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賲噩賲賵毓賴 丌孬丕乇 賳賲丕蹖卮蹖 亘讴鬲
賲噩賲賵毓賴 蹖 讴丕賲賱 32 丕孬乇 賳賲丕蹖卮蹖 - The Complete 32 Dramatic Works
丿乇 丕賳鬲馗丕乇 诏賵丿賵
丌禺乇 亘丕夭蹖
乇賵夭賴丕蹖 禺賵卮
賴賲賴 丕賮鬲丕丿诏丕賳
I 亘丕夭蹖 亘蹖 讴賱丕賲
II 亘丕夭蹖 亘蹖 讴賱丕賲
丌禺乇蹖賳 賳賵丕乇 讴乇丕倬
I 倬蹖卮 賳賵蹖爻 亘乇丕蹖 賳賲丕蹖卮
II 倬蹖卮 賳賵蹖爻 亘乇丕蹖 賳賲丕蹖卮
倬丕乇賴 賴丕蹖 丌鬲卮
I 倬蹖卮 賳賵蹖爻 亘乇丕蹖 乇丕丿蹖賵
II 倬蹖卮 賳賵蹖爻 亘乇丕蹖 乇丕丿蹖賵
賵丕跇賴 賴丕 賵 賲賵爻蹖賯蹖 - 诏賮鬲丕乇 賵 賲賵爻蹖賯蹖
讴丕爻讴丕賳丿賵
亘丕夭蹖
賮蹖賱賲
賳睾賲賴 賯丿蹖賲蹖
丌賲丿 賵 乇賮鬲
賴蹖 噩賵
賳賮爻
賳賴 賲賳
丌賳 亘丕乇
氐丿丕蹖 倬丕
卮亘丨 鬲乇蹖賵 - 卮亘丨 爻賴 诏丕賳賴
...鬲賳賴丕 诏匕丕乇 丕亘乇賴丕...
賯胤毓賴 鬲讴 诏賵蹖蹖
賱丕賱丕蹖蹖 - 禺賵丕亘丕賳丿丕賳
亘丿丕賴賴 禺賵丕賳蹖 丕賵賴丕蹖賵
趩赖丕乇诏賵卮
賮丕噩毓赖
卮亘 賵 乇賵蹖丕
趩蹖 讴噩丕
丿乇 丕賳鬲馗丕乇 诏賵丿賵
丌禺乇 亘丕夭蹖
乇賵夭賴丕蹖 禺賵卮
賴賲賴 丕賮鬲丕丿诏丕賳
I 亘丕夭蹖 亘蹖 讴賱丕賲
II 亘丕夭蹖 亘蹖 讴賱丕賲
丌禺乇蹖賳 賳賵丕乇 讴乇丕倬
I 倬蹖卮 賳賵蹖爻 亘乇丕蹖 賳賲丕蹖卮
II 倬蹖卮 賳賵蹖爻 亘乇丕蹖 賳賲丕蹖卮
倬丕乇賴 賴丕蹖 丌鬲卮
I 倬蹖卮 賳賵蹖爻 亘乇丕蹖 乇丕丿蹖賵
II 倬蹖卮 賳賵蹖爻 亘乇丕蹖 乇丕丿蹖賵
賵丕跇賴 賴丕 賵 賲賵爻蹖賯蹖 - 诏賮鬲丕乇 賵 賲賵爻蹖賯蹖
讴丕爻讴丕賳丿賵
亘丕夭蹖
賮蹖賱賲
賳睾賲賴 賯丿蹖賲蹖
丌賲丿 賵 乇賮鬲
賴蹖 噩賵
賳賮爻
賳賴 賲賳
丌賳 亘丕乇
氐丿丕蹖 倬丕
卮亘丨 鬲乇蹖賵 - 卮亘丨 爻賴 诏丕賳賴
...鬲賳賴丕 诏匕丕乇 丕亘乇賴丕...
賯胤毓賴 鬲讴 诏賵蹖蹖
賱丕賱丕蹖蹖 - 禺賵丕亘丕賳丿丕賳
亘丿丕賴賴 禺賵丕賳蹖 丕賵賴丕蹖賵
趩赖丕乇诏賵卮
賮丕噩毓赖
卮亘 賵 乇賵蹖丕
趩蹖 讴噩丕
608 pages, Hardcover
First published September 1, 1961
276 people are currently reading
2080 people want to read
About the author
Samuel Beckett
863听books6,369听followersSamuel Barclay Beckett was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in France for most of his adult life. He wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.
Beckett is widely regarded as among the most influential writers of the 20th century. Strongly influenced by James Joyce, he is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the "Theatre of the Absurd". His work became increasingly minimalist in his later career.
Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which鈥攊n new forms for the novel and drama鈥攊n the destitution of modern man acquires its elevation". In 1984 he was elected Saoi of Aosd谩na.
Beckett is widely regarded as among the most influential writers of the 20th century. Strongly influenced by James Joyce, he is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the "Theatre of the Absurd". His work became increasingly minimalist in his later career.
Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which鈥攊n new forms for the novel and drama鈥攊n the destitution of modern man acquires its elevation". In 1984 he was elected Saoi of Aosd谩na.
