Abstract
This article examines the relationship between the character-narrators of Beckett's , , , , and funerary sculpture of the late Middle Ages and the early modern period. In the German Diaries, Beckett expresses his admiration for this particular form of religious sculpture, in which the dead are represented as “senile,” “humble,” and “collapsed,” and perceives its kinship with his own world. The first part of this article explores the affinities between Beckett's supine characternarrators and prone funerary statues. The second part analyses the process of secularization that Beckett's writing inflicts on this religious artistic motif.
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