Endgame by Samuel Beckett is a perplexing piece of theatre by any standard. Because the entire production is confined to a single room in which a blind and wheelchair-bound man named Hamm has abstract, strange dialogue with his caretaker, Clov, the actual events in the play are very limited. Because there isn't much else going on, audience members are left looking for meaning in Hamm and Clov's rambling conversations, which frequently allude to the fact that the world outside Hamm's room has ended or turned to nothing. Despite this, the stories and asides offered by each of these characters never lead to a greater sense of meaning. In this regard, Beckett challenges audience members to piece together an overarching narrative that simply does not exist in the world of the play, because neither Hamm's nor Clov's stories cohere in meaningful, cogent ways. As a result, audience members are left with nothing but the simple—but strange—interactions that occur onstage. Samuel Beckett's absurdist view of existence is the subject of this article, which focuses on his play "Endgame." By employing the perspectives of distinguished critics along with the authors’ own analysis of Beckett's literary heritage, it is hoped that this will clarify how his works—with "Endgame" serving as a case study—represent absurdity, human misery, and the meaninglessness of life.
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