Rough for Radio II - Knowledge (XXG)

628:“The anima … holds in it an expression of a man's complex of feelings about women, gained as experience mostly from his mother – or lack of mother – but also from a synthesis of all his female contacts … A negative side to the anima that is “that of the woman/mother who poisons everything, whose … critical remarks hurt and constantly demean. This may live on in a man as self-criticism. A slight twist on this is the man who considers himself an intellectual, but actually is possessed by an anima that does not allow real creative thought, but expresses opinions and fears as clever words (“Have you read the 1086:“This was one of those questions that caused him ... to disappear behind his hand, covering his eyes and bending his head toward the table for what must have been two full minutes. Then, just when I'd begun to suspect that he'd fallen asleep, he raised his head and, with an air of relief, as if he'd finally resolved a lifelong dilemma, whispered, ‘The fashioning, that's what it is for me, I think. The pleasure in making a satisfactory object.’"- Shainberg, L., Exorcising Beckett, 840:"The next time we saw each other, a year later in Paris, our conversation continued, where it had begun and where it had left off, with the difficulties of writing ... 'It's not a good time at all,' he sighed, 'I walk the streets trying to see what's in my mind. It's all confusion. Life is all confusion. A blizzard. It must be like this for the newborn. Not much difference I think between this blizzard and that.'" – Shainberg, L., ‘ 377:}, we have the sequence {twitch of whip → speech → text} –first the slap of the bull’s pizzle on flesh, then Fox’s words, then the stenographer’s transcript.” To produce this article, this author – and by extension those authors quoted – first tuned into a radio broadcast (or put on a recording of one), listened to the words and then converted his understanding of them into text. 251:.” She tries to stand her ground but he gets angry and demands she amend her notes accordingly effectively “insert the Stenographer (and her kissing of Fox) into Fox’s discourse.” (This is in violation of Item #2 of the “exhortations”). She acquiesces and timidly reads back the text. Finally, something to appeal to his crude tastes. 226:

the captive, but by this stage of the play, the audience is beginning to realise that the Stenographer and Animator are the ones who are truly captive. They hang upon every word Fox emits. The Animator even confesses that he doesn’t know precisely what he is looking for other than he’ll know it when he hears it, unlike Bam in

486:”, nor even the assertion that all fiction is thinly veiled biography; in Beckett's case there are biographical elements embedded throughout all his work and if a writer's task is to get something out of himself onto the page, that something, that part of himself, could quite poetically be referred to as the twin inside him. 638:?”) or arguments (“What the devil are you deriding, miss? My hearing? My memory? My good faith?”). This enables the person to feel always right, and actually avoid any real meeting with other people or life experience. Strangely, such men are often driven to pornography, in a desperate drive to meet denied personal needs.” 186:

The Animator wants to know if the glare bothers her. The woman says not and adds that heat doesn’t trouble her either but still asks permission to remove her overall. This – predictably – prompts comment from the Auditor: “Staggering! Ah were I but … forty years younger”, another inappropriate remark

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In its individual manifestation, the character of a man's anima is as a rule shaped by his mother. If his mother had a negative influence, his anima will often express itself in irritable, depressed moods, uncertainty, passivity, insecurity and touchiness. Dark 'anima moods' can therefore infect his

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core … (Animator) … surrounded by a cluster or shell of images, memories, and feelings … (Fox) … that are the result of childhood experiences with human beings. It is as if the archetypal core acts like a magnet, around which events cluster that belong to that archetype. This core adds energy to the

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that forms the material of the writer, must be taken down according to strict rules." But the Animator breaks these rules and incorporates an idea of his own into the text. This represents the "slippage between what the artist wants to express and what he is capable of expressing. As Beckett says of

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rodent', does seem to be trying to burrow towards some deep truth. He is remarkable interested in tunnels; not only does he soap a mole, but he also says at one point that he is taking to the tunnels, and the foetal or ghost twin that Fox conceals in his belly is also suggestive of his preoccupation

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interview is revealing: “I felt that the girl I play, the stenographer, starts out in uniform and ends with nothing on.” Her response is to reread the end of Fox's last testimony: “Ah my God my God My God,” words that remind one of someone's cries while in a state of sexual ecstasy but presented in

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The Stenographer proceeds to read her report on the results from day before but the Animator has her skip practically all of it apart from the first three “exhortations”. Item #3 expresses particular concern regarding the condition and use of the Fox's gag. It is imperative he make no utterance that

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that he was ‘not looking for answers: I am only trying to dig a little deeper’; and he spoke to Lawrence E. Harvey ‘of the attempt to find lost self in images of getting down, getting below the surface, concentrating, listening, getting your ear down so you can hear the infinitesimal murmur. There

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uses to communicate important information and guidance to the conscious mind. Fox's speech from the day before talks about returning a dead mole to his womblike chamber (with food to last it), an image centred on insertion; the first of the new day concentrates on the mole (now miraculously alive –

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In a change of tactic, the Animator quietly tries to make clear to Fox what he really wants: “More variety! … stonish me.”, He even hints to him that he might try being creative with the truth, the very notion of which shocks the Stenographer. It may seem at first look that the bound protagonist is

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describing a life underground (perhaps the mole's he spoke of before), “living dead in the stones.” He fades away but, when threatened with the whip again, moves onto his third outpouring, where he mentions a brother – the first family member he has spoken of – his twin, actually inside himself and

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in front of a fire before returning the creature to its “chamber with his weight of grubs.” From the expression, “in that instant his little heart was beating still” it could be construed that the mole was actually dead, perhaps killed by accident when he was a child but more likely frozen to death

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A recurring notion that "thoughts and the concomitant words that shape them are merely sounds made by a voice, ‘nothing beyond mere ejaculations of air’; that the idea of meaninglessness is only a mere ‘feeling’ which is not provable and slowly fades into emptiness ... the more it is pondered and

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term). The Stenographer only has a small pencil showing her place in the pecking order. (Although represented by a female she is nevertheless an aspect of a male character). There is a subtext of impotence however. The Animator is trying to get something from Fox that's not there; he tries to read

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The Animator is a sensualist who imposes his grossness on his victims, Fox, an intuitive creature who lives by his senses and also his unfortunate female assistant. There is no doubt that Beckett had a sexual side to his nature though – understandably – little is on record as to how this aspect of

