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By Voltaire

Comprises half one among Candide; 3 tales; choices from The Philosophical Dictionary, The Lisbon Earthquake, and different works; and thirty-five letters.

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Sample text

Watt, (London: John Calder, 1963), 72. , 1, 112.  Swann 1, 120–121.  His disagreement with Curtius (Proust, 85) is based on his marginal note to JF 3, 151.  CG 1, 39; SG 2, i, 85.  Swann 1, 177–78, 180. , 237, 122.  JF 2, 19–20; 156 (altered to "pessimist"); JF 2, 36, is similarly marked.  Knott's need for a "witness" in Watt.  JF 2, 16. , 73.  AD 1, 28.  Beckett does, however, mark TR 2, 68, which speaks of death as the only deliverance from irremediable suffering.  See the second volume of La prisonnière for Proust's interest in paralytic illnesses, shared (especially in The Unnamable—Mahood's condition being the logical terminus of a Proustian tendency) by the even more medically aware Beckett.

Samuel Beckett (Boston: Twayne Publishers, 1986), 150–51.  1, 3.  "Beckett and Ionesco," Hudson Review II (Summer 1958): 273.  38).  166), which now demands our attention.  An understanding of Belacqua's perplexed psyche, evidenced by his bungled romantic encounters, is crucial in understanding the problems that Beckett as author has with Belacqua, and, as we shall see, what these artistic difficulties ultimately reveal about Beckett's own conception of himself as a young artist.  In the later novels and plays, men and women are treated in much the same manner.

Ruby Cohn (New York: Grove Press, 1967), 89–100.  Samuel Beckett (Boston: Twayne Publishers, 1986), 150–51.  1, 3.  "Beckett and Ionesco," Hudson Review II (Summer 1958): 273.  38).  166), which now demands our attention.  An understanding of Belacqua's perplexed psyche, evidenced by his bungled romantic encounters, is crucial in understanding the problems that Beckett as author has with Belacqua, and, as we shall see, what these artistic difficulties ultimately reveal about Beckett's own conception of himself as a young artist.

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