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1978 Melville and Beckett: A Legacy of Pessimism Jeanette Elaine Bahnke Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program.
Recommended Citation Bahnke, Jeanette Elaine, "Melville and Beckett: A Legacy of Pessimism" (1978). Masters Theses. 3229. https://thekeep.eiu.edu/theses/3229
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Date Author
pdm MELVILLE Al�D BECKETT:
A LEGACY OF PESSIMISM (TITLE)
BY
JEANETTE ELAINE BAHNKE
THESIS
SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
MASTER OF LRTS IN ENGLISH EDUCATION
IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY
CHARLESTON, ILLINOIS
1978 YEAR
I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE MELVILLE AND BECKETT:
A LEGACY OF PESSIMISM
BY
JEANETTE ELAINE BAHNKE
B. s. in Ed., Eastern Illinois University, 1972
ABSTRACT OF A THESIS
Submitted in partial fulfillment.. of the requirements
the degree of Master of Arts in English Education at the Graduate School
of Eastern Illinois University
CHARLESTON, ILLH.'.OIS 1978.
368502 Though separated by nearly a century and by two different cultures, Herman Me lville and Samuel Beckett com plement each ; other's concept of man and his world . This concept is the con- cept of pessimism, which each man adopte d and expanded through out his works.
Both authors lament the concept that man must struggle to attempt unachievable goals, yet both also insist that the only way to maintain a type of balance is to "go on."
The Beckettian-Melvill ian hero, consequently, is a "thought diver." As he strips layers fr om the Self, he simultane ously
strips layers from the cosmos. Thus , the stripping of the Self and the fusing of the �elf with the universe become a central th eme in these two authors' works. Man, in his descent through the layers of the Self, conce ives of a tragic vision ; he becomes
sorrowful , but paradoxically acquires a "heart ," a richness of
spirit wh ich could not be attained in any other manner.
The hero is also an orphan in search of the true parentage.
He seeks to return to the womb/tomb. It is in the warm, dark , 1 quiet places where he creates his fict ions in order to "go on. 1
He mu st, however, leave the darkness from time to time in order
to atte mpt his quests.
·The characters of both authors seek to escape Time, to
make an end so th..i t the .Self can be r.e united with the Whole .
All their elabor�te fictions are ·attempts to utter a name which
will cause a silence , bring an end.
Both authors owe a literary debt to William Shakespeare, particularly in regard to the concept of nothingness. Both
agree that any attempt to imp ose meaning into the world could only result in destruction.
The characters of both Me lvil l e and B e ckett journey a
treacherous path bordered on both sides by chasms of suicide
and insanity. They must proceed on a solitary quest which ·will
render no final answers. The journey will lead them, each one
a unique Ulys se s, far across uncharted s�as to an Ithaca that
does not exist. That these seas are primarily those of the Self
is evident.
Time and time again, both authors, through their characters,
admit to and lament over a paradox: langua&_e is an extremely
inadequate and deceptive tool which one ought to avoid, yet it
is the only tool available to link the Self with exte rnal reality.
One may cry about it, berate it; but in the end one wil l equip
oneself with this frail instrument and 11go on. 11 The language must
continue , the fictions must be formed, and the man must endure the
"waiting" as he goes on, ever onward , in " the long sonata of the
dead," to the grave. For us, there is only the trying. The rest is not our business.
T. S. Eliot
We begin to live when we ha ve conceived life as tragedy.
W. B. Yeats
Who may tell the tale of the old man? weigh absence in a scale? mete want with a span? the sum assess of the world's woes? nothingness in words enclose?
Samuel Beckett
,,, Un devoilement sans fin, voile derri�re voile, plan sur plan de transparences imparfaites, un devoilement vers l'indevoil able, le rien, la chose a nouveau.
Samuel Beckett Though separated by nearly a century and by two different
cultures, He�man Melville and Samuel Beckett complement e ach
other 's concept of man and his world . T his concept is the con
cept of �e ssimism , which each man ado pted and expanded through
out his works.
In order to comprehend Beckettian-Melvillian pe ssimism ,
one must critically examine several contributory elements which,
when unified, expose not only the bleaknes s of man 's chances
to succeed in the world, but also the desperation of man driven ,
according to Beckett , to "go on ." The se elements include the
motif of man the "thought-diver ," the womb/tomb motif , the motif
of man the fiction creator, the nothingness motif, and the que st
motif.
De spite their construction of an ub iquitous concept of
pessimism, both authors celebrate the man who manages to main
tain a balance in a disconcertingly unbalanced universe . Such
a man, armed only with the frail and tre a cherous tool of lan
guage , is a rare occurrence in the Beckettian-Me lvillian world .
Be ckett espec ially further illustrates his uniquene ss by endow-
.ing him with exaggerated physical traits.
I have limited the s c ope of this paper to the trilogy { Molloy, Malone Die s and The Unnamable ) and Wa iting For Godot by Beckett and Moby-Dick by Melville• I selected the works by
Beckett because the trilogy is a lengthy account of the que ster-
the que ster aging , the que ster dying , and the quester rambling
from beyond the grave . Waiting For Godot is a succinct capsu- lization of the multiloquence of the trilogy. In effect, then, these four works of Beckett are not separate and distinct enti-
ties, but rather they are extensions of one another. I deter mined JvJ.obv-Dick as the representative Melvillian work b ecause
this one work com pare s in scope to those of Beckett and it af
fords a s imilar variety of characters and encounters as do the
other four.
With this brief preface, one must now explore in depth
several of the elements which link these two authors. By ex- amining my comments and those of the authors U1rougL �l1e mouths of their characters, it will become apparent the extent to which these men, though spatially far apart, were conceptually joined in brotherhood.
Melville celebrated not individual men, but a way of life w�ich a man might, through considerable effort, attain. The element which distinguished this way of life WdS the descent
into the Self. To make this descent was to remove oneself from
the possibility of achieving a happy life: to see profoundly was to see mournfully: life in its depths was not a thing of
joy but of sorrow.1 Melville accepted Swift'E not i on that to
be h a ppy was to exist in a state of deception, to believe that 2 the s�cret s of life could all be ascertained on its surface .
Through Beckett's trilogy and his tragicomedy, Waiting
For Godot, also runs an obdurate thr&ad of pessimism. For ex-
ample, as Molloy struggles to introduce himself, he also states
the predicament with whi�h man is faced as he de s cends into his
Self in an attempt to define it: And once again I am I will not say alone, no, that's not like me, but, how shall I say, I don't know, restored to myself, no, I never left myself , frse, yes, I don't know what that means but it's the word I mean to U9e, free to do wh�t, to do nothing, to know, but what, the laws of th2 mind perhaps, of my mind, that for example water rises in proportion as it drowns you and that you would do better, at least no worse, to obliterate texts than to blacken margins, to fill in the ho les of words t ill all is blank and fl at and the whole ghastly busine5s looks l �ke whjt is, senseless, speechless, issueless misery.
Through the ramblings of Lucky in· ·�v·aiting For Godot Beckett articulates his vision of the fate of man: " • • • it is established . tha t man • • • wastes and pines • • • •
Didi en large s this dark vision: "Astride of a grave and a difficult birt h. Down in tte hole, lingerin,gly, the grave
digger puts on the forceps. We have time to grow old. The air is full of our cries. But habit is a great deadener"
(p. 58).
This last line relates to .Melville's concept of man the diver. To E. A. Luyck inck he wrote:
I love a ll men who dive. Anv fish can swim near the surface, but it takes a great whale to go down stairs five miles or more; and if he don't attain the bottom, why, all the lead in Galena can' t fashion the plummit that will. I'm not talking of Ivir. Emerson now, but of the whole corps of thought-divers that have been diving and coming up aga1n with blood-shot eyes since the world began.::>
He believed that the man who became a 11thought-diver" had attained the noblest way of life; the non-divers he regarded 6 with sc orn. In accordance with his own "thought-diver"
dictum, Melville's life �ecame a gradual process of unfolding
the Self. "Fate" was the term he applied to the. irresistible
force which drove men, despite all desire to remain in the bliss of ignorance, to delve ever deeper into the Self. His choice of the metaphysical term "Fate" stemmed from the reason- ing that inteilse scrutiny of the inner Self and intense scrutiny
the verse were similar processes. Once descent of' uni the in7.o the Self was begun, each perception of the man was simultaneous- ly a perception of the cosmo s . It followed that each layer stripped from the cosmos was a layer stripped from the man.
