[Toiffer选版]诺贝尔文学奖获奖作品——贝克特作品集 2009搜集

资源格式: PDF

版本: 2009搜集

发行时间: 2006年6月

地区: 大陆,美国

语言: 简体中文,英文

简介: 

　萨缪尔·巴克利·贝克特（1906年——1989年），爱尔兰著名作家、评论家和剧作家，诺贝尔文学奖获得者(1969年)。他兼用法语和英语写作，他之所以成名或许主要在于剧本，特别是《等待戈多》(1952年)。
　　1906年4月13日(或者是3月13日)，萨缪尔·巴克利·贝克特出生于爱尔兰都柏林郊区福克斯洛柯的斯底劳根，确切的地点是一座名叫库尔俊纳的都铎王室建筑。在孩提时代和中小学期间，他发现自己喜爱体育活动，而丝毫没显露出日后博学和善于驾驭语言的迹象。后来他就读于三一学院，师从拉德莫斯-布朗攻读现代语言。在这里所受的教育使他的才智得到了表现。1928年至1930年，贝克特任巴黎高等师范学校的语言讲师，并经常光顾咖啡厅，从而使自己步入30年代令人振奋的巴黎文坛——他在这里为自己定下基调和主题，并和詹姆斯·乔伊斯、托玛斯·麦格里韦等人交往。回到都柏林后，他先在三一学院教授法语，以后有一段时间照料父亲，最后在第二次世界大战前不久定居巴黎。他与后来成为妻子的苏姗·德克沃-迪梅斯尼尔一起参加法国地下抵抗组织，躲在鲁西荣生活了一段时间。战后(即 1950年他母亲去世后)，随着编辑和剧院老板开始发现他作品中的双语天才，贝克特的经济逐渐宽裕起来，但名声也出乎意料地跌落。随着他的作品日渐出名，他却越来越退缩到自己的隐居状态之中。贝克特只是偶尔鼓起勇气迈出国门，主要是1956年因参加《等待戈多》的首演式而去过美国的迈阿密，1975年因导演该剧去过德国。此后他便隐居巴黎，只是通过他的出版商和外界联系。
[编辑本段]【萨缪尔·巴克利·贝克特的文学历程】
　　贝克特的文学生涯始于两部非小说作品和几首诗歌，而最终则以小说和戏剧创作著称。1928年至1930年在巴黎逗留期间，贝克特为乔伊斯尚未定名的作品《为芬尼根守灵》的系列评论撰写了一篇论文。文章标题相当古怪：《但丁…布鲁诺·维柯 乔伊斯》(其中的圆点代表作家之间间隔的世纪数)。人们研究这篇文章常常是为了寻找贝克特日后成为天才的线索，而不是考虑它对乔伊斯作品的阐述。《普鲁斯特》(1931年)是一篇篇幅更长的专题论文，对马塞尔·普鲁斯特小说语言的特征进行了深入详尽的探讨，同时也表现出贝克特对语言的交际作用和不确定性的复杂感受。诗歌《婊子镜》(1930年)和《回声的结构及其他急就之篇》(1935年)典故迭出，晦涩难解，除了最勤勉的学者之外，几乎没有人能够读懂。
　　贝克特最早创作的小说是《平庸女人的美梦》，但没有完成。接着他写了几篇短篇小说，后来收入《刺多踢少》于1929年出版。这部短篇小说集仅仅因为书名就遭到不止一家出版商的拒绝，因为他们没有意识到标题出自于《圣经》。贝克特的幽默在这些短篇中初露锋芒，同时也表现出他驾驭语言的能力，他用精心选取的意义、隐晦的词语，代替了冗长的现实主义描写。
　　在回到爱尔兰照料父亲的时候，贝克特开始创作他的第一部出色的小说《莫尔菲》，但此书被拒绝42次之后才于1938年找到一家出版商出版。这是个晦涩滑稽的故事，描写一个无法就业的爱尔兰人如何躲避工作，又如何卷入了一场爱情纠葛。《莫尔菲》暗示着即将成为贝克特自己的那种痛苦孤立的世界景象，但作者却把它掩盖在欢快滑稽的复杂情节之中——三角 (或四角)恋爱，对都柏林社会底层游手好闲之辈浪漫传奇般的描写，以及穿插的教育小说成分(尽管读者开始见到小说主人公莫尔菲时他已完全长大成人，但他却把自己缚在摇椅上，试图把自己摇入被人忘却的世界)。文学史家将这部著作和乔伊斯的《尤利西斯》一并归入爱尔兰的城市史诗之列。
　　贝克特于1937年返回巴黎，但他的文学生涯(他正靠撰写文学评论谋生)却因德国占领而告中断。他在为地下组织工作期间写成了《瓦特》，这是一部关于准数学置换与复合的散文体论文，综合了十几个哲学前提。一些有识之士试图通过五种感官把难以捉摸的混乱现实组织起来，而《瓦特》则是贝克特将这种复杂过程小说化的最成功的尝试。作品从书名中的双关语 [瓦特(Watt)是另一个名叫诺特(Knott)的人物所用的名字。Watt与what (什么)同音，Knott与not(不)同音。)开始，通过一系列感觉可能性的迷宫 (其中有六页篇幅描写委员会成员之间交换眼色)，直到最后经常引用的附录(“无人索查的地方没有符号标记”)，通篇是一项规模大得可怕的语言游戏。
　　经历过战争的混乱以后，贝克特于1946年开始创作第一部法语小说《梅西埃与卡米埃》(1970年)，翌年开始创作第一部戏剧《埃留提里乌斯信徒》。在今天看来，这两部作品只是随后十年奇迹般的文学戏剧创作的预习。在随后十年当中，他出版了三部曲巨著《马洛伊》、《马洛纳正在死去》和《无名的人》，他的剧本《等待戈多》和《结局》(1956年)也得到出版、翻译和公演，而且他还自己动手把这些作品译成了英语。这些作品奠定了他荣获诺贝尔文学奖的基础，但却使十几部类似的作品黯然失色，虽然一个次要作家有了这十几部作品，一定会功成名就。
　　三部曲的写作持续了六年之久(英文译本直到1956年才完成)，这是贝克特对自己世界观最详尽的描述；它以马洛伊寻找母亲的近似现实主义的细节描写开始，通过马洛纳超现实主义的临终反思，直到以无名人脱离躯壳的头颅在旋转的幻觉世界中心的灰色心理作为结局。作为对痛苦、失落和绝望心灵的文学阐述，三部曲是无与伦比的。它通过个人色彩浓厚的叙述风格，引导读者越过一切参照标志而进入纯主观的灰色格调。即使没有几个可以认出的地名，它也是赤裸裸的自传，因为贝克特试图描写那些似乎难以诉诸笔端、不言而喻、扑朔迷离而又完全属于个人的一切，而且作品中只有这些内容。
