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Notes

Introduction

1. , Difference and Repetition (1968), trans. Paul Patton (London: Continuum, 2004), p. 189. 2. See for instance Hugh Kenner, : A Critical Study (Berkeley: Univer- sity of California Press, 1961); S. Mintz, ‘Beckett’s Murphy: a “Cartesian” Novel’, Perspective (Autumn 1959); Edouard Morot-Sir, ‘Samuel Beckett and Cartesian Emblems’, in Morot-Sir, Harper and McMillan (eds), Samuel Beckett: The Art of Rhetoric (Chapel Hill: Northwestern University Press, 1976), pp. 25–104. 3. Margery Sabin, The Dialect of the Tribe: Speech and Community in Modern Fiction (New York and Oxford: Oxford University Press, 1987), p. 63. 4. Letter to Thomas MacGreevy, 5 October 1930. Cited in James Knowlson’s Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 121. 5. Peter Lennon, Foreign Correspondent: Paris in the Sixties (London: Picador, 1995), pp. 71–72. 6. Ruth Amossy and Elisheva Rosen, Les Discours du cliche´ (Paris: Societ´ ed’´ edition´ d’enseignement superieur,´ 1982), p. 9. 7. William Empson, Seven Types of Ambiguity (London: Chatto and Windus, 1953), p. 25. 8. See Jonathan Culler, Flaubert: The Uses of Uncertainty (London: Elek, 1974), p. 164. 9. Michael E. Mooney, ‘Molloy, Part 1: Beckett’s ‘Discourse on Method’, Journal of Beckett Studies, no. 3 (1978), 40–55; p. 41. See also Rene´ Descartes, Meditations and Other Metaphysical Writings, trans. Desmond Clarke (London: Penguin, 1998), pp. 20–21. 10. Leslie Hill, Beckett’s Fiction: In Different Words (Cambridge: Cambridge University Press, 1990), p. 109. 11. Samuel Beckett, Proust, and Three Dialogues with Georges Duthuit (London: Calder, 1965), p. 65. 12. Jacques Derrida, ‘White Mythology’, trans. F. C. Moore, New Literary History 6, no. 1 (1974), 5–74; p. 55. 13. Friedrich Nietzsche, ‘On Truth and Lying in an Extra-moral Sense’ (1873), Friedrich Nietzsche on Rhetoric and Language (New York and Oxford: Oxford University Press, 1989), 246–257; p. 250. 14. G. W. F. Hegel, Aesthetics, 3 vols, trans. T. M. Knox (Oxford: Clarendon Press, 1975), I, pp. 404–405. 15. See also Paul Ricoeur in The Rule of Metaphor (London: Routledge, 2003), pp. 336, 345. 16. See Martin Heidegger, Der Satz vom Grund (Pfullingen: Neske, 1957), pp. 77–90. 17. Margery Sabin, ‘The Life of English Idiom, the Laws of French Cliche´ 1 + 2’, Raritan: A Quarterly Review, vol. 1, nos. 2 and 3 (1982). 18. Michael Riffaterre, ‘Fonction du cliche´ dans la prose litteraire’,´ Essais de stylistique structurale (Paris: Flammarion, 1971), p. 167.

209 210 Notes

19. Cicero, De Inventione (Cambridge, Mass. and London: LCL, 1949), II, xv, 48. 20. Jonathan Swift, A Tale of a Tub (1704), ed. A. C. L. Guthkelch and Nicol Smith, 2nd edition (Oxford: Clarendon Press, 1958), p. 148. 21. Oliver Goldsmith, An Enquiry into the State of Polite Learning in Europe (1759), Chapters IX, XIV, Collected Works, 5 vols. (Oxford: Clarendon Press, 1966), I, pp. 306, 337. 22. Roger Chartier, The Order of (Cambridge: Polity, 1994), p. 56. 23. Francis Bacon, De Augmentis scientarum (1623), in The Works of Francis Bacon, ed. J. Spedding, R. L. Ellis and D. D. Heath, 14 vols (London, 1857–1874), IV, p. 435. 24. Thomas Sprat, in the History of the Royal Society (1667), ed. Jackson I. Cope and Harold Whitmore Jones (St Louis, Missouri: Washington University Studies, 1958), pp. 111–113. 25. Thomas Hobbes, Leviathan (1651), ed. Richard Tuck (Cambridge: Cambridge University Press, 1991), Part 1, Chapter 8, p. 52. 26. Bernard Lamy, Rhe´torique ou l’art de parler (Paris, 1675), cited in Ann Moss, Printed Commonplace-Books and the Structuring of Renaissance Thought (Oxford: Clarendon Press, 1996), p. 268. 27. See Bruno Clement,´ L’Oeuvre sans qualities: rhe´torique de Samuel Beckett (Paris: Editions de Seuil, 1994). 28. Adam Piette, Remembering and the Sound of Words: Mallarme´, Proust, Joyce, Beckett (Oxford: Clarendon Press, 1996), p. 249. 29. Beckett once described himself as aiming for such a syntax. See Lawrence Harvey, Samuel Beckett: Poet and Critic (Princeton: Princeton University Press, 1970), p. 249. 30. Stanley Cavell, ‘Ending the Waiting Game: An Essay on Beckett’s Endgame’, Must We Mean What We Say?: A of Essays (New York: Charles Scribner’s Sons, 1969), pp. 153–178. 31. Francis Jeffrey, ‘Scott’s The Lady of the Lake’, Edinburgh Review, vol. 16 (August 1810). Reproduced in Jeffrey’s Criticism, ed. Peter F. Morgan (Edinburgh: Scottish Academic Press, 1983), pp. 68–69. 32. Samuel Taylor Coleridge, Biographia Literaria (1817), ed. James Engell and W. Jackson Bate, 2 vols (London: Routledge and Kegan Paul, 1983), I, Chapter 2, pp. 38–39. 33. William Wordsworth, Note to ‘The Thorn’, The Poetical Works, ed. Thomas Hutchinson (Oxford and New York: Oxford University Press, 1989), p. 701. 34. Fritz Senn, Inductive Scrutinies: Focus on Joyce, ed. Christine O’Neill (Dublin: Lilliput Press, 1995), p. 180–181. 35. Terry Eagleton, The Ideology of the Aesthetic (Oxford: Basil Blackwell, 1990), p. 320. 36. See Colin Murray Turbayne, The Myth of Metaphor (New Haven: Yale Univer- sity Press, 1962), pp. 13–17; Gilbert Ryle, The Concept of Mind, 2nd edition (Harmondsworth: Penguin, 1963), pp. 33, 77–79. 37. Jean-Paul Sartre, ‘L’homme et les choses’, Situations 1 (Paris: Gallimard, 1947), 245–293; p. 250. 38. Roland Barthes, S/Z, trans. Richard Miller (New York: Farrar, Straus and Giroux, 1974), p. 206. 39. Christopher Prendergast, The Order of Mimesis: Balzac, Stendhal, Nerval, Flaubert (Cambridge: Cambridge University Press, 1986), p. 183. 40. Pierre Fontanier, Les Figures du discours, ed. Gerard´ Genette (Paris: Flammarion, 1968), p. 63. Notes 211

