EndGame

By Samuel Beckett
TABLE OF
CONTENTS

01 02 03 04
Introduction Absurd Setting Characters
Theatre
TABLE OF
CONTENTS

05 06
Analysis Conclusion
 01
Introduction
 INTRODUCTION
Samuel Beckett's plays are marked by
the artist's vision of the world into
which his characters are placed.
‫ﺷﺎﻧﯚﻧﺎﻣەﮐﺎﻧ ﯽ ﺳﺎﻣﻮ ﻞﺑ ﮑ ﺖﺑە دﯾﺪﮔﺎی ﻫﻮﻧەرﻣەﻧﺪﺑﯚﺋەو‬

‫ﺟﯿﻬﺎﻧە دﯾﺎری‬
 INTRODUCTION
Endgame, by Samuel Beckett, is an
absurdist, tragicomic one-act play.

Endgame،‫ ﺷﺎﻧﯚﻧﺎﻣەﯾەﮐ ﯽﺑ ﻤﺎﻧﺎ و‬،‫ﻟەﻧﻮو ﺳﯿﻨ ﯽ ﺳﺎﻣﻮ ﻞﺑ ﮑ ﺖ‬

‫ﺗﺮاژﯾﺪی‬

‫ﮐﯚﻣﯿﺪﯾﯿە وﯾەکﺋەﮐﺘە‬.
Introduction
➢ He deals with the position and the situation of Man in his
surrounding world, which is a major and always recurring theme
in all his plays. ‫ ﮐە‬،‫ﻣﺎﻣە ەﻟەﮔەڵﭘ ﮕە وﺑﺎرودۆﺧ ﯽ ﻣﺮۆ ڤﻟە ﺟﯿﻬﺎﻧ ﯽ دەوروﺑەری ﺧﯚﯾﺪا دەﮐﺎت‬

‫ﺑﺎﺑەﺗ ﮑ ﯽ‬

➢ Beckett's hero is a Sisyphean type of man waiting for the

fulfillment of his fate, which seems to be eternal through his
suffering and hope. ‫ﭘﺎ ەواﻧ ﯽﺑ ﮑ ﺖ ﺟﯚر ﮑ ﯽ ﺳﯿﺰﯾﻔﯿﯿەﻟە ﻣﺮۆ ڤ ﮐە ﭼﺎوەڕ ﯽﺑەدﯾﻬ ﻨﺎﻧ ﯽ‬

‫ﭼﺎرەﻧﻮو ﺳ ﯽ‬

➢ He is alienated from the world, which is unknown, remote, and

indifferent, and from which he is isolated by the walls of himself.
‫ ﮐەﻧﺎدﯾﺎر و دوور وﺑ ﺒﺎﮐە و دﯾﻮارەﮐﺎﻧ ﯽ ﺧﯚیﻟ ﯽ داﺑ اوە‬،‫ﻟە دوﻧﯿﺎﻧﺎﻣﯚﯾە‬.
Introduction

➢ The conflict between two different substances - the

world and the human subject, leads to the feelings of
Absurdity and to fundamental existential questions
about the meaning of human life in a world where he
lives as a stranger.
‫ دەﺑ ﺘە ﻫﯚی ﻫە ﺳﺘ ﯽﺑ ﻤﺎﻧﺎﯾ ﯽ وﭘﺮ ﺳﯿﺎریﺑﻮوﻧﮕەراﯾ ﯽﺑﻨەڕەﺗ ﯽ‬،‫ ﺟﯿﻬﺎن وﺑﺎﺑەﺗ ﯽ ﻣﺮۆ ڤ‬-‫ﻣﻠﻤﻼﻧ ﯽﻧ ﻮان دوو ﻣﺎدەی ﺟﯿﺎواز‬

‫ﺳەﺑﺎرەتﺑە ﻣﺎﻧﺎیژﯾﺎﻧ ﯽ‬

‫ﻣﺮۆ ڤﻟە ﺟﯿﻬﺎﻧ ﮑﺪا ﮐە وەکﻧﺎﻣﯚﯾەک دەژی‬.

Introduction
➢ Throughout his play, Beckett uses ideas, symbols, objects, and
actions that reflect an ending.
‫ﺑ ﮑ ﺖﻟە در ﮋەی ﺷﺎﻧﯚﻧﺎﻣەﮐەﯾﺪاﺑﯿﺮۆﮐە و ﻫ ﻤﺎ و ﺷ ﺖ و ﮐﺮدارﺑەﮐﺎردەﻫ ﻨ ﺖ ﮐەڕەﻧﮕﺪاﻧەوەی ﮐﯚﺗﺎﯾﯿﯿەﮐ ﻦ‬.

