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The Topos of the Mound in Samuel Beckett's Writing

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The Topos of the Mound in Samuel Beckett's Writing 41 The Topos of the Mound DOI: 10.2478/abcsj-2013-0019 The Topos of the Mound in Samuel Beckett’s Writing REZA HABIBI University of Bergen Abstract This essay aims to bring to the fore the varied and broad valences of the ‘mound’ in Beckett’s oeuvre. In my reading, the mound functions as a profuse, multi-purpose symbol, that coalesces into a variety of topoi indicative of Mother Earth, that figure in the thighs, the nipples, the pubis/pubic area and bones, ruins, ants, birth, fetus, and elemental maternal death. I embarked upon the present study before the commencement of the Beckett Digital Manuscript Project, a collaborative project between the Centre for Manuscript Genetics at the University of Antwerp, the Beckett International Foundation, the University of Reading and Harry Ransom Humanities Research Center, the University of Texas at Austin. Valorising the author’s editing, additions, notes and comments provided by the upcoming digitalized manuscripts of Beckett in 2014 and 2015, I expect to contribute to the work in progress, and to the corpus of Beckett studies in general, especially those approaching his bilingual works. It is my contention that the frequency of certain terms, the diagrams that Beckett included in some of his letters (as is the case of the mound in Happy Days), shed significant light on the nature of his symbolism. Keywords: topos; mound; rock/stone; earth; birth; death; fetus; Venus; ants; ruins Who knows if life is not death and death life? Euripides For almost two years, from January 1934 through to December 1935, Beckett underwent psychoanalytic therapy with W. R. Bion in London, during which time he embarked upon an extensive study of American, British and Canadian Studies / 42 psychoanalysis and psychology. Conversant with philosophical in his twenties, and later, on a broader scale, with psychoanalysis, Beckett made ample notes on both subjects. His Philosophy Notes and Psychology Notes1 testify to his obsessive reading of a number of prominent figures in both spheres, from Descartes to Schopenhauer, to Freud, Jung, Jones and Rank. As a young critic, his early conversance with the philosophical works of Arthur Schopenhauer, especially The World as Will and Representation (1818), led him to a rather naïve but strong application of the ‘will’ to Marcel Proust’s A la recherche du temps perdu (1913), entitled Proust, finely sketched by J. D. O’Hara (13-33). He read “Schopenhauer on Women” (1851), (Letters 509) as a diversion in 1937, but as Weller points out, “. over two decades later Beckett took up Schopenhauer’s various (highly misogynistic) claims about women in his essay “Über die Weiber” and used them fairly systematically in his characterization of Winnie in Happy Days (written in 1960-61)” (Weller 135). Moreover, the Psychology Notes are replete with specialized terms to be traced back to Freud’s The Interpretation of Dreams (1899), The Pleasure Principle (1895), Beyond the Pleasure Principle (1920), Character and Anal Eroticism (1908), Civilization and Its Discontents (1930), Ernest Jones’s “Anal-Erotic Character Traits”, a chapter in his Papers on Psycho-Analysis (1913), Otto Rank’s The Trauma of Birth (1924), etc. Further, Beckett’s cognizance of such theories is disclosed by the explicit overuse of psychoanalytical jargon, to the verge of banality, spread out in his early works in the thirties, but which grows increasingly more implicit in his later oeuvres, both fictional and dramatic. Baker and O’Hara both delve deep into the world of psychoanalysis (the former mostly incorporates Freud and Rank while the latter focuses on Jung and Freud) to disclose how Beckett succeeded in connecting psychoanalytic concepts to the percepts and images he created in his writing. The sigmoidal (S-shaped, fetus-like) figures, the concepts of birth and death, the fetal posture, earth (the Mother Earth), obsession, repetition (in both Freud and Beckett implying Thanatos), anal-eroticism, anal- sadistic phase, anal-retentive characters, schmutzig(ness) or verschmutzung, muck, oozing (Maude 108), cloister, placenta, displacement (both Freudian and Proustian), the family (father, mother, 43 The Topos of the Mound child/the son), family romances, infancy (old tot), the sexual drive or libido (Obidil in Molloy (1951), orderliness, parsimoniousness, obstinacy (all three akin to anal fixation at an early age), whiteness (the whiteness of the three wolves in a dream by one of Freud’s patients), the white mother, the talking cure, amor matris, timor patris, symmetry (especially that of Molloy), anal time, culture and art, the mythic womb, the trauma of birth, the pleasure principle, the oceanic feeling, the dream screen, narcissism, object relations, mysticism, the wellhead eye, the mirror-stage (via eye- contact), etc. are linked, especially