place where he was at fault, then she put up her own explanation. She had it from God, therefore he could rely on its being accurate in every particular. The passage makes reference to Dante's Commedia, which can serve to confuse readers not familiar with that work. It also anticipates aspects of Beckett's later work: the physical inactivity of the character Belacqua; the character's immersion in his own head and thoughts; the somewhat irreverent comedy of the final sentence. Similar elements are present in Beckett's first published novel, Murphy (1938), which also explores the themes of insanity and chess (both of which would be recurrent elements in Beckett's later works). The novel's opening sentence hints at the somewhat pessimistic undertones and black humour that animate many of Beckett's works: "The sun shone, having no alternative, on the nothing new". Watt, written while Beckett was in hiding in Roussillon during World War II, is similar in terms of themes but less exuberant in its style. It explores human movement as if it were a mathematical permutation, presaging Beckett's later preoccupation—in both his novels and dramatic works—with precise movement. Beckett's 1930 essay Proust was strongly influenced by Schopenhauer's pessimism and laudatory descriptions of saintly asceticism. At this time Beckett began to write creatively in the French language. In the late 1930s, he wrote a number of short poems in that language and their sparseness—in contrast to the density of his English poems of roughly the same period, collected in Echo's Bones and Other Precipitates (1935)—seems to show that Beckett, albeit through the medium of another language, was in process of simplifying his style, a change also evidenced in Watt. Middle period After World War II, Beckett turned definitively to the French language as a vehicle. It was this, together with the "revelation" experienced in his mother's room in Dublin—in which he realised that his art must be subjective and drawn wholly from his own inner world—that would result in the works for which Beckett is best remembered today. During the 15 years following the war, Beckett produced four major full-length stage plays: En attendant Godot (written 1948–1949; Waiting for Godot), Fin de partie (1955–1957; Endgame), Krapp's Last Tape (1958), and Happy Days (1961). These plays—which are often considered, rightly or wrongly, to have been instrumental in the so-called "Theatre of the Absurd"—deal in a darkly humorous way with themes similar to those