Samuel Beckett timeline

A timeline of Samuel Beckett’s life and works with page references, where relevant, to James Knowlson’s 1996 biography of Beckett, Damned To Fame.

1906
13 April – Samuel Barclay Beckett born in ‘Cooldrinagh’, a house in Foxrock, a village south of Dublin (page 3), on Good Friday, the second child of William Beckett and May Beckett, née Roe. He has an older brother, Frank Edward, born 26 July 1902.

1911
Beckett enters kindergarten at Ida and Pauline Elsner’s private academy in Leopardstown. The spinster sisters had a cook named Hannah and an Airedale terrier named Zulu, details which crop up in later novels (p.24).

1915
Attends Earlsfort House School in Dublin (pages 30 to 35). Begins to excel at sports, for example, long distance running.

1920
Follows his brother Frank to Portora Royal, an eminent Protestant boarding school in Enniskillen, County Fermanagh, set in a strikingly beautiful location (pages 36 to 46). During his time there, Ireland was partitioned (1921) and Portora found itself in the new Northern Ireland. Beckett excelled at sports, in particular boxing, cross country running and swimming.

1923
October – Enrols at Trinity College, Dublin (TCD) to study for an Arts degree (p.47). Here he is taken under the wing of the individualistic Professor of Romance Languages, Thomas Brown Rudmose-Brown who teaches him classical French and English literature, but also more recent authors. He also engages a private tutor, Bianca Esposito, who teaches him Italian, in particular they embark on detailed study of Dante (p.51). During his time as a student Beckett’s father bought him not one but two motorbikes, one of which, the AJS, he rode in competitive time trials (p.62). His father then bought him a sports car (p.49) a Swift (p.79) in which he managed to run over and kill his beloved Kerry Blue terrier dog (p.67).

1926
August – First visit to France for a month-long cycling tour of the Loire Valley.

1927
April to August – Travels through Florence and Venice, visiting museums, galleries and churches (pages 71 to 75).
December – Receives BA in Modern Languages (French and Italian) from TCD and graduates in the First Class.

1928
January to June – Teaches French and English at Campbell College (a secondary school) in Belfast and really dislikes it. He finds Belfast cold and dreary after lively Dublin (pages 77 to 79).
September – First trip to Germany to visit seventeen-year-old Peggy Sinclair, a cousin on his father’s side, and her family in Kassel (p.82).
1 November – Arrives in Paris as an exchange lecteur at the École Normale Supérieure. Quickly becomes friends with his predecessor, Thomas McGreevy who introduces Beckett to James Joyce (pages 97 to 98 ) and other influential writers and publishers (pages 87 to 105).
December – Spends Christmas with the Sinclairs in Kassel (as also in 1929, 1930 and 1931). His relationship with Peggy develops into a fully sexual one, causing him anguish about the conflict (in his mind) between the idealised belovèd and the sexualised lover.

1929
June – Publishes his first critical essay (Dante…Bruno…Vico…Joyce) and his first story (Assumption) in transition magazine. Makes several visits to Kassel to see Peggy.

1930
July – Writes a 100-line poem Whoroscope in response to a poetry competition run by Nancy Cunard (pages 111 to 112).
October – Returns to TCD to begin a two-year appointment as lecturer in French. He hated it, discovering he was useless as a teacher and not cut out for academic life (pages 120 to 126)
November – MacGreevy introduces Beckett to the painter and writer Jack B.Yeats who becomes a lifelong friend (p.164).

1931
March – Chatto and Windus publish Proust, a literary study they’d commissioned (pages 113 to 119).
September – First Irish publication, the poem Alba in Dublin Magazine. At Christmas goes to stay with the Sinclairs in Kassel.

1932
January – Resigns his lectureship at TCD via telegram from Kassel, stunning his parents and sponsors (p.145). He moves to Paris.
February to June – First serious attempt at a novel, The Dream of Fair to Middling Women which, after hawking round publishers for a couple of years, he eventually drops and then, embarrassed at its thinly veiled depiction of close friends and lovers, actively suppresses. It doesn’t end up being published till after his death (in 1992). (Detailed synopsis and analysis pages 146 to 156.)
December – Short story Dante and the Lobster appears in This Quarter (Paris), later collected in More Pricks Than Kicks.

