Rhythm in Samuel Beckett's Later Bilingual Works

The unique nature of Samuel Beckett's oeuvre, which was systematically produced in two languages, has important implications concerning the status of the literary work. Recent research indicates that the fictive universes projected by the English and French versions of "the same work"...

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Bibliographic Details
Published in:Style (University Park, PA) PA), 1992-04, Vol.26 (1), p.79-90
Main Author: O Reilly, Magessa
Format: Article
Language:English
Subjects:
Analysis
Beckett, Samuel (1906-1989)
Bilingualism
Bilingualism and literature
British & Irish literature
Cording
Irish literature
Language translation
Linguistic rhythm
Literary criticism
Literary theory
Literature
Phonetics
Rhythm
Semantics
Sentence stress
Sentences
Syntax
Translation
Translations
Word order
Words
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Summary:The unique nature of Samuel Beckett's oeuvre, which was systematically produced in two languages, has important implications concerning the status of the literary work. Recent research indicates that the fictive universes projected by the English and French versions of "the same work" are not exact equivalents. But can the two versions elicit equivalent rhythmic experiences in the reader? Rhythm is at once a formal and a semantic phenomenon. Translation theory leads us to believe that semantic rhythm is more translatable than formal rhythm. Beckett's practice of self-translation seems to indicate the opposite. He takes liberties in translating semantic patterns; as the author of the original, he is not bound by its authority. Formal patterns, on the other hand, seem to have been the object of particular attention in the process of selftranslation. Notwithstanding lexical and semantic differences, both versions of a work can create similar rhythmic experiences. Rhythmic patterns seem to have been of more importance to Beckett than certain details of meaning.
ISSN:0039-4238
2374-6629