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is supported by Bion's description of his inventive analysand as a man who was adept at blurring the boundary between real and imaginary events, who made ambiguous statements that were open to multiple interpretations, who felt that he was inhabited by an unborn twin and imagined himself in a womb

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As regards a ‘true’ interpretation a good starting point is Martin Esslin's comment that the play is “about the artistic process” itself which Beckett by no means found easy; his output is respectable but he was not exactly prolific. “There are two moments worthwhile in writing,” he summed up to a

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Esslin said that Beckett "regard the work as unfinished, no more than a rough sketch, and felt, having heard the production that it had 'not come off'." Beckett "put the blame on the script but he told Esslin that 'the production which made the Animator and his team start briskly and become more

1084:”He spoke a little about the different sorts of pain, the pain of being unable to write, the pain of writing itself, and — as bad as any — the pain of finishing what he'd begun. I said, ‘If the work is so painful when one does it and so painful when it's done, why on earth does anyone do it?’ 415:

word for ‘voice’, but in this case it is not unreasonable to assume this is intentional on Beckett's part considering his only requirement is to give voice to that certain something that will satisfy his interrogator. In the French original, the interrogatee is still named ‘Fox’ rather than

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A man, who we discover has the title “Animator” makes small talk with his young female stenographer: is she ready to get to work, does she have the tools of her trade? The interchange is light and familiar. He then consults a character called Dick; is he on his toes? The man, a

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Since physical violence hasn’t proved successful, nor has gentle persuasion, the Animator modifies his approach once more: “Dick! – no, wait. Kiss him, miss, perhaps that will stir some fibre … on his stinker of a mouth … Till it bleeds! Kiss it white!” Fox howls and faints.

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the least erotic of tones. Having worked with him before she is doubtless well aware of the nature of the man she is dealing with – someone who could undress her with his eyes no matter what she was wearing – and his hidden agenda. Her response annoys him. He calls her a “

547:, Beckett represents the process of his own creativity as writer by an 'animator' and his secretary who takes down the utterances of a little man, who is usually gagged and blindfolded, but taken out each day and asked to speak ... he monologue he utters, which is a 657:

where Krapp's mother dies) but exactly how faithful to the truth only Beckett himself would know. But it is a work of fiction, not a psychological treatise and certainly not biography in the strictest sense; the facts are bent to fit the truth of the play.

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Ultimately the creative process has not been faithful to the truth but does it have to be? More than most writers, Beckett plumbed the depths of his own life for source material. Some sections are transparently biographical (e.g. the scene in

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despite not having a specific purpose or subject? Whether or not he has something revelatory to communicate … he lives up to his name by not divulging it. As a result, his silence gives him power over his captors and even his torturer, Dick.”

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volunteering to nurse the twin when born. At this point Fox breaks down and starts weeping. The Animator remains undecided as to whether this should be recorded. Up until this point he has been adamant that only Fox's words are relevant.

1228:"The difficulty is access to the voice and its veracity once trapped, but the too-obvious links between voice and repressed memory may account for SB's decision to jettison the work." – Ackerley, C. J. and Gontarski, S. E., (Eds.) 782:

the more the writer or speaker attempts to capture it in words, ‘in one pure word’. There is also the determination, in the face of the impossible, to continue to try ‘over and over again to get hold of this mood’. – Ben-Zvi, L.,

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him affected his work. His writing, although not primarily sexual, never shies away from it but one could never refer to it as ‘titillating’. That sexual urges might have distracted him from his writing is always a possibility.

475:(or at least suppressed). Aware that it may be these that the Animator is trying to reach Fox exercises his power over him by refusing to release them to him (“ah but no, no no”); they look as if they may ‘die’ inside him. 641:

Beckett stipulates that the Animator has a “cylindrical ruler”, clearly a phallic image. Dick is in no way a fully-fledged character in his own right, rather an extension of the Animator, a penis substitute (admittedly a

243:. The Stenographer highlights the point that, for Maud to be able to produce milk pointed to the fact she is likely already pregnant. The Animator drools over the image of a milk-engorged breast: “One can almost see it!” 517:

with the interior of things ... As a tireless explorer in the labyrinth of language, as an old mole trying to convey difficult insight to the public, Fox may indeed be speaking words worth scanning for hidden meaning.”

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He is now satisfied and is hopeful that by the next day their work may very well be done. “Don’t cry, miss, dry your pretty eyes and smile at me. Tomorrow, who knows, we may be free.” This reminds us of the ending of

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If Fox embodies the source of raw data available to the creative process, personified by the Animator and his team, what does Fox's twin represent? Most likely his deepest, darkest memories, memories that he has

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Beckett's interest in all kinds of psychoanalytical writing is well documented. And so, when one sees a name like Anima-tor, an obvious question to ask is: is this character a personification of the character's

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The woman wonders out loud who might be the father. This finally fires Animator's imagination: “May we have that passage again, miss?” She reads it verbatim but he objects insisting she is omitting the phrase,

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Fox speaks of tunnelling for his goal, ‘age upon age, up again, down again, little lichens of my little span, living dead in the stones’. The artist (or creator) as excavator or burrower is another Beckettian

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She recommends “a touch of kindness” be applied to Fox, “perhaps just a hint.” The Animator says he appreciates the sentiment but is obdurate: they stick with his method (despite its obvious lack of results).

463:(1962/63) this is what the controller is called, the “Opener”, after his function. His use of the term “passage” to refer to something Fox has said before emphasises that what we are hearing is the “ 1553:

he could make his attitude and his motive as well as his admiration for de Sade quite clear. A number of commentators have suggested that there is a considerable amount of what is loosely called

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Dick was Alfred Péron's nickname (as in Moby Dick) during his time in the French resistance cell that he was a part of along with Beckett. When the cell was betrayed, Péron was arrested by the

455:) whereas the final section focuses on Fox’s awareness of his twin’s hunger driving his desperate need for extraction. “Taken together, Fox’s three utterances can be seen to construct a 112:

for penis). It is certainly humorous, though hardly revolutionary, to use a character that is unable to speak in a radio play. What is of interest is that it is his job to encourage Fox

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The expression has been absorbed into popular culture and its strict Freudian use sublimated. The most common examples of penis substitutes in modern society are arguably cars and guns.

