POZZO
He used to dance the farandole, the fling, the brawl, the jig, the fandango and even the hornpipe. He capered. For joy. Now that's the best he can do. Do you know what he calls it?
ESTRAGON
The Scapegoat's Agony.
VLADIMIR
The Hard Stool.
POZZO
The Net. He thinks he's entangled in a net. (1.589-92)
We can take Pozzo’s statement about the net and apply it to all the characters in Waiting for Godot. Check out "Symbolism, Imagery, and Allegory."
Quote 29
POZZO
(Lyrically) The tears of the world are a constant quantity. […] (He laughs.) Let us not then speak ill of our generation, it is not any unhappier than its predecessors. (Pause.) (1.461)
Pozzo would try to ignore suffering because it has always existed. Unfortunately, this sort of rationale leads to men like Pozzo treating men like Lucky the way that, well, the way that Pozzo treats Lucky.
Quote 30
POZZO
(groaning, clutching his head). I can't bear it . . . any longer . . . the way he goes on . . . you've no idea . . . it's terrible . . . he must go . . . (he waves his arms) . . . I'm going mad . . . (he collapses, his head in his hands) . . . I can't bear it . . . any longer . . . (1.471)
Pozzo’s character makes the case that suffering is self-imposed. He is upset by Lucky’s predicament, a situation of his own making.