"I shall state silences more competently than ever a better man spangled the butterflies of vertigo"
About this Quote
Beckett gives you a boast that immediately collapses into self-parody: “I shall state silences” is a swaggering promise to do the impossible, then “more competently” drags the grand ambition into the petty register of craft and professionalism. The line is a miniature of his larger project: turning the stage into an engine for articulating what language can’t reliably carry, and doing it with the deadpan seriousness of a man measuring the unmeasurable.
The subtext is rivalry with the very idea of “a better man” - the confident, eloquent predecessor who “spangled” experience into decorative meaning. Beckett refuses that kind of literary upholstery. “Spangled the butterflies of vertigo” skewers poetic embellishment: vertigo, an embodied panic and disorientation, is reduced by lesser art into pretty insects pinned and glittered for display. He’s mocking the tradition that treats anguish as aesthetic material, something to be arranged attractively.
“State” is the crucial verb: official, legalistic, almost bureaucratic. Beckett’s speaker wants to file a report on absence itself, to render silence as a kind of data. That impulse sits squarely in the postwar modernist hangover, where inherited rhetoric feels indecently ornate and the self mistrusts its own flourishes. The sentence performs that mistrust in real time, lurching from assertion to ornament to nausea. It’s not just that language fails; it’s that Beckett stages the failure as style, a deliberate vertigo in which the only honest competence is learning how not to pretend.
The subtext is rivalry with the very idea of “a better man” - the confident, eloquent predecessor who “spangled” experience into decorative meaning. Beckett refuses that kind of literary upholstery. “Spangled the butterflies of vertigo” skewers poetic embellishment: vertigo, an embodied panic and disorientation, is reduced by lesser art into pretty insects pinned and glittered for display. He’s mocking the tradition that treats anguish as aesthetic material, something to be arranged attractively.
“State” is the crucial verb: official, legalistic, almost bureaucratic. Beckett’s speaker wants to file a report on absence itself, to render silence as a kind of data. That impulse sits squarely in the postwar modernist hangover, where inherited rhetoric feels indecently ornate and the self mistrusts its own flourishes. The sentence performs that mistrust in real time, lurching from assertion to ornament to nausea. It’s not just that language fails; it’s that Beckett stages the failure as style, a deliberate vertigo in which the only honest competence is learning how not to pretend.
Quote Details
| Topic | Poetry |
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