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Samuel Barclay Beckett
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Samuel Barclay Beckett was an Irish avant-garde novelist (a person who introduces new and experimental ideas and methods in art, music, or literature.), playwright, theatre director, and poet. Best known for his play GoDot he is sometimes considered the last of the Modernists as well as the father of the Postmodernist movement due to the influence his work had on many writers.
Samuel Beckett was born on Good Friday, April 13, 1906, near Dublin, Ireland. He was the younger of the two sons born to William Frank Beckett, a quantity surveyor, and May Barclay who was a nurse. He was raised in a middle class home with a protestant background and at the age of five he attended a local playschool. Not long after he moved to Portora Royal School in Enniskillen, the same school that Oscar Wilde attended.
Beckett later attended Trinity College in Dublin from 1923-1927, during his time there he excelled in his studies of the modern languages, English, French and Italian. After earning a Bachelor’s degree in French and Italian he started teaching at Campbell College in Belfast for two terms before moving to Paris. Arriving in Paris in 1928 he became a lecteur d’anglais at the École Normale Supérieure, it was at this moment in time that Beckett would meet lifelong friend James Joyce, an Irish novelist. Beckett went on to publish his first work in 1929, a critical essay called “Dante…Bruno. Vico… Joyce,” in which he defends James Joyce’s work.
Beckett returned to Dublin from Paris to accept a lecturing position at Trinity College. He graduated from Trinity College earning a Master of Arts degree; he resigned from his job at the College and went traveling through Europe and Britain. During his travels he came across many tramps and wanderers w...
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...ould (referring to his contribution as “boy scout stuff”, and continued working on the novel Watt.
As the war was drawing to a close Beckett returned to Paris in 1945. He then revisited Dublin for a short visit, whilst in his mother’s room he had an epiphany which would have a dramatic impact on his future work. Dreading the consequence of being in James Joyce’s shadow, Beckett realised it was time to change the path that he was following which forced him to acknowledge both his interests and stupidity, which the following quote highlights.
"I realized that Joyce had gone as far as one could in the direction of knowing more, [being] in control of one’s material. He was always adding to it; you only have to look at his proofs to see that. I realized that my own way was in impoverishment, in lack of knowledge and in taking away, in subtracting rather than in adding."
Works Cited: Benstock, Bernard. Critical Essays on James Joyce. G.K. Hall & Co. Boston, Massachusetts: 1985. Joyce, James. Dubliners.
In James Joyce’s Dubliners, the theme of escape tends to be a trend when characters are faced with critical decisions. Joyce’s novel presents a bleak and dark view of Ireland; his intentions by writing this novel are to illustrate people’s reasons to flee Ireland. In the stories “Eveline, “Counterparts”, and the “Dead”, characters are faced with autonomous decisions that shape their lives. This forlorn world casts a gloomy shadow over the characters of these stories. These stories are connected by their similar portrayal of Ireland. They clearly represent Joyce’s views on people’s discontent with Ireland.
Samuel Beckett’s Endgame is a complex analysis of politics in a seemingly apolitical and empty world. As Hamm and Clov inhabit the aftermath of Marxism, they display characteristics of the bourgeoisie and proletariat respectively, but only retain them so they can define themselves as something. The work implicitly argues- through the setting, and by defining Hamm and Clov as the bourgeoisie and proletariat- that political platforms are simply human rationalizations in futile opposition to a meaningless world, pointing towards Beckett’s ideological message of existential nihilism.
Joyce through his writings displayed mockery and a straightforward rebellion against the church and their beliefs. But surprisingly Joyce was introduced to the ideas of religion at an early age. At the age of six he began his religion enlightenment as he attended Clongowes Wood College whom emphasized Jesuit beliefs. During this time in Joyce’s life he was picked on by the other students attending this college. In one incident “A boy had snatched his glasses and stood on them but a priest believed that Joyce had done it himself to avoid lessons and gave him a ‘pandying’” (O'Brien 1). Events like this were probably the fuel to the fire of his dislike towards religion. “The Jesuits he called in his adult life a ‘heartless order that bears the name of Jesus by antiphrasis’” (O'Brien 1). Later, at around eleven years old, he transferred over to the Belvedere College in Dublin. (Ebook 1) After his graduation at Dublin he determined that he knew an adequate amount of of the Jesuit religion, he officially rejected it (Gray 1). “After some religious experiences he lost his faith, then his patriotism, and held up those with whom he formerly worshipped to ridicule, and his country and her aspirations to contempt” (Collins 1). “Joyce was a humanist. A Renaissance man. Man is the center. God is in man. Anyone who looks elsewhere is just an ignorant sheep” (Sheila 1).
