Бақытты күндер

Play by Samuel Beckett

Happy Days is a play in two acts, written by Samuel Beckett first performed in 1961. Viewed positively by critics, it was named in The Independent as one of the 40 best plays of all time. Winnie, buried to her waist, follows her daily routine and prattles to her husband, Willie, who is largely hidden and taciturn. Her frequent refrain is "Oh this is a happy day." Later, in Act II, she is buried up to her neck, but continues to talk and remember happier days.

Winnie is embedded waist deep in a low mound under blazing light, with a large black bag beside her. She is awakened by a piercing bell and begins her daily routine with a prayer. Talking incessantly to herself, she brushes her teeth, drinks the last of a bottle of tonic, and puts on her hat. She struggles to read the writing on the toothbrush. She awakens her husband Willie, who is hidden by the mound, and prattles to him. He occasionally responds with headlines from his newspaper, one of which reminds her of her first kiss. They both look at an apparently saucy postcard. Winnie explains that Willie's listening enables her to go on talking, and is delighted when he responds even briefly to one of her many questions. After Willie briefly doffs his cap, Winnie instructs him to return to his hole, which he laboriously does. After he is within she repeatedly asks if he can hear her at different volumes, to which he replies, with increasing exasperation, "yes!" Winnie attempts to discover if Willie can see her if she leans backward, but he does not respond. Winnie spots an 'Emmet'(an archaic term for 'ant') carrying an egg. Willie comments "formication" (A sensation of ants creeping on the skin). Both of them laugh hysterically at the homophone. Winnie declares that she never thought she would hear Willie laugh again. She then asks if he finds her loveable. After some deliberation with herself, she pulls a revolver out of her bag, recalls how Willie asked her to take it away from him, and banishes it to the ground beside her. She begins to feel sad about her life, but shakes it off. She puts up a parasol to protect herself from the sun, and holds it over her head for a long time. When this becomes tiring, she discovers she cannot move to put it down. She begs Willie for assistance, but he is unresponsive. The parasol then abruptly catches fire, and she throws it away. Willie still unresponsive, she cajoles him to prove he is conscious, which he eventually does, by raising a finger. Winnie speaks of the difficulty of dealing with the relentless sun and remembers when she was not trapped in the earthen mound. She thinks about the future, and the existential threat of being buried deeper in the mound. She finds a music box in her bag, to the music of which Willie briefly sings (though he ignores Winnie's request for an encore). Winnie files her nails and remembers the last people who passed, a Mr. and Mrs. Shower (or perhaps Cooker), who asked what she was doing stuck in the ground. She prepares her bag for the night. Willie emerge and Winnie wishes that he would come round and live where she could see him better. He reads his newspaper. Winnie asks Willie about the nature of hogs, to which he replies "castrated male swine, raised for slaughter." Darkness overcomes the pair.

Winnie is now embedded up to her neck, still wearing her hat, still with the bag and revolver beside her. She is awakened by the bell, which rings again each time she falls back asleep. She senses that Willie is looking at her but can no longer see him, and he does not respond to her calls. She continues to talk, examining her nose and recalling a time when a little girl called Mildred undressed her doll in the nursery at night, but is interrupted by anxiety about Willie and further memories of Mr. and Mrs. Shower. Willie crawls out from behind the mound, smartly dressed, which reminds her of the day he asked her to marry him. She encourages him as he tries to crawl up the mound towards her, and is delighted when he grunts "Win". She sings the music box tune, a love song.

Winnie is embedded in a "low mound", She lives in a deluge of never ending light from which there is no escape: even the parasol she unfolds at one point ignites, leaving her without protection. We learn that she has not always been buried in this way but we never discover how she came to be trapped so. A number of suggestions have been put forth to explain where the idea for the original imagery originated. James Knowlson has suggested images from Luis Buñuel's 1928 film, Un chien andalou or a photograph by Angus McBean of Frances Day. Beckett required the set to have "a maximum of simplicity and symmetry" with a "very pompier trompe l'œil backcloth to represent unbroken plain and sky receding to meet in far distance". The scene is reminiscent of a seaside postcard with Winnie buried in the sand and Willie with his knotted handkerchief and his boater. The fake backdrop calls to mind also the kind used by photographers that feature a painted body on a sheet of wood with a hole cut out where the head belongs popular at holiday venues. Even the title of the play, "Happy Days", is the kind of expression typically used when reminiscing about these kinds of holidays. Of note is the fact that he worked on the play while in the English seaside resort of Folkestone during the two weeks he was obliged to be resident in the area before his marriage to Suzanne could officially take place. The play is also reminiscent of the music hall. The boater Willie sports at a "rakish angle" During Berlin rehearsals he said, "In this play you have the combination of the strange and the practical, the mysterious and the factual. This is the crux of both the comedy and the tragedy of it." The question of "What does it mean?" is voiced in the play by the passer by Mr Shower (or Cooker). Beckett explained this in a letter to Alan Schneider:

Shower & Cooker are derived from German "schauen" & "gucken" (to look). They represent the onlooker (audience) wanting to know the meaning of things. Winnie comments sourly, "Usual drivel". But Mrs Shower provides an oblique answer: "What’s the idea of you, she says, what are you meant to mean?". Nevertheless, the central metaphor is clear: Winnie is sinking inexorably in the slow sands of time and disappointment. In Happy Days the existential condition of the characters is visualized in the mound tightening around Winnie who is sinking deeper and deeper. The nearer she gets to the end, the slower does Winnie sink, and never does the end come to release her from the pain of being smothered in the mound. What Beckett wants to represent is the endless repetition of dying moments rather than death itself. His characters wish to finish life but the end never comes because the clock becomes slower and slower. There is still time, always. The two act structure emphasises the passing of time. Act II is bleaker than Act I, and Winnie knows it: "To have been what I always am – and so changed from what I was." The play, like life, has a strong sexual undercurrent. "In the Happy Days of 1979, Beckett very particularly played upon the physical attractiveness of [Billie] Whitelaw Where most Winnies, such as Peggy Ashcroft and Irene Worth, look rather matronly, Beckett made Whitelaw’s Winnie into a siren, with black, low cut gown, haunting eyes, exaggerated lipstick a woman, who while not any longer young, still manifests a powerful erotic dimension". Her memories often have a sexual edge: sitting on Charlie Hunter's knees; her first kiss; the two balls; an encounter in a toolshed; when handed the erotic postcard from Willie, she takes time to examine it before returning it in feigned offense and the story she tells of the small girl Mildred's (Beckett's original name for Winnie) sexual curiosity is genuinely disturbing. A mouse, in Freudian terms, is a phallic symbol and Beckett's protagonists often speak autobiographically in the third person. Also the doll wears a pearl necklet, as does she. It should not be taken from this that the terrified child (assuming the story is figurative) has become the frigid wife; she talks knowledgeably about sex and early drafts of the play even show how their sex life has dwindled over the years. It does appear that sexual relations between her and Willie – a common British euphemism for penis – have been lacking, at least from her perspective:

There was a time when I could have given you a hand And then a time before that again when I did give you a hand You were always in dire need of a hand, Willie.

The film version of Happy Days was produced in 2001 as part of the Beckett on Film project. The film was directed by Patricia Rozema and starred Rosaleen Linehan as Winnie.