　　《等待戈多》惊人的成功，反倒使贝克特声名狼藉，他不能不继续写下去，蒙受着这种惩罚。当这出戏首先在伦敦(英文译本)、然后在迈阿密、最后在纽约上演时，贝克特对美国导演艾兰·史奈德说，成功或失败对他来说完全无关紧要。到1980年，《等待戈多》已经在美国演出了几十场，旧金山的实验剧团还为滞留在圣昆丁的难民和参加布鲁塞尔世界博览会的人们演出。于是人们匆匆忙忙将贝克特称作荒诞派作家，认为他和欧仁·尤内斯库和品特同属一个“流派”；评论家和报界也发现他的戏剧虽然令人困惑、沮丧，但又非常重要，并指出这出戏的杂耍渊源和对爱尔兰民间漫画艺术的借鉴。威维安·梅西埃称它是“一出任何事情都没有发生过的双料戏”。
　　这突如其来的成功，同时也意味着他要付出大量的时间。它在某种程度上促使贝克特愈来愈缩进他自己隐退的缄默之中。他拒绝就自己的作品发表评论，而让评论家自己到作品本身中去寻找一切答案。后来他于1955年写成《结局》、广播剧《落下的一切》(此次由罗伯特·品盖特和作者一起译成法语，1957年出版)和专门为演员帕特里克·马洁所写的独角戏《克拉普的最后一盘磁带》(1956年)。在贝克特与苏珊娜结婚并与豪尔赫·路易斯·博尔赫斯分享国际编纂奖的同年，他写出了小说《如此情况》(1961年)和戏剧《快乐的日子》。几部小型作品——舞台剧、电视剧(其中最优秀的有写于1964年出版于1966年的《啊，乔》)，甚至还有一部诗集——都难以确定写作日期，因为贝克特常常靠仔细翻阅陈年笔记并重写早年没有发表的脚本和手稿中的某些部分，来满足对他作品的新的需求。
　　出版界贪得无厌的胃口，尽管与贝克特的整个艺术观点相对立，却也促成了几部作品集的出版，这主要是因为许多作品太短而不能出单行本。其中格罗夫出版社出版的著名选集有：《最初的爱情故事及其他》(1947年)、《功败垂成》(1976年)、《作品散编：戏剧篇》(1976年)以及《卡斯肯多与其他短剧》(1967年)。1983年在纽约上演了由艾兰·史奈德执导的三出短剧《俄亥俄州即兴》(1981年)、《灾难》(1982年)和《什么·哪里》(1983年)，三个短剧于1984年结集出版。
　　萨缪尔·贝克特在文学史上的地位，对于那些相信争取成功是人类合情合理行为的人们，是一种普遍的嘲弄。贝克特在其文学生涯的早期就声明，他没有什么要表达的欲望，没有表达的缘由，也没有表达的对象；但是对他这样又不能不表达的人来说，结果表达得不仅丰富，而且深沉。学术界的许多人都认为，贝克特是迄今仍然在世的最伟大的作家，但他在巴黎却只有一套普普通通的寓所，只允许他的出版商和密友登门造访，偶尔写出一篇短的散文或舞台剧脚本，好像是还不能够完全停止工作。虽然他全力沉溺于体现自己本体论的缄默之中，但还是出版了惊人的文学作品。贝克特的生活观就像《等待戈多》里的波佐所说的那样，“他们两脚分开骑在坟墓上生产，光明转瞬即熄，接着又是一片黑暗”，但他却安享天年，而且生活得很好。他的文学生涯以及面对虚无所展示出的个人的力量，实践了他的三部曲中最后的一段话：“一定要走下去，我走不动了，我还要走下去。”
　　
　　【1969年诺贝尔文学奖授奖辞——瑞典学院常务理事卡尔·拉格纳·吉罗】
　　如果将敏锐的想象力和逻辑掺拌到荒谬的程度，结果将是一种似是而非的诡谲，或是一个爱尔兰人，如果是一个爱尔兰人，这似是而非的诡谲会自动地包含于其中。诺贝尔奖确实曾有被分享的情况出现，有趣的是，今年正发生了这种情况：一份诺贝尔奖颁给了一个人，两种语言和第三个国家，而且是一个分裂的国家。
　　萨缪尔·贝克特于1906年出生在都柏林，将近半个世纪后，他才在巴黎扬名于世界文坛。3年之内出版的5部杰作立刻使他一跃成为文学界泰斗。这5部作品分别是1951年出版的小说《莫洛依》及其续集《马洛纳之死》，1952年出版的剧本《等待戈多》， 1953年出版的《莫洛依》的第二部续集《无名的人》及另一部小说《瓦特》。这一系列作品的问世，使作者在现代文学中大放异彩。
　　上述的年份只是指这些书出版的时间，不同于其完稿的年代及写作顺序。这些作品的雏形必须追溯到当时的环境及贝克特思想的早期发展。或许只有求助于贝克特近年的作品，才能了解到他的文学起点及小说《莫洛依》，以至作家乔伊斯、普鲁斯特分别在1929年和1931年对他产生的重要影响。这位小说与戏剧的新表现形式的先锋，承袭了乔伊斯、普鲁斯特和卡夫卡的文学传统，而他早年的戏剧创作则植根于18世纪90年代的法国文学和阿尔弗雷德·雅里的《于布·王》。
　　从某种角度上说，小说《瓦特》的非凡创作可以看作是贝克特文学生涯的转折点。久居巴黎的贝克特于纳粹占领后设法逃到了法国南部，并在1942年至1944年间完成了这本书。在这本书中，他告别了使用多年的英语而开始用法语写作，由此使他成名。直至15年后他才恢复使用母语进行写作。他在完成《瓦特》而着手开始另一部新作时，气氛也变了。他的其他成名作写于1945至 1949年间，都以二次大战为题材。大战后他的作品已趋于成熟，展现出独特的风格。
　　二次大战对贝克特的影响既不是战争的实际意义，也不是前线的战事或是他自己曾参加的“抵抗运动”，而在于重返和平后的种种：撕开地狱的帷幕，可怕地展露出人性在强制命令下服从的本能，已达到了非人道的堕落的程度，以及人性如何在这场掠夺下依然能残存不灭。因此，贝克特的作品一再以人的堕落为主题，而他所表现的生命态度，更强调了生命存在的背景犹如闹剧般地既怪异又悲哀，这可以说是否定论——一种在完成全部历程前不能受干扰的否定论。它必须继续到底，因为唯有那样，才会发生悲剧思想和诗境显示的奇迹。
