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Essays on death in literature
Literary Analysis
Essays on samual beckett
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Beckett is the founder of exploring the meaning of theatrical absurdity. Beckett’s effortless writings over the years, created a unique dramatic persona in his plays that won him the Noble Peace prize. After receiving one of the highest awards known to humanity, he kept a low profile. This period alludes to the satisfaction of reaching his peak. Yet, in his later work, the Endgame makes a direct correlation with the satisfaction of making your peak a plateau. He creates a philosophical predicament in the Endgame of trying to discover the true reasoning for existence, when he could not find one reason why life exists. Throughout the play, he uses repetitive word usage, symbolism, emptiness seen in the characters to convey this message.
The Endgame does not offer a beginning as the first line of the play is already an ending. “Finished, it’s finished, nearly finished it must be nearly finished”, said by Clov to describe death as an ending moment of life (Beckett 767). The irony of beginning the play with the ending it conveys the dark misery of the story. The repetitive usage of the word ‘finished’ throughout this play helps the reader to understand that death was the life everyone looked forward too. “I hesitate to. . .to end. Yes , there it is, it’s time it ended and yet I hesitate to- to end (Beckett 768).” The repetitive word usage creates a vivid meaning that the thought of death keeps the characters alive. The main characters, Clov and Hamm, were both unhappy, but Clov was worst off. One thing that made them feel somewhat reassurance about their miserable lives is the numerous references to ‘Christ’ throughout the play.
“Bare interior. Gray Light...covered with an old sheet, HAMM (Beckett 767).” Aderholt suggested that symbo...
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... was very repetitive to give the reader a deeper meaning to show how the characters felt as they went through life. The symbolism help define the setting. As Clov and Hamm got older less events occurred which caused these feelings of sadness. They were frozen in time in a cyclic pattern ready for death each day but time seemed to slow down each day. There was no life, but death is what kept them alive.
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The climax of the play is in the last act in which the balance of
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At the centre of the existential angst, dominating the great movements of life, there lays an essential absurdity. England in the aftermath of the two wars inherited this absurdity that upheld the human predicament in a world where “nobody thinks, nobody cares. No beliefs, no convictions and no enthusiasm.” Camus in The Myth of Sisyphus diagnoses humanity’s plight as purposeless in an existence out of harmony with its surroundings. This irrationality and pointlessness of experience is transferred to the stage where by all semblance of logical construction and all intellectually viable argument is abundant. In the same strain, developed the Angry Plays of the Theatre of the Absurd. Beckett, Adamor and Pinter with the difference of attempting
Samuel Beckett has been known to write plays about nothingness. Over the years of Beckett's work being produced, he has gotten mixed reviews of confusion and shock at the apparent lack of plot and conventional theatrical tropes. Most of audiences at the time of the play's original production were expecting to see theatrical pieces that followed in suit with Victorien Sardou's theory of well-made play—a standard of the theatre for the time—borne out of the arguments found in Aristotle's Poetics (Esslin #). Beckett, in many ways goes against the traditional conventions of this expectation in the theatre, going so far as to eradicate some of them entirely. A myriad of Beckett's theatrical plots follow a single trajectory—they lack the first and foremost important element of tragedy, defined by Aristotle as having a clear beginning, middle and end, along with an "incentive movement" which "[starts] the cause and effect chain," eventually leading to a climax and dénouement. Instead, most of Beckett's characters are following a singular, indefinite and endless action that is, in the end, cyclical: the characters are left no better and no worse by the end of the play. Interestingly, though Beckett's characters are left heavily undefined, the vagueness of each lends them some, but not all, of Aristotle's requirements. The characters cannot be classified as definitely "good or fine" or showing "fitness of characters" as there is no plot of consequence to test their substance of character. And yet, there is reason to believe that Beckett's characters could be considered to be...
While Beckett’s works are often defined by their existentialist themes, Endgame seems to offer no solution to the despair and melancholia of Hamm, Clov, Nagg, and Nell. The work is replete with overdetermination that confounds the efforts of critics and philosophers to construct a single, unified theme for the play. Beckett resisted any effort to reconcile the problems of his world, offer solutions, or quench any fears overtly. However, this surface level of understanding that aligns Beckett with the pessimism of the Modernist movement is ironically different from the symbolic understanding that Beckett promotes through his characters and the scene. Beckett’s work does not suggest total hopelessness, but rather that the fears of change, self-centeredness, and despair of Hamm and Clov contribute to their miserable existence. He opposes the Modernist attitude of focus on the subjective, internal state, and reveals the soul of the Modernist to be shallow and starving.
Although Samuel Beckett's tragicomedy, Waiting for Godot, has no definite meaning or interpretation, the play acts as a statement of hopelessness regarding human existence. Debate surrounds the play because, due to its simplicity, almost any interpretation is valid. The main characters, Vladimir and Estragon, are aging men who must wait for a person, being, or object named Godot, but this entity never appears to grace the men with this presence. Both characters essentially demonstrate how one must go through life when hope is nonexistent as they pointlessly attempt to entertain themselves with glum conversation in front of a solitary tree. The Theater of the Absurd, a prevalent movement associated with Waiting for Godot, serves as the basis for the message of hopelessness in his main characters. Samuel Beckett's iconic Waiting for Godot and his perception of the characteristics and influence of the Theater of the Absurd illustrate the pointlessness and hopelessness regarding existence. In the play, boredom is mistaken for hopelessness because the men have nothing to do, as they attempt to occupy themselves as, for some reason, they need to wait for Godot. No hope is present throughout the two-act play with little for Estragon and Vladimir to occupy their time while they, as the title indicates, wait for Godot.