Parménides who lived about the v century to. C. it thought that, if somewhat exists must book credit sprung up of somewhat or nothing. The nothing exist. But when that sprang up of somewhat, that something is also different of which it is. In this way, C. E. M. Joad comments, that Parménides infer that the reality is a solid mass, a |plenum| ; somewhat that occupies the totality of the solid space and without distinction of any of your parts, without start nor change. Immobile, but that if |moviese|, it goes in the nothing. Therefore, the appropriate action in this world is for Parménides, the wait.
The sight of that pre-Socratic, much has to see with those of the brilliant dramatist and Irish novelist Samuel Beckett ( the “Esperando author to Godot ": that dramatic representation of the more wretched state of the man without God, just as praies one of the as many performances on your more celebrate work ). In both lives together the same chaos, the same immanence without source nor course.
In the two is the conception of the impossibility of differences between a thing and the other, as also the impossibility of movement, since all movement or change not is single impossible but also unreal. But in Beckett, on the other hand in your artistic law, they can interpret to him other aspects.
Although in the universe of this one, is planed just as it is exposed, in your characters: ¿what is which the carrying to initialize each novel, each work?
If hurried to us respond answer that the desire is the one which does it. or the need to make concrete somewhat. As happens you to lean when wants anger see to your mother : “I am in the fourth of your mother. Now it it is me who lives here. I do not remember as arriving. In an ambulance, in any case in a vehicle. Helped me. I single book credit arrived never. Maybe I am here thanks to this man coming every one week. Although he misfires it. It gives me a little money and it is takes the papers. So much papers, so much money.”
It leans is a novel that treats the report of leaning with your mother. Without reason too literal, the room of the comfortably placed mother can represent the uterus of it. This main character remembers to the cuisse for facing every moment with a dream ( or the dream ) that cannot taste of certain science from where comes. On the other hand it will dwell is the in charge thing to find it.
As well as leaning is only child, it will dwell has an unique child. It will dwell and it leans is part of the same equation. Francisco Pérez Navarresse ransoms some coincidences:
1) The two persist lose the hat;
2) Both mention to an old that walks with insecure steps;
3) The two initialize a travel in spring and finish in it summer;
4) The two are obsessed with your bicycles, but that nothing in special situations;
5) ransom of one of your main critics, Fletcher, the imperious need to go to some part.
It leans, when painting a portrait of the current Irish linen, that he the “región flame of leans ", it is the first novel of the trilogy, standing out of the remainders for your dyeing but |objetivista| and royalist.
II
In “Malone muere” , the need or want is those of counting record the history of until finally moves close the death . “During the night book credit has to reflect on my employment of the time. I believe that I will be able to count me four record the history of, every one envelope a different subject an envelope a man, other on a woman, the third on any thing, and finishes off it on an animal, a bird perhaps. I believe does not forget nothing. It is all right. Maybe put to the man and woman wing in the same history, there is so little difference between a man and a woman, say between the mine. It is possible that not has not time for |terminare|. For other side perhaps terminates pronto”
It deals with on the preliminary balance sheet of your belongings, a project that the same Malone deposes it as postponed. As leans, drafts it seated. Malone has marked common features with your predecessors lean and it will dwell. The concept that is to find reflected is those of to accumulate the previous characters in Malone. Who on the other hand ignores of what way arrived until that place: the comfortably placed place can be a hotel, the room of a house, a madhouse... as also certain expressions as “que aburrimiento”, “no, this not marcha”, “that desastre”.
As for the places, the locking up can be one of the resourceses that more are nourishing the own alienation of the characters of Beckett. Such simplification near the features of whom speaks, serve to unite the past soliloquys and coming.
In the literary Beckett, it achieves the prowess to collect the shouts of all your main characters in a. All sentences and digressions tend to reduce in a single voice. With perspicacity, Pérez Navarresse says that the front pages of the Malone notebook can be the papers it leans give to the man, to the beginning of the novel.
It would fit then think that Malone is an invention of leans, even the creations of Malone: Scoundrel, that then it passes to call Macmann, Moll and Lemuel, that it are but the same Malone by narrating your own voluntary manslaughter.
On the other hand, if discard ( one of the main fonts of inspiration of Beckett ) it realizes from your |biologista| perspective, that the body is the one which brings near the world by means of the perception to the mind. The main characters of Beckett are to describe someone with a right leg ravine, the general paralysis, the insistence in the color of the eyes, the rags; the reiteration is but the insistence in that blind mirror image of a world wasted or bankrupt person.
In the XVII century, Blas Pascal said that to enter to the kingdoms of heaven first book credit that it sins: is meanwhile book credit committed the sin originally. The cause is that the stem is imprisoned in the desire, and that not it will settle, for pure spiritual instinct, meanwhile finds the loved thing; thing loved as matter of doubts and whose source lies always hiding, “Tu is really a Dios escondido” (Isaiah 45-15).