　　这种否定一旦形成了，它能给我们什么呢?一种肯定的愉悦的意象——在其中，黑暗本身将成为光明，最深的阴影将是光源所在。它的名字是同情。有着无数的前辈。亚里斯多德自希腊悲剧中发展出他的经由同情和敬畏的“净化”理论。而否定形成的意象，不只是希腊悲剧中恐惧的积累。人自叔本华深沉痛苦中得来的力量超过了谢林的爽朗天性。人在巴斯卡苦闷的怀疑中找到的神的恩宠，胜子莱布尼兹盲目信仰理论上各种世界的美好。我们再度审视爱尔兰文学遗产对贝克特作品的影响——他获益于狄恩．斯威夫特对人类黑暗狂暴的描绘远远超过奥立佛·哥尔斯密斯苍白的田园牧歌。
　　贝克特世界观的关键在于两种悲观的不同，一种是轻易的，不在乎思考一切的悲观，另一种是在无法设防的悲惨境遇小、痛苦地面对现实而来的悲观。前者的悲观在于凡事皆没有价值因而有其极限，后者试图自相反的观念去解释，因为没有价值的东西绝不能再降低他的价值。我们曾目睹了前人所未见到的人的堕落，如果我们否定了一切价值，堕落的证明就不存在了。但是如果了解了人的堕落会加深我们的痛苦，则我们更能认识人的真正价值。这就是内在的净化及来自贝克特黑色悲观主义的生命力量。更有甚者，这种悲观主义以其丰富的同情心，拥抱了对人类的爱，因为它了解剧变的极限，一种绝望必须达到痛苦的顶峰才会知道没有了同情，所有的境界都将消失。贝克特的作品发自近乎绝灭的天性，似已列举了全人类的不幸。而他凄如挽歌的语调中，回响着对受苦者的救赎和遇难灵魂的安慰。
　　这在贝克特的两大杰作中或许表现得最为明显，《等待戈多》和《啊，美好的日子》都可被视为圣经的注释。例如在《等待戈多》中有这样的句子：“你是那将要降临的还是我们要再等待的另一个呢?”剧中两个流浪汉必须面对的，是以野蛮方式残忍而无意义地生存着。这可以说是一部比较富有人性的剧本，没有法律比创造本身更为残忍。而人在创造中唯一占有的地方，是出自他有心恶意地将其他法律加诸其上的事实。但倘若我们想象有一个神，一个创造了人类能忍受的、无尽的痛苦的神，那么我们正如剧中的两个流浪汉一样，将以何种方式相会于某时某地呢?贝克特对这个问题的答案就是剧本的名字。到剧终时我们仍未弄清戈多的身份，就像我们到了自己生命的最后一幕仍不明白一样。幕落了，我们深信眼前看过的残害的力量，但我们明白一件事，无论经历怎样的折磨，有一种东西是永远磨灭不了的，那就是希望。《等待戈多》中简单地描绘了人类面对永远的、不可料知的等待，所作的形式上的抉择。
　　在另一剧本中圣经的引喻多和人的现实的选择相关，他们彼此的关系，就像在旷野里听到了喊声。贝克特在剧本的解说中，针对了一个无望地坐在沙漠中的不负责任的幻想加以说明，但主题则是另一回事。外在发生的是一个与世隔绝的人逐渐被越积越多的沙子覆盖，直到他完全被埋葬在自己的寂寞中。但—样东西始终矗立在令人窒息的沉默中，那就是他的头和他在旷野里的喊叫。人只要活着，就有一种不可磨灭的需求，在寻找自己的同类，和他们说话，互通讯息。
　　瑞典学院对于萨缪尔·贝克特未能在今天与我们同在深感遗憾。不过他选了首先认识到他的作品的重要性的巴黎出版商林东先生代表他，前来接受奖金。现在就请林东先生从国王陛下手中领取他所颁发的诺贝尔文学奖。
　　
　　【评论界对萨缪尔·巴克利·贝克特获诺贝尔奖的反应】
　　报界决没有忽略贝克特荣获诺贝尔奖的讽刺意义，它注意到瑞典文学院为这样一个人大唱赞歌与其宗旨并不和谐：他的作品认为人的任何努力都没有希望，没有意义，没有价值，此外他多年来一直抵制成为名人的冲动(他的朋友的而不是他自己的冲动)。然而，在认为贝克特的作品太压抑(好像贝克特个人应该对他的所见所写负责)的诋毁者面前，瑞典文学院却因敢于承认贝克特贡献的重要性而赢得了赞誉。有些文章回顾了1964年让-保尔·萨特出于政治原因而拒绝受奖的情况。有些文章则提及贝克特早年在巴黎期间与詹姆斯·乔伊斯的联系(这种复杂的思想交流被说成是师生关系，实在是新闻界过于简单化的典型)。这种“爱尔兰联系”大大超越了乔伊斯与人交往的性质；欧美报刊以大量篇幅报道了都柏林对贝克特获奖所作出的反应，并报道了该城对这位流落在外的本地人的热诚。随后是上演贝克特的作品，最引人注目的是阿贝剧院1969年12月上演了《等待戈多》。这一切都突出了爱尔兰信仰的民族特性。
　　从报刊上试探性的、不置可否的措辞可以清楚地看出，新闻界极少有人真正熟悉贝克特的作品。有些报纸满足于刊载其散文作品的长篇片断；有些报纸则登载在办公室卷宗中找到的作家星星点点的传记细节。各种各样的解释性的尝试更是笑话百出：有的信息不确但又自作聪明；有的不是引文有误，就是标题用错；还有的竟把肯尼思·廷楠擅自在《啊!加尔各答》(1969年)序幕的舞台导言中加进的一句也归于贝克特。然而比较如意的尝试毕竟还是有的：如伦敦的《泰晤士报》(10月24日)载文说：“贝克特的作品，就像一篇篇的乐章，十分精确地表现了它要表达的意义，多一点或少一点都会将其毁掉。”当学者们应邀就授奖反应撰稿时，他们便借机批驳那些认为贝克特的作品压抑、消极和虚无的“乐观主义者”，积极为贝克特辩护。贝克特的支持者们指出，他的作品富于自然景致的俭约之美，语言表述清晰，并具有在本体论的虚无面前也能深深感到的幽默。查尔斯·马罗威茨(《纽约时报》，11月2日)这样评价贝克特的作品：
　　“其有益之处在于它的毫不动情。从他对绝望的准确描写里，人们会得到对于虚无的更为清晰的概念，以及如何在这一片靠不住的原野上纵横驰骋。推向极端的悲观主义必然会产生出高雅和完美。”
　　人们普遍接受的反应是，一个在字里行间中如此彻底、如此赤裸裸地暴露自己的人，有权不再涉足社会。由于缺乏通常为报界提供背景材料、但与获奖本身并无多大关系的私人交谈式的采访，学者们开始通过贝克特迄今为止发表的作品来进行回顾：回顾《等待戈多》的演出，引证剧作家对哈罗德·品特、汤姆·斯托帕德以及其他荒诞派作家的影响。随后几年，出现了对贝克特进行专门研究的繁荣景象：从1970年雷蒙德·费德曼和约翰·弗莱彻合著的贝克特作品书目开始，到欧美各地纷纷成立贝克特研究会而达到高潮。