➢ In Endgame the characters cannot choose; it seems that

everything is coming to an end and they can do nothing about it;
they have to accept it.
‫ﻟە‬Endgame ‫دا ﮐﺎرەﮐﺘەرەﮐﺎنﻧﺎﺗﻮاﻧ ﻦ ﻫەﺒﮋ ﺮن؛ وا دﯾﺎرە ﻫەﻣﻮو ﺷﺘ ﮏ ﺧەرﯾﮑە ﮐﯚﺗﺎﯾ ﯽ د ﺖ وﻧﺎﺗﻮاﻧ ﻦ ﻫﯿﭽ ﯽﻟ‬

➢ The play's world is devoid of meaning, warmth, humor and all

beautiful things.
‫ﺟﯿﻬﺎﻧ ﯽ ﺷﺎﻧﯚﻧﺎﻣەﮐە ﺧﺎ ﯿﯿەﻟە ﻣﺎﻧﺎ و ﮔەرﻣ ﯽ وﻧﻮﮐﺘە و ﻫەﻣﻮو ﺷﺘە ﺟﻮاﻧەﮐﺎن‬.
02
Absurd Theater
 Absurd Theater
The Theatre Of The Absurd has its
roots in the existentialist philosophy
of twentieth century.
‫ﺷﺎﻧﯚیﺑ ﻤﺎﻧﺎڕەگ وڕﯾ ﺸەیﻟە ﻓەﻟ ﺴەﻓەیﺑﻮوﻧﮕەراﯾ ﯽ ﺳەدەی‬

‫ﺑﯿ ﺴﺘەﻣﺪا ﻫەﯾە‬.

 ‫ﭘﺎﻨەری ﺳەرەﮐ ﯽ ﻓەﻟ ﺴەﻓەیﺑﻮوﻧﮕەراﯾ ﯽ دووﭘﺎﺗﮑﺮدﻧەوەیﺋﺎزادیﺑ ﻣەرﺟ ﯽ‬

Absurd Theater ‫ﺗﺎﮐەﻟە‬

" ‫ "جەوهەرەکان" و هەر جۆرە کۆنترۆڵێکی ڕێکخراو و بەو‬،"‫سیستەمەکان‬

➢ The primary motive of the existentialist philosophy is to affirm

the individual’s unconditional freedom from “systems”,
“essences” and any type of organized control thereby to
accept the resulting “homelessness” and anguish as ultimate
outcome.
➢ The prime intention of Beckett’s plays is to show “man” as
threatened by isolation. Cut off from his fellow beings by the
difficulties of communication, his action is futile and his
condition is irremediable.
‫ﺖﺋەوەﯾە ﮐە“مرۆڤ” وەک هەڕەشەیەکی گۆشەگیری نیشان‬ ‫ﻣەﺑە ﺳﺘ ﯽ ﺳەرەﮐ ﯽ ﺷﺎﻧﯚﻧﺎﻣەﮐﺎﻧ ﯽﺑ ﮑ‬

‫ﺑەﻫﯚی ﺳەﺧﺘﯿﯿەﮐﺎﻧ ﯽ‬.‫ﺑﺪر ﺖ‬

‫ ﮐﺮدارەﮐەیﺑ ﻬﻮدە وﺑﺎرودۆﺧەﮐەی ﭼﺎرە ﺳەرﻧەﮐﺮاوە‬،‫ﭘەﯾﻮەﻧﺪﯾﮑﺮدنﻟە ﻫﺎوﺑﻮوﻧەوەرەﮐﺎﻧ ﯽ داﺑ اوە‬.

Absurd Theater
➢ They provide us with a concrete and photographically correct
re-construction of real life and much more interestingly with
the vast field of internal reality, the fantasies,
dreams,hallucinations, secret longings, and fears of mankind.
‫ﺋەوان دووﺑﺎرەﺑﻨﯿﺎﺗﻨﺎﻧەوەی ﮐﯚﻧﮑﺮ ﺘ ﯽ و ﻓﯚﺗﯚﮔﺮاﻓ ﯽ درو ﺳﺘ ﯽژﯾﺎﻧ ﯽڕا ﺳﺘەﻗﯿﻨەﻣﺎنﺑﯚ داﺑﯿ ﻦ دەﮐەن وزۆر ﺳەرﻧﺠ اﮐ ﺸﺘﺮ‬

➢ What the writer expresses is not an ideological position, but

rather their bewilderment at the absence of the coherent and
generally accepted integrating principle, ideology, ethical
system in our world.
‫ﺑە ﮑﻮ ﺳەرﻟ ﺸ ﻮاوﯾﯿەﻟەﻧەﺑﻮوﻧ ﯽﭘﺮەﻧ ﺴﯿﭙ ﯽﯾەﮐﮕﺮﺗﻮو‬،‫ﺖ ﻫە ﻮ ﺴﺘ ﮑ ﯽﺋﺎﯾﺪﯾﯚﻟﯚژیﻧﯿﯿە‬ ‫ﺋەوەیﻧﻮو ﺳەر دەرﯾﺪەﺑ‬،

