excerpts from Company
A voice comes to one in the dark. Imagine.
To one on his back in the dark. This he can tell by the pressure on his hind parts and by how the dark changes when he shuts his eyes and again when he opens them again. Only a small part of what is said can be verified. As for example when' he bears, You are on your back in the dark. Then he must acknowledge the truth of what is said. But by far the greater part of what is said cannot be verified. As for example when he hears, You first saw the light on such and such a day. Sometimes the two are combined as for example, You first saw the light on such and such a day and now you are on your back in the dark. A device perhaps from the incontrovertibility of the one to win credence for the other. That then is the proposition. To one on his back in the dark a voice tells of a past. With occasional allusion to a present and more rarely to a future as for example, You will end as you now are. And in another dark or in the same another devising it all for company. Quick leave him.
Use of the second person marks the voice. That of the third that cankerous other. Could he speak to and of whom the voice speaks there would be a first. But he cannot. He shall not. You cannot. You shall not.
Apart from the voice and the faint sound of his breath there is no sound. None at least that he can hear. This he can tell by the faint sound of his breath.
Though now even less than ever given to, wonder he cannot but sometimes wonder if it is indeed to and of him the voice is speaking. May not there be another with him in the dark to and of whom the voice is speaking? Is he not perhaps overhearing a communication not intended for him? If he is alone on his back in the dark why does the voice not say so? Why does it never say for example, You saw the light on such and such a day and now you are alone on your back in the dark? Why? Perhaps for no other reason than to kindle in his mind this faint uncertainty and embarrassment.
Your mind never active at any time is now even less than ever so. This is the type of assertion he does not question. You saw the light on such and such a day and your mind never active at any time is now even less than ever so. Yet a certain activity of mind however slight is a necessary adjunct of company. That is why the voice does not say You are on your back in the dark and have no mental activity of any kind. The voice alone is I company but not enough. Its effect on the hearer is a necessary complement. Were it only to kindle in his mind the state of faint uncertainty and embarrassment mentioned above. But company apart this effect is clearly necessary. For were he merely to hear the voice and it to have no more effect on him than speech in Bantu or in Erse then might it not as well cease? Unless its object be by mere sound to plague one in need of silence. Or of course unless as above surmised directed at an other.
A small boy you come out of Connolly's Stores holding your mother by the hand. You turn right and advance in silence southward along the highway. After some hundred paces you head inland and broach the long steep homeward. You make ground in silence hand in hand through the warm still summer air. It is late afternoon and after some hundred paces the sun appears above the crest of the rise. Looking up at the blue sky and then at your mother's face you break the silence asking her if it is not in reality much more distant than it appears. The sky that is. The blue sky. Receiving no answer you mentally reframe your question and some hundred paces later look up at her face again and ask her if it does not appear much less distant than in reality it is. For some reason you could never fathom this question must have angered her exceedingly. For she shook off your little hand and made you a cutting retort you have never forgotten.
If the voice is not speaking to him it must be speaking to another. So with what reason remains he reasons. To another of that other. Or of him. Or of another still. To another of that other or of him or of another still. To one on his back in the dark in any case. Of one on his back in the dark whether the same or another. So with what reason remains he reasons and reasons ill. For were the voice speaking not to him but to another then it must be of that other it is speaking and not of him or of another still. Since it speaks in the second person. Were it not of him to whom it is speaking speaking but of another it would not speak in the second person but in the third. For example, He first saw the light on such and such a day and now he I is on his back in the dark. It is clear therefore that if it is not to him the voice is, speaking but to another it is not of him either but of that other and none other to that other. So with what reason remains he reasons ill. In order to be company he must display a certain mental activity. But it need not be of a high order. Indeed it might be argued the lower the better. Up to a point. The lower the order of mental activity the better the company. Up to a point.
Another trait its repetitiousness. Repeatedly with only minor variants the same bygone. As if willing to him by this dint to make it his. To confess, yes I remember. Perhaps even to have a voice. To murmur, Yes I remember. What an addition to company that would be! A voice in the first person singular. Murmuring now and then, Yes I remember.
Another trait the flat tone. No life. Same flat tone at all times. For its affirmations. For its negations. For its interrogations. For its exclamations. For its imperations. Same flat tone. You were once. You were never. Were you ever? Oh never to have been! Be again. Same flat tone.
In another dark or in the same another devising it all for company. This at first sight seems clear. But as the eye dwells it grows obscure. Indeed the longer the eye dwells the obscurer it grows. Till the eye closes and feed from pore the mind inquires, What does this mean? What finally does this mean that at first sight semmed clear? Till it the mind too closes as it were. As the window might close of a dark empty room. The single window giving out on outer dark. Then nothing more. No. Unhappily no. Pangs of faint light and stirrings still. Unformulable gropings of the mind. Unstillable.
For why not? Why in another dark or in the same? And whose voice asking this? Who asks, whose voice asking this? And answers, His soever who devises it all. In the same dark as his creator or in another. For company. Who asks in the end, Who asks? And in the end answers as above? And adds long after to himself, Unless another still. Nowhere to be found. Nowhere to be sought. The unthinkable last of all. Unnamable. Last person. I. Quick leave him.
© 1980 by Samuel Beckett, Grove Press 1980.