By Cohn, Ruby; Beckett, Samuel
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Additional info for A Beckett canon
She is sensitive to the functionality of sound play and line length as they confer pattern on a seeming labyrinth. “Ce poème est donc un roman picaresque embryonnaire ou plutô avorté parce qu’il se transforme, à chaque nouveau départ, en voyage à travers les cercles de l’Enfer’ ” (Rabaté, 78) [This poem is thus an embryonic picaresque novel, or rather an aborted one, because it embarks, at every new departure, on a voyage through the circles of “hell”]. “Enueg I” was a poem that Beckett apparently cherished above others of this period; he sent a variant version to MacGreevy, and he made several vain attempts at publication between 1931 and 1935, when “Enueg I” was printed second in the collection Echo’s Bones.
Sharing Beckett’s birthdate—April 13, 1906—Jean du Chas died I list alternate titles, used by different libraries. Read in November 1930 to the Modern Language Society of Trinity College, Le Concentrisme was in 1961 given by Beckett to Lawrence Harvey, who deposited it in NhD. Another typescript was given by Nuala Costello to RUL. The spoof was ‹rst published in Disjecta (with four sentences inadvertently omitted and brought to my attention by James Knowlson). 21 a beckett canon: 1929–31 in January 1928 (while Beckett himself was still a student at Trinity).
Beckett divides his alba into three stanzas, each with its own rhythm. The opening ‹ve-line stanza begins and ends with the phrase “before morning,” and the stanza’s last line is related to the ‹rst by chiasmus. The repetition of “you shall . . here” concretizes the imaginary presence of the loved one. The nocturnal “you” will establish a synesthetic “white plane of music” that can banish the troubling ideas aroused by Dante, the Logos, the branded moon, and other mysteries. ”13 Each line lingers longer than its predecessor, enriched with internal rhyme and consonance, which enhance the eroticism of the night.
A Beckett canon by Cohn, Ruby; Beckett, Samuel