Notes

Introduction

1. Gilles Deleuze, Difference and Repetition (1968), trans. Paul Patton (London:Continuum, 2004), p. 189.

2. See for instance Hugh Kenner, Samuel Beckett: A Critical Study (Berkeley: Univer-sity of California Press, 1961); S. Mintz, ‘Beckett’s Murphy: a “Cartesian”Novel’, Perspective (Autumn 1959); Edouard Morot-Sir, ‘Samuel Beckett andCartesian Emblems’, in Morot-Sir, Harper and McMillan (eds), Samuel Beckett:The Art of Rhetoric (Chapel Hill: Northwestern University Press, 1976),pp. 25–104.

3. Margery Sabin, The Dialect of the Tribe: Speech and Community in Modern Fiction(New York and Oxford: Oxford University Press, 1987), p. 63.

4. Letter to ThomasMacGreevy, 5 October 1930. Cited in James Knowlson’sDamnedto Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), p. 121.

5. Peter Lennon, Foreign Correspondent: Paris in the Sixties (London: Picador, 1995),pp. 71–72.

6. Ruth Amossy and Elisheva Rosen, Les Discours du cliche (Paris: Societe d’editiond’enseignement superieur, 1982), p. 9.

7. William Empson, Seven Types of Ambiguity (London: Chatto and Windus, 1953),p. 25.

8. See Jonathan Culler, Flaubert: The Uses of Uncertainty (London: Elek, 1974), p. 164.9. Michael E. Mooney, ‘Molloy, Part 1: Beckett’s ‘Discourse on Method’, Journal of

Beckett Studies, no. 3 (1978), 40–55; p. 41. See also Rene Descartes, Meditationsand Other Metaphysical Writings, trans. Desmond Clarke (London: Penguin, 1998),pp. 20–21.

10. Leslie Hill, Beckett’s Fiction: In Different Words (Cambridge: Cambridge UniversityPress, 1990), p. 109.

11. Samuel Beckett, Proust, and Three Dialogues with Georges Duthuit (London: Calder,1965), p. 65.

12. Jacques Derrida, ‘White Mythology’, trans. F. C. Moore, New Literary History 6,no. 1 (1974), 5–74; p. 55.

13. Friedrich Nietzsche, ‘On Truth and Lying in an Extra-moral Sense’ (1873), FriedrichNietzsche on Rhetoric and Language (New York and Oxford: Oxford University Press,1989), 246–257; p. 250.

14. G. W. F. Hegel, Aesthetics, 3 vols, trans. T. M. Knox (Oxford: Clarendon Press,1975), I, pp. 404–405.

15. See also Paul Ricoeur in The Rule of Metaphor (London: Routledge, 2003),pp. 336, 345.

16. See Martin Heidegger, Der Satz vom Grund (Pfullingen: Neske, 1957), pp. 77–90.17. Margery Sabin, ‘The Life of English Idiom, the Laws of French Cliche 1 + 2’,

Raritan: A Quarterly Review, vol. 1, nos. 2 and 3 (1982).18. Michael Riffaterre, ‘Fonction du cliche dans la prose litteraire’, Essais de stylistique

structurale (Paris: Flammarion, 1971), p. 167.

209

210 Notes

19. Cicero, De Inventione (Cambridge, Mass. and London: LCL, 1949), II, xv, 48.20. Jonathan Swift, A Tale of a Tub (1704), ed. A. C. L. Guthkelch and Nicol Smith,

2nd edition (Oxford: Clarendon Press, 1958), p. 148.21. Oliver Goldsmith, An Enquiry into the State of Polite Learning in Europe (1759),

Chapters IX, XIV, Collected Works, 5 vols. (Oxford: Clarendon Press, 1966), I,pp. 306, 337.

22. Roger Chartier, The Order of Books (Cambridge: Polity, 1994), p. 56.23. Francis Bacon, De Augmentis scientarum (1623), in The Works of Francis Bacon,

ed. J. Spedding, R. L. Ellis and D. D. Heath, 14 vols (London, 1857–1874), IV,p. 435.

24. Thomas Sprat, in the History of the Royal Society (1667), ed. Jackson I. Copeand Harold Whitmore Jones (St Louis, Missouri: Washington University Studies,1958), pp. 111–113.

25. Thomas Hobbes, Leviathan (1651), ed. Richard Tuck (Cambridge: CambridgeUniversity Press, 1991), Part 1, Chapter 8, p. 52.

26. Bernard Lamy, Rhetorique ou l’art de parler (Paris, 1675), cited in Ann Moss, PrintedCommonplace-Books and the Structuring of Renaissance Thought (Oxford: ClarendonPress, 1996), p. 268.

27. See Bruno Clement, L’Oeuvre sans qualities: rhetorique de Samuel Beckett (Paris:Editions de Seuil, 1994).

28. Adam Piette, Remembering and the Sound of Words: Mallarme, Proust, Joyce, Beckett(Oxford: Clarendon Press, 1996), p. 249.

29. Beckett once described himself as aiming for such a syntax. See Lawrence Harvey,Samuel Beckett: Poet and Critic (Princeton: Princeton University Press, 1970),p. 249.

30. Stanley Cavell, ‘Ending the Waiting Game: An Essay on Beckett’s Endgame’, MustWe Mean What We Say?: A Book of Essays (New York: Charles Scribner’s Sons,1969), pp. 153–178.

31. Francis Jeffrey, ‘Scott’s The Lady of the Lake’, Edinburgh Review, vol. 16 (August1810). Reproduced in Jeffrey’s Criticism, ed. Peter F. Morgan (Edinburgh: ScottishAcademic Press, 1983), pp. 68–69.

32. Samuel Taylor Coleridge, Biographia Literaria (1817), ed. James Engell andW. Jackson Bate, 2 vols (London: Routledge and Kegan Paul, 1983), I, Chapter 2,pp. 38–39.

33. William Wordsworth, Note to ‘The Thorn’, The Poetical Works, ed. ThomasHutchinson (Oxford and New York: Oxford University Press, 1989), p. 701.

34. Fritz Senn, Inductive Scrutinies: Focus on Joyce, ed. Christine O’Neill (Dublin: LilliputPress, 1995), p. 180–181.

35. Terry Eagleton, The Ideology of the Aesthetic (Oxford: Basil Blackwell, 1990), p. 320.36. See Colin Murray Turbayne, The Myth of Metaphor (New Haven: Yale Univer-

sity Press, 1962), pp. 13–17; Gilbert Ryle, The Concept of Mind, 2nd edition(Harmondsworth: Penguin, 1963), pp. 33, 77–79.

