As noted above, Lucky is the obvious antithesis of Pozzo. At one point, Pozzo maintains that Lucky's entire existence is based upon pleasing him; that is, Lucky's enslavement is his meaning, and if he is ever freed, his life would cease to have any significance. Given Lucky's state of existence, his very name "Lucky" is ironic, especially since Vladimir observes that even "old dogs have more dignity."
All of Lucky's actions seem unpredictable. In Act I, when Estragon attempts to help him, Lucky becomes violent and kicks him on the leg. When he is later expected to dance, his movements are as ungraceful and alien to the concept of dance as one can possibly conceive. We have seldom encountered such ignorance; consequently, when he is expected to give a coherent speech, we are still surprised by his almost total incoherence. Lucky seems to be more animal than human, and his very existence in the drama is a parody of human existence. In Act II, when he arrives completely dumb, it is only a fitting extension of his condition in Act I, where his speech was virtually incomprehensible. Now he makes no attempt to utter any sound at all. Whatever part of man that Lucky represents, we can make the general observation that he, as man, is reduced to leading the blind, not by intellect, but by blind instinct.