By Cohn, Ruby; Beckett, Samuel
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Additional info for A Beckett canon
The narrator early renounces a comparison of the Smeraldina and the Syra-cusa, but there is an implicit contrast between the physical Smeraldina and the more intellectual Alba. The Smeraldina is partial to food, and the Dublin beauty delights in brandy. The Germani‹ed lady writes a comic love letter, and the Dublin lady receives a comic love letter—both quoted in full. Belacqua has a problematic fascination with each young woman, which reaches an unful‹lled climax on successive holidays, when each of them is surrounded by other admirers.
In plodding through them chronologically, we should recall a quotation from Beckett’s (television) Joe: “The best’s to come”—after many years. : A College Miscellany (March 12, 1931) 138. It is republished in McMillan and Fehsenfeld, 21–22. 23 a beckett canon: 1929–31 exhaustively that these poems share a common theme—the con›ict between a young man’s erotic desire and his puritan upbringing. 12 “Yoke of Liberty” The oxymoronic title phrase from Dante’s De Monarchia was already noted by Beckett in his essay on Joyce: “History [is] the result of a Necessity that is not Fate, of a Liberty that is not Chance (compare Dante’s ‘yoke of liberty’)” (Disjecta, 22).
Less than half of Beckett’s Joyce essay focuses on Joyce, but the whole Proust monograph is centered on Proust, including frequent paraphrase and nearly forty quotations. Sensitive to Proust’s language, Beckett declares: “For Proust the quality of language is more important than any system of ethics or aesthetics” (67). In spite of that sentence, Beckett accords more attention to the thematics than to the style of Proust’s long novel, however he insists upon the union 19 a beckett canon: 1929–31 of form and content.