FUN DE PARTIE: Puns and Paradigms in "Endgame"

Author(s): Chris Ackerley

Source: Samuel Beckett Today / Aujourd'hui, Vol. 19, Borderless Beckett / Beckett sans
frontires: Tokyo 2006 (2008), pp. 315-325
Published by: Editions Rodopi B.V.
Stable URL: http://www.jstor.org/stable/25781840
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FUN DE PARTIE:
Puns and Paradigms

inEndgame

Chris Ackerley
Beckett's bilingual texts and self-translations raise awkward questions as to
how two 'different'works can be equally parts of a greater whole or comple
mentary aspects of the 'same' text. In thispaper I consider how puns, allusions
and other linguistic paradigms constitute points of resistance, particularly when
sentiments originally written in one language seek expression in another. By
describing the 'machinery' of the pun in terms of 'sameness' and 'difference,'
I seek to identify its role in the dialectic of 'equivalence' and 'mis-matching'
implicit in thebinary relationship ofFin de partie and Endgame.

Q: Is lifeworth living?

A: Depends

on the liver.

Q: La vie, vaut-elle la peine?

R: Question de foie.

in the French
Returning from his entretien with Father Ambrose, Moran
a
to
in
Martha's
home
in
vile
seek
solace
humour
arrives
stew,
Molloy
Re
but in vain: "Le stew me degut. Ou sont les oignons? m'ecriai-je.
Jeme precipitai dans la cuisine, a la recherche
duits, repondit Marthe.
des oignons que je la soupgonnais d'avoir enleves, sachant combien je
les aimais. Je fouillai jusque dans la poubelle. Rien. Elle me regardait,

narquoise" (1999, 139). The English textis tolerablyfaithfulto itscon

sort: "The

cried. Gone

are the onions? I

a great disappointment. Where
into
I
the kitchen, to
to nothing, replied Martha.
rushed

stew was

look for the onions I suspectedher of having removedfrom thepot,

because

she knew how much

I liked them. I even rummaged

in the bin.

Nothing. She watchedme mockingly" (1958a, 102).What is also miss

ing, of course, is the entire Proustian world called up by the words, "a
In his later self
the madeleine.
la recherche," the onions mocking
translation, Beckett makes no attempt to capture this echo, and the Eng

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316

Chris Ackerley

lishtextis (arguably) impoverished

by thefailuretodo so.However, in

in dozing off, which is

the next paragraph the French Moran
succeeds
not easy, "quand lemalheur n'est pas delimite." The English text offers,

Tess of the
the echo of Thomas Hardy's
is speculative";
as
in
invoked
short story
Beckett's
previously
(chap. 35),
two
to
at
adds
the
translation
least
intertextual
(1972, 158),

"when pain
D'Urbervilles
"Yellow"

elements not present in the original. Poetic equilibrium has been, per
haps, restored, but the experience of reading the two texts is clearly
somewhat

different and the networks

association

have been changed.

Even more so than allusions

of internal echoing

and external

(which in action they resemble, by

one
universe
of
discourse
within
the orbit of another and com
bringing
a
bining them in linguistic clench), verbal puns are notoriously resistant
to translation. The attempt to find an equivalent for even a simple
phonic jest is often doomed, as in the translation of Eleutheria
by Mi
chael Brodsky:
M. Krap.

...

je sens que ma femme approche.

Mile Skunk, tafin?

M. Krap. ma FEMME.

Cette catastrophe.

(1995a, 57)
M. Krap.

... I have a
feeling my wife draws near.

Mile. Skunk.The end of life?

M. Krap. My WIFE.

That catastrophe.

