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SAMUEL BECKETT BIOGRAPHY - Samuel Beckett, in full Samuel Barclay Beckett, (born April 13, 1906, Foxrock, County Dublin, Ireland—died December 22, 1989, Paris, France), author, critic, and playwright, winner of the Nobel Prize for Literature in 1969. He wrote in both French and English and is perhaps best known for his plays, especially En attendant Godot (1952; Waiting for Godot).

SAMUEL BECKETT BIOGRAPHY - Samuel Beckett was born in a suburb of Dublin. Like his fellow Irish writers George Bernard Shaw, Oscar Wilde, and William Butler Yeats, he came from a Protestant, Anglo-Irish background. At the age of 14, he went to the Portora Royal School, in what became Northern Ireland, a school that catered to the Anglo-Irish middle classes.

SAMUEL BECKETT BIOGRAPHY - From 1923 to 1927, he studied Romance languages at Trinity College, Dublin, where he received his bachelor’s degree. After a brief spell of teaching in Belfast, he became a reader in English at the École Normale Supérieure in Paris in 1928. There he met the self-exiled Irish writer James Joyce, the author of the controversial and seminally modern novel Ulysses, and joined his circle.

SAMUEL BECKETT BIOGRAPHY - Production of the major works:- There followed a period of intense creativity, the most concentratedly fruitful period of Beckett’s life. His relatively few prewar publications included two essays on Joyce and the French novelist Marcel Proust. The volume More Pricks Than Kicks (1934) contained 10 stories describing episodes in the life of a Dublin intellectual, Belacqua Shuah, and the novel Murphy (1938) concerns an Irishman in London who escapes from a girl he is about to marry to a life of contemplation as a male nurse in a mental institution.

SAMUEL BECKETT BIOGRAPHY - His two slim volumes of poetry were Whoroscope (1930), a poem on the French philosopher René Descartes, and the collection Echo’s Bones (1935). A number of short stories and poems were scattered in various periodicals. He wrote the novel Dream of Fair to Middling Women in the mid-1930s, but it remained incomplete and was not published until 1992.

SAMUEL BECKETT BIOGRAPHY - During his years in hiding in unoccupied France, Beckett also completed another novel, Watt, which was not published until 1953. After his return to Paris, between 1946 and 1949, Beckett produced a number of stories, the major prose narratives Molloy (1951), Malone meurt (1951; Malone Dies), and L’Innommable (1953; The Unnamable), and two plays, the unpublished three-act Eleutheria and Waiting for Godot.
SAMUEL BECKETT BIOGRAPHY - It was with the amazing success of Waiting for Godot at the small Théâtre de Babylone in Paris, in January 1953, that Beckett’s rise to world fame began. Beckett continued writing, but more slowly than in the immediate postwar years. Plays for the stage and radio and a number of prose works occupied much of his attention. (This period of Beckett’s life is treated in the second volume of letters, published in 2011, covering the years 1941–56.)

SAMUEL BECKETT BIOGRAPHY - Beckett’s writing reveals his own immense learning. It is full of subtle allusions to a multitude of literary sources as well as to a number of philosophical and theological writers. The dominating influences on Beckett’s thought were undoubtedly the Italian poet Dante, the French philosopher René Descartes, the 17th-century Dutch philosopher Arnold Geulincx—a pupil of Descartes who dealt with the question of how the physical and the spiritual sides of man interact—and, finally, his fellow Irishman and revered friend, James Joyce. But it is by no means essential for the understanding of Beckett’s work that one be aware of all the literary, philosophical, and theological allusions.

SAMUEL BECKETT BIOGRAPHY - Most of Beckett’s plays also take place on a similar level of abstraction. Fin de partie (one-act, 1957; Endgame) describes the dissolution of the relation between a master, Hamm, and his servant, Clov. They inhabit a circular structure with two high windows—perhaps the image of the inside of a human skull. The action might be seen as a symbol of the dissolution of a human personality in the hour of death, the breaking of the bond between the spiritual and the physical sides of man. In Krapp’s Last Tape (one-act, first performed 1958), an old man listens to the confessions he recorded in earlier and happier years.

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