Lucky, the shadow serves as the polar opposite of the egocentric Pozzo, prototype of prosperous mediocrity, who incessantly controls and persecutes his subordinate, thus symbolising the oppression of the unconscious shadow by the despotic ego.

Their waiting is interrupted by the passing through of Pozzo and his heavily-laden slave Lucky.

When the original pairing tries to find out why Lucky does not put down his load ( at least not unless his master is prevailing on him to do something else ), Pozzo explains that Lucky is attempting to mollify him to prevent him from selling him.

Pozzo provides a handkerchief, but, when Estragon tries to wipe his tears away, Lucky kicks him.

Once Lucky has been revived, Pozzo has him pack up his things and they leave.

Vladimir tries to get Estragon to remember Pozzo and Lucky, but all he can call to mind are the bones and getting kicked.

They play at imitating Pozzo and Lucky, but Estragon can barely remember having met them and simply does what Vladimir asks.

Pozzo and Lucky arrive, with Pozzo now blind and insisting that Lucky is dumb.

The rope is much shorter, and Lucky – who has acquired a new hat – leads Pozzo, rather than being driven by him.

Lucky and Pozzo depart.

It has been contended that " Pozzo and Lucky are simply Didi and Gogo writ large ", unbalanced as their relationship is.

However, Pozzo's dominance is noted to be superficial ; " upon closer inspection, it becomes evident that Lucky always possessed more influence in the relationship, for he danced, and more importantly, thought – not as a service, but in order to fill a vacant need of Pozzo: he committed all of these acts for Pozzo.

" Pozzo credits Lucky with having given him all the culture, refinement, and ability to reason that he possesses.

Little is learned about Pozzo besides the fact that he is on his way to the fair to sell his slave, Lucky.

Lucky is the absolutely subservient slave of Pozzo and he unquestioningly does his every bidding with " dog-like devotion ".

Pozzo and Lucky have been together for sixty years and, in that time, their relationship has deteriorated.

Even in the second act when Pozzo has inexplicably gone blind, and needs to be led by Lucky rather than driving him as he had done before, Lucky remains faithful and has not tried to run away ; they are clearly bound together by more than a piece of rope in the same way that Didi and Gogo are " ied to Godot ".

Beckett himself sanctioned " one of the most famous mixed-race productions of Godot, performed at the Baxter Theatre in the University of Cape Town, directed by Donald Howarth, with [...] two black actors, John Kani and Winston Ntshona, playing Didi and Gogo ; Pozzo, dressed in checked shirt and gumboots reminiscent of an Afrikaner landlord, and Lucky (' a shanty town piece of white trash ') were played by two white actors, Bill Flynn and Peter Piccolo [...].

The reality is that Micheline Musseli Pozzo di Borgo, a French aristocrat who at 20 was France's youngest lawyer ever, brought considerable wealth to her marriage to Lerner and lost most of it through him, including nearly $ 600, 000 from the sale of her Parisian apartment, which Lerner placed in investments that either failed or were looted by him during periods of financial desperation.

Mezzo-fresco is painted on nearly-dry plaster was defined by the sixteenth-century author Ignazio Pozzo as " firm enough not to take a thumb-print " so that the pigment only penetrates slightly into the plaster.

The production was directed by Roger Blin, who also played the role of Pozzo.

" They have been together for fifty years but when asked – by Pozzo – they do not reveal their actual ages.

Graham Hassell writes, " he intrusion of Pozzo and Lucky [...] seems like nothing more than a metaphor for Ireland's view of mainland Britain, where society has ever been blighted by a greedy ruling élite keeping the working classes passive and ignorant by whatever means.

The boy ( or pair of boys ) may be seen to represent meekness and hope before compassion is consciously excluded by an evolving personality and character, and in which case may be the youthful Pozzo and Lucky.

Financial difficulties arose with the departure to Spain of Barberini, accompanied by Cassiano dal Pozzo, the antiquarian and the Cardinal's secretary, who later would become a great friend and patron.

Watford is currently owned by the Pozzo family, which also owns Udinese Calcio in Italy and Granada CF in Spain.

The interior, in Mannerist style, has an illusionistic canvas depicting a false dome by Andrea Pozzo ( 1702 ).

Approximately 1 km to the south of S ' Archittu is Torre del Pozzo (" The Well's Tower ), itself within the municipal territory of Cuglieri too, with its Is Arenas beach, which is more than seven km long, and flanked by the largest marine pine forest in Europe engulfing a world-renowned golf-club.

