作为二十世纪的重要作家，塞缪尔•贝克特的戏剧得到广泛的关注，学界对他作品的研究有着经久的热情。《终局》是他本人最喜欢的剧作，是公认的戏剧杰作。尽管本剧以晦涩难懂而著称，学者们还是从多个方面多个层次对本剧进行了解读。但是，因为学界对贝克特荒诞派戏剧剧作家身份的广泛认同，对本剧的解读也多放在荒诞派戏剧或者存在主义哲学角度的框架下去分析。目前，只有非常有限的研究针对这部剧悲喜剧的因素以及其产生的审美效果进行分析。 因此，本篇论文的目的为从悲喜剧框架对《终局》进行分析，并从多个方面详细论述这种悲喜剧手法给读者和观众产生的审美效果。论文总共分为五个部分，第一部分第一小节介绍贝克特本人和《终局》；第二小节总结前人对《终局》的研究角度，得出较少有学者从悲喜剧这个框架去研究；第三小节将介绍悲喜剧的理论；第二三四部分从人物命运、本剧语言的特点、以及舞台效果三个方面综合分析其产生的悲喜剧效果。并最终得出结论：贝克特不仅仅是要在这部剧中表现人生生存的荒诞，更让我们意识到，在喜剧失调和错位的黑色幽默中，包含着让人无法逃避和无法结束的无尽苦难。

Samuel Beckett is a keynote writer in the 20th century whose plays have gained great attention and popularity. His favorite play Endgame has been widely recognized as a masterpiece. Although it is widely acknowledged as a hard and obscure play to understand, it still sparkles diverse response. However, the criticism on this play is mainly focus on its absurdity and the philosophical meaning. Hardly any work has been done to explore the tragicomic elements in his work. The focus of this paper is to examine how Endgame generates powerful tragicomic effect by analyzing the play from comprehensive perspectives. This paper consists of five parts. The first part introduces Beckett himself and the play Endgame, summarizes the previous studies on Endgame which indicate that there are not adequate studies from the particular angle of tragicomedy, and also introduces the theory of tragicomedy and its development. The following partss analyses the characters’ destinies, the rhetorical devices Beckett uses, and the theatre performance under the framework of tragicomic and the effect it generates. And in the end argues that how Beckett does more than just show our absurd being, but in the meantime, forces us to realize that the way to bear suffering is to laugh about it.