贝克特的《克拉普的最后一盘录音带》和《快乐的日子》是荒诞派戏剧的经典剧目,也是剧作家整体创作脉络中的重要环节。本文试图对两剧进行比照,说明两者在主题、戏剧叙事手段和戏剧语言上的延续性和互文性。同时,贝克特运用多维的戏剧语言消解了人物话语的意义,从某种程度上揭示了剧作家的反语言的语言哲学观点。 Beckett’s “Krapp’s last tapes” and “Happy Days” are the classic repertoires of the absurd drama and are also an important link in the whole dramas of dramatists. This article tries to compare the two dramas, and illustrates their continuity and intertextuality in thematic, dramatic narratives and dramatic language. At the same time, Beckett uses the multi-dimensional drama language to dispel the meaning of characters’ discourse and reveals to a certain extent the playwright’s anti-linguistic perspective of language philosophy.