37. Jean-Paul Sartre, ‘L’homme et les choses’, Situations 1 (Paris: Gallimard, 1947),245–293; p. 250.

38. Roland Barthes, S/Z, trans. Richard Miller (New York: Farrar, Straus and Giroux,1974), p. 206.

39. Christopher Prendergast, The Order of Mimesis: Balzac, Stendhal, Nerval, Flaubert(Cambridge: Cambridge University Press, 1986), p. 183.

40. Pierre Fontanier, Les Figures du discours, ed. Gerard Genette (Paris: Flammarion,1968), p. 63.

Notes 211

1 Cliche, consensus and realism

1. Letter from Gustave Flaubert to George Sand, December 1875. The Correspondenceof Gustave Flaubert & George Sand, trans. Francis Steegmuller and Barbara Bray(London: Harvill, 1993), p. 381; James Joyce, Portrait of the Artist as a Young Man(London: Penguin, 1992), p. 233.

2. H. Porter Abbott, Beckett Writing Beckett: The Author in the Autograph (Ithaca andLondon: Cornell University Press, 1996), p. x.

3. See Roland Barthes, ‘L’Ancienne rhetorique: Aide-memoire’, Communications,vol. 16 (1970), 172–222; p. 212.

4. Quintilian, Institutio Oratoria, trans. H. E. Butler, 4 vols (London: Heinemann,1922), II, pp. xvii, 38–39.

5. James Joyce, Ulysses (1922) (Oxford: Oxford University Press, 1993), p. 572.6. Aristotle, Poetics, trans. Ingram Bywater, 1461a11–12, in The Complete Works of

Aristotle, ed. Jonathan Barnes, 2 vols (Princeton, NJ: Princeton University Press,1984), II, p. 2339.

7. Honore de Balzac, Cousin Bette trans. Marion Ayton Crawford (London: Penguin,1965), pp. 108, 123.

8. Beckett, Letter to Thomas MacGreevy, 8 February 1935, TCD MSS 10402.9. Rachel Burrows, S. E. Gontarski et al., ‘Interview with Rachel Burrows: Dublin,

Bloomsday, 1982’, Journal of Beckett Studies, nos. 11 and 12 (December 1989), 6–15;pp. 6–7.

10. See ‘Albertine disparue’, 45th edition (1926), II, p. 96. Beckett’s copy of MarcelProust’s A la recherche du temps perdu, 12 vols. (Paris: Gallimard, 1923–1929), heldin the Reading Beckett Archive.

11. Flaubert wrote in a letter to Louise Colet: ‘Il n’y a pas de Vrai, il n’y a quedes manieres de voir’. Gustave Flaubert, Correspondance, 9 vols (Paris: Conard,1926–33), VIII, p. 370.

12. ‘Albertine disparue’, II, pp. 96, 173. Beckett’s copy of Proust’s A la recherche.13. George Eliot, Middlemarch (Oxford: Oxford University Press, 1996), Chapter 32,

p. 299 (my italics). J. M. Coetzee, ‘The Agentless Sentence as Rhetorical Device’,Language and Style, vol. 13, no. 1 (Winter 1980), 26–34; p. 29.

14. Gerard Genette, ‘Vraisemblance et motivation’, Communications, vol. 11 (1968), 7.15. Jonathan Culler’s translation of Gerard Genette, Figures II (Paris: Seuil, 1969),

p. 73. See Culler, Structuralist Poetics: Structuralism, Linguistics and the Study ofLiterature (London: Routledge, 1975), p. 144.

16. Marcel Proust, ‘A l’ombre de jeunes filles en fleurs’, A la recherche du temps perdu, 4vols (Paris: Gallimard, 1954), II, p. 406. Cited in Culler, Structuralist Poetics, p. 142.

17. C. J. Ackerley, ‘Demented Particulars: The Annotated Murphy’, special edition ofthe Journal of Beckett Studies, vol. 7, nos. 1–2 (1998), I, p. 10.

18. Henri Bergson, Laughter: An Essay on the Meaning of the Comic, trans. CloudesleyBrereton and Fred Rothwell (London: Macmillan, 1935), pp. 12–13.

19. Leo Bersani, ‘The Subject of Power’, Diacritics (September 1977) 1–21; pp. 5–6.20. Jacques Riviere,Marcel Proust et l’esprit positif, serieCahiersMarcel Proust, Hommage a

Marcel Proust (Paris:Gallimard, 1927), p. 110. In theoriginal: ‘Libre a ceuxpourqui lavolonte et la formequ’elle lui prete sont leproprede l’hommede sedetournerd’un sietrangeobjet!Mais qu’ils apprecient aumoins l’importancede sonapparitionparminous. � � � Un homme est entre pour nous dans les Sargasses d’un loisir infini.’

21. Salvador Dali cited in Henri Berenger, ‘Surrealism in 1931’, in Andre Breton (ed.),This Quarter, Surrealist Issue, vol. 5, no. 1 (Paris, September 1932), pp. 15–18, 117.

212 Notes

22. Berenger, ‘Surrealism in 1931’, ibid., pp. 115–116.23. Phil Baker, Samuel Beckett and the Mythology of Psychoanalysis (London: Macmillan,

1997), p. 132.24. Comments made by Beckett to Tom Driver in 1961. See Tom Driver, ‘Beckett by

the Madeleine’, Columbia University Forum, vol. 4 (Summer 1961), 22.25. Critics who have looked at this connection include Sighle Kennedy in Murphy’s

Bed (Lewisburg, NJ: Bucknell University Press, 1971), and Phil Baker in Chapter 7of Samuel Beckett and the Mythology of Psychoanalysis.

26. Andre Breton, ‘Surrealism: Yesterday, To-Day and To-Morrow’, trans. SamuelBeckett, This Quarter, Surrealist Issue, vol. 5, no. 1 (Paris, September 1932), 20.

27. Olivier Burgelin, ‘Echange et deflation dans le systeme culturel’, Communications,vol. 11 (1968), 122–140.

28. Proust, ‘Le Temps retrouve’, 36th edition (1929) VIII, pp. 40, 30. Beckett’s copyof Proust’s A la recherche.

29. Karen R. Lawrence, ‘ “Beggaring Description”: Politics and Style in Joyce’s“Eumaeus” ’, MFS, vol. 38, no. 2 (Summer 1992), 355–376; p. 371–2.