512:“A fox is a crafty, reclusive creature, and Fox seems devoted to producing speech that dances away from any sort of devastating apprehension of meaning. On the other hand, Fox, as a ' 427:“Fox’s stream of words presents a series of puzzling images. Should the listener simply consider each of these – the soaping of the mole, his drying by the embers, the mention of a 529:

he speaks of ‘the labours of poetical excavation’ and states that ‘the only fertile research is excavatory, immersive, a contraction of the spirit, a descent’. He told the actress

96:, doesn’t answer other than to make a swishing noise to which the Animator exclaims, “Wow! Let’s hear it land.” Dick strikes the desk with, what the text refers to as, a “bull’s 1460:

root ane- ("to breathe"), from which animal and animation also originate. It may also refer to one's "true self" as well as the feminine side of a man's unconscious mind in the

435:, which escape interpretation? Fox only speaks under duress. Does he represent the artist figure, forced by habit or vocation to express himself in a series of ever-repeating 1241:

He explained that the main excitement in writing had always been technical for him, a combination of “metaphysics and technique. A problem is there and I have to solve it.”

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Whereas many of Beckett's work have a circular aspect, these four plays all have a linear core; each can be, or is, stopped when certain conditions are met. In the case of

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is an extremely rare abnormality that involves a foetus getting trapped inside of its twin. The trapped foetus can survive as a parasite even past birth by forming an

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afraid to be born.” "The notion that Fox articulates – the me inside an I that can never be merged with the I – becomes the most dominant motif in Beckett’s writing.

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Since nothing more is to be gotten from Fox the two review the evidence, the tear – he had shed a number the previous winter – and Maud's willingness to act as a

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Samuel Beckett’s standard answer, when asked by him who Godot was: “If I knew I wouldn’t have written he play.” Once he went a little further and said to Sir

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Although used the world over, the use of the pizzle is common in Europe and particularly Germany. It is mentioned in French sources as used by the Gestapo in

135:. The man is kept bound though. As his eyes adjust to the light he recognises “the same old team” – evidently this is not then the first time he has been 273:

Scholars have demonstrated a fondness for grouping Beckett's works according to perceived themes: memory plays, political plays, ghost plays and so on.

1269:-like structure that leeches its twin's blood supply until it grows so large that it starts to harm the host, at which point doctors usually intervene. 459:

of a self-birth attempted yet blocked.” Maud says he needs to be “opened up”; as he can’t ‘open up’ himself, someone needs to step into that rôle. In

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viewed the anima process as being one of the sources of creative ability (which would make Fox the wellspring of ideas, experiences and dreams). “A

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is part of a fictionalised account of his treatment of Beckett some fifteen years earlier … The suspicion that the young Beckett is patient A of

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A final stroke of Dick's pizzle brings only one line. Fox – or more likely the mole/twin – cries out: “Let me out! Peter out in the stones!”

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during the German’s occupation which is perhaps why it was chosen as the torture weapon here bearing in mind Beckett’s wartime experiences.

621:. Some days he would go for long walks “from nine or ten in the morning until six or seven in the evening, scarcely seeing a soul. Telling 647:

into it and, eventually, has to ‘spice up’ the text himself. “In the end it comes down to a question of bending the truth to get relief.”

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cylindrical rod', Phil Baker discovered, was kept in the offices of Beckett & Medcalf – Ackerley, C. J. and Gontarski, S. E., (Eds.)

2105: 921: 705: 326:, if an unknown sign or set of words is provided by Fox. Each play has its own process, procedures that have to be followed. All evoke 259:: “Tomorrow … noon.” Everything will be better tomorrow. Beckett brings many of his characters to this brink (e.g. Clov at the end of 556:

in the three dialogues, he was 'the first to admit that to be an artist is to fail.'" Bearing this in mind the oft quoted lines from

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She is stopped just after this and goes on to read Fox's closing remarks from the day before which refer to him washing and drying a

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who is after specific details. It is becoming clearer that the Animator is seeking something in Fox that most likely isn’t there.

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nature. The text does not comment on what she is – or is not – wearing underneath but Billie Whitelaw's observation in a

1651: 1457: 1105:, “if by Godot I had meant God, I would have said God and not Godot.” – Ackerley, C. J. and Gontarski, S. E., (Eds.) 400:. Animator is not really listening to Fox any more than a great number of Beckett's audiences over the years haven’t 2265: 2259: 2253: 2242: 1942: 1305: 784: 160: 1336: 1158:

Lawley, P., ‘The Difficult Birth: An Image of Utterance in Beckett’ in Davis, R. J. and Butler, L. St J., (Eds.)

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Lawley, P., ‘The Difficult Birth: An Image of Utterance in Beckett’ in Davis, R. J. and Butler, L. St J., (Eds.)

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There are four types of fox calls. The call most often heard is the 'wow-wow-wow'. (See IPCC Information Sheet:

283:, for example) but alternative readings can also be made of the other so-called ‘political’ plays. These plays, 2225: 2084: 2063: 2049: 571:“The healthy man does not torture others - generally it is the tortured who turn into torturers.” - Carl Jung ( 420:’ perhaps because Beckett wanted his audience to make the Fox/Vox connection first. The French for ‘voice’ is ‘ 373:

The play interestingly reverses the act of creation of a radio play: “instead of the sequence {text → speech →

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weary and discouraged as time went on should already have started on a high degree of weariness and despair.'"

1644: 147:?” This is not the first time he has smiled; she checks to see if it should be recorded but is told not to. 2165: 2098: 2070: 1928: 1889: 1854: 562:

take on a greater significance: "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better."

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Yesterday’s Deformities: A Discussion of the Role of Memory and Discourse in the Plays of Samuel Beckett

536: 467:, scrabble” of his “old twin” trying to find a way out. This culminates in the final cry: “Let me out!” 66: 1631: 1801: 1738: 1731: 1717: 653: 599: 295: 1456:

Anima, originally from Latin, refers to passion, spirit, and "living essence." It may come from the

1245:"Because," he said, "you've got your own experience. You've got to draw on that." – Shainberg, L., ‘ 1145: 2305: 1710: 882: 2091: 2003: 1822: 548: 540:: ‘Are there other pits, deeper down? To which one accedes by mine? Stupid obsession with depth’ 436: 350: 285: 265:) but for these trapped souls the future only turns out to be an endless succession of today's. 277:

can easily sustain a political interpretation (one wonders how much it influenced Pinter's own

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friend, “the one where you start and the other where you throw it in the waste-paper basket.”

