Beckett's Dying Words: The Clarendon Lectures, 1990Clarendon Press, 1993 - 218 من الصفحات Most people want to live forever. But there is another truth: the longing for oblivion. With pain, wit, and humor, the art of Samuel Beckett variously embodies this truth, this ancient enduring belief that it is better to be dead than alive, best of all never to have been born. Beckett is the supreme writer of an age which has created new possibilities and impossibilities even in the matter of death and its definition--an age of transplants and life-support. But how does a writer give life to dismay at life itself, to the not unwelcome encroachments of death, when it is for the life, the vitality of their language that we value writers? Beckett became himself as a writer when he realized in his very words a principle of death: in clichés, which are dead but won't lie down; in a dead language and its memento mori; in words which mean their own opposites, like cleaving; and in what Beckett called a syntax of weakness. This artful study explores the relation between deep convictions about life or death and the incarnations which these take in the exact turns of a great writer, the realizations of an Irishman who wrote in English and in French, two languages with different apprehensions of life and of death. |
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acknowledge alive asked better birth blasphemy body born bull c'est Camier chose cliché Collected comes contradiction course dead death dire dying Edgeworths English eternal existence expression eyes Fall father final Following French give given grave hand happy hope human imagine impossible inexistence Irish John kind language least leave less light living Malone mark matter mean Mercier mère mind Molloy mort mother move Murphy Murphy in French natural never once original pain père perhaps person phrase play poem possible Preceding Murphy Pricks than Kicks published qu'il rain rien Samuel Beckett Seen sense sometimes speaking stop story temps term thing thought tout translation true turn Watt wish words writing wrote