30. George Steiner, Heidegger (London: Fontana/Collins, 1978), p. 48.31. Cited in Steiner, Heidegger, p. 48.32. Beckett, Letter to Thomas MacGreevy, 25 January 1931. Cited in Knowlson,

Damned to Fame, p. 126.33. The ‘margarita’ or ‘margaret’ is the little flower but also a pearl—the find or the

treasure.34. Edwin Muir, ‘New Short Stories’, The Listener (4 July 1934), 42.35. GillesDeleuze, ‘TheExhausted’, trans.AnthonyUhlmann,SubStance, vol.78(1995),

3–28;p.5. SeealsoMauriceBlanchot,LeLivre a venire (Paris:Gallimard,1959),p. 211.36. Vladimir Nabokov, Lolita [1955] (London: Penguin, 1997), p. 103.37. Roland Barthes, ‘L’effet du reel’, Communications, vol. 11 (1968), 84–89.38. Philippe Hamon, ‘Qu’est-ce qu’une description?’, Poetique, 12 (1972), 465–485;

p. 485. Cited in Culler, Structuralist Poetics, p. 194.39. Roland Barthes, Critical Essays, trans. Richard Howard (Evanston: Northwestern

University Press, 1972), p. 98.40. Walter Ong, Rhetoric, Romance and Technology (Ithaca and London: Cornell Univer-

sity Press, 1971), p. 14.41. Henri Bergson, Matter and Memory, trans. N. M. Paul and W. S. Palmer (New York:

Zone Books, 1991), p. 45.42. Jean-Paul Sartre, Nausea [1938], trans. Robert Baldick (London: Penguin, 2000),

p. 183.43. Christopher Prendergast, The Order of Mimesis, p. 193.44. Gustave Flaubert, Correspondance, II, p. 239.45. See Jonathan Culler, Flaubert: The Uses of Uncertainty (London: Elek, 1974), p. 165.

2 Cliche and memory

1. Letter to Thomas MacGreevy, 16 January 1936. Cited in Knowlson, Damned toFame, p. 224.

2. Proust, ‘Time Regained’, In Search of Lost Time, trans. Andreas Mayor and TerenceKilmartin, 6 vols (London: Chatto and Windus, 1992), VI, p. 227–228.

3. Proust, ‘A l’ombre des jeunes filles en fleurs’, 119th edition, 2 vols (1929), II, p. 4.Beckett’s copy of A la recherche. See also John Pilling, ‘Beckett’s Proust’, Journal ofBeckett Studies, no. 1 (1976), 8–29; p. 14.

Notes 213

4. See Proust, ‘Sodom and Gomorrah’, In Search of Lost Time, IV, pp. 180–181.5. See Sigmund Freud, ‘Analysis Terminable and Interminable’ (1937), The Standard

Edition of the Psychological Works of Sigmund Freud, trans. James Strachey, 24 vols(London: Hogarth Press, 1955), XXIII, 216–245; p. 245.

6. See John Pilling, ‘Beckett’s English Fiction’, The Cambridge Companion to SamuelBeckett (Cambridge: Cambridge University Press, 1994), 17–39; p. 20.

7. See Emile Pons, Swift, les annees de jeunesse et le Conte du Tonneau (Strasbourg:Libraire Istra, 1925), p. 109.

8. Marcel Proust, ‘A propos du “style” de Flaubert’, Contre Sainte-Beuve (Paris:Gallimard, 1971), 586–600; p. 594.

9. Letter to Charles Prentice at Chatto and Windus, 15 August 1932. Cited inKnowlson, Damned to Fame, p. 160.

10. See Israel Shenker, ‘An interview with Beckett (1956)’, in Samuel Beckett: The Crit-ical Heritage, ed. Lawrence Graver and Raymond Federman (London: Routledge,1979), 146–149; p. 148.

11. W. B. Yeats, ‘A General Introduction for My Work’, Essays and Introductions(London: Macmillan, 1961), p. 509 (my italics).

12. Walter Benjamin, ‘On the Image of Proust’, Selected Writings, vol. 2 1927–1934,trans. Rodney Livingstone (Cambridge, Mass.: Harvard University Press, 1999),p. 246.

13. See Hugh Kenner, Joyce’s Voices (London: Faber & Faber, 1978), Chapter 2.14. Michele Touret, ‘Les Fleurs et Les Orties: La Parodie des Formes Communes’,

Samuel Beckett Today/ Aujourd’hui, vol. 12 (2002), 107–119; p. 113.15. Roger Scruton, Aesthetic Understanding (London: Methuen, 1983), p. 197.16. Proust, ‘A l’ombre des jeunes filles en fleurs’, II, p. 13. Beckett’s copy of A la

recherche. See John Pilling, ‘Beckett’s Proust’, p. 28.17. Augustine, Confessions, trans. Henry Chadwick (Oxford: Oxford University Press,

1992), Book X, Chapter 14, pp. 191–192.18. WilliamWordsworth, ‘Preface to theLyrical Ballads’,Wordsworth’s LiteraryCriticism,

ed.W. J. B. Owen (London and Boston: Routledge & Kegan Paul, 1974), p. 85.19. In the (blander) English version: ‘To decompose is to live too, I know, I know,

don’t torment me, but one sometimes forgets’ (T , 25).20. Proust, ‘Time Regained’, In Search of Lost Time, VI, p. 250.21. T. S. Eliot, ‘Tradition and the Individual Talent’ (1919), in Selected Prose of

T. S. Eliot, ed. Frank Kermode (London: Faber & Faber, 1975), p. 39.

3 Cliche, autobiography and epitaph

1. Immanuel Kant, Critique of Pure Reason, trans. Norman Kemp Smith (London:Manchester, 1929), p. 292.

2. Maurice Merleau-Ponty, The Phenomenology of Perception, trans. Colin Smith (NewYork: Humanities Press, 1962), p. 414.

3. Olga Bernal, ‘Samuel Beckett: l’ecrivain et le savoir’, Journal of Beckett Studies,vol. 2 (Summer 1977), 59–62; p. 59.

4. See Arthur Schopenhauer, ‘The Emptiness of Existence’, Essays (New York andMelbourne: Walter Scott, 1919), p. 56.

5. Andrew Gibson, ‘Voice, Narrative, Film’, New Literary History, vol. 32, no. 3(Summer 2001), 643.

6. James Knowlson and John Pilling comment that bursts of speed are ‘congenital’in Beckett’s writing, particularly in Comment c’est, and From an Abandoned Work.

