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Godot can be seen as the ultimate capitalist. Perhaps he is a head of state, a corporate proprietor, or royalty. Not only is he powerful, he is also remote and invisible. The reader never encounters him, and, yet, Godot still influences the characters and the plot. A sort of veneration for his power emerges and Godot seems, at times, divine. Estragon and Vladimir are driven by their obedience of Godot. Their full purpose in the play is to wait for and to serve him. More than once they refer to Godot with a sense of fear and urgency:.
VLADIMIR: We have to come back to-morrow. .
ESTRAGON: What for?.
VLADIMIR: To wait for Godot. .
ESTRAGON: Ah! (Silence) He didn't come .
if we dropped him? (Pause) If we dropped him?.
VLADIMIR: He"d punish us. (Act II 107).
Vladimir and Estragon are destined to live meaningless lives at the convenience of their bourgeoisie. Godot is able to dictate the lives of those below him even without an actual presence. .
Pozzo represents a lesser, but still controlling, capitalist. Lucky is his little more than his subservient slave. Just as the bourgeoisie and the proletariat must combine to generate a product and continue their survival, Pozzo and Lucky also have a symbiotic relationship. Each needs the other. Their mutual dependence is shown in the first act by their connection with the rope. In the second act it is seen by blind Pozzo's need for Lucky as a guide. The two compliment each other. Lucky obeys Pozzo's every command because his master cares for him and makes decisions for him. Pozzo keeps Lucky so that he has someone to entertain and work for him:.
POZZO: (He jerks the rope.) Up pig! (Pause.) Every time he drops he falls asleep. (Jerks the rope.) Up hog! (Noise of Lucky getting up and picking up his baggage. Pozzo jerks rope.) Back! (Enter Lucky backwards.) Stop! (Lucky stops.) Turn! (Lucky turns.) (Act I 21).
This leads the reader to infer possible symbolism from the character's names.