Samuel Beckett of simplifying his style, a change also evidenced in "Watt". 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 realized 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
Samuel Beckett though he in fact broke off from the existentialist movement and founded his own philosophy). Though many of the themes are similar, Beckett had little affinity for existentialism as a whole. Broadly speaking, the plays deal with the subject of despair and the will to survive in spite of that despair, in the face of an uncomprehending and incomprehensible world. The words of Nell—one of the two characters in "Endgame" who are trapped in ashbins, from which they occasionally peek their heads to speak—can best summarize the themes of the plays of Beckett's middle period: "Nothing is funnier than unhappiness,