214 Notes

See James Knowlson and John Pilling, Frescoes of the Skull: The Later Prose andDrama of Samuel Beckett (London: John Calder, 1979), p. 65.

7. Walter Benjamin, ‘The Storyteller: Reflections on the Work of Nikolai Leskov’,Illuminations, trans. Harry Zohn, ed. Hannah Arendt (New York: Schocken, 1969),83–109; p. 94.

8. David Lodge, ‘Review of Ping’, Encounter (February 1968), in Federman and Graver(eds), Samuel Beckett: The Critical Heritage, 291–301; p. 293.

9. The English version struggles (and fails) to reproduce the flexibility of ‘echapper’with its twin Beckettian connotations of idleness and death: ‘Hereunder lies theabove who up below / So hourly died that he lived on till now’ (CSP, 26).

10. Wordsworth, ‘Essay upon Epitaphs’, Poetical Works, p. 731. See also SamuelJohnson, ‘A Dissertation on the Epitaphs written by Pope’, Lives of the EnglishPoets, ed. George Birkbeck Hill, 3 vols (Oxford: Clarendon Press, 1905), III, p. 263.This is a paraphrase of a line from Pope’s own Moral Essays, ii. 2: ‘Most womenhave no characters at all.’

11. William Hazlitt, ‘On the Periodical Essayists’ in Lectures, 102. Quoted by Piette,Remembering, 37.

12. See for instance Henri Bergson, Time and Free Will: An Essay on the Immediate Dataof Consciousness (1889), trans. F. L. Pogson (London: George Allen and Unwin,1910), pp. 105–116.

13. In the English version: ‘deep in this place which is not one, which is merely amoment for the time being eternal, which is called here’ (CSP, 147, my italics).

14. Henri Bergson, The Creative Mind: An Introduction to Metaphysics, trans. Mabelle L.Andison (New York: Philosophical Library, 1946), pp. 151–152.

15. See Samuel Beckett, Happy Days: The Production Notebook of Samuel Beckett, ed.James Knowlson (London and Boston: Faber & Faber, 1985), p. 185, n. 1.

16. Beckett in Happy Days: The Production Notebook of Samuel Beckett, p. 150.

4 Cliche and the language of religion

1. See, for instance, Hersh Zeifman, ‘Religious imagery in the plays of SamuelBeckett’, in Samuel Beckett: A Collection of Criticism, ed. Ruby Cohn (New York:McGraw-Hill, 1975), 85–94; p. 92.

2. P. J. Murphy, ‘On first looking into Beckett’s The Voice’, in John Pilling and MaryBryden (eds), The Ideal Core of the Onion, 63–78; p. 63.

3. Richard Coe, Beckett (London: Oliver and Boyd, revised edn 1968), p. 14.4. See Leon Bloy, Exegese des lieux communs (Paris: Societe du Mercure de France,

1902), ‘Preface’.5. In the original: ‘Avec une autorite beaucoup plus qu’humaine, il enseigna que

Dieu a toujours parle de Lui-meme exclusivement, sous les formes symboliques,paraboliques ou similitudinaires de la Revelation par l’Ecriture, et qu’il a toujoursdit la meme chose de mille manieres.’

6. Anne Herschberg Pierrot, ‘Cliches et idees reçues: elements de reflexion’, in GillesMathis (ed.), Le Cliche (Toulouse: Presses universitaires du Mirail, 1998), 29–33;p. 32.

7. John Pilling, Samuel Beckett (London: Routledge & Kegan Paul, 1976), p. 118.8. Cf. Book of Common Prayer: ‘such good things as pass understanding’.9. Cf. Authorized Version (1611), St Luke 23: 34: ‘Father, forgive them: for they know

not what they do.’10. Olivier Messiaen, ‘Preface’, Quatuor pour la fin du temps (Paris: Durand, n. d.).

Notes 215

11. See Paul Griffiths, Olivier Messiaen and the Music of Time (Boston and London:Faber & Faber, 1985), pp. 101–102.

12. John Fletcher, Samuel Beckett’s Art (London: Chatto and Windus, 1967), p. 134.13. Thomas Nagel, ‘Subjective and Objective’, Post-Analytic Philosophy, ed. John

Rajchman and Cornel West (New York: Columbia University Press, 1985),pp. 43–44.

14. Beckett’s Company (1979) opens: ‘A voice comes to one in the dark. Imagine’(C, 7).

15. The English ‘Sunday rest’ shows, as is often the case, a more conspicuouslyconventional form than does the French original, which has ‘se reposer ledimanche’ (Mm, 22).

16. Katie Wales, ‘The Foregrounding of Cliche in the “Eumaeus” Episode of JamesJoyce’s Ulysses’, in Mathis (ed.), Le Cliche, 219–232.

17. Henk Nuiten et Maurice Geelen, ‘Baudelaire et le cliche: Le cliche entre les mainsde l’auteur des “Fleurs du Mal” ’, Zeitschrift f ur franzosiche Sprache und Literatur,vol. 17 (Stuttgart: Franz Steiner Verlag, 1989), p. 8.

18. Cf. Authorized Version (1611), Luke Chapter 15, Verse 27: ‘And he said unto him,Thy brother is come; and thy father hath killed the fatted calf, because he hathreceived him safe and sound.’

19. Ann Beer, ‘Beckett’s “Autography” and the Company of Languages’, The SouthernReview, vol. 27, no. 4 (Autumn 1991), 771–791; p. 783.

20. Martin Heidegger, The Question Concerning Technology, trans. William Lovitt (NewYork: Harper and Row, 1977), p. 310.

21. Beckett, letter to Thomas MacGreevy, undated (probably late August 1931). Citedin Knowlson, Damned to Fame, p. 134.

22. See for instance Northrop Frye’s The Great Code: The Bible and Literature (Toronto,Canada: Academic Press, 1981).

23. See Michel Charles, ‘Les Discours des figures’, in Rhetorique de la lecture (Paris:Seuil, 1977), p. 142.

24. See Jacques Derrida, Of Grammatology, trans. Gayatri Chakravorty Spivak,corrected edn (Baltimore and London: Johns Hopkins University Press, 1997),pp. 270–280.

25. V. A. Kolve, The Play Called Corpus Christi (Stanford: Stanford University Press,1966), p. 64.

26. Daniel Albright, ‘The Acivities [sic] of Dead Imagination’, Omnium Gatherum:Essays for Richard Ellmann (Gerrards Cross: Colin Smythe, 1989), 374–383; p. 377.