‫ ﺳﯿ ﺴﺘەﻣ ﯽﺋەﺧﻼﻗ ﯽ‬،‫ﺋﺎﯾﺪۆﻟﯚژﯾﺎ‬

Absurd Theater
➢ Samuel Beckett’s second play, Endgame indicates the
approach to “the end” which indeed is the principal theme of
all Beckett’s plays. The idea of the “Endgame” is taken from
the game of chess. ‫ ﺷﺎﻧﯚﻧﺎﻣەی دووەﻣ ﯽ ﺳﺎﻣﻮ ﻞﺑ ﮑ ﺖ‬،Endgame ‫“ﺋﺎﻣﺎژەﯾەﺑﯚﻧﺰﯾﮑﺒﻮوﻧەوەﻟە‬

‫کۆتایی” کە لە‬

➢ The struggle of Hamm to accept the end can be compared to

the refusal of novice players to admit defeat, whereas experts
normally resign after a serious blunder or setback.
‫دەﺗﻮاﻧﺮ ﺖ ﻣﻠﻤﻼﻧ ﯽ ﻫﺎمﺑﯚ ﻗﺒﻮ ﮑﺮدﻧ ﯽ ﮐﯚﺗﺎﯾ ﯽﺑەراوردﺑﮑﺮ ﺖﺑەڕەﺗﮑﺮدﻧەوەیﯾﺎرﯾﺰاﻧەﺗﺎزەﭘ ﮕەﯾ ﺸﺘﻮەﮐﺎنﺑﯚ داﻧﻨﺎنﺑە ﺷﮑ ﺴ ﺖ‬،

‫ﻟەﮐﺎﺗ ﮑﺪاﭘ ﺴﭙﯚڕانﺑە‬

‫ ﺷ ﻮەﯾەﮐ ﯽﺋﺎ ﺳﺎﯾ ﯽ دوای ﻫە ەﯾەﮐ ﯽ ﮔەورەﯾﺎنﭘﺎ ﺷەﮐ ﺸە دە ﺳ ﺖﻟەﮐﺎردەﮐ ﺸﻨەوە‬.

03
Setting
 Setting
Endgame, which was written in 1958,
depicts a prison-like room with two
windows that show a dead universe
and a "corpsed world".

Endgame ‫ژوور ﮑ ﯽ ﻫﺎو ﺷ ﻮەی‬،‫ﻧﻮو ﺳﺮاوە‬١٩٥٨ ‫ﮐەﻟە ﺳﺎ ﯽ‬

‫زﯾﻨﺪانﻧﯿ ﺸﺎن دەدات و دووﭘەﻧﺠەرەی ﻫەﯾە ﮐە ﮔەردووﻧ ﮑ ﯽ‬

Setting
➢ The play's world is devoid of meaning, warmth, humor and all beautiful
things. ‫ﺟﯿﻬﺎﻧ ﯽ ﺷﺎﻧﯚﻧﺎﻣەﮐە ﺧﺎ ﯿﯿەﻟە ﻣﺎﻧﺎ و ﮔەرﻣ ﯽ وﻧﻮﮐﺘە و ﻫەﻣﻮو ﺷﺘە ﺟﻮاﻧەﮐﺎن‬.
➢ This play portrays a universe which is nearing its end but which could
continue repeating itself: the end which all seem to be moving toward
is both certain and elusive.
‫ﺋەم ﺷﺎﻧﯚﮔەرﯾﯿە ﮔەردووﻧ ﮏﻧﯿ ﺸﺎن دەدات ﮐەﻧﺰﯾﮑەﻟە ﮐﯚﺗﺎﯾ ﯽﺑەﺎم دەﺗﻮاﻧ ﺖﺑەردەوامﺑ ﺖﻟە دووﺑﺎرەﺑﻮوﻧەوەی ﺧﯚی‬:

➢ The setting and situation of the play suggests an underground bomb

shelter,possibly after the occurrence of a nuclear holocaust.
‫ﺷﻮ ﻦ و دۆﺧ ﯽ ﺷﺎﻧﯚﻧﺎﻣەﮐەﭘ ﺸﻨﯿﺎریﭘەﻧﺎﮔەﯾەﮐ ﯽ‬ ‫ ﺷﻮ ﻨ ﯽ ﻓﯿﻠﻤ ﯽ‬Endgame ‫ وەک‬،‫ژوور ﮑ ﯽڕووﺗە وﺑە ﺷ ﮑ ﯽژ ﺮزەﻣﯿﻨﯿﯿە‬
‫ژ ﺮزەﻣﯿﻨﯿ ﯽ‬ ‫ﭘەﻧﺎﮔەﯾەکﺑﯚ‬
➢ The setting for Endgame is a bare, partially underground room, serving
as shelter for the four characters: Hamm the master, Clov his servant,
and Hamm’s father and mother, Nagg and Nell.
Setting
➢ The stage direction and the setting show some sort of
deterioration. There are a limited number of characters acting
throughout the play and most of the time they are described as
motionless with fixed gaze.
‫ژﻣﺎرەﯾەﮐ ﯽ ﺳﻨﻮوردارﻟە ﮐﺎرەﮐﺘەرەﮐﺎنﺑە در ﮋاﯾ ﯽ ﺷﺎﻧﯚﻧﺎﻣەﮐەڕۆڵ‬.‫ﺋﺎرا ﺳﺘەی ﺷﺎﻧﯚ و ﺷﻮ ﻨ ﯽﯾﺎرﯾﯿەﮐە ﺟﯚر ﮏﻟەﺗ ﮑﭽﻮونﻧﯿ ﺸﺎن دەدات‬