1933
3 May – Upset by the death of Peggy Sinclair from tuberculosis (p.169). They had drifted apart and she was engaged to another man.
26 June – Devastated by the sudden death of his father, William Beckett, from a heart attack (p.170). Panic attacks, night sweats and other psychosomatic symptoms. His schoolfriend, Geoffrey Thompson, now a doctor, recommends psychotherapy.

1934
January – Moves to London and begins psychoanalysis with Wilfred Bion at the Tavistock Clinic (the London years as a whole are described on page 171 to 197).
February – Negro Anthology edited by Nancy Cunard includes numerous translations by Beckett from the French.
May – Publication of More Pricks than Kicks (a loosely linked series of short stories about his comic anti-hero Belacqua Shuah (pages 182 to 184).
August to September – Contributes stories and reviews to literary magazines in London and Dublin.

1935
November – Echo’s Bones and Other Precipitates, a cycle of thirteen poems.

1936
Returns to Dublin, to stay in the family home in uneasy proximity to his demanding mother.
29 September – Leaves Ireland for a seven-month tour around the cities and art galleries of Germany (pages 230 to 261).

1937
April to August – First serious attempt at a play, Human Wishes, about Samuel Johnson and his household (pages 269 to 271).
October – After a decisive row with his mother, Beckett moves permanently to Paris which will be his home and base for the next 52 years (p.274)

1938
6 January – Stabbed by a street pimp in Montparnasse, Paris. Among his visitors at the Hôpital Broussais is Suzanne Deschevaux-Dumesnil, an acquaintance who is to become Beckett’s companion for life (pages 281 to 284).
March – Murphy, his first novel to be published.
April – Begins experimentally writing poetry directly in French.

1939
3 September – Great Britain and France declare war on Germany. Beckett, visiting family in Ireland, ends his trip in order to return to Paris.

1940
June – Following the German invasion of France, Beckett flees south with Suzanne.
September – Returns to Paris.

1941
13 January – Death of James Joyce in Zurich.
1 September – Joins the Resistance cell Gloria SMH (pages 303 to 317).

1942
16 August – As soon as Beckett and Suzanne hear that the Nazis have arrested close friend and fellow member of his resistance cell, Alfred Péron, they pack a few bags and flee to a safe house, then make their way out of Paris and flee south, a dangerous trip which involves being smuggled over the border into unoccupied France.
6 October – They arrive at Roussillon, a small village in unoccupied southern France, where they spend the next two and a half years, during which Beckett worked as a labourer on a local farm owned by the Aude family, working away at his novel, Watt, by night (pages 319 to 339)

1944
24 August – Liberation of Paris.

1945
30 March – Awarded the Croix de Guerre for his Resistance work.
August to December – Volunteers as a lorry driver and interpreter with the Irish Red Cross in Saint-Lô, Normandy. Appalled by the devastation of war and works closely with people from different backgrounds (pages 345 to 350).

1946
July – Publishes first fiction in French, a truncated version of the short story Suite (later to become La Fin) as well as a critical essay on Dutch painters Geer and Bram van Velde (who he’d met and become friendly with in Germany).
Writes Mercier et Camier, his first novel in French which he leaves unpublished till the 1970s (p.360).
On a visit to his mother’s house in Ireland has the Great Revelation of his career (pages 351 to 353). He realises he’s been barking up the wrong tree trying to copy Joyce’s linguistic and thematic exuberance, and from now on must take the opposite path and investigate the previously unexplored territory of failure, imaginative impoverishment and mental collapse:

‘I realised 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 realised that my own way was in impoverishment, in lack of knowledge and in taking away, in subtracting rather than in adding.’

This unlocks his imagination and from 1946 to 1949 he experiences a frenzy of productivity, writing the Beckett Trilogy of novels and Waiting For Godot, all in French, arguably his most enduring works.

1947
January to February – Writes first play, in French, Eleutheria, unproduced in his lifetime and published posthumously (pages 362 to 366).
April – French translation of Murphy.

