Oldal 301 [301]
DENIALS OF THE DIVINE
Hamm’s fight against the continuation of life might be explained by his
having encountered an existence full of suffering, so he aims to put an end
to the passing on of suffering from generation to generation. If progenitors,
mothers and fathers, are so ill-treated in Endgame, it comes as no surprise
that the divine Father is given the cold shoulder.
Beckett draws a deliberate distinction between silence and pause in his
dramatic writing; it is significant that “Silence” as stage direction appears
only once in Endgame, in the collective prayer scene. It follows Hamm’s
monologue, in which, for the first time, he attempts to tell his story about the
man who begged him for bread for his son. However, when Hamm reaches the
most delicate issue and is about to touch upon some of his untold past secrets
and sins, he quickly changes the subject instead of finishing his story. Then,
all of a sudden, he has an urge to pray to God, and he commands Clov and
Nagg to pray with him in silence.
HAMM C[..] In the end he asked me would I consent to take in the child as
well — if he were still alive. (Pause.) It was the moment I was
waiting for. (Pause.) Would I consent to take in the child ... (Pause.)
I can see him still, down on his knees, his hands flat on the ground,
glaring at me with his mad eyes, in defiance of my wishes. (Pause.
Normal tone.) Ill soon have finished with this story. (Pause.) Unless
I bring in other characters. (Pause.) But where would I find them?
(Pause.) Where would I look for them? (Pause. He whistles. Enter
Clov.) Let us pray to God. [...]
NAGG (Clasping his hands, closing his eyes, in a gabble.) Our Father which art
HAMM Silence! In silence! Where are your manners? (Pause.) Off we go.
(Attitudes of prayer. Silence. Abandoning his attitude, discouraged.)
Well?
CLOV (Abandoning his attitude.) What a hope! And you?
HAMM _ Sweet damn all! (To NAGG.) And you?
NAGG Wait! (Pause. Abandoning his attitude.) Nothing doing!
HAMM The bastard! He doesn’t exist!
CLOV Not yet.”
At the point where Hamm begins to look for other characters, in MS 1660
(another preceding, untitled, two-act manuscript version of Fin de partie)
the lid of the black, on-stage chest, practically a coffin, opens and a head
emerges, looking straight at the audience. However, Beckett cut this surreal
element, a direct reference to death, and inserted the prayer scene where
2 Beckett, The Complete Dramatic Works, 118-119.
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