Thus, the_ cosmos re sided in the Self. 7. This stripping of the
Self and the fusing of the Self with the universe is also a central theme of The Unnamable. Its benefit is articulated in
Malone Dies:
The fear of falling is the source of many a folly_. It is a disaster. I suppose the wisest thing now is to live it over again, meditate upon it and be edified . It is thus that man distinguishes himself from the ape and rises, from discovery to discovery, ever higher, towards the light. (p. 254)
Descending through the layers of the Self, Melvillian man conceives of a tragic vision; he becomes sorrowful, but para " doxically he acquires a heart. By "heart, Melville refers to a certain richness of spirit which could not be attained in any other manner. Stanley Geist explains that to illustrate this concept Melville set up an opposition between Head and
Heart; it was not, however, a strictly defined opposition of intellect and emotion. Melville realized that the complete man required intense concentr�tions of both thought and feeling.
Without the cooperation of these oppqsites, man could not com 8 prehend the blackness of life.
Beckett al so sets u-p an opposition of Head and- Body. He creates the teams of Molloy/Moran; Malone and his homunculus 5
Macmann; Didi/Gogo. The Unnamable often envisions itself as
a large head, its other body parts, minimal; indeed, its story
is cut off as it has degenerated to a large, babbling mouth.
Each of these characters, or character teams, is engaged in
what Frederick Hoffman has termed ua continual exercise in
self-definition."9 Glicksberg called Beckett's characters
"picaresque ghosts in a nameless region, wandering lost in a
fugue of wretched and invariably futile self- awareness, seeking
an identity or an illumination of meaning that forever eludes
them."10 Molloy speaks of looking at his surroundings not only outwardly, through the eyes, but, more importantly, inwardly,
through "all that inner space one never sees, the brain and
heart and other caverns, where thought and feeling dance their
sabbath. • • " ( p. 10). The futility of the process is also underscored by Molloy:
And truly it little matters what I say, this, this or that or any other thing. Saying is inventing. Wrong, very rightly wrong. You invent nothing, you think you are inventing, you think you are escaping, and all you do is stammer out your lesson, the remnants of a pensum one day got by heart and long forgotten , life without tears, as it is wept. (pp. 31-32J
For what reason, then, ought man to continue such an arduous
quest? Molloy responds: "The fact is, it seems, that the
most you can hope is to be a little less, in the end, the
11 . creature you were in the beginning, and the middle ( p. 32).
The Beckettian-Melvillian ch3.raGters are orphan::;. Molloy
is draw11 on his quest by a drive to find his m9ther; yet the
reader, and even Molloy ; has difficulty believing that the
miserable iviag is that mother. Malone has no family SdVe "suck- 6
ing Moll," and she too dies, leaving him alone at his end.
The Unn amable elaborates at great length on his spiralling
search for his family. Upon his arrival, he discovers the y are all dead:
Finally I found myse lf , without ·surprise, within the building, circular in form as already stated, its ground-floor consisting of a sinele room flush with the arena, and there completed my rounds, stampil').g .under foot the unrecognizable remains of my family, here. a face, there a stomach, as the case might be, and -sinking into them with the ends of my crutches., both coming and going. To say I did eo with satis faction would be stretching the truth . For my ieel ing was rather one of annoyance at having to flounder in such muck just at the mo:ment when my closing con tortions called for a firm and level surface. I like to fancy, even if it is not true, that it was in my mother's entr�ils I spent the last days of my long voyage, and set out on the next. No, I have no pre ference, Isolde's breast would have done just as well, or Papa's private parts, or the heart of one of the little bastards. {pp. 323-324)
One should note the womb /tomb structure, the lack of remorse
over his loss coupled with the momentary wish to return to mother, the irn.rnediate ·rejection of the notion. Was this really the Unnamable's family, his mother? Similarly, after the de
struction of the Peouod, Ishmael, kept afloat by the paradox
ically life-affirming coffin , remarks: uit was the devious
cruising Rachel, that in her retracing search after her missing
children, only found another orphan." (Epilogue) Ishmael
visualizes the ship as a mother gathering children to her bosom, yet he suggests that he will forever remain an orphan to the world.
Where, then, are the lost parents whom these orphans seek? · . To answer this question, one must explore the womb /tomb motif
utilized by both authors. In I•1oby-Dick the sea affords both 7
comfort and terror, and it exercises an almost magnetic attraction
on a man. The salty sea , could it not be the womb, the safe and
comfortable haven of the preconscious ( those areas of the mind
not in immediate awareness but capable of being recalled readily
into consciousness)? Is it not also treacherous and deadly, the
tomb of mdny? One Ghould also listen to the musings of Ahab:
"Where lie s the final harbor, whence we unmoor no more? In what
rapt ether sails the world, of which the weariast will never weary? Where is the foundling's father hidden? Our souls are
like those orphans whose unwedded mothers die in bearing them:
the secret of our paternity lies in their grave, and we must 11 there to learn it.11
In a ritual scene with the candles, Ahab further reveals
his quest for true paternity. He also exhibits a desire to
fuse with a creative force that he sees tfanscending man's mortal
limits ..There is also a hint of his desire to become godlike,
to worship and to be worshipped. Ahab, mesmerized by the flames,
cries:
I own thy speechless, placeless power; said I 110t · so? Nor was it wrung .i.�i:om me; nor do I now drop these links. Thou canst blind; but I can then grope. Thou canst consume; but I can then be ashes . Take the hom age of these poor eyes, and shutter-hands. I would not take it. The lit:;htning flCtshes through my skull; mine eye-balls ache and ache; my whole beaten brain seems as beheaded and rolling on some stunning ground. Oh, oh! Yet blindfold, yet will I talk to th e e •.Light though thou be, thou leapest out of darkness; but I am dark ness leaping out of light, leaping out or thee! The javelins cease; open eyes; see, �r not? There burn the flames! Oh, thou magnanimous! now I do glory in my genealogy. But thou art but my fiery father; my sweet mother, I know mot.· Oh, cruel! what h�st thou done with her? There lies my puzzle; but thine is greate r. Thou knowest not how came ye, hence callest thyself unbegotten; certainly knowest not thy beginning, hence 0
callest thyself unbegun. I know that of me, which thou knowest not of thyself, oh, thou omnipote nt. There is some unsuffusing t hing beyond thee, thou clear spirit, to whom all thy eternity is but time, all thy creative ne ss mechanical. Through thee, thy flaming self, my scorched eyes do dimly see it. Oh, thou foundling fire , thou he rmit immemorial, thou too hast thy incommunicable riddle, thy unparticipated grief. Here again.with haughty agony, I read my sire. Leap! leap up, and lick the sky ! I leap with the e; I burn with thee; would fain be welded with thee; defyingly I worship thee! (Chap. CXIX)
Beckett's characters also seek to return to the womb/tomb.
They seek primarily warm, dark, quiet places where the y create their fictions in order to "go on ." They cannot always remain there, however, for there is the quest to be attempte d. As
Mo lloy affirms:
And in the morning, in my cave, and even sometimes at night, whe n the storm raged, I felt reasonably secure from the elements and mankind. But there too the re is a pric e to pay. And which you pay willingly, for a time, but which you cannot go on paying forever. For you cannot go on buying the same thing forever, with your little pittance. And unfortunately there are other needs than that of rotting in pe ace, it's not the word, I mean of course my mother whose image , blunted now for some time past, was beginning now to harrow me again. (pp. 75-76)
It is significant that as Malone Dies draws to a close, Malone invents a sea journey for lViacmann, a journey on v,;hich he is to die. Malone interrupts his story with a terse phrase,
"gurgles of outflow," informing the re ader that as he invents the death of anothe r at sea, as the boat flows out with the . tide, so Malone's own body fluids are flowing from his body. _ Additionally, in Waiting For Godot, Pozzo echoes Ahab's orphan speech as he remarks: "They give birth astride of a grave, the
light gleams an instant, then it's night once more'! (p. 57).