1948
Undertakes a number of translations commissioned by UNESCO and by Georges Duthuit (pages 369 to 371).

1950
25 August – Death of his mother, May Beckett.

1951
March – Publication of first novel of The Beckett Trilogy, Molloy, in French.
November – Publication of the second novel of the Trilogy, Malone meurt, in French.

1952
Buys land at Ussy-sur-Marne and builds a modest bungalow on it, subsequently Beckett’s preferred location for writing.
September – Publication of En attendant Godot (in French).

1953
5 January – Premiere of Waiting for Godot at the Théâtre de Babylone in Montparnasse, directed by Roger Blin.
May – Publication of L’Innommable, third novel in the Trilogy.
August – Publication of the pre-war novel Watt, in English.

1954
8 September – Publication of Waiting for Godot in English.
13 September – Death of his brother, Frank Beckett, from lung cancer (pages 400 to 402)

1955
March – Molloy, translated into English with Patrick Bowles.
3 August – First English production of Waiting for Godot in England, at the Arts Theatre, London (pages 411 to 417)
November – Publication of Nouvelles et Textes pour rien.

1956
3 January – American premiere of Waiting for Godot in Miami, which turns out to be a fiasco; the audience had been promised a riotous comedy (p.420).
February – First British publication of Waiting for Godot.
October – Publication of Malone Dies in English.

1957
13 January – First radio play, All That Fall, broadcast on the BBC Third Programme.
Publication of Fin de partie, suivi de Acte sans paroles.
28 March – Death of Beckett’s friend, the artist Jack B.Yeats.
3 April 1957 – Premiere of Endgame at the Royal Court Theatre in London, in French.
August – Publication of his first radio play, All That Fall, in English.
October – Tous ceux qui tombent, French translation of All That Fall with Robert Pinget.

1958
April – Publication of Endgame, translation of Fin de partie.
Publication of From an Abandoned Work.
July – Publication of Krapp’s Last Tape.
September – Publication of The Unnamable which has taken him almost ten years to translate from the French original.
28 October – Premiere of Krapp’s Last Tape.
December – Anthology of Mexican Poetry, translated by Beckett.

1959
March – Publication of La Dernière bande, French translation of Krapp’s Last Tape with Pierre Leyris.
24 June – Broadcast of radio play Embers on BBC Radio 3.
2 July – Receives honorary D.Litt. degree from Trinity College Dublin. Dreads the ceremony but has a surprisingly nice time (pages 469 to 470)
November – Publication of Embers in Evergreen Review.
December Publication of Cendres, French translation of Embers done with Robert Pinget.
Publication of Three Novels: Molloy, Malone Dies,The Unnamable soon to become known as The Beckett Trilogy (a portmanteau title Beckett actively dislikes).

1960
23 August – Radio play The Old Tune broadcast on BBC Radio.

1961
January – Publication of Comment c’est.
24 March – Marries Suzanne at Folkestone, Kent.
May – Shares Prix International des Editeurs with Jorge Luis Borges.
August – Publication of Poems in English.
September – Publication of Happy Days.

1962
1 November – Premiere of Happy Days at the Royal Court Theatre, London.
13 November – Broadcast of radio play Words and Music on the BBC Third Programme.

1963
February – Publication of Oh les beaux jours, French translation of Happy Days.
May – Assists with the German production of Play (Spiel, translated by Elmar and Erika Tophoven) in Ulm.
22 May – Outline of Film sent to Grove Press.

1964
March – Publication of Play and Two Short Pieces for Radio.
April – Publication of How It Is, English translation of Comment c’est.
April – First performance in English of Play at the Old Vic in London.
June – Publication of Comédie, French translation of Play.
July to August – First and only trip to the United States, to assist with the production of Film in New York (pages 520 to 525)
6 October – Broadcast of radio play Cascando on BBC Radio 3.

1965
October – Publication of Imagination morte imaginez (in French) (p.531)
November – Publication of Imagination Dead Imagine (English translation of the above).

1966
January – Publication of Comédie et Actes divers, including Dis Joe and Va et vient (p.532)
February – Publication of Assez.
4 July – Broadcast of Eh Joe on BBC2.
October Publication of Bing.