Beckett(贝克特)作品推荐

作者：戴晖
文章来源：作者惠赐
浏览：1784 次

On. Say on. Be said on. Somehow on. Till nohow on. Said nohow on.
On. I’ll say on. (Let "on" be said.) I’ll go on somehow. Till nohow on. Till I say "nohow on".
Say for be said. Missaid. From now say for missaid.
I’ll say "say" instead of "be said" (or instead of "missaid"). From now on I’ll say "say" instead of "missaid".
Say a body. Where none. No mind. Where none. That at least. A place. Where none. For the body. To be in. Move in. Out of. Back into. No. No out. No back. Only in. Stay in. On in. Still.
I’ll say there’s a body (where there isn’t one). I won’t say there’s a mind (where there isn’t one). That at least is true. I’ll say there’s a place (where there isn’t one) for the body: for it to be in and move in, and to move out of and move back into again. No: the body doesn’t move out or move back. It stays in, it stays on in – unmoving.
All of old. Nothing else ever. Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.
Everything is as it was of old. There’s never been anything else. I’ve never tried anything else, never failed at anything else. But it doesn’t matter: I’ll try again, I’ll fail again. I’ll fail better than I did before.

First the body. No. First the place. No. First both. Now either. Now the other. Sick of the either try the other. Sick of it back sick of the either. So on. Somehow on. Till sick of both. Throw up and go. Where neither. Till sick of there. Throw up and back. The body again. Where none. The place again. Where none. Try again. Fail again. Better again. Or better worse. Fail worse again. Still worse again. Till sick for good. Throw up for good. Go for good. Where neither for good. Good and all.
First, the body. No: first the place. No: first both of them – now one, now the other. When I’m sick of one I’ll try the other. I’ll go on like that (somehow go on) till I’m sick of both of them – till I throw up and go away to where neither of them are. Till I’m sick of that too. Then I’ll throw up and come back: to the body again (where there isn’t one), and to the place again (where there isn’t one). I’ll try again and I’ll fail again – fail better again. Or (better) I’ll fail worse again, fail still worse again. Till I’m sick of it for good, throw up for good, go away for good to where neither of them are, for good: for good and all.
It stands. What? Yes. Say it stands. Had to up in the end and stand. Say bones. No bones but say bones. Say ground. No ground but say ground. So as to say pain. No mind and pain? Say yes that the bones may pain till no choice but stand. Somehow up and stand. Or better worse remains. Say remains of mind where none to permit of pain. Pain of bones till no choice but up and stand. Somehow up. Somehow stand. Remains of mind where none for the sake of pain. Here of bones. Other examples if needs must. Of pain. Relief from. Change of.
The body is standing. What? Yes, I’ll say it’s standing – that in the end it had to get up and stand. I’ll say there are bones (there are no bones, but I’ll say there are). I’ll say there’s ground (there’s no ground, but I’ll say there is). So that I can say there is pain. Can there be no mind and still be pain? I’ll say yes there can, that the bones feel pain until they have no choice except to stand up, somehow to get up and stand. Or (for better or worse) I’ll say there are remains, say there are remains of mind (where there aren’t any), to permit of pain: pain in the bones till they have no choice but to get up and stand (somehow get up, somehow stand). I’ll say there are remains of mind (where there aren’t any), for the sake of pain. Here the pain is the bones’ pain – but I’ll give other examples if needs must, other examples of pain. And of relief from pain. (Or of change of pain.)
All of old. Nothing else ever. But never so failed. Worse failed. With care never worse failed.
Everything is as it was of old. There’s never been anything else. But I have never failed so much, never failed worse (if I’m careful I’ll never have failed worse).
Dim light source unknown. Know minimum. Know nothing no. Too much to hope. At most mere minimum. Meremost minimum.
There’s a dim light, source unknown. (I must know the minimum. Could I know nothing? No, that’s too much to hope for. At most I must know a bare minimum, the merest minimum.)
No choice but stand. Somehow up and stand. Somehow stand. That or groan. The groan so long on its way. No. No groan. Simply pain. Simply up. A time when try how. Try see. Try say. How first it lay. Then somehow knelt. Bit by bit. Then on from there. Bit by bit. Till up at last. Not now. Fail better worse now.
The body has no choice but to stand – somehow to get up and stand, somehow stand. Either that or groan (the groan that has been so long on its way). No, there’s no groan. There’s simply pain, and simply standing up. There was a time when I’d have tried to find how it was (tried to see, tried to say): how first it lay down, then somehow knelt (bit by bit), then went on from there (bit by bit), till at last it stood up. But I won’t do that now: now (for better or worse) I’ll fail.
Another. Say another. Head sunk on crippled hands. Vertex vertical. Eyes clenched. Seat of all. Germ of all.
Another image (I’ll say there’s another): a head sunk down on crippled hands – with its vertex vertical, its eyes clenched shut. (The head which is the seat of all and the germ of all.)
No future in this. Alas yes.
There’s no future in this. (But yes, alas – there is a future in it.)
It stands. See in the dim void how at last it stands. In the dim light source unknown. Before the downcast eyes. Clenched eyes. Staring eyes. Clenched staring eyes.
The body stands. See how at last it stands, in the dim void, in the dim light (source unknown) – before the downcast eyes: the clenched eyes, the staring eyes, the clenched staring eyes.
That shade. Once lying. Now standing. That a body? Yes. Say that a body. Somehow standing. In the dim void.
That shade (once lying, now standing) – is that a body? Yes, I’ll say that’s a body. Somehow standing, in the dim void.
A place. Where none. A time when try see. Try say. How small. How vast. How if not boundless bounded. Whence the dim. Not now. Know better now. Unknow better now. Know only no out of. No knowing how know only no out of. Into only. Hence another. Another place where none. Whither once whence no return. No. No place but the one. None but the one where none. Whence never once in. Somehow in. Beyondless. Thenceless there. Thitherless there. Thenceless thitherless there.
A place (where there isn’t one). There was a time when I’d have tried to see it, tried to say it: how small it was, or how vast – what its boundaries were (if it wasn’t boundless). And where the dim light came from. But not now, I know better now. Now I know better what I don’t know. I know only that there is no way out of it. I don’t know how I know: I know only that there is no way out of it, only a way into it. So I’ll say there’s another (another place where there isn’t one): a place to which there is no return, once it is gone out of. No, I won’t say that. There is no place except the one place: no place except the one place (where there isn’t one) – from which there is no way out, once it is gone into (somehow gone into). A place with nothing beyond it. A place from which there is no way out and to which there is no way in. No way out of it and no way into it.
Where then but there see –
Where but there, then, do I see –
See for be seen. Misseen. From now see for be misseen.
[I’ll say "see" instead of "be seen" (or instead of "misseen"): from now on I’ll say "see" instead of "misseen".]
Where then but there see now –
Where but there, then, do I now see –
First back turned the shade astand. In the dim void see first back turned the shade astand. Still.
(First, with its back turned, the standing shade: first, in the dim void, I see the shade standing with its back turned, unmoving).
Where then but there see now another. Bit by bit an old man and child. In the dim void bit by bit an old man and child. Any other would do as ill.
Where then but there do I now see another shade. Bit by bit, I see an old man and child: in the dim void, bit by bit, an old man and child. (Any other shade would do as ill.)

Hand in hand with equal plod they go. In the free hands – no. Free empty hands. Backs turned both bowed with equal plod they go. The child hand raised to reach the holding hand. Hold the old holding hand. Hold and be held. Plod on and never recede. Slowly with never a pause plod on and never recede. Backs turned. Both bowed. Joined by held joining hands. Plod on as one. One shade. Another shade.
Hand in hand with equal plod they go. In their free hands….. No: the free hands are empty. With their backs turned, and both bowed, with equal plod they go. The child has its hand raised to reach the hand holding it, to hold the old holding hand, to hold and be held. They plod on and never recede. Slowly with never a pause they plod on and never recede, with their backs turned and both bowed, joined by held joining hands. They plod on as one – as one shade. (That’s another shade.)
Head sunk on crippled hands. Clenched staring eyes. At in the dim void shades. One astand at rest. One old man and child. At rest plodding on. Any others would do as ill. Almost any. Almost as ill.
The head is sunk on crippled hands, its clenched eyes staring at shades in the dim void: one shade standing at rest, one an old man and child (plodding on, but at rest). Any others would do as ill. (Almost any others would do as ill – almost as ill.)

