Endgame | Critical Essay by Martin Esslin

This literature criticism consists of approximately 16 pages of analysis & critique of Endgame.
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Critical Essay by Martin Esslin

If Waiting for Godot shows its two heroes whiling away the time in a succession of desultory, and never-ending, games, Beckett's second play deals with an "endgame," the final game in the hour of death.

Waiting for Godot takes place on a terrifyingly empty open road, Endgame in a claustrophobic interior. Waiting for Godot consists of two symmetrical movements that balance each other; Endgame has only one act that shows the running down of a mechanism until it comes to a stop. Yet Endgame, like Waiting for Godot, groups its characters in symmetrical pairs.

In a bare room with two small windows, a blind old man, Hamm, sits in a wheelchair. Hamm is paralyzed, and can no longer stand. His servant, Clov, is unable to sit down. In two ash cans that stand by the wall are Hamm's legless parents, Nagg and Nell. The world outside is dead. Some great catastrophe, of which the four characters in the play are, or believe themselves to be, the sole survivors, has killed all living beings.

Hamm and Clov (ham actor and clown?) in some ways resemble Pozzo and Lucky. Hamm is the master, Clov the servant. Hamm is selfish, sensuous, domineering. Clov hates Hamm and wants to leave him, but he must obey his orders "Do this, do that, and I do it. I never refuse. Why?" Will Clov have the force to leave Hamm? That is the source of the dramatic tension of the play. If he leaves, Hamm must die, as Clov is the only one left who can feed him. But Clov also must die, as there is no else left in the world, and Hamm's store is the last remaining source of food. If Clov can muster the will power to leave, he will not only kill Hamm but commit suicide. He will thus succeed where Estragon and Vladimir have failed so often.

Hamm fancies himself as a writer—or, rather, as the spinner of a tale of which he composes a brief passage every day. It is a story about a catastrophe that caused the death of large numbers of people. On this particular day, the tale has reached an episode in which the father of a starving child asks Hamm for bread for his child. Finally the father begs Hamm to take in his child, should it still be alive when he gets back to his home. It appears that Clov might well be that very child. He was brought to Hamm when he was too small to remember. Hamm was a father to him, or, as he himself puts it, "But for me … no father. But for Hamm … no home." The situation in Endgame is the reverse of that in Joyce's Ulysses, where a father finds a substitute for a lost son. Here a foster son is trying to leave his foster father.

Clov has been trying to leave Hamm ever since he was born, or as he says, "Ever since I was whelped." Hamm is burdened with a great load of guilt. He might have saved large numbers of people who begged him for help. "The place was crawling with them!" One of the neighbors, old Mother Pegg, who was "bonny once, like a flower of the field" and perhaps Hamm's lover, was killed through his cruelty: "When old Mother Pegg asked you for oil for her lamp and you told her to get out to hell … you know what she died of, Mother Pegg? Of darkness." Now the supplies in Hamm's own household are running out: the sweets, the flour for the parents' pap, even Hamm's painkiller. The world is running down. "Something is taking its course."

Hamm is childish; he plays with a three-legged toy dog, and he is full of self-pity. Clov serves him as his eyes. At regular intervals he is asked to survey the outside world from the two tiny windows high up in the wall. The right-hand window looks out on land, the left-hand onto the sea. But even the tides have stopped.

Hamm is untidy. Clov is a fanatic of order.

Hamm's parents, in their dustbins, are grotesquely sentimental imbeciles. They lost their legs in an accident while cycling through the Ardennes on their tandem, on the road to Sedan. They remember the day they went rowing on Lake Como—the day after they became engaged—one April afternoon (cf. the love scene in a boat on a lake in Krapp's Last Tape), and Nagg, in the tones of an Edwardian raconteur, retells the funny story that made his bride laugh then and that he has since repeated ad nauseam.

Hamm hates his parents. Nell secretly urges Clov to desert Hamm. Nagg, having been awakened to listen to Hamm's tale, scolds him: "Whom did you call when you were a tiny boy, and were frightened in the dark? Your mother? No. Me." But he immediately reveals how selfishly he ignored these calls.

We let you cry. Then we moved out of earshot, so that we might sleep in peace…. I hope the day will come when you'll really need to have me listen to you…. Yes, I hope I'll live till then, to hear you calling me like when you were a tiny little boy, and were frightened, in the dark, and I was your only hope.

