Abstract
The Romantic period is part of what Reinhart Koselleck has called the ('saddle period'), the era that flanks the French Revolution by fifty years on either side. To investigate Beckett's ambiguous attitude towards this period, this essay starts with the Graveyard Poets and concludes with Mary Shelley's "hideous progeny" – as she called in the introduction to the 1831 edition. The essay investigates the relationship between "the modern Prometheus" and his "creature," and the theme of creation as a muddy but central issue in Beckett's works and self-translations.
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