27. Leslie Hill, ‘The Name, the Body, “The Unnamable” ’, The Oxford Literary Review,vol. 6 (1983), 53.

28. Stanley Cavell, ‘Trying to Understand Endgame’, in Notes to Literature, trans.Shierry Weber Nicholsen, 2 vols (New York: Columbia University Press, 1991), I,241–275; pp. 246–247.

29. Steven Connor, ‘Beckett’s animals’, Journal of Beckett Studies, vol. 8 (1982), 29–44.30. See Mary Bryden, Samuel Beckett and the Idea of God (London: Macmillan, 1998),

p. 75.31. Louis MacNeice, Varieties of Parable (Cambridge: Cambridge University Press,

1965), p. 118.32. Gerhard Ebeling, Word and Faith, trans. R. G. Smith (London: Collins, 1961),

p. 327.33. Kevin Mills, Justifying Language: Paul and Contemporary Literary Theory (London:

Macmillan, 1995), p. 31.

216 Notes

34. See Richard Jacobs, ‘The Lyricism of Beckett’s Plays’, Agenda, vols 18–19, no. 4(Winter–Spring 1981), 105–111.

35. See Beckett, Happy Days: The Production Notebook, p. 127; and Katharine Worth,Waiting for Godot and Happy Days: Text and Performance (London: Macmillan,1990), p. 93.

36. Ruby Cohn, Just Play: Beckett’s Theater (Princeton: Princeton University Press,1980), pp. 253–254.

37. William B. Worthen, ‘Beckett’s Actor’, Modern Drama, vol. 26, no. 4 (1983),415–424; p. 416.

38. See, for Beckett’s instructions, Walter D. Asmus, ‘Practical aspects of theatre, radioand television: Rehearsal notes for the German premiere of Beckett’s ‘That Time’and ‘Footfalls’ at the Schiller-Theatre Werkstatt, Berlin’, Journal of Beckett Studies,vol. 2 (Summer 1977), 82–95; p. 86.

5 Beyond Cliche: Authority, agency and the fall ofrhetoric

1. Gilles Deleuze and Felix Guattari, Anti-Oedipus: Capitalism and Schizophrenia(London: Athlone Press, 1988), p. 14.

2. Friedrich Nietzsche, Beyond Good and Evil, trans. Helen Zimmern (London: Foulis,1911), p. 29.

3. Most of all, it echoes that of the FrenchMercier et Camier, which goes further thanthe English in describing a hand ‘grande comme deux mains ordinaries, rougevif’ (FMC, 157).

4. Sigmund Freud, ‘Beyond the Pleasure Principle’, Standard Edition, XVIII, 36,Freud’s italics. Quoted in Baker, 128.

5. Leslie Hill, ‘Beckett, Writing, Politics: Answering for Myself’, Samuel BeckettToday/Aujourd’hui, 9 (2000), 215–222; p. 221.

6. Jean-Michel Bloch, ‘Nouveau roman et culture des masses’, Preuves, vol. 121(March 1961), 17–28; p. 27 (my translation).

7. Jean-Paul Sartre, L’Idiot de la Famille, 2 vols (Paris: Gallimard, 1988), 2, p. 1973.8. Beckett, Letter to George Reavey, in Disjecta, p. 103.9. Ludwig Wittgenstein, Tractatus Logico-Philosophicus (1922), trans. D. F. Pears and

B. McGuinness, 2nd edn (London: Routledge and Kegan Paul, 2001), #5.64,pp. 69–70.

10. Stanley Cavell, This New Yet Unapproachable America: Lectures after Emerson afterWittgenstein (Albuquerque, NM: Living Batch Press, 1989), pp. 32, 37.

11. See also Marjorie Perloff, Wittgenstein’s Ladder: Poetic Language and the Strangenessof the Ordinary (Chicago and London: University of Chicago Press, 1996), p. 16on this tendency in Wittgenstein.

12. George O. Curne, Syntax (Boston: D. C. Heath and Co, 1931), p. 212.13. In Michael Meyer (ed.), Questions and Questioning (Berlin and New York: Walter

de Gruyer, 1988), p. 39.14. Lawrence Graver, ‘Review of The Lost Ones’, Partisan Review, vol. 41, no. 4 (1974),

622–624; p. 623.15. Wittgenstein writes in the Tractatus: ‘The sense of the world must lie outside

the world. In the world everything is as it is and happens as it does happen. Init there is no value—and if there were, it would be of no value’ (Wittgenstein,Tractatus, #6.41, 86).

Notes 217

16. See Deleuze, Difference and Repetition, 297–298. See also James Williams, GillesDeleuze’s Difference and Repetition: A Critical Introduction and Guide (Edinburgh:Edinburgh University Press, 2003), ch. 1.

17. Paul Lawley, ‘Counterpoint, Absence and Medium in Beckett’s Not I’, ModernDrama, 26, no. 4 (1983), 407–414.

18. Paul Lawley, ‘Beckett’s Dramatic Counterpoint: A Reading of Play’, Journal ofBeckett Studies, vol. 9 (1984), 25–42.

19. Robert Sandarg, ‘A Political Perspective on Catastrophe’, Make Sense Who May:Essays on SB’s Later Works, ed. Robin J. Davis and Lance St J. Butler (GerrardsCross: Colin Smythe, 1988), 137–144; p. 142.

20. Mel Gussow, ‘Beckett distils his vision’, The New York Times (31 July 1983),section H, p. 3.

21. Gilles Deleuze, Kafka: Pour une literature mineure (Paris: Minuit, 1975).22. Beckett here (mis)quotes Ezra Pound’s essay on Elizabethan poetry in Make It

New in his review of Pound’s collection of essays, ‘Ex Cathezra. Review of EzraPound’s Make It New’, Disjecta, 128.

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Abbott, H. Porter, Beckett Writing Beckett: The Author in the Autograph (Ithaca andLondon: Cornell University Press, 1996).

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Adamov, Arthur, Ici et maintenant (Paris: Gallimard, 1964).——, Je � � � Ils � � � (Paris: Gallimard, 1969).Adorno, Theodor, ‘Trying to Understand Endgame’, in Notes to Literature, trans. ShierryWeberNicholsen, 2 vols (NewYork:ColumbiaUniversity Press, 1991), I, pp. 241–275.