As the end approaches, Hamm imagines what will happen when Clov leaves him. He confirms Nagg's forecast: "There I'll be in the old shelter, alone against the silence and … the stillness…. I'll have called my father and I'll have called my … my son," which indicates that he does indeed regard Clov as his son.

For a last time, Clov looks out of the windows with his telescope. He sees something unusual. "A small … boy!" But it is not entirely clear whether he has really seen this strange sign of continuing life, "a potential procreator." In some way, this is the turning point. Hamm says, "It's the end, Clov, we've come to the end. I don't need you any more." Perhaps he does not believe that Clov will really be able to leave him. But Clov has finally decided that he will go: "I open the door of the cell and go. I am so bowed I only see my feet, if I open my eyes, and between my legs a little trail of black dust. I say to myself that the earth is extinguished, though I never saw it lit…. It's easy going…. When I fall I'll weep for happiness." And as blind Hamm indulges in a last monologue of reminiscence and self-pity, Clov appears, dressed for departure in a Panama hat, tweed coat, raincoat over his arm, and listens to Hamm's speech, motionless. When the curtain falls, he is still there. It remains open whether he will really leave.

The final tableau of Endgame bears a curious resemblance to the ending of a little-known but highly significant play by the brilliant Russian dramatist and man of the theatre Nikolai Evreinov, which appeared in an English translation as early as 1915—The Theatre of the Soul. This one-act play is a monodrama that takes place inside a human being and shows the constituent parts of his ego, his emotional self and his rational self in conflict with each other. The man, Ivanov, is sitting in a café, debating with himself whether to run away with a night-club singer or go back to his wife. His emotional self urges him to leave, his rational self tries to persuade him of the advantages, moral and material, of staying with his wife. As they come to blows, a bullet pierces the heart that has been beating in the background. Ivanov has shot himself. The rational and emotional selves fall down dead. A third figure, who has been sleeping in the background, gets up. He is dressed in traveling clothes and carries a suitcase. It is the immortal part of Ivanov that now has to move on.

While it is unlikely that Beckett knew this old and long-forgotten Russian play, the parallels are very striking. Evreinov's monodrama is a purely rational construction designed to present to a cabaret audience what was then the newest psychological trend. Beckett's play springs from genuine depths. Yet the suggestion that Endgame may also be a monodrama has much to be said for it. The enclosed space with the two tiny windows through which Clov observes the outside world; the dustbins that hold the suppressed and despised parents, and whose lids Clov is ordered to press down when they become obnoxious; Hamm, blind and emotional; Clov, performing the function of the senses for him—all these might well represent different aspects of a single personality, repressed memories in the subconscious mind, the emotional and the intellectual selves. Is Clov then the intellect, bound to serve the emotions, instincts, and appetites, and trying to free himself from such disorderly and tyrannical masters, yet doomed to die when its connection with the animal side of the personality is severed? Is the death of the outside world the gradual receding of the links to reality that takes place in the process of aging and dying? Is Endgame a monodrama depicting the dissolution of a personality in the hour of death?

It would be wrong to assume that these questions can be definitely answered. Endgame certainly was not planned as a sustained allegory of this type. But there are indications that there is an element of monodrama in the play. Hamm describes a memory that is strangely reminiscent of the situation in Endgame:

I once knew a madman who thought the end of the world had come. He was a painter—an engraver…. I used to go and see him in the asylum. I'd take him by the hand and drag him to the window. Look! There! All that rising corn! And there! Look! The sails of the herring fleet! All that loveliness!… He'd snatch away his hand and go back into his corner. Appalled. All he had seen was ashes…. He alone had been spared. Forgotten … It appears the case is … was not so … so unusual.

Hamm's own world resembles the delusions of the mad painter. Moreover, what is the significance of the picture mentioned in the stage directions? "Hanging near door, its face to wall, a picture." Is that picture a memory? Is the story a lucid moment in the consciousness of that very painter whose dying hours we witness from behind the scenes of his mind?

Beckett's plays can be interpreted on many levels. Endgame may well be a monodrama on one level and a morality play about the death of a rich man on another. But the peculiar psychological reality of Beckett's characters has often been noticed. Pozzo and Lucky have been interpreted as body and mind; Vladimir and Estragon have been seen as so complementary that they might be the two halves of a single personality, the conscious and the subconscious mind. Each of these three pairs—Pozzo-Lucky; Vladimir-Estragon; Hamm-Clov—is linked by a relationship of mutual interdependence, wanting to leave each other, at war with each other, and yet dependent on each other. "Nec tecum, nec sine te." This is a frequent situation among people—married couples, for example—but it is also an image of the interrelatedness of the elements within a single personality, particularly if the personality is in conflict with itself.

