Abstract
The motif of death and the maiden, so popular in literature and painting, is referred to directly in
Samuel Beckett’s All that Fall, when Franz Schubert’s piece of music, under such a title, is heard at
the end of this radio drama. When discussing the vision of human existence, as consistently presented
in this great Irishman’s oeuvre, it is advisable to become acquainted with the basic concepts of
Martin Heidegger’s philosophy, and also with Beckett’s essay Proust in which he discusses human
life, characterised by suffering as “the expiation for the eternal sin of having been born.” This article
discusses death in the Beckettland of suffering. Death hardly ever comes to young characters, the
majority of Beckett’s characters being either old or, at least, middle-aged, are all still longing for
their end to come. Despite finding different kinds of pastimes to make their waiting less oppressive,
time seems to be, as it were, at a standstill, and, to use Vladimir’s words from Waiting for Godot,
they “have time to grow old.”
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