The significance of German, which is Beckett's third language, is an as yet unconsidered issue in Beckett research. This article aims at illustrating Beckett's affinities to German and his strong influence on the German translations of his works. I would like to argue that this is above all due to the transparency of the German lexicon. This becomes evident from Beckett's own productions in Germany. Serving two levels of images – the images evoked by language and the images presented on stage – he deliberately plays text and image off against each other. Thus German holds a key position in his work.