1967
February – Publication of D’un ouvrage abandonné.
Publication of Têtes-mortes.
16 March – Death of Beckett’s old friend, Thomas MacGreevy, the colleague who played the crucial role in introducing Beckett to Joyce and other anglophone writers in Paris way back in 1930 (p.548).
June – Publication of Eh Joe and Other Writings, including Act Without Words II and Film.
July – Publication of Come and Go, the English translation of Va et vient.
26 September – Directs first solo production, Endspiel (German translation of Endgame) in Berlin (pages 550-554).
November – Publication of No’s Knife: Collected Shorter Prose, 1945 to 1966.
December – Publication of Stories and Texts for Nothing, illustrated with six ink line drawings by Beckett’s friend, the artist Avigdor Arikha.

1968
March – Publication of Poèmes (in French).
December – Publication of Watt, translated into French with Ludovic and Agnès Janvier.
9 December – British premiere of Come and Go at the Royal Festival Hall in London.

1969
16 June – his 1-minute skit, Breath, first performed as part of Kenneth Tynan’s revue Oh! Calcutta!, at the Eden Theatre, New York City. To Beckett’s outrage Tynan adds totally extraneous male nudity to the piece.
23 October – Awarded the Nobel Prize for Literature. Gets news while on holiday in Tunisia. Appalled at the loss of his anonymity (pages 570 to 573).
Publication of Sans (p.569)

1970
April – Publication of Mercier et Camier, written as long ago as 1946.
Publication of Premier amour, also written in 1946.
July – Publication of Lessness, English translation of Sans.
September – Publication of Le Dépeupleur (pages 535 to 536)

1972
January – Publication of The Lost Ones, English translation of Le Dépeupleur.

1973
January – Publication of Not I.
16 January – London premier of Not I at the Royal Court theatre featuring Billie Whitelaw.
July – Publication of First Love.

1974
Publication of Mercier and Camier in English.

1975
Spring – Directs Waiting for Godot in Berlin and Pas moi (French translation of Not I) in Paris.

1976
February – Publication of Pour finir encore et autres foirades.
13 April – Broadcast of radio play Rough for Radio on BBC Radio 3.
20 May – Directs Billie Whitelaw in Footfalls, which is performed with That Time at London’s Royal Court Theatre in honour of Beckett’s seventieth birthday.
Autumn – Publication of All Strange Away, illustrated with etchings by Edward Gorey.
Luxury edition of Foirades/Fizzles, in French and English, illustrated with etchings by Jasper Johns.
December – Publication of Footfalls.

1977
March – Collected Poems in English and French.
17 April – Broadcast of …but the clouds… and Ghost Trio on BBC 2.
Collaboration with avant-garde composer Morton Feldman on an ‘opera’ titled Neither.

1978
May – Publication of Pas, French translation of Footfalls.
August – Publication of Poèmes, suivi de mirlitonnades.

1979
14 December – Premiere of A Piece of Monologue at La MaMa Experimental Theatre Club, New York.

1980
January – Publication of Compagnie (French) and Company (English).
May – Directs Endgame in London with Rick Cluchey and the San Quentin Drama Workshop.

1981
March – Publication of Mal vu mal dit (pages 668 to 671).
April 8 – Premiere of Rockaby at the State University of New York at Buffalo starring Billie Whitelaw.
April – Publication of Rockaby and Other Short Pieces.
9 May – Premiere of Ohio Impromptu at a conference of Beckett studies in Columbus, Ohio (pages 664 to 666).
October – Publication of Ill Seen Ill Said, English translation of Mal vu mal dit.
8 October – TV broadcast of Quad (pages 672 to 674).

1982
21 July – Premiere of Catastrophe at the Avignon Festival (pages 677 to 681).
16 December – Broadcast of Quad on BBC 2.

1983
April – Publication of Worstward Ho  (pages 674 to 677).
June – Broadcast in Germany of TV play Nacht und Träume (pages 681 to 683).
15 June – Premiere of What Where in America (pages 684 to 688).
September – Publication of Disjecta: Miscellaneous Writings and a Dramatic Fragment, containing critical essays on art and literature as well as the unfinished play Human Wishes.

