eckett is in no doubt as to where the new thing has happened: even the best Irish poets are best only because âthey have submitted themselves to the influences of those poets least concerned with evading the bankrupt relationship referred to at the opening of this essayâCorbiÃ¨re, Rimbaud, Laforgue, the surrÃ©alistes and Mr Eliot.â1 It was poets, and above all French poets, who embodied for Beckett a fundamental ideaâârupture of the lines of communication.â It is not only Denis Devlin and Brian Coffey, we assume, who have âsubmittedâ themselves to these influences, but Mr. Samuel Beckett as well. The early 1930s saw him producing, besides Echoâs Bones, translations of Rimbaud, Apollinaire, Eluard, and Breton. He was not, of course, alone in this allegiance, which is pervasive in the works of Pound, Eliot, Joyce, and other writers of the period. The symbolist legacy had changed the nature of the written word for generations to come. The status of virtual truism now accorded to that fact seems to have deflected specific attention in Beckettâs case. Yet his 1 Samuel Beckett, âRecent Irish Poetry,â in Disjecta: Miscellaneous Writings and a Dramatic Fragment, ed. Ruby Cohn (London: Calder, 1983), 75. Modern Language
Modern Language Quarterly: A Journal of Literary History – Duke University Press
Published: Dec 1, 2005
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