What affected James Joyces’ writing most were the events going around him in Europe during the late 1800’s and early 1900’s. However, his own experiences had an impact in his style and writing material. Joyce was born in 1882 in Dublin Ireland and lived through reformations, wars, and trails until he died in Zürich in 1941. He was a man much in to politics and was much interested how a country was being led. In the year 1914, James wrote 15 short stories known as Dubliners, which also includes the short story “Araby” (Thomas). “Araby” is a short story in which he writes describing a young lad’s curiosity and naïve experience with love and in which he describes his personal life as a boy . Ireland was not always free and independent as it is now. England had control of Ireland since it took control in 1798 (Allison). This had a big effect in the life of James for all his childhood their country was under the control of a foreign hand. When Joyce first published his short stories, there were uprisings in the countries around since that same year, World War 1 started. Because of the turmoil in the countries about, Joyce had fit these events in with his pieces of fiction.
Joyce almost shouts at the reader of how difficult it was or is rather for men to return home from war and reintegrate back into normal life. In this case Gabriel wants to be alone and not waste his time with unimportant chatter. He has wants he is unable to express due to his awkwardness. When his wife admits there was another man she loved before him his world comes spinning to a stop and he looks at her as if they never knew each other. He distances himself completely due to the lack of understanding of the people around him. This comments on the social changes brought after World War I, new lines were drawn on the map and an empire was brought down.
This essay will explore the frontier of existence in Beckett’s Waiting for Godot and Ionesco’s Rhinoceros
Irish-born French author Samuel Beckett was well known for his use of literary devices such as black comedy in his various literary works. Written during late 1948 and early 1949 and premiered as a play in 1953 as En attendant Godot, Beckett coupled these devices with minimalism and absurdity in order to create the tragicomedy known to English speakers as Waiting for Godot. True to its title, Waiting for Godot is the tale of a pair of best friends known as Vladimir (Didi) and Estragon (Gogo) who are waiting for the character the audience comes to know as Godot to appear. Throughout Beckett’s play Waiting for Godot, Samuel Beckett alludes to the monotheistic religion of Christianity through symbols, dialogue, and characters to reveal the heavy invisible influence of God in the daily life of man.
The setting is the next day at the same time. Estragon's boots and Lucky's hat are still on the stage. Vladimir enters and starts to sing until Estragon shows up barefoot. Estragon is upset that Vladimir was singing and happy even though he was not there. Both admit that they feel better when alone but convince themselves they are happy when together. They are still waiting for Godot.
James Joyce began his writing career in 1914 with a series of realistic stories published in a collection called The Dubliners. These short literary pieces are a glimpse into the ‘paralysis’ that those who lived in the turn of the century Ireland and its capital experienced at various points in life (Greenblatt, 2277). Two of the selections, “Araby” and “The Dead” are examples of Joyce’s ability to tell a story with precise details while remaining a detached third person narrator. “Araby” is centered on the main character experiencing an epiphany while “The Dead” is Joyce’s experiment with trying to remain objective. One might assume Joyce had trouble with objectivity when it concerned the setting of Ireland because Dublin would prove to be his only topic. According the editors of the Norton Anthology of Literature, “No writer has ever been more soaked in Dublin, its atmosphere, its history, its topography. He devised ways of expanding his account of the Irish capital, however, so that they became microcosms of human history, geography, and experience.” (Greenblatt, 2277) In both “Araby” and “The Dead” the climax reveals an epiphany of sorts that the main characters experience and each realize his actual position in life and its ultimate permanency.
James Joyce's fragment of a novel, Stephen Hero, leaves the reader little room to interpret the text for themselves. The work lacks the narrative distance that Joyce achieves in his later works. Dubliners, a work Joyce was writing concurrently, seemingly employs a drastically different voice. A voice which leaves the reader room to make judgments of their own. Yet it is curious that Joyce could produce these two works at the same time, one that controls the reader so directly, telling not showing , while the other, Dubliners, seems to give the reader the power of final interpretation over the characters it portrays.
Coleman, Grant Bernard, "Imagination, Illusion and Vision in James Joyce's Dubliners" (2012). Open Access Dissertations and Theses. Paper 6951.
Peake, C.H. James Joyce: The Citizen and The Artist. Stanford: Stanford University Press, 1977. 56-109.
Oscar Wilde had a quick and fluid intelligence coupled with a gift for languages. His early education included attending Porotra Royal School in Enniskillen (1873) Trinity College in Dublin (1874-1879), and Magdalen College in Oxford. He excelled in his studies. Along with his schoolwork, Wilde began to build his reputation as a poet. His early work garnered some success. In 1878, Oscar Wilde won the Newdigate prize for poetry. His entry was inspired by a vacation to Ravenna.
Kern, Edith. “Drama Stripped for Inaction: Beckett’s Godot.” Yale French Studies. Vol. 14. Yale University Press, 1954. 41-47. JSTOR. 22 Mar. 2004. http://links.jstor.org/sici?sici=0044-0078%281954>.