1984
February  -Oversees San Quentin Drama Workshop production of Waiting for Godot in London, which features the best performance of Lucky he ever saw, by young actor J. Pat Miller (pages 690 to 691).
Publication of Collected Shorter Plays.
May – Publication of Collected Poems, 1930 to 1978.
July – Publication of Collected Shorter Prose, 1945 to 1980.

1989
April – Publication of Stirrings Still with illustrations by Louis le Brocquy (pages 697 to 699).
June – Publication of Nohow On: Company, Ill Seen Ill Said, Worstward Ho illustrated with etchings by Robert Ryman.
17 July – Death of Beckett’s lifelong companion, Suzanne Deschevaux-Dumesnil (p.703).
22 December – Death of Samuel Beckett. Buried in Cimetière de Montparnasse (p.704).


Credit

Damned To Fame: The Life of Samuel Beckett by James Knowlson was published by Bloomsbury Publishing in 1996. All references are to the 1997 paperback edition.

Samuel Beckett’s works

An asterisk indicates that a work was included in the Beckett on Film project, which set out to make films of all 19 of Beckett’s stage plays using leading actors and directors. The set of 19 films was released in 2002 and most of them can be watched on YouTube.

The Second World War 1939 to 1945

*Waiting For Godot 1953 Play

Awarded the Nobel Prize for Literature 1969

The Old Tune by Samuel Beckett (1960)

GORMAN: Miss Bertha so sweet and good.
CREAM: Sweet and good, all right, but dammit if she doesn’t take me for a doddering old drivelling dotard…

The Old Tune is a free translation by Samuel Beckett of Robert Pinget’s half-hour-long 1960 radio play La Manivelle (The Crank). In Pinget’s original play two garrulous old Parisians, Toupin and Pommard, meet in the street and spend half an hour reminiscing about the old times and each other’s families. Beckett turns the Parisians into two old Dubliners he names Mr Cream and Gorman. The Old Tune was first broadcast on BBC on 23 August 1960 with Beckett stalwarts Jack MacGowran as Mr Cream and Patrick Magee as Gorman.

They’re good, aren’t they, MacGowran and Magee. MacGowran’s voice is very effectively that of a bluff old codger even though, when you actually see him, he’s quite tall and thin, and Magee’s voice has something of the weedy vulnerability which made him, in my opinion, so sensationally haunting in Beckett’s radio play, Cascando, written the year after this production. Both bring out the Irish flavour of the language and setting.

A plot of sorts

An old organ grinder, Gorman, is struggling to keep his knackered barrel organ playing on a street in Dublin. It plays a few bars, falters and he thumps it, it plays a few bars more and then lapses into silence. At that moment who should come down the street but old Mr Cream who recognises Gorman as an old friend and they start talking and reminiscing. Beckett had free choice of the tune the organ was to play since none is specified by Pinget and chose The Bluebells of Scotland, presumably suggested by the mention of a bank of bluebells near the start of the play (see my comments about the play’s title, below).

Pinget and translations

It might seem odd that Beckett, by now a name to reckon with, should have undertaken a translation of someone else’s work, but a) he had worked as a professional translator before and after the war and, of course, composed half his own works in French and then translated them back into English, so was very used to moving between versions of texts in different languages; b) he was good friends with Pinget, who had himself translated Beckett’s radio play All That Fall into French; indeed, Pinget’s play Lettre Morte was presented on a double bill with Krapp’s Last Tape at the Théâtre Récamier in Paris. So the more you look into it, the less surprising it becomes.

Anyway, it was less a favour to a friend than an opportunity. What’s striking is how utterly Beckett makes the originally French play by someone else sound as Irish as himself and the two garrulous old men sound entirely like Beckett characters, wittering on about the perils of motor cars and how it all used to be country round here and the lack of compassion of the young, tut tut, in the manner of Beckett’s countless gaga old men.

In fact the basic structure – two old codgers misremembering and bickering over trivia – is a primal element in Beckett’s works, from Mercier and Camier in the novel named after them, to Vladimir and Estragon in Godot, to Hamm and Clov in Endgame.