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Displaying 1 - 30 of 107 reviews
August 28, 2016
賳賲丕蹖卮賳丕賲賴 丕蹖 蹖讴 倬乇丿賴 丕蹖
丿賵 夭賳 賵 蹖讴 賲乇丿
賵 禺賲乇賴 賴丕蹖蹖 讴賴 丿乇 丌賳 賯乇丕乇 丿丕乇賳丿
賳賲丕蹖卮蹖 讴賵鬲丕賴 丕夭 倬賵趩蹖 夭賳丿诏蹖 賲乇丿賲 賵 毓丿賲 氐丿丕賯鬲 丌丿賲賴丕
賵丕爻賴 丕蹖賳賴 讴賴 賲賳 乇丕爻鬲卮賵 賳賲蹖 诏賲責 賴賲蹖賳 胤賵乇賴責 讴賴 丌禺乇卮 卮丕蹖丿 蹖賴 乇賵夭蹖 蹖賴 噩賵乇蹖 亘丕賱丕禺乇賴 乇丕爻鬲卮賵 亘诏賲 賵 丕賵賳賵賯鬲 丿蹖诏賴 賵丕爻賴 乇丕爻鬲 诏賮鬲賳 賳賵乇蹖 亘丕賯蹖 賳賲賵賳丿賴 亘丕卮賴責
賲丕噩乇丕 丕夭 丕蹖賳 賯乇丕乇 丕爻鬲 讴賴 蹖讴 賲乇丿 賲鬲丕賴賱貙亘丕 夭賳蹖 丿蹖诏乇 賴賲 爻乇 賵 爻乇蹖 丿丕乇丿 賵 賴賲爻乇卮 賲蹖 賮賴賲丿
賲毓卮賵賯賴 丕卮 賴賲 賲蹖丿丕賳爻鬲賴 讴賴 賲乇丿 賲鬲丕賴賱 亘賵丿賴 丕爻鬲
賯爻賲鬲 丕賵賱 賳賲丕蹖卮賳丕賲賴 丿乇 丕蹖賳 亘丕乇賴 丕爻鬲
賵賱蹖 賯爻賲鬲 丿賵賲 亘乇丕賲 诏賳诏 亘賵丿
丿賵亘丕乇 讴鬲丕亘 乇丕 禺賵丕賳丿賲
賵賱蹖 爻賵丕賱丕鬲賲 丨賱 賳卮丿
賳賯丿蹖 賴賲 丿乇亘丕乇賴 賳賲丕蹖卮賳丕賲賴 倬蹖丿丕 賳讴乇丿賲
Want to read
March 24, 2024According to the second volume of L'amica geniale, useful for swatting mosquitos.
May 27, 2016
I am somewhat tempted, at the risk of being highly pretentious, to right a Beckett-style to review to this Beckett compendium. Fortunately, I'm not sure I really have the knack, thus sparing me from the absurdity.
I have given this two stars. I'm not sure why because I absolutely love Beckett, despite being at complete right angles to his philosophy. So it may be that. Or it may be that, like modern art, one could point at it and say, "A three-year-old could have done that!" Which is sometimes true. But not generally.
Beckett's work is nihilism. It is a statement of nothing; I would say an "incarnation" or "apotheosis" of nothing, but that would be a contradiction. Don't try to read a deep meaning into Beckett's plays, because you won't find any, and the reason that you won't find any is quite simple. There isn't any. Beckett isn't poking fun at people who think there is, because that would be to say something at all. I would say that this is the "whole point", but there isn't any point for it to be the whole of.
But all this is nonsense, because there is lots going on. There is darkness, and confusion, and pain, and power, and cruelty, and loss; there are hints of a half-remembered past flitting away as the horror of the present presses forward into the dimness of the future, all to be consumed by the cruel tyrant of ... nothing.
This is the situation in which, he claims, we all live; this is all that we have, and that "all" is nothing. We all live on that stage, in whatever absurd and dismal situation, watched by the confused who cannot see themselves on the playwright's mirror, because all they have seen hitherto is a distortion; or perhaps they are surprised that all they can see in that mirror is nothing.
Don't go calling this, or any part of it, a masterpiece. A masterpiece is something; it is an achievement, and it is to give it a false meaning, as if you or your opinions were more than nothing. Don't call it genius, or witty. Just call it, no more a waste of time than any of our other diversions, when it will all come to nothing.
Depressed yet? Oh, no. You wait until you start reading it...
I have given this two stars. I'm not sure why because I absolutely love Beckett, despite being at complete right angles to his philosophy. So it may be that. Or it may be that, like modern art, one could point at it and say, "A three-year-old could have done that!" Which is sometimes true. But not generally.
Beckett's work is nihilism. It is a statement of nothing; I would say an "incarnation" or "apotheosis" of nothing, but that would be a contradiction. Don't try to read a deep meaning into Beckett's plays, because you won't find any, and the reason that you won't find any is quite simple. There isn't any. Beckett isn't poking fun at people who think there is, because that would be to say something at all. I would say that this is the "whole point", but there isn't any point for it to be the whole of.
But all this is nonsense, because there is lots going on. There is darkness, and confusion, and pain, and power, and cruelty, and loss; there are hints of a half-remembered past flitting away as the horror of the present presses forward into the dimness of the future, all to be consumed by the cruel tyrant of ... nothing.
This is the situation in which, he claims, we all live; this is all that we have, and that "all" is nothing. We all live on that stage, in whatever absurd and dismal situation, watched by the confused who cannot see themselves on the playwright's mirror, because all they have seen hitherto is a distortion; or perhaps they are surprised that all they can see in that mirror is nothing.
Don't go calling this, or any part of it, a masterpiece. A masterpiece is something; it is an achievement, and it is to give it a false meaning, as if you or your opinions were more than nothing. Don't call it genius, or witty. Just call it, no more a waste of time than any of our other diversions, when it will all come to nothing.
Depressed yet? Oh, no. You wait until you start reading it...
August 27, 2021
Maravilloso Beckett, la primera vez que vi esperando a Godot fue c贸mo a los 18, desde ah铆 quede sorprendida y en cada visita a su teatro continu贸 totalmente perpleja por lo inclasificable y desconcertante que es. A Beckett se regresa por siempre.
October 11, 2022
I missed beckett's godot so this is mostly why i came back (also I'm sick and literature always fixes what ails me) LOVED WHAT WHERE so much.
He's without a doubt a great playwright (it kills me to compliment a man)
He's without a doubt a great playwright (it kills me to compliment a man)
May 16, 2018
袩芯写芯蟹褉械胁邪褞 - 懈 褔械屑 写邪谢褜褕械, 褌械屑 褋懈谢褜薪械械, - 褔褌芯 薪邪 邪薪谐谢懈泄褋泻芯屑 薪懈褔械谐芯 谢褍褔褕械 褌械泻褋褌芯胁 袘械泻械褌褌邪 薪械 薪邪锌懈褋邪薪芯. 袠 袩懈薪褔芯薪邪, 泻芯薪械褔薪芯, 薪芯 袘械泻械褌褌 斜褘谢 褔褍褌芯褔泻褍 褉邪薪褜褕械.
November 1, 2015
Testi molto difficili. Si consiglia di leggerli non uno dietro l'altro, poich茅 potrebbe risultare troppo pesante. Leggerne uno, fermarsi, ragionarci su e poi passare al successivo, tenendo bene a mente quanto pensato e capito di quello precedente. L'opera di Beckett 猫 molto coerente e tutti i testi formano i fili di un discorso unico. E' giusto averli messi insieme, cos矛 da poterne comprendere la profonda unione.