Ishmael's insight removes him from the realm of the uninformed 9
masses as he observes: "All men live er.veloped in whale-
lines. All are born with halters round their necks; but it is only when c aught in the swift, sudden turn of death, that mortals realize the silent, subtle , ever-present pe ril s of
life" (Chap. LX). Man's time is brief, from grave to grave.
This leads to another similarity. Both dUthors are con··
cerned with the concept of Time and its implications for man.
Ahab is obsessed with overcoming his own mortality; he has
take n, and hastily abandonned, a nyoung girl-wife" to bear his child, in an attempt to defy the natural rhythms.
nificantly, for Ahab
the reputedly unassailable and allegedly immortal .Moby-Dick appears as an embodiment of the time con tinuum itself operating within and upon the pro cesses of nature. For cra�y Ahab, to stop leviathan, to slay him--be he ''principal 11 or "agent"--would me an correspondingly to check the heretofore inex orable apd malign passage of time, thereby nullify ing the relevance of question of mortality and in itiating for himself a new uv�onditional existence in a state of idealized stasis.
·Listening to his carpenter at work, Ahab cries , nr.at-tat!
So man's seconds tick! Oh! how immaterial are all materials!
What th ings real are there, but imponderable thoughts ?"
(Chap. CXXVII). The agEd Ahab has become ''a solitary Leviathan,"
but, unlike the sea creature , he has not learned to take
"Nature •.•to wife in the wilderness of waters" (Chap. LXXXVIII).
With his harpoon he thrus ts not love but death, and nature is
swift and in exorab le in her repayment.
In Waiting For Godot, Didi questions Pozzo:
Vladimir: What is there in the bag? Pozzo: Sand.
This con cept is elaborated on in The Unnnmable. 10
•••the que stion may be asked, off the recprd, why time doesn't pc.ss, doesn ' t pass from you, why it pil es up all about you, instant on instant, on all sides, deeper and dee per, thicker and thicker, your time, others' time , the time of the an�::..2nt dead and the dead yet unborn, why it buries anythiiig, no kn owledge of anything, no history �nd no prosp0 cts, buried under the seconds, saying any old thing, your mouth full of sa.nd, oh :;:_ K.now it's immaterial, time is one thing, I another, but the 4t Again one notices the i.mpossib il ity of escaping to a haven out- side Time, for Time in a sense entombs all men from the moment of conception. 1-'erhaps some of the vulces heard by the.Beckett- ian characters are like the taps of Ahab's carpenter's ha�ner, the rhythmic reminders of Time. There is a sense of trag ic loss in man's inability to escape Time. The Self can be nothing if it is not free from the dete rmin ism of a c:ycle. Ahab pronounces a lengthy lament on this subject: What is it, what nameless, inscrutable, unearthly thing is it; what cozzening, hidden lord and master, and cruel, remorseless emperor commands me; th:.:lt aga inst all natural lovings and longings, I so keep pushi ng, and crowding, and jamming myself on all th8 time; recklessly making me ready to do what in my own proper, natural heart, I durst not so much as dare? Is Ahab, Ahab? Is it I, God, or who, that lifts this arm? But if the great sun move not of himself; but i� as an errand-boy in heaven; nor one single star can revolve, but by some invisible power; how the n can this one small heart beat ; this o ne small brain think thoughts; unless God does that beiting , does that thinking, does that living, and not I. By heaven, man, we are turned round and round in this world, like yonder windlass, and Fate is the hand spike. And all the time, lo! that smiling sky, and this unsounded sea!· Look! see yon A1bicore! .. wbo put it into him to chase and fang that flying-fish? Where do murderers go, man! Who's t.o doom, when the judge himself is dragged to the bar? But it is a mild, mild,wind, and a mild looking sky; �nd the air 1 sme lls now, as if it blew from a far-away meadow; they have been makin g hay somewhere under the s lopes of the Andes, Starbuck, and the mowers are sleeping among the new-mown hay. Sleeping? A.ye, to i l we how we may, we all sleep at last on the field. Sleep? Aye, and rust amid greenness; as last year's scythes flun� down, and left in the half-cut swaths •••• (Chap. CXXXII) The autobiographical connection between Melville and his character Ahab is readily apparent in the previou s excerpt. One canno.t fail to witness the sorrow over the phrase "rust amid greenness." Now part of a letter penned by Melville on June 1, 1851, mus t he examined: • • • • I am like one of those seects taken out of the Egypt ian Pyramids, which, after being three thousand years a seed and nothing but a seed, being planted in Englis h soil, it developed itself, grew1 jo green ness, and then fell to mould . So I ••.• Didi and Gago also attempt to explain the problem. Es tragon : No use struggling . Vladimir: One is what one is. Estragon: No use wriggling. Vladimir: The essential doesn't change. Estragon: Not hing to be done. (p. 14) Despite their articulations, the tramps accept the concept of the Unnamable . The essential is never to arrive anywhere, never to be anywhere, neither where Mahood is, nor where �form is, nor where I am, it little matters thanks to what dispensation. The essential is to g o on squirming forever at t�e end of the line, as long as there are waters and banks and ravening in heaven a sporting . God to plague his creature, per pro his chosen shits. I've swallowed three hooks and am still hungry. (p. 338) No matte r how horrible an end may be, n ot to end is equally devastating, for t his means that the Self cannot escape from Tim�, and can, ther� fore, not be reunited with the timeless Whole, the Whole for which Molloy asserts there is no name, 12 Malone's laborious fictions, and even the Unnamable's rushing flood of words from beyond the grave, are attempts to utter the name which will cause a silence, bring an end, whe re no ' 14 one need eve r speak again. Man must suffer for the sin of being born. The characters of Melville and Becke tt are as predestined to suffe r asW3.s Adam to fall. One does not arrange one's birth, certainly, but by surviving, by "agreeing11 to live, one condemns oneself to both sin and suffe ring. The only end to the suffering will come when life itself ends, when the Self should return to the \fuole. The Self should regain its Paradise, as Adam's seed have sought to regain the Garden. The position of the Self in the Beckettian-Melvillian world would have been greatly diminished and obscured without the con tributions of a great English playwright. Both Melville and Beckett owe a literary debt to William Shakespeare. Melville 11 viewed Shake speare as the greate st of all the ''thought-divers. For both Melville and Be ckett, King Lear, in particular, exer t ed a profound influence on the formation of the se authors' tragic vis ions. Beckett even created a modern Lear, whose impact is more immediate because Moll oy appears to be a common tramp one could encounter on any road. There are seve ral elements in Lear which also recur in the works of Melville and Beckett. The primary elements are the image ofr a whimsical god; the por- trayal of men as beasts; and repeated use of the words "naturen 1 and "nothing.11 5 In Act IV, Scene i, of Kine; Lear, Shakespeare thrm.igh Gloucester uttered a pessimistic summation of the play; 1 .3 As fl i es to wanton boys are we to the gods. The y kill us for the ir sport . (11. 38-39) Me lville did n o t concern himself with the\ princ iple of "fate " ; �e did , however, wrestle with the concept of men des troyed while pursuing noble motives, as th o ugh some malignant , or at . 16 t.1me s supreme 1 y in. d. 11 '"'.(' ... eren t , power pre si. d ea' over .....v eih . r d est. ini es . Also, as in Lear , the hero ' s intense suffering issued not so much from the situat ion it se lf as from tte recognition of the situation, not so much from physi cal agonies and punishments as from the torture s of a mind experiencing piercing visions . 