ABSTRACT
Set not in stone, but as prose on a page, Still makes us hear words interact: the process is a verbal kineticism whose protagonists are verbs, adverbs, adjectives and nouns. The drama is the spectacle and speculum of Beckett's language; the only hero in the play is the uncertain word. A nature morte [dead nature] 'impossible to follow let alone describe', Still, ironically, is not still at all. Trembling all over', the words of this piece quiver onto actuality. The word still itself, like the hours of a day, is sounded twenty-four times, a verbal journey in disorienting repetition that highlights inversion, opposition, and indeterminacy rather than stasis or immobility ...