In Beckett's first play, Eleutheria, the basic situation was, superficially, analogous to the relationship between Clov and Hamm. The young hero of that play wanted to leave his family; in the end he succeeded in getting away. In Endgame, however, that situation has been deepened into truly universal significance; it has been concentrated and immeasurably enriched precisely by having been freed from all elements of a naturalistic social setting and external plot. The process of contraction, which Beckett described as the essence of the artistic tendency in his essay on Proust, has here been carried out triumphantly. Instead of merely exploring a surface, a play like Endgame has become a shaft driven deep down into the core of being; that is why it exists on a multitude of levels, revealing new ones as it is more closely studied. What at first might have appeared as obscurity or lack of definition is later recognized as the very hallmark of the density of texture, the tremendous concentration of a work that springs from a truly creative imagination, as distinct from a merely imitative one.

The force of these considerations is brought out with particular clarity when we are confronted by an attempt to interpret a play like Endgame as a mere exercise in conscious or subconscious autobiography. In an extremely ingenious essay ["Joyce the Father, Beckett the Son," The New Leader (December 14, 1959)] Lionel Abel has worked out the thesis that in the characters of Hamm and Pozzo, Beckett may have portrayed his literary master, James Joyce, while Lucky and Clov stand for Beckett himself. Endgame then becomes an allegory of the relationship between the domineering, nearly blind Joyce and his adoring disciple, who felt himself crushed by his master's overpowering literary influence. Superficially the parallels are striking: Hamm is presented as being at work on an interminable story, Lucky is being made to perform a set piece of thinking, which, Mr. Abel argues, is in fact a parody of Joyce's style. Yet on closer reflection this theory surely becomes untenable; not because there may not be a certain amount of truth in it (every writer is bound to use elements of his own experience of life in his work) but because, far from illuminating the full content of a play like Endgame, such an interpretation reduces it to a trivial level. If Endgame really were nothing but a thinly disguised account of the literary, or even the human, relationship between two particular individuals, it could not possibly produce the impact it has had on audiences utterly ignorant of these particular, very private circumstances. Yet Endgame undoubtedly has a very deep and direct impact, which can spring only from its touching a chord in the minds of a very large number of human beings. The problems of the relationship between a literary master and his pupil would be very unlikely to elicit such a response; very few people in the audience would feel directly involved. Admittedly, a play that presented the conflict between Joyce and Beckett openly, or thinly disguised, might arouse the curiosity of audiences who are always eager for autobiographical revelations. But this is just what Endgame does not do. If it nevertheless arouses profound emotion in its audience, this can be due only to the fact that it is felt to deal with a conflict of a far more universal nature. Once that is seen, it becomes clear that while it is fascinating to argue about the aptness of such autobiographical elements, such a discussion leaves the central problem of understanding the play and exploring its many-layered meanings still to be tackled.

As a matter of fact, the parallels are by no means so close: Lucky's speech in Waiting for Godot, for example, is anything but a parody of Joyce's style. It is, if anything, a parody of philosophical jargon and scientific double-talk—the very opposite of what either Joyce or Beckett ever wanted to achieve in their writing. Pozzo, on the other hand, who would stand for Joyce, is utterly inartistic in his first persona, and becomes reflective in a melancholy vein only after he has gone blind. And if Pozzo is Joyce, what would be the significance of Lucky's dumbness, which comes at the same time as Pozzo's blindness? The novel that Hamm composes in Endgame is characterized by its attempt at scientific exactitude, and there is a clear suggestion that it is not a work of art at all, but a thinly disguised vehicle for the expression of Hamm's sense of guilt about his behavior at the time of the great mysterious calamity, when he refused to save his neighbors. Clov, on the other hand, is shown as totally uninterested in Hamm's "Work in Progress," so that Hamm has to bribe his senile father to listen to it—surely a situation as unlike that of Joyce and Beckett as can be imagined.

