Short notes on Lucky ‘waiting for Godot’  


In Waiting for Godot, apart from the two tramps Vladimir and Estragon, there are few other characters like; Pozzo, Lucky and a boy (messenger of Godot) introduced by Samuel Becket.

 Lucky a slave of Pozzo, whom Pozzo treats horribly and insults him by addressing him only as pig. He (Lucky) throughout his stage presence is mostly silent in the but gives a lengthy, mostly nonsensical monologue. When Pozzo asks him to think out loud, here his aloud thinking is “commanding performance”. That simply means for Lucky thinking becomes mechanical as, when Pozzo commands performance Lucky resumes to think and when he is commanded to stop, he suddenly stops. The torrent of his incoherent speech is a parody of stream of consciousness monologue and is a clearest statement of Becket’s belief in the uselessness of thought. Also, to terminate his thinking one has to remove his hat.

Pozzo who abuses him physically and verbally made to work him till the point of exhaustion. Lucky’s character has been portrayed as an enviable in Waiting for Godot by Samuel Becket, his name is just Lucky but he so unfortunate (unlucky), while all the characters has unnecessary dialogue in the play, he just remains quiet throughout the part of his appearance on stage, he only utters two sentences, one of which is more that seven hundred words long.

 Lucky suffers at the hands of Pozzo willingly and without hesitation, because he is tied to Pozzo by a ridiculously with long rope in the first act.

The rope is tied against his neck, when he is not serving Pozzo, he usually stands in one spot drooling, or sleeping if he stands there long enough. He has a picnic basket in which he has a coat, and a suitcase full of sands.

Lucky’s place in Waiting for Godot has been heavily debated by critic. Even his name is somewhat elusive. Some have marked him as “lucky” because he is “lucky” in the context of the play.” He does not have to search for things to occupy his time, which is a major pastime of the other characters. Pozzo tells him what to do, he does it, and is therefore lucky because his actions are determined, he follows Pozzos’s order. Beckett asserted, however, that he is “lucky” because he has “no expectations hence he ‘ll not be disappointed in life.

In the play, Lucky is often compared to Vladimir and Pozzo is compared to Estragon as being the intellectual, left-brained part of his character duo i.e. he represents one part of a larger, whole character, whose other half is represented by Pozzo. Pozzo and Lucky are simply an extreme form of the relationship between Estragon and Vladimir (the hapless impulsive and the intellect who protects him). His philosophies, like Vladimir, and is integral to Pozzo’s survival, especially in the second act. In the second act, Lucky becomes mute. Pozzo mourns this, despite the fact that it was he who silenced Lucky in the first act

Lucky is most famous for his speech in Act I. The monologue is prompted by Pozzo when the tramps ask him to make Lucky “think”. He asks them to give him his hat: when Lucky wears his hat, he is capable of thinking. The monologue is long, rambling word salad, and does not have any apparent end; it is only stopped when Vladimir takes the hat back. Within the gibberish Lucky makes comments on the arbitrary nature of God, man’s tendency to pine and fade away, and towards the end, the decaying state of the earth. His ramblings may be loosely based around the theories of an Irish philosopher Bishop Barkeley.

Perhaps Becket introduces Berkley into Lucky’s speech to link with Estragon’s question, that ‘Do you think God sees me’?

Nonetheless, Lucky we can say by reading the text, he has a master- slave relationship with Pozzo, who for Pozzo is like a burden of beast and represents human tragedy in the play.

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