By Cohn, Ruby; Beckett, Samuel
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Extra resources for A Beckett canon
Feeling alone in Paris, Beckett twice read through Proust’s A la recherche du temps perdu in “the abominable edition of the Nouvelle Revue Française, in sixteen volumes” (Proust, 1), and he also summoned to his aid Schopenhauer’s The World as Will and Representation and Arnaud Dandieu’s Marcel Proust, the latter published that very year. Beckett’s letters to MacGreevy complain about his selfimposed task of criticism, but in late September 1930, he delivered Proust to his London publisher, on his way home to Foxrock, Ireland—still intending to pursue an academic career.
His experience shall be the menace, the miracle, the memory, of an unspeakable trajectory” (138). ” He enlarges on the last of these: “I think of his earlier compositions where into the body of the musical statement he incorporates a punctuation of dehiscence, ›ottements, the coherence gone to pieces, the continuity bitched to hell” (139). As a writer, Belacqua espouses silence and incoherence, so that it is not surprising that he arrives in Ireland “with his palpitations and adhesions and effusions and agenesia and wombtomb and aesthetic of inaudibilities” (141).
Beckett divides his alba into three stanzas, each with its own rhythm. The opening ‹ve-line stanza begins and ends with the phrase “before morning,” and the stanza’s last line is related to the ‹rst by chiasmus. The repetition of “you shall . . here” concretizes the imaginary presence of the loved one. The nocturnal “you” will establish a synesthetic “white plane of music” that can banish the troubling ideas aroused by Dante, the Logos, the branded moon, and other mysteries. ”13 Each line lingers longer than its predecessor, enriched with internal rhyme and consonance, which enhance the eroticism of the night.
A Beckett canon by Cohn, Ruby; Beckett, Samuel