Hama Ali Hussen Hama Ameen Sofi

Syntax and Semantics of Existential Motifs in Samuel Beckett’s Plays of the 1950s–1960s. Pp. 182–189.

UDC 821.152.1-2.09″19″

DOI 10.37724/RSU.2025.88.3.017

 

Abstract. Samuel Beckett’s classic plays, such as “Waiting for Godot”, “Endgame”, and “Happy Days”, are widely recognized for their deep examination of existential issues. Beckett’s profound influence stems from, alongside with many other sources, his skillful usage of the language, namely syntax, to effectively express the fundamental folly, sorrow, and isolation in “modern” human life. This research thoroughly examines the language components integrated into the syntactic structure of the denoted plays. Through detailed analysis of Beckett’s usage of certain types of word combinations and sentences the article emphasizes the crucial function of syntax in conveying existential concerns. The main objective of this work is to describe complex relationship between syntax and existential absurdity in Beckett’s plays. Pauses, repetition, fragmentation, and inversion are treated as fundamental patterns that contribute to themes of decay, futility, and alienation. The work applies a multifaceted approach to conducting a comparative study of the plays, with a specific focus on hermeneutical interpretation of their syntactic patterns. In essence, this study deepens scholars’ knowledge in the sphere of the style of Beckett’s plays by clarifying how syntactic elements such as pauses, elliptical constructions, repetitions, and omissions convey existential (according to their origin) motifs. Instead of being merely literary themes, these motifs are understood as expressions of a “existential grammar of survival,” where language is seen as the last resort in a world where meaning is constantly questioned.

 

Keywords: Samuel Beckett, plays, existentialism, motif, absurdity, isolation, language, syntactic means, semantics.

 

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