Endgame and Act Without Words Essay -- Drama

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... ...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.