1 Cliche,´ consensus and realism

1. Letter from to , December 1875. The Correspondence of Gustave Flaubert & George Sand, trans. Francis Steegmuller and Barbara Bray (London: Harvill, 1993), p. 381; , Portrait of the Artist as a Young Man (London: Penguin, 1992), p. 233. 2. H. Porter Abbott, Beckett Writing Beckett: The Author in the Autograph (Ithaca and London: Cornell University Press, 1996), p. x. 3. See Roland Barthes, ‘L’Ancienne rhetorique:´ Aide-memoire’,´ Communications, vol. 16 (1970), 172–222; p. 212. 4. Quintilian, Institutio Oratoria, trans. H. E. Butler, 4 vols (London: Heinemann, 1922), II, pp. xvii, 38–39. 5. James Joyce, (1922) (Oxford: Oxford University Press, 1993), p. 572. 6. Aristotle, Poetics, trans. Ingram Bywater, 1461a11–12, in The Complete Works of Aristotle, ed. Jonathan Barnes, 2 vols (Princeton, NJ: Princeton University Press, 1984), II, p. 2339. 7. Honore´ de Balzac, Cousin Bette trans. Marion Ayton Crawford (London: Penguin, 1965), pp. 108, 123. 8. Beckett, Letter to Thomas MacGreevy, 8 February 1935, TCD MSS 10402. 9. Rachel Burrows, S. E. Gontarski et al., ‘Interview with Rachel Burrows: Dublin, Bloomsday, 1982’, Journal of Beckett Studies, nos. 11 and 12 (December 1989), 6–15; pp. 6–7. 10. See ‘ disparue’, 45th edition (1926), II, p. 96. Beckett’s copy of ’s A la recherche du temps perdu, 12 vols. (Paris: Gallimard, 1923–1929), held in the Reading Beckett Archive. 11. Flaubert wrote in a letter to Louise Colet: ‘Il n’y a pas de Vrai, il n’y a que des manieres` de voir’. Gustave Flaubert, Correspondance, 9 vols (Paris: Conard, 1926–33), VIII, p. 370. 12. ‘Albertine disparue’, II, pp. 96, 173. Beckett’s copy of Proust’s A la recherche. 13. George Eliot, Middlemarch (Oxford: Oxford University Press, 1996), Chapter 32, p. 299 (my italics). J. M. Coetzee, ‘The Agentless Sentence as Rhetorical Device’, Language and Style, vol. 13, no. 1 (Winter 1980), 26–34; p. 29. 14. Gerard´ Genette, ‘Vraisemblance et motivation’, Communications, vol. 11 (1968), 7. 15. Jonathan Culler’s of Gerard´ Genette, Figures II (Paris: Seuil, 1969), p. 73. See Culler, Structuralist Poetics: Structuralism, Linguistics and the Study of Literature (London: Routledge, 1975), p. 144. 16. Marcel Proust, ‘A l’ombre de jeunes filles en fleurs’, A la recherche du temps perdu,4 vols (Paris: Gallimard, 1954), II, p. 406. Cited in Culler, Structuralist Poetics, p. 142. 17. C. J. Ackerley, ‘Demented Particulars: The Annotated Murphy’, special edition of the Journal of Beckett Studies, vol. 7, nos. 1–2 (1998), I, p. 10. 18. Henri Bergson, Laughter: An Essay on the Meaning of the Comic, trans. Cloudesley Brereton and Fred Rothwell (London: Macmillan, 1935), pp. 12–13. 19. Leo Bersani, ‘The Subject of Power’, Diacritics (September 1977) 1–21; pp. 5–6. 20. Jacques Riviere,` Marcel Proust et l’esprit positif,serie´ Cahiers Marcel Proust, Hommage a` Marcel Proust (Paris: Gallimard, 1927), p. 110. In the original: ‘Libre a` ceux pour qui la volonte´ et la forme qu’elle lui preteˆ sont le propre de l’homme de se detourner´ d’un si etrange´ objet! Mais qu’ils apprecient´ au moins l’importance de son apparition parmi nous. Un homme est entre´ pour nous dans les Sargasses d’un loisir infini.’ 21. Salvador Dali cited in Henri Berenger, ‘ in 1931’, in Andre´ Breton (ed.), This Quarter, Surrealist Issue, vol. 5, no. 1 (Paris, September 1932), pp. 15–18, 117. 212 Notes

