By Cohn, Ruby; Beckett, Samuel
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Extra resources for A Beckett canon
Wounds will loom large in Beckett’s ‹rst decade of writing, and the unsavory ›uids will eventuate as words. Like other early poems, “Sanies II” is a dramatic monologue whose persona is delineated with less clarity than his ambience. The forty-one-line poem opens on the “happy land” of the American Bar in Paris, but three repetitions of “there” suggest that that happiness is already distant. ). 2 The persona then cites proper names from fairy tales, which sound curiously comfortable in the brothel setting.
His experience shall be the menace, the miracle, the memory, of an unspeakable trajectory” (138). ” He enlarges on the last of these: “I think of his earlier compositions where into the body of the musical statement he incorporates a punctuation of dehiscence, ›ottements, the coherence gone to pieces, the continuity bitched to hell” (139). As a writer, Belacqua espouses silence and incoherence, so that it is not surprising that he arrives in Ireland “with his palpitations and adhesions and effusions and agenesia and wombtomb and aesthetic of inaudibilities” (141).
The two lines con›ate (and implicitly repudiate) activity in the brothel. ” A “terrible hush” triggers sexual ›agellation, from which the persona asks to be spared. He offers to compensate Becky (the madam whose name begins like that of the author) if she will call off her adders. Old and Latin words eventuate in a prayer, which is twice heard. ” It is easier to cleanse the body “spotless . . within the brown rags” than to call off the adders of Becky, Madame de la Motte, and other demons. Still uncertain of his poetic voice, Beckett composed a long poem, “Spring Song,” which he soon jettisoned.