The experience expressed in Beckett's plays is of a far more profound and fundamental nature than mere autobiography. They reveal his experience of temporality and evanescence; his sense of the tragic difficulty of becoming aware of one's own self in the merciless process of renovation and destruction that occurs with change in time; of the difficulty of communication between human beings; of the unending quest for reality in a world in which everything is uncertain and the borderline between dream and reality is ever shifting; of the tragic nature of all love relationships and the self-deception of friendship (of which Beckett speaks in the essay on Proust), and so on. In Endgame we are also certainly confronted with a very powerful expression of the sense of deadness, of leaden heaviness and hopelessness, that is experienced in states of deep depression: the world outside goes dead for the victim of such states, but inside his mind there is ceaseless argument between parts of his personality that have become autonomous entities.

This is not to say that Beckett gives a clinical description of psychopathological states. His creative intuition explores the elements of experience and shows to what extent all human beings carry the seeds of such depression and disintegration within the deeper layers of their personality. If the prisoners of San Quentin responded to Waiting for Godot, it was because they were confronted with their own experience of time, waiting, hope, and despair; because they recognized the truth about their own human relationships in the sadomasochistic interdependence of Pozzo and Lucky and in the bickering hate-love between Vladimir and Estragon. This is also the key to the wide success of Beckett's plays: to be confronted with concrete projections of the deepest fears and anxieties, which have been only vaguely experienced at a half-conscious level, constitutes a process of catharsis and liberation analogous to the therapeutic effect in psychoanalysis of confronting the subconscious contents of the mind. This is the moment of release from deadening habit, through facing up to the suffering of the reality of being, that Vladimir almost attains in Waiting for Godot. This also, probably, is the release that could occur if Clov had the courage to break his bondage to Hamm and venture out into the world, which may not, after all, be so dead as it appeared from within the claustrophobic confines of Hamm's realm. This, in fact, seems to be hinted at by the strange episode of the little boy whom Clov observes in the last stages of Endgame. Is this boy a symbol of life outside the closed circuit of withdrawal from reality?

It is significant that in the original, French version, this episode is dealt with in greater detail than in the later, English one. Again Beckett seems to have felt that he had been too explicit. And from an artistic point of view he is surely right; in his type of theatre the half-light of suggestion is more powerful than the overtly symbolical. But the comparison between the two versions is illuminating nevertheless. In the English version, Clov, after expressing surprise at what he has discovered, merely says:

CLOV. (Dismayed). Looks like a small boy!

HAMM. (Sarcastic). A small … boy!

CLOV. I'll go and see. (He gets down, drops the telescope, goes towards the door, turns) I'll take the gaff. (He looks for the gaff, sees it; picks it up, hastens towards the door)

HAMM. No!

(Clov halts)

CLOV. No? A potential procreator?

HAMM. If he exists he'll die there or he'll come here. And if he doesn't … (Pause)

In the original, French version, Hamm shows far greater interest in the boy, and his attitude changes from open hostility to resignation.

CLOV. There is someone there! Someone!

HAMM. Well, go and exterminate him! (Clov gets down from the stool) Somebody! (With trembling voice) Do your duty! (Clov rushes to the door) No, don't bother. (Clov stops) What distance? (Clov climbs back on the stool, looks through the telescope)

CLOV. Seventy … four meters.

HAMM. Approaching? Receding?

CLOV. (continues to look). Stationary.

HAMM. Sex?

CLOV. What does it matter? (He opens the window, leans out. Pause. He straightens, lowers the telescope, turns to Hamm, frightened.) Looks like a little boy.

HAMM. Occupied with?

CLOV. What?

HAMM. (Violently). What is he doing?

CLOV. (Also). I don't know what he's doing. What little boys used to do. (He looks through the telescope. Pause. Puts it down, turns to Hamm.) He seems to be sitting on the ground, with his back against something.

HAMM. The lifted stone. (Pause) Your eyesight is getting better. (Pause) No doubt he is looking at the house with the eyes of Moses dying.

CLOV. No.

HAMM. What is he looking at?

CLOV. (Violently). I don't know what he is looking at. (He raises the telescope. Pause. Lowers the telescope, turns to Hamm.) His navel. Or thereabouts. (Pause) Why this cross-examination?

HAMM. Perhaps he is dead.

After this, the French text and the English version again coincide: Clov wants to tackle the newcomer with his gaff, Hamm stops him, and, after a brief moment of doubt as to whether Clov has told him the truth, realizes that the turning point has come:

It's the end, Clov, we've come to the end. I don't need you any more.

