In this case, the sound that Vladimir and Estragon may or may not have heard is announcing not the coming of Godot but the coming of Lucky and Pozzo. The relationship of Lucky and Pozzo is so suggestive of a God-man relationship, and of the psychological power that Godot holds over the two main characters, that one wonders if Pozzo is not in fact Godot and therefore, symbolically, God. In fact, Vladimir and Estragon do think that Pozzo is Godot until Pozzo tells them otherwise. Even this denial on Pozzo's part is not necessarily an indication that he is not Godot, since Vladimir and Estragon were never quite sure of Godot's name in the first place.
In Act I, Pozzo is clearly the God of Lucky's world, even if he denies being the Godot of Vladimir's and Estragon's world. Pozzo keeps Lucky on a long leash, but it is clear that Lucky does not need the leash; he willingly responds to any of Pozzo's requests and does not drop his burden even when he might be allowed to. This devotion is repaid by horrible treatment from Pozzo. Their relationship is very similar to that of Job and God in the Old Testament. Job serves God wholeheartedly, and God responds by reducing Job's world to grief, pain, and pestilence. God has his reasons, unknown to Job, and it may be that Pozzo has his reasons as well, unknown to Lucky, Vladimir, Estragon, and the audience.
Lucky and Pozzo reappear in Act II, but the dynamic has changed entirely. Lucky remains on the leash, but he now leads Pozzo as Pozzo has gone blind. When Lucky passes out, Pozzo is helpless, relying on the confused, erratic good will of Vladimir and Estragon. The most concrete God figure presented in the first act, and the closest thing to Godot ever to appear in the play, only retains his power in that Lucky remains his servant -- again willingly, since he clearly has an advantage over his weak master and can leave at any time. The situation is muddied even more when Pozzo...
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