Abstract
Imagine a playwright who can no longer bear to write. Imagine a poet whose feelings for language have become so exquisite as to preclude their formulation in words. Imagine Hamlet so radically curtailed in its garrulousness that it is reduced to the dumb show. Imagine a state where language is exhausted in the two senses of the term, in that all the potentialities for expression have been realised and frozen into words, with the result that all potential speakers are too tired to speak.
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Notes
For reasons that will soon become obvious, I am using the French version: S. Beckett, Quad et autres piè;ces pour la television, suivi de L’Epuisé, par Gilles Deleuze (Paris: Minuit, 1992). For the English translation of Deleuze’s essay, see G. Deleuze, Essays Critical and Clinical, trans, by D. W. Smith and M. W. Greco (London: Verso, 1998) pp. 152–74.
Beckett, Quad, pp. 104–5. The phrase comes from Beckett: see S. Beckett, Malvu mal dit (Paris: Minuit, 1981).
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© 2002 Jean-Jacques Lecercle
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Lecercle, JJ. (2002). Introduction: Deleuze, Beckett, Même Combat. In: Deleuze and Language. Language, Discourse, Society. Palgrave Macmillan, London. https://doi.org/10.1057/9780230599956_1
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DOI: https://doi.org/10.1057/9780230599956_1
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