They fade. Now the one. Now the twain. Now both. Fade back. Now the one. Now the twain. Now both. Fade? No. Sudden go. Sudden back. Now the one. Now the twain. Now both.
They fade away – now the single shade, now the twain, now both together. Then they fade back – now the single shade, now the twain, now both together. But do they fade? No, they go suddenly, and suddenly come back: now the single shade, now the twain, now both together.
Unchanged? Sudden back unchanged? Yes. Say yes. Each time unchanged. Somehow unchanged. Till no. Till say no. Sudden back changed. Somehow changed. Each time somehow changed.
Are they unchanged? Have they come back (suddenly) unchanged? Yes, I’ll say yes, they’re unchanged. Each time they are unchanged, somehow unchanged. Till no: till I say no. Now they return (suddenly) changed – each time they are somehow changed.

The dim. The void. Gone too? Back too? No. Say no. Never gone. Never back. Till yes. Till say yes. Gone too. Back too. The dim. The void. Now the one. Now the other. Now both. Sudden gone. Sudden back. Unchanged? Sudden back unchanged? Yes. Say yes. Each time unchanged. Somehow unchanged. Till no. Till say no. Sudden back changed. Somehow changed. Each time somehow changed.
The dim light, the void: have they gone too – and come back too? No, I’ll say no: they’ve never gone and never come back. Till yes: till I say yes. They’ve gone too, and they come back too, the dim and the void: now one of them, now the other, now both together. Suddenly they’re gone, suddenly they’re back. Are they unchanged? Have they come back (suddenly) unchanged? Yes – I’ll say yes: they are unchanged each time, somehow unchanged. Till no, till I say no: they come back (suddenly) changed, somehow changed. Each time they are somehow changed.
First sudden gone the one. First sudden back. Unchanged. Say now unchanged. So far unchanged. Back turned. Head sunk. Vertex vertical in hat. Cocked back of black brim alone. Back of black greatcoat cut off midthigh. Kneeling. Better kneeling. Better worse kneeling. Say now kneeling. From now kneeling. Could rise but to its knees. Sudden gone sudden back unchanged back turned head sunk dark shade on unseen knees. Still.
The single shade is gone (suddenly) first, then (suddenly) it comes back first – unchanged. (For now I’ll say it’s unchanged – so far unchanged.) The back is turned, the head sunk. The vertex is vertical, in a hat. Only the cocked back of the hat’s black brim is to be seen. The back of the black greatcoat is cut off at midthigh. Or it’s kneeling – it’s better kneeling. For better or worse it’s kneeling. (For now I’ll say it’s kneeling: from now on it’s kneeling.) It could get up only as far as its knees. It’s gone (suddenly), and it comes back (suddenly) unchanged: with its back turned and its head sunk, a dark shade on unseen knees.Unmoving.

