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Several months after the McWhinnie production in which he was himself heavily involved, Beckett had the opportunity to act as his own director in the [[German (language)|German]] version, '''''Nur noch Gewölk''''', for [[Süddeutscher Rundfunk]]. In this production he made one or two minor changes but the main one was to include the whole last [[stanza]] above rather than the four lines in the original.
"''The Tower'' is a work which discusses history and the past not only in terms of recollection but also as an entire complex of traces, remainders and legacies of which individual subjective memory is only one element."<ref name="multiref1">{{cite journal
"The painful, highly personal question raised by Yeats is: if the poet's physical powers fail, if his vision and hearing are impaired, can the memory of the sensory world serve as a basis for poetry? Is memory alone capable of stimulating the creative act? ... As he draws upon his memory, revisiting scenes both in his life and works, he comes to respond affirmatively to the pessimistic question first raised ... The poet's physical impairments, paradoxically, prove a blessing. Indeed, in the stanza from which Beckett derived his title, Yeats puts the real world in perspective, thereby reducing his own sense of loss."<ref>{{cite book |first=Sidney |last=Homan |date=1992 |title=Filming Beckett's Television Plays: A Director's Experience |___location=Lewisburg |publisher=Bucknell University Press |pages=
But why this particular line from the poem? Is it to do with the nature of [[cloud]]s? "Clouds seem permanent but are ultimately impermanent; they cannot be touched, yet can be seen; they are nothing more than condensed water, yet remain a [[symbol]] of romance, of the imagination beyond practical measurement – they are, in a phrase, at once here and elsewhere."<ref name="multiref2">{{cite book |first=Sidney |last=Homan |date=1992 |title=Filming Beckett's Television Plays: A Director's Experience |___location=Lewisburg |publisher=Bucknell University Press |page=77 |isbn=978-0-8387-5234-0}}</ref>
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::: Mrs Mallet: I saw her lips move.<ref>{{cite book |first=W. B. |last=Yeats |date=1966 |title=The Collected Plays of W B Yeats |___location=New York |publisher=Macmillan |page=385 |isbn=978-0-3330-0747-1}}</ref>
"As [[Katharine Worth]] has pointed out, in Yeatsian terminology 'shades' [the final word of Yeats's poem] necessarily conjures up thoughts of [[spirit]]s or [[ghost]]s along with the onset of evening, and Beckett's play only reinforces this somewhat understated {{linktext|nuance}}."<ref name="multiref1"/> The prevalence of 'ghosts' in Beckett's later writings hardly needs commenting on.<ref>{{cite journal |first=Graham |last=Fraser |s2cid=162193478 |title=No More Than Ghosts Make: The Hauntology and Gothic Minimalism of Beckett's Late Work |date=Fall 2000 |journal=[[Modern Fiction Studies]] |volume=46 |number=3 |publisher=Johns Hopkins University Press |pages=
[[John Calder]] in his review of the three plays shown on BBC2 had this to say about ''... but the clouds ...'':
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