➢ Clov describes the kitchen as, "ten feet by ten feet by ten feet".The
stage is decorated with the bare essentials; the overall setting is
acell-like prison with two windows that,"…stinks of corpses". .
‫ شانۆکە بە شتە سەرەکییە ڕووتەکان‬."‫ "دە پێ لە دە پێ لە دە پێ‬،‫کلۆڤ چێشتخانەکە بەم شێوەیە وەسف دەکات‬

‫ڕازاوەﺗەوە؛ڕ ﮑﺨ ﺴﺘﻨ ﯽ ﮔ ﺸﺘ ﯽ‬

‫بۆگەنی تەرمی مرۆڤەکانە‬..."‫"زیندانێکی هاوشێوەی ئاسێڵە کە دوو پەنجەرەی هەیە کە‬. .

Nature
➢ Nature and the living creatures have also reached the end of the line.
The images that Clov gives of the outer world are all bleak: the zero
vision, the dead world, the leaden waves and the grey light.
‫ﺋەو و ﻨﺎﻧەی ﮐە ﮐﻠﯚ ڤﻟەﺑﺎرەی ﺟﯿﻬﺎﻧ ﯽ‬.‫ﺳﺮو ﺷ ﺖ وﺑﻮوﻧەوەرەزﯾﻨﺪووەﮐﺎﻧﯿ ﺶ ﮔەﯾ ﺸﺘﻮوﻧەﺗە ﮐﯚﺗﺎﯾ ﯽ ﻫ ەﮐە‬

‫دەرەوە دەﯾﺪات‬،

➢ Every single living thing seems to be dying like the rat in the kitchen.
Hamm wants to hear the sea and so asks Clov to open the window but
Clov claims that he cannot hear it.
‫ ﻫﺎم دەﯾەو ﺖ ﮔﻮ ﯽﻟە دەرﯾﺎﺑ ﺖ وﺑﯚﯾە‬.‫ﭘ ﺪەﭼ ﺖ ﻫەﻣﻮوﺗﺎﮐە زﯾﻨﺪووﯾەک وەک ﻣ ﺸﮑ ﯽﻧﺎو ﭼ ﺸﺘﺨﺎﻧەﮐەﺑﻤﺮ ﺖ‬

➢ "There are no more navigators," says Hamm and so the sea is calm . The
outside world is dead:" Outside of here it's death," and the ending is so
close that Hamm believes that if Clov leaves him, he will be dead too.
‫ کۆتاییەکەی‬،"‫" لە دەرەوەی ئێرە مردنە‬:‫ جیهانی دەرەوە مردووە‬.‫ "چیتر کەشتیوانان نەماون" و بۆیە دەریاکە ئارامە‬:‫هام دەڵێت‬
04
Characters
 Characters
In most of his works Beckett shows
that human faculties are
deteriorating and Endgame is no
exception.
‫ﺑ ﮑ ﺖﻟەزۆرﺑەیﺑەرﻫەﻣەﮐﺎﻧﯿﺪاﻧﯿ ﺸﺎن دەدات ﮐەﺗﻮاﻧﺎﮐﺎﻧ ﯽ‬

‫ﻣﺮۆ ڤﻟە‬
characters
➢ Hamm and Clov are not mobile; Hamm cannot stand and Clov
just moves in a limited way. Nagg and Nell are confined in a
dustbin totally without action and mobility.
‫ﺑەﺗەواوی‬ ‫ﻧﺎگ وﻧ‬.‫ﺖ‬ ‫ﻫﺎم و ﮐﻠﯚ ڤ ﻣﯚﺑﺎﯾ ﻞﻧﯿ ﻦ؛ ﻫﺎمﻧﺎﺗﻮاﻧ ﺖﺑﻮە ﺳﺘ ﺖ و ﮐﻠﯚ ڤﺗەﻧﻬﺎﺑە ﺷ ﻮەﯾەﮐ ﯽ ﺳﻨﻮوردار دەﺟﻮ‬

➢ Beckett’s characters are aware of nothing but the will they have
inside, which impels them to live. It is an unsurpassable instinct, a
blind and groundless power, operating in them, out of time, space,
and causality. ‫ﮐﺎرەﮐﺘەرەﮐﺎﻧ ﯽﺑ ﮑ ﺖﺋﺎﮔﺎداری ﻫﯿﭽ ﯽﺗﺮﻧﯿ ﻦ ﺟﮕەﻟەوﺋﯿﺮادەﯾەی ﮐەﻟەﻧﺎوەوە ﻫەﯾﺎﻧە‬،