1 7 Be ckett creates a voice for Moran to hear , a baffling ex- perience wh ich occurs rather late in his li\_e. He expre sses botli his intense dislike for the voice and the realization that he will react , much like a puppe t or a trained b e a s t , to v• hat- ever it orders from that day forth : And this 1"r i th hatre d in my heart , and scorn , of my master and his designs. Ye s, it is rather an am biguous voi c e and not always easy to follow, _in _its reasonings and decrees. But I follow it none the le ss , ru. ore or less , I follow it in this sense , that I do wh�t it tells rue . And I do not think there are many voices of which as much may be said . And I feel I shall follow it from this day forth , no matter what it cornma.nd s. And ·w hen it ceases, ledving me in doubt and darkness , I shall wait for it to come back , and do nothing , even though the whole world , through the channel of its innume r :..ble o.uthorities speaking with one acc ord , should enjoin upon me this �nd that , under pa i n of unspeakable punishments . ( Molloy, pp . 131-132) In The Unnamable not on ly the wh imsicality , but the im;cruta- bility of God is stre ssed . It hesitar1tly speculates: Ye s, I have a pcnsum to oisch�rgc , before I can be free , free to dribble , free t o speak no more , listeri no more , and 'I 've forgotten what it is. The re at last is a fair picture of my situation . I was given a pe nsum, at birth p01·haps, or for no particular reason , because they di�like me , and I've forgotten what it is. But was I ever 14 told ? ( p. 31 0) Since God is inscrutable , it is a lso within -the -�realm ·o.f,· possibil ity that he too is limited in power . The Unnamable considers thid possibility : My ma ster then , assuming he is solitary , in my image , 1-.-ishe s me v, ell , poor devil , wishes my good , and if he does not seem to do very much in 01·C:er not to be disappointed it is because there is not very much to be done or , better still , be cause there is nothing to be done , otherwise he would have done it , my great and good master, that must b e it , long ago , poor devil . Another supposit ion , he has taken the ne cessa.ry steps , his will is done as far as I am conccrried (for he may have other prote68s ) and all is well with me without my knowing it . (p. 312) .f.ian , however, d oe s not cease trying to deteNnine the nature of his Go In Waiting For Godot the image o f a wh imsical god is even more evident . Lidi and Goga would like to leave the ir solitary location , but they are unable to move on be cause , 11\1le ' re wa iting for Godot ." Each day they wait and each day the y are disappo inted by Mr. God ot , who "didn 't say for sure he 'd come 11 ( p . 10) . Be coming worried about the ir condition , Go go queries, ''We ' rE; not tied? We ' re not--- 11 ( p. 1 3). He fears to supply the word "puppets ." What would happe n to the fa ithful pa ir if they relinquished the ir quest? Didi asserts, "He 'd punish us!_' ( p . 5 9). Shake speare 's conce pt of man as beast i.s also integral to 1 .5 the works of Be ckett and Me lville . In King Lear , man become s at v arious times hog, wolf , fox, dog , and l ion . Shake speare appears to insist that m o s t men exist on the be sti al level; only a few e scape to redeem nature .1S Me lville portrayed Ishmael a s fa scinated with the equilibrium of the whals , mec itat ing on its dual vision of the world . He also perceived �he world as a vast sea filled with many horrible monsters waiting to devour the un suspecting victim. Beckett 's most notable contribution are his description of Molloy as a shaggy , lumbe r- ing, bear-like creature , and the creat io� of Worm in �he Unnam- able . ... Beckett's superior example would be Lucky of ·waiting For Godot , whom Pozzo addre sses as "Pig " or "Hog.n In this radi- cally split team , one sees cre ative thought starved in order that an inflated ego may indulge in selfish pursuits for mater 1 9 ial gain . When Didi que stions Pozzo about the possibility of Lucky both dancing and thinking, Pozzo re plie s , "By all me ans , nothing simpler . It 's the natura l order'! ( p. 26 ). However, · the natural dance of the universe has become perverted and un recognizable . Lucky, in his rambling and disjointed discourse , profe sse s that God love s man 11from the he ights of divine apathia" ( p . 28), a contra dict ory statement juxtaposing love and total indifference . Ne ither Lucky or his "master " Pozzo will escape from trThe Net ," the name aptly a pplied to Lucky 's stra ine d little dance . . Nature in King Lear we ars many varied disguhses: the affectionate goddess , the wild goddess , the "natural" man 20 be ast . In Moby-Dick there are thre e views of nature , as 16 symbolized in "the whitene ss of the whale ": it is the benev- o�ent agent of Emerson and company ; it is the malevolent agent of Ah ab; it is the incomprehensible nothingness of Ishmael. On ly by accepting the third view can man hope to avoid destruc- tion and maintain balance . Pozzo, of T.v.d iting For Godot, accepts Ahab 's view . Later it is evident that he has lost his balance. But--but b e h ind this veil of gentlene ss and peace night is charging and will burst upon us pop! like that ! just when we least expect it. That 's how it is en this b i t ch of an earth. ( p . 25 ) In Beckett 's works, nature and the constant stream of snesory phenomena , men 's voices, and even man's inne r voice 21 produce an almo st unbearable cacophony of "gibberish .11 Each character struggles against insurmountable odds to discover where he is, what is happening to him, and what is his niche or function in the scheme of the universe . He constantly is con- fronted with contradictions ; he is attempt ing to assemble an intricate puzzle which lacks some vital pieces. He is doomed to fa ilure ; the only temporary bala.nce is to ligo on " in the assurance of inevit�ble failure . The Unnamable , who is "truly bathed in tears" (p. 305), describes his plight : Is there really nothing new to try? .I mentioned my hope , but it is not serious . If I could speak and yet say nothing , really notl1 ing ? Then I might escape being gnawed to death as by an old satiated rat , and my little te ster-be d along wi th me , a cradle , or be gnawed to death not so fast, in my old cr·adle , and the torn flesh have time to knit , as in the Caucasus , before be ing torn again. But it se ems impossible to speak and say nothing , you think you have succeeded, but you alway s overlook something, a. little .. ye s, a little no , enough to extermindte a regiment of dragoons. And yet I do saying �m , where not de spair , this time , while who I I am, of not los ing me , of not going from here , of ending here . What prevents the miracle is the spirit of me thod to which I have perhaps been a little too addicted. The fact that Prome theus was de livered twenty-nine thousand r.ine hundred and seventy years after having purge d his offence leave s me naturally cold as camphor . Fer between me and that miscr eant who mocke d the gods, invented fire , denatured clay and domest icated t he h orse , in a word obliged humanity , :l: tru st there is nothing in common... But the thing is wo r th mer.tioning . In a word , shall I be able to speak of rr. e and of this place without putting an end t o u s , shall I ever be able to go s i lent , is there any connexion betwe en tl:e se two que stions? Nothing like i&sues. There are a few to be going on with , perhaps One only . ( p . 303 ) Th is rather lengthy self-exci.mincition is intere sting for seve ral reasons . Fir&t , the Unn amable me ntions the impossibility for man to speak without "naming" reality . Th is is man 's attempt to order the universe . However , it is not the "naming" itself which is dangerous , but it is the believing _of a namE as ulti mate truth which de stroys rna.n . Second , it mus t l>e noted that the Unnamable also re jects the hope offered by tha concrete number of ye ars which terminated the torture of Prome theus . Numbe rs, me asurements, are al s o att empt s to impose an · artifi- cial order on the c o s mo s . Third , the Unnamable mak es it a point to distance it se l f from Prome theus , the benefactor of mankind . Becke tt a�d his characters are solipsists , dwel:ers of an inne r world , who would not be inc l i ne d to "oblige human ity , h espe c ially the b e s tial masses. F ourt h, man is referred to as "denature d clay." Over and over again modern man is pi ctured as having l o st or perverted his original ties, his original de stiny; man is unnatural . "Fifth , these que stions provide bases for ''go ing on ," wh:lch is all that man can do . The ent ire tragedy of King Le ar proceeds from the word 1 2 1 "nothing . 