By Cohn, Ruby; Beckett, Samuel
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Additional resources for A Beckett canon
7 Also in the second part Belacqua in Paris presses a volume of Dante on the reluctant Syra-cusa, but he also patronizes brothels. While visiting the Smeraldina in Vienna, Belacqua receives a letter (in French in the text) from a French friend, and in later conversation with that friend Belacqua expresses admiration of Racine and Malherbe: “They have no style, they write without style, do they not. . Perhaps only the French can do it. Perhaps only the French language can give you the thing you want” (48).
All the men wore modern dress, with the Kid himself sporting ›annel trousers; and Don Diègue (played by Beckett in a long white beard à la Old Father Time) carried an umbrella instead of a sword and . . an alarm clock” (126). Beckett skipped the rehearsals of Le Kid, but he nevertheless assumed his role in the three performances. When after the ‹rst night his respected French professor Rudmose-Brown berated the authors of the travesty, Beckett was embarrassed by the whole enterprise and stumbled drunkenly through the remaining two performances (but Cronin writes of two sober Beckett performances, followed by the debacle on the third night).
36 a beckett canon: 1932–33 Dream of Fair to Middling Women The title of Dream posits a dreamer; yet no such character appears. Perhaps he is the narrator, as in Finnegans Wake. He is not to be confused with the protagonist, Belacqua, who occasionally lapses into a dreamlike state. Two of the three “fair to middling women” indulge brie›y in dreams, but the title can scarcely allude to these subsidiary ‹gures. Rather, like so much else in the novel, literary dreams are implied—Tennyson’s Dream of Fair Women and Chaucer’s Legend of Good Women.