Why does pozzo stop his journey

Why do Estragon and Vladimir consider suicide? Why does Estragon feel they have lost their rights? Although Estragon is concerned if we're tied to Godot, he seems at least equally concerned about what else? Describe the relationship between Pozzo and Lucky.

Lucky is like Pozzo's slave. Characterize Pozzo. Why does Pozzo stop his journey? How do Vladimir and Estragon react to Lucky?

Why is Vladimir shocked and what is scandalous to him? What are all the silences in Pozzo's speech when considering leaving? Why doesn't Estragon want to leave? How do Estragon and Vladimir patronize Pozzo? Why does Lucky always hold the bags according to Pozzo? Pozzo sits down again and begins to explain the twilight. When he finishes, he asks them to evaluate his performance and then offers to have Lucky perform for them. Estragon wants to see Lucky dance, while Vladimir wants to hear him think, so Pozzo commands him to dance and then think.

Lucky dances, and Estragon is not very impressed. Pozzo tells them that he used to dance much better. Vladimir asks him to tell Lucky to think, but Pozzo says that he cannot think without his hat. Vladimir puts Lucky's hat on his head and he begins to think aloud, spouting a long stream of words and phrases that amount to gibberish.

As he goes on, the other three suffer more and more and finally throw themselves on him and seize his hat to make him stop. Pozzo tramples on the hat, and the men help Lucky up and give him all the bags. Pozzo is about to leave, but finds that he cannot. He decides that he needs a running start, so he starts from the opposite end of the stage and drives Lucky across as they exchange good-byes. Pozzo's statement about his pipe, that the second pipe is never as "sweet" as the first, can apply to experience in general—it suggests that feelings and events dull with repetition.

Repetition of events in the play is emphasized by further textual repetition. When Vladimir and Estragon alternate short lines back and forth, Estragon often repeats himself at the end of a string of lines.

This occurs for the first time in this exchange: " Estragon : The circus. Vladimir : The music-hall. Estragon : The circus. We see here that Vladimir supports Estragon after Estragon is kicked by Lucky: when he cries that he cannot walk, Vladimir offers to carry him, if necessary.

This illustrates Vladimir's attempt to protect and take care of Estragon. Vladimir is often very quick to change his mind. Vladimir concludes: "We [all mankind] are waiting for Godot to come. At the end of Vladimir's speech, Pozzo's call for help loses importance as Vladimir once again asserts his pride in the fact that they have at least kept their appointment to meet Godot; not all people can make such a boast.

Vladimir's confusing the metaphysical with the practical anticipates the confused actions that are to immediately follow — that is, Vladimir decides that they should help Pozzo and Lucky get up, and the result is that all four of the men ultimately end up on the ground. Thus their cries for help fall on deaf ears. The entire scene in which the two tramps try to help two equally distraught figures get up returns the drama to the burlesque house.

The scene is a parody of many similar types of scenes found in burlesque theaters, thus emphasizing again the absurdity of man's actions, or in the words of Estragon: "We are all born mad.

Some remain so. Immediately after the above statement, Estragon leaves off with philosophy and becomes very practical; he wants to know how much Pozzo is willing to pay to be extricated from his position. Meanwhile, Vladimir is concerned with finding something to do to pass the time: "We are bored to death"; he begins his efforts to help Pozzo, but, as noted above, they all end up in a heap on the ground, and Pozzo, in fear, "extricates himself," then crawls away.

This incident also serves as a contrast to Pozzo's actions in the first act; there, he was proud and disdainful and asserted himself with aloofness and superiority. Now he has lost all his previous qualities and is simply a pathetic, blind figure crawling about on the ground.

Like Job or Sophocles' blind Oedipus, Pozzo seems to suggest that no man's life can be secure since tomorrow might bring incalculable catastrophes. Lying on the ground, Vladimir and Estragon try to call to Pozzo, who doesn't answer.

Then Estragon decides to call him by some other name:. It'd pass the time. And we'd be bound to hit on the right one sooner or later. Beckett's use of the names of Abel and Cain stresses the universality of the characters since Pozzo answers to both names.

According to some interpretations of the scriptures, all of mankind carries with it both the mark of Cain and the mark of Abel; thus Pozzo can answer to both names because "He's all humanity! To pass the time, Estragon suggests that they stand up. They do.