Per a Richard Ellman biography, Samuel Beckett was told to “let it stand” when he included the phrase “Come in” in his transcription of this novel, though it was actually a response to a knock on the door. For 10 points each:
[10e] Unverified anecdotes that Beckett supplied to Ellman may have distorted the critical perception of what final novel by James Joyce?
ANSWER: Finnegans Wake [or Work in Progress]
[10m] Beckett originated the critical paradigm of conflating Joyce with Stephen Dedalus in an essay whose title names these [emphasize] three Italians. That essay’s title uses periods to indicate the centuries between these three Italians and Joyce.
ANSWER: Dante Alighieri AND Giordano Bruno AND Giambattista Vico [accept Dante Alighieri in place of “Dante Alighieri”; accept Iordanus Brunus Nolanus or Filippo Bruno in place of “Giordano Bruno”; accept Giovan Battista Vico in place of “Giambattista Vico”; accept “Dante ... Bruno . Vico .. Joyce”]
[10h] Beckett’s essay ends by comparing two of these constructs respectively dubbed “conical” and “spherical.” One of these constructs’ “absolute progression” and “guaranteed consummation” is contrasted with the other’s “flux.”
ANSWER: Purgatories [accept word-forms; accept Terrestrial Paradises; reject “Paradises”] (The two Purgatories are Dante’s, in The Divine Comedy, and Joyce’s, in Work in Progress.)
<Ani Perumalla, British Literature>