Between March and August 2009, he starred as Pozzo in Sean Mathias's production of Waiting for Godot by Samuel Beckett opposite Sir Ian McKellen ( Estragon ), Sir Patrick Stewart ( Vladimir ) and also Ronald Pickup ( Lucky ).

Engraving from Middleton's Germana quaedam antiquitatis eruditae monumenta ( 1745 ), showing a 1724 medal of Middleton by Giovanni Pozzo.

During the early years of his residence in Paris Pozzo laboured tirelessly to lessen the burdens laid on France by the allies and to shorten the period of foreign occupation.

by Charles Pozzo di Borgo ( 2 vols., Paris, 1890-1897 ); Vicomte A Maggiolo, Corse, France et Russie -- Pozzo Di Borgo 1764-1842 ( Paris, 1890 ); JBHR Capefigure, Les Diplomates européens ( 4 vols., 1843-1847 ).

Fresco with trompe l ' œil dome painted on low vaulting, Jesuitenkirche, Vienna | Jesuit Church, Vienna, by Andrea Pozzo, 1703

While by no means a villain in a conventional sense of the word, Pozzo is sometimes considered ( nominally ) the " antagonist " of Waiting for Godot.

It can be used for comic effect, as in Lucky's long speech in Godot when Pozzo says Lucky is demonstrating a talent for " thinking " as other characters comically attempt to stop him:

Although he did not lose in official standing, Pozzo was aware that this change was due to suspicions long harboured in various quarters in St Petersburg that his diplomacy was too favourable to French interests.

In his wisdom, Pozzo saw that his players needed to unwind after having trained for so long in preparation of the tournament and allowed the players a night of indulgence.

He is " tied " ( a favourite theme in Godot ) to Pozzo by a ridiculously long rope in the first act, and then a similarly ridiculous short rope in the second act.

When he is not serving Pozzo, he usually stands in one spot drooling or sleeping, if he stands there long enough.

Concrete discussion of doctrinal problems, pending clarification of which " the Society has no canonical status in the Church and its ministers cannot legitimately exercise any ministry ", began on 26 October 2009 with a meeting between experts of the two side, led on the part of the Commission by its Secretary, Monsignor Guido Pozzo, who has long been on the staff of the Congregation for the Doctrine of the Faith, and on the part of the Society by Bishop Alfonso de Galarreta.

Abraham has focused on stage work throughout his career, giving notable performances as Pozzo in Mike Nichols's production of Waiting for Godot, Malvolio in Twelfth Night for the New York Shakespeare Festival, and Shylock in The Merchant of Venice, for the Off Broadway Theatre For A New Audience ( TFANA ) in March 2007, which was performed at the Duke Theatre in New York and also at The Swan Theatre, part of the Royal Shakespeare Company.

An example of a perfect architectural trompe-l ' œil is the illusionistic dome in the Jesuit church, Vienna, by Andrea Pozzo, which is only slightly curved but gives the impression of true architecture.

Andrea Pozzo painted the ceiling which shows the saint in glory.

The largest plain is that in the area between Milazzo and Barcellona Pozzo di Gotto, which, together with Messina, form a metropolitan area of some 500, 000 inhabitants, one of the largest in southern Italy.

Affectionately known as Il Vecchio Maestro ( The Old Master ) and described as both an Anglophile and authoritarian, Pozzo's time as national coach coincided with the period in which Benito Mussolini governed Italy and it has been written that Pozzo was a beneficiary of that era in that he was able to command a type of control over players not permissible in the aftermath of that time.

Later Pozzo evolved the formation into the Sistema ( 2-3-2-3 formation ), which created a stronger defence.

The other matter that Pozzo benefited from was ‘ oriundi ’ ( that is foreign-born Italian ‘ nationals ’) which permitted Italy to take huge advantage of those players from other countries who could claim some type of Italian ancestry.

Cassiano dal Pozzo remarked of the painting in its former state, which he saw at Fontainebleau in 1625, that it had neither devotion, decorum nor similitude, the suavely beautiful, youthful and slightly androgynous Giovannino was so at variance with artistic conventions in portraying the Baptist — neither the older ascetic prophet nor the Florentine baby Giovannino, but a type of Leonardo's invention, of a disconcerting, somewhat ambiguous sensuality, familiar in Leonardo's half-length and upward-pointing Saint John the Baptist, also in the Louvre.