(1995b,52)

the echo of "fin" and "femme" with "wife" and

Brodsky duplicates
to
but
in
order
retain the sense of an ending he is forced to a
"life,"
somewhat clunky paraphrase. The strategy is not entirely satisfactory,

and one is temptedto agreewith theOttolenghi in"Dante and theLob

ster" when

recalls "one superb pun," "qui vive la pieta

Belacqua
e
is unable to find in English an equivalent for
ben
but
morta,"
quando
the Italian pieta, with its double sense of 'pity' and 'piety': "'Now'
he

said likea fool 'I wonder how you could translatethat?' Still she said

nothing. Then:

'Do you think' she murmured

to translateit?'" (Beckett 1972, 19).

'it is absolutely

necessary

Puns are the consequence

of the double articulation of language;
that is, of the capacity of a smaller number of units at one hierarchical
level to express a greater number of features at another. Specifically,
in
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317

Puns and Paradigms inEndgame

English, a few phonemes (some fortyor so) sufficeto give voice to a

larger number of morphemes, words and utterances; similarly, a larger

but nevertheless
limited set of grammatical rules structures and regu

lates theunlimitedpossibilities of expression;and finally,a largebut

nevertheless

finite set of semantic

elements

(words)

can express

the

quite literallyinfinite
varietyof human experience,thephysical and all
other possible worlds. The three systems of language, phonology,
grammar and lexis, interact in complex ways, and since every sentence
or utterance conforms to the patterns of all three it has three structures

simultaneously. The relationship between these structures may be de

scribed as one of 'manifestation,' one system giving realization to an
other and each finding its realization outside itself in another system of

or
the language (linguisticambiguity),or outside language (referential
use
situationalambiguity).The essentialprinciple is thatof the infinite

of finite means, as different hierarchical

levels of language are mani
or
find
in
but
the unavoidable
of
fest,
another;
consequence
expression
the finitude of means is 'ambiguity,' the property of sentences that they

interpreted in more than one way, that is (in the simplest in

that
stance),
they may subsume in the one phonic, syntactic and/or se
mantic form more than one universe of discourse. Or, to put this in
another perspective,
elements that are the same on one level of lan
may be

guage may be seen as different on another.

It can be said of any two things that they are the 'same'

or that

but ambiguitycomplicates this truismby requiring

theyare 'different';

that the linguistic elements be both 'same' and 'different' simultane

ously; more precisely, that the elements be seen as 'same' at one level
of language or reference, but 'different' at another. Aristotle points out

inDe Sophisticis Elenchis why thismust be: "For names are finite, and
so is the sum-total of formulae, while things are infinite in number.
Inevitably, then, the same formulae, and a single name, have a number
of meanings"
(165.a. 10-13). Redfern puts itmore simply: "The fact that

people and trees and elephants and cars all have trunks just proves that
there are more things than there are words"
(7). Puns come in many
shapes and forms, including the non-linguistic, but in this essay I shall
assume themost obvious manifestation:
that a word or utterance is am
biguous when

it is the 'same'

on the level of phonological

representa

on the level(s) of grammaticaland/orlexical repre

tionbut 'different'
sentation.Inmy epigraph,theEnglishword 'liver'may referto (a) one

who

lives or (b) a glandular organ of vertebrate animals; the French

conveys this lattermeaning but, unable to express the other

word foie

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318

Chris Ackerley

sense, itexploits thephonetic similarityoffoi, or 'faith.'The effectis

is by no means
identical. Disjunc
similar, but the linguistic machinery
tion is inevitable, because different languages (1) resolve the continuum
of sound into different phonemes
(French has about thirty-five, most

from theirEnglish equivalents); (2) organize language

subtlydifferent

by a very different grammar or set of rules; and (3) have distinctive

as well as lexical
vocabularies.
accident, or coincidence,
Linguistic
borrowing accounts for some similarities, but more often (as with the
echo inMolloy)
the translator's problem is to find an effect
that is 'equivalent,' rather than exact. For instance, the French titleFin

Proustian

de partie impliesequally a game of chess and the end of a theatrical

assumes only the former, but may provoke
the English Endgame
apocalyptic associations more readily than does the original; while the

play;