22. Berenger, ‘Surrealism in 1931’, ibid., pp. 115–116. 23. Phil Baker, Samuel Beckett and the Mythology of Psychoanalysis (London: Macmillan, 1997), p. 132. 24. Comments made by Beckett to Tom Driver in 1961. See Tom Driver, ‘Beckett by the Madeleine’, Columbia University Forum, vol. 4 (Summer 1961), 22. 25. Critics who have looked at this connection include Sighle Kennedy in Murphy’s Bed (Lewisburg, NJ: Bucknell University Press, 1971), and Phil Baker in Chapter 7 of Samuel Beckett and the Mythology of Psychoanalysis. 26. Andre´ Breton, ‘Surrealism: Yesterday, To-Day and To-Morrow’, trans. Samuel Beckett, This Quarter, Surrealist Issue, vol. 5, no. 1 (Paris, September 1932), 20. 27. Olivier Burgelin, ‘Echange et deflation´ dans le systeme` culturel’, Communications, vol. 11 (1968), 122–140. 28. Proust, ‘Le Temps retrouve’,´ 36th edition (1929) VIII, pp. 40, 30. Beckett’s copy of Proust’s A la recherche. 29. Karen R. Lawrence, ‘ “Beggaring Description”: Politics and Style in Joyce’s “Eumaeus” ’, MFS, vol. 38, no. 2 (Summer 1992), 355–376; p. 371–2. 30. George Steiner, Heidegger (London: Fontana/Collins, 1978), p. 48. 31. Cited in Steiner, Heidegger,p.48. 32. Beckett, Letter to Thomas MacGreevy, 25 January 1931. Cited in Knowlson, Damned to Fame, p. 126. 33. The ‘margarita’ or ‘margaret’ is the little flower but also a pearl—the find or the treasure. 34. Edwin Muir, ‘New Short Stories’, The Listener (4 July 1934), 42. 35. GillesDeleuze,‘TheExhausted’,trans. AnthonyUhlmann,SubStance,vol. 78(1995), 3–28; p. 5. See also Maurice Blanchot, Le Livre a` venire (Paris: Gallimard, 1959), p. 211. 36. , Lolita [1955] (London: Penguin, 1997), p. 103. 37. Roland Barthes, ‘L’effet du reel’,´ Communications, vol. 11 (1968), 84–89. 38. Philippe Hamon, ‘Qu’est-ce qu’une description?’, Poe´tique, 12 (1972), 465–485; p. 485. Cited in Culler, Structuralist Poetics, p. 194. 39. Roland Barthes, Critical Essays, trans. (Evanston: Northwestern University Press, 1972), p. 98. 40. Walter Ong, Rhetoric, Romance and Technology (Ithaca and London: Cornell Univer- sity Press, 1971), p. 14. 41. Henri Bergson, Matter and Memory, trans. N. M. Paul and W. S. Palmer (New York: Zone Books, 1991), p. 45. 42. Jean-Paul Sartre, Nausea [1938], trans. Robert Baldick (London: Penguin, 2000), p. 183. 43. Christopher Prendergast, The Order of Mimesis, p. 193. 44. Gustave Flaubert, Correspondance, II, p. 239. 45. See Jonathan Culler, Flaubert: The Uses of Uncertainty (London: Elek, 1974), p. 165.

2 Cliche´ and memory

1. Letter to Thomas MacGreevy, 16 January 1936. Cited in Knowlson, Damned to Fame, p. 224. 2. Proust, ‘Time Regained’, , trans. Andreas Mayor and , 6 vols (London: Chatto and Windus, 1992), VI, p. 227–228. 3. Proust, ‘A l’ombre des jeunes filles en fleurs’, 119th edition, 2 vols (1929), II, p. 4. Beckett’s copy of A la recherche. See also John Pilling, ‘Beckett’s Proust’, Journal of Beckett Studies, no. 1 (1976), 8–29; p. 14. Notes 213

4. See Proust, ‘Sodom and Gomorrah’, In Search of Lost Time, IV, pp. 180–181. 5. See , ‘Analysis Terminable and Interminable’ (1937), The Standard Edition of the Psychological Works of Sigmund Freud, trans. James Strachey, 24 vols (London: Hogarth Press, 1955), XXIII, 216–245; p. 245. 6. See John Pilling, ‘Beckett’s English Fiction’, The Cambridge Companion to Samuel Beckett (Cambridge: Cambridge University Press, 1994), 17–39; p. 20. 7. See Emile Pons, Swift, les anne´es de jeunesse et le Conte du Tonneau (Strasbourg: Libraire Istra, 1925), p. 109. 8. Marcel Proust, ‘A propos du “style” de Flaubert’, Contre Sainte-Beuve (Paris: Gallimard, 1971), 586–600; p. 594. 9. Letter to Charles Prentice at Chatto and Windus, 15 August 1932. Cited in Knowlson, Damned to Fame, p. 160. 10. See Israel Shenker, ‘An interview with Beckett (1956)’, in Samuel Beckett: The Crit- ical Heritage, ed. Lawrence Graver and Raymond Federman (London: Routledge, 1979), 146–149; p. 148. 11. W. B. Yeats, ‘A General Introduction for My Work’, Essays and Introductions (London: Macmillan, 1961), p. 509 (my italics). 12. , ‘On the Image of Proust’, Selected Writings, vol. 2 1927–1934, trans. Rodney Livingstone (Cambridge, Mass.: Harvard University Press, 1999), p. 246. 13. See Hugh Kenner, Joyce’s Voices (London: Faber & Faber, 1978), Chapter 2. 14. Michele` Touret, ‘Les Fleurs et Les Orties: La Parodie des Formes Communes’, Samuel Beckett Today/ Aujourd’hui, vol. 12 (2002), 107–119; p. 113. 15. Roger Scruton, Aesthetic Understanding (London: Methuen, 1983), p. 197. 16. Proust, ‘A l’ombre des jeunes filles en fleurs’, II, p. 13. Beckett’s copy of Ala recherche. See John Pilling, ‘Beckett’s Proust’, p. 28. 17. Augustine, Confessions, trans. Henry Chadwick (Oxford: Oxford University Press, 1992), Book X, Chapter 14, pp. 191–192. 18. William Wordsworth, ‘Preface to the Lyrical Ballads’, Wordsworth’s Literary Criticism, ed. W. J. B. Owen (London and Boston: Routledge & Kegan Paul, 1974), p. 85. 19. In the (blander) English version: ‘To decompose is to live too, I know, I know, don’t torment me, but one sometimes forgets’ (T, 25). 20. Proust, ‘Time Regained’, In Search of Lost Time, VI, p. 250. 21. T. S. Eliot, ‘Tradition and the Individual Talent’ (1919), in Selected Prose of T. S. Eliot, ed. Frank Kermode (London: Faber & Faber, 1975), p. 39.

