In the play, it can be identified three father-son relationships, "Nagg and Hamm", " Hamm and Clov", and "The beggar and his son"."Nagg and Hamm" is the most. Because he is blind and confined to a wheelchair, Hamm is completely dependent on Clov. In that sense, they are more than master and servant because. HAMM, CLOY, AND DRAMATIC METHOD IN ENDGAME ONE WAY IN His relationship with Clov is like that between Pozzo and Lucky in Godot, and its quality.
Nagg recounts to Hamm a horrific childhood experience: Whom did you call when you were a tiny boy, and were frightened in the dark? We let you cry. Then we moved you out of earshot, so that we might sleep in peace How does the world generally react to the suffering of another person? People usually move out of earshot or eyesight of those who suffer.
It is the notion that we all suffer alone when we suffer. It is not to say that there is never assistance, or that there should not be assistance by others, but that we ultimately suffer alone. The relationship between a father and son is not enough to alleviate the suffering of one or the other. We suffer alone, and when we pass, sometimes there is indifference.
It is this coldness which Hamm has toward the passing of his own mother that is most striking of the relationship found within Endgame. It is conveyed by Clov that his father is crying, to which Hamm merely moves along in his conversation with Clov. When the funeral procession, few pity the dead or the bereaved, but wonder when it will pass so life can continue. What happens next is that the cycle is broken. No longer is the routine continued as it was. The four characters waking and existing together has been reordered to three.
Isolation in Beckett’s Endgame
The death of the Nagg is the beginning of something new: Though horrific as it sounds, the death of the Nell, is a reminded of life; the presence of death compels most to live. It is the hope that something will possibly happen that provides hope for the living. It is the end of the game, the breaking of the cycle where humanity is perhaps free of its isolation, or perhaps not, but it is still possible.
There is still hope. Works Cited Beckett, Samuel. Faber and Faber Limited, At the end, when the final tableau shows Clov standing there, with umbrella, raincoat, and bag, unable to stay and unable to go, the question remains unresolved. Nevertheless, any discussion of Endgame, including one which proposes to consider the play's dramatic method, should begin with this question, or rather with the relationship between Hamm and Clov from which it arises.
And since Clov is for the most part a passive victim, a pawn dominated by Hamm's active mastery, it is with Hamm that we should start.
Isolation in Beckett’s Endgame | Reflections on Modernities:
In order to get even as far as the play will let us towards understanding why Hamm keeps Clov assuming that he could in fact let him gowe must try to see what Hamm is like. He is like a king, with Clov as his servant, for he refers to "my house,"l "my service," and even, echoing Shakespeare's Richard III, to "my kingdom.
His relationship with Clov is like that between Pozzo and Lucky in Godot, and its quality is well conveyed by Lionel Abel's suggestion that it is an analogue of the relationship between the young Beckett and the old, blind, Joyce. Hamm treats Nagg and Nell as further objects for gratuitous affiiction-"Bottle him! But it is at this point that the difficulties begin, for to say that Hamm enjoys exercising power is to attribute a familiar form of psychological motivation to him-and it is hard to be sure he has the capacity for this.
And the tone of what Hamm says is frequently consistent with that of an assumed identity, one deliberately acted out. So he deals with the requests of his servants: He wants a sugar-plum.