By Daniela Caselli
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Extra info for Beckett’s Dantes: Intertexuality in the Fiction and Criticism
Dante follows the tradition and deﬁnes the anagogical sense as follows: Lo quarto senso si chiama anagogico, cioè sovrasenso; e questo è quando spir itualmente si espone una scrittura, la quale ancora [sia vera] eziandio nel senso litterale, per le cose signiﬁcate signiﬁca de le superne cose de l’etterna gloria: sì come vedere si può in quello canto del profeta che dice che, ne l’uscita del popolo d’Israel d’Egitto, Giudea è fatta santa e libera. Che avvegna essere vero secondo la lettera sia manifesto, non meno è vero quello che spiritualmente s’intende, cioè che ne l’uscita de l’anima dal peccato, essa sia fatta santa e libera in sua potestate.
Literature(s) in English: New Perspectives (Frankfurt: Peter Lang, 1990), pp. 61–67, p. 61; Eric P. Levy, Beckett and the Voice of Species: A Study of the Prose Fiction (Totowa: Barnes & Noble Books, 1980), p. 41. 45 Beckett attributed to Joyce the quip about Crime and Punishment in an interview with Ellmann in 1954. McQueeny, ‘Beckett as critic’, p. 82. 46 Samuel Beckett, Proust, translation and preface by Edith Fournier (Paris: Les Éditions de Minuit, 1990), p. 117, note 110. 47 The ‘canzone’ also appears in TCD MS 10963a.
In Proust, Dante’s presence is geared to boost the authority of the critical ‘I’ rather than to justify Joyce’s innovative techniques. The different Dantes constructed in the different Beckett texts indi cate that ‘Dante’ is unstable in meaning. 43 Under the ‘velame de li versi strani’ (the veil of the strange verses) (Inf. IX, 63), De Sanctis wanted to ﬁnd a concrete, ulti mate truth. In my analysis, instead, I would like to argue that each Beckett text produces a different ‘Dante’, which has various functions in the text, thus creat ing different ‘Becketts’.
Beckett’s Dantes: Intertexuality in the Fiction and Criticism by Daniela Caselli