Next sudden gone the twain. Next sudden back. Say now unchanged. So far unchanged. Backs turned. Heads sunk. Dim hair. Dim white and hair so fair that in that dim light dim white. Black greatcoats to heels. Dim black. Bootheels. Now the two right. Now the two left. As on with equal plod they go. No ground. Plod as on void. Dim hands. Dim white. Two free and two as one. So sudden gone sudden back unchanged as one dark shade plod unreceding on.
Next the twain are gone (suddenly), then back (suddenly). (For now I’ll say they’re unchanged – so far they’re unchanged.) Their backs are turned and their heads sunk. Their hair is dim: one dimly white and the other so fair that it looks dimly white in that dim light. Black greatcoats (dim black) reach to their heels (the heels of boots). Now the two right heels, now the two left, as on they go with equal plod. There is no ground: they plod as if on a void. Their hands are dim – dimly white: two of them free, and two of them together as if they were one hand. Thus they plod on without receding (suddenly gone, then suddenly back unchanged), like a single dark shade.
The dim. Far and wide the same. High and low. Unchanging. Say now unchanging. Whence no knowing. No saying. Say only such dim light as never. On all. Say a grot in that void. A gulf. Then in that grot or gulf such dimmest light as never. Whence no knowing. No saying.
The dim is the same far and wide and high and low, unchanging (for now I’ll say it’s unchanging). There’s no knowing where it comes from – and no saying. I’ll say only that it’s such dim light as never was before: on everything. I’ll say there’s a grotto, in that void. Or a gulf. Then in that grotto or gulf there is such dimmest light as never was before. There’s no knowing where it comes from. (And no saying.)
The void. Unchanging. Say now unchanging. Void were not the one. The twain. So far were not the one and twain. So far.
The void is unchanging (for now I’ll say it’s unchanging). It would be a void were it not for the single shade, and for the twain: so far it would be, were it not for the single shade and for the twain. So far away.
The void. How try say? How try fail? No try no fail. Say only –
The void: how shall I try to say that? How try to fail to say it? I won’t try, I won’t fail: I’ll say only –
First the bones. On back to them. Preying since first said on foresaid remains. The ground. The pain. No bones. No ground. No pain. Why up unknown. At all costs unknown. If ever down. No choice but up if ever down. Or never down. Forever kneeling. Better forever kneeling. Better worse forever kneeling. Say from now forever kneeling. So far from now forever kneeling. So far.
Before that, the bones. I’ll go on back to the bones (they have been preying, since first mentioned, on the remains of mind previously mentioned), and back to the ground, and to the pain: there are no bones, no ground, no pain. Why the body stood up is unknown, at all costs unknown (if it was ever lying down). It had no choice but to get up (if it was ever lying down). Or perhaps it was never lying down: perhaps it’s been kneeling for ever. Yes, it’s better if it’s been kneeling for ever. For better or worse it’s been kneeling for ever. From now on I’ll say it’s been kneeling for ever. From now on (so far) I’ll say it’s been kneeling for ever. So far away.
The void. Before the staring eyes. Stare where they may. Far and wide. High and low. That narrow field. Know no more. See no more. Say no more. That alone. That little much of void alone.
The void: it’s before the staring eyes, stare where they may – far and wide, high and low (that narrow field). I know no more, I see no more, I’ll say no more than that, that alone: I’ll say only that (that little much) about the void.
On back to unsay void can go. Void cannot go. Save dim go. Then all go. All not already gone. Till dim back. Then all back. All not still gone. The one can go. The twain can go. Dim can go. Void cannot go. Save dim go. Then all go.
I’ll go on back to unsay that the void can go: the void cannot go unless the dim goes – and then all will go (all that has not already gone) till the dim comes back: then all will come back (all that is not still gone). The single shade can go, the twain can go, the dim can go: but the void cannot go unless the dim goes. And then all goes.
On back better worse to fail the head said seat of all. Germ of all. All? If of all of it too. Where if not there it too? There in the sunken head the sunken head. The hands. The eyes. Shade with the other shades. In the same dim. The same narrow void. Before the staring eyes. Where it too if not there too? Ask not. No. Ask in vain. Better worse so.
I’ll go on back (for better or worse), to fail the head – said to be the seat of all and the germ of all. Of all? If it’s the seat of all it’s the seat of itself as well. And where if not there should it not be, as well? A sunken head in a sunken head, along with the hands and the eyes: a shade with the other shades, in the same dim, the same narrow void, before the staring eyes. Where should it be (as well) if not there as well? Don’t ask. No: ask in vain. (For better or worse, that’s how it is.)
The head. Ask not if it can go. Say no. Unasking no. It cannot go. Save dim go. Then all go. Oh dim go. Go for good. All for good. Good and all.
The head. Don’t ask if it can go: say it can’t, without asking. It cannot go unless the dim goes – and then all goes. Oh let the dim go, go for good! Let all go for good: for good and all.
Whose words? Ask in vain. Or not in vain if say no knowing. No saying. No words for him whose words. Him? One. No words for one whose words. One? It. No words for it whose words. Better worse so.
