Various keys to Endgame's interpretation are in place: "Endgame" is a term of chess; the name Hamm is shared by Noah's cursed son, it titles a kind of actor, it starts recalling Hamlet. But no interpretation I have seen details the textual evidence for these relations nor shows how the play's meaning opens with them. Without this, we will have a general impression of the play, one something like this: Beckett's perception is of a "meaningless universe" and language in his plays "serves to express the breakdown, the disintegration of language"—by, one gathers, itself undergoing disintegration. Such descriptions are usual in the discussions of Beckett I am aware of, but are they anything more than impositions from an impression of fashionable philosophy?…
The first critical problem is to discover how Beckett's objects mean at all, the original source of their conviction for us, if they have conviction. My argument will be that Beckett, in Endgame, is not marketing subjectivity, popularizing angst, amusing and thereby excusing us with pictures of our psychopathology; he is outlining the facts—of mind, of community—which show why these have become our pastimes. The discovery of Endgame, both in topic and technique, is not the failure of meaning (if that means the lack of meaning) but its total, even totalitarian, success—our inability not to mean what we are given to mean.
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