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Perhaps the most cryptic and bizarre of Beckett's four hapless victims of fate, Lucky is unique in a play where most of the characters talk incessantly: he only utters two sentences (one of which happens to be more than seven hundred words long; see The monologue). Lucky suffers at the hands of Pozzo entirely willingly and without hesitation. 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; both tie around his neck. When he is not serving, he usually stands in one spot drooling or sleeping (if he stands there long enough). Throughout the play, he does little more than this, except for his famous speech.
It has been debated what Lucky represents in Godot in countless interpretations. Marxists interpret him as the struggling proletariat; Theologists see him as a Christ figure. There is a little consensus. Even his name is elusive. Some see him as "lucky" because he is "lucky in the context of the play." Because Lucky is relatively mindless, he does not have to search for things to occupy his time: Pozzo tells him what to do, and he does it. Therefore, since most of the play is spent trying to find things to pass the time, he is lucky because his actions are determined absolutely. Another interpretation is (somewhat facetiously) that he is lucky because he has only two lines. There, again, is no consensus. Interestingly, in the french version of the play, he is known by the same name as he is in the English version, rather than the French word for "lucky", Chanceux (this may be due to the fact that three characters in the play already had an "oh" sound at the end of their names).
Lucky is often compared to Vladimir (just as Pozzo is compared to Estragon) as being the intellectual (in a loose sense), left-brained part of his character duo (i.e. he represents one part of a larger, whole character, whose other half is represented by Pozzo). The theory is that Pozzo and Lucky are simply an extreme form of the relationship between Vladimir and Estragon (the hapless impulsive, and the intellect who protects him), and thus extreme forms of those very characters. He philosophises (in his own way) much like Vladimir does, and he is intergrel to Pozzo's survival (just as Vladimir is to Estragon's), especially in the second act. In this second act, Lucky (like Pozzo) goes through a rather radical change: he goes mute. Pozzo mourns this, despite the fact that it was he who vehemenantly silenced Lucky in the first act.
Lucky is most famous for his speech in Act I. The monologue is prompted by Pozzo when the tramps ask him to make Lucky "think". He asks them to give him his hat: when Lucky wears his hat, his capable of thinking. The monologue itself is long, rambling, and does not have any apparent end; it is only stopped when Vladimir takes the hat back. The text is full of sexual references, fake philosophers, and some toilet humour (albeit subtely). It is essentially written entirely in a stream of consciousness style, as there is no basic theme. There are quite likely more theories and interpretations about this one speech than anything about Lucky himself (see External link for more information, as well as a text of the monologue).