... aspects of the two character groups in the play, Didi-Gogo and Pozzo-Lucky: first in Act I and then, with at least the possibility of significant change in mind (a possibility too often assumed not to exist), in the succeeding act. Certainly, boredom is the mode of life of Didi and Gogo as we...

... or Endgame .” Though Lear ’s influence is most palpable in Endgame , the same elements are present in Godot , which evokes Lear ’s antagonistic universe, its dark humor, and—with Pozzo’s collapse—even blind Gloucester’s false fatal leap. Further connecting the three plays, Beckett was drafting Endgame...

... of absurdist drama as Jarry’s prototype clown P&re Ubu, or Beckett’s clownish varieties as represented by Didi, Gogo, Pozzo, and Lucky, or even the new working-class clown now emerging in the recent farces of Henry Livings. I am saying, in effect, that the story of the fool is not over, that drama...

... thought that the time was ripe to place into the pattern such figures of absurdist drama as Jarry’s prototype clown P&re Ubu, or Beckett’s clownish varieties as represented by Didi, Gogo, Pozzo, and Lucky, or even the new working-class clown now emerging in the recent farces of Henry Livings...

... . . . in this film . . . a blind man ill-treated, a dog run over, a son almost killed for no reason at all by his father.” The first sit- uation describes Pozzo in Act 2 of Godot; the second, the fate of Lousse’s Pomeranian in Molloy mentioned above; the third, the father- son conflict between Jacques...

... and Sir Andrew, and a broken pride for Malvolio. In fact, Twelfth Night and The Cherry Orchard perfectly illustrate the tragicomic con- stancy of human experience noted by Samuel Beckett’s Pozzo: “For each one who begins to weep somewhere else another stops. The same is true of the laugh.”G...

... of these crossings is not a comic book or novel or group of novels but a work of criticism such as The One vs. the Many. In one passage Woloch performs a thought experi- ment: “Imagine a Hall of Fame for minor characters — ranging from Pylades to Lucky and Pozzo, with a handful of Mercutios and Fridays...

.... Studi sul Tasso. 1954. Rev. by Giovanni Da Pozzo in LI, VII (1959, 243-247. 4440. Speirs, John. Medieval English Poetry: The Non-Chau- cerian Tradition. London : Faber and Faber, 1957. (Includes essays on “Sir Gawayne and the Grene Knight” and eight other Arthurian romances. ) Rev. in TLS...