call for help loses significance as Vladimir by and by states his pride in the way that they have at any rate kept their arrangement to meet Godot; not all individuals can influence such to a brag.
Vladimir’s mistaking the supernatural for the handy suspects the befuddled activities that are to instantly take after — that is, Vladimir concludes that they should enable Pozzo and Lucky to get up, and the outcome is that every one of the four of the men eventually wind up on the ground. Accordingly their weeps for help fail to be noticed. The whole scene in which the two tramps attempt to help two similarly upset figures get up restores the show to the vaudeville house.
The scene is a satire of numerous comparable sorts of scenes found in vaudeville theaters, accordingly underscoring again the ludicrousness of man’s activities, or in the expressions of Estragon: “We are altogether conceived distraught. Some remain so.” Instantly after the above proclamation, Estragon leaves off with theory and turns out to be extremely reasonable; he needs to know the amount Pozzo will pay to be removed from his position.
In the interim, Vladimir is worried about discovering a remark to hang loose: “We are exhausted to death”; he starts his endeavors to help Pozzo, at the same time, as noted above, they all end up in a store on the ground, and Pozzo, in fear, “removes himself,” at that point creeps away. This occurrence likewise fills in as a complexity to Pozzo’s activities in the main demonstration; there, he was pleased and scornful and declared himself with standoffish quality and prevalence. Presently he has lost all his past qualities and is just an unfortunate, daze figure slithering about on the ground. Like Job or Sophocles’ visually impaired Oedipus, Pozzo appears to propose that no man’s life can be secure since tomorrow may bring endless calamities.