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hungry. Someone named “Maud” – the only person he has ever mentioned by name – has proposed a

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image of an author giving birth to a work of fiction is not new, nor is the picture of the “

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16, November 1975. Beckett translated the work into English shortly before its broadcast on

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The simplest and most universal exclamation of ecstasy is "Oh, God! Oh, God! Oh, my God!"

635: 483: 358: 354: 120: 93: 58: 2056: 1549:... Beckett had been interested in de Sade for some time ... insisted there should be a 792:, 3rd ed., 3 vols. Leipzig, 1923: rpt. (Hildesheim: Georg Olmes, 1967), III, pp 615,616) 105: 1300: 871: 793: 2218: 2010: 1989: 1815: 1724: 1667: 1266: 1140: 1127: 1044: 617: 612: 553: 534:

is a grey struggle, a groping in the dark for a shadow’. The decisive comment comes in

490: 451:“Live I did…) moving through tunnels seeking the way out (in fact the text shifts to a 428: 260: 156: 26: 2299: 1847: 1766: 1496: 1432:

Beckett in the 1990s: Selected Papers from the Second International Beckett Symposium

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Beckett in the 1990s: Selected Papers from the Second International Beckett Symposium

643: 493: 175: 136: 50: 46: 2147: 1996: 1868: 1689: 747: 581: 558: 497: 615:, in his biography, talks about the year when Beckett was struggling to complete 396:

says that people hear what they want to hear; they home in on what's relevant to

2017: 1960: 1935: 1759: 1752: 1123: 374: 365:’, and the twin which Fox carries monstrously within himself could be his book.” 362: 327: 193: 42: 22: 1829: 1461: 228: 188: 2031: 1787: 1780: 1246: 1091: 841: 788:, No 9, spring 1983, pp 76,77 (All internal quotes taken from Mauthner, F., 603: 595: 522: 464: 432: 311: 240: 210: 128: 109: 62: 54: 1286:, 1967, pp 3-11. Referred to in Uhlmann, A., Houppermans, S., Clément, B., 1146:

National University of Ireland, Maynooth, Postgraduate Research Record 2004

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Samuel Beckett to Jacoba van Velde, 12 April 1958. Quoted in Knowlson, J.,

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Robert Sandarg has put forward this short possible synopsis of the play:

180: 144: 2281: 2112: 1808: 1550: 886: 701: 164: 132: 318:, when one of the interrogators extracts the required information; in 1914: 1861: 1572: 708:

where he survived the war. Beckett, of course, had to go into hiding.

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with the same spelling, the Old English word itself comes from the

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and Bennett Simon as well as a number of Beckett critics hold that

1773: 1589: 1500:, Lecture notes of Dr. Lionel Corbett, Pacifica Graduate Institute 718: 412: 393: 168: 1636: 1614:

McGovern, B., ‘Beckett and the Radio Voice’ in Murray, C., (Ed.)

513: 101: 1640: 1282:, read to the British Psychoanalytical Society, Nov.1,1950. In 386:"Which is more painful," I asked him, "writing or not writing?" 199: 1119: 124: 404:

to him: Godot sounds like God so he must be God, mustn’t he?

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Beckett was once asked "to do an English translation of the

1160:‘Make Sense Who May’: Essays on Samuel Beckett’s Later Works 1030:‘Make Sense Who May’: Essays on Samuel Beckett’s Later Works 987:‘Make Sense Who May’: Essays on Samuel Beckett’s Later Works 431:

brother growing within him, a mother figure named Maud – as

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At last the frightened witness opened up and told the truth

69:(Fox). The English-language version was first published in 1395:, (Princeton, NJ: Princeton University Press, 1970), p 247 930:

with its famous opening line: “Come into the garden Maud.”

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cannot be recorded and scrutinized in case what he says “

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Interview with Elizabeth Bergner, BBC Radio 3, July 1977

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Phrasal Verb: Informal - To speak freely and candidly:

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word "fukh"; the modern German word for fox is "fuchs".

322:, when a decision is made as to Croker's future and in 209:

After further prompting by Dick, Fox begins his second

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Esslin, M., ‘Beckett and the Art of Broadcasting’ in

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Poem: “Crabbed age and youth cannot live together” –

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Esslin, M., ‘Beckett and the Art of Broadcasting’ in

1322:(Cambridge: Cambridge University Press, 2003), p 118 1075:(Cambridge: Cambridge University Press, 2003), p 114 676:

