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- W3140596106 abstract "Reading Beckett's fictions through Racine's tragedies is facilitated by Beckett's own reading of seventeenth-century dramatist through lens of modern novel. Using notes of three students in Beckett's 1931 course Trinity College Dublin and Jorge Luis Borges' s view on 'creation' of literary precursors, this essay examines effect of Beckett's Racines on his own fiction.We were Pylades and Orestes for a period.Beckett, More Pricks than KicksSamuel Beckett took up a lectureship in French Trinity College Dublin following his two years as lecteur d'anglais in Paris Ecole Normale Superieure. In hitching together most classical of French dramatists with modern novel in his 1931 lectures, he was following lead of his mentor Thomas Rudmose-Brown who, credited with inspiring Beckett's lifelong esteem for Racine's theatre, drew attention to Racine's modernity and introduced his students to contemporary French novelists, Proust and among others (Knowlson, 65; Rudmose-Brown 1917, 12). Aware, as they must have been, of modernist experimentation with classical models between two wars - in particular Andre Gide' s appeal for a Racinian novel in Les faux-monnayeurs - either mentor or his assistant could have decided on unusual course topic. In Gide' s 1925 novel, dismissive of realist novel, author's mouthpiece Edouard champions in its place distance from life that ensures profoundly human and artistic merit of classical Greek- and seventeenth-century French drama. This novelist within novel, who is Gide, in Beckett's view, singles out Racine's ability to write dialogues whose very artfulness, or artificiality, permits audience to relate them to their own lives (Le Juez, 43; 230-31). Finally, Edouard calls for a novel that is at same time as true and as distant from reality, as particular and same time as general, as human and as fictitious as Athalie, Tartuffe, or Cinna (Gide, 232). Is it surprising that Beckett would quote Gide' s passages on classical theatre and of novel to his students (Le Juez, 45-46)?1In his Racine and Modern Novel course, Beckett inverted chronological order by introducing modern novel and Gide as its representative before Racine's drama, effectively preparing his students to read Racine through a Gidean lens. Was he perhaps aware of T. S. Eliot's notorious the should be altered by present as much as present is directed by past (50)? And as a writer was he following Gide in creating his own precursor in Racine by drawing attention to his modernity? As we know, in Kafka and His Precursors, Jorge Luis Borges argues that every writer creates his own precursors. His work modifies our conception of past, as it will modify future (201; emphasis in original).2Identifying Stendhal, Flaubert, and Dostoevsky as forerunners of modern novel, Beckett remarked that their and Proust's, Gide's, and therefore eventually Racine's modernity derives from their tolerance of complexity, inexplicable, incoherent, and their willingness to forego explanatory causes and motives that young lecturer rejected in Balzac (Le Juez, 25-29). Did Beckett perhaps adopt these qualities in his own oeuvre partly by way of Gidean Racine he was creating as his precursor?Important, too, for his reading of Racine in second part of course is emphasis Beckett placed on Gide's interest in a liminal consciousness, a shadowy abime defying translation (Le Juez, 37). Subsequently drawing on Gide's essays on Dostoevsky to analyze use of clair-obscur in modern novel, Beckett describes (with Gide) characters that, in manner of Rembrandt's portraits, are only partly illuminated, leaving figures largely enveloped in darkness (Le Juez, 38-39). Transposing this light and dark analysis and modern obsession with unconscious forces to Racine's theatre, Beckett observes that all his characters evolve beneath conscious in shadow of 'infraconscient' (McKinley, 313). …" @default.
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- W3140596106 date "2012-01-01" @default.
- W3140596106 modified "2023-09-27" @default.
- W3140596106 title "BECKETT'S RACINIAN FICTIONS: Racine and the Modern Novel Revisited" @default.
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