1 Nothingne ss is also an essential element in the tragic visions of Me lville and Beckett . Me lville was convinced that any attempt to im pose meaning into the world could on ly re sult in destruction . Ahab ra�es abo ut discovering what lies beyond the "pasteboard ma sk," but Ishmae l knows that what is there is nothingne ss . The element wh ich separates Ishmae l from Ahab and others like him is the knowledge that it is . easier to live in a mal icious world governed by a malicious god than it is to c on t inue in a world of nothing where no one either loves or hates you . Ishmae l concedes t11e impervious-' ness of nature ; it is too dark to be fathome d by any man and , by attempt ing to bridge the chasm between ma11 's knowl�dge and nature 's essence , man can only become ·more conscious of his 23 inability to ever comprehend . Even if man we re able to glimpse the truth , what effect would this hav e on him? � Ishma�l concedes: "But clear truth is a thing fo r salamander giants only to enc ounter; how small the c h an c e for the provincials then? Wh at befel the weakling youth l ift i ng the dread godde s s ' s veil at Sais'?lf ( Cha p . LXXVI ). It sho ul d be noted that Mo lloy concurs with Ishmae l on his ob - servation of the burden of truth and �elf-encounter: Physically speaking it se e me d to me I wa s now becoming rapidly unre cognizable . ,�nd whe n I pa ssed my hand s over my fa ce , in a charac teristic ancl now more thd.n ever pardoriC:tole ge sture , the. face my hand s fe lt was not my face any more , and the hands my face . fe lt were my hands no longer . And yet the gist of the sensation was the same as in the far-off d ays when I was well-shaven and perfumed and proud of my intellec tual 's soft wh ite hands .· And this be lly I did not know r e ma i ned my belly , my old belly , ttanks to I know not what in tuition . And to tell the truth I n ot only knew who .I was , but I had a sharper and clearer sense of my identity than ever be fore , in spite of its deep le sions and the wound s with w h ich it was covered . And fr om th is po int of view I wa s less fortunate than my othe r acquaintances. (p. 1 70} 19 I Beckett further re ali ze s that not only is th i s nothing- ness unfathomable , but that man would gre atly fe ar to a p proa c h this "ne'ant " in himse lf . 24 It is espe cially in The Unnnmable that one sees the brutal confrontation of the Self with its essence . Molloy , however , be st articulates what come s of th is search for the Se lf : For to know nothing is nothing , not to want to know any th ing likewise , but to be beyond knowing anything , to know you are beyond knovring anything , that is when peate e nt e r s in , to the soul of the incur ious seeker . It is then the true division begins , of twe nty-two by seven for example , and the page s fill with the true c i ph e r s at last . ( p. 64 ) . Like Ishmae l, Molloy also realizes t h a t it is only whe n man give s up a s ser t ing that he can "know 11 any th ing that he mdy truly begin to profit by his experiences in the world . Malone expre sses a l o ng i n g similar to Ahab ' s , that is, a glimpse beyond the 11pasteboard ma sk ." "But before I go I should like to find a hole in the wall behind wh ich so much goe s on , su c h extraordiuary things , and o ften coloured� (p. 237 ). The term '' c oloured" is e s pecia l ly worthy of note , for it is man who comm its the disa strous error of attempt ing to "colour" reality . He further enda nger s himself by accepting .the se "colours'' as real , r ather than as refractions from his own mind . Ishmae l warns of the dangers of a cce p t i ng illusions : There is no life in thee , now , e xcept that rocking life imparted by a ge ntly rolling sh ip; by her, bor r owe d from the sea; by the sea , ·f rom the inscrutab le tides of God . But wh ile this sle ep, th is dream is on ye , move y our foot or hand an inch ; slip your hold at a ll ; and y o ur identity come s back in horror . Over De s cartian vortices you hover , And perhaps , at mid-day in the faire st weather , with one half-throt tled shriek you drop through that trans parent air in t o the summe r sea , no more to rise for ever . He ed it we ll , ye Panthe ists! (Chap. XXXV ) :Malone asserts : "Nothing is more re al than nothing" (p. 192). Didi and Gogo in Waiting For Godot conduct a serie s of ' interest ing spE:culations concerning Ghrist and'.the.:two·-tnieV'es. ' One conversation centers &round the discrepanc ie s in the gos- pels' re port s of the two thieves . Vl adimir : One out of fou.c . Of the other three two d on ' t me nt ion any thieves at all and the third says that both of tllem abused him. Estragon : Who ? Vladimir : What ·� EsLragon : Wha t 's all this about ? Abused who ? Vlcidimir : 'I'he Saviour . Estragon : Why ? Vladimir : Because he wouldn 't save them. Estragon : From hell'? Vlad j_mir : Imbe cile ! From death . E s t rag on : I thou�� � yuu said tell . Vladimir : From death , fr om death . Estragon : Well what o; it? Vladimir : Th en the two of them mu st have been damned . Estragon : And why not? . .. Vladirnir : But one of the four say� th at one of the two was saved . Estragon : We ll? They don 't agree and that 's all . there is to it . Vladimir : But all :our we re th8re . And only one speaks of � thief be �ng saved . Why believe him rath0r than the others? Estragon : Who believes hlm? Vladimir : Eve rybody . It 's the only version the y know . Estra5on : Pe ople are blo ody ignorn.;...t apes. ( p . 9 ) Again , one mu st r€mark upon the obse ssion with numbe rs . Gogo , . however , shows a fla sh of insight when he comments on the ig norance of mo st pe ople as they deceive themselve s with such number game; ::>. :Uidi has earlier said that the thieve s were to be saved .from he ll; he tr.en ch3.ngc .s JO the .s'c.&teme nt that they were to be saved from de ath . Goga has also picked up on this change . Could physical Jec.,.tl1 be more horrible than the death- in-life to ·which the md.s se s cl.re cor:clemned 't Are not the se living body ,n if either accept s one man 's acc .:>ur,t as ultimate truth , then that one a lso becomes a "bloody ignorant a pe ." A later co11versation expands thi s concept : Vladimir : But you can't go barefoot! Estrago11 ; Christ did . Vladimir : Christ ! What has Christ got to do with it ? You 're not going to cvmpm·e yom·sell' to Christ ! Estragon : All my life I've comparE: d my self to h im . Vladimir : But where he lived it was warm , it wa s . dry ! Estr·agon : Ye s. And they crucified qu ick . (p. 34) The compar isons with Christ are intere sting here . First , Christ wa s a 1011er , a seeker interested in the inner man . More impor- tantly , He was God become man , entering the world blo ody from the womb of woman . Mo st of Beckett 's and iV.ie vil lle ' s chardcters are attempt ing to step out side the natural order , to become more than that creature commonly referre d to as man . Ahab become s the mo s t blatant example : "'I am immortal then, on land and on sea , 1 c r ie d Ahab with a laugh of derision ;--- ' Immortal 0·1 land and on sea! '" (Chap. CXV). Ahab 's ob se ssive compulsion lciter bi;;; cornt s more evident as he imparts to Starbuck his convict ion of the holy mission for wh ich he was prepared and sent to sea : Ahab is for ever Ahab , man . Th is whole act 's immu tably de creed . 'Twa s rehe arseJ by thee and me a billlon years before this ·O Cedli rolled . Fool! I am the Fate s1 lieutenant ; I act under orders . Look th ou , underling ! that thou obcyest mine . --Stand round me , me n. Ye see an old man cut down to the stump ; leani11g on a shive red laI'!ce ; propped up on a lonely foot . 'Ti s Ahab--his boJy 1s part; but Ahab 's soul 's a centipede , that mov�s upon a hundred legs . I feel str3.iDt:u , half stranded, as ro pe s that tow dismasted frigates in a gale ; �nd I mdy look so . But ere I break , ye 'll hear me crack ; and till ye he ar that , know thdt �hdb 's hawser tows his purpo se ye t. (Chap . CXXXIV ) He is the leader ; he assume s he has disciples. N otice the height from wh ich he believes hE: looks : he addre sse s Star- buck as "underling ." On the third day of the chase, Ahab admits two items : the lonelin ess of the man on a que st and the certainty that death-in-life is more to be feared than the most terr ible physical death . Also to be noted is the com- parison of Christ 's offering up His spirit on the cross to Ahab 's giving up of the spear . Ahab , however, is stil i defiant : I turn my body from the sun ••.