View metadata, citation and similar papers at core.ac.uk brought to you by CORE 原 著 麻布大学雑誌 第 29 巻 35 − 43 Considerations of the Influence of Jean Racine on Samuel Beckett’s Plays Yasuo ISHII Laboratory of Basic Education, School of Veterinary Medicine, Azabu University, 1-17-71 Chuouku Fuchinobe, Sagamihara, Kanagawa 252-5201, Japan Abstract: One of the characteristics of Samuel Beckett’s plays is found in the structure and monologic lines. Beckett who made efforts to describe prosaic works felt some kind of tolerance for its expression after the war. But the essence of a peculiar monologic style by a first person narrator and the chaos created by words are in- herited to his plays. Destiny with impasse in prose is converted into a play, Waiting for Godot. The symmetrical structure and monologic lines form two repetitive acts with no dramatic development. The sluggish progression without vividly dramatic effect create a peculiar world which symbolizes a situation where people are placed in the depth of despair. On this point, it can be supposed that Beckett was influenced by Racine’s plays, especially Berenice. In almost the same period in which he wrote Godot, Beckett re-read Racine’s plays and comprehended the effect of the dramas. He thought that the essence of Berenice lies in the pre-destined fate and plain dialogue between its characters, or its non-vivid development. He must have applied these effects to his own plays. Dialogue consisted of monologic words, development without vivid drama and the pre-destined fate of people; effects which proved useful for Beckett’s dramas for the present age. Happy Days reflects the undramatic drama of Berenice. Therefore, Winnie is the deformed character, consisting of Beckett’s monologic expression. Keywords: monologic lines, non-vivid development, preordained destiny, Racine, Berenice 1 Introduction: the background of writing plays narrator. As a result, the collapse of semantic logic appears in a more eminently sophisticated form in The Unnamable. Concerning Samuel Beckett’s novels, as Olga Bernal The form of internal monologue was certainly effective in suggests, it seems true that the disruption of language had expressing such motif. Disruption of language and collapse already begun in Watt.1 Persistent and morbid permutations of semantic consistency in the logic of words are originally and combinations of words are especially remarkable and generated in this work. appeared in this work. Although feelings of collapse in “…there were so many sins, the memory is so bad, the semantic and logic consistency of language are inherited words don’t come, the words fail, the breath fails, no, it’s in his following novels, there are no works more peculiarly something else, it’s an indictment, a dying voice accusing, mysterious than Watt. Yet the traditional narrative form, and accusing me,…the story of the silence that he never left, self-sufficient story could not sublimate Watt into superior that I should never have left, that I may never find again, literary work beyond itself. In Trilogy, Beckett developed that I may find again, then it will be he, it will be I, it will his style of novels; in particular, he focused on the motif of be the place, the silence, the end, the beginning again, how disruption of language, and monologic style by a first person can I say it, that’s all words, they’re all I have, and not many of them, the words fail, the voice fails, so be it….” Corresponding author: Yasuo Ishii (e-mail: [email protected]) (The Unnamable 129-131) 36 麻布大学雑誌 第 29 巻 2017 年 Synchronized feelings of collapse of words and existence Alternative absurdity, the persistent act of telling a story of the narrator “I” are evidently described in The Unnamable. with words and silence has frequently appeared in the At those times, Beckett was evidently tired of the dilemma work. Beckett began to write Texts for Nothing around 1952 of expression by prose, though the apex of writing prose in (published in 1955); that was after he had finished writing this motif appeared in the last of the Trilogy. Most critics Godot . As suggested by Webb, words in prose are no longer consider the period from the late 1940s to the early 1950s to effective in describing a story for Beckett at the time.3 But, be the most productive time for Beckett. Waiting for Godot what Beckett described in Godot was fundamentally almost (hereafter, Godot) was the result of his predicament.2 An the same as that described in his prose works. Of course, important point is that Beckett changed his expression to a the style of drama is completely different from prose, yet more visualized method of ‘stage’ and ‘drama.’ the essence is quite similar between them, that is, silence James Knowlson’s suggestion is of interest: “The to be filled by words in the depth of despair. The condition originality of Waiting for Godot lies in the concrete reality is one of helplessness, hopelessness, and meaninglessness of the silence that has somehow to be filled. So the tramp- from which nobody can escape, but instead must resignedly clowns must talk, swap hats, eat carrots, play games so as “so accept the helpless destiny which is predestined in the start hold the terrible silence at bay.” The inspiration for such a line. The first phrase of Godot symbolizes the basic idea of use of silence could have come from an instinctive response the play: “Nothing to be done.” The nucleus of the drama is to Strindberg’s or Chekhov’s theater, or from a philosophical the act of “waiting” for which the two characters, Vladimir meditation as to how Democritus’ “nothing is more real and Estragon, is the condition of “nothing to be done.” For than nothing” could be rendered in the theater.”(Knowlson them, being alive and continuing to wait, (also suggesting 343) The idea that “silence has to be filled” is associated their death) form the fundamental acts and purpose of this with the essence of dialogue between two characters on a drama. Their dialogue is helpless and seems monologic. stage. The situation created by repetitive silence and words “Vladimir: We’ll hang ourselves tomorrow. Unless is characteristic of Beckett’s literary ideas after the war. Godot comes. This situation is closely related to his motif of ‘existence Estragon: And if he comes? of human being.’ Agony between silence and words goes Vladimir: We’ll be saved. ” (Godot 94) around in circles without any solution, compelling the Their fate is certainly, or probably, death. Godot will narrator to utter something. Beckett himself pursued the never come. The play consists of two acts in which almost motif of “silence that has to be filled with words” in prose the same scenario ― waiting for Mr Godot ― is played works, especially in The Unnamable and Texts for Nothing. out. The fate of the two characters, Estragon and Vladimir, A remarkable feature of the motif appears in the voice of the is decided from the starting point of the drama. Repetitive narrator. “How many hours to go, before the next silence, condition, symmetrical structure of the acts, no vividly they are not hours, it will not be silence, how many hours dramatic development, all of these were effective for the still, before the next silence? Ah to know for sure, to know direction of the play after the war, which had progressively that this thing has no end, this thing, this thing, this farrago innovative effects on the 20th century dramaturgy. These of silence and words, of silence that is not silence and are the most characteristic elements Beckett introduced into barely murmured words. Or to know it’s life still, a form of plays. As already indicated on numerous occasions, this was life, ordained to end, as others ended and will end, till life the first trial of such an approach in the world of drama, and ends, in all its forms.” (Texts for Nothing 104) “That’s right, nobody had imagined a play in which nothing happens on a wordshit, burry me, avalanche, and let there be no more talk stage. Within a symmetrical structure, comical and hopeless of any creature, nor of a world to leave, nor of a world to conditions are repeated. In terms of the elements of repetitive reach, in order to have done, with worlds, with creatures, effect and non-vivid dramaturgy, Beckett may have referred with words, with misery, misery.” (Texts for Nothing 118) to the plays of Jean Racine.4 There is a strong probability Considerations of the Influence of Jean Racine on Samuel Beckett’s Plays 37 that Beckett was greatly influenced by Jean Racine’s plays. Connor thinks that Beckett’s repetition aims at hopeless One important suggestion made by Beckett is common to series of repetitions. There is no primary and terminal his own idea on drama; “Racine,” he maintained, “never meaning in the repetitive series. (Connor 127-8) 7 elaborates the expression in this sense, never stands by The more words characters produce in their lines, the the word in this sense, and therefore his plays are not deeper they fall into an impasse where they can not avoid ‘poetical’ i.e. undramatic, in this sense.” (Knowlson 230) their hopeless destiny in the repetitive structure. Beckett thought Racine did not adopt poetic expression, nor “Winnie: …Shall I myself not melt perhaps in the depended on poetic phrases in his drama, and regarded his end, or burn, oh I do not mean necessarily burst works as ‘undramatic.’ What Beckett aimed at was what he into flames, no, just little by little be charred to a recognized in Bram van Velde’s paintings: ‘inexpressive black cinder, all this ――visible flesh.