Meditations: Essays on Brecht, Beckett and the Media

2235: 2196: 2157: 2041: 1974: 1952: 1906: 1839: 1681: 1674: 881:Beckett could here be twisting the opening line of 861:, 10–16 April 1976; University of Reading (MS3081) 388:"They're both painful, but the pain is different." 1523:life, taking on a sad and oppressive aspect. – 1371:Proust and Three Dialogues with Georges Duthuit 1358:Proust and Three Dialogues with Georges Duthuit 1028:’ in Davis, R. J. and Butler, L. St J., (Eds.) 310:, when the living statue meets the director's 1652: 803:Ackerley, C. J. and Gontarski, S. E., (Eds.) 691:(London: Oxford University Press, 1994), p 50 689:The Drama in the Text: Beckett's Late Fiction 183:he has to endure to return it to the ground. 8: 625:about this, he said it saved masturbation.” 353:torturing an author. The Animator speaks of 1301:The Schismatic Self in A Piece of Monologue 1032:(Gerrards Cross: Colin Smythe, 1988), p 143 943:(London: Faber and Faber, 1984), pp 121,122 584:? If that is the case then what we have in 123:from a fourth figure, Fox, followed by his 1678: 1659: 1645: 1637: 1447:, (London: Calder Publications 1999), p 7 1408:(London: Calder Publications, 1994), p 295 1139:Branigan, K., ‘Glossolalies – Beckett And 1060:Damned to Fame: The Life of Samuel Beckett 1333:Collected Shorter Plays of Samuel Beckett 1217:Collected Shorter Plays of Samuel Beckett 1204:Collected Shorter Plays of Samuel Beckett 1178:Collected Shorter Plays of Samuel Beckett 1162:(Gerrards Cross: Colin Smythe, 1988), p 3 1024:Sandarg, R., ‘A Political Perspective on 1013:Collected Shorter Plays of Samuel Beckett 1000:Collected Shorter Plays of Samuel Beckett 989:(Gerrards Cross: Colin Smythe, 1988), p 5 974:Collected Shorter Plays of Samuel Beckett 954:Collected Shorter Plays of Samuel Beckett 941:Collected Shorter Plays of Samuel Beckett 909:Collected Shorter Plays of Samuel Beckett 829:Collected Shorter Plays of Samuel Beckett 770:Collected Shorter Plays of Samuel Beckett 735:Collected Shorter Plays of Samuel Beckett 1596:, (London: Faber and Faber, 2006), p 116 1232:, (London: Faber and Faber, 2006), p 615 1109:, (London: Faber and Faber, 2006), p 232 807:, (London: Faber and Faber, 2006), p 360 592:, is another of Beckett's “mindscapes”. 759:Sly as a fox's smile - crafty, cunning. 667: 1219:(London: Faber and Faber, 1984), p 121 1206:(London: Faber and Faber, 1984), p 137 1180:(London: Faber and Faber, 1984), p 119 1015:(London: Faber and Faber, 1984), p 120 1002:(London: Faber and Faber, 1984), p 111 976:(London: Faber and Faber, 1984), p 124 956:(London: Faber and Faber, 1984), p 122 911:(London: Faber and Faber, 1984), p 118 831:(London: Faber and Faber, 1984), p 117 772:(London: Faber and Faber, 1984), p 116 737:(London: Faber and Faber, 1984), p 115 29:. It was written in French in 1961 as 1594:The Faber Companion to Samuel Beckett 1557:in Beckett's own work. – Cronin, A., 1230:The Faber Companion to Samuel Beckett 1107:The Faber Companion to Samuel Beckett 805:The Faber Companion to Samuel Beckett 7: 1561:(London: Flamingo, 1997), pp 291,292 790:Beitnäge zu einer Kritik der Sprache 2180:The Complete Short Prose 1929–1989 14: 2243:Suzanne Dechevaux-Dumesnil (wife) 1618:(Dublin: New Island, 2006), p 139 1559:Samuel Beckett The Last Modernist 1511:Samuel Beckett The Last Modernist 1373:(London: John Calder, 1965), p 65 1360:(London: John Calder, 1965), p 29 1339:“abode of stones” – Beckett, S., 1062:(London: Bloomsbury, 1996), p 446 361:, ‘old spectres from the days of 857:Interview with Billie Whitelaw, 1983:Dream of Fair to Middling Women 1584:"Samuel Beckett's father was a 1513:(London: Flamingo, 1997), p 233 1443:Beckett, S., ‘Worstward Ho’ in 1393:Samuel Beckett: poet and critic 334:there is no physical paperwork 293:can also be grouped along with 119:Dick is instructed to remove a 1546:Les Cenr-Vinght Jours de Sodom 1434:(Amsterdam Rodopi, 1993), p 16 1421:(Amsterdam Rodopi, 1993), p 15 1049:(London: Methuen, 1980), p 148 678:(London: Methuen, 1980), p 149 73:(Grove, 1976, Faber, 1977) as 1: 2173:Stories and Texts for Nothing 1588:, and such a ruler, 'a solid 891:The Oxford Shakespeare: Poems 1458:Proto-Indo-European language 1335:, p 119. This seems to echo 887:The Passionate Pilgrim, XII 202:youth,” before proceeding. 108:. (‘Dick’ is, of course, a 2332: 2260:Journal of Beckett Studies 1616:Samuel Beckett – 100 Years 1430:Buning, M., Oppenheim L., 1417:Buning, M., Oppenheim L., 1306:Journal of Beckett Studies 1243:"Why metaphysics?" I said. 785:Journal of Beckett Studies 602:consists of two parts; an 573:Return to the Simple Life 375:electromagnetic vibration 2226:The Capital of the Ruins 2085:Imagination Dead Imagine 446:are the method that the 2316:Plays by Samuel Beckett 2158:Short story collections 1529:- Part Two, BBC article 1345:Complete Dramatic Works 1047:, Beckett and the Media 1043:Meditations: Essays on 922:Alfred, Lord Tennyson’s 549:stream of consciousness 303:as ‘procedural’ plays. 