•Oh ! ye three unsurrendered spires of mine ; thou uncracked keel ; and only god-bullied hull; thou firm deck , and haughty he lm, and Pole-pointed prow ,--death-glorious ship! mu st ye then perish , and withcut me ? Am I cut off from the last fond pride of me ane st ship wre cked captains? Oh , lonely death on lonely life ! Oh , now I fe el my topmost gre atne ss lies in my top mo st grief . Ho , ho ! from all your furthe st bounds, pour ye now in , ye bold. billows of my whole foregone life , and top this one piled comber of my death! Towards thee I roll , thou all-de stroy ing but uncon quering whale ; to the la st I grapple with thee ; from he ll's heart I stab at the e ; for hate 's sake I spit my last breath at thee . Sink all coffins and all hearse s to one common pool! and since ne ither can be mine , let me then tow to pieces, while still chas ing thee , though tied to thee , thou damned whale ! Thus , I give up the spear! ( C hap . CXXXV ) The interest in the concept of cruci fixion is evi dent in the work of both authors. The agony is primarily that of the inner man , although there are many physical manifestat ions of his torture . Ahab has been maimed , and bears a scar wh ich runs deep into his soul . Molloy and Malone have numerous physical disabilitie s, while the Unnamab le is grote squely deformed , as a re mo st of the charactcrrs wh ich inform his story . What accounts for the pervasive sense of agony ? The answe r . lies in the final diffe rence between Christ 's cruci fixion and that of modern man . In Christ 's day , men we re crucified by other men . However , the characters of Me lville and Be ckett are 23 self-crucifiers. They force themselves to set out on quests, t�e ultimate goals of wh ich are self-knowledge and self-unity. The se goals are not to be realized , as the que sters a.cknow- ledge , yet they must undertake them, must endure a lifetime , and perhaps past a lifetime ( the Unnamable ) , of disappo intme nt 1 pain , and frustration . The agony at time s is �early unbear- able . Ishmael realizes this as he observe s aboard the . Pe quod : Consider the subtleness of the sea; how its m0 st dreaded cre atures glide under the watPr, unap:pa:-ent for the most part , and treacherously hidden beneath the lov0liest tints of az.u1·e . Consider also the devilish brilliance and beauty of many of its mc Jt remorseless tribe s, as th8 dainty embellished shape of many spe cie s of sharks. Consider , once more , the univer sal cannibalism of the sea; all �hose cre atures prey upon each other , carry ing on ete rnal war since the world began . Consiuer all this; and then turn to this gre en, gentle , and most docile earth ; consider them both , the sea and the lai1d ; a.nd do you no t find a strange analogy to some thing in yourself ? For as this appal ling ocean surrounds the verdant lane , so in the soul of man there lies one insular Tahiti, full of pe ace and joy , but encompassed by all the horrors of th� half known life . God keep thee! Push not off from that isle , thou canst ne ver return? (Chap . LVIII) The intensity of the pa in leads to contemplation of suicide . Ahab , bent on the des truction of the White 'Whale , realizes that at any time the whale may also destroy him. He wills to follow a course which will lead no t only to his own des truction , but also to the utter annihilation of his ship . Didi and Gogo openly consider a-speedier form of de struction . Vlad imir : Hand in hand from the top of the Eiffe l Tower, a�ong the first . �e we re re spect able in those days . Now it 's too late . They wouldn 't let us up. (p. 7 ). In the quotation , Didi acknowledge s tl1 .:::. t thi::::: ti111c; for �uicide 24 is past ; he even impl ie s that they are not worthy candidates for such a rite . One mus t, however , wonde:r- about that en croaching nthey ." Is the term no t used as a me thod of pro- jecting :Uidi 's ow n desire not tv die , or hJs re alization that he must cc;.1t inue his own persona.l Calva ry , ont o a shadowy 11they"? Joyce Carol Oate s has retilarked that in the trilogy "we have only the self-conscious 'I' and the progre ssive movement inward to zero , in this case the primary zero which is the first and in a very important sense the final state of the individual 's existence ; [t he 'I'] moves inward to a frank , 2 brutal •••co nsc iousne ss of its own essence ." 5 Gogo sums up man's situation in one short phrase , "No, nothing is cer tain" ( p. 35). What position , then ought a man adrift in this nothing ne ss adopt ? An amb iguous position is selected as the last hope for maintaining one's rather tenuous balance in the pre carious and varied situations in which one find s oneself. Me lville depicted Ishmael's abs orpy ion in the dimen sions of the whale , his. drive to get into a skeleton and mea sure it in an attempt to place boundarie s upon :and to restrict reality . Beckett cre ates within his characters an intense intere st in mathemat ical computations , for instance , Molloy 's intricate plan for rotating his sucking stone s .from pocke t to pocket. Malone and the Unnamable both a ttempt to define reality in terms of projected images. In the end , all such efforts are not only futile , but destruct ive . Reality cannot be pinned down and stud ied, like an insect on a card . Those who insist 25 on such a course sign their own death warrants; one need only recall Ahab in Moby-Dick. The death need not be phys i cal , either; Didi and Gogo rem ind us of the ma sses of living dead . Moran is , at first , of a kind with Ahab ; however, duri ng his dark night o f the soul he ado pt s the vision of a m orally am biguous universe and is not destroyed . The Unnamable re c og nizes that many snares will be set up along the journey through life , snare s in the form of philosophies or ideas , but that on ce man accepts just one he is doomed : I am he who will never be caught , never delivered , who c rawl s between the thwarts, towards the new day that promises to be glorious , fe stooned with lifebelts, praying for rack and ruin . { pp . 3 3 8-339 ) Once again in this speech there is a warning against a ccept i ng a truth as the Truth. The word "caught" also evokes anothe r image of men-beasts and a whimsical god , of the fisherman-god del ighting in the conque st of his little victims , the fishes. One also must note a link between this survivor , "festooned with lifebelts, " and the "orphan" Ishmael, kept afloat by a coffin. Man , with his great des ire to know , experienc e s excru ciating agony under the we ight of eternal moral ambiguity . He , there fore , resort s to naming things, thinking that what the mind names, it controls . Thus, the White Whale "is'' in one sense to Ahab , in another to Ishmael, to Queeque g , to each • • member of the crew, and to each reader . Ultimately , however , it "is" itself , and this" self is wh at cannot be named, ordered , or structured. �obv·-Dick c annot even truly be said t o be " nothingne ss , " for then again it is named. The whale can also 26 be said not to come to itself until it i s brought into focus by Ishmael; in this context , then, the White Whale is simply 26 a fictional contrivance of the storyteller Ishmae 1. Beckett continually calls into question the value of meaning , but the ae sthetic adopted by his characters is meaning-centered. Man ' s curiosity mu st be in turn stimulated, frustrated , and suspended. Be ckett will , through a character, question the meaning of something , _appear. to adopt .a '.response ,., and then quickly undercut the value of the re sponse . This entails a "logical cir cular ity--the term employed is itself the 2 point of the dispute ." 7 An excellent example of this art of undercutting occurs at the end of Molloy . One has been attempt ing to discover the relationship between the beginning and ending of the Moran se ction . Just as one thinks a clue has been offered, the clue is undercut and the story ends. Moran con cludes: I have spoken of a voice telling me things. I was getting to know it better now , to understand what it wanted . It did not use the words that Moran had been taught when he was little and that he in his turn had taught to his little one . So that at first I did not know what it wanted. But in the end I understood this language . I understood it , all wrong perhaps . That is not what matters. It told me to write the report . Doe s this mean I am freer now than I was ? I do not know . I shall learn . Then I went back into the house and wrote , It is midnight . The rain is beating on the windows . It was not midnight . It was not raining . (pp. 175 -1 76 ) The word to note here is "free.