Krapp’s Last Tape: The Role of Memory [essay]

In Beckett’s stage directions for Krapp’s Last Tape, it is imperative to realize the importance of Krapp’s eyesight. Krapp is described as ‘Very near-sighted (but unspectacled)’, which, considering the play as a quest for the unknowable, gives the man a symbolic handicap with implications similar to that of the Greek seer Tiresias (Beckett 2771). Krapp’s Last Tape recounts the intellectual journey of an old man who is consciously or subconsciously submerging the Vision of his life, thereby encouraging his present state of mental and emotional inability. His subconcious efforts to forget – focusing on women, leaving sentences unfinished, loss of knowledge and spending time thinking on, what would be considered inconsequential details – proivde a foundation for his more conscious efforts. These conscious efforts include the manipulation of his tapes, his repressive self-exhortations, as well as the impact of silence and mutism within the dialogue.

Considering then, his attempts to forget when at the same time he actively pursues rememberance, we can see how Krapp uses various techniques to repress the impact (and the memory) of the Vision. As Sue Wilson in her article, “Versions of the Vision in Samuel Beckett’s Krapp’s Last Tape“, states, ‘We are provided with gestures toward metaphysical revelation but denied access to any positive or determinate content’ (79). After arguing that the relationship between Krapp’s vision and Beckett’s own personal revelation is superficial (76-77), Wilson suggests that time has a negative effect on memory (and thus, on the Vision), and that Krapp’s disillusionment can be seen in his angry response to his own life-changing experience (78). Although Wilson couples Beckett’s idea of absent revelation with Kant’s views on the impossibility of determination, she does not provide varied textual proof of Beckett’s conscious and subconscious denial (79). On the other hand, Arthur K. Oberg’s article “Krapp’s Last Tape and the Proustian Vision” considers the subconscious and conscious ways Krapp represses his memories, while drawing on similarities between Proust and Beckett in relation to ‘Memory, Habit and Time’ (151). Oberg, focusing on Krapp’s ability to manipulate his memories (the tapes), discusses the importance of ‘voluntary and involuntary’ memory, the changing and changeless self, desire adn teh freedom found only in ‘ossified’ rememberances (152-153). Finally, Oberg notes that Krapp’s enlightened moments were the time he possessed what he desired – but that desire is complicated by age, time, shifting meanings, ‘gaps’ and the inability to contextualize ideas (157). However, although Oberg places importance on the role of memory and desire, voluntary or otherwise, the significance of the Vision is not closely considered as a valuable part of the character development. Also, considering the present state of Krapp – a single old man with an addiction to bananas and alcohol – I feel that any freedom he experiences is illusionary only, created by memories of desire, which leave Krapp even more incapable of change.

Looking more closely at Krapp, we can see how he consciously tries to forget when at the same time he is remembering. Firstly, Krapp manipulates his memories physically by switching the tape on and off. Six times within the text, Krapp manipulates the spool and one time, he fast forwards through it. The first two times, Krapp turns it off after considering two women who seemed to have made an impact on his life (Beckett 2773-74); the third time, he fast forwards over the Vision.
          “[Krapp curses, switches off, winds tape forward, switches on again]
           -unshatterable association until my dissolution of storm and night with
           the light of the understanding and the fire -[Krapp curses louder,
            switches off, winds tape forward, switches on again]…” (2775)
However, the most noteworthy operation is his fixation on the punting episode, in which we hear the most important recollection, ‘But under us all moved, and moved us, gently, up and down, and from side to side’, three times (2775-76). Considering the ‘mechanization of memory’, Oberg suggests that ‘by making involuntary memory voluntary – commits Krapp to the destruction of moments that refuse reduction to human control’ (152). However, I feel that not only does Krapp decrease the power of his memories by repetitively listening to them; but he too reduces his ability to change the path of his life. Krapp also makes vocal exhortations to himself, in order to suppress himself. For example, he says, ‘Last fancies. [Vehemently.] Keep’em under!’ (2776). Entwined with the Vision seems to be the possibility of healing as engendered by singing; however, Krapp rejects that when he states, ‘Shall I sing when I am her age? No. Did I ever sing? No.’ (2776). Lastly, Krapp’s conscious efforts to subdue the Vision can be seen in the importance of mutism within the play. Pauses and silences seem to fill up a huge space within the play, giving it a longer running time (as a production) then the text at first glance shows. At the end, as Krapp listens for the third and last time to the punt episode, Beckett’s directions state, ‘[Pause. Krapp's lips move. No sound]‘ (2776), which places further ambiguity on meaning by obscuring what even the character has to say. In conclusion, Beckett’s entire play fails to give us any concrete Vision or even meaning, but rather, considering Wilson’s theory that ‘the metaphysical object’, the content of Krapp’s vision, must be located only in ‘thought’ and his ‘own concepts’, the reader is left with only memories to interpret Krapp and his experiences (79).

