Frasi di Samuel Beckett

Molloy, Peggio tutta

II

da Malone muore

Aspettando Godot

Origine: Più pene che pane, p. 58

Molloy

Estragone
Aspettando Godot

Aspettando Godot
Aspettando Godot

Molloy

Aspettando Godot

Aspettando Godot

Molloy

Molloy

Molloy

Molloy

dal Proust

da Finale di partita

Aspettando Godot

Aspettando Godot

Origine: Più pene che pane, p. 57

Origine: Più pene che pane, p. 59

Molloy

Molloy

Molloy

Molloy

da una lettera del 1954 a Hans Naumann
Origine: Citato in Sandro Veronesi, David Foster Wallace: Così la vita eroica degli impiegati diventa un capolavoro sulla noia http://ricerca.repubblica.it/repubblica/archivio/repubblica/2011/10/31/david-foster-wallace-cosi-la-vita-eroica.html, la Repubblica, 31 ottobre 2011.

Finale di partita

Finale di partita

Malone muore

Malone Dies (1951)
Contesto: Let me say before I go any further that I forgive nobody. I wish them all an atrocious life and then the fires and ice of hell and in the execrable generations to come an honoured name.

Origine: Endgame (Konec hry)

The Unnamable (1954)
Contesto: What they were most determined for me to swallow was my fellow creatures. In this they were without mercy. I remember little or nothing of these lectures. I cannot have understood a great deal. But I seem to have retained certain descriptions, in spite of myself. They gave me courses on love, on intelligence, most precious, most precious. They also taught me to count, and even to reason. Some of this rubbish has come in handy on occasions, I don’t deny it, on occasions which would never have arisen if they had left me in peace. I use it still, to scratch my arse with.

As quoted in "Samuel Beckett Talks About Beckett" by John Gruen, in Vogue, (December 1969), p. 210
Comparable to "The tragic figure represents the expiation of original sin, of the original and eternal sin of him and all his 'soci malorum,' the sin of having been born. 'Pues el delito mayor / Del hombre es haber nacido.'" from his essay Proust, quoting Pedro Calderón de la Barca's La vida es sueño (Life is a Dream).

Part I (p. 1)
Murphy (1938)

Molloy (1951)
Contesto: What I assert, deny, question, in the present, I still can. But mostly I shall use the various tenses of the past. For mostly I do not know, it is perhaps no longer so, it is too soon to know, I simply do not know, perhaps shall never know.

The Letters of Samuel Beckett 1929–1940 (2009), p. 362
Contesto: I think the next little bit of excitement is flying. I hope I am not too old to take it up seriously, nor too stupid about machines to qualify as a commercial pilot. I do not feel like spending the rest of my life writing books that no one will read. It is not as though I wanted to write them.

Molloy (1951)
Contesto: And truly it little matters what I say, this or that or any other thing. Saying is inventing. Wrong, very rightly wrong. You invent nothing, you think you are inventing, you think you are escaping, and all you do is stammer out your lesson, the remnants of a pensum one day got by heart and long forgotten, life without tears, as it is wept.

Molloy (1951)
Contesto: All the things you would do gladly, oh without enthusiasm, but gladly, all the things there seems no reason for your not doing, and that you do not do! Can it be we are not free? It might be worth looking into.

The End (1946)
Contesto: I knew it would soon be the end, so I played the part, you know, the part of — how shall I say, I don’t know.

The End (1946)
Contesto: Normally I didn’t see a great deal. I didn’t hear a great deal either. I didn’t pay attention. Strictly speaking I wasn’t there. Strictly speaking I believe I’ve never been anywhere.

Malone Dies (1951), p. 16

Part I, p. 37
Watt (1943)
Contesto: Personally of course I regret everything. Not a word, not a deed, not a thought, not a need, not a grief, not a joy, not a girl, not a boy, not a doubt, not a trust, not a scorn, not a lust, not a hope, not a fear, not a smile, not a tear, not a name, not a face, no time, no place, that I do not regret, exceedingly. An ordure, from beginning to end.

Molloy (1951)
Contesto: Having heard, or more probably read somewhere, in the days when I thought I would be well advised to educate myself, or amuse myself, or stupefy myself, or kill time, that when a man in a forest thinks he is going forward in a straight line, in reality he is going in a circle, I did my best to go in a circle, hoping in this way to go in a straight line. For I stopped being half-witted and became sly, whenever I took the trouble … and if I did not go in a rigorously straight line, with my system of going in a circle, at least I did not go in a circle, and that was something.