Sono testi che ruotano intorno ad un tema: la difficolt脿 di trovare un senso a questa vita (se non proprio l'impossibilit脿). Con 'Godot' vediamo che questa assenza di senso non impedisce alla scena di essere movimentata, caotica, ricca di avvenimenti e dialoghi. In 'Godot' c'猫 un affannarsi, uno sprecare le proprie energie che non porta a nulla. Ma la vita c'猫 e la si vede nei movimenti convulsi dei personaggi in scena.
Procedendo con la lettura, i personaggi sono sempre pi霉 in difficolt脿. Con 'Finale...' e 'Tutti quelli...' il dialogo 猫 ancora serrato, ma diventa sempre pi霉 difficile per i personaggi comprendersi tra di loro. E nel dialogo, spesso logorroico, si assiste alla solitudine degli incompresi. In seguito, il dialogo si fa quasi impossibile: sia con se stessi (L'ultimo nastro...) sia con l'altro (Giorni felici). E qui si assiste anche al sacrificio del corpo che pi霉 non riesce a muoversi, che viene bloccato dalla vecchiaia (nel primo caso) o dall'essere letteralmente conficcati nel terreno (nel secondo). Fino ad arrivare a 'Commedia' in cui i personaggi sono solo delle teste che narrano la stessa storia, ma da tre punti di vista in conflitto tra di loro. La tragedia dell'incomprensione successivamente si trasforma nell'amara commedia di un triangolo amoroso in cui ognuno vive il proprio piacere a scapito dell'altro. Negli ultimi drammi - quelli pi霉 corti - il personaggio, ormai da solo, ha difficolt脿 nell'esprimere la sua stessa esistenza attraverso le parole. Il discorso si fa frammentario, lento, ripetitivo, con storture logiche: il tutto per esprimere la difficolt脿 nel poter parlare di se stessi, nel poter definire il proprio io (tant'猫 che uno di questi drammi si chiama, per l'appunto, 'Non io').
Onnipresente in Beckett 猫 il corpo, il quale appare con i suoi profondi limiti. L'occhio 猫 l'organo che compare pi霉 spesso, sempre con numerosi problemi di vista: i personaggi sono fortemente miopi o addirittura ciechi, per questo fanno uso di occhiali, lenti di ingrandimento o semplicemente della presenza dell'altro per orientarsi nel mondo. Quest'ultimo, per貌, sfugge sempre. Il movimento 猫 sempre molto sacrificato: o per via del poco spazio, o perch茅 vecchi, o perch茅 disabili, o perch茅 conficcati in zolle di terra o giare, o perch茅 costretti a dondolare su di un'altalena. Non c'猫 libert脿, se non un insensato affannarsi del movimento per il movimento.
In sintesi: manca il senso, l'altro 猫 distante, la metafisica 猫 muta. Eppure, questo non ci impedisce di salire in scena per rappresentare la vita umana. La quale 猫, semplicemente 猫.
Sono testi che ruotano intorno ad un tema: la difficolt脿 di trovare un senso a questa vita (se non proprio l'impossibilit脿). Con 'Godot' vediamo che questa assenza di senso non impedisce alla scena di essere movimentata, caotica, ricca di avvenimenti e dialoghi. In 'Godot' c'猫 un affannarsi, uno sprecare le proprie energie che non porta a nulla. Ma la vita c'猫 e la si vede nei movimenti convulsi dei personaggi in scena.
Procedendo con la lettura, i personaggi sono sempre pi霉 in difficolt脿. Con 'Finale...' e 'Tutti quelli...' il dialogo 猫 ancora serrato, ma diventa sempre pi霉 difficile per i personaggi comprendersi tra di loro. E nel dialogo, spesso logorroico, si assiste alla solitudine degli incompresi. In seguito, il dialogo si fa quasi impossibile: sia con se stessi (L'ultimo nastro...) sia con l'altro (Giorni felici). E qui si assiste anche al sacrificio del corpo che pi霉 non riesce a muoversi, che viene bloccato dalla vecchiaia (nel primo caso) o dall'essere letteralmente conficcati nel terreno (nel secondo). Fino ad arrivare a 'Commedia' in cui i personaggi sono solo delle teste che narrano la stessa storia, ma da tre punti di vista in conflitto tra di loro. La tragedia dell'incomprensione successivamente si trasforma nell'amara commedia di un triangolo amoroso in cui ognuno vive il proprio piacere a scapito dell'altro. Negli ultimi drammi - quelli pi霉 corti - il personaggio, ormai da solo, ha difficolt脿 nell'esprimere la sua stessa esistenza attraverso le parole. Il discorso si fa frammentario, lento, ripetitivo, con storture logiche: il tutto per esprimere la difficolt脿 nel poter parlare di se stessi, nel poter definire il proprio io (tant'猫 che uno di questi drammi si chiama, per l'appunto, 'Non io').
Onnipresente in Beckett 猫 il corpo, il quale appare con i suoi profondi limiti. L'occhio 猫 l'organo che compare pi霉 spesso, sempre con numerosi problemi di vista: i personaggi sono fortemente miopi o addirittura ciechi, per questo fanno uso di occhiali, lenti di ingrandimento o semplicemente della presenza dell'altro per orientarsi nel mondo. Quest'ultimo, per貌, sfugge sempre. Il movimento 猫 sempre molto sacrificato: o per via del poco spazio, o perch茅 vecchi, o perch茅 disabili, o perch茅 conficcati in zolle di terra o giare, o perch茅 costretti a dondolare su di un'altalena. Non c'猫 libert脿, se non un insensato affannarsi del movimento per il movimento.
In sintesi: manca il senso, l'altro 猫 distante, la metafisica 猫 muta. Eppure, questo non ci impedisce di salire in scena per rappresentare la vita umana. La quale 猫, semplicemente 猫.
May 29, 2015
賮囟丕蹖 丕夭 丕賳夭賵丕诏乇蹖 賵 讴賳丕乇 丌賲丿賳 亘丕 鬲賳賴丕蹖蹖 賵 乇賵賳丿 夭賳丿诏蹖.
卮禺氐蹖鬲 賴丕 丕讴孬乇丕 夭賵噩蹖 賵 亘丿賵賳 噩賱賵賴 賴丕蹖 馗丕賴乇蹖 趩卮賲诏蹖乇.
