Academics From Ireland

"Nell: Nothing is funnier than unhappiness. Nagg: Oh? Nell: Yes, yes, it's the most comical thing in the world. And we laugh, we laugh, with a will, in the beginning. But it's always the same thing. Yes, it's like the funny story we have heard too often, we still find it funny, but we don't laugh any more."

"Hamm: Look at the ocean! (Clov gets down, takes a few steps towards window left, goes back for ladder, carries it over and sets it down under window left, gets up on it, turns the telescope on the without, looks at length. He starts, lowers the telescope, examines it, turns it again on the without.) Clov: Never seen anything like that! Hamm (anxious): What? A sail? A fin? Smoke? Clov (looking): The light is sunk. Hamm (relieved): Pah! We all knew that. Clov (looking): There was a bit left. Hamm: The base. Clov (looking): Yes. Hamm: And now? Clov (looking): All gone. Hamm: No gulls? Clov (looking): Gulls! Hamm: And the horizon? Nothing on the horizon? Clov (lowering the telescope, turning towards Hamm, exasperated): What in God's name could there be on the horizon? (Pause.) Hamm: The waves, how are the waves? Clov: The waves? (He turns the telescope on the waves.) Lead. Hamm: And the sun? Clov (looking): Zero. Hamm: But it should be sinking. Look again. Clov (looking): Damn the sun. Hamm: Is it night already then? Clov (looking): No. Hamm: Then what is it? Clov (looking): Gray. (Lowering the telescope, turning towards Hamm, louder.) Gray! (Pause. Still louder.) GRRAY! (Pause. He gets down, approaches Hamm from behind, whispers in his ear.) Hamm (starting): Gray! Did I hear you say gray? Clov: Light black. From pole to pole."

"Hamm: What's he doing? (CLOV raises lid of NAGG's bin, stoops, looks into it. Pause.) Clov: He's crying. (He closes lid, straightens up) Hamm: Then he's living."

"Hamm: We're not beginning … to … to … mean something? Clov: Mean something? You and I mean something?"

"Let me go to hell, that's all I ask, and go on cursing them there, and them look down and hear me, that might take some of the shine off their bliss."

"Krapp: Perhaps my best years are gone. When there was a chance of happiness. But I wouldn't want them back. Not with the fire in me now."

"Krapp: Ah finish your booze now and get to your bed. Go on with this drivel in the morning. Or leave it at that. (Pause.) Leave it at that."

"No way in, go in, measure."

"No, life ends and no, there is nothing elsewhere, and no question now of ever finding again that white speck lost in whiteness, to see if they still lie still in the stress of that storm, or of a worse storm, or in the black dark for good, or the great whiteness unchanging, and if not what they are doing."

"All of old. Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better."

"Enough. Sudden enough. Sudden all far. No move and sudden all far. All least. Three pins. One pinhole. In dimmost dim. Vasts apart. At bounds of boundless void. Whence no farther. Best worse no farther. Nohow less. Nohow worse. Nohow naught. Nohow on."

"Birth was the death of him."

"Why can't you write the way people want?"

"Beckett does not believe in God, though he seems to imply that God has committed an unforgivable sin by not existing."

"I saw three short Beckett plays when I was sixteen, and I didn't know what it was but It hit me like a train. It was intense enough for me to never forget it. My road to Damascus."

"I remember two playwrights who affected me deeply, for their wit especially: Edward Albee and Samuel Beckett. I found their sense of absurdity comforting."

"In regard to absurdism, Samuel Beckett is sometimes considered to be the epitome of the postmodern artist … In fact, he is the aesthetic reductio ad absurdum of absurdism: no longer whistling in the dark, after waiting for Godot, he is trying to be radically silent, wordless in the dark. Beckett tries to bespeak a failure of the logos that never quite succeeds in being a failure, for to speak the failure would be a kind of success. Hence the essentially comic (hence unavoidably and ultimately affirmative) nature of his work."

"[F]or Beckett, immobility, death, the loss of personal movement and of vertical stature...are only a subjective finality...only a means in relation to more profound end. It is a question of attaining once more the world before man...the position where movement was...under the regime of universal variation, and where light, always propagating itself, had no need to be revealed..."