3 Cliche,´ autobiography and epitaph

1. Immanuel Kant, Critique of Pure Reason, trans. Norman Kemp Smith (London: Manchester, 1929), p. 292. 2. Maurice Merleau-Ponty, The Phenomenology of Perception, trans. Colin Smith (New York: Humanities Press, 1962), p. 414. 3. Olga Bernal, ‘Samuel Beckett: l’ecrivain´ et le savoir’, Journal of Beckett Studies, vol. 2 (Summer 1977), 59–62; p. 59. 4. See Arthur Schopenhauer, ‘The Emptiness of Existence’, Essays (New York and Melbourne: Walter Scott, 1919), p. 56. 5. Andrew Gibson, ‘Voice, Narrative, Film’, New Literary History, vol. 32, no. 3 (Summer 2001), 643. 6. James Knowlson and John Pilling comment that bursts of speed are ‘congenital’ in Beckett’s writing, particularly in Comment c’est, and From an Abandoned Work. 214 Notes

See James Knowlson and John Pilling, Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett (London: John Calder, 1979), p. 65. 7. Walter Benjamin, ‘The Storyteller: Reflections on the Work of Nikolai Leskov’, Illuminations, trans. Harry Zohn, ed. Hannah Arendt (New York: Schocken, 1969), 83–109; p. 94. 8. David Lodge, ‘Review of Ping’, Encounter (February 1968), in Federman and Graver (eds), Samuel Beckett: The Critical Heritage, 291–301; p. 293. 9. The English version struggles (and fails) to reproduce the flexibility of ‘echapper’´ with its twin Beckettian connotations of idleness and death: ‘Hereunder lies the above who up below / So hourly died that he lived on till now’ (CSP, 26). 10. Wordsworth, ‘Essay upon Epitaphs’, Poetical Works, p. 731. See also Samuel Johnson, ‘A Dissertation on the Epitaphs written by Pope’, Lives of the English Poets, ed. George Birkbeck Hill, 3 vols (Oxford: Clarendon Press, 1905), III, p. 263. This is a paraphrase of a line from Pope’s own Moral Essays, ii. 2: ‘Most women have no characters at all.’ 11. William Hazlitt, ‘On the Periodical Essayists’ in Lectures, 102. Quoted by Piette, Remembering, 37. 12. See for instance Henri Bergson, Time and Free Will: An Essay on the Immediate Data of Consciousness (1889), trans. F. L. Pogson (London: George Allen and Unwin, 1910), pp. 105–116. 13. In the English version: ‘deep in this place which is not one, which is merely a moment for the time being eternal, which is called here’ (CSP, 147, my italics). 14. Henri Bergson, The Creative Mind: An Introduction to Metaphysics, trans. Mabelle L. Andison (New York: Philosophical Library, 1946), pp. 151–152. 15. See Samuel Beckett, Happy Days: The Production Notebook of Samuel Beckett, ed. James Knowlson (London and Boston: Faber & Faber, 1985), p. 185, n. 1. 16. Beckett in Happy Days: The Production Notebook of Samuel Beckett, p. 150.

4 Cliche´ and the language of religion

1. See, for instance, Hersh Zeifman, ‘Religious imagery in the plays of Samuel Beckett’, in Samuel Beckett: A Collection of Criticism, ed. Ruby Cohn (New York: McGraw-Hill, 1975), 85–94; p. 92. 2. P. J. Murphy, ‘On first looking into Beckett’s The Voice’, in John Pilling and Mary Bryden (eds), The Ideal Core of the Onion, 63–78; p. 63. 3. Richard Coe, Beckett (London: Oliver and Boyd, revised edn 1968), p. 14. 4. See Leon´ Bloy, Exe´ge`se des lieux communs (Paris: Societ´ e´ du Mercure de France, 1902), ‘Preface’.´ 5. In the original: ‘Avec une autorite´ beaucoup plus qu’humaine, il enseigna que Dieu a toujours parlede´ Lui-meˆme exclusivement, sous les formes symboliques, paraboliques ou similitudinaires de la Rev´ elation´ par l’Ecriture, et qu’il a toujours dit la meˆme chose de mille manieres.’` 6. Anne Herschberg Pierrot, ‘Cliches´ et idees´ reçues: elements de reflexion’,´ in Gilles Mathis (ed.), Le Cliche (Toulouse: Presses universitaires du Mirail, 1998), 29–33; p. 32. 7. John Pilling, Samuel Beckett (London: Routledge & Kegan Paul, 1976), p. 118. 8. Cf. Book of Common Prayer: ‘such good things as pass understanding’. 9. Cf. Authorized Version (1611), St Luke 23: 34: ‘Father, forgive them: for they know not what they do.’ 10. , ‘Preface’,´ Quatuor pour la fin du temps (Paris: Durand, n. d.). Notes 215

11. See Paul Griffiths, Olivier Messiaen and the Music of Time (Boston and London: Faber & Faber, 1985), pp. 101–102. 12. John Fletcher, Samuel Beckett’s Art (London: Chatto and Windus, 1967), p. 134. 13. Thomas Nagel, ‘Subjective and Objective’, Post-Analytic Philosophy, ed. John Rajchman and Cornel West (New York: Columbia University Press, 1985), pp. 43–44. 14. Beckett’s Company (1979) opens: ‘A voice comes to one in the dark. Imagine’ (C, 7). 15. The English ‘Sunday rest’ shows, as is often the case, a more conspicuously conventional form than does the French original, which has ‘se reposer le dimanche’ (Mm, 22). 16. Katie Wales, ‘The Foregrounding of Cliche´ in the “Eumaeus” Episode of James Joyce’s Ulysses’, in Mathis (ed.), Le Cliche´, 219–232. 17. Henk Nuiten et Maurice Geelen, ‘Baudelaire et le cliche:´ Le cliche´ entre les mains de l’auteur des “Fleurs du Mal” ’, Zeitschrift f u¨r franzo¨siche Sprache und Literatur, vol. 17 (Stuttgart: Franz Steiner Verlag, 1989), p. 8. 18. Cf. Authorized Version (1611), Luke Chapter 15, Verse 27: ‘And he said unto him, Thy brother is come; and thy father hath killed the fatted calf, because he hath received him safe and sound.’ 19. Ann Beer, ‘Beckett’s “Autography” and the Company of Languages’, The Southern Review, vol. 27, no. 4 (Autumn 1991), 771–791; p. 783. 20. Martin Heidegger, The Question Concerning Technology, trans. William Lovitt (New York: Harper and Row, 1977), p. 310. 21. Beckett, letter to Thomas MacGreevy, undated (probably late August 1931). Cited in Knowlson, Damned to Fame, p. 134. 22. See for instance Northrop Frye’s The Great Code: The Bible and Literature (Toronto, Canada: Academic Press, 1981). 23. See Michel Charles, ‘Les Discours des figures’, in Rhe´torique de la lecture (Paris: Seuil, 1977), p. 142. 24. See Jacques Derrida, Of Grammatology, trans. Gayatri Chakravorty Spivak, corrected edn (Baltimore and London: Johns Hopkins University Press, 1997), pp. 270–280. 25. V. A. Kolve, The Play Called Corpus Christi (Stanford: Stanford University Press, 1966), p. 64. 26. Daniel Albright, ‘The Acivities [sic] of Dead Imagination’, Omnium Gatherum: Essays for Richard Ellmann (Gerrards Cross: Colin Smythe, 1989), 374–383; p. 377. 27. Leslie Hill, ‘The Name, the Body, “The Unnamable” ’, The Oxford Literary Review, vol. 6 (1983), 53. 28. Stanley Cavell, ‘Trying to Understand Endgame’, in Notes to Literature, trans. Shierry Weber Nicholsen, 2 vols (New York: Columbia University Press, 1991), I, 241–275; pp. 246–247. 29. Steven Connor, ‘Beckett’s animals’, Journal of Beckett Studies, vol. 8 (1982), 29–44. 30. See Mary Bryden, Samuel Beckett and the Idea of God (London: Macmillan, 1998), p. 75. 31. Louis MacNeice, Varieties of Parable (Cambridge: Cambridge University Press, 1965), p. 118. 32. Gerhard Ebeling, Word and Faith, trans. R. G. Smith (London: Collins, 1961), p. 327. 33. Kevin Mills, Justifying Language: Paul and Contemporary Literary Theory (London: Macmillan, 1995), p. 31. 216 Notes