While Krapp is using mechanical and self-conscious ways to forget what he has remembered, he is also participating in a subcionscious act when he fails to focus on the right things and remembers only what had been deemed as insignificant. Firstly, Krapp dwells on various women within his monologues, some are mentioned in passing, like the ‘girl in a shabby green coat, on a railway-station platform’ or the ‘dark youn beauty’ with ethe chyrsolite eyes (Beckett 2773-74). Eyes play a large part within Krapp’s Last Tape, especially in reference towomen; it seems to be a case of knowing, not knowing and the inability to understand. To illustrate, the most important memory for him in his later years seems to be the lady in the punt:
         ‘I asked her to look at me and after a few moments – [Pause.] -
         After a few moments she did, but the eyes were just slits, because
         of the glare. I bent over her to get them in the shadow and they opened.
         [Pause. Low.] Let me in.’ (2775)
While linking the eyes to a state of knowledge, it is important to note that at the end, any resolution found through the song ‘Now the Day is Over’, is subverted by the continuation of his memories of the punting episode which further induce a state of mental passivit (2776). Women, then, not only symbolize desire and fulfillment, but also create the stasis that krapp is caught in. Secondly, Krapp complicates the issue further through his inability to complete his train of thought. This can be seen when he first starts to sing and ends up in a fit of coughing (2773-74). Another example is toward the end when he finishes singing, Krapp remembers a time when he fell asleep in church, and then considers, ‘Sometimes wondered in the night if a last effort mightn’t -’ although one wonders what the ‘effort’ was and what it could have done (2776). These gaps in sentences create an ambiguity as to what is being actually remembered or said. As Ober suggested, ‘memorable moments slip’, while ‘words lose their meaning’ (156). Another example of Krapp’s more subconscious subversion is the loss of knowledge in the play. As he is reading his ledger, he has a hard time remembering anything in the book.
         ‘Memorable… what? [He peers closer.] Equinox, memorable equinox.
         [He raises his head, stares blankly front. Puzzled.] Memorable equinox?
         … [Pause. He shrugs his shoulder, peers again at ledger, reads.]‘ (Beckett 2772)
Later on, he forgets what viduity means and has to look it up in a dictionary (2774). The breakdown of language and memory, therefore, could, as Wilson suggests, symbolize the fact that ‘Krapp’s vision of the eternal… has decayed with time’ (77). As has been stated previously, memories therefore do not only play as reminders of goals lost, which could bring healing, but these recollections play a two-fold part by also distracting Krapp from making any positive changes in his life. Although the ‘memorable equinox’ is describeda s ‘when suddenly I saw the whole thing’ – a moment of enlightenment – the elder Krapp focuses instead on other moments, such as the dog, the black ball and the death of his mother (Beckett 2774). After listening to the punt episode for the second time, he shuts it off quickly and begins a new set of recollections, in which he talks about items like ‘Fanny’ the ‘bony old ghost of a whore’ and his opus magnum, the ’seventeen copies sold’ (2776). Even though it could be argued that his talking was therapeutic and led to the hope of revival with teh song ‘Now the Day is Over’, sadly, any hopes for revival, are dashed when he reverts to his old memories of lost loves (2776).

In conclusion, Krapp begins the play blind and bound. Blind, because he cannot see in – not only the physical sense – but also in the inability to understand the meaning of relationships and experiences. Bound, because not only is his world confined to the small physical space of his room, but also set in a mental stasis through the proliferation of memories which encourage his current state of passivity. The role of Memory then not only gives glimpses of previous (and potentially future) enlightenment but also aid Krapp to avoid the Vision on conscious and subconscious levels. When the curtain falls, Krapp is the same Krapp as when the curtain rose: motionless and silent (2776).

Bibliography:

Beckett, Samuel. ‘Krapp’s Last Tape.’ The Longman Anthology of British Literature. 2nd Ed. Vol. 2C. Ed. David Damrosch. New York: Addison-Wesley Educational Publishers, 2003.

Oberg, Arthur K. ‘Krapp’s Last Tape and the Proustian Vision.’ Theatre Workbook 1: Samuel Beckett, Krapp’s Last Tape. Ed. James Knowlson. London: Brutus Books, 1980.

Wilson, Su. ‘Versions of the Vision in Krapp’s Last Tape.’ English Language Notes. 40, (2003): (76-82). 

Why Read? Why Write?