"Though Godot contains all the wit and whimsicality of Murphy (minus a great deal of the old pedantry), it has one new ingredient — humanity. The novel and the play both tell us that human suffering is comic and irrational (" absurd" in the fashionable jargon), but only Godot reads like the work of a man who has actually suffered. …Even if it added nothing to Murphy, Godot would still be remarkable by the mere fact of being a popular play on an unpopular theme. It popularity is a smack in the face for all those who say that to be a skillful playwright one must first be a "man of the theatre." As far as I know, Mr Beckett may never have been backstage in his life until Godot was first performed. Yet, this first play shows consummate stagecraft. Its author has achieved a theoretical impossibility — a play in which nothing happens, that yet keeps audiences glued to their seats. What’s more, since the second act is a subtly different reprise of the first, he has written a play in which nothing happens, twice. . . . Godot makes fun even of despair. No further proof of Mr Beckett’s essential Irishness is needed. He outdoes MM Sartre and Camus in skepticism, just as Swift beat Voltaire at his own game. . . . About the only thing Godot shows consistent respect for is the music-hall low-comedy tradition."

"A pity beyond all telling Is hid in the heart of love: The folk who are buying and selling, The clouds on their journey above, The cold wet winds ever blowing, And the shadowy hazel grove Where mouse-grey waters are flowing, Threaten the head that I love."

"Barriers dissolve, too, when confronted by the Eastern poems: the poems of the sacred books, in Yeats' translation of the Upanishads, or Isherwood's of the Bhagavad-Gita, and such work as E. Powys Mathers' Black Marigolds and Robert Payne's The White Pony, a rich anthology of Chinese poetry."

"I was easily entranced by pure sound and still am, no matter what it is saying: and any poet who mixes the poetry of the actual world with the poetry of sound interests and excites me more than I am able to say. In my student years, it was Yeats who seemed to do this better than anyone else. There were lines of Yeats that were to ring in my head for years: "Many times man lives and dies/Between his two eternities,/That of race and that of soul,/And ancient Ireland knew it all..../Did she in touching that lone wing/Recall the years before her mind/Became a bitter, an abstract thing/Her thought some popular enmity:/Blind and leader of the blind/Drinking the foul ditch where they lie?" I could hazard the guess that all the most impassioned, seductive arguments against the artist's involvement in politics can be found in Yeats. It was this dialogue between art and politics that excited me in his work, along with the sound of his language-never his elaborate mythological systems. I know I learned two things from his poetry, and those two things were at war with each other. One was that poetry can root itself in politics. Even if it defends privilege, even if it deplores political rebellion and revolution, it can, may have to, account for itself politically, consciously situate itself amid political conditions, without sacrificing intensity of language. The other, that politics leads to "bitterness" and "abstractness" of mind. makes women shrill and hysterical, and is finally a waste of beauty and talent: "Too long a sacrifice / can make a stone of the heart." There was absolutely nothing in the literary canon I knew to counter the second idea. Elizabeth Barrett Browning's anti-slavery and feminist poetry, H.D.'s anti-war and woman-identified poetry, like the radical-yes, revolutionary-work of Langston Hughes and Muriel Rukeyser, were still buried by the academic literary canon. But the first idea was extremely important to me: a poet-one who was apparently certified-could actually write about political themes, could weave the names of political activists into a poem: "MacDonagh and MacBride/And Connally and Pearce/Now and in time to come/Wherever green is worn/Are changed, changed utterly:/A terrible beauty is born.""

"I think that I just drew a lot of nourishment from the poets that I then was aware of and able to be aware of, poets like William Blake, like Emily Dickinson, like Whitman, people whose—and then later, somewhat later, Yeats, who taught me in fact that poetry could be political and still be incredibly beautiful. And on and on, because one is always reading, one is always extending one’s range into the world of poetry translated from other languages, poetry from other centuries. All of that has been very important to me."

"I think more of Yeats sometimes when I write than I do of anything else."

"When I went to college (from 1959 to 1963), there were no women's studies courses, no anthologies that stressed a female heritage, no public women's movement. Poetry meant Yeats, Lowell, James Dickey. Without even realizing it, I assumed that the voice of the poet had to be male."

"There are some poets whose poetry can be considered more or less in isolation, for experience and delight. There are others whose poetry, though giving equally experience and delight, has a larger historical importance. Yeats was one of the latter: he was one of those few whose history is the history of their own time, who are a part of the consciousness of an age which cannot be understood without them. This is a very high position to assign him: but I believe that it is one which is secure."

