Abstract
This essay theorizes the status of Romantic irony in Beckett's work according to its relationship with the sublime, which takes three different forms. First, in the "German Letter," irony is conceived of as the way to the sublime. I argue that a diagnostic account of this process emerges in , where Romantic irony is framed as the symptom of a moribund condition. Finally, I suggest that in Beckett works to ironize the rhetoric of Romanticism, whilst the Romantic irony of his narrators is constituted by an aspiration to repeat an irrecoverable sublime encounter.
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