By Cohn, Ruby; Beckett, Samuel
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Extra resources for A Beckett canon
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. Not until the ‹nal stanza (of nine lines of varying length) does the ‹rstperson persona enter the scene. ” Rich sonically, “Alba” displays Beckett’s lyricism, undiluted by his usual irony.
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. ” 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.
Opening on the line “Styx! ” the poem traces a descent into hell, and the account of the personal inferno divides into two. The ‹rst part, larded with German phrases, substitutes a night of hatred for one of love. The second part describes a visit to a brothel, which thrives as a family enterprise. The ‹rst-person pronoun is con‹ned to the ‹rst part, but both parts express distaste for sexuality. Stylistically, the poem ranges over several idioms: Classical references riddle Negro minstrel dialect; the clown Grock is displaced by the poet Ronsard.