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The abandoned manuscript of Samuel Beckett's first play, Eleutheria has finally found its way into print after a highly dramatic legal and literary battle. It is clear ... that Eleutheria merits both publication and production, but it must be placed into perspective.Waiting for Godot is revolutionary; Eleutheria is evolutionary. The play, a valuable addition to Beckett's body of work, will be of interest to anyone concerned with the author's art and with exploratory theater.
there from time to time. (A silence) You look marvellous. She isn’t serious. What? Violette. They’re idle words. O f course. Washing her hands of him! H er only child! Can you ELEUTHERIA M . K rap M m e. M eck M m e . P io u k J acq ues M m e . P io u k M m e . M eck M m e . P io u k M . K rap M m e . P io u k M . K rap M m e . M eck M . K rap M m e . P io u k M . K rap M m e . M eck 21 imagine! (A knock) (Too low) Come in. A m other doing that! (Another knock) Come in! (Enter
. M m e . M eck Y o u r f a t h e r is d e a d . (A s i l e n c e ) G lazier A n s w e r , w ill y o u p le a s e ! (A k n o c k . E n te r T h o m a s ) V ictor T a k e ca re o f y o u r c o lle a g u e . (H e g o e s t o t h e w in d o w ) T h om as M adam e? M m e . M eck S e e i f h e is b r e a t h i n g . U s e d a s y o u a r e to e n g in e s . T hom as ( H a v i n g e x a m i n e d J o s e p h ) Y es, M adam e. M m e . M eck H e is b r e a t h in g ? T hom as Y es, M a d
even though preceded by other works in French, forms a bridge between Beckett the English language writer and Beckett the French writer.”12 And in what is perhaps xx " S am uel B eckett the most comprehensive essay written on the play, Dougald McMillan writes: [Eleutheria] was thus the culm ination of [Beckett’s] ex am ination of the dramatic tradition of which he was a part. If we do not have for Beckett a direct manifesto like C orneille’s First Discourse on the Uses and Elements of
Duckworth (London: George G. H arrap, 1966), xlv. x x ii r S am uel B eckett 10. The novel finally appeared, amid m uch squab bling am ong its publishers, from Black Cat Press, Dublin, in 1992 and from Arcade Publishing, in asso ciation with Riverrun Press, in 1993, both editions edited by Eoin O ’Brien and Edith Fournier. In his letter to the Times Literary Supplement on 16 July 1993, however, Eoin O ’Brien dissociates himself from the second edition, although he remains listed as its
(Glazierlike) by (a very otherdeflating) “first-rate.” Although at some point the French supprimer (tonal value: penological, archly literary/legal) m an aged to survive its translantic flight “intact” (as “sup press,” tonal value pretty m uch the same), its m ore offhand and everyday shading elsewhere dem anded, alas, a less cognately configuration (“do away with”) in English. W h at b e ca m e m ost c o n sp ic u o u s in th e course o f translating was, first, B eckett’s fascina tion with