Samuel Beckett and his creativity

The tragedy of a man who knows his end is approaching that his literary creations are condemned to disappear alongside their heroes - these are the main themes in Beckett's work. In 1945, he decided to write in French "a desire to lose even more". This deliberate limitation of the use of speech is not directed at self-destruction: it is an attempt to understand who / what / speaks, to go clean, but not to understand the origin of language, but to understand the prerequisites for the emergence his. In Beckett's strict internal rules, which resembles an internal monologue, the characters captured by the intrusive notion of non-existence are trying to keep on the brink of the abyss, expressing the inability to live with the consciousness of the shortness of existence. Theatrical plays contribute to the renown the writer Beckett, and above all, "Waiting for Godot", completed in January 1949, but only published in 1952 and played only in the following year. This is a metaphysical farce, in which the lack of action enters into a compulsive contradiction with the inexpressible "slowness" of the characters in it. Inside the play, the inner mechanics that supports human existence are brought to the stage. Beckett has a tendency to build myths here, expressing his temptation to test the dramatic approach to make sense of his life experiences. He seeks to make us feel the uselessness of the expectation of the Revelation, in the sense of a narrative: the bodies and voices, the desires, and the notions of one, are found in the bodies and voices, the desires and the notions of others only in order to differentiate and divide more explicitly afterwards. The "End of the Game" (1951 final version - 1956) is even more radical in the use of the dramatic play. The playmate in the play Ham is a paralyzed and blind man who lives on an armchair. Disengagement does not prevent him from behaving as an infant hangman with his parents, Nag and Nel, who are buried in two trash cans, and his adopted son, Klov. Everything in life, according to Beckett, is suffering, disease and rot. Still, these wiry-like bodies stop saying words and orders that sound like a poem for the destruction of the world. Koval sees a child out and wonders whether after life, closed down here, life will continue. The man, the thing that thinks he can say no, even when his body is destined to be one with matter, does not seem to know that matter allows him to live, only to swallow it deeper in yourself. Beckett often introduces himself to the stage in his plays a weak, almost dead body, from which comes a voice close to the whisper. By the 1970s, Becket had continued to seek the delicate unity found between voice and body, meaning, and matter. From the garbage cans in which Nag and Nel are trapped, it goes to the sand where Whinney sinks from "Oh these good days!", Then comes to the comedy in Comedy, in "Not Me," where only one woman's mouth speaks out with a ray of light in the darkness of the scene.

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The attempt to separate the physical from the metaphysical dimension nourishes humor and the modern tragedy at Beckett's theater. In fact, it is paradoxical to see how, in this world without real relationships, a character with a sudden tide of will and a glimpse of conscience tries to get rid of his companion in misfortune, but constantly fails, fails to overthrow it. The relationship between the self and the others turns out to be indestructible, as the body is inseparable from the voice and the thought of the words. Every character, irreparably alone, thinks of doubles, multiplies into visible beings. During his first stay in Paris in 1928, Becket wrote essays on the work of Joyce and Proust. Beckett's true entry into literature has created the Murphy novel, completed in London in 1935. Though he has decided not to work, Murphy finds himself forced to labor because he falls in love with a woman who abandons prostitution to live with him. So he becomes a caregiver in a mental hospital, where he finally finds refuge. Murphy does not feel "driven out of a benevolent system, but a fugitive from a colossal fiasco." In his first novel, Beckett opens the door to the closed world of inner life.

With the Watt novel, completed in 1942 and published in 1953, Beckett devotes himself to a new experiment: Watt released to the Knott House, a mysterious character for which he will learn nothing but to obey all his wishes and orders. Despite all this, Watt was sent away from Knot's home. Beckett exposes his character to the study of humility that bordered humiliation. Thus, Beckett's novel strives for non-existence as it passes through absurdity. The Era Collapse: After 1945, when writing the other works, there was a radical turnaround in Beckett's Writing Manner. "I" replaces "Him." A particular use of the self by the writer is a revolution in literature: until then, it is most often used to make a character, to give a relief to the existence of a person, while defining his world. Beckett "I" becomes the source of all voices and the starting point of one a life-saving escape out of reality, if you say "I" means that you are trying to exhaust your identity to rise up to the complex truth of the talk.The distance between the narrator and his characters is replaced by the multiplication of the doubles. is built upon the impossibility of establishing and restoring the meaning of existence, in which only wandering with / among / words seems to impart some content. Molloy is a book about the wandering of a being almost devoid of life. This is a rackage for one end "no memory of the morning, no hope for the evening". Molloy is a one-pointed, dirty, toothless, one-legged one. At first, he dragged his cloaks to his feet, then dragged himself like a worm on the ground. His body is a pure denial. This creature seeks to know who she is and what she does in her mother's room. He has no memory in the usual sense of the word. He must continually seek, discover, find himself, speak, even when, sometimes, he does not even remember his name. This uncertainty about his own personality prevents this talking loner from getting to know himself. The monologue serves him to continue living. It is actually life. With the only exception - another person who will begin to investigate / get to know him / her. It's Moran It's quite obvious that Moran will eventually identify with Molloy, at the end he will become Molloy. But Moran is not the master of himself. He obeys the commandments that Yudy gives him through Gaber's mediation. One day he will have to stop his investigation (poll). He will start writing. The circle closes: everyone, Molloy, Moran, and Becket, gather together in one character.