丨爻蹖 讴賴 丕夭 禺賵賳丿賳 賳賲丕蹖卮賳丕賲賴 賴丕蹖 亘讴鬲 賴賲 丿爻鬲 賲蹖丿丕丿 乇賵 丿賵爻鬲 丿丕卮鬲賲. 丿乇賵賳诏乇丕蹖蹖 賵 鬲賳賴丕蹖蹖 賲賳 乇賵 鬲睾匕蹖賴 讴乇丿 賵 亘賴 賵丕賯毓 毓賲賯 賵 丿乇讴 亘蹖卮鬲乇蹖 丕蹖噩丕丿 讴乇丿.
卮禺氐蹖鬲 賴丕 丕讴孬乇丕 夭賵噩蹖 賵 亘丿賵賳 噩賱賵賴 賴丕蹖 馗丕賴乇蹖 趩卮賲诏蹖乇.
丨爻蹖 讴賴 丕夭 禺賵賳丿賳 賳賲丕蹖卮賳丕賲賴 賴丕蹖 亘讴鬲 賴賲 丿爻鬲 賲蹖丿丕丿 乇賵 丿賵爻鬲 丿丕卮鬲賲. 丿乇賵賳诏乇丕蹖蹖 賵 鬲賳賴丕蹖蹖 賲賳 乇賵 鬲睾匕蹖賴 讴乇丿 賵 亘賴 賵丕賯毓 毓賲賯 賵 丿乇讴 亘蹖卮鬲乇蹖 丕蹖噩丕丿 讴乇丿.
May 9, 2021
La mia opinione qui:
February 5, 2022
Em boa hora surgiu, at茅 que enfim, esta compila莽茫o de toda a dramaturgia de Samuel Beckett, um autor inteligente, divertido e um tanto perturbador.
December 19, 2016
Krapp's Last Tape and Godot are the best. Endgame (the one with the pensioners living in dustbins) and Happy Days strike me as the kind of thing people want you to think they enjoy more than they actually do. The rest are mere sketches.
October 27, 2014
Brilliant! Beckett is simply the best playwright ever!
did-not-finish
December 22, 2020Well, it's a bit too much though. Godot, yes yes, good to revisit. Endgame, okay fine, some laughs even. Then there's the thing with endless stage instruction and totally disjointed "dialogue", and I'm like, why didn't the guy just go into script writing and leave us without having to actually read this off the page, right. So no, I'm probably not a fan, though there were some def high points in this, all the toying with absurdity, existential wossits, and the futility of language, would have done me better at age 18 or so, not so much now. At least I gave it a go.
May 3, 2021
Ho apprezzato particolarmente L'ultimo nastro di Krapp, Non io e Di' Joe (oltre al celeberrimo Aspettando Godot, che per me 猫 un gran piacere rileggere). Il teatro di Beckett 猫 ridotto al minimo, caratterizzato dal non detto, dal silenzio, dall'immobilit脿. Sicuramente uno degli autori pi霉 geniali di sempre, la sua descrizione della condizione umana 猫 la pi霉 vera e allo stesso tempo la pi霉 tragica che io abbia mai letto.
June 24, 2018
Aspettando Godot: 4/5
Finale di partita: 4/5
Tutti quelli che cadono: 5/5
L'ultimo nastro di Krapp: 3/5
Giorni felici: 2/5
Parole e musica: 3/5
Commedia: 4/5
Di' Joe: 4/5
Respiro: 5/5
Non io: 3/5
Quella volta: 3/5
Dondolo: 4/5
Finale di partita: 4/5
Tutti quelli che cadono: 5/5
L'ultimo nastro di Krapp: 3/5
Giorni felici: 2/5
Parole e musica: 3/5
Commedia: 4/5
Di' Joe: 4/5
Respiro: 5/5
Non io: 3/5
Quella volta: 3/5
Dondolo: 4/5
May 8, 2022
Excellent work like Godot, Endgame, Krapp鈥檚 Last Tape and Happy Days all in one place. I also appreciated the radio plays such as Embers and All That Fall.
I read the whole set over a short period of time so the effect was a little wearisome when it came to the more pretentious little curiosities. The themes can also become repetitive, with ideas such as ageing, regrets and negative self talk etc. Still, on reflection this is a seminal collection to read and as you鈥檇 expect the stage plays benefit from being seen, the radio plays from being heard and the film ideas from being watched.
I read the whole set over a short period of time so the effect was a little wearisome when it came to the more pretentious little curiosities. The themes can also become repetitive, with ideas such as ageing, regrets and negative self talk etc. Still, on reflection this is a seminal collection to read and as you鈥檇 expect the stage plays benefit from being seen, the radio plays from being heard and the film ideas from being watched.
September 24, 2021
Updated Review of Waiting for Godot (2021-07-09)
Having re-read this play, I鈥檝e almost had a nearly 180-degree change of opinion. I now see the greatness of it.
I think the change has been gradual, and frankly my original review was a lot of snark. I recently read a book of French avant-garde playwrights including Jarry, Cocteau, Apollinaire, etc. The only major French avant-garde play not included was Waiting for Godot, so I thought I鈥檇 also read that.
Seen in the perspective (and tradition) of those writers, Beckett鈥檚 play is truly a masterpiece. It towers above those works. And re-reading it, I continued to find new depths, meanings and confluences. While it is not the greatest play of the 20th century, and it has spawned a thousand bad imitations, it offers a unique and profound perspective on the human condition.
I don鈥檛 think that the points I made in my original review are wrong, but I wasn鈥檛 looking at the play overall through the right lens.
The play is profound in its nihilism. It is humorous in its sorrow. Poetic in its despair.
My Original Review (2011-06-11)
Unlike most people, I take Beckett at his word. The play is not allegory for anything. They are not waiting for god or salvation or Irish freedom or the Id, it鈥檚 not an allegory for the cold war or Jungian personalities or Christian repentance, nor is it homoerotic or autobiographical or existential.
They play is essentially a nihilistic work signifying nothing other than its own nihilistic point of view. It鈥檚 that simple. It is neither moving, funny, hopeful nor dramatic. It is nihilistic. It promises nothing and delivers nothing. It takes no stand, prefers neither good nor evil. Never before had nihilism been given such a stark venue as this play, and I suppose that is the source of its power.
