By Cohn, Ruby; Beckett, Samuel
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Extra info for A Beckett canon
During the process of writing, Beckett enfolded that very process into his novel, however he may have mocked it. Belacqua echoes the narrator in gnawing at aesthetics, but Beckett also embeds in this work references to his other works—a practice that will continue through the years. The striking word sanies is not yet af‹xed to a literary genre, but the narrator recollects Beckett’s own Anteros poem “cogged” from Ronsard’s “Magic,” which is familiar both to Belacqua and the Alba. Belacqua declares: “There is a long poem .
Existing documents do not reveal when Beckett ‹rst decided to weave a novel about his story protagonist, Belacqua. Pilling assumes that Dream “became a single entity only as disparate episodes began to accumulate, and as a kind of aesthetic armature . . was put in place” (1997, 57–58). After completing the novel, Beckett hoped to publish it but could ‹nd no takers. Finally turning against his “virgin chronicle,” he gave the typescript to Lawrence Harvey, glad to be rid of it. Of Beckett’s frequently expressed distaste for his early work, Dream is perhaps the prize exhibit.
Perhaps he is the narrator, as in Finnegans Wake. He is not to be confused with the protagonist, Belacqua, who occasionally lapses into a dreamlike state. Two of the three “fair to middling women” indulge brie›y in dreams, but the title can scarcely allude to these subsidiary ‹gures. Rather, like so much else in the novel, literary dreams are implied—Tennyson’s Dream of Fair Women and Chaucer’s Legend of Good Women. ” However based on living models, the women are secondary characters in this novel with a male protagonist, who is sometimes designated as “our principal boy,” as in English pantomime.