Apparently there’s been a small furor on the professorial chatline at my university about the importance of Science vs. the importance of the Humanities. I think that this isn’t exclusive just to my spot in Academia, but rather, perhaps, is a well contested subject everywhere. What leads me to this thinking is a tragic story I heard of a young man in Japan being jilted because he decided to pursue English Literature.

Of course, it’s hard to address these subjects – whether air is more important than water, whether modes of communication are more important than the communication themselves… It’s really hard to stay unbiased on this matter. However, it makes me sad to know that these lines have to be drawn between the two schools of thought (as it were).

And yet again, I find myself defending my B.A., as people once again question the practicality of the whole thing – the university life in general to the actual curriculae.

So then: why read? why write? why English?

Why English, indeed. Where to start? I guess one could say, the fundamental importance of English in education – is not only the ability to read and write – but to read and write WELL. On top of that, there is the importance of critical thinking and reading, modes of persuasion and the ability to manipulate all sorts of texts for social critique. Although science is the one to bring us the steam engine and computers, it is the humanities which gave us the vision and which became the engine of thought to allow the populace to enjoy the technology.

After all, when discussing “humanities”, I not only refer to English, but I also stress the importance of theology and social sciences, and last but not least, history. For in all of these disciplines, important world views come into play which not only affect political figures, buisness and the nation, but also society as a whole.

For example, from Martin Luther and the Reformation came the formation of various Reformation thought in Northern Europe – which caused, not necessarily a renaissance in Art, but a renewed interest in Sciences and Technology as well. Certain modes of thought suppress, certain modes of thoughts progress. All of this, I think, stems from that part of Academia which looks to the impossible, the imaginary and forces it into existence. While the Scientific mind arguably can only theorize, test and prove, the Humanities part of us dreams for something and sometimes is able to make it happen.

That being said, there is of course the dangerous of Humanities, from a Christian perspective. For theology is not merely spawned from it – but it also is the fountainhead of other worldviews that might be damaging to the world and society in general. Foucault, Barthe, Kant, Nietzsche et. al. also fall under this category of free thinking. While ‘freeing the individual’ from previous, “archaic”, “restricting” thought, it is from the engines of modern and post-modern thought do we get:

Extremist modern/post-modern thought – relativism, syncretism etc – new lifestyles – new laws to justify and allow such lifestyles -> commercialism and politics conform to reap the benefits of such lifestyles.

One could take for example the homosexual lifestyle and see how things now are being marketed for that specific group. How clothing and culture is changing to accomodate the new lifestyle… And while, I agree that all people groups must be treated with respect, I can only but question how people who place all their money in the Sciences cannot see the link between the so-called “impractical” culture studies course and how our society is changing.

People, let’s wake up and smell the coffee – stop the shopping and the constant influx of funds to Commerce and Science – let’s get aware – let’s think – let’s take a look around us and see that power doesn’t just lie in technology and the gun – but in the minds and hearts of people. It is those to teach who have the power to change the world – because it is from the mind and culture that everything flows – and it is the mind and culture which Humanities touches upon.

Poetry: Redeemed

Redeemed

I am the Bride, who walks in hope,
Looking to the Lord of Love;
But on my way, my eyes are caught.
Within, a battle, not yet fought,
Is lost, and drags me from above.
Adulterous and wretched, I grope.

I am the one who put Him on the Cross.
The scoffer who deserves the pain.
My love of me has brought no gain -
I am the wretch whose life is merely dross.

I am the Dirt that lies upon,
And in, the grave at which I kneel.
Yes, with my shovel, I have mined
A six foot hole, that death divined
For cheated lives that none can heal -
Yet by His Love, my Lord has won.

I am submission, now upraised,
For even death can be undone.
Although death is what I deserve,
He crucified Himself to serve.
My Self must learn to love the Son -
To sing to Him, “Your name be praised!”

I am the one who put Him on the Cross,
But still He loved me as His bride.
In love of Him, in Him I died -
I live for Him, all else in life is loss.

-

This poem was written as a challenge given to me by a friend. After giving me 10 words, I had to write a poem with as much of them in it as I could. I know for sure that the words “grave, dirt, adulterous, love” were some of those words – I can’t really remember the rest of the list. At any rate, I really enjoyed writing this – it smacks of hymn, somehow, (lol), but some beautiful thoughts came out, I think.