——, Aesthetic Theory, trans. Robert Hullot-Kentor (London: Continuum, 2002).Albright, Daniel, ‘The Acivities [sic] of Dead Imagination’, Omnium Gatherum: Essays

for Richard Ellmann (Gerrards Cross: Colin Smythe, 1989), pp. 374–383.Amossy, Ruth, ‘Cliche in the Reading Process’, Sub-Stance, vol. 11, no. 2 (1982), 35–36.Amossy, Ruth and Rosen, Elisheva, Les Discours du cliche (Paris: Societe d’edition

d’enseignement superieur, 1982).Aristotle, Poetics (350 BC), trans. Ingram Bywater, in The Complete Works of Aristotle,

ed. Jonathan Barnes, 2 vols (Princeton, NJ: Princeton University Press, 1984), II,pp. 2316–2340.

Asmus, Walter D., ‘Practical Aspects of Theatre, Radio and Television: Rehearsal Notesfor the German Premiere of Beckett’s “That Time” and “Footfalls” at the Schiller-Theatre Werkstatt, Berlin’, Journal of Beckett Studies, no. 2 (Summer 1977), 82–95.

Augustine, Confessions (397 AD), trans. Henry Chadwick (Oxford: Oxford UniversityPress, 1992).

Bacon, Francis, De Augmentis scientarum (1623), The Works of Francis Bacon, ed.J. Spedding, R. L. Ellis and D. D. Heath, 14 vols (London, 1857–1874), IV.

Bagnall, Nicholas, A Defence of Cliches (London: Constable, 1985).

218

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(Paris: Gallimard, 1976–1981), X, pp. 3–294.——, Cousin Bette (1846), trans. Marion Ayton Crawford (London: Penguin, 1965).Barjon,Louis, ‘Une litteraturededecomposition’,Etudes, vol.311(October1961),45–60.Barthes, Roland, Writing Degree Zero, trans. Annette Lavers and Colin Smith (London:Jonathan Cape, 1967).

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Index

Abbott, H. Porter, 30, 93, 102, 197,211, 218

Adamov, Arthur, 186–7, 218Adorno, Theodor, 104, 153, 202, 218agency, 37, 51, 68, 138, 160, 165, 181–2,

184, 186All Strange Away, 148, 158Aristotle, 11–12, 27, 31, 33–4, 39, 45,

50, 95, 144, 202, 211, 218Asmus, Walter D., 157–8, 216, 218Augustine, 21, 85–6, 136, 137, 151,

213, 218authority, 1, 4, 7–9, 12–13, 14, 17, 18,

24, 26–7, 30–4, 37, 50, 54–5, 62, 63,68, 80, 84, 92, 94, 98–9, 101, 104,112, 122–34, 139, 141, 147, 152, 154,156, 159, 160–75, 178, 180–4, 187,188–9, 191, 193, 197–8, 200,201, 205–8

autobiography, 93–5, 122

Bacon, Francis, 12, 210, 218Baker, Phil, 8, 44, 171, 173–5, 212,

216, 219Balzac, Honore de, 33, 35, 39, 210,

211, 219Barthes, Roland, 19, 23, 31, 59, 63, 207,

210, 211, 212, 219Benjamin, Walter, 76, 101, 213, 214, 219Bergson, Henri, 40, 61, 111, 113, 115,

211, 212, 214, 219Bersani, Leo, 42–4, 48, 211, 219betise, 1, 4–5, 22, 64, 107, 130, 144biblical language, 7, 57, 125–6, 128, 132,

134–6, 140, 146, 151, 155–6Blanchot, Maurice, 57, 212, 219Bloy, Leon, 1, 129–30, 140, 155,

214, 220body, 5, 9, 13, 24–5, 29, 31, 40, 48, 61,

74, 84, 86–8, 91–2, 95, 102, 107,111–12, 136, 143, 151, 153, 156,199, 203–6, 215, 219, 222

Burgelin, Olivier, 47–9, 212, 220

‘The Calmative’, 96, 102, 132Catastrophe, 205–6, 208, 217, 225causality, 34–8, 204Cavell, Stanley, 6, 10, 14–15, 18, 51,

113, 189–90, 208, 210, 216, 220charity, 171–3Cicero, Marcus Tullius, 11–12, 210, 220Clement, Bruno, 14, 149, 210, 220cliche, 1–5, 7–12, 14, 45–50, 52–7, 63–5,

67–8, 70, 72–3, 77–8, 86, 88–96, 98,106, 108, 118, 121–3, 126, 129, 134,139–40, 142, 146, 151–4, 157, 160,162, 167, 176, 180, 182–5, 187–8,191–3, 198–200, 202, 206, 207, 209,212, 213, 214, 216, 218, 220, 223, 224,225, 226, 227

Coetzee, J. M., 37, 184, 185, 211, 220cogito, 1, 5, 26, 165Coleridge, Samuel Taylor, 16–18, 129,

210, 220commonplace, 1, 3–4, 11–12, 17, 20–1,

50, 63, 70, 72, 81, 92, 129–30, 140,142–3, 163, 210, 219, 223, 224

community, 3, 6, 19, 44, 118, 140, 142,197, 225

company, 6, 139, 151, 162–4, 188–9,215, 219

Company, 6, 14, 82–3, 91, 128, 145,147–8, 155, 188, 196, 215

Connor, Steven, 7, 26, 154, 175, 185,215, 220

consensus, 11, 23, 27–8, 31–3, 152,162–3, 185, 188, 193

Cronin, Antony, 27, 67, 139–40, 168,176, 220

crucifixion, 137, 141, 152, 157Culler, Jonathan, 50, 64, 209, 211,

212, 220

Dali, Salvador, 44, 211‘Dante and the Lobster’, 50, 86, 130, 137‘Dante � � � Bruno � � � Vico � � � Joyce’, 123

228

Index 229

death, 10, 24–7, 39, 43, 70, 80–1, 86,93–5, 98–9, 101, 103, 107–8, 112, 114,119–20, 122, 153, 157, 159–60, 164,174–5, 181, 184, 199–200, 204–8, 214

death drive, 26, 184, 199Deleuze, Gilles, 1–3, 5–8, 14, 26, 51, 57,

62–4, 67, 76, 82, 91, 106–7, 145, 163,165, 174–5, 179, 184–8, 200–1, 203,207–8, 209, 212, 216, 217, 220–1

Derrida, Jacques, 8–9, 15, 19–20, 47,49, 52–3, 57, 92, 145, 149, 156, 209,215, 221

Descartes, Rene, 1, 5, 21, 26, 209, 221difference, 2, 7, 29, 60, 83, 106, 109–10,

165, 181, 200–3, 209, 217, 221‘Ding-Dong’, 38Disjecta, 2, 28, 99, 105, 123, 135, 192Dream Notebook, 136Dream of Fair to Middling Women, 7,