34. See Richard Jacobs, ‘The Lyricism of Beckett’s Plays’, Agenda, vols 18–19, no. 4 (Winter–Spring 1981), 105–111. 35. See Beckett, Happy Days: The Production Notebook, p. 127; and Katharine Worth, and Happy Days: Text and Performance (London: Macmillan, 1990), p. 93. 36. Ruby Cohn, Just Play: Beckett’s Theater (Princeton: Princeton University Press, 1980), pp. 253–254. 37. William B. Worthen, ‘Beckett’s Actor’, Modern Drama, vol. 26, no. 4 (1983), 415–424; p. 416. 38. See, for Beckett’s instructions, Walter D. Asmus, ‘Practical aspects of theatre, radio and television: Rehearsal notes for the German premiere` of Beckett’s ‘That Time’ and ‘Footfalls’ at the Schiller-Theatre Werkstatt, Berlin’, Journal of Beckett Studies, vol. 2 (Summer 1977), 82–95; p. 86.

5 Beyond Cliche:´ Authority, agency and the fall of rhetoric

1. Gilles Deleuze and Felix´ Guattari, Anti-Oedipus: Capitalism and Schizophrenia (London: Athlone Press, 1988), p. 14. 2. Friedrich Nietzsche, Beyond Good and Evil, trans. Helen Zimmern (London: Foulis, 1911), p. 29. 3. Most of all, it echoes that of the French Mercier et Camier, which goes further than the English in describing a hand ‘grande comme deux mains ordinaries, rouge vif’ (FMC, 157). 4. Sigmund Freud, ‘Beyond the Pleasure Principle’, Standard Edition, XVIII, 36, Freud’s italics. Quoted in Baker, 128. 5. Leslie Hill, ‘Beckett, Writing, Politics: Answering for Myself’, Samuel Beckett Today/Aujourd’hui, 9 (2000), 215–222; p. 221. 6. Jean-Michel Bloch, ‘Nouveau roman et culture des masses’, Preuves, vol. 121 (March 1961), 17–28; p. 27 (my translation). 7. Jean-Paul Sartre, L’Idiot de la Famille, 2 vols (Paris: Gallimard, 1988), 2, p. 1973. 8. Beckett, Letter to George Reavey, in Disjecta, p. 103. 9. Ludwig Wittgenstein, Tractatus Logico-Philosophicus (1922), trans. D. F. Pears and B. McGuinness, 2nd edn (London: Routledge and Kegan Paul, 2001), #5.64, pp. 69–70. 10. Stanley Cavell, This New Yet Unapproachable America: Lectures after Emerson after Wittgenstein (Albuquerque, NM: Living Batch Press, 1989), pp. 32, 37. 11. See also Marjorie Perloff, Wittgenstein’s Ladder: Poetic Language and the Strangeness of the Ordinary (Chicago and London: University of Chicago Press, 1996), p. 16 on this tendency in Wittgenstein. 12. George O. Curne, Syntax (Boston: D. C. Heath and Co, 1931), p. 212. 13. In Michael Meyer (ed.), Questions and Questioning (Berlin and New York: Walter de Gruyer, 1988), p. 39. 14. Lawrence Graver, ‘Review of The Lost Ones’, Partisan Review, vol. 41, no. 4 (1974), 622–624; p. 623. 15. Wittgenstein writes in the Tractatus: ‘The sense of the world must lie outside the world. In the world everything is as it is and happens as it does happen. In it there is no value—and if there were, it would be of no value’ (Wittgenstein, Tractatus, #6.41, 86). Notes 217

16. See Deleuze, Difference and Repetition, 297–298. See also James Williams, Gilles Deleuze’s Difference and Repetition: A Critical Introduction and Guide (Edinburgh: Edinburgh University Press, 2003), ch. 1. 17. Paul Lawley, ‘Counterpoint, Absence and Medium in Beckett’s Not I’, Modern Drama, 26, no. 4 (1983), 407–414. 18. Paul Lawley, ‘Beckett’s Dramatic Counterpoint: A Reading of Play’, Journal of Beckett Studies, vol. 9 (1984), 25–42. 19. Robert Sandarg, ‘A Political Perspective on Catastrophe’, Make Sense Who May: Essays on SB’s Later Works, ed. Robin J. Davis and Lance St J. Butler (Gerrards Cross: Colin Smythe, 1988), 137–144; p. 142. 20. Mel Gussow, ‘Beckett distils his vision’, (31 July 1983), section H, p. 3. 21. Gilles Deleuze, Kafka: Pour une lite´rature mineure (Paris: Minuit, 1975). 22. Beckett here (mis)quotes ’s essay on Elizabethan poetry in Make It New in his review of Pound’s collection of essays, ‘Ex Cathezra. Review of Ezra Pound’s Make It New’, Disjecta, 128. Bibliography

Beckett’s works

For information about the main Beckett works cited, see Abbreviations, p. vii.