German Endspiel more readily echoes the French. And yet, while the
three titles are in some respects different, they are equally 'the same';

that is, the similarityis sufficientto allow them to be considered as

that is, ifwe choose to acknowledge

the 'sameness,' but
equivalent
otherwise ifwe prefer to accentuate the 'difference.'
Although the vocabulary of English to some degree overlaps with
are often readily found, subtle dif
that of French, so that equivalences

ferences between the languages may complicate

the effect. In Fin de
as
Clov
feels
Nell's
utters
she
her
final
word: "Deserte"
partie,
pulse,

to
[dezert]; English,
(pronounced
"Desert!"). When Hamm wishes
a baragouine?"
she blathering
know, "Qu'est-ce
qu'elle
("What's
about?"), Clov reports: "Elle m'a dit de m'en aller, dans le desert" (39,

1958b, 23). Nell

is using the familiar form of the imperativeof

effect, but the verb

'to desert'

(to abandon, to desert), that is, she is telling him to leave, per
to
leave
Hamm, as throughout the play Clov threatens to do; but
haps
this form of the verb corresponds closely with the noun, le desert (pro
nounced [dezer], English,
'the desert'). English offers almost the same

deserter

(accented

on the second

syllable)

and the

noun 'desert' (accentedon the firstsyllable),althoughspelt identically,

differ in stress, the verb

iambic and the noun

trochaic. Consequently,

Clov's "She toldme to go away, intothedesert" (1958b, 23) is a little

forced, despite the considerable equivalence.
Direct equivalence
is sometimes possible, particularly when the
a
is
and
pun
independent of
particular language, as that on "Kov"

'Cobh,' thesmall seaportnear thecityofCork (1957b, 72, 1958b, 52);

but more

often such exactitude

is impossible.

Consider

Hamm's

afflic

tion,his sense of somethingtappinginhis head, in thethreeversions of

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319

Puns and Paradigms inEndgame

theplay thatBeckett eitherwrote (Finde partie), translated(Endgame),

or scrutinized
"C'est

closely in the translation of another (Endspiel): French:

it's a little
peut-etre une petite veine" (35); English: "Perhaps

vein" (20); German: "Es istvielleichteinAderchen" (35). Although the

French original hints at the sense of en vain the suggestion of 'vanity' is
obvious in the English version, where Beckett has developed
the
more
In
the
German
that
translation, by contrast,
ambiguity
explicitly.

more

is not so easily

ambiguity

invoked, so the translator (Elmar Tophoven,

presumablywith Beckett's approval) retains only the physiological

meaning.

However,

the Theatrical Notebooks

record: "9 Hamm's

head

heart 3 (es klopft+ Aderchen)" (qtd. inGontarski, 118); Gontarski

translatesthis:"9 Hamm's headheart3 (Es klopt [rectetropft]1
& Ader
in
his
comments:
chen [vein])" (120); and
"1 EditorialNotes he
'klopt' or 'klopft' from klopfen, to knock, is simply an error
for 'tropft'" (178). I suspect that it is less an error than an attempt to

Beckett's

compensatefor the lostpun of theFrench and English texts,by invok

ing the phonetic similarityof klopft,"[it] knocks," and tropft,"[it]

has observed, the task is to produce a text that

drips." As Tophoven
own
statement in translation just as itdoes in English" (324;
"makes its
a mildly ingenuous comment, as his English was poor and he was trans
lating from the French text). This attempt to make a "statement" may

have been

dropped,

but another was

retained: "Es

tropft, es tropft in

meinem Kopf' (1960, 33); which adds a poetic echo to themore pro

saic English: "There's something dripping inmy head" (18).

Even if phonic identity cannot be easily sustained from one lan
guage to another, phonic play can nevertheless be initiated in each to
In
create effects that are equally exuberant and obliquely equivalent.

Fin de partie, Clov

CLOV.
HAMM.

finds that he has a flea:

La vache!
Tu

l'aseue?
On dirait. (// lache le carton et arrange ses vetements.) A
moins qu'elle ne se tienne coite.
HAMM.
CoYte! Coite tu veux dire. A moins qu'elle ne se tienne
CLOV.

coite.