Many critics cite the play鈥檚 humor and poetry, but, by any standard definition of humor or poetry, I can hardly find them. It does include degradation, hopelessness and violence, if that鈥檚 any consolation. To me, it is a work of a particular time and place that is otherwise unremarkable. (If you want nihilism presented in a more compelling, artistic manner, see King Lear or Hamlet.)
Catastrophe *** -- I've changed my mind about Waiting for Godot, but the rest of Beckett's plays seem to earnest in their attempt to be "artistic" or avant-garde. This is mildly interesting and, I suppose, if you look at it really hard it has some kind of comment about authoritarianism. (2021-07)
***
I just listened to the old Caedmon LP recording featuring E. G. Marshall and Bert Lahr, and it is fantastic. Very, very good. You can hear it here: (09/21)
Having re-read this play, I鈥檝e almost had a nearly 180-degree change of opinion. I now see the greatness of it.
I think the change has been gradual, and frankly my original review was a lot of snark. I recently read a book of French avant-garde playwrights including Jarry, Cocteau, Apollinaire, etc. The only major French avant-garde play not included was Waiting for Godot, so I thought I鈥檇 also read that.
Seen in the perspective (and tradition) of those writers, Beckett鈥檚 play is truly a masterpiece. It towers above those works. And re-reading it, I continued to find new depths, meanings and confluences. While it is not the greatest play of the 20th century, and it has spawned a thousand bad imitations, it offers a unique and profound perspective on the human condition.
I don鈥檛 think that the points I made in my original review are wrong, but I wasn鈥檛 looking at the play overall through the right lens.
The play is profound in its nihilism. It is humorous in its sorrow. Poetic in its despair.
My Original Review (2011-06-11)
Unlike most people, I take Beckett at his word. The play is not allegory for anything. They are not waiting for god or salvation or Irish freedom or the Id, it鈥檚 not an allegory for the cold war or Jungian personalities or Christian repentance, nor is it homoerotic or autobiographical or existential.
They play is essentially a nihilistic work signifying nothing other than its own nihilistic point of view. It鈥檚 that simple. It is neither moving, funny, hopeful nor dramatic. It is nihilistic. It promises nothing and delivers nothing. It takes no stand, prefers neither good nor evil. Never before had nihilism been given such a stark venue as this play, and I suppose that is the source of its power.
Many critics cite the play鈥檚 humor and poetry, but, by any standard definition of humor or poetry, I can hardly find them. It does include degradation, hopelessness and violence, if that鈥檚 any consolation. To me, it is a work of a particular time and place that is otherwise unremarkable. (If you want nihilism presented in a more compelling, artistic manner, see King Lear or Hamlet.)
Catastrophe *** -- I've changed my mind about Waiting for Godot, but the rest of Beckett's plays seem to earnest in their attempt to be "artistic" or avant-garde. This is mildly interesting and, I suppose, if you look at it really hard it has some kind of comment about authoritarianism. (2021-07)
***
I just listened to the old Caedmon LP recording featuring E. G. Marshall and Bert Lahr, and it is fantastic. Very, very good. You can hear it here: (09/21)
March 12, 2016
Beckett was a bloody Irish chap who wrote some genius and some not so genius stuff. In Fahrenheit 451, I'm sure they burned books because they read The Unnamable. By the way, it's a good name for the book, but we shouldn't speak about that again. 
I don't recommend this collection. Just read the Waiting for Godot, Endgame and Act Without Words combo and don't bother with the other plays. If you must, then Happy Days is a more or less solid piece. Those other works can be good in the theater but not as reading material. I'm saying this even though Beckett is my favorite writer. Fun fact, he's my favorite, but the best book I ever read is Stoner by John Williams.
You can get a lot of black humor from Beckett. 鈥淣othing is funnier than unhappiness.鈥� Well, nothing is funnier until you're part of the story, but someway we're all part of it. You can't help but wonder that all the stories are the same. It's all happened and happening again. We're all working towards a goal so we can be happy, special. When we get there, we strive towards another goal and wait for that special something to come. We're all waiting for Godot. We go to new restaurants, pubs. We travel to remote and beautiful places to feel that we are not part of the same story, but if you go back enough times to those new restaurants, pubs, faraway places you realize that you're standing on the same stage just the scenery was different, then everything goes back to nothingness to start anew. I wonder, is there an omnipotent being who plays with his characters like Beckett just to make his time go away? 
Some things he wrote are going to stuck with you.
Hamm: What's he doing?
(CLOV raises lid of NAGG's bin, stoops, looks into it. Pause.)
Clov: He's crying.
(He closes lid, straightens up)
Hamm: Then he's living.
There's a funny story about Beckett. He walked with a friend through a London park and mentioned to him that it's a nice day. The friend said, "Yes, it makes one glad to be alive." Beckett replied, "I wouldn鈥檛 go that far."
July 1, 2016
I bought this volume after seeing a production of Krapp's Last Tape, because the play moved me, and I wanted to muse on it further. I may or may not ever read the rest of the volume! I suspect Beckett and I won't always get along very well. :-) So anyway, please consider this a partial review that I may or may not add to in the future.
Krapp's Last Tape: 5 stars. A short and fascinating play, recently brought to memorable life for me by actor Richard Wilson and director Polly Findlay. It was funny, and moving, and overall I suppose the feeling must be one of witnessed despair; a reminder to live one's life while one can. But...
But. The lyricism of the remembered moment Krapp shared with a long-lost love in a punt on a river... the beautiful lyricism of that moment really stayed with me. Krapp himself listens to the recounting of that moment not once but three times. And I think perhaps that having a few moments such as that, whether in our present or our past, might be enough to ultimately weigh against the darkness. Though perhaps I interpret this more optimistically than Beckett (or Wilson or Findlay) intended. But it really was that moment that stayed with me more than the sense of defeat.
Anyway! The text was interesting to read, especially after seeing a production. Beckett certainly provided a lot of direction about how it would all work on the stage - far more direction than is common - so it was interesting to see what this production did and didn't do with that.
One of the strengths of the play is the different aspects presented of the same character at different ages. You really get a feel for how Krapp has changed over the decades, from 20 years old, to 39, and to the present 69. It's interesting and often amusing to see Krapp at times empathise with his younger self and at times dismiss him in great frustration.
