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 have attempted translations, but no complete version of the sequence has been published in English. Beckett's prose pieces during the late period were not so prolific as his theatre, as suggested by the title of the 1976 collection of short prose texts "Fizzles" (which the American artist Jasper Johns illustrated). Beckett experienced something of a renaissance with the novella "Company" (1980), which continued with "Ill Seen Ill Said" (1982) and "Worstward Ho" (1984), later collected in "Nohow On". In these three "'closed space' stories," Beckett continued his preoccupation with memory and its effect on the confined and observed self, as