(r) ." ·Freedom is a very diffi cult state to achieve in a hostile world ; it would probably be correct to assume that such a state cannot be achieved in the outward .world . Man must , therefo-re ,- heed the voice and move in an inward direction . Through such an experience he 27 will , as Moran avows , constantly "learn ," he will cont inue to pe el away the layers of the onion skin , he will a c hie ve some form of peace and free dom. The pe r plexity of man attempting to d e al with a morally ambiguous universe is articulated by Malone . He bewails his situation : Live and invent . I have tried . I must have tried . Invent . It is not the word . Neither is live . No ma t te r. I have t r ie d. Whil e wit hin me the wild beast of earne stness padde d up and down , roaring , ravening , rend ing . I have done that . And all alone, we ll hidde n , pl aye d the c l own , all alone , hour after hour , motionl ess , often standing , s pellb ound , groan ing . That ' s right , groan . I c ouldn ' t piay o I turned till Iv.as dizzy, cla pped my hands , ran , shoute d, saw my self winning , saw my self losing, re joic ing , lame nting ••••I say l iv ing without knowing what it is. I tried to live without knowing what I was trying . Pe r haps I have lived aft e r a ll , without knowing •• • • The re is no use indicting words, they are no shoddier than what they peddle . (pp. 194-195 ) He recognizes the impossibi l ity of ever successfully naming anything , and yet he cannot resist the urge to try . Inde ed , Beckett seems t o advocate that this stance is perhaps the only balanced pose that may be struck in an unbalan c e d uni verse . The Unnamable also attempts to deal with the "naming" quand ary . And I see my self s lipping , though not yet at the last extremity , towards the resorts of fable . Would it not be better if I were simply to keep on saying bab ab aba , for ex ample , while waiting to ascerta in the true func tion of this venerable organ? ( p . 308 ) Molloy , t oo, exhibits a ,pertain c omprehension : "'l'he shadow in t he end is no better than the substance " ( p. 26). Even Pozzo at the end of his ravings admonishes Didi and Gogo to 28 "forget all I sa id . I don't remember exactly what it was , but you may be sure there wasn 't a word o f truth in it" (p. 23 ). For man , once he grasps at the straw of his own created fiction and name s it truth, will have assured himself of destruction. Me lville created the metaphor of 11going to sea to see .'' Ishmael is compe lled to go to sea in an attempt to create me aning from emptine ss. He acknowledge s that the only trut.h is that which man has experienced , and that it is dependent on 28 each man acting out his own particular vision . As the Un- namable assert s , t! Ah a nice me ss we 're in the whole pack of us , it is possible we 're all in the same boat , no , we 're in a nice me ss each one in his own pe culiar way" ( p. 372). Ishmael become s another "mental traveller" who attempts to accept with a minimum of defense me chan i sms · the solitary posit ion of the human condit ion , man adrift in the overwhelming world of ex- . 29 perience . The Unnamable becomes Ishmael's "confr�re" as it admit s: • • • you try the sea..,� you try the town , you look for yourself in the mountains and the plains, it 's only natural , you want yourself , you want yourself in your own little corner, it 's not love , not curiosity , it 's because you're tired , you want to stop, trave l no more , seek no more , lie no more , spe ak no more , close your eyes, but your own , in a word lay your hands on yourself, after that you 'll make 'Short work of it . ( p. 400) As in Moby-Dick Melvi lle established the metaphor of his Tahiti/Paradise to which, after man nas set out to experience the world , he may never return , so Molloy also admits having journeyed forth upon thP- tre acherous sea. "And I too once went forth on it , in a sort of o arless sk�ff , but I paddled with an 29 old bit of driftwood . And I somet imes wonder if I ever came back, fr om that voyage" ( p. 69). Once man has journeyed out- ward , he can no longer accept the safe , but false , view of reality offered by Tahiti. Beckett appears to have adapted the me taphor of "going t o sea to see" to Thoreau's admon ition to 11be a Columbus of thy self. " Most of the seas wj_th wh ich his characters have to contend are inner ones. Each character on his solipsistic journey is charting the und iscovered territory of the Self. The Unnamable underscore s the necessity of the voyage : Having nothing to say , no word s but the words of others, I have to speak . No one compels me to , there is no one , it 's an accident , a fact. Nothing can ever exe mpt me from it , there is nothing , no thing _ to discover, nothing to rec over , nothing , that can lessen what remains to say , I have the ocean to drink , so there is an ocean then. Not to have been a dupe , that will have been my be st possession, my best deed, to have been a dupe , wishing I wasn't, thinking I wasn't, knowing I was , not being a dupe of not being a dupe • ( p • 3 1 4 ) The Unnamable thus expresse s a realization wh ich it took Ishmael a long and perilous sea voyage to discover. Man can and will be deceived by appearances; perhaps his be st gift to himself consists of not deceiving himself about the fact that he can be deceived . The fate of Ahab and the crew of the Peguod is a violent illustration of the re sult of such deception . Me lville recognized the danger of the independent man . There is a need for a brotherhood with his fellow man by wh ich the independent man protects himself not only from the on slaught of an alien universe , but also from the perils of un restrained egoism. Relying. too heavily on the Self severs the 3 0 bonds with humanity and renders man incapable of purpo seful action . It is als o not to be overlooked that total isolation J O could drive �an to insanity or suicide . Thus , Melville created a sort of marriage between Ishmael and Queequeg . Ish- mael c onc edes man 's need for man : Squeeze ! squeeze! squeeze ! all the morning long ; I squeezed that sperm till I my self almost melted into it ; I squeezed that sperm till a strange sort of insanity came over me ; and I found my self unwittingly squeezing my co-labor ers' hands in it , mistaking their ha�d s for the gentle globules. Such an abound ing , affection ate , friendly, loving feeling did this avocat ion beget ; that at la st I was continually squeezing their hands , and looking up into the ir eyes senti mentally ; as much as to say, --Oh ! my dear fellow beings , why should we longer cherish any social a cerbities, or know the slightest ill-humor or envy! Come ; let us squeeze hands all round ; nay , let us all squeeze ourselve s un iversally into the very milk and spe rm of kindne ss. Would that I could keep squeezing that sperm for ever! For now , since by many prolonged, repeated experiences, I have perceived that in all cases man must eventually lower, or at least shift , his conceit of attain able fe licity; not placing it anywhere in the intellect or the fancy ; but in the wife , the heart , the bed , the table , the saddle , the fire s ide , the country ; now that I have perceived all thi s, I am ready to squeeze case eternally . In thoughts of the visions of the night , I saw long rows of angels in paradise , each with his hands in a jar of spermaceti. ( Chap. XCIV ) Beckett, in one manner or another, "weds" each of his char- acters to an antithetical self . Estragon : Didi. Vladimir : Ye s. Estragon : I can't go on like this. Vladimir : That ' s wh at you think: Estragon : If we parted? That might be better for us . Vladim ir: We 'll hang ourselve s tomorrow . { pause ) Unless Godot comes. Estragon : And if he comes? Vladimir : We 'll �e saved. (p. 60 ) Both men have previously admitted that they are not re ally 3 1 ha ppier together, but it is the togetherne ss wh ich allows them to continue . They discuss suicide , but they do not �ttempt to follow through with their plans . Again , their brothe rhood allows them to divert to a future date . any self destructive plot . It is not the coming of Mr. Godot which will save the two comrades; it is their cameraderie . The�e is, in the works of both authors , an expressed dtive to continue . No matter the degree of apprehension that is fe lt at the outset of the journey, nor the conviction that one's attempt s are doome d to fai lure , one must continue . John Fletcher has established a corre spondence between Beckett ' s works and Ecclesiastes. As Steven J. Rosen comments, "Lament-. ing the inexplicably absurd and dolorous spectacle of life , the Preacher conc ludes that man must , nonethe le ss, persist in dutiful observances. Beckett 's trilogy , which ends with the words, 'You must go on , I can't go on , I'll go on ', expre sses 1 much the same attitude .03 The Unnamable elaborates on this concept : Unfortunately I am afraid , as always , of going on. For to go on me ans going from here , means finding me , los ing me , vanishing and beginning again , a stranger first , then little by little the same as always , in another place , where I shall say I have always been, of which I shall know nothing , being inc apable of seeing, moving , thinking , speak ing , but of wh ich little by little , in snite of the se handicaps , I shall begin to know somethi�g , just enough for it to turn out to be .the same place as always , the same which seems made for me and does not want me , which I see , to want and to not want , take your choice , which spews me out or swallows me up. I'll never know , which is perhaps merely the inside of my distant skull where once I wandered , now am fixed , lost for tininess , or straining against the walls, with my head , my hand s, my feet, my back , and ever murmuring my 32 old stories, my old story , as if it were the first time . So the re is nothing to be afraid of . And yet I am afraid , afraid of what my words will do to me , to my refuge , yet again . ( pp . 