CLOV. Ah! On dit coite?On ne ditpas coite?

HAMM.

Mais

voyons!

Si elle se tenait coite nous serions baises.

InEndgame thisbecomes:
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(51)

320

Chris Ackerley

CLOV.

The bastard!

HAMM. Did you gethim?

CLOV. Looks like it. (He drops thetinand adjusts his trousers.)
Unless

he's

HAMM.

doggo.
Lying you mean. Unless

laying

Laying!

he's

lying doggo.

CLOV. Ah? One says lying?One doesn't say laying?

HAMM.

Use

your head, can't you. If he was

laying we'd

be

bitched.

(34)
In the English text, the distinctionbetween coite (coitus) and coite
(tranquil, silent) is not exact, but Beckett has found a stunning equiva
lent in the grammatical distinction between "laying" and "lying," which

captures the effect completely.

As Beckett insisted in his Berlin Diary,

there are no accidents

in

Endgame, for theplay is all built on analogies and repetitions(qtd. in

Gontarski, xiii). This is not technically correct, as the correlation be
tween 'laying' and iying' (as that of co'ite and coite) derives from acci
dents of language; but the comment reflects the extent towhich pattern
ing dominates the play, motion echoing other motion, posture imitating
posture, gestures repeating other gestures, and sounds echoing other
sounds. However,
and largely as a consequence
of ongoing translation
and Beckett's own experience as a director, these analogies were more
and more

accentuated. Endgame,
for instance, in this passage, offers in
the English text echoes that are not present in the original and which
testify to a greater complexity: "bastard," invoking God as the bastard

(or swine)who does not exist (55); "Use your head" as a reiterated
motif (53); and referencesto dogs thataremore insistentthan in the
French:

"Depuis

ma

naissance"

(28)

becoming

"Ever

since

I was

whelped" (14). The English "bitched" is part of thispattern,whereas

the French baises helps constitute a series of sexual echoes
sent in the translation.
Cultural
Consider

considerations

the following

complicate

largely ab

the effects of the bilingual

pun.

sequence:

NAGG. Ma bouillie!
HAMM.

Maudit

progeniteur!

NAGG. Ma bouillie!

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321

Puns and Paradigms inEndgame

HAMM.
qu'a

Ah

il n'y a plus de vieux! Bouffer, bouffer, ils ne pensent

9a!

(23)

NAGG. Me pap!
HAMM.

Accursed

progenitor!

NAGG. Me pap!
HAMM. The old folksat home!No decency left!Guzzle, guzzle,
that'sall theythinkof.

(9)

The rhetorical structure of the passages

is equivalent,

save that the Eng

lish textadds "No decency left";and both allude ("Mauditprogeniteur"

/"Accursedprogenitor")to thethemeofNoah and thepossibilityof life
use of accidents
startingover again; but eachmakes a slightlydifferent

present
phonic
present

in the one

language and culture yet absent from the other. The

of the French "Mon bouillie"
and "Maudit"
is not
in the English version, which, however, makes use of the lin

half-echo

guistic accident that the "pap," a literal translation of "bouillie," by

chance suggests 'father' and thus triggers Hamm's
equivalent response
the
However,
linguistic mechanism.
by a different but nevertheless
French "Ah il n'y a plus de vieux" echoes the lament often voiced after
I, inwhich so many young men died: "II n'y a plus de jeu
in a
and thereby insinuates themotif of post-calamity desolation
echoes a
that the English text does not attempt. Instead, Endgame