Whose words are these? It’s in vain to ask. Or not in vain if (for example) there’s no knowing, no saying: if there are no words for him whose words these are. For him? Not for him – for one: if there are no words for one whose words these are. One? Not one – it: if there are no words for it whose words these are. For better or worse that’s how it is.
Something not wrong with one. Meaning – meaning! – meaning the kneeling one. From now one for the kneeling one. As from now two for the twain. The as one plodding twain. As from now three for the head. The head as first said missaid. So from now. For to gain time. Time to lose. Gain time to lose. As the soul once. The world once.
There’s something not wrong with one. Meaning – meaning! – the kneeling one. From now on I’ll say "one" for the kneeling one. Just as from now on I’ll say "two" for the twain (the twain plodding on as if they were one) and "three" for the head. (The head which, as was first said, is missaid.) That’s what I’ll do from now on. To gain time – time to lose. Gain time to lose. (As once the soul was lost, as once the world was gained.)
Something not wrong with one. Then with two. Then with three. So on. Something not wrong with all. Far from wrong. Far far from wrong.
There’s something not wrong with one. Then with two, then with three – and so on. There’s something not wrong with all of them – something far from wrong, something far far from wrong.
The words too whosesoever. What room for worse! How almost true they sometimes almost ring! How wanting in inanity! Say the night is young alas and take heart. Or better worse say still a watch of night alas to come. A rest of last watch to come. And take heart.
It’s the same for the words as well, whoever’s they are. What scope there is for them to be worse than they are! How they almost ring almost true sometimes! How wanting in inanity they are! But I’ll say the night is young (alas), and take heart from that. Or (for better or worse) I’ll say that a watch of night is still to come (alas), that the rest of the last watch is to come. And take heart from that.
First one. First try fail better one. Something there badly not wrong. Not that as it is it is not bad. The no face bad. The no hands bad. The no -. Enough. A pox on bad. Mere bad. Way for worse. Pending worse still. First worse. Mere worse. Pending worse still. Add a -. Add? Never. Bow it down. Be it bowed down. Deep down. Head in hat gone. More back gone. Greatcoat cut off higher. Nothing from pelvis down. Nothing but bowed back. Topless baseless hindtrunk. Dim black. On unseen knees. In the dim void. Better worse so. Pending worse still.
First "one": first I’ll try to fail "one" better. Something there is badly not wrong. Not that it’s not bad as it is: not having a face is bad, not having hands is bad, not….. Enough: a pox on bad, on mere bad – to make way for worse (pending worse still). First the worse, mere worse (pending worse still). Add a….. Add? Never. Bow it down, let it be bowed down, deep down. The head in its hat is gone from view, more of the back is gone. The greatcoat is cut off higher up than it was, there is nothing from the pelvis down. There is nothing but the bowed back, the back of a topless baseless trunk in the dim blackness, kneeling on unseen knees in the dim void. That’s how it is (for better or worse), pending something worse still.

Next try fail better two. The twain. Bad as it is as it is. Bad the no –
Next I’ll try to fail "two" better (the twain) – bad as it is as it is. Bad the no –

First back on to three. Not yet to try worsen. Simply be there again. There in that head in that head. Be it again. That head in that head. Clenched eyes clamped to it alone. Alone? No. Too. To it too. The sunken skull. The crippled hands. Clenched staring eyes. Be that shade again. In that shade again. With the other shades. Worsening shades. In the dim void.
First I’ll go back on to "three". Not yet to try and worsen it: I’ll simply be there again, there inside that head inside that head. I’ll be it again, that head inside that head. The clenched eyes will be clamped to it alone. Alone? No, not alone: as well. Those clenched staring eyes will be clamped to it as well – to it as well as to the sunken skull and to the crippled hands. I’ll be that shade again, be in that shade again – along with the other shades, the worsening shades. In the dim void.
Next –
Next –
First how all at once. In that stare. The worsened one. The worsening two. And what yet to worsen. To try to worsen. Itself. The dim. The void. All at once in that stare. Clenched eyes clamped to all.
First I’ll say how they are all there at once, in that stare: the worsened "one", the worsened "two" and what is yet to worsen (to try to worsen, to worsen itself). And the dim. And the void. They are all there at once in that stare: the clenched eyes are clamped to them all.
Next two. From bad to worsen. Try worsen. From merely bad. Add -. Add? Never. The boots. Better worse bootless. Bare heels. Now the two right. Now the two left. Left right left right on. Barefoot unreceding on. Better worse so. A little better worse than nothing so.
Next "two" – to worsen it from what is already bad (to try to worsen it). Add….. Add? Never. The boots: for better or worse they are bootless, their heels are bare. Now the two right heels, now the two left: left right, left right they plod on. Barefoot they plod on, unreceding. For better or worse, that’s how it is: a little better or worse than nothing, that’s how it is.
Next the so-said seat and germ of all. Those hands! That head! That near true ring! Away. Full face from now. No hands. No face. Skull and stare alone. Scene and seer of all.
Next, the so-called seat and germ of all. (Those hands! That head! Which so nearly ring true! Away with them.) It will be full face from now on. No hands, no face, just the skull and the stare alone: the scene and see-er of everything.