2166:More Pricks Than Kicks 2071:From an Abandoned Work 1929:... but the clouds ... 1855:From an Abandoned Work 1573:Archetype of the Anima 1320:Beckett and Aesthetics 1073:Beckett and Aesthetics 453:first-person narrative 390: 167:, words cannot reveal 155:”. “But no word, says 2311:Theatre of the Absurd 2275:Samuel Beckett Bridge 2254:James Beckett (uncle) 384: 32:Pochade radiophonique 1802:A Piece of Monologue 1739:Rough for Theatre II 1718:Act Without Words II 1290:, Rodopi, 2004, p 26 1118:The Modern English " 320:Rough for Theatre II 296:Rough for Theatre II 1711:Act Without Words I 1527:Model of the Psyche 1486:, (doctoral thesis) 1445:Beckett Shorts No 4 1090:No. 104, Fall 1987 889:, Shakespeare, W., 2285:(2015 documentary) 2004:Mercier and Camier 1883:Rough for Radio II 1481:2007-09-27 at the 1309:No 7, 1982, p 9-21 1280:The Imaginary Twin 1253:No. 104, Fall 1987 1247:Exorcising Beckett 1122:" is derived from 848:No. 104, Fall 1987 842:Exorcising Beckett 719:On the Fox's Trail 586:Rough for Radio II 545:Rough for Radio II 506:The Imaginary Twin 502:The Imaginary Twin 347:Rough for Radio II 324:Rough for Radio II 301:Rough for Radio II 275:Rough for Radio II 249:between two kisses 45:on 13 April 1976. 18:Rough for Radio II 2293: 2292: 2141:Ill Seen Ill Said 1970: 1969: 1876:Rough for Radio I 1732:Krapp's Last Tape 1704:Waiting for Godot 1586:quantity surveyor 1341:Waiting for Godot 920:Perhaps a nod to 654:Krapp’s Last Tape 636:divine Florentine 590:Rough for Radio I 531:Elizabeth Bergner 500:'s 1950 paper on 407:Fox sounds like ‘ 216:Caesarean section 35:and published in 2323: 2286: 2078:All Strange Away 1943:Nacht und Träume 1679: 1661: 1654: 1647: 1638: 1619: 1612: 1606: 1603: 1597: 1582: 1576: 1568: 1562: 1537: 1531: 1520: 1514: 1507: 1501: 1493: 1487: 1471: 1465: 1454: 1448: 1441: 1435: 1428: 1422: 1415: 1409: 1402: 1396: 1391:Harvey, L. E., 1389: 1383: 1380: 1374: 1367: 1361: 1354: 1348: 1329: 1323: 1316: 1310: 1297: 1291: 1276: 1270: 1260: 1254: 1251:The Paris Review 1239: 1233: 1226: 1220: 1213: 1207: 1200: 1194: 1187: 1181: 1174: 1163: 1156: 1150: 1137: 1131: 1116: 1110: 1103:Ralph Richardson 1099: 1093: 1088:The Paris Review 1082: 1076: 1069: 1063: 1056: 1050: 1039: 1033: 1022: 1016: 1009: 1003: 996: 990: 983: 977: 970: 957: 950: 944: 937: 931: 918: 912: 905: 894: 879: 873: 868: 862: 855: 849: 846:The Paris Review 838: 832: 825: 808: 801: 795: 779: 773: 766: 760: 757: 751: 744: 738: 731: 722: 715: 709: 704:and ended up in 698: 692: 685: 679: 672: 576: 280:One for the Road 187:underlining his 159:, can have such 2331: 2330: 2326: 2325: 2324: 2322: 2321: 2320: 2296: 2295: 2294: 2289: 2279: 2248:Frances Beckett 2231: 2205:Three Dialogues 2192: 2153: 2127:Stirrings Still 2037: 1966: 1948: 1902: 1890:Words and Music 1835: 1670: 1665: 1628: 1623: 1622: 1613: 1609: 1604: 1600: 1583: 1579: 1569: 1565: 1541:Marquis de Sade 1538: 1534: 1521: 1517: 1508: 1504: 1494: 1490: 1483:Wayback Machine 1472: 1468: 1455: 1451: 1442: 1438: 1429: 1425: 1416: 1412: 1403: 1399: 1390: 1386: 1381: 1377: 1368: 1364: 1355: 1351: 1330: 1326: 1317: 1313: 1298: 1294: 1284:Second Thoughts 1277: 1273: 1263:Foetus in foetu 1261: 1257: 1244: 1242: 1240: 1236: 1227: 1223: 1214: 1210: 1201: 1197: 1188: 1184: 1175: 1166: 1157: 1153: 1138: 1134: 1117: 1113: 1100: 1096: 1085: 1083: 1079: 1070: 1066: 1057: 1053: 1040: 1036: 1023: 1019: 1010: 1006: 997: 993: 984: 980: 971: 960: 951: 947: 938: 934: 919: 915: 906: 897: 880: 876: 869: 865: 856: 852: 839: 835: 826: 811: 802: 798: 780: 776: 767: 763: 758: 754: 745: 741: 732: 725: 716: 712: 699: 695: 686: 682: 673: 669: 664: 634:, miss, of the 570: 568: 484:tortured artist 387: 383: 330:even though in 271: 163:power; however 89: 59:Billie Whitelaw 12: 11: 5: 2329: 2327: 2319: 2318: 2313: 2308: 2298: 2297: 2291: 2290: 2288: 2287: 2277: 2272: 2268:Samuel Beckett 2263: 2256: 2251: 2245: 2239: 2237: 2233: 2232: 2230: 2229: 2222: 2215: 2208: 2200: 2198: 2194: 2193: 2191: 2190: 2183: 2176: 2169: 2161: 2159: 2155: 2154: 2152: 2151: 2144: 2137: 2130: 2123: 2116: 2109: 2102: 2095: 2088: 2081: 2074: 2067: 2060: 2053: 2045: 2043: 2039: 2038: 2036: 2035: 2028: 2021: 2014: 2007: 2000: 1993: 1986: 1978: 1976: 1972: 1971: 1968: 1967: 1965: 1964: 1956: 1954: 1950: 1949: 1947: 1946: 1939: 1932: 1925: 1918: 1910: 1908: 1904: 1903: 1901: 1900: 1893: 1886: 1879: 1872: 1865: 1858: 1851: 