Other Beckett works The Theatrical Notebooks of Samuel Beckett, Volume I: Waiting for Godot, ed. James Knowlson (London: Faber & Faber, 1993). Happy Days: The Production Notebook of Samuel Beckett, ed. James Knowlson (London and Boston: Faber & Faber, 1985). Beckett, Samuel and Duthuit, Georges, Three Dialogues,inSamuel Beckett: A Collec- tion of Critical Essays, ed. Martin Esslin (Eaglewood Cliffs, NJ: Prentice Hall, 1965), pp. 16–22. Beckett, Samuel and Schneider, Alan, No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Cambridge, MA: Harvard University Press, 1998).

Other works

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Abbott, H. Porter, 30, 93, 102, 197, ‘The Calmative’, 96, 102, 132 211, 218 Catastrophe, 205–6, 208, 217, 225 Adamov, Arthur, 186–7, 218 causality, 34–8, 204 Adorno, Theodor, 104, 153, 202, 218 Cavell, Stanley, 6, 10, 14–15, 18, 51, agency, 37, 51, 68, 138, 160, 165, 181–2, 113, 189–90, 208, 210, 216, 220 184, 186 charity, 171–3 All Strange Away, 148, 158 Cicero, Marcus Tullius, 11–12, 210, 220 Aristotle, 11–12, 27, 31, 33–4, 39, 45, Clement,´ Bruno, 14, 149, 210, 220 50, 95, 144, 202, 211, 218 cliche,´ 1–5, 7–12, 14, 45–50, 52–7, 63–5, Asmus, Walter D., 157–8, 216, 218 67–8, 70, 72–3, 77–8, 86, 88–96, 98, Augustine, 21, 85–6, 136, 137, 151, 106, 108, 118, 121–3, 126, 129, 134, 213, 218 139–40, 142, 146, 151–4, 157, 160, authority, 1, 4, 7–9, 12–13, 14, 17, 18, 162, 167, 176, 180, 182–5, 187–8, 24, 26–7, 30–4, 37, 50, 54–5, 62, 63, 191–3, 198–200, 202, 206, 207, 209, 68, 80, 84, 92, 94, 98–9, 101, 104, 212, 213, 214, 216, 218, 220, 223, 224, 112, 122–34, 139, 141, 147, 152, 154, 225, 226, 227 156, 159, 160–75, 178, 180–4, 187, Coetzee, J. M., 37, 184, 185, 211, 220 188–9, 191, 193, 197–8, 200, cogito, 1, 5, 26, 165 201, 205–8 Coleridge, Samuel Taylor, 16–18, 129, autobiography, 93–5, 122 210, 220 commonplace, 1, 3–4, 11–12, 17, 20–1, Bacon, Francis, 12, 210, 218 50, 63, 70, 72, 81, 92, 129–30, 140, Baker, Phil, 8, 44, 171, 173–5, 212, 142–3, 163, 210, 219, 223, 224 216, 219 community, 3, 6, 19, 44, 118, 140, 142, Balzac, Honore´ de, 33, 35, 39, 210, 197, 225 211, 219 company, 6, 139, 151, 162–4, 188–9, Barthes, Roland, 19, 23, 31, 59, 63, 207, 215, 219 210, 211, 212, 219 Company, 6, 14, 82–3, 91, 128, 145, Benjamin, Walter, 76, 101, 213, 214, 219 147–8, 155, 188, 196, 215 Bergson, Henri, 40, 61, 111, 113, 115, Connor, Steven, 7, 26, 154, 175, 185, 211, 212, 214, 219 215, 220 Bersani, Leo, 42–4, 48, 211, 219 consensus, 11, 23, 27–8, 31–3, 152, beˆtise, 1, 4–5, 22, 64, 107, 130, 144 162–3, 185, 188, 193 biblical language, 7, 57, 125–6, 128, 132, Cronin, Antony, 27, 67, 139–40, 168, 134–6, 140, 146, 151, 155–6 176, 220 Blanchot, Maurice, 57, 212, 219 crucifixion, 137, 141, 152, 157 Bloy, Leon,´ 1, 129–30, 140, 155, Culler, Jonathan, 50, 64, 209, 211, 214, 220 212, 220 body, 5, 9, 13, 24–5, 29, 31, 40, 48, 61, 74, 84, 86–8, 91–2, 95, 102, 107, 111–12, 136, 143, 151, 153, 156, Dali, Salvador, 44, 211 199, 203–6, 215, 219, 222 ‘Dante and the Lobster’, 50, 86, 130, 137 Burgelin, Olivier, 47–9, 212, 220 ‘Dante Bruno Vico Joyce’, 123