On. Stare on. Say on. Be on. Somehow on. Anyhow on. Till dim gone. At long last gone. All at long last gone. For bad and all. For poor best worst and all.
On: go on staring, go on saying, go on being – somehow go on, go on anyhow. Until the dim has gone, at long last gone, and all has at long last gone, for bad and all (for a poor-best attempt to be worst and all).
Dim whence unknown. At all costs unknown. Unchanging. Say now unchanging. Far and wide. High and low. Say a pipe in that void. A tube. Sealed. Then in that pipe or tube that selfsame dim. Old dim. When ever what else? Where all always to be seen. Of the nothing to be seen. Dimly seen. Nothing ever unseen. Of the nothing to be seen. Dimly seen. Worsen that?
It’s not known where the dim comes from (at all costs it’s not known). It’s unchanging (for now I’ll say it’s unchanging). It’s far and wide and high and low. I’ll say there’s a pipe in that void, or a tube. Sealed. Then inside that pipe or tube is the selfsame dim, the old dim. (What else has there ever been?) Where all is always to be seen (dimly seen) of the nothing to be seen. Nothing of the nothing to be seen (dimly seen) is ever unseen. (Can that be made worse?)
Next the so-said void. The so-missaid. That narrow field. Rife with shades. Well so-missaid. Shade-ridden void. How better worse so-missay?
Next the so-called void, the so-miscalled void – that narrow field rife with shades. It’s well so-miscalled, that shade-ridden void. How (for better or worse) did I so miscall it?
Add others. Add? Never. Till if needs must. Nothing to those so far. Dimly so far. Them only lessen. But with them as they lessen others. As they worsen. If needs must. Others to lessen. To worsen. Till dim go. At long last go. For worst and all.
Add others. Add? Never. Till and if needs must. I’ll add nothing to those here so far (dimly here so far). Them I will only lessen. But with them as they lessen (as they worsen) there will be others, if needs must – others to lessen and to worsen. (Till the dim goes, at long last goes, for worst and all.)
On. Somehow on. Anyhow on. Say all gone. So on. In the skull all gone. All? No. All cannot go. Till dim go. Say then but the two gone. In the skull one and two gone. From the void. From the stare. In the skill all save the skull gone. The stare. Alone in the dim void. Alone to be seen. Dimly seen. In the skull the skull alone to be seen. The staring eyes. Dimly seen. By the staring eyes. The others gone. Long sudden gone. Then sudden back. Unchanged. Say now unchanged. First one. Then two. Or first two. Then one. Or together. Then all again together. The bowed back. The plodding twain. The skull. The stare. All back in the skull together. Unchanged. Stare clamped to all. In the dim void.
On. Go on somehow, go on anyhow. I’ll say that all has gone. (That’s how I’ll go on.) In the skull all has gone. All? No: all cannot go till the dim goes. I’ll say, then, that only two have gone: in the skull, "one" and "two" have gone – gone from the void, gone from the stare. In the skull, all have gone save the skull itself, and the stare. They are alone in the dim void – they alone are to be seen (dimly seen): in the skull they alone are to be seen. The staring eyes are dimly seen by the staring eyes. The others have gone, long ago suddenly gone. Then suddenly they come back, unchanged (for now I’ll say they’re unchanged): first "one" then "two", or first "two" then "one". Or together: then they all come back again together. The bowed back, the plodding twain, the skull, the stare – they all come back in the skull together, unchanged, with the stare clamped to all of them. In the dim void.
The eyes. Time to –
The eyes. Time to -.
First on back to unsay dim can go. Somehow on back. Dim cannot go. Dim to go must go for good. True then dim can go. If but for good. One can go not for good. Two too. Three no if not for good. With dim gone for good. Void no if not for good. With all gone for good. Dim can worsen. Somehow worsen. Go no. If not for good.
First I’ll go on back to unsay that the dim can go (somehow I’ll go on back). The dim cannot go. If the dim were to go it would go for good. It’s true, then, that the dim can go – though only if it goes for good. "One" can go without being gone for good. So can "two". But "three" can’t go without being gone for good (gone for good along with the dim). The void can’t go without being gone for good (gone for good along with all). The dim can worsen, somehow worsen: but it can’t go, without being gone for good.
The eyes. Time to try worsen. Somehow try worsen. Unclench. Say staring open. All white and pupil. Dim white. White? No. All pupil. Dim black holes. Unwavering gaping. Be they so said. With worsening words. From now so. Better than nothing so bettered for the worse.
The eyes. It’s time to try and worsen them, somehow try and worsen them. I’ll unclench them: I’ll say they’re staring wide open, all white and pupil (dim white). White? No – they’re all pupil: dim black holes, gaping unwaveringly. Let them be said like that, with worsening words: from now on let them be said like that. It’s better than nothing for them to be bettered like that, for the worse.
Still dim still on. So long as still dim still somehow on. Anyhow on. With worsening words. Worsening stare. For the nothing to be seen. At the nothing to be seen. Dimly seen. As now by way of somehow on where in the nowhere all together? All three together. Where there all three as last worse seen? Bowed back alone. Barefoot plodding twai

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