In Samuel Beckett's Endgame (1958), Clov claims – provisionally – that ‘There's no more nature’:

The world of Endgame is featureless, monotonous and uncertain. These aspects of the play make it difficult to know whether nature has ceased to exist or not. There are no markers, no reference points. To Hamm's repeated question ‘What's happening, what's happening?’, Clov (repeatedly) answers: ‘Something is taking its course’. The ‘something’ is unspecified. That this something could be anything at all suggests that the claustrophobic world inhabited by the characters in Endgame is paradoxically also an unlimited world, a ‘grey’ world with neither external nor internal landmarks.

If one of the endgames of the ‘liquid modern world’ (so described by Zygmunt Bauman in Liquid Love) is the possible disappearance of nature, including human nature, then some of modernity's opening moves, as played by Shakespeare, are to embrace modernity's positive aspects (the openness of nature and human nature to question and transformation), but to resist the negatives (featurelessness, total plasticity and disintegration) by reorienting characters to human landmarks and connecting these to nature.