Samuel Becket is a poet, theater director, playwright, and novelist, who lived in the French capital, Paris. Most of his works were gallows humor, black comedy, and tragicomic in nature. Beckett is one of most influential playwright in the current times(Literature Encyclopedia Organization). Most writers consider him as post-modernist. Beckett was awarded Nobel Prize for his contribution in the literature field, especially in drama and novel in the year 1969. Beckett spent his childhood in theIrish city of Dublin with his family. His mother was a nurse and his father was a quantity surveyor. Beckett attended Portora School before heading to Dublin University to study arts. While at the University, Beckett played high-level university cricket games.
He is the only Nobel laureate to have an entry into the bible of the cricket. Becket learned English, Italian, and French while at the university(Literature Encyclopedia Organization). After graduating, Beckett took a teaching job at the Campbell College. He later went to France for further education where he met James Joyce. He assisted Joyce in various projects including Finnegans wake book. Beckett published his first essay, which supported Joyce works in late 1920s. Beckett is remembered for his Non-Fiction, Short Pose, Prose, Poetry collections, theater, cinema, television, and radio works.
Beckett managed to open up fiction and theater that united different eras, focused on essential components of human condition, and dispensed convectional plots. Beckett collaborated with other icons in literature world, such as Jack McGowan, Billie Whitelaw, and Jocelyn Herbert.
Factors that influenced Beckett’s plays
In the winter of 2012, we met up in Dublin, where he received anHonorary Doctorate of Letters from Trinity College. He was oftenembarrassed by accolades but embraced this one, coming from the sameinstitution where Samuel Beckett walked and studied. He loved Beckett,and had a few pieces of writing, in Beckett’s own hand, framed in thekitchen, along with pictures of his kids. That day, we saw thetypewriter of John Millington Synge and James Joyce’s spectacles, and,in the night, we joined musicians at Sam’s favorite local pub, theCobblestone, on the other side of the river. As we playfully staggeredacross the bridge, he recited reams of Beckett off the top of his head.
Beckett, Joyce and the Art of the Negative is an issue of the European Joyce Studies Annual pretending (though not very hard) to be a book. It offers no principle of selection or coherence; Beckett is included because someone suggested including him; the essays are, arbitrarily, "arranged alphabetically by author" (14); there is neither a list of contributors, nor a Works Cited page, nor an index. Criticism has increasingly found good reasons to link Joyce and Samuel Beckett (as I have myself in a recently completed manuscript), but only one of the book's twelve essays discusses both writers, while four are on Joyce and seven on Beckett.
The umbrella title and perfunctory introduction gesture toward unity: "Samuel Beckett and James Joyce write with deep awareness of ancient, medieval and modern philosophical and theological traditions that express negation and its correlative states—absence, void, emptiness and nothingness—as central to language and representation" (11). But the introduction provides no discussion of Joyce and Beckett's special, if not unique, relationship; nor is any linkage posited between and among these essays other than the sweeping thesis that "[n]egation is the dark metaphysical heart of modern literature" (11)—not at all unreasonable on its face, but needing more than mere assertion.
This collection of essays by the circle of writers and scholars surrounding Joyce in Paris, was meant to introduce the world to the significance of James Joyce's new work, which was, in Samuel Beckett's words, not about something, but that something itself: "And if you do not understand it, Ladies and Gentlemen, it is because you are too decadent to receive it .
Its immediate forebears are dramatists like Strindberg, who progressed from photographic naturalism to more and more openly expressionist representations of dreams, nightmares, or obsessions in plays like the , , or , and novelists like James Joyce and Kafka.