By Cohn, Ruby; Beckett, Samuel
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Extra info for A Beckett canon
Another typescript was given by Nuala Costello to RUL. The spoof was ‹rst published in Disjecta (with four sentences inadvertently omitted and brought to my attention by James Knowlson). 21 a beckett canon: 1929–31 in January 1928 (while Beckett himself was still a student at Trinity). Although the nameless scholar mentions Chas’s obsession with concierges, his taste for crepuscular light and for several of his literary contemporaries, only a few comments on and quotations from his putative work are offered, notably his self-command: “va t’embêter ailleurs” [go be bored elsewhere, although Beckett suggested: “Feck off” to me].
Sanies II” was ‹rst published as the seventh poem in Echo’s Bones (1935) and is available in Poems. 35 a beckett canon: 1932–33 “Spring Song” Of Beckett’s erudite verse, this is perhaps the most obscure. It is, however, clear that the 118-line poem, in thirteen uneven stanzas, does not herald a joyful spring. If it was actually written in spring, Beckett had left Kassel for Paris, and yet the German ›avor remains. In his correspondence with MacGreevy Beckett sometimes designated his sexual tensions as “the German fever,” and so it is in this poem.
Pilling thinks that that story was begun in Kassel at the end of 1930 and was continued in Dublin in the ‹rst half of 1931. A May 29, 1931, letter to MacGreevy mentions “writing the German comedy . . ” Pilling observes: “There is no way of knowing whether ‘the German comedy’ in the May letter comprises only the text ‘Sedendo et Quiescendo’ as subsequently (in March 1932) published in transition, or the whole of the portion of Dream section ‘two’” (1999a, x). Inconclusive as the evidence is, I think it probable that Beckett’s ‹rst novel, Dream of Fair to Middling Women, was kindled in the story Sedendo et Quiescendo.