World War
nes";
way

popular Stephen Foster song, and thereby intimates its chorus, "All de
in a way that the original does not. In
world am sad and dreary...,"
are contrived by cultural reference,
two
the
effects
instances
these
rather than by linguistic means.
A

further complication

of the bilingual

pun concerns

the mirror

like relation (with consequent lateraldistortions)of the French and

English elements of the text, each as seen from the perspective of the
the English
other tongue. The name Godot, for instance, combines
a moot
"god" with the French diminutive "-of9; it remains
morpheme
or French,
point as to how one whose primary language is English,
'nails'
the
While
to
effect.
the
portmanteau
responds emotionally

the
Clov (clou),Nell ('nail'), andNagg (Nagel) - retaina triangulation,
'hammer'

to say nothing of Mother Pegg, loses in English

(Verfremdung) effect that the words have in French, al

of Hamm,

the alienation

thoughthe implicationof crucifixionis common toboth languages (or,

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322

Chris Ackerley

like instances could be discussed, but the con

cultures). Many
in Hamm permits a consideration
of the Shake
of Hamlet
not
in
the
echoes
spearean
play, these,
surprisingly, being much more
text
in
than
the
in
the
French, despite the equal im
English
pervasive
perhaps,
notation

portance of dramatic self-reference in each piece.

As noted earlier, the title,Fin de partie, intimates the symbiosis of
does not; but Beckett advances
theatre and chess as that of Endgame

compensatorystrategiesin theEnglish text,firstly

by imagingHamm

as a Player King

(Hamlet)

and then by translating "Mon

royaume pour

un boueux!" (38) as "My kingdom for a nightman!" (23, Richard III,

(in
'garbage collector' or a 'road sweeper'
or
removes
a
one
chess
who
but
rather
(in
French),
night-soil
English),
board Knight. Beckett said that this echo was unintentional, but was
willing to accept the pun, and, indeed, pointed it out to others (Gontar
5.4.7),

to intimate not a

ski,54-55). It isdifficultto sayhow implicittheShakespeareanallusion

is in the French original, but the rhythm is similar and royaume invites
the intertextual echo; certainly, the English translation makes the allu
sion more determinate than the French phrase would be on its own.

Likewise, when Nagg finallysinksback intohis bin, theFrenchHamm

comments, "Finie la rigolade" (78), which neatly relates to the end of

the partie but which does not altogether convey the effect of the Eng
lish equivalent, "Our revels now are ended" (56), with its echo of Pros
pero's farewell speech in The Tempest, with its sense of the fading of
the insubstantial pageant just presented, and the sentiment that: "We are
such stuff /As dreams are made on, and our little life / Is rounded with
a sleep" (4.1.154-57),
life and the play soon will
as, indeed, Hamm's

be. Again, this aspect of The Tempest is implicit in theFrench text

(ratherthanexplicit,as in theEnglish version), even thoughthereis no
citation of Shakespeare

as such;

indeed, when Fin de partie was

yet a

two-actdraft,act 2 beganwith thisallusion (Gontarski,62).My instinct

is that the Shakespearean

echoes were

'there' in the French from the

start,but thatit takes the translationtomake themexplicit;and in this

sense the two versions

its full expression.

are complementary,

each needing

the other for

Beckett began his translationofFin de partie believing that the

English textwould be inferior, "a poor substitute for the original" (qtd.
inGontarski, xxiii). Curiously, at least until the later,more truly bilin
gual works, the translations into French of Beckett's English originals,
such as Murphy and Watt, are much inferior, whereas
those texts writ

tenfirst inFrench and subsequentlytranslatedintoEnglish are at least

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323

Puns and Paradigms inEndgame

the equals of their originals. English, I would argue, was Beckett's na

tive language, and his French, however excellent, did not have for him
the same depths and nuances as the language that he shared with Joyce
and Shakespeare. Thus, when it came to translating Fin de partie
into

and despite Elmar Tophoven's

limited knowledge of English,
to
"seems
have
become
the
standard for the revision of
Endgame
texts" (Gontarski, xxiii). Nowhere
French and German
is this more
German,

