No More Learning

. Fell stiff.
? ? ? Name of Person: Falstaff
? ? ? ? 1 Henry 4
(V. J. CHENG 1984 : 198ff)
? ? ? ? ? ? ? Shakespeare
1 Henry 4
? ? ? ? ? 456. 24:1
? I'm fustfed like fungstif
Name of Person: Falstaff
? ? 1 Henry 4
(V. J. CHENG 1984 : 198ff)
? ? Shakespeare
1 Henry 4
? ? ? ? 595. 32:5
? ? ? ? ? ? . Fill stap. #
? ? ? Name of Person: Falstaff
? ? ? ? ? 1 Henry 4
(V. J. CHENG 1984 : 198ff)
? ? ? ? ? ? ? Shakespeare
1 Henry 4
? ? ? ? ? ? ? Or the quote "the man with no music in himself". . . We then begin to understand what James Joyce was after. . .
? ? ? ? ? ? 167. 35:13
? ? ? ! That mon that hoth no mosses in his sole nor is not awed by
? ? ? Quotation:
LORENZO: the man that hath no music in himself / Nor is not moved with concord of sweet sounds . . .
? ? ? ? The Merchant of Venice
5. 1. 83-84
(V. J. CHENG 1984 : 198ff)
? ? ? ? ? ? Shakespeare
The Merchant of Venice
? ? ? Bucures? ti 2012
? ? ? ? ? ? C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 16
The correlation between Shakespeare's "sweet sounds" on the one hand, and James Joyce's "word's law", on the other, is particularly significant: the semantics of FW discourse is being placed on a par with music. . . but it is the Music of Meaning.
The following digressive paradigm is perhaps the most enigmatic of them all, for apart from "the name of a famous bear" one could not squeeze very much meaning of it at all. . . Or can one?
? ? ? ? ? ? ? ? ? ? conquists of word's law,
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 530. 22:1
? ? ? Sackerson
? ? ? Quotation:
SLENDE: You are afraid if you see the bear loose, are you not? [. . .
] I have seen Sackerson loose twenty times.
( N. B. There is a major paradigm here:
? ? ? ? ? The Merry Wives of Windsor
1. 1. 263-66
(V. J. CHENG 1984 : 198ff)
+Sandulescu
? ? ? Shakespeare
The Merry Wives of Windsor
? ? ? . 20:4 Seckesign
? ? ? ? ? Bucures? ti 2012
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 17
? ? ? ? ? ? ? ? ? . 21:3 Sickerson, . 21:6 Sekersen . 22:1 Sackerson
? ? ? ? ? ? ? ? ? ? The semantic climax lies in the last item of the four! )
? ? ? ? We should have quite a lot of colloquial Italian under the belt in order to understand all the semantic implications of the following paradigm (a lot more than York Tindall implies):
? ? ? ? 281. 18:4
? ? ? ? ? ? (il folsoletto nel falzoletto col fazolotto dal fuzzolezzo),
? ? Name of Person: Desdemona
N. B. (fazzoletto Italian: handkerchief) N. B. ( This is a typical Joyce letter-paradigm:
? ? ? ? ? ? ? ? Othello
(V. J. CHENG 1984 : 198ff)
+Sandulescu
? ? ? ? Shakespeare
Othello
? ? ? ? . 18:5 folsoletto . 19:1 falzoletto . 19:3 fazolotto . 19:5 fuzzolezzo
? ? None of the four items does give the correct Italian spelling ! )
? ? ? ? ? ? ? ? ?
? ? Bucures? ti 2012
C. George Sandulescu, Editor.
Literary Allusions in Finnegans Wake 18
Paradigmatic Reading is my fundamental request in this volume. Read the Shakespeare plays and the Dante Cantos, and all the rest of the data in their natural sequence! As they emerge in the texture of FW:
It really pays to look at the play Richard the Third, and the emphasis Joyce places on the quotation about swapping a kingdom for a horse--so reminiscent of Mihai Eminescu's "un regat pentr'o t? igar? ? " 'a kingdom for a cigarette! '--a quote which is taken up at least six times throughout FW:
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 104. 11:6
? , Buy Birthplate for a Bite,
? ? ? ? Quotation:
RICHARD: A horse! a horse! my kingdom for a horse!
? ? Richard the Third
5. 5. 7 + 13
(V. J. CHENG 1984: 198ff)
? ? Shakespeare
Richard the Third
? Bucures? ti 2012
C.