‫ﮐەﭘﺎ ﯿﺎن‬

➢ They are propelled to life by unmotivated power.The characters all

show a kind of decay and their ending is emphasized by their
physical inability ‫ ﮐﺎرەﮐﺘەرەﮐﺎن ﻫەﻣﻮوﯾﺎن ﺟﯚر ﮏﻟە‬.‫ﺋەوانﺑەﻫﯚی ﻫ ﺰیﺑ ﭘﺎﻨەرەوەﺑەرەوژﯾﺎن دەڕۆن‬
 characters ‫وﻧﺎگ ﺷﮑ ﺴﺘ ﯽ ﻫ ﻨﺎوە وﺑەزەﺣﻤەت دەﺗﻮاﻧ ﻦﯾەﮐﺘﺮ‬ ‫ﺑﯿﻨﯿﻨ ﯽﻧ‬.‫ﻧﺎگ دداﻧ ﯽﻟەدە ﺳﺘﺪاوە‬

➢ Nagg has lost his tooth. Nell and Nagg's sight has failed and they
can hardly see each other. Their hearing has failed, too.
➢ They have had an accident and have lost their shanks. They are
both cold and freezing. ‫ ﻫەم ﺳﺎرد و ﻫەمﺑە ﺳﺘﻮو‬.‫ڕووداو ﮑﯿﺎنﺑە ﺳەر ﻫﺎﺗﻮوە و ﺷﺎﻧەﮐﺎﻧﯿﺎنﻟەدە ﺳﺘﺪاوە‬.
➢ Moreover their son, Hamm, cannot sleep:' if I could sleep I might
make love". ‫' ئەگەر بتوانم بخەوم ڕەنگە‬:‫ ناتوانێت بخەوێت‬،‫ هام‬،‫جگە لەوەش کوڕەکەیان‬
➢ Clov takes Nell's hands and says that she has no pulse. Clov's
vision is also deteriorating; he has pains in his legs and he thinks
that soon he will not be able to think anymore.
➢ Hamm is like a king in tragedy that little by little comes to an end
by throwing away his symbols of power like the dog and the
whistle
‫ﻫﺎم وەکﭘﺎ ﺷﺎﯾەک واﯾەﻟە ﮐﺎرە ﺳﺎﺗﺪا ﮐە وردە وردەﺑە ﻓ ﺪاﻧ ﯽ‬
‫ﺖ ﮐەﭘە ﺳﺘﺎﻧ ﯽ‬ ‫دەﮔﺮ ﺖ و دە‬ ‫ﮐﻠﯚ ڤ دە ﺳﺘەﮐﺎﻧ ﯽﻧ‬
‫ﻫ ﻤﺎﮐﺎﻧ ﯽ‬
‫ﺧﻮ ﻨ ﯽ‬
‫دە ﺳەﺎﺗ ﯽ وەک ﺳەگ و ﻓﯿﮑە ﮐﯚﺗﺎﯾ ﯽ د ﺖ‬
‫ ﻫەروەﻫﺎﺑﯿﻨﯿﻨ ﯽ ﮐﻠﯚ ڤﺑەرەو ﺧﺮاﭘﺘﺮ دەڕوات؛ﺋﺎزاری‬.‫ﻧﯿﯿە‬
characters
➢ Hamm’s intellect and reason are the will’s servants and that is why
it cannot stop his strong inclination towards being.
‫ﺑﯿﺮ و ﻫﯚ ﺷ ﯽ ﻫﺎم ﺧﺰﻣەﺗﮑﺎریﺋﯿﺮادەﯾەو ﻫەرﺑﯚﯾەشﻧﺎﺗﻮاﻧ ﺖ ﻣەﯾﻠ ﯽﺑەﻫ ﺰیﺑەرەوﺑﻮونﺑﻮە ﺳﺘ ﻨ ﺖ‬.

➢ Consciousness is only a surface of their being, because the real

essence lies in the depths of human personality.
‫ ﭼﻮﻧﮑە ﺟەوﻫەریڕا ﺳﺘەﻗﯿﻨەﻟە ﻗﻮوﺎﯾ ﯽ ﮐە ﺳﺎﯾەﺗ ﯽ ﻣﺮۆﭬﺪاﯾە‬،‫ﻫﯚ ﺷﯿﺎریﺗەﻧﻬﺎڕووﺑەر ﮑەﻟەﺑﻮوﻧﯿﺎن‬.