The state in which it is found the characters of Beckett are substantially that one.
In “El innombrable” entertains to him a species of personification of which could say “la nada”. In this novel there is not concretion, there is not certainties of the things.
In this writes novels Beckett achieves consider the two faces of the reality proposed by Parménides. Here the nothing is taken to your maximum expression. “If, never, then, in this way it is necessary to call the, it book credit three things: the impossibility of speaking, the impossibility of concealing me and the loneliness, physical of course, that it is with which follow ahead. If, now can speak of my life, too much tired am about to go me with considerations, but do not know if was alive, because about it it lacks certainly of opinión”
The |innombrable| is spoken also; but exactly is a voice that is to speak also and of if itself. Subdued to an eye, he creates that is to speak, but it is a changed |laque| voice does it for it. Finally it catch on that that voice not belongs you. Ignore who is: single weeps eternally.
In “El innombrable”, in which it is taken a walk Malone, it leans and scoundrel, there is not time neither space out, nor nothing to do. Therefore it has to create characters, imagine the and it give forms you, give some referral; but this one always terminate being you foreign.
In your capital work, “Esperando to Godot”, it waits always to somebody that after countless delays, never arrives, for that reason marked a dot of inflection in the theater, context in which " better is not does nothing ": Godot never appears, never it resorts to tarragon, Vladimiro, Pozzo and Lucky. In Luke 7-19 is asks you to the Lord "¿It are your the one which has to come, or must hope to other?" and but down it affirms: " happy the one which finds me and not mixes up to him with me!" (Luke 7-23).
In " by hoping to Godot " flips to him the sense. There is certainties that Godot must arrive, but never does it and it becomes confused to Godot: Vladimiro say that it is an acquaintance: perhaps is there, near them/it and not come it. There is theories to speak of that Pozzo am Godot, but the forgetfulness of your name impedes you recognize it.
Vladimiro and tarragon hopes to Godot below a tree of 4 or 5 sheets. appear is a bad tree, setuped in a species of crossroads. Such is the sign of a wretched world in the region of leans, where it leans speech of a marshy, muddy terrain. We can say that " by hoping to Godot " is the synthesis of waiting something that it is forgotten in an equally forgetful place.
Your actors are resembled Belacqua, who was extremely laziness, and who responded to giver:
“Of what to serves, match, it goes recover
because it would not stop go me to the punishment
the the Lord angel that is in the puerta”
( purgative, Canto IV, v.v.127-129 )
Lying seated, as if in that “adquiriesen sabiduría” position, by alluding to a sentence of Aristotle.
( return to the subject of the tree of three or four sheets, that is beginning to vary regular... in “La divine Comedia” symbolizes the science and that book credit been striped twice; “the great tree that weeping and desdeña” supplications ( op. cit. Canto XXIV).
Borges suggestive comment that in the chapter 6 of “El man that went Jueves” of Chesterton, there is a tree that in the border of the Orient is more and less than a tree, and that in west is a tower whose architecture is in itself corrupted. Arbol as |correlato| of shade; as that that it bear fruit and grows, according to Paracelsus; as |simbología| of psychic and spiritual life...
to weigh that |ésto| does not stop to be disconcerting, the tree of three or four sheets that come your characters, it is capable of receive several meanings.)
III
In the different works of Samuel Beckett the desire always figures unfolded: the wait, the search, the visit, the desire to speak, to be silent. All is but bear fruit of the |incompletud| and of the fragmentation of the identity. Trade on the drama of the subject that does not find good-bye, with which finds to the world; redemption that René Descartes in your “Meditaciones metafísicas” ( that long monologue that to attest of that search of, that it works out to the world, it is by means of God ) if it achieved.
because of that limitation, Beckett illustrates pages without advance nor back space, where the life and the death is mere words. We could aside add that in your work it illustrates to him allegorically the history of the philosophy: your “emulan” characters the Parménides conception ( v century to. c), that it cannot know the salvation that discard understands the XVIII century, but of two thousand years after.
Then, if you discard is synonymous of knowledge of if itself and of your mind ( because your matter and spirit were created for the supreme substance and of the benevolent intervention of it, in the run - in knowledge and miraculous of the events of the body and the stem ), Parménides are the archetype of the uncertain, unalterable and irrational thing. In other words, if giving finds to Vergil as if deal with of a guidelineses or a light, the characters of Beckett are not prodigal in finding such virtue.
They are the disinherited of that charm. Because, justly this is the great prowess: draw to the man of the century XX as fragmented and dispossessed of the serene contemplation of the ancients as also of the God of the moderns. illustrate the anxiety and despair that it abound in thoses times. and as of thoses conditions it take charge of declassify instead of classifying, generalize; on the contrary, the diverse thing of this chaos exhibits, speech of which is not to can speak.