The longer, more elaborate version of this episode clearly reveals the religious or quasi-religious symbolism of the little boy; the references to Moses and the lifted stone seem to hint that the first human being, the first sign of life discovered in the outside world since the great calamity when the earth went dead, is not, like Moses, dying within sight of the promised land, but, like Christ the moment after the resurrection, has been newly born into a new life, leaning, a babe, against the lifted stone. Moreover, like the Buddha, the little boy contemplates his navel. And his appearance convinces Hamm that the moment of parting, the final stage of the endgame, has come.

It may well be that the sighting of this little boy—undoubtedly a climactic event in the play—stands for redemption from the illusion and evanescence of time through the recognition, and acceptance, of a higher reality: the little boy contemplates his own navel; that is, he fixes his attention on the great emptiness of nirvana, nothingness, of which Democritus the Abderite has said, in one of Beckett's favorite quotations, "Nothing is more real than nothing."

There is a moment of illumination, shortly before he himself dies, in which Murphy, having played a game of chess, experiences a strange sensation:

… and Murphy began to see nothing, that colorlessness which is such a rare post-natal treat, being the absence … not of percipere but of percipi. His other senses also found themselves at peace, an unexpected pleasure. Not the numb peace of their own suspension, but the positive peace that comes when the somethings give way, or perhaps simply add up, to the Nothing, than which in the guffaw of the Abderite naught is more real. Time did not cease, that would be asking too much, but the wheels of rounds and pauses did, as Murphy with his head among the armies [i.e., of the chessmen] continued to suck in, through all the posterns of his withered soul, the accidentless One-and-Only conveniently called Nothing.

Does Hamm, who has shut himself off from the world and killed the rest of mankind by holding on to his material possessions—Hamm, blind, sensual, egocentric—then die when Clov, the rational part of the self, perceives the true reality of the illusoriness of the material world, the redemption and resurrection, the liberation from the wheels of time that lies in union with the "accidentless One-and-Only, conveniently called Nothing"? Or is the discovery of the little boy merely a symbol of the coming of death—union with nothingness in a different, more concrete sense? Or does the reappearance of life in the outside world indicate that the period of loss of contact with the world has come to an end, that the crisis has passed and that a disintegrating personality is about to find the way back to integration, "the solemn change towards merciless reality in Hamm and ruthless acceptance of freedom in Clov," as the Jungian analyst Dr. Metman puts it?

There is no need to try to pursue these alternatives any further; to decide in favor of one would only impair the stimulating coexistence of these and other possible implications. There is, however, an illuminating commentary on Beckett's views about the interrelation between material wants and a feeling of restlessness and futility in the short mime-play Act Without Words, which was performed with Endgame during its first run. The scene is a desert onto which a man is "flung backwards." Mysterious whistles draw his attention in various directions. A number of more or less desirable objects, notably a carafe of water, are dangled before him. He tries to get the water. It hangs too high. A number of cubes, obviously designed to make it easier for him to reach the water, descend from the flies. But however ingeniously he piles them on top of one another, the water always slides just outside his reach. In the end he sinks into complete immobility. The whistle sounds—but he no longer heeds it. The water is dangled in front of his face—but he does not move. Even the palm tree in the shade of which he has been sitting is whisked off into the flies. He remains immobile, looking at his hands.

Here again we find man flung onto the stage of life, at first obeying the call of a number of impulses, having his attention drawn to the pursuit of illusory objectives by whistles from the wings, but finding peace only when he has learned his lesson and refuses any of the material satisfactions dangled before him. The pursuit of objectives that forever recede as they are attained—inevitably so through the action of time, which changes us in the process of reaching what we crave—can find release only in the recognition of that nothingness which is the only reality. The whistle that sounds from the wings resembles the whistle with which Hamm summons Clov to minister to his material needs. And the final, immobile position of the man in Act Without Words recalls the posture of the little boy in the original version of Endgame.

The activity of Pozzo and Lucky, the driver and the driven, always on the way from place to place; the waiting of Estragon and Vladimir, whose attention is always focused on the promise of a coming; the defensive position of Hamm, who has built himself a shelter from the world to hold on to his possessions, are all aspects of the same futile preoccupation with objectives and illusory goals. All movement is disorder. As Clov says, "I love order. It's my dream. A world where all would be silent and still and each thing in its last place, under the last dust."

Martin Esslin, "Samuel Beckett: The Search for the Self," in Twentieth Century Interpretations of 'Endgame': A Collection of Critical Essays, Prentice-Hall, Inc., 1969, pp. 22-32.

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