Comparing Synge’s Riders to the Sea and Beckett’s Endgame :: Comparison Compare Contrast Essays

Synges Riders to the Sea and Becketts end game1 1 IntroductionRiders to the Sea by John Millington Synge (1904) and endgame by Samuel Beckett (1958) show many similarities despite the eventful half a century that passed between their years of publication. The similar elements (the setting, the relation of the characters to the outside world, etc., think in detail in the next section) seem to create an cash dispenser in both(prenominal)(prenominal) works that is fit for the creation of a newborn mythology.However, by separating the physically present elements from those which ar conjured up only by words in the texts (determining the A/B structure of the works), one of the belikemost important differences can be discovered between the cardinal plays namely, that while in Riders to the Sea, a new myth is actually be created, this act of creation is missing from Endgamepossibly because newly created myths (and values) are deemed impossible by Beckett in the light of the two World Wars of the twentieth century. During the course of the essay, it will also be suggested that this creation is, in fact, what characters (more specifically, Maurya, Hamm and Clov) are all waiting for and that while the world-view of Synges play reflects, to a received extent, the views of objective idealism, Beckett not only lowers the level of idealism to the subjective level, denying the reality of a rational, global control, but also goes further to deny the globe of any ordering power in the world at all.1 2 Outside of here its death (Beckett 22475). Environments control for MythsIt has been suggested many times (for example, Tokarev 112), that mythology was the main instrument for the so-called antiquated cultures to understand the surrounding world. If this is so, then the world, in a pre-mythic or mythless state, essential present itself as dangerous and inconceivable, as it actually does in both plays.In both works, the sett ing is a room Bare inner(a) (22472) in Endgame, and a cottage kitchen (83) in Riders to the Sea, outside which room, in both cases, lies the realm of (literal) death. In Endgame, this is expressed directly, as Hamm declares often Outside of here its death (22475) and Beyond is the other hell (22481), when feeling the protect that separates the two spaces.