➢ The will in its core is something fundamentally useful, it is

discomposure, never – ending struggle for something, need,
desire, greediness, lust, it is suffering, and the world of will can be
nothing but the world of pain. ‫ﺋﯿﺮادەﻟەﻧﺎوەڕۆﮐ ﯽ ﺧﯚﯾﺪا ﺷﺘ ﮑ ﯽﺑە ﺳﻮودەﻟەﺑﻨەڕەﺗﺪا‬،

‫ ﻫەرﮔﯿﺰ‬،‫ﻧﺎﺋﺎراﻣﯿﯿە‬
characters
➢ Clov and Hamm are suffering, persisting in their existence. They
long for an end, a death, but cannot kill themselves, being driven
by their nature- the will to life.
‫ﺑەﺎمﻧﺎﺗﻮاﻧ ﻦ‬،‫ ﻣﺮدﻧ ﮑ ﻦ‬،‫ﺋەوانﺗﺎﻣەزرۆی ﮐﯚﺗﺎﯾﯿ ﻦ‬.‫ﻟەﺑﻮوﻧ ﯽ ﺧﯚﯾﺎﻧﺪاﺑەردەواﻣ ﻦ‬،‫ﮐﻠﯚ ڤ و ﻫﺎمﺋﺎزار دەﭼ ﮋن‬

➢ Although expressed in different images and symbols, all the

characters are waiting for death, the end of their suffering.

‫ ﮐﯚﺗﺎﯾ ﯽ‬،‫ﺑەﺎم ﻫەﻣﻮو ﮐﺎرەﮐﺘەرەﮐﺎن ﭼﺎوەڕواﻧ ﯽ ﻣﺮدﻧ ﻦ‬،‫ﻫەرﭼەﻧﺪەﺑە و ﻨە و ﻫ ﻤﺎی ﺟﯿﺎواز دەرﺑ دراوە‬

➢ Hamm is preparing to face death and his ending enables Clov to

leave his master.
‫ﻫﺎم ﺧﯚیﺑﯚ ڕووﺑەڕووﺑﻮوﻧەوەی ﻣﺮدنﺋﺎﻣﺎدە دەﮐﺎت و ﮐﯚﺗﺎﯾﯿەﮐەی واﻟە ﮐﻠﯚ ڤ دەﮐﺎت ﮐە‬

‫ﺋﺎﻏﺎﮐەی‬
characters
➢ Hamm and Clov think that they have had enough of something
but they do not know what it really is. Ending and dying is both
accepted and expected: Hamm threatens Clov:" I'll give you
nothing more to eat".
‫ ﮐﯚﺗﺎﯾ ﯽ ﻫﺎﺗ ﻦ و‬.‫ﻫﺎم و ﮐﻠﯚ ڤﭘ ﯿﺎن واﯾە ﮐە ﺷﺘ ﮑﯿﺎنﺑەسﺑﻮوەﺑەﺎمﻧﺎزاﻧ ﻦﺑەڕا ﺳﺘ ﯽ ﭼﯿﯿە‬

‫ﻣﺮدن ﻫەم‬

➢ Hamm is so tired of the whole situation that he begs Clov to end

everything, "Why don't you finish us?"

‫ﻫﺎم ﻫ ﻨﺪەﺑ ﺰارەﻟە ﻫەﻣﻮو دۆﺧەﮐە ﮐەﻟە ﮐﻠﯚ ڤ دەﭘﺎڕ ﺘەوە ﮐە ﮐﯚﺗﺎﯾ ﯽﺑە ﻫەﻣﻮو‬

‫ﺷﺘ ﮏﺑﻬ ﻨ ﺖ و‬
characters
➢ As a sign of ending the characters do not seem to have a close
relationship with each other. It seems that Hamm and Clov are
master and servant. Moreover Hamm has a father and a mother
although they are passive in their ashbins. But it seems that it is
not a close-knit family. ‫وەکﻧﯿ ﺸﺎﻧەی ﮐﯚﺗﺎﯾ ﯽ ﻫﺎﺗﻨ ﯽ ﮐﺎرەﮐﺘەرەﮐﺎنﭘ ﻨﺎﭼ ﺖﭘەﯾﻮەﻧﺪﯾﯿەﮐ ﯽ‬

‫ﻧﺰﯾﮑﯿﺎنﻟەﮔەڵ‬

➢ Clov repeatedly states that he wants to leave Hamm but he does

not; it seems that they both desire and fear the ending.
‫ﺖﺑەﺎمﻧﺎﯾﮑﺎت؛ وا دﯾﺎرە ﻫەم‬ ‫ﺖ ﮐە دەﯾەو ﺖ ﻫﺎمﺑەﺟ ﺒﻬ‬ ‫ﮐﻠﯚ ڤ ﭼەﻧﺪﯾ ﻦ ﺟﺎر دە‬

‫ﺋﺎرەزووی‬

‫ﮐﯚﺗﺎﯾﯿەﮐەﯾﺎن دەﮐەن و ﻫەﻣﯿ ﺶ دەﺗﺮ ﺳ ﻦ‬.

characters
➢ Present is fading out as it is shadowed by an uncertain future.
‫ ﭼﻮﻧﮑە داﻫﺎﺗﻮوﯾەﮐ ﯽﻧﺎدﯾﺎر ﺳ ﺒەریﻟە ﺳەرە‬،‫ﺋ ﺴﺘﺎ ﺧەرﯾﮑە ﮐﺎڵ دەﺑ ﺘەوە‬.