302-303 ) For Molloy , a l so , there proceeds, from deep within the Self, _ an inescapable urging to move onward , to move inward . "For · .. . in me there ha ve always been two fools, among others � one ask ing nothing better tha n to stay where he is and the · othe r imagining that life might be slightly le ss hor:- ible a little further on" ( p. 4g ) • The only way to continue is by inventing fictions . Through Ahab , Me lville illustrated the danger of accepting one metaphysic as ultimate truth. Ishmael accepts the fact ·that there is no such thing as history , there are only his tories; there is no one point of view , there are only points of view. Thus , he becomes an eouilibrist resting in "manhood's pondering repose of If" ( Chap. CXIV ) . The Unnamable also recognizes the necessity of inventing fictions . "I shall have - company . In the beginning. A few puppets. Then I'll scatter them, to the winds, if I can" ( p. 292). One must invent fictions, but one must never hold to one as absolute truth . Despite all barriers erected in his path , the "thought-diving" man must proceed, stripped as much as possible of illusions , in his definition of Se lf. To do otherwise would be not to live . To thi s propo sition the Un namable al so addresse s itself: . Ah but the little murmur of unconsent ing man , to murmur what it is the ir humanity stifles, the little gasp o f the condemned to l'ife , rott ing in his dungeon garrotted and racked, to gasp what 33 it is to have to celebrate banishment , beware . No , they have nothing to fear , I am walled round with their vociferations, none will ever know what I am , none will ever hear me say it , I won 't say it , I can ' say it , I have no lan guage but theirs , no perhaps I'll say it , even with their language , for me alone , so as not to go silent , if that is what confers the right to silence , and it 's unlikely , it 's they who have silence in the ir gift , they who decide , the same old gang , among themselve s, no matter, to hell .with silence , I'll say what I am , so as not to have been born for nothing . ( pp. 325-326 ) The inevitable progre ssion in Beckett is from birth to · darkne ss and the grave . Pozzo insists: " They give birth astride of a grave , the light gle ams an inst ant , th�n it 's night once more" ( Waiting For Godot , p. 57 ). Mo st me n me rely exist in this night , unaware of Pozzo 's ( and later Didi's) -observation . Once a man become s aware , once he attains the tragic vision , there are only two availab le responses to the "wait ing" : suicide or cont inuing . Beckett 's characters form alliances to prove the ir existerice ; they do "go on," accepting "wait ing" a s a condition of the human experience interposed 3 between birth and death. 2 The characters of both Melville and Beckett journey a treacherous path bordered on both sides by cha sms of suicide and insanity . T hey must .proceed on a solitary que st which will render no final answers. The journey will lead them , each· one a unique Ulysse s, far across uncharted seas to an Ithaca that does not exist . That th�se seas are primarily those of the Self is evident , both in the analogy of Mac mann 's sea voyage and Moiloy's body fluid s rushing out of the orifices as he dies, and in the repeated re ferences to re- siding in either the head , where the brain is suspended in 34 liquid , or in the womb with the float ing fetus . These anal- ogies continually underscore the necessity and importance of the ongoing quest of the essent ial Self. Perhaps the Unnamable best sums up the predicament of the Me lvillain-Be ckettian hero: It 's a lot to expect of one creature , it 's a lot to ask , that he should first behave as if he were not , then a s if he we re , before being admitted to that peace whe re he ne ither isr nor is not , and where the language dies that permits of such ex pressions . ( pp . 334-335 ) Time and time again , both authors , through their charq,cters , admit to and lament over a paradox: language is an extremely inadequate and decept ive tool whi ch one ougfit to avo id, yet it is the only tool available to link the Self with external reality . One may cry about it , berate it , but in the end one will equip one self with this frail instrument and "go on ." As the tramps discover: Estragon : We always find something , eh Didi, to give us the impression we exist? Vlad imir : Ye s, ye s, we 're magicians . {p. 44 ) It is "a lot to expect," but the language mu st continue , the fictions must b e formed, and the man must endure the "waiting" as he goes on , ever onward , in "the long sonata of the dead ," to the grave . FOOTNOTES 1 Stanley Ge i st , Herman Me lvi lle : The Tragic V i s ion And The Heroic Ideal ( New York : Octagon Books , Inc ., 1966 ) , p. 25 . 2Ibid . 3 samuel Beckett , Three Novels ( New York : Grove Press, Inc ., 1955), p. 1 3 . {Hereafter, all subse quent references from Molloy, Malone Dies , and The Unnamab l e are taken', from this edition and are cited parenthetic ally within the b ody of the the s i s .) 4 samuel Beckett , Waiting For Godot ( New York : Grove Press, Inc ., 1 954 ) , p. 29. { Hereafter, all re ferenc e s to the play are c ited within the body of the the s i s . ) G s 22 . 5 ei t , P• 6 23 . Ibid. , P• ? Ibid. , PP • 1 4-1 5. I d . ' 31 -32. 8 b i PP • 9Hoffman , quote d in Hannah C ase C opeland , Art And The Artist In The Works Of Samue l B eckett { The Hague : Mouton & Co. , 1975), p. 1 66. 10 Glicksberg, quoted in Copeland , Ib id . 11He rman Me lv il le , Moby-Dick : Or , The Whale { New York : The Bobbs-Me rrill Company , In c ., 1 964) , Chap. CXIV . ( Hereafte r , all refere n c es from Moby-Dick are ci�ed parenthetically within the body o f the thesis . ) 1 2 sanford E. Marov itz , "Old Man Ahab," in Robert J. DeMott and Sanford E. Marov it z , eds., Artful Thunder { Kent , Ohio : The Kent State University Press , 1975), p. 141 . 3 1 Me rrell R. Davis and William H. Gilman , e d s . , The Letters of Herman Me lville ( New Haven : Yale Un iversity Pre ss , 1960 ) , p . 1 30. 1 4 Mich ae l Rob inson, The Long Sonata Of The Dead : A Study Of Samuel Beckett (New York : Grove Press, Inc . , 1969 ) , p. 169. 15 G. B. Harrison , e d . , Shake speare : The Complete Work s (New York : Harcourt , Br ac e & World , Inc., 1968 ) , pp . 1 1 37- 1139. 1 6 Ge ist , p • 1 9 • 1 7Ibid., p . 21. 18 Harrison , p. 1139. 1 90. C. Barnard , Samuel Beckett : A New Approach ( New York : Dodd, Me ad & Company , Inc., 1970 ) , pp . 93-95 . 20 Harrison, p. 1139. 21 John Fletcher, The Novels .Of Samuel Be ckett ( New York : Barne s & Noble , Inc., 1964) , p. 1 73. 22 Harri s on , p. 1139. 23 Leon F. Se lt zer, The V i s ion of Me lville and Conrad ( Athen s, Ohio : Ohio University Press, 1970} , p . 39. 24 Joyc e Carol Oates, quoted in Copeland , p. 1 74. 2 5 112.i£ ., PP • 176-1 77 . 26 raul Brodtkorb , Jr ., Ishmael 's Wh ite World ( New Haven : The Yale Unive rsity Press , 196 5 ), pp . 146-1 47 . 2 7st even J. Rose n , Samuel Be ckett and the Pe ssimistic Tradition (New Brunswick, N. J. : Rutgers Un ive r s ity Pre ss , 1 976 ) , p. 1 8. 28 Brodtkorb , p. 1 48 . 29 Ibid . -3°seltzer, pp . 97-9S . 31 Rosen, p . 21 . 3 2 Frede rick J. Hoffman , Samue l Beckett : The Language of Self ( Carbondale , Ill.: Southern Illinois University Press , 1962), PP • 1 5 2-1 5 3 . BIBLIOGRAPHY Alvarez , Alfred. Samuel Beckett . 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