1843: 1841: 1837: 1836: 1834: 1833: 1826: 1819: 1816:Ohio Impromptu 1812: 1805: 1798: 1791: 1784: 1777: 1770: 1763: 1756: 1749: 1742: 1735: 1728: 1721: 1714: 1707: 1700: 1693: 1685: 1683: 1676: 1672: 1671: 1668:Samuel Beckett 1666: 1664: 1663: 1656: 1649: 1641: 1635: 1634: 1632:RTÉ Audio file 1627: 1626:External links 1624: 1621: 1620: 1607: 1598: 1577: 1563: 1532: 1515: 1502: 1488: 1466: 1449: 1436: 1423: 1410: 1397: 1384: 1375: 1362: 1349: 1324: 1318:Albright, D., 1311: 1299:Ben-Zvi, L., ‘ 1292: 1271: 1267:umbilical cord 1255: 1234: 1221: 1208: 1195: 1182: 1164: 1151: 1132: 1128:Proto-Germanic 1111: 1094: 1077: 1071:Albright, D., 1064: 1051: 1034: 1017: 1004: 991: 978: 958: 945: 932: 913: 895: 874: 863: 850: 833: 809: 796: 774: 761: 752: 739: 723: 710: 693: 680: 666: 665: 663: 660: 613:Anthony Cronin 567: 564: 554:Bram van Velde 491:psychoanalysts 429:parasitic twin 382: 379: 367: 366: 363:book reviewing 349:may concern a 270: 269:Interpretation 267: 88: 85: 27:Samuel Beckett 13: 10: 9: 6: 4: 3: 2: 2328: 2317: 2314: 2312: 2309: 2307: 2304: 2303: 2301: 2284: 2283: 2278: 2276: 2273: 2271: 2269: 2264: 2262: 2261: 2257: 2255: 2252: 2249: 2246: 2244: 2241: 2240: 2238: 2234: 2227: 2223: 2221: 2220: 2216: 2214: 2213: 2209: 2206: 2202: 2201: 2199: 2195: 2189: 2188: 2184: 2182: 2181: 2177: 2175: 2174: 2170: 2168: 2167: 2163: 2162: 2160: 2156: 2149: 2145: 2143: 2142: 2138: 2136: 2135: 2131: 2128: 2124: 2121: 2117: 2115: 2114: 2110: 2107: 2106:The Lost Ones 2103: 2100: 2096: 2093: 2089: 2086: 2082: 2079: 2075: 2072: 2068: 2065: 2061: 2058: 2054: 2051: 2047: 2046: 2044: 2042:Short stories 2040: 2034: 2033: 2029: 2027: 2026: 2025:The Unnamable 2022: 2020: 2019: 2015: 2013: 2012: 2008: 2006: 2005: 2001: 1999: 1998: 1994: 1992: 1991: 1987: 1985: 1984: 1980: 1979: 1977: 1973: 1963: 1962: 1958: 1957: 1955: 1951: 1945: 1944: 1940: 1938: 1937: 1933: 1931: 1930: 1926: 1924: 1923: 1919: 1917: 1916: 1912: 1911: 1909: 1905: 1899: 1898: 1894: 1892: 1891: 1887: 1885: 1884: 1880: 1878: 1877: 1873: 1871: 1870: 1866: 1864: 1863: 1859: 1857: 1856: 1852: 1850: 1849: 1848:All That Fall 1845: 1844: 1842: 1838: 1832: 1831: 1827: 1825: 1824: 1820: 1818: 1817: 1813: 1811: 1810: 1806: 1804: 1803: 1799: 1797: 1796: 1792: 1790: 1789: 1785: 1783: 1782: 1778: 1776: 1775: 1771: 1769: 1768: 1764: 1762: 1761: 1757: 1755: 1754: 1750: 1748: 1747: 1743: 1741: 1740: 1736: 1734: 1733: 1729: 1727: 1726: 1722: 1720: 1719: 1715: 1713: 1712: 1708: 1706: 1705: 1701: 1699: 1698: 1694: 1692: 1691: 1687: 1686: 1684: 1680: 1677: 1673: 1669: 1662: 1657: 1655: 1650: 1648: 1643: 1642: 1639: 1633: 1630: 1629: 1625: 1617: 1611: 1608: 1602: 1599: 1595: 1591: 1587: 1581: 1578: 1575: 1574: 1567: 1564: 1560: 1556: 1552: 1548: 1547: 1542: 1536: 1533: 1530: 1528: 1519: 1516: 1512: 1506: 1503: 1499: 1498: 1492: 1489: 1485: 1484: 1480: 1477: 1470: 1467: 1464:of Carl Jung. 1463: 1459: 1453: 1450: 1446: 1440: 1437: 1433: 1427: 1424: 1420: 1414: 1411: 1407: 1404:Beckett, S., 1401: 1398: 1394: 1388: 1385: 1379: 1376: 1372: 1369:Beckett, S., 1366: 1363: 1359: 1356:Beckett, S., 1353: 1350: 1346: 1342: 1338: 1334: 1331:Beckett, S., 1328: 1325: 1321: 1315: 1312: 1308: 1307: 1302: 1296: 1293: 1289: 1288:After Beckett 1285: 1281: 1278:Bion, W. R., 1275: 1272: 1268: 1264: 1259: 1256: 1252: 1248: 1238: 1235: 1231: 1225: 1222: 1218: 1215:Beckett, S., 1212: 1209: 1205: 1202:Beckett, S., 1199: 1196: 1192: 1186: 1183: 1179: 1176:Beckett, S., 1173: 1171: 1169: 1165: 1161: 1155: 1152: 1148: 1147: 1142: 1136: 1133: 1129: 1125: 1121: 1115: 1112: 1108: 1104: 1098: 1095: 1092: 1089: 1081: 1078: 1074: 1068: 1065: 1061: 1055: 1052: 1048: 1046: 1038: 1035: 1031: 1027: 1021: 1018: 1014: 1011:Beckett, S., 1008: 1005: 1001: 998:Beckett, S., 995: 992: 988: 982: 979: 975: 972:Beckett, S., 969: 967: 965: 963: 959: 955: 952:Beckett, S., 949: 946: 942: 939:Beckett, S., 936: 933: 929: 928: 923: 917: 914: 910: 907:Beckett, S., 904: 902: 900: 896: 892: 888: 884: 883:Shakespeare’s 878: 875: 872: 867: 864: 860: 854: 851: 847: 843: 837: 834: 830: 827:Beckett, S., 824: 822: 820: 818: 816: 814: 810: 806: 800: 797: 794: 791: 787: 786: 778: 775: 771: 768:Beckett, S., 765: 762: 756: 753: 749: 743: 740: 736: 733:Beckett, S., 730: 728: 724: 720: 714: 711: 707: 703: 697: 694: 690: 684: 681: 677: 671: 668: 661: 659: 656: 655: 648: 645: 639: 637: 633: 632: 626: 624: 620: 619: 614: 608: 605: 601: 597: 593: 591: 587: 583: 577: 574: 565: 563: 561: 560: 555: 550: 546: 541: 539: 538: 537:The Unnamable 532: 528: 524: 518: 515: 510: 507: 503: 499: 495: 494:Didier Anzieu 492: 489:"Influential 487: 485: 481: 476: 474: 468: 466: 462: 458: 454: 449: 445: 441: 438: 434: 430: 425: 423: 419: 414: 410: 405: 403: 399: 395: 