Then it is necessary to ask: ¿what they can make scoundrel, Worm, it leans, Mahood, in a world that it are but shade, projected for somebody to who not know, not it understand and perhaps nor conscience are he?
The characters appear along the books folded in if same, never there is an exact comprehension of which occurs outside.
The start always it voids with the start itself, by going towards if itself until the dot to stump . It real scarcely appears, by means of the strict grammatical exposed order, or some short descriptions or some memory.
The space( or “la region of Molloy” in allegory to that ) is practically null in the paper that it carries out. Rather, is the psychological time the one which finds major force, it is in where, your main characters, all the open and nothing resolve it, reprobates forever to the same error, and where all that want be taken resists you; everyone is indebted of somewhat . The digressions on the other hand, so common and extensive refer to that error. They give the printout that it is imposed as in block, as if they tried to cooperate, in vain, in finding that one be that exist, not meanwhile find it to him or builds. Each character in turn, it obeies somebody that “debe” obeies.
But there is a distinctive flourish in Beckett, that is those of to dissociate the history of your characters with the same history . This finishes off does not reflect the will of thoses. The history is counted for if same and repeats to him: of there the failure of your main characters. Because the history always rules above those of your characters.
There, beyond all, not occurs absolutely nothing; nobody has to hope to nobody, because never it will arrive; who speaks not does it really since the voice that does it is not the yours.
The will of the characters of Beckett is wrong of be because not this neither in the world nor in the actors: it is in if, reverse towards if until the dot to disappear, as a hallucination that as someone it remains to be always in the beginning. The cravings they abound consist in order to accounts in hoping, speak, find although all attempt terminates in the failure.
All is condemned to a monotonous and intact wanders. That “imposible” Dios or that “imposible heap of ideas” that constitute that one is to be unthinkable. The author achieves in a masterly fashion manage between the be and the outside . One always achieves void to the other, as also the last sentence always voids to your previous. “¿How to do, how to do?” , it asks leans.
But how allusive is the example that Maurice Blanchot do on Artaud, by saying that he knew with depth what provides you the experience of the ache. and that it thinks be not to have thoughts: the thoughts that he had, only teach you that he still book credit begun to think. In the work of Beckett, is that the root that voids the binomial cogitates therefore Cartesian |sum|.
Therefore, giving in one of your passages, indicates us that the substantial shape is perceptible when working, and that the rudiments reach to the mind with the consequent desire of causes never known “como in the bee the art to make miel”. In Beckett on the other hand not works, really single wants to him without waiting, and the rudiments or think up or thoughts never reach to they. However, the desire that they yearn, it is that thoses make it. Which implies contradiction your constant fails, of there the need of them/it goes always to some place.
Your taken characters to the but it take great pains absurdity the unique that they can do is to speak. The words are the unique sign of that erratic and faded will that it tries to arm of some way that broken reality all told parts. Your monologues are but the wait of an idea, by wanting it open always the same “Pero horizon always comes the same thing: But late, but tarde” .
just as Thomas Bernhard, Samuel Beckett tries to speak of which is not to can speak. Both introduce if not there is sense nor dialectic: a bird, a seat, a window, it is the same thing. Both do the opposite to the postulate by Wittgestein: speaking of which not knows to him. Both, also are influenced for the |unanimismo| ( teaches founded for Jules Romain, and that Beckett so much admired ) the who proclaimed the unanimity of the things.
All is ready to know one another; the Beckett narration suggests words as “infinitud” and “eternidad”, fields that so much was of interest to the metaphysicians and, however, nothing reaches to know . “It does not stop to be a curious hell , counts in the |innombrable|, maybe it is the earth, maybe the borders of a lake below the earth, as soon as breathes to him here, is not insurance, not sees nothing, not hears to him nada”
All suggests it infinitely and eternal, all is cold and empty, without that God eternal that shines for your absence as well as the creator sometime created the world and near it the possibility, the possibility here is, on the other hand practically null. Therefore, also the world book credit remained annulled, wasted for a primary blame.
As in Kafka that predominates a foreign world by means of the state and the state laws, unknown and abstract, converted entities in symbols of the Reign of Terror, in Beckett, on the other hand, there is a world in which absolutely all results foreign. Until the breath itself of the life finds to him stagnant and distant.
Your sentences always achieve the miraculous and minimum expression of the things, as father of a delirium that can define to him with which is not to can know... that |inaprensible| truth, that it drains of the hands and of the certainties.
Samuel Beckett, child of Irish protestants, friend of James Joyce, dramatist and novelist, near Robert Musil, Hermann Broch and to Franz Kafka are very probably the explanatory maximums of the mental derangement in the past century. They went men they knew listen to the endless cooing orally on the painful destination of the world and of the men.
On which it were for occur and occurs: finally, the original font of all art is but the inspiration of an is put in the future. Therefore it was accustomed other, many other shouts to say the truthes that in thoses times they were already imagining.