33–6, 38–9, 45, 52–3, 71, 73, 75–6,89, 98, 114, 120, 137–9

Eagleton, Terry, 19, 21, 210, 221Eh Joe, 159, 160, 177Eleutheria, 82Eliot, George, 36, 211, 221Eliot, T. S., 90, 135, 213, 221Embers, 82, 176–7Empson, William, 3, 7, 209, 221‘The End’, 82–3, 143, 176, 206Endgame (Fin de partie), 97, 109–15,

120, 123–5, 132, 142, 144, 210,215, 218, 220

Enlightenment, 93, 101, 104–6, 122, 130epitaph, 27, 93–4, 108–9, 112, 213, 223‘The Expelled’, 69, 132, 170, 172, 176

father, 49, 78, 82, 125, 132, 154, 159,165–6, 170–4, 176–80, 183–4, 194,206, 214, 215

figurative, 9, 13–14, 16–18, 25, 50, 52,57, 64, 94–5, 101–2, 105, 122, 124,131, 138, 149–53, 155–6, 175, 184,192–3, 196–9, 202–6, 208–9

Film, 154‘Fingal’, 32First Love (Premier amour), 24, 97, 108,

134, 172Flaubert, Gustave, 1, 2, 4, 18–21, 23, 30,

34–5, 63–4, 72, 129–30, 154, 207, 210,211, 212–14, 220–3, 225

Fontanier, Jean, 25, 210, 221Footfalls, 157–8, 205, 208, 216, 218French, 1, 10, 13, 17, 22, 51, 52–7, 65,

74, 80, 83, 84, 85, 87, 89, 99, 105, 108,113, 115, 128–9, 132–3, 136, 142, 147,149–50, 152, 168, 176, 177, 181, 182,185–7, 189, 198, 209, 215, 216, 219

Freud, Sigmund, 26, 29, 70–3, 82, 92,175, 184, 186, 199, 213, 216, 219,221, 225

From an Abandoned Work, 42, 93, 97,100, 121, 142, 194, 213

Frye, Northrop, 149, 215, 222

Genette, Gerard, 38, 40, 210, 211, 221‘German Letter of 1937’, 135Gibson, Andrew, 100, 213, 222Gide, Andre, 35, 222God, 5, 7, 19, 30, 34, 36–7, 50, 77, 90,

109, 110, 112, 114, 120–4, 144–6,148–60, 164–6, 170, 173, 177, 179,181–5, 189, 197, 201, 206, 215, 220

Happy Days (Oh les beaux jours),112, 115–20, 157–8, 214, 216, 218

‘He Is Barehead’, 200–1Hegel, G. W. F., 8–9, 21, 209, 222Heidegger, Martin, 9, 26, 50, 51, 61, 145,

188, 209, 212, 215, 222, 226, 227Hill, Leslie, 7, 28, 125, 132, 153, 173,

181, 209, 215, 216, 222home, 8, 9, 32, 37, 48, 51–2, 77, 82, 99,

134, 139–41, 143, 145, 148, 167, 175,177, 179, 183–4

How It Is (Comment c’est), 20, 29, 67,79–80, 91, 94–5, 98–100, 102–5,107, 112, 121, 133, 139, 145–7,151, 163, 183, 186

idee reçue, 2, 23, 130idiom, 2–4, 29, 50, 52, 54, 56, 72, 74,

87–8, 97, 102–3, 112, 114–15, 118,124, 130, 132, 141, 144–5, 150, 159,185, 203–4, 209, 225

ignorance, 4–5, 10, 14, 18, 27, 30–1,46, 62–3, 95, 104–5, 122, 130, 133,164, 178, 193

Ill Seen Ill Said (Mal vu mal dit), 63,140, 195

230 Index

impersonality, 29, 30, 67, 88, 91, 141,147–8, 185–7, 198

impotence, 17, 30, 73, 94, 128, 136–7incarnation, 83, 120, 149–56innocence, 4–6, 10, 14, 22, 29, 31, 72,

90–2, 97, 106, 110, 189–90, 192,204–5, 207, 208

Johnson, Samuel, 108–9, 214, 223Joyce, James, 2, 18–19, 21, 25, 30–4, 39,

49–50, 55, 70, 73, 77, 123, 140,210–13, 215, 223, 224, 226

Kenner, Hugh, 18, 55, 78, 129, 209,213, 223

‘Le Kid’, 113Knowlson, James, 41–2, 157, 201, 209,

212, 213–14, 215, 218, 223Kristeva, Julia, 159, 165–6, 223

law, 4, 7, 27, 33, 35, 130, 159, 162–3,165–6, 168–9, 170–8, 180–2, 203, 209

Lawley, Paul, 203, 217, 223Lawrence, Karen, 49, 212, 223Lennon, Peter, 3–4, 32, 209, 223literal, 8–10, 13–15, 25, 34, 45, 48, 50,

52, 57, 58, 78, 86, 88, 91, 101, 105–6,113, 126, 130–2, 135, 137, 144,149–56, 160, 166, 187, 190–2,197–200, 203, 205–6, 208

The Lost Ones, 88, 96, 196–7, 200,201–2, 216, 222

‘Love and Lethe’, 36

Malone Dies (Malone meurt), 23, 29, 37,59, 65, 69, 82–3, 88, 94, 99, 100–1,103, 106, 108, 111, 128, 136–7, 140,142, 150, 152–4, 177, 182, 189, 193,206, 208

memory, 1, 14, 27–8, 60–1, 65, 92,103–4, 106–7, 115–16, 120–8, 132–5,146–7, 153, 160, 174, 176, 195, 200,207, 212, 219

Mercier and Camier (Mercier et Camier),74, 80, 138, 168–9, 172, 216

Merleau-Ponty, Maurice, 95, 97,213, 224

Messiaen, Olivier, 134, 151, 214,222, 224

metaphor, 3, 8–10, 13–15, 17, 19, 22,25, 28, 47, 49, 52, 64, 84–5, 102, 124,126, 135, 139–41, 144, 149–50, 152–6,159, 181, 199, 202–3, 209, 210,223, 225

molar, 1, 2, 145–6, 163, 184molecular, 2, 145, 184, 187Molloy, 1, 7–8, 20, 24, 29, 37, 48, 57,

60–5, 69–70, 73, 77–8, 93, 95–6,99–101, 103–6, 109, 123–4, 127, 129,131–2, 138, 140, 143, 145, 151, 153,163, 165–6, 169–85, 187, 192, 195,207, 209, 224

