Awakening from the Dream: A Vedantic Perspective on Samuel Beckett's "Endgame" and Jorge Luis Borges' "Funes the Memorious".
"Leaving aside the entire world of experiences, let us realize that it is essenceless and a mere dreamland born of imaginations." — Śrī Yogānanda
Through the lens of Vedanta, let us delve into the article comparing Samuel Beckett's "Endgame" and Jorge Luis Borges' "Funes the Memorious" for an audience already familiar with Vedanta. "Leaving aside," as advised by Śrī Yogānanda, the entire world of experiences (viśvam), let us realize that it is essenceless and a mere dreamland born of imaginations (svapnavicāram)."
The article examines the works of two of the greatest and most elusive writers of the 20th century, Samuel Beckett and Jorge Luis Borges. Both authors have created works that challenge literary conventions and provoke readers to contemplate the meaning of existence, memory, and language. In this article, we aim to compare two of their most emblematic works: Beckett's "Endgame" (1957) and Borges' "Funes the Memorious” (1944).
"Endgame" is a one-act play belonging to the genre of absurd theatre. It features the protagonists Hamm, an elderly blind and paralyzed gentleman, and his servant Clov, who cannot sit down. The two live in a desolate room, in a post-apocalyptic world where nothing exists anymore – no sea, no sun, no life. Hamm's parents, Nagg and Nell, who have no legs, also inhabit trash cans on the stage. The four characters engage in a monotonous and repetitive routine, filled with insignificant dialogues, arguments, and threats. Clov longs to leave but lacks the courage, while Hamm desires death but cannot achieve it. The play concludes in a situation of deadlock, devoid of hope or change.
"Funes the Memorious” is a short story included in the collection "Ficciones." The protagonist, Ireneo Funes, is a young Uruguayan who becomes paralyzed and develops an extraordinary memory after a horse-riding accident. This prodigious memory allows him to recall every minute detail of what he sees, hears or thinks. However, this ability renders him incapable of abstraction, generalization, and reasoning, condemning him to a solitary and anguished life. The narrator, who is arguably Borges himself, encounters Funes twice in his life and is both fascinated and frightened by him.
One possible point of comparison between "Endgame" and "Funes or the Memory" is the theme of memory and its relationship with existence. In both texts, memory appears as a curse rather than a blessing, as it prevents the characters from fully experiencing the present and envisioning the future. In "Endgame," the characters are oppressed by their memories of a world that no longer exists, unable to free themselves from the past or find meaning in their lives. In "Funes or the Memory," the protagonist is enslaved by his infallible memory, which overwhelms him with useless information and deprives him of any creative or critical abilities. In both cases, memory is depicted as a form of imprisonment and alienation.
Another possible point of comparison between "Endgame" and "Funes the Memorious” is the theme of absurdity and language. In both texts, the characters confront a reality devoid of logic and meaning, where words lose their value and communication becomes impossible or paradoxical. In "Endgame," the dialogues between Hamm and Clov consist of insignificant, repetitive, or contradictory phrases that fail to express their emotions or aspirations. In "Funes the Memorious," the protagonist invents a personal language based on numbers that only he can understand, which does not correspond to any shared reality. In both cases, language is portrayed as a form of impotence and isolation.
In conclusion, "Endgame" and "Funes the Memorious” are two works that, despite their differences in form and genre, exhibit thematic and stylistic affinities. Both works depict the human condition in a senseless world, where memory and language become sources of suffering rather than knowledge. They challenge readers to discern the hidden meanings behind images and words, urging introspection on one's relationship with reality and oneself. These works bear witness to the genius and innovation of two authors who have left an indelible mark on 20th-century literature.
As we reflect on the themes of illusion, memory, and language present in "Endgame" and "Funes or the Memorious," it is fitting to conclude with the opening verse of Adi Shankara's "Atma Shatakam" (The Song of the Self). This powerful hymn encapsulates the Vedantic teachings of self-realization and the recognition of the ultimate reality beyond the illusory world of experiences. The verses of Atma Shatakam invite us to realize our true nature, beyond the realm of the changing and ephemeral:
"I am not mind, nor intellect, nor ego, nor the reflections of inner self. I am not the five senses. I am beyond that. I am not the seven elements or the five sheaths. I am indeed, That eternal knowing and bliss, the auspicious (Shivam), pure consciousness.
Neither can I be termed as energy, nor five types of breath, nor the seven material essences, nor the five sheaths. Neither am I the organ of Speech, nor the organs for Holding, Movement, or Excretion. I am indeed, That eternal knowing and bliss, the auspicious (Shivam), pure consciousness."
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