Abstract: Sinuous syntactic structures in Texts for Nothing express a melancholic loathing, where the protasis / apodosis movement produces an impression of immobility. Pseudo-dialogues function as a substitute, inscribing the narrator in the company of his doubles. The musicality of language – with the symbolic dimension embodied by ruptures – gives the narrator substance. The true breach can doubtless be situated between the two languages: the untranslatable offers Beckett an unshakeable foundation.