Beowulf: A Translation

Finding the sumptuous treasure
standing exposed, the old Twilight Foe
trumpeted forth, seeking the burying-places.
The naked, hostile Dragon fled by night,
attacking with fire; and the Earth-dweller
was exceedingly afraid of him. He shall go seeking
treasure in the earth; in that place, he shall watch,
many-wintered, the heathen gold. Nay, for him there will be no success.
So the spoiler of the community, for three hundred winters,
possessed some storehouses in the earth,
increased in his cunning. Until, One aroused him -
a Man of High-Spirits; the King bore
a chalice, ornamented with gold, and entreated a peace-pledge
which he desired. The treasure was explored,
the booty was plundered, boons were given
to the impoverished men. The King observed
the ancient work which he began to discern in the future.
And the Worm, having awoken, caused new strife.
Then, sniffing above the stone, the Stout-Hearted One discovered
the footprint of the Fiend; he also stepped forward
with secret craft, neared the Dragon.
As such, not fated to die, he easily overcame
misfortune and persecution, because the Lord-Wielder
preserves with grace!

- Beowulf (lines 2270b - 2294b)

Discussion of Translation

For the most part, the translation of Beowulf’s The Dragon, lines 2270b 2294b, was accomplished easily enough with the help of an online dictionary and the grammar book. However, specific choices for the stylistic translation deserved much thought, especially considering my audience: beginners, such as young teens, who had never attempted readings of older English texts before. Considering the fact that Beowulf is a story for the laymen of Anglo-Saxon England, keeping the lyrical quality while making it understandable for the modern reader is the tension which this translator attempted to maintain.
For example, the naming of the dragon had utmost importance when translating, because it is the focus of the piece. The word uhtsceaða”, for example, directly translated as “twilight foe” (l.2271). The term was used, because the image of twilight and darkness adds an element of mystery, fear and dread. “Twilight” also conjures ideas of the eventuality of destruction. Although, some modern readers wouldn’t recognize “foe” right away, the word ties the piece back to an older time, reminding the audience that this text has ties with an ancient culture. “ðeodsceaða” also received similar treatment, resulting in “spoiler of the community” (l. 2289). On the other hand, words like “Worm”, “Dragon” and “Fiend” were most often used because that is what the dragon was to the original author(s) – a creature of evil (l. 2287-2291). Most modern readers, especially those familiar with Western tradition, would understand the usage of those words in connection to the monster.
Mankind on the other hand had a variety of terms. Although “foldebuend” puzzled me, after taking the word apart, I realized that it literally means “earth-dweller” (l.2274). I thought “earth-dweller” sounded really lyrical, so I kept it, while capitalizing it, and so portraying it as a proper noun. The phrase “mon on mode” was particularly difficult to translate because although ‘mon’ is easily paired with ‘man’, the preposition ‘on’ carries a large variety of meaning – which changes the sentence radically, considering the third word, ‘mode’ (l. 2282). I chose “Man of High-Spirits”, just because it sounds more epic to the modern reader, but it could have easily been translated “until he aroused one man of high-spirits” or “until One aroused him, a brave man” (l. 2281-2282). Later on in the poem, the intruder is called “stearcheort”, which I decided to translate as “stout-hearted” (l.2279), because anything older, such as “stark heart” suggested in C.W. Eliot’s online version, might confuse the modern reader (Mcmaster Humanities).
Other issues surrounded the actual building of the sentences. Frequently, I felt like I was given pieces of a puzzle and had to find which words matched with each other. Sentences such as “þa se wyrm onwoc, wroht wæs geniwad “, at best were difficult to translate into easy reading without changing the sentence structure (l. 2283). Eventually, I wrote “And the Worm, having awoken, caused new strife”, which creates a stronger cause-effect scenario than “And the worm awoke, new strife happened”. On the other hand, more complex parts, such as “Frea sceawode fira fyrngeweorc forman siðe” could be translated many ways. You could read it as “The King observed the ancient work begun in the late past”, but also “The King observed the first ancient work which he began to discern in the future”. Both however hold the idea that the King of the country was forseeing problems surrounding the issue of the Dragon – which is fulfilled by the next sentence (l. 2281-2283).
In conclusion, while many of the parts were obvious as to their meaning, important details, such as adjectives and prepositions demanded more time and attention because of the open-ended meanings, or, for example, the vague characteristics of many adjectives’ declensions. It was a rewarding experience, however, mostly in part due to the deepened awareness of the richness of the Old English language, which I gained as I translated. I also realized that despite the dubious consistency of Modern English, our language is ultimately a language of change, and therefore, with thought can attempt at the seemingly impossible and in doing so, change the self and culture.

Poetry: True North, Strong and FREE

True North Strong and FREE

Frailty, thy name is that WORD.

Freedom will never be found -

nailed by gold plated spikes.

Buried, our nation-coffin

and corpses, wrapped in normativity,

lay 6 ft under

our home and native land.

-

This is for Professor Daniel Coleman, revered Canadian Literature prof at McMaster University. Against all odds, he gave me a respect for our nation’s literature – and a more interesting view of what we can create – what our potential is in this land of variable futures.