More Pricks than Kicks, 48, 50, 71, 73,128, 166

mother, 1, 7, 8, 24, 41, 53, 77–8, 81–3,87, 92, 96, 103–4, 125, 144, 147–8,158–9, 163, 169, 171–6, 178, 181

Murphy, 5, 6, 31, 38–45, 47–8, 52, 56–9,64, 75, 99, 102, 106, 125, 136–7, 142,144–5, 155, 168–9, 181, 195, 206, 209,211, 212, 218

Murphy, P. J., 125–6, 129, 214, 224

Nagel, Thomas, 137–9, 215, 224Nietzsche, Friedrich, 8–9, 94, 165, 209,

216, 224Not I, 158–9, 166, 188, 203, 205, 217,

220, 223

Ong, Walter, 61, 128, 212, 224ordinary language, 4, 10, 14, 18, 72, 119,

189–90, 192, 216, 220, 224origin, 4–5, 7, 9, 26, 72, 96, 107, 126,

136, 140, 174, 199

Partridge, Eric, 12, 224Paulhan, Jean, 22–5, 64, 70, 224persuasion, 13–15, 29, 190, 192, 194philosophy, 1–2, 5, 8, 10, 14, 92, 190,

215, 224Piette, Adam, 14, 39, 66, 72, 76, 82, 133,

202, 210, 214, 224Pilling, John, 72, 133, 201, 212, 213,

214, 223, 224, 225Ping (Bing), 107, 214, 223pleasure principle, 26, 29, 175, 185,

216, 221police, 163, 166, 168–9, 171–2,

173, 175

Index 231

poverty, 2, 6, 14, 18, 21, 48, 51, 181,190, 196, 208

print culture, 11, 15, 18–19, 56, 127–8,200, 210, 224

Proust, 7, 33, 35, 43, 46, 62, 74–6, 122,176, 210

Proust, Marcel, 2, 7, 30, 33, 35, 40, 43,46–7, 62, 67–79, 85–91, 99, 122, 147,176, 209–13, 219, 224–5

Quintilian, Marcus Fabius, 31, 191,211, 225

realism, 18, 23, 27, 30, 33, 35, 38–9,43–51, 54, 57, 75, 155, 188, 223, 226

reason, 7, 13, 26, 37, 58, 60–2, 78,103–4, 109, 142–3, 151, 172, 178, 195,197, 199, 213, 220, 223

register, 8, 47, 66, 90, 108–11,114, 134

religion, 3–4, 7, 20, 27–8, 61–2, 76,123–42, 144–9, 151, 153, 155–60, 162,166, 169, 183, 185, 207,214, 227

repetition, 1–2, 5, 7, 15–16, 26, 29, 46,64, 70–1, 73, 82–5, 96, 98, 103, 107,126, 129, 146, 148, 154, 165, 174–5,185–6, 202, 208, 209, 217,220, 223

rhetoric, 4, 10–15, 17, 20, 22–3, 31,48–9, 52, 57, 110, 161–2, 165, 168,173, 179–80, 181, 190–2, 194–6, 209,211, 216, 220, 222, 224

rhetorical question, 190–2, 194–5Ricks, Christopher, 24–6, 79, 128,

185, 225Ricoeur, Paul, 13, 25, 165, 209, 225Riffaterre, Michael, 11, 209, 225Rockaby, 159, 206, 208, 220Romanticism, 16–17, 86, 101, 220Rough for Radio II, 70, 86, 204Rough for Theatre II, 157

Sabin, Margery, 2, 10, 19, 54–5, 209, 225Sartre, Jean-Paul, 22, 61–2, 100, 187,

210, 212, 216, 225Schopenhauer, Arthur, 26, 99, 138,

213, 225Scruton, Roger, 81, 91, 213, 226spirituel, 149–50

spoken word, 126–7, 155–7Sprat, Thomas, 13, 22, 210, 226Stereotype, 16, 40Stupidity, 1, 5, 10, 23, 35, 51, 63, 104,

129, 207, 222Surplus-value, 9, 15, 19, 47, 53, 57Surrealism, 44–5, 211, 212, 220Swift, Jonathan, 12, 72, 210, 213,

225, 226

Texts for Nothing, 10, 37, 96, 98–9, 115,141, 151, 154

That Time, 38, 144–5, 152, 188, 216, 218This Quarter, 44, 45, 211, 212, 220Three Dialogues, 45, 47, 209, 218time, 6, 11, 27, 48, 61, 69, 74, 84-8,

92-105, 108, 110-23, 126, 134, 146,147, 149, 151, 159, 162, 182, 189, 201,204, 212, 215, 218

transition, 71, 74

Uhlmann, Anthony, 2, 61–3, 212,221, 226

Ulysses, 19–21, 31–2, 39, 49, 70, 73, 105,140, 211, 215, 223, 226

The Unnamable (L’Innommable), 7, 24,26, 29, 63, 65, 71, 81–5, 87–90, 93, 95,97–8, 100, 102, 104–5, 107, 111, 127,132, 135, 141–4, 148–56, 158, 163–4,181, 184–7, 189, 192–6, 198, 205, 215,222, 223, 226

usury, 9, 15

voice, 18, 31, 33, 50, 52, 57, 64, 66, 72,89, 91, 99–100, 116, 118, 120, 125–6,129, 133, 135, 138–9, 149,152, 154–61, 165, 169, 173–4,177–80, 182, 185–8, 197, 198, 202,207, 208, 213, 214, 215, 222,224, 226

Waiting for Godot (En attendant Godot),37, 94, 109–12, 114, 120, 134, 137–8,152, 157, 182, 185,201, 216, 218, 220

Watt, 14, 41, 44, 46, 51–2, 72, 75, 114,137–8, 152, 154, 181, 208, 219

Weisberg, David, 182–4, 226‘A Wet Night’, 73, 85‘What a Misfortune’, 36What Where, 70, 204

232 Index

will, 14, 24, 26, 28, 32, 34, 43, 73,86, 90, 99, 111, 112, 128, 132, 135–9,143, 146, 165, 172, 181, 190, 198,200, 208, 214

Wittgenstein, Ludwig, 2, 6–7, 10, 14,188–90, 196, 199, 216, 220, 223,224, 226

Wordsworth, William, 17, 18, 86, 108,130, 177, 210, 213, 214, 226

Worstward Ho, 62, 93, 102, 107, 145,195–6, 207

Yeats, William Butler, 76, 98, 213, 227‘Yellow’, 50