228 Index 229 death, 10, 24–7, 39, 43, 70, 80–1, 86, Fontanier, Jean, 25, 210, 221 93–5, 98–9, 101, 103, 107–8, 112, 114, Footfalls, 157–8, 205, 208, 216, 218 119–20, 122, 153, 157, 159–60, 164, French, 1, 10, 13, 17, 22, 51, 52–7, 65, 174–5, 181, 184, 199–200, 204–8, 214 74, 80, 83, 84, 85, 87, 89, 99, 105, 108, death drive, 26, 184, 199 113, 115, 128–9, 132–3, 136, 142, 147, Deleuze, Gilles, 1–3, 5–8, 14, 26, 51, 57, 149–50, 152, 168, 176, 177, 181, 182, 62–4, 67, 76, 82, 91, 106–7, 145, 163, 185–7, 189, 198, 209, 215, 216, 219 165, 174–5, 179, 184–8, 200–1, 203, Freud, Sigmund, 26, 29, 70–3, 82, 92, 207–8, 209, 212, 216, 217, 220–1 175, 184, 186, 199, 213, 216, 219, Derrida, Jacques, 8–9, 15, 19–20, 47, 221, 225 49, 52–3, 57, 92, 145, 149, 156, 209, From an Abandoned Work, 42, 93, 97, 215, 221 100, 121, 142, 194, 213 Descartes, Rene,´ 1, 5, 21, 26, 209, 221 Frye, Northrop, 149, 215, 222 difference, 2, 7, 29, 60, 83, 106, 109–10, 165, 181, 200–3, 209, 217, 221 Genette, Gerard,´ 38, 40, 210, 211, 221 ‘Ding-Dong’, 38 ‘German Letter of 1937’, 135 Disjecta, 2, 28, 99, 105, 123, 135, 192 Dream Notebook, 136 Gibson, Andrew, 100, 213, 222 ´ Dream of Fair to Middling Women,7, Gide, Andre, 35, 222 33–6, 38–9, 45, 52–3, 71, 73, 75–6, God, 5, 7, 19, 30, 34, 36–7, 50, 77, 90, 89, 98, 114, 120, 137–9 109, 110, 112, 114, 120–4, 144–6, 148–60, 164–6, 170, 173, 177, 179, Eagleton, Terry, 19, 21, 210, 221 181–5, 189, 197, 201, 206, 215, 220 Eh Joe, 159, 160, 177 Eleutheria,82 Happy Days (Oh les beaux jours), Eliot, George, 36, 211, 221 112, 115–20, 157–8, 214, 216, 218 Eliot, T. S., 90, 135, 213, 221 ‘He Is Barehead’, 200–1 Embers, 82, 176–7 Hegel, G. W. F., 8–9, 21, 209, 222 Empson, William, 3, 7, 209, 221 Heidegger, Martin, 9, 26, 50, 51, 61, 145, ‘The End’, 82–3, 143, 176, 206 188, 209, 212, 215, 222, 226, 227 Endgame (Fin de partie), 97, 109–15, Hill, Leslie, 7, 28, 125, 132, 153, 173, 120, 123–5, 132, 142, 144, 210, 181, 209, 215, 216, 222 215, 218, 220 home, 8, 9, 32, 37, 48, 51–2, 77, 82, 99, Enlightenment, 93, 101, 104–6, 122, 130 134, 139–41, 143, 145, 148, 167, 175, epitaph, 27, 93–4, 108–9, 112, 213, 223 177, 179, 183–4 ‘The Expelled’, 69, 132, 170, 172, 176 How It Is (Comment c’est), 20, 29, 67, 79–80, 91, 94–5, 98–100, 102–5, father, 49, 78, 82, 125, 132, 154, 159, 107, 112, 121, 133, 139, 145–7, 165–6, 170–4, 176–80, 183–4, 194, 151, 163, 183, 186 206, 214, 215 figurative, 9, 13–14, 16–18, 25, 50, 52, 57, 64, 94–5, 101–2, 105, 122, 124, ide´e reçue, 2, 23, 130 131, 138, 149–53, 155–6, 175, 184, idiom, 2–4, 29, 50, 52, 54, 56, 72, 74, 192–3, 196–9, 202–6, 208–9 87–8, 97, 102–3, 112, 114–15, 118, Film, 154 124, 130, 132, 141, 144–5, 150, 159, ‘Fingal’, 32 185, 203–4, 209, 225 First Love (Premier amour), 24, 97, 108, ignorance, 4–5, 10, 14, 18, 27, 30–1, 134, 172 46, 62–3, 95, 104–5, 122, 130, 133, Flaubert, Gustave, 1, 2, 4, 18–21, 23, 30, 164, 178, 193 34–5, 63–4, 72, 129–30, 154, 207, 210, Ill Seen Ill Said (Mal vu mal dit), 63, 211, 212–14, 220–3, 225 140, 195 230 Index impersonality, 29, 30, 67, 88, 91, 141, metaphor, 3, 8–10, 13–15, 17, 19, 22, 147–8, 185–7, 198 25, 28, 47, 49, 52, 64, 84–5, 102, 124, impotence, 17, 30, 73, 94, 128, 136–7 126, 135, 139–41, 144, 149–50, 152–6, incarnation, 83, 120, 149–56 159, 181, 199, 202–3, 209, 210, innocence, 4–6, 10, 14, 22, 29, 31, 72, 223, 225 90–2, 97, 106, 110, 189–90, 192, molar, 1, 2, 145–6, 163, 184 204–5, 207, 208 molecular, 2, 145, 184, 187 Molloy, 1, 7–8, 20, 24, 29, 37, 48, 57, 60–5, 69–70, 73, 77–8, 93, 95–6, Johnson, Samuel, 108–9, 214, 223 99–101, 103–6, 109, 123–4, 127, 129, Joyce, James, 2, 18–19, 21, 25, 30–4, 39, 131–2, 138, 140, 143, 145, 151, 153, 49–50, 55, 70, 73, 77, 123, 140, 163, 165–6, 169–85, 187, 192, 195, 210–13, 215, 223, 224, 226 207, 209, 224 More Pricks than Kicks, 48, 50, 71, 73, Kenner, Hugh, 18, 55, 78, 129, 209, 128, 166 213, 223 mother, 1, 7, 8, 24, 41, 53, 77–8, 81–3, ‘Le Kid’, 113 87, 92, 96, 103–4, 125, 144, 147–8, Knowlson, James, 41–2, 157, 201, 209, 158–9, 163, 169, 171–6, 178, 181 212, 213–14, 215, 218, 223 Murphy, 5, 6, 31, 38–45, 47–8, 52, 56–9, Kristeva, Julia, 159, 165–6, 223 64, 75, 99, 102, 106, 125, 136–7, 142, 144–5, 155, 168–9, 181, 195, 206, 209, law, 4, 7, 27, 33, 35, 130, 159, 162–3, 211, 212, 218 165–6, 168–9, 170–8, 180–2, 203, 209 Murphy, P. J., 125–6, 129, 214, 224 Lawley, Paul, 203, 217, 223 Lawrence, Karen, 49, 212, 223 Nagel, Thomas, 137–9, 215, 224 Lennon, Peter, 3–4, 32, 209, 223 Nietzsche, Friedrich, 8–9, 94, 165, 209, literal, 8–10, 13–15, 25, 34, 45, 48, 50, 216, 224 52, 57, 58, 78, 86, 88, 91, 101, 105–6, Not I, 158–9, 166, 188, 203, 205, 217, 113, 126, 130–2, 135, 137, 144, 220, 223 149–56, 160, 166, 187, 190–2, 197–200, 203, 205–6, 208 Ong, Walter, 61, 128, 212, 224 The Lost Ones, 88, 96, 196–7, 200, ordinary language, 4, 10, 14, 18, 72, 119, 201–2, 216, 222 189–90, 192, 216, 220, 224 ‘Love and Lethe’, 36 origin, 4–5, 7, 9, 26, 72, 96, 107, 126, 136, 140, 174, 199 Malone Dies (Malone meurt), 23, 29, 37, 59, 65, 69, 82–3, 88, 94, 99, 100–1, Partridge, Eric, 12, 224 103, 106, 108, 111, 128, 136–7, 140, Paulhan, Jean, 22–5, 64, 70, 224 142, 150, 152–4, 177, 182, 189, 193, persuasion, 13–15, 29, 190, 192, 194 206, 208 philosophy, 1–2, 5, 8, 10, 14, 92, 190, memory, 1, 14, 27–8, 60–1, 65, 92, 215, 224 103–4, 106–7, 115–16, 120–8, 132–5, Piette, Adam, 14, 39, 66, 72, 76, 82, 133, 146–7, 153, 160, 174, 176, 195, 200, 202, 210, 214, 224 207, 212, 219 Pilling, John, 72, 133, 201, 212, 213, Mercier and Camier (Mercier et Camier), 214, 223, 224, 225 74, 80, 138, 168–9, 172, 216 Ping (Bing), 107, 214, 223 Merleau-Ponty, Maurice, 95, 97, pleasure principle, 26, 29, 175, 185, 213, 224 216, 221 Messiaen, Olivier, 134, 151, 214, police, 163, 166, 168–9, 171–2, 222, 224 173, 175 Index 231 poverty, 2, 6, 14, 18, 21, 48, 51, 181, spoken word, 126–7, 155–7 190, 196, 208 Sprat, Thomas, 13, 22, 210, 226 print culture, 11, 15, 18–19, 56, 127–8, Stereotype, 16, 40 200, 210, 224 Stupidity, 1, 5, 10, 23, 35, 51, 63, 104, Proust, 7, 33, 35, 43, 46, 62, 74–6, 122, 129, 207, 222 176, 210 Surplus-value, 9, 15, 19, 47, 53, 57 Proust, Marcel, 2, 7, 30, 33, 35, 40, 43, Surrealism, 44–5, 211, 212, 220 46–7, 62, 67–79, 85–91, 99, 122, 147, Swift, Jonathan, 12, 72, 210, 213, 176, 209–13, 219, 224–5 225, 226