Also quoted in "Beckett and Failure", in Realism, Issue 5 (June 2011) http://www.hypocritereader.com/5/beckett-and-failure
Three Dialogues (1949)
Contesto: By nature I mean here, like the naïvest realist, a composite of perceiver and perceived, not a datum, an experience. All I wish to suggest is that the tendency and accomplishment of this painting are fundamentally those of previous painting, straining to enlarge the statement of a compromise.

Molloy (1951)
Contesto: To decompose is to live too, I know, I know, don't torment me, but one sometimes forgets. And of that life too I shall tell you perhaps one day, the day I know that when I thought I knew I was merely existing and that passion without form or stations will have devoured me down to the rotting flesh itself and that when I know that I know nothing, am only crying out as I have always cried out, more or less piercingly, more or less openly. Let me cry out then, it's said to be good for you. Yes let me cry out, this time, then another time perhaps, then perhaps a last time.

The Unnamable (1954)
Contesto: The tears stream down my cheeks from my unblinking eyes. What makes me weep so? From time to time. There is nothing saddening here. Perhaps it is liquefied brain.

The Expelled (1946)

Molloy (1951)
Contesto: I was not made for the great light that devours, a dim lamp was all I had been given, and patience without end, to shine it on the empty shadows. I was a solid in the midst of other solids.

Worstward Ho (1983)
Contesto: Enough. Sudden enough. Sudden all far. No move and sudden all far. All least. Three pins. One pinhole. In dimmost dim. Vasts apart. At bounds of boundless void. Whence no farther. Best worse no farther. Nohow less. Nohow worse. Nohow naught. Nohow on.

Malone Dies (1951)
Contesto: Or I might be able to catch one, a little girl for example, and half strangle her, three quarters, until she promises to give me my stick, give me soup, empty my pots, kiss me, fondle me, smile to me, give me my hat, stay with me, follow the hearse weeping into her handkerchief, that would be nice. I am such a good man, at bottom, such a good man, how is it that nobody ever noticed it?

The Expelled (1946)

The End (1946)
Contesto: I didn’t feel well, but they told me I was well enough. They didn’t say in so many words that I was as well as I would ever be, but that was the implication.

Molloy (1951)
Contesto: My life, my life, now I speak of it as of something over, now as of a joke which still goes on, and it is neither, for at the same time it is over and it goes on, and is there any tense for that? Watch wound and buried by the watchmaker, before he died, whose ruined works will one day speak of God, to the worms.

The Unnamable (1954)
Contesto: In order to obtain the optimum view of what takes place in front of me, I should have to lower my eyes a little. But I lower my eyes no more. In a word, I only see what appears close beside me, what I best see I see ill.

Molloy (1951)
Contesto: Anything worse than what I do, without knowing what, or why, I have never been able to conceive, and that doesn’t surprise me, for I never tried. For had I been able to conceive something worse than what I had I would have known no peace until I got it, if I know anything about myself.

Molloy (1951)
Contesto: To decompose is to live too, I know, I know, don't torment me, but one sometimes forgets. And of that life too I shall tell you perhaps one day, the day I know that when I thought I knew I was merely existing and that passion without form or stations will have devoured me down to the rotting flesh itself and that when I know that I know nothing, am only crying out as I have always cried out, more or less piercingly, more or less openly. Let me cry out then, it's said to be good for you. Yes let me cry out, this time, then another time perhaps, then perhaps a last time.

The Unnamable (1954)
Contesto: What a joy to know where one is, and where one will stay, without being there. Nothing to do but stretch out comfortably on the rack, in the blissful knowledge you are nobody for all eternity. A pity I should have to give tongue at the same time, it prevents it from bleeding in peace, licking the lips.

The Unnamable (1954)
Contesto: What they were most determined for me to swallow was my fellow creatures. In this they were without mercy. I remember little or nothing of these lectures. I cannot have understood a great deal. But I seem to have retained certain descriptions, in spite of myself. They gave me courses on love, on intelligence, most precious, most precious. They also taught me to count, and even to reason. Some of this rubbish has come in handy on occasions, I don’t deny it, on occasions which would never have arisen if they had left me in peace. I use it still, to scratch my arse with.