All in all, a master class in life and how to write about it. Hhhmmm... Maybe Beckett and I can rub along together after all.
Krapp's Last Tape: 5 stars. A short and fascinating play, recently brought to memorable life for me by actor Richard Wilson and director Polly Findlay. It was funny, and moving, and overall I suppose the feeling must be one of witnessed despair; a reminder to live one's life while one can. But...
But. The lyricism of the remembered moment Krapp shared with a long-lost love in a punt on a river... the beautiful lyricism of that moment really stayed with me. Krapp himself listens to the recounting of that moment not once but three times. And I think perhaps that having a few moments such as that, whether in our present or our past, might be enough to ultimately weigh against the darkness. Though perhaps I interpret this more optimistically than Beckett (or Wilson or Findlay) intended. But it really was that moment that stayed with me more than the sense of defeat.
Anyway! The text was interesting to read, especially after seeing a production. Beckett certainly provided a lot of direction about how it would all work on the stage - far more direction than is common - so it was interesting to see what this production did and didn't do with that.
One of the strengths of the play is the different aspects presented of the same character at different ages. You really get a feel for how Krapp has changed over the decades, from 20 years old, to 39, and to the present 69. It's interesting and often amusing to see Krapp at times empathise with his younger self and at times dismiss him in great frustration.
All in all, a master class in life and how to write about it. Hhhmmm... Maybe Beckett and I can rub along together after all.
November 6, 2012
ESTRAGONE Troviamo sempre qualcosa, eh, Didi, per darci l'impressione di esistere?-Aspettando Godot
VLADIMIRO (spazientito) Ma s矛, ma s矛, siamo dei maghi.
HAMM Preghiamo Dio.-Finale di partita
CLOV Ancora?
NAGG Il mio confetto!
HAMM Prima Dio! (Pausa). Pronti?
CLOV (rassegnato) Pronti.
HAMM (A Nagg) E tu?
NAGG (giungendo le mani, chiudendo gli occhi, recita a precipizio) Padre nostro che sei nei cieli...
HAMM Silenzio! In silenzio! Un po' di contegno! Su, cominciamo. (Atteggiamento di preghiera. Silenzio. Scoraggiato prima degli altri) Allora?
CLOV (Riaprendo gli occhi) Zero assoluto. E tu?
HAMM Un buco nell'acqua. (A Nagg) E tu?
NAGG Aspetta (Pausa. Riaprendo gli occhi) Un cavolo!
HAMM Che carogna! Non esiste!
Non devo aggiungere altro. Chi vuol capire capisca.
September 21, 2013
Edward Albee, in his introduction to this book, writes: "You have in front of you one of the most important books of the second half of the twentieth century---the collected plays of Samuel Beckett."
Albee goes on to proclaim that Beckett is not "avant garde" or "complex"...but actually one of the most naturalistic and least "obscure" playwrights. That is highly debatable to put it mildly, but this is a very handsome volume and no one writes quite like Beckett, plays or novels for that matter.
The collection begins with Waiting For Godot, a timeless masterpiece, and while many of the shorter and more conceptual pieces are nowhere near as charming or engaging, there is a lot to appreciate.
Albee goes on to proclaim that Beckett is not "avant garde" or "complex"...but actually one of the most naturalistic and least "obscure" playwrights. That is highly debatable to put it mildly, but this is a very handsome volume and no one writes quite like Beckett, plays or novels for that matter.
The collection begins with Waiting For Godot, a timeless masterpiece, and while many of the shorter and more conceptual pieces are nowhere near as charming or engaging, there is a lot to appreciate.
June 1, 2007
Another 'Must-Read' for all human beings, particularly those who are interested in the theatre.
Thrill as Beckett tears apart centuries of convention, and takes some of the greatest steps a dramatist ever made. Breathtakingly eloquent, often without even saying a word.
His fiction was also wonderful, so check that out if you have a low tolerance for scripts.
Thrill as Beckett tears apart centuries of convention, and takes some of the greatest steps a dramatist ever made. Breathtakingly eloquent, often without even saying a word.
His fiction was also wonderful, so check that out if you have a low tolerance for scripts.
February 15, 2018
dont really have any jokes about this one
his expression of humanity via absurd characters and structures is very soulful, not to mention impressive on an architechtonic level. some of the plays fall into self indulgence or repetition, but all of them contain his excellent sensibilities for aesthetics. read for sure
his expression of humanity via absurd characters and structures is very soulful, not to mention impressive on an architechtonic level. some of the plays fall into self indulgence or repetition, but all of them contain his excellent sensibilities for aesthetics. read for sure
December 25, 2014
"Make sense who may."
November 12, 2019
La lettura dei testi di Beckett 猫 stata una delle pi霉 illuminanti che abbia fatto riguardo ai temi portanti del Novecento postbellico.
Inserendosi nel filone del "teatro dell'assurdo", in cui domina l'esperienza nullificante dell'esistenza e della sua insignificanza, Beckett rivoluziona completamente la rappresentazione scenica del tempo, ancora legata ai canoni della visione borghese ottocentesca.
L'autore si pone in forte originalit脿 rispetto al contesto drammaturgico dominante, andando a rappresentare con mezzi finora mai visti, il dramma della vita umana in tutta la sua vacuit脿. Vacuit脿 che si riflette appieno sia dai testi, sia dalle scelte degli oggetti di scena.
Il fil rouge che lega assieme tutti questi testi raccolti stupendamente in tale raccolta (con una prefazione molto istruttiva e molto ben fatta) 猫 l'attesa. La vita che si configura come un continuo aspettare della sicura fine. L'uomo vive in questa dimensione a dir poco assurda, in cui tutto ci貌 che fa 猫 vano a fini postumi, in quanto l'oblio 猫 l'unica cosa a cui andr脿 incontro. Perci貌 l'esistenza altro non 猫 che un tentativo continuo di rimandare questa sicuro termine, un insistente riempimento del vuoto esistenziale con parole inutili, con discorsi insensati se rapportati alla loro funzionalit脿 reale nell'esperienza umana. 脠 in quest'ottica che vanno visti i testi ardui da comprendere che Beckett propone in scena.
A partire da "Aspettando Godot", il testo che pi霉 di tutti 猫 stato acclamato dalla critica e il punto d'inizio della rivoluzione teatrale messa in atto dall'autore.