apparent than in the echoes of The Tempest noted above,

for as Gontar

skinotes (62), inhis Berlin productionBeckett emphasized theallusion

translation of Shakespeare's
line, "Das Fest
by substituting Schlegel's
ist jetzt zu Ende," for Tophoven's
translation of the original French,
to get into the Theat
"Der Spass ist zu Ende." (The gremlins managed
rical Notebooks
textual notes with an unintended pun, "Das Fest is jest
zu Ende.")
a nos oignons, that is, let us get to the heart of themat
"In the beginning was the pun." He
says inMurphy,
further reflects, "what but an imperfect sense of humour could make
such a mess of chaos?" (65). Enter the element of irrationality, so cen
Revenons

ter. As Beckett

traltoBeckett's vision and implicitequally in theambiguousnatureof

natural language. Ambiguity is often considered to be a deficiency of

natural language, for its double articulation often leads to lack of clarity
or equivocal vagueness; Beckett's
distrust of language reflects his in

stinctivesense of this.Yet ambiguitycan equally implycontrol: an

author can exploit the potential for multiple meaning, using the pun to
corral and control wild and whirling words and force them to behave; as

HumptyDumpty famouslyobserves inThrough theLooking Glass, the

that's all. Puns constitute linguistic
question is who is to be master
resistance, challenging the instinctive preference of the mind for univo
cal reading by creating from incompatible stable-mates a matched pair,

with a textualtensionthatderives equallyfrom theyoking togetherof

unruly mounts and their striving apart. In this sense, the Janus-like
'valid
quality of ambiguity constitutes an on-going dialectic between

ity' and 'indeterminancy,'

might use these words.

with

respect

to the way

that E. D. Hirsch

The pun is thus a creativedevice, bringing identifiedcontraries

into conjunction,

"like syzygetic stars" (Ackerley

and Gontarski,

553),

and (like Clov) imposingan order in a linguisticuniversewhich, like

thephysical one, is subject to theFirst Law of Thermodyamics and
of this inModernist
entropy. Perhaps the most striking manifestation
inwhich Stephen
literature is the pun-like structure of Joyce's Ulysses,
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324

Chris Ackerley

and Bloom, despite

ment of coincidence

differences, come together in a mo

that, against all the odds, makes an affirmation of
incertitude of the void. The
against the pervasive
their marked

human significance
essence of the pun, like that of itsOther, themetaphor, is to be found in
the irrational dialectic of 'same' and 'different,' themetaphor affirming
by analogy the 'sameness' of the diverse constituents that it unites, but
the pun accentuating the 'difference' of elements forced nilly-willy into
a shotgun marriage

compelled

by

linguistic coincidence.

To

translate

thepun is to further
attemptthe impossible; for thebest thatcan be

language that as far as possible

of
the
thus considered,
replicate
original. 'Equivalence,'
does not imply exactitude, but rather entails the perceived similarity of
its Shadow,
entails the per
things that are different; 'mismatching,'
ceived difference of things that are the same. The pun thus plays an
done

is to find effects in the second

the duplicity

part in the bilingual textby promoting to prominence the

important

of 'equivalence'
and 'mismatching'; but even as that dialectic
the interdependence of the two texts (here, the French
acknowledges
Fin de partie and the English Endgame)
it asserts, in a manner com
dialectic

insistence elsewhere on demented particularity,

patible with Beckett's
the independence
of each. Considered
thus, Beckett's
bilingual texts
and self-translations may be his finest puns.

Works

Cited

Ackerley, C. J., and S. E. Gontarski, The Grove Companion to Samuel Beckett

(New York: Grove, 2004).
Aristole, De Sophisticis Elenchis, trans.W. A. Pickard-Cambridge, in The
Works ofAristotle I, ed.W. D. Ross (Oxford: Clarendon, 1928).
Beckett, Samuel, Murphy, 1938 (New York: Grove, 1957a).
-, Fin de partie suivi de Acte sans paroles I (Paris: Minuit, 1957b).
-, Molloy, in Three Novels by Samuel Beckett: Molloy, Malone Dies, The Un
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