Quintilian, Marcus Fabius, 31, 191, Texts for Nothing, 10, 37, 96, 98–9, 115, 211, 225 141, 151, 154 That Time, 38, 144–5, 152, 188, 216, 218 This Quarter, 44, 45, 211, 212, 220 realism, 18, 23, 27, 30, 33, 35, 38–9, Three Dialogues, 45, 47, 209, 218 43–51, 54, 57, 75, 155, 188, 223, 226 time, 6, 11, 27, 48, 61, 69, 74, 84-8, reason, 7, 13, 26, 37, 58, 60–2, 78, 92-105, 108, 110-23, 126, 134, 146, 103–4, 109, 142–3, 151, 172, 178, 195, 147, 149, 151, 159, 162, 182, 189, 201, 197, 199, 213, 220, 223 204, 212, 215, 218 register, 8, 47, 66, 90, 108–11, transition, 71, 74 114, 134 religion, 3–4, 7, 20, 27–8, 61–2, 76, Uhlmann, Anthony, 2, 61–3, 212, 123–42, 144–9, 151, 153, 155–60, 162, 221, 226 166, 169, 183, 185, 207, Ulysses, 19–21, 31–2, 39, 49, 70, 73, 105, 214, 227 140, 211, 215, 223, 226 repetition, 1–2, 5, 7, 15–16, 26, 29, 46, The Unnamable (L’Innommable),7,24, 64, 70–1, 73, 82–5, 96, 98, 103, 107, 26, 29, 63, 65, 71, 81–5, 87–90, 93, 95, 126, 129, 146, 148, 154, 165, 174–5, 97–8, 100, 102, 104–5, 107, 111, 127, 185–6, 202, 208, 209, 217, 132, 135, 141–4, 148–56, 158, 163–4, 220, 223 181, 184–7, 189, 192–6, 198, 205, 215, rhetoric, 4, 10–15, 17, 20, 22–3, 31, 222, 223, 226 48–9, 52, 57, 110, 161–2, 165, 168, usury, 9, 15 173, 179–80, 181, 190–2, 194–6, 209, 211, 216, 220, 222, 224 voice, 18, 31, 33, 50, 52, 57, 64, 66, 72, rhetorical question, 190–2, 194–5 89, 91, 99–100, 116, 118, 120, 125–6, Ricks, Christopher, 24–6, 79, 128, 129, 133, 135, 138–9, 149, 185, 225 152, 154–61, 165, 169, 173–4, Ricoeur, Paul, 13, 25, 165, 209, 225 177–80, 182, 185–8, 197, 198, 202, Riffaterre, Michael, 11, 209, 225 207, 208, 213, 214, 215, 222, Rockaby, 159, 206, 208, 220 224, 226 Romanticism, 16–17, 86, 101, 220 Rough for Radio II, 70, 86, 204 Waiting for Godot (En attendant Godot), Rough for Theatre II, 157 37, 94, 109–12, 114, 120, 134, 137–8, 152, 157, 182, 185, Sabin, Margery, 2, 10, 19, 54–5, 209, 225 201, 216, 218, 220 Sartre, Jean-Paul, 22, 61–2, 100, 187, Watt, 14, 41, 44, 46, 51–2, 72, 75, 114, 210, 212, 216, 225 137–8, 152, 154, 181, 208, 219 Schopenhauer, Arthur, 26, 99, 138, Weisberg, David, 182–4, 226 213, 225 ‘A Wet Night’, 73, 85 Scruton, Roger, 81, 91, 213, 226 ‘What a Misfortune’, 36 spirituel, 149–50 What Where, 70, 204 232 Index will, 14, 24, 26, 28, 32, 34, 43, 73, Wordsworth, William, 17, 18, 86, 108, 86, 90, 99, 111, 112, 128, 132, 135–9, 130, 177, 210, 213, 214, 226 143, 146, 165, 172, 181, 190, 198, Worstward Ho, 62, 93, 102, 107, 145, 200, 208, 214 195–6, 207 Wittgenstein, Ludwig, 2, 6–7, 10, 14, 188–90, 196, 199, 216, 220, 223, Yeats, William Butler, 76, 98, 213, 227 224, 226 ‘Yellow’, 50