Il dramma si configura come l'attesa di due poveri uomini, Vladimiro ed Estragone, dell'arrivo di un certo Godot, di cui non si sapr脿 nulla, se non il nome e il fatto che devono risolvere con lui qualche questione. Attendendo il suo arrivo, i due si ritrovano a discutere, spesso non seguendo alcun filo logico, solo per riempire quel tempo vuoto. Il discorso, che sino ad allora era il cardine del dramma, diventa ora un mero pretesto per cercare di scampare invanamente all'arrivo della fine. Lo si capisce anche dal nome di Godot, che altro non 猫 che l'ensemble di "go", vai, e "dot", ovvero punto, fermarsi. Ci貌 esprime la condizione paradossale del vivere: come Estragone pi霉 volte afferma di volersene andare, ma non lo fa, cos矛 la vita 猫 un lungo attendere in cui ogni movimento non 猫 che un'illusoria stasi. E in tale staticit脿, rimarcata dal fatto che, nei minimi termini, tale dramma non ha una trama, i personaggi parlano solo per distrarsi.
Cos矛 accade anche per altri drammi nella raccolta, quali "Fine di partita" e "Tutti quelli che cadono", che vedono un progressivo disumanizzarsi della vicenda, con protagonisti sempre pi霉 assurdi e con scene sempre pi霉 fredde.
Apice della sua poetica, almeno a mio parere, in quanto mi ha colpito fortemente, 猫 "Giorni felici".
Apparentemente si tratta di una sorta di monologo (intervallato solo raramente da alcuni monosillabi del marito) di Winnie, una donna che continuamente rimarca la fortuna che ha ed il fatto che trascorra sempre giorni felici. Ma la tragedia, la vacuit脿 e l'estrema illusoriet脿 di queste parole viene messa in mostra in maniera stordente dalla rappresentazione scenica:la donna si trova sepolta in un monticello che le arriva sino in vita (nel secondo atto sino alla testa, per cui non potr脿 pi霉 compiere alcun movimento) ed il marito 猫 incapace di camminare, solo di strisciare, fatto che gli impedisce di dissotterrare Winnie. Beckett riporta qui il teatro al suo significato originario, puntando tutto il testo sulla visivit脿 del dramma: infatti "teatro" deriva dal greco "theaomai", ossia guardare. La situazione esistenziale non 猫 esplicata dal testo stesso ma dal contrasto tra le parole speranzose della donna e la sua reale condizione. Si pu貌 dire che il dramma stia solo nell'allestimento e che le parole non siano che un vacuo cianciare in attesa di una fine che il personaggio cerca di evitare. Sebbene inoltre Winnie abbia una rivoltella, non la user脿 mai, perch茅 ci貌 indicherebbe che la sua eroina 猫 stata una vita infelice e vuota, rompendo quell'illusione di felicit脿, di cui interiormente 猫 cosciente.
Insomma, una lettura profonda, non per tutti, che ti fa scoprire a fondo il dramma del vivere, o meglio del sopravvivere.
Inserendosi nel filone del "teatro dell'assurdo", in cui domina l'esperienza nullificante dell'esistenza e della sua insignificanza, Beckett rivoluziona completamente la rappresentazione scenica del tempo, ancora legata ai canoni della visione borghese ottocentesca.
L'autore si pone in forte originalit脿 rispetto al contesto drammaturgico dominante, andando a rappresentare con mezzi finora mai visti, il dramma della vita umana in tutta la sua vacuit脿. Vacuit脿 che si riflette appieno sia dai testi, sia dalle scelte degli oggetti di scena.
Il fil rouge che lega assieme tutti questi testi raccolti stupendamente in tale raccolta (con una prefazione molto istruttiva e molto ben fatta) 猫 l'attesa. La vita che si configura come un continuo aspettare della sicura fine. L'uomo vive in questa dimensione a dir poco assurda, in cui tutto ci貌 che fa 猫 vano a fini postumi, in quanto l'oblio 猫 l'unica cosa a cui andr脿 incontro. Perci貌 l'esistenza altro non 猫 che un tentativo continuo di rimandare questa sicuro termine, un insistente riempimento del vuoto esistenziale con parole inutili, con discorsi insensati se rapportati alla loro funzionalit脿 reale nell'esperienza umana. 脠 in quest'ottica che vanno visti i testi ardui da comprendere che Beckett propone in scena.
A partire da "Aspettando Godot", il testo che pi霉 di tutti 猫 stato acclamato dalla critica e il punto d'inizio della rivoluzione teatrale messa in atto dall'autore.
Il dramma si configura come l'attesa di due poveri uomini, Vladimiro ed Estragone, dell'arrivo di un certo Godot, di cui non si sapr脿 nulla, se non il nome e il fatto che devono risolvere con lui qualche questione. Attendendo il suo arrivo, i due si ritrovano a discutere, spesso non seguendo alcun filo logico, solo per riempire quel tempo vuoto. Il discorso, che sino ad allora era il cardine del dramma, diventa ora un mero pretesto per cercare di scampare invanamente all'arrivo della fine. Lo si capisce anche dal nome di Godot, che altro non 猫 che l'ensemble di "go", vai, e "dot", ovvero punto, fermarsi. Ci貌 esprime la condizione paradossale del vivere: come Estragone pi霉 volte afferma di volersene andare, ma non lo fa, cos矛 la vita 猫 un lungo attendere in cui ogni movimento non 猫 che un'illusoria stasi. E in tale staticit脿, rimarcata dal fatto che, nei minimi termini, tale dramma non ha una trama, i personaggi parlano solo per distrarsi.
Cos矛 accade anche per altri drammi nella raccolta, quali "Fine di partita" e "Tutti quelli che cadono", che vedono un progressivo disumanizzarsi della vicenda, con protagonisti sempre pi霉 assurdi e con scene sempre pi霉 fredde.
Apice della sua poetica, almeno a mio parere, in quanto mi ha colpito fortemente, 猫 "Giorni felici".
