Albert Einstein, la vie et l'oeuvre by Abraham Pais

By Abraham Pais

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Sometimes a circle of spikes tops a vertical pole, and all too often the tree is converted to a cross. The published Godot opposes vertical tree to horizontal road, but in Beck­ ett's Berlin production a low stone and a tall tree became opposite magnetic poles, the tree attracting Vladimir and the stone Estragon. During Godot the four main characters range over the 20 THROUGH VIEWS stage. Vladimir and Estragon pace, dance, stagger, and hop, Vladimir in curves, Estragon in straight lines. The four main characters look up at the sky and fall down on the ground.

The latter consults thermometer, heliometer, anemometer, hygrometer, but no clock. Hamm tells a lugubrious anec­ dote that is at once memory and prophecy—of a painter/ engraver who thought he was witness to the end of the 44 THROUGH VIEWS world. It is nevertheless in the main action that Hamm "last night" saw a sore within his breast. As in Godot the couples of Endgame have a long history of association. When Hamm cried as a baby, Nagg and Nell removed him from their hearing. Clov came to Hamm when he was very small.

Despite such imagined scenes, each of the characters tries to make sense of actuality, physical and metaphysical. Film and Eh Joe, Beckett's first ventures into the cine­ matic and television media, return to the fiction of visual realism, and the returns are similar. Each protagonist flees perception, and the cameras trace the flights into a room and within a room, but the rooms differ. In Film the room is reached only after sequences in the street and on the stairs. Beckett's text specifies: "This obviously cannot be AT THIS PLACE 29 O's room"—presumably because it is so full of eyes, which O seeks to avoid.

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