➢ Hamm expresses a desire to be unborn and to end the game; it

shows his dissatisfaction with the idea of begetting and a desire to
end it.
‫ﻫﺎمﺋﺎرەزوویﻟەداﯾ ﮏﻧەﺑﻮون و ﮐﯚﺗﺎﯾﯿﻬ ﻨﺎنﺑەﯾﺎرﯾﯿەﮐە‬

‫ﺖ؛ﻧﺎڕازﯾﺒﻮوﻧ ﯽ ﺧﯚی‬ ‫دەرﺋەﺑ‬

➢ Nagg, Hamm and Clov show three generations with the focus not
on continuity but on "mistake of begetting" . The loveless
relationship between Nagg and Hamm mirrors Hamm and Clov's
sarcastic remarks and manners. ‫ ﻫﺎم و ﮐﻠﯚ ڤ ﺳ ﻧەوەﻧﯿ ﺸﺎن دەدەن ﮐە ﮔﺮﻧﮕ ﯽﻧەک‬،‫ﻧﺎگ‬

‫ﺑە‬
05
Analysis
Signs of Ending
➢ the characters do not seem to have a close relationship with each
other. ‫ﭘ ﻨﺎﭼ ﺖ ﮐﺎرەﮐﺘەرەﮐﺎنﭘەﯾﻮەﻧﺪﯾﯿەﮐ ﯽﻧﺰﯾﮑﯿﺎنﻟەﮔەڵﯾەﮐﺘﺮدا‬

‫ﻫەﺑ ﺖ‬.

➢ Spiritual despair is another sign of an ending.the characters are

not waiting for future and they do not expect it.
➢ love is coming to an end and sadism and hatred take love's place.
‫ﮐﺎرەﮐﺘەرەﮐﺎن‬.‫ﻧﺎﺋﻮﻣ ﺪیڕۆﺣ ﯽﻧﯿ ﺸﺎﻧەﯾەﮐ ﯽﺗﺮی ﮐﯚﺗﺎﯾﯿە‬ ‫ﺧﯚ ﺷەوﯾ ﺴﺘ ﯽ ﮐﯚﺗﺎﯾ ﯽ د ﺖ و ﺳﺎدﯾﺰم وڕ ق‬

‫ﭼﺎوەڕ ﯽ‬
➢ Frequent reference to time. Hamm refers to the end of the day
and the fact that it is coming to an end without having any fun:
"…that's always the way at the end of the day".. Time is moving
toward an ending ‫ ﻫﺎمﺋﺎﻣﺎژەﺑە ﮐﯚﺗﺎﯾ ﯽڕۆژ وﺋەوڕا ﺳﺘﯿﯿە دەﮐﺎت ﮐە ﺧەرﯾﮑە ﮐﯚﺗﺎﯾ ﯽ‬.‫زۆرڕووداوﺋﺎﻣﺎژە دەداتﺑە ﮐﺎت‬
Signs of Ending
➢ Ending of communication is another element in a chain of
endings and there is a feeble attempt at communication
throughout the play.
‫ﮐﯚﺗﺎﯾ ﯽ ﻫﺎﺗﻨ ﯽﭘەﯾﻮەﻧﺪﯾﮑﺮدنﺗﻮﺧﻤ ﮑ ﯽ دﯾﮑەﯾەﻟەزﻧﺠﯿﺮەﯾەک‬

‫ﮐﯚﺗﺎﯾﯿﺪا و‬

➢ Repetition is not only a technique in Beckett, but also a theme.

Meaninglessness and absoluteness of time; past, present, and
future seem to mean nothing and everything; the play represents
a cyclic pattern of repetition and also an unavoidable linear
progression toward nothingness.
‫ﺑ ﻣﺎﻧﺎ وڕەﻫﺎﺑﻮوﻧ ﯽ‬.‫ﺑە ﮑﻮﺗەوەر ﮑﯿ ﺸە‬،‫دووﺑﺎرەﮐﺮدﻧەوەﺗەﻧﻬﺎﺗەﮐﻨﯿﮑ ﮏﻧﯿﯿەﻟەﺑ ﮑ ﺘﺪا‬

‫ﮐﺎت؛ﭘ ﺪەﭼ ﺖ‬

‫ڕاﺑﺮدوو وﺋ ﺴﺘﺎ و داﻫﺎﺗﻮو ﻣﺎﻧﺎی ﻫﯿ ﭻ و ﻫەﻣﻮو ﺷﺘ ﮑﯿﺎن ﻫەﺑ ﺖ؛ ﺷﺎﻧﯚﻧﺎﻣەﮐەﻧﻮ ﻨەراﯾەﺗ ﯽ‬

