Long ago few a long time there were scattered efforts to handle the subject of Beckett and Romanticism, however it is still tough to fathom his ambiguous and a little bit paradoxical angle towards this era in literature, track and paintings historical past.
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Extra resources for “All Sturm and no Drang”: Beckett and Romanticism: Beckett at Reading 2006 (Samuel Beckett Today/Aujourd’hui, Volume 18)
78) 50 Beckett, Johnson, Wordsworth and the Language of Epitaphs Where discrimination would seem to be necessary above all, a ‘want of discrimination’ is found. In verse that aims to make an individual life universal and intelligible to the many, however, it is perhaps inevitable that the terms it uses risk seeming over-familiar and undiscriminating. 82). 53). He is deeply critical of the more jaded view of Samuel Johnson, who ascribes the common epitaph’s lack of discrimination, in his 1756 “A Dissertation on the Epitaphs written by Pope,” to two causes.
In his Essays upon Epitaphs, Wordsworth proposes a different kind of language to his predecessors, and he, unlike Beckett and Johnson, appears to put the dramatic at the heart of his creative response to death. 60). Looking more closely at this process, however, he is again forced to concede the proximity between death and detachment. The creative exercise offered to the writer of the epitaph is a similar one to the one Beckett undertakes: that of putting him or herself beyond the grave. Wordsworth writes: The departed Mortal is introduced telling you himself that his pains are gone; that a state of rest is come; and he conjures you to weep for him no longer.
S. Eliot is worth revisiting. “[W]hat happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it,” asserted Eliot in “Tradition and the Individual Talent” (1919). “The existing order [of monuments],” he continues, is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.