389: 380: 378: 376: 371: 364: 360: 356: 352: 348: 344: 343: 342: 339: 337: 333: 329: 325: 321: 317: 314:criteria; in 313: 309: 304: 302: 298: 297: 292: 288: 287: 282: 281: 276: 268: 266: 264: 263: 258: 252: 250: 244: 242: 237: 233: 231: 230: 223: 220: 217: 212: 207: 203: 201: 196: 195: 190: 184: 182: 177: 172: 170: 166: 162: 158: 154: 148: 146: 142: 138: 134: 130: 126: 122: 117: 115: 111: 107: 103: 99: 95: 86: 84: 80: 78: 77: 72: 71:Ends and Odds 68: 67:Patrick Magee 64: 60: 56: 52: 51:Harold Pinter 48: 47:Martin Esslin 44: 40: 39: 34: 33: 28: 24: 20: 19: 2280: 2267: 2258: 2217: 2210: 2185: 2178: 2171: 2164: 2148:Worstward Ho 2139: 2133: 2111: 2057:Echo's Bones 2030: 2023: 2016: 2009: 2002: 1995: 1988: 1981: 1959: 1941: 1934: 1927: 1920: 1913: 1895: 1888: 1882: 1881: 1874: 1869:The Old Tune 1867: 1860: 1853: 1846: 1828: 1821: 1814: 1807: 1800: 1793: 1786: 1779: 1772: 1765: 1758: 1751: 1744: 1737: 1730: 1723: 1716: 1709: 1702: 1695: 1690:Human Wishes 1688: 1615: 1610: 1601: 1593: 1580: 1571: 1566: 1558: 1544: 1535: 1526: 1518: 1510: 1509:Cronin, A., 1505: 1495: 1491: 1474: 1469: 1452: 1444: 1439: 1431: 1426: 1418: 1413: 1405: 1400: 1392: 1387: 1378: 1370: 1365: 1357: 1352: 1344: 1332: 1327: 1319: 1314: 1304: 1295: 1287: 1283: 1279: 1274: 1258: 1250: 1237: 1229: 1224: 1216: 1211: 1203: 1198: 1190: 1185: 1177: 1159: 1154: 1144: 1143:On Air’ in 1135: 1114: 1106: 1097: 1087: 1080: 1072: 1067: 1059: 1054: 1042: 1037: 1029: 1025: 1020: 1012: 1007: 999: 994: 986: 981: 973: 953: 948: 940: 935: 925: 916: 908: 890: 877: 866: 858: 853: 845: 836: 828: 804: 799: 789: 783: 777: 769: 764: 755: 748:World War II 742: 734: 713: 696: 688: 687:Brater, E., 683: 675: 670: 652: 649: 640: 629: 627: 616: 609: 594: 589: 585: 578: 572: 569: 559:Worstward Ho 557: 544: 542: 535: 526: 519: 511: 505: 501: 498:Wilfred Bion 488: 480:metaphorical 477: 469: 460: 442: 426: 421: 417: 408: 406: 401: 397: 391: 385: 372: 368: 346: 340: 335: 331: 323: 319: 315: 307: 305: 300: 294: 290: 284: 278: 274: 272: 261: 256: 253: 248: 245: 238: 234: 227: 224: 221: 208: 204: 192: 185: 173: 161:transcendent 152: 149: 137:interrogated 118: 113: 106:bull's penis 104:made from a 90: 81: 75: 74: 70: 63:Stenographer 36: 31: 30: 17: 16: 15: 2197:Non-fiction 2018:Malone Dies 1936:Quad I + II 1823:Catastrophe 1760:Come and Go 1570:Crisp, A., 1473:Brown, V., 1124:Old English 1026:Catastrophe 859:Radio Times 448:unconscious 328:bureaucracy 308:Catastrophe 286:Catastrophe 194:Radio Times 43:BBC Radio 3 2306:1976 plays 2300:Categories 2064:First Love 2050:Assumption 1922:Ghost Trio 1907:Television 1830:What Where 1746:Happy Days 1697:Eleutheria 1497:Basic Jung 1462:psychology 706:Mauthausen 662:References 607:complex.” 604:archetypal 433:pictograms 332:What Where 316:What Where 291:What Where 229:What Where 189:lascivious 23:radio play 2032:How It Is 1788:Footfalls 1781:That Time 631:Purgatory 623:MacGreevy 523:leitmotif 473:repressed 312:aesthetic 241:wet nurse 211:monologue 153:may be it 129:blindfold 110:euphemism 49:directed 2212:Disjecta 2187:Nohow On 2099:Lessness 1897:Cascando 1479:Archived 644:Freudian 566:Animator 465:scrabble 461:Cascando 457:scenario 402:listened 181:blizzard 165:tortured 157:Mauthner 145:lingerie 133:earplugs 87:Synopsis 76:Radio II 55:Animator 2282:Notfilm 2236:Related 2134:Company 2120:neither 2113:Fizzles 1809:Rockaby 1795:Neither 1725:Endgame 1682:Theatre 1551:preface 1525:Jung's 1406:Trilogy 1337:Lucky’s 702:Gestapo 600:complex 588:, like 575:, 1941) 514:fodient 444:Symbols 411:’, the 392:An old 262:Endgame 257:Radio I 200:Crabbed 179:in the 143:in the 116:speak. 2250:(aunt) 2219:Proust 2011:Molloy 1990:Murphy 1975:Novels 1953:Screen 1915:Eh Joe 1862:Embers 1767:Breath 1555:Sadism 1347:, p 42 1149:, p 20 1141:Artaud 1045:Brecht 893:, 1914 618:Murphy 527:Proust 437:motifs 418:Renard 355:Sterne 351:critic 336:per se 141:Vermin 98:pizzle 65:) and 38:Minuit 2270:(P61) 1840:Radio 1774:Not I 1675:Plays 1590:ebony 1303:’ in 1249:’ in 924:poem 844:’ in 582:anima 525:. In 413:Latin 394:adage 359:Dante 169:truth 100:”, a 21:is a 2092:Ping 1997:Watt 1961:Film 1753:Play 927:Maud 596:Jung 543:In " 478:The 422:voix 398:them 357:and 299:and 289:and 176:mole 131:and 121:hood 102:whip 94:mute 2266:LÉ 1543:'s 1120:fox 424:’. 409:vox 381:Fox 171:.” 125:gag 57:), 25:by 2302:: 1343:, 1167:^ 961:^ 898:^ 812:^ 726:^ 338:. 127:, 114:to 79:. 2228:" 2224:" 2207:" 2203:" 2150:" 2146:" 2129:" 2125:" 2122:" 2118:" 2108:" 2104:" 2101:" 2097:" 2094:" 2090:" 2087:" 2083:" 2080:" 2076:" 2073:" 2069:" 2066:" 2062:" 2059:" 2055:" 2052:" 2048:" 1660:e 1653:t 1646:v 1193:. 721:) 416:‘ 345:“ 247:“ 61:( 53:(

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