Signs of Ending
➢ the small boy at the end isn’t a sign of hope; he stresses the fact
that he is another sufferer coming to the world:" a potential
procreator" and in turn, the repetition of the "endless cycle".
‫ﮐﻮڕەﺑﭽﻮوﮐەﮐەیﻟە ﮐﯚﺗﺎﯾﯿﺪاﻧﯿ ﺸﺎﻧەی ﻫﯿﻮاﻧﯿﯿە؛ ﺟەﺧ ﺖﻟە ﺳەرﺋەوڕا ﺳﺘﯿﯿە دەﮐﺎﺗەوە ﮐەﺋەو‬

➢ The act of worship is parodied By Hamm. Hamm, Clov and Nagg

are unable to pray to "the old father-god". So Hamm curses God as
if he does not exist.
‫ هام و کلۆڤ و ناگ ناتوانن نوێژ بۆ "خودای‬.‫کردەوەی پەرستنەکە لەلایەن هامەوە لاسایی کراوە‬

‫"ﺑﺎوﮐ ﯽ ﮐﯚن‬

‫ﺑﯚﯾە ﻫﺎم ﺟﻨ ﻮﺑە ﺧﻮدا دەدات وەکﺋەوەیﺑﻮوﻧ ﯽﻧەﺑ ﺖ‬.‫ﺑﮑەن‬.

Signs of Ending
➢ As to the nature of the ending one can say that there is a circular
movement of time, something like a life cycle; Hamm believes,
"The end is in the beginning and yet you go on" and he also
asserts, "Perhaps I could go on with my story, end it and begin
another,". ‫ ﺷﺘ ﮏ‬،‫ﺳەﺑﺎرەتﺑە ﺳﺮو ﺷﺘ ﯽ ﮐﯚﺗﺎﯾﯿەﮐە دەﺗﻮاﻧﺮ ﺖﺑ ﯿ ﻦ ﺟﻮو ەﯾەﮐ ﯽﺑﺎزﻧەﯾ ﯽ ﮐﺎت ﻫەﯾە‬

‫وەک ﺳﻮوڕی‬

➢ It shows that there is a tortuous slow down toward an ending that

is no better than the beginning; Hamm also describes the ending
as;" …the old shelter. Alone against the silence and …the stillness.",
"it will be all over with sound and motion, all over and done with,".
‫ﺋەوەﻧﯿ ﺸﺎن دەدات ﮐە ﺧﺎوﺑﻮوﻧەوەﯾەﮐ ﯽﭘ ﭽﺎوﭘ ﭻ ﻫەﯾەﺑەرەو ﮐﯚﺗﺎﯾﯿﯿەک ﮐەﻟە ﺳەرەﺗﺎوە‬

‫ﺑﺎ ﺷﺘﺮﻧﯿﯿە؛ ﻫەروەﻫﺎ‬

 Themes and Symbols

Themes Symbols
● Meaning, Narrative, and ● Bloody Handkerchief
Engagement ● Painkillers
● Time, Progress, and Stasis ● Two small windows
● Misery and Suffering ● Little Boy
● Companionship, Dependency, ● Light and Darkness
and Compassion
06
Conclusion
Questions
Conclusion
● Throughout the play, there is a sense of dismal pointlessness.
However, one realizes that the characters in the play are reduced as
subjects living in an alienated world of decay and awaiting death or an
apocalypse with sick bodies and black humor.
‫ﺑەﺎم ﻣﺮۆ ڤﺗ ﺪەﮔﺎت ﮐە ﮐﺎرەﮐﺘەرەﮐﺎﻧ ﯽﻧﺎو‬.‫ﺑە در ﮋاﯾ ﯽ ﺷﺎﻧﯚﻧﺎﻣەﮐە ﻫە ﺳﺘ ﮑ ﯽﺑ ﻤﺎﻧﺎﯾ ﯽ ﺧەﻣﻨﺎک ﻫەﯾە‬

● In the play, Beckett endorses the conviction that the world and man is
something that had better not have been, is of a kind to fill us with
indulgence towards one another. For him the only sin is the sin of
being born.
‫ﺑ ﮑ ﺖﭘ ﺸﺘﮕﯿﺮیﻟەو ﻗەﻧﺎﻋەﺗە دەﮐﺎت ﮐە ﺟﯿﻬﺎن و ﻣﺮۆ ڤ ﺷﺘ ﮑە ﮐە‬،‫ﻟە ﺷﺎﻧﯚﻧﺎﻣەﮐەدا‬

‫ﺑﺎ ﺷﺘﺮﺑﻮو‬
References
Aziz Azarmi, Ahmad. (1972). The Theater of the Absurd: A Study of
Communication. Tehran University Press.
Cohn, Ruby. (1987). Waiting for Godot: A Selection of Critical Essays.
The Macmillan Press LTD.
Esslin, Martin. (1965). Samuel Beckett: A Collection of Critical Essays.
Prentice-Hall, Inc.
Kennedy, Andrew K. (1991). Introductory Critical Studies: Samuel
Beckett. Cambridge University Press.
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