Apparentemente si tratta di una sorta di monologo (intervallato solo raramente da alcuni monosillabi del marito) di Winnie, una donna che continuamente rimarca la fortuna che ha ed il fatto che trascorra sempre giorni felici. Ma la tragedia, la vacuit脿 e l'estrema illusoriet脿 di queste parole viene messa in mostra in maniera stordente dalla rappresentazione scenica:la donna si trova sepolta in un monticello che le arriva sino in vita (nel secondo atto sino alla testa, per cui non potr脿 pi霉 compiere alcun movimento) ed il marito 猫 incapace di camminare, solo di strisciare, fatto che gli impedisce di dissotterrare Winnie. Beckett riporta qui il teatro al suo significato originario, puntando tutto il testo sulla visivit脿 del dramma: infatti "teatro" deriva dal greco "theaomai", ossia guardare. La situazione esistenziale non 猫 esplicata dal testo stesso ma dal contrasto tra le parole speranzose della donna e la sua reale condizione. Si pu貌 dire che il dramma stia solo nell'allestimento e che le parole non siano che un vacuo cianciare in attesa di una fine che il personaggio cerca di evitare. Sebbene inoltre Winnie abbia una rivoltella, non la user脿 mai, perch茅 ci貌 indicherebbe che la sua eroina 猫 stata una vita infelice e vuota, rompendo quell'illusione di felicit脿, di cui interiormente 猫 cosciente.
Insomma, una lettura profonda, non per tutti, che ti fa scoprire a fondo il dramma del vivere, o meglio del sopravvivere.
September 8, 2017
Un buon modo per capire che Beckett non 猫 soltanto Godot. Anzi, soprattutto non 猫 Godot (opera che ha i suoi meriti, indubbiamente). I veri capolavori di questa raccolta sono altri, a partire dall'eccellente "Finale di partita", passando per "Tutti quelli che cadono", "Giorni felici" e l'ultimo testo della raccolta, "Dondolo". Questi in particolare saranno i motivi per cui ricorder貌 questa raccolta, davvero dei simboli - e di gran forza - di ci貌 che l'umanit脿 猫 divenuta negli ultimi decenni. Beckett presenta un'umanit脿 disumanizzata, smembrata, in cui ogni uomo 猫 un'isola a s茅 stante che non ascolta n茅 vede chi gli sta accanto, e questo 猫 tanto pi霉 forte quanto pi霉 si ha a che fare con persone, in teoria, care (si vedano a proposito la signora Rooney - che poi 猫 ben pi霉 umana di lui, a modo suo - e suo marito). Ci sono persone che parlano, perch茅 non possono fare altro, e persone che ascoltano o che fanno finta di. E persone, passanti perlopi霉, che giudicano. Ho trovato commovente la Winnie di "Giorni felici" e il modo disperato in cui cerca di trovare "qualcosa di bello" in ogni sua monotona giornata, senza crederci. La speranza viene, perennemente, sbriciolata. Restano i ricordi, quei pochi ricordi belli (Nagg e Nell, Krapp, il protagonista di "Quella volta"), che sbiadiscono per貌 con l'andare del tempo e col confronto col presente, cos矛 inumano e grigio. E c'猫 il terrore, quello di Hamm nel sentire che c'猫 uno scarafaggio e che "da quello l'umanit脿 potrebbe ricostituirsi". C'猫 una sfiducia profonda, un'altrettanto profonda solitudine. Quelli di Beckett sono fantasmi di persone, frammenti di persone.
Non do la quinta stella per un motivo soltanto: questi testi erano pensati per una fruizione teatrale, o comunque radiofonica, e leggerli soltanto 猫 come percepirne solo un terzo.
Non do la quinta stella per un motivo soltanto: questi testi erano pensati per una fruizione teatrale, o comunque radiofonica, e leggerli soltanto 猫 come percepirne solo un terzo.
Read
November 3, 2020It took me over two months to finish this. There were over 30 plays/radio scripts in this collection. The experimental pieces towards the end, I did not understand. The shorter pieces I read in the beginning, I don't remember now. But there were few works that just were incomparable with anything I had read before.
'Krapp's Last Tape' was the best depiction of loneliness and loss, I have ever read. I don't even want to say anything about 'Waiting for Godot'. 'Film', the only movie script by Beckett, was surprisingly amazing. 'Endgame' was poignant, crisp, funny. Act Without Words I was funny and brilliant. And 'Play' was delightful. There were a few others that I understood in some ways and still remember and found alright.
It is hard to rate a collection like this. So, here are the ratings of individual pieces.
5 stars: Krapp's Last Tape, Waiting for Godot, Film
4 stars: Endgame, Play, Act Without Words I
3 stars: Act Without Words II, All that Fall, The Old Tune, Rough for Theatre I & II
'Krapp's Last Tape' was the best depiction of loneliness and loss, I have ever read. I don't even want to say anything about 'Waiting for Godot'. 'Film', the only movie script by Beckett, was surprisingly amazing. 'Endgame' was poignant, crisp, funny. Act Without Words I was funny and brilliant. And 'Play' was delightful. There were a few others that I understood in some ways and still remember and found alright.
It is hard to rate a collection like this. So, here are the ratings of individual pieces.
5 stars: Krapp's Last Tape, Waiting for Godot, Film
4 stars: Endgame, Play, Act Without Words I
3 stars: Act Without Words II, All that Fall, The Old Tune, Rough for Theatre I & II
February 7, 2019
I find Beckett's sparseness, suggestiveness, indirectness, sometimes engaging, sometimes off-putting. Many of these pieces are mostly stage, lighting, blocking, and costume directions (camera directions too for those written for film or TV), themes of retrospective regret, emptiness, the inescapability of death and absurdity predominate. I had forgotten how funny Waiting For Godot is, and I found All That Fall to be the most chillingly effective piece in the volume. I am sure actually seeing/hearing some of these pieces presented as directed by Beckett with professional theatrical proficiency would bring them to life more for me than reading them did, but that is usually the case when I read dramatic works that are intended for performance. This was challenging, often stimulating reading, but only slightly enjoyable.
July 13, 2018
Only read 鈥榳aiting for Godot鈥� and could not finish the Endgame. But have to say Godot is a unique thing, like the fable. More you think about it more you get it. I think it has to be the reference book for everyone, like Bible is for some people.
October 12, 2023
Transcendental ekstasis. A whole other reproach to the conventions of theatrics and of states of being.
Lay it bare, Sam, let it rot.
鈥淏ut I was not made for the great light that devours, a dim lamp was all I had been given, and patience without end, to shine it on the empty shadows.鈥�
Lay it bare, Sam, let it rot.
鈥淏ut I was not made for the great light that devours, a dim lamp was all I had been given, and patience without end, to shine it on the empty shadows.鈥�
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