Topic: Identify Pozzos props and discuss how they define him. (Rope, pipe, stool, vaporizer or other).

Word limit: 500

Pozzo is one of the principal characters in Waiting for Godot and his presence is central to the development of the plot. He appears to have a multi-faceted personality largely defined by the props he uses. Some of these are the rope, the whip, his glasses and his pipe. Pozzos domineering demeanour is palpable upon his very entrance on stage. As Ruby Cohn astutely observes, Pozzo is the fat gentleman with the whip and the rope around the neck of Lucky his slave, his wretch, the being at the mercy of his will (72). Pozzo abuses his slave and this defines him as an egregious master. He has Lucky tied to a rope as a puppet on a string. His behaviour toward Lucky is interminably aberrant despite having been taught an array of wondrous things from him. Additionally, he never lets go of the rope. Their becoming an inseparable pair suggests Pozzos strong dependence on Lucky as well as his fear of abandonment. It is this fear which reinforces his perennial need for control. It is because of this fear that the rope, although long in the first act, becomes exceedingly short in the second. The whip is an inhuman, almost sadistic instrument of brutal torture. It reinforces Pozzos appearance as Luckys master and may underline a power relationship between the two. Luckys frequent flagellation could be seen as a means of testing his endurance or, as a form of punishment for insubordination. As Andrew Kennedy expertly suggests, Pozzo is the worst of all tyrants, one who owns the mind of his servile servant and totally dehumanizes him (39). The reader may not avoid bringing to mind Xerxes whipping of the sea as punishment for misconduct.

Pozzos glasses may be giving him an intellectual and sophisticated aura. He seems to think that they allow him to see matters clearly and intensify his belief that, despite his need for association, he is a superior human being. For example, he puts on his glasses before declaring I cannot go for long without the society of my likes even when the likeness is an imperfect one (Beckett, 24) Pozzos meal represents a form of ritual that ends in pipe smoking. He lights his pipe, stretches out his legs (Beckett,26) and has a propensity to enjoy the relaxation and sensory gratification provided by his pipe. The second is never so sweet as the first, but its sweet just the same (Beckett, 28). The pipe, being a way that extends his pleasure and stimulates his mental activity, helps him deliver various thoughtful, self-revealing remarks to his audience He can no longer endure my presence. I am not particularly human but who cares? (Beckett, 29) He also espouses an attention seeking attitude as he constantly demands his audiences undivided attention. It can be surmised that Pozzo acts as a self-indulgent, fearful, highly impudent, depraved tyrant. Although he engages in pleasure and attention seeking behaviours, his overall demeanour towards others underlines his superiority complex and utter loneliness.

Works Cited Cohn, Ruby, ed. Casebook on Waiting for Godot: The Impact of Beckett Modern Classic: Reviews, Reflections and Interpretations. New York: Grove Press. Print Kennedy, Andrew K. Samuel Beckett. Cambridge; New York: Cambridge UP, 1991. Print Beckett, Samuel. Waiting for Godot. 2nd ed. London: Faber and Faber, 1965. Print