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Endgame has been regarded as an expression of Beckett's bleak and tragic vision. Moreover, some critics think it is a nihilistic and decadent work. This article shows that this play places stress not on the upcoming death/end but on their survival/continuity in a desperate situation. And the ultimate aim of this study is to provide positive evidences to the view that Beckett is “an extreme realist, though not an entirely optimist.”
Beckett had always written “three-way dialogues”: character 1, character 2 and the spectator. Thus, two kinds of relationship clearly drawn but closely linked are created－one between the characters, the other between the characters and the spectator.
In Endgame, the relationship between the characters repeats and varies in a love-hate relationship, which should be explained in terms of ordinariness and interdependency. Hamm and Clov are closely related and their symbiosis can be analyzed as the master-servant, the lovers and the father-son relationship. Nagg and Nell, Hamm’s dying parents, are closed in ash bin and bound indissolubly. They are all damaged, but they depend on each other to survive in some way no matter how awful. The fact that however bizarre they look they are simply a family, explains their interdependency more clearly. And the family bound in the circle of tyranny is never unfamiliar.
The relationship between the characters and the spectator is concerned with the sense of the highly theatrical quality of life which characterizes all of Beckett’s plays. For Hamm, acting－or self-dramatization－has become an essential means of survival. His fictionalization and storytelling also are highly developed strategies for maintaining personal sanity as well as control in what would otherwise be intolerable and unbearable circumstances. Spectators are not just witnesses but participants, and have to reconstruct a whole story with fragments and to think about the relationship of life and art, reality and illusion, the self and the role.
Interdependecy and self-dramatization are closely related in the sense that other characters are needed for Hamm’s role-playing.
Beckett had always written “three-way dialogues”: character 1, character 2 and the spectator. Thus, two kinds of relationship clearly drawn but closely linked are created－one between the characters, the other between the characters and the spectator.
In Endgame, the relationship between the characters repeats and varies in a love-hate relationship, which should be explained in terms of ordinariness and interdependency. Hamm and Clov are closely related and their symbiosis can be analyzed as the master-servant, the lovers and the father-son relationship. Nagg and Nell, Hamm’s dying parents, are closed in ash bin and bound indissolubly. They are all damaged, but they depend on each other to survive in some way no matter how awful. The fact that however bizarre they look they are simply a family, explains their interdependency more clearly. And the family bound in the circle of tyranny is never unfamiliar.
The relationship between the characters and the spectator is concerned with the sense of the highly theatrical quality of life which characterizes all of Beckett’s plays. For Hamm, acting－or self-dramatization－has become an essential means of survival. His fictionalization and storytelling also are highly developed strategies for maintaining personal sanity as well as control in what would otherwise be intolerable and unbearable circumstances. Spectators are not just witnesses but participants, and have to reconstruct a whole story with fragments and to think about the relationship of life and art, reality and illusion, the self and the role.
Interdependecy and self-dramatization are closely related in the sense that other characters are needed for Hamm’s role-playing.
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