As to content, well it consists of a steady stream of senile old reminiscence marked by extreme attention to banal detail: Cream explains he is now a widower and had been living with one of his daughters, Daisy, but how, since her death, he has moved in with the other daughter, Bertha (Mrs Rupert Moody). Gorman tells us that his wife is still alive. Both men, we learn, are in their seventies, Gorman is seventy-three, Cream is seventy-six, and on they rattle, swapping reminiscences and half memories, about cars, about serving in the army, about an old law case, and so on.

Looking in a bit more detail you see that, as in so much Beckett, although the actual content is trite and trivial, the interest is in the treatment. Two aspects stand out, the repetition and the gaps.

Repetition

The verbal repetition of the play is both a kind of naturalistic depiction of the highly repetitive speech rhythms of the old and forgetful, but at the same time a highly stylised dissection of language and the dislocating effect created by incessant repetition, repetition which threatens to empty language of meaning.

CREAM: 1903 , 1903 , and you 1906 was it?
GORMAN: 1906 yes at Chatham.
CREAM: The Gunners?
GORMAN: The Foot, the Foot.
CREAM: But the Foot wasn’t Chatham don’t you remember, there it was the Gunners, you must have been at Caterham, Caterham, the Foot.
GORMAN: Chatham I tell you, isn’t it like yesterday, Morrison’s pub on the corner.
CREAM: Harrison’s. Harrison’s Oak Lounge, do you think I don’t know Chatham. I used to go there on holiday with
Mrs Cream, I know Chatham backwards Gorman, inside and out, Harrison’s Oak Lounge on the corner of what was the name of the street, on a rise it was, it’ll come back to me, do you think I don’t know Harrison’s Oak Lounge
there on the comer of dammit I’ll forget my own name next and the square it’ll come back to me.
GORMAN: Morrison or Harrison we were at Chatham.
CREAM: That would surprise me greatly, the Gunners were Chatham do you not remember that?
GORMAN: I was in the Foot, at Chatham, in the Foot.
CREAM: The Foot, that’s right the Foot at Chatham.
GORMAN: That’s what I’m telling you, Chatham the Foot.
CREAM: That would surprise me greatly, you must have it mucked up with the war, the mobilization.
GORMAN: The mobilization have a heart it’s as clear in my mind as yesterday the mobilization, we were shifted
straight away to Chesham, was it, no, Chester, that’s the place, Chester, there was Morrison’s pub on the corner and
a chamber-maid what was her name, joan, jean, jane, the very start of the war when we still didn’t believe it,
Chester, ah those are happy memories.
CREAM: Happy memories, happy memories, I wouldn’t go so far as that.
GORMAN : I mean the start up, the start up at Chatham, we still didn’t believe it, and that chamber-maid what was her name it’ll come back to me. [Pause.]

The repetition of themes, or of names and snatches of phrases, this repetition with variations, can be compared to the way music is composed, with the statement of certain themes which are then subjected to elaborate variations. It’s certainly not snappy dialogue designed to convey information, the opposite – it is a fog of misinformation which is more concerned with the music-style twirls and repetitions of key phrases and words.

Silent pauses and noisy traffic

There is an obvious correlation between the misfunctioning of the barrel organ which stops and starts and then sputters out a sentimental tune, and the misfunctioning of the two men’s minds, as if their brains, like the machine, require thumps and bangs to make them function.

More than that, in the handful of places where it intrudes into the narrative, the fragmented tune played by the barrel organ almost suggests that, in some eerie way, it is somehow underpinning reality itself. At several points not only the tune stops but the entire play stops with it, everything stops, and there is dead silence.

GORMAN: Do I remember, fields it was, fields, bluebells, over there , on the bank, bluebells. When you think … [Suddenly complete silence. 10 seconds. The tune resumes, falters, stops. Silence. The street noises resume.] Ah the horses, the carriages, and the barouches, ah the barouches…

It’s relatively understated, for Beckett, but I think this eerie, almost science fiction element, is suddenly apparent, in one or two haunted moments…

Different titles

One other point, Beckett clearly added entirely new content or the English equivalent of the French original content, such as naming British Army regiments and pubs in English towns (Chatham, Caterham etc). But it’s worth pausing a moment over the change in titles. Pinget named his play La Manivelle which translates as The Crank. I’m not sure whether this refers to the person or to the metal tool you’d use to hand-crank something like a barrel organ, or whether there is a deliberate play on words to refer to both. Either way, Beckett has chosen for his title something completely different, referring to neither a character nor the machine, but to the music itself. He has brought to the fore the role of music in the play.