"Born into a world in which the doctrine of 'Art for Art's sake' was generally accepted, and living on into one in which art has been asked to be instrumental to social purposes, he held firmly to the right view which is between these, though not in any way a compromise between them, and showed that an artist, by serving his art with entire integrity, is at the same time rendering the greatest service he can to his own nation and to the world."

"his poetry is always with me and I know plenty of it off by heart. I often find myself quoting him – my work is full of Yeats ideas and lines which I have absorbed."

"An idea of art opposed to the idea of utility, an idea of an audience opposed to the idea of popularity, an idea of the peripheral becoming the central culture – in these three ideas Yeats provided Irish writing with a programme for action. But whatever its connection with Irish nationalism, it was not, finally, a programme of separation from the English tradition. His continued adherence to it led him to define the central Irish attitude as one of self-hatred... The pathology of literary unionism has never been better defined."

"I knew Yeats. He made a very strong impression. He wasn't an intimate friend, but I met him at Lady Ottoline Morrell's and he talked to me about how he lived very quietly just seeing a few friends and some witches... He was a very, very unexpected personality. Well, perhaps not unexpected. One might have expected it. But a very unusual personality. Because he was, I think, a very great poet... [H]e talked in this chanting, curious, Celtic voice... He read with his great chanting voice and then he beat time, you know."

"Yeats was an inexhaustible source of delight. I’ve never known anyone so forgetful of little details. Whenever it came time for his lecture in on the campus, he seized his portfolio and marched over only to find after he arrived on the stage that he had brought the wrong lecture or no lecture at all in an empty portfolio. This was constantly happening."

"Follow, poet, follow right To the bottom of the night, With your unconstraining voice Still persuade us to rejoice;With the farming of a verse Make a vineyard of the curse, Sing of human unsuccess In a rapture of distress;In the deserts of the heart Let the healing fountains start, In the prison of his days Teach the free man how to praise."

"By mourning tongues The death of the poet was kept from his poems.But for him it was his last afternoon as himself, An afternoon of nurses and rumours; The provinces of his body revolted, The squares of his mind were empty, Silence invaded the suburbs. The current of his feeling failed: he became his admirers.Now he is scattered over a hundred cities And wholly given over to unfamiliar affections; To find his happiness in another kind of wood And be punished under a foreign code of conscience. The words of a dead man are modified in the guts of the living."

"No marble, no conventional phrase; On limestone quarried near the spot By his command these words are cut: Cast a cold eye On life, on death. Horseman, pass by!"

"Under bare Ben Bulben’s head In Drumcliff churchyard Yeats is laid."

"Irish poets, earn your trade, Sing whatever is well made, Scorn the sort now growing up All out of shape from toe to top, Their unremembering hearts and heads Base-born products of base beds."

"Now that my ladder’s gone, I must lie down where all the ladders start In the foul rag-and-bone shop of the heart."

"Players and painted stage took all my love, And not those things that they were emblems of."

"I have found nothing half so good As my long-planned half solitude, Where I can sit up half the night With some friend that has the wit Not to allow his looks to tell When I am unintelligible."

"Because there is safety in derision I talked about an apparition, I took no trouble to convince, Or seem plausible to a man of sense."

"A bloody and a sudden end, Gunshot or a noose, For Death who takes what man would keep, Leaves what man would lose."

"Like a long-legged fly upon the stream His mind moves upon silence."

"Down the mountain walls From where pan’s cavern is Intolerable music falls. Foul goat-head, brutal arm appear, Belly, shoulder, bum, Flash fishlike; nymphs and satyrs Copulate in the foam."

"You that would judge me, do not judge alone This book or that, come to this hallowed place Where my friends' portraits hang and look thereon; Ireland's history in their lineaments trace; Think where man's glory most begins and ends And say my glory was I had such friends."

"You think it horrible that lust and rage Should dance attention upon my old age; They were not such a plague when I was young; What else have I to spur me into song?"

"Hurrah for revolution and more cannon-shot! A beggar upon horseback lashes a beggar on foot. Hurrah for revolution and cannon come again! The beggars have changed places, but the lash goes on."

"Grant me an old man’s frenzy, Myself must I remake Till I am Timon and Lear Or that William Blake Who beat upon the wall Till Truth obeyed his call."

"My temptation is quiet. Here at life’s end Neither loose imagination, Nor the mill of the mind Consuming its rag and bone, Can make the truth known."

"If soul may look and body touch, Which is the more blest?"

"Their eyes mid many wrinkles, their eyes, Their ancient, glittering eyes, are gay."