Endgame and Act Without Words

Endgame and Act Without Words

Beckett: Endgame

Hamm is horrofied at the notion that existence is a recurring matter

and therefore is cyclic; that beginnings and endings (60- 62) may be

amalgamated in the grand scheme of things and that life will start

afresh again. Nevertheless, the contradictions confuse his desires. He

is terrified of the flea and rat that Clov finds and wants to

exterminate them in case "humanity might start from there all over

again," but he also suggests that he and Clov go South to other

"mammals." He wants to be left alone, but clings to Clov and does

anything he can to pull him back into the room. Most confusingly, he

believes that nature is changing, though all evidence indicates that

it has "zero" change. Under his misanthropic exterior is a desperate

craving, the fear of being alone that has been with him ever since

childhood (as Nagg tells it).

Light (52- 56), which is used as a symbol of hope and life, expresses

many of the displayed facetts of Hamm's personality. He is attracted

to whatever light there is in a world where the light is fading (54),

asking Clov to push him under the window so he can feel it on his

face. On the other hand, we also learn that he withheld light from

someone named Mother Pegg, who died of darkness. Compounding this is

Hamm's blindness; he has been cursed with darkness (50-56), and he

wants others to share the same depressing and miserable fate. When he

polishes his dark glasses (41- 45), it is a futile routine of equal

parts poignancy, resentment and bitterness.

Indeed, Hamm's routines are all futile (38, 44). As in many of

Beckett's plays, routines are what humans perform to convince

themselves that death is not imminent, that each day is the same.

Ironically, the empty, absurd practices only push them closer to

death. In the "endgame" of his life, Hamm is only partially reconciled

to death—he wants it to come, but he admits that he "hesitate[s]" to

"finish." (Beckett 3) The routines fill this middle ground, staving

off death while drawing it ever closer. Both men question why they put

up with each other, and at one point Hamm suggests that Clov help him

out of compassion. The real reason is that both are dependent on each

other (8- 14) and afraid to leave and be alone, despite their constant

threats. The play takes a surprisingly moving turn here at the e...

... middle of paper ...

...aises the whistle to his lips, hesitates, drops it. Pause.)

74. Yes, truly!

75. (He whistles. Pause. Louder. Pause.)

76. Good.

77. (Pause.)

78. Father!

79. (Pause. Louder.)

80. Father!

81. (Pause.)

82. Good.

83. (Pause.)

84. We're coming.

85. (Pause.)

86. And to end up with?

87. (Pause.)

88. Discard.

89. (He throws away the dog. He tears the whistle from his neck.)

90. With my compliments.

91. (He throws the whistle towards the auditorium. Pause. He sniffs.

Soft.)

92. Clov!

93. (Long pause.)

94. No? Good.

95. (He takes out the handkerchief.)

96. Since that's the way we're playing it...

97. (he unfolds handkerchief)

98. ...let's play it that way...

99. (he unfolds)

100..and speak no more about it... (he finishes unfolding)

101.speak no more.

102.(He holds handkerchief spread out before him.)

103.Old stancher!

104.(Pause.)

105.You... remain.

106.(Pause. He covers his face with handkerchief, lowers his arms to

armrests, 107. remains motionless.)

101.(Brief tableau.)

102.Curtain

Work Cited:

Beckett, Samuel. Endgame and Act Without Words. New York: Grove Press,

1958.