Now the barrel-organ music doesn’t actually occur many times during the performance so it’s easy to think that Beckett, also, intends a pun, and that he is using the phrase ‘the old tune’ not only to refer to the piece of music the barrel organ plays, but to the entire style of doddery reminiscence of the two old boys.

On this reading, the title becomes a sly reference to the super-familiar Beckett idea that people just talk and talk and talk to fill the space, to give themselves the strength to go on, to fill up time, to create their own being; it is talk which means nothing and gets nowhere and changes nothing, which defines the self but is as impoverished and empty as that self.

The words ‘the old tune’ sound innocent enough, indeed they have an unusually sentimental ring for a Beckett title. But at the same time they allude to the world of bleakness, emptiness and struggle to go on, which is Beckett’s core concern.

Pauses and traffic

Back to the idea of the two eerie silences in the play and the numerous pauses the text contains. Having noted them, it’s worth going on to say that there are, in fact, not nearly so many pauses in The Old Tune as in Beckett’s other radio plays of the period. Or maybe it’s more accurate to say that the pauses aren’t so pointed and stylised. Although the stage direction ‘[pause]’ occurs regularly, it is placed to as to reflect realistic pauses in the ebb and flow of two old geezers’ garrulousness, rather than to interrupt the action altogether, in the self-consciously disruptive way which we find in his other plays of the time.

In fact the flow of words is interrupted more by a positive, intrusive element than by the negative element of silences and pauses, and this is the incessant roar of passing cars. This is something the audience can very plainly hear and which the pair of codgers directly comment on in a passage devoted to noisy traffic and the precise brand of car they’ve seen whizz by, before the drop the subject and move onto others. But every few minute before and after this passage, another car roars by, interrupting their maunderings (‘bloody cars!’).

So many times that it makes you reflect that the two old men are almost literally (and, as we’ve observed, rather eerily) tied to the outdated and clapped-out Victorian technology of the barrel organ, stuttering stopping and starting as it does, while the modern world – in the form of the steady stream of shiny, noisy motor cars – is literally passing them by (‘bloody cars!’).

Irishry

The commentary points out that Beckett drew on the stylised language of John Millington Synge, who had a similar middle-class upbringing to him, along with the verbal excesses of Seán O’Casey, who had a more working class provenance. The listener is certainly struck not only by the Irish accents but the Irish locutions used throughout:

GORMAN: Slipping along what would you want slipping along and we only after meeting for once in a blue moon.

I’m not familiar with Synge but I studied O’Casey’s play, Juno and the Paycock at school, and I remember the way the characters use a high heroic diction which contrasts with their shabby, impoverished circumstances. It’s a contradiction which is both comic and tragic at the same time, and you can think of that fundamental dichotomy – between characters who are physically and mentally impoverished using not only highfalutin language but invoking high philosophical concepts or dropping references to Dante and so on – as a really basic structural idea which underpins Beckett’s entire oeuvre, typified by the characters in The Beckett Trilogy crawling through the mud, pulling themselves through the mire, their heads full of garbled philosophy and obscure references to Dante.

The Old Tune is often overlooked by critics because it sticks out as an anomaly, a throwback, in Beckett’s steady progression towards evermore abstract and highly stylised dramaturgy, towards works which are more stage direction and choreography than dialogue and character. It’s like a last flaring-up of a more straightforward humanist view of character and an invocation of the Irish accents and speech rhythms of his youth, which he was rarely to use again.


Related link

Samuel Beckett’s works

An asterisk indicates that a work was included in the Beckett on Film project, which set out to make films of all 19 of Beckett’s stage plays using leading actors and directors. The set of 19 films was released in 2002 and most of them can be watched on YouTube.

The Second World War 1939 to 1945

*Waiting For Godot 1953 Play

Awarded the Nobel Prize for Literature 1969