by Phil Baker, to the body, blood, feces, excrement, urination and defecation, cowpats, rubbish, stone, bachelor machines (especially bicycles), hats, stools, spools, rocking chairs, beds, crap/Krapp (implying mourning and melancholia), light, mound, ants, Malacoda, the imago, rectum, etc. throughout his book. The inventory above points to the welder of as yet unexplored psychological and philosophical aspects inherent in Beckett’s corpus. In the following, I seek to observe the close affinities between some of the concepts mentioned above and one of Beckett’s central motifs, especially as illustrated in Happy Days (1961) and Waiting for Godot (1952), the ‘mound’. Throughout his oeuvre, Beckett places his characters on a rock, stone or mound. In More Pricks than Kicks (1934) Belacqua, the predecessor of Winnie, Vladimir and Estragon, takes a fetal posture on a piece of rock. Be it rock, mound, stone, or pebbles (all of psychological significance in both Freud and Beckett as will be discussed), they occur as images and motifs in Beckett’s shorter fiction in various ways as well. Critics and readers have usually referred to such motifs, especially the ‘mound’, as representing the Mother Earth, but evidently there is more to that. Beckett makes the mound and ants coincide in Happy Days. He has one door set between two pillars, the door being “greatly admired” in The Expelled (1950). In First Love (1973), the pillars and the door are replaced by two trees and a ‘mound’ enclosing a bench on three sides by still water where the lovers are seated. Baker, quite passingly, comments on the sexual overtones of these two passages, and regards them as subtexts to the main ones (77-93). He fails to grasp the intentions of the author, or intends to do so, when he comments on the latent sexuality of the images. In other words, Baker takes it for granted that the author has intended the American, British and Canadian Studies / 44 image ripe with meaning. He knows that Beckett does not render a recurring object, now made into a motif, unsystematically. 1. THE MOUND OF VENUS I was given a pensum, at birth perhaps, as a punishment for having been born perhaps. The Unnamable Originally composed in French, En attendant Godot, opens with the following stage direction: “Estragon, assis sur une pierre, essaie d’enlever sa chausssure” (Godot 9). In Waiting for Godot, Beckett translated ‘pierre’ (meaning ‘stone’ or ‘rock’) as ‘low mound’. Happy Days, originally composed in English, starts with the stage direction, “Expanse of scorched grass rising to low mound. Gentle slopes down to front and either side of stage. Back an abrupter fall to stage level. Maximum of simplicity and symmetry” (Happy Days 9). In Oh les beaux jours, Beckett translated ‘low mound’ into ‘mamelon’ (also meaning ‘nipple’). Belacqua has “tears in his eyes” when “creeping about in a rock-garden” (More Pricks 94). Rocks, mounds, stones and pebbles are associated with stillness, love and death. As Baker observes, Beckett told his friend Gottfried Buttner in 1967 that as a child he would pick up stones from the beach and carry them home, where he would build nests for them and put them in trees to protect them from the sea (Buttner 67). He describes his relationship to stone as ‘almost a love relationship’ [Ibid.] and associated it with death, telling Buttner of Freud having written that ‘man carried with him a kind of congenital yearning for the mineral kingdom’ (Buttner’s paraphrase). Beckett’s remarks followed a discussion of death and ‘petrifying’ after the medically trained Buttner had spoken of ‘sclerotic traits’ in Krapp. We can recognize Beckett’s Freud reference to be to Beyond the Pleasure Principle; Beckett/Buttner’s ‘congenital yearning for the mineral kingdom’ is Freud’s ‘most universal endeavour of all living substance–namely to return to the quiescence of the inorganic world’. (139) A close scrutiny of the word, mound, offers revealing connotations and insights. One such connotation is closely akin to the concepts of birth and death, and the relation between them. A definition of the term means, 45 The Topos of the Mound Mound of Venus, equivalent to Mons Veneris or the more Venus-Tellus telltale term, Mons Pubis. The appellation simply refers to the fleshy area over the pubic bones, a prominence made by the pad of fat overlying the junction of pubic bones in females. In Act I of Happy Days, Winnie is placed inside the low mound up to her waist. In Act II, as time has passed and the shadow of death has grown nearer, she is buried in the mound up to her neck. She has almost embraced and is embraced by Mother Earth. She is literally inside the womb of the earth. In fact, ‘Womb-symbolism’ and the ‘Intra-Uterine Life’ run throughout Beckett. As Baker argues, “Death and burial are a return to mother earth and the womb for Rank (114-